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Set Design. Set Requirements Must be practical and usable Aesthetically pleasing to the eye—LOOKS GOOD Provide a suitable background for play’s action Space for movement Several acting areas Doors, windows, levels, etc
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Set Design • Set Requirements • Must be practical and usable • Aesthetically pleasing to the eye—LOOKS GOOD • Provide a suitable background for play’s action • Space for movement • Several acting areas • Doors, windows, levels, etc • Communicates locale (time and place), the cultural, social, and economic status of characters • Suggest the play’s style and mood
Set Design • First step in set design is creating a GROUND PLAN • Drawing of set from overhead view • Details the placement of • Entrances/exits • Windows • Furniture • Stairs, platforms, ramps • Usually drawn to scale so that construction crew can build from it
THE STAGE CREW • Supervised by Technical Director • Consists of groups of people working on set construction, props, lighting, sound, costumes and makeup • Each individual crew is lead by a crew head, or lead designer
SET CONSTRUCTION CREW • builds and paints the structures on which the actors perform • design is conceived by set designer • later becomes the shifting or running crew: • crew that changes the set from scene to scene during the production of the play
PROPERTIES (PROPS) CREW • in charge of gathering and organizing props • prop: anything actors handle onstage, as well as furniture or any items used to enhance the set • 3 types • Handheld: any prop handled by an actor during the course of the show • Set props: large set pieces that do not move such as couches, chairs, tables, etc. • Decorative: additions that enhance the set, add to the mood of the play; ex: pictures, curtains, knicknacks • crew is managed by the Prop master • Researches the time period of the play and socio-economic background of characters • Either buys or builds the necessary props for the show • Creates a Prop Tableon which all props for a show are stored and organized by actor
MAKEUP CREW • Refers to cosmetics, hairstyling, false hair and false features • Traditionally in theatre, makeup is applied by the actors • When makeup is complicated/specialized, a crew of makeup artists apply, supervised by makeup designer • Designer creates renderings which are followed by actors or makeup artists in application • Considerations for Make up Design • Stage lights wash the color from an actor’s face—makeup must cover entire face, neck, ears • Application involves using principles of chiaroscuro—highlight and shadow
Straight Makeup • Straight Makeup refers to basic makeup needed by all actors on stage • Procedure • Start with a clean face! • Step One: Foundation/base • Provides a uniform color and canvas on which to apply all other makeup • Step Two: Rouge/Blush • Apply to apples of cheeks and blend upward along cheekbones • Step Three: Eyes and brows • Shadow (applied to lids) and liner (brows and under eye) • Step 4: Highlight and Shadow • Brings out features (highlight) with a color 3 shades lighter than base • Corrects features (shadows) with a color 3 shades darker than base • Step 5: Powdering • Sets the makeup and gives a matte finish • Step 6: Lipstick and finishing touches • Includes application of mascara, false eye lashes, lip liner
Specialized Makeup • Aging • Base color should be 1 shade lighter than normal since skin loses color with age • Lines made with eye pencils create wrinkles • Follow natural lines in the face • Apply with a light hand • Highlights and shadows create folds in skin which deepen the appearance of wrinkles • Wigs and Facial Hair • Prosthetics—false features
COSTUME CREW • Responsible for sewing, repairing and cleaning costumes • Costume designer chooses or designs costumes • Designer must consider • Time period • Character personality • What is the character doing in each scene? • Designer first researches and creates a costume collage—images of clothing from time period that inspire each costume. • Then, designer creates costume renderings • Colored drawing or painting of ideal costume • Includes a list of accessories with explanations • Sometimes includes fabric swatches • Renderings are used by the stitchers to build the costumes
Costume Design • Considerations for costume design • Appropriateness • Costume silhouette: the distinctive line and form in dress from any given historical period • Can only know this by researching the time period • It may be necessary for the CD to attend rehearsals to see the blocking the actors must perform in costume • Color • Reflects personality and character traits • Color symbolism to consider (just a few—every color has meaning) • Purple—royalty • Red—lust or desire • White—innocence • Can indicate character relationships • Couples in matching or complementary colors
LIGHTING CREW • Lighting crew places lights and runs light board and spotlights during the show • Lighting is any illumination of the set and actors during the performance; needed • to make actors visible (duh) • to establish time, place and mood for play • Lighting designer decides • what kind of lighting instrument to use and what color of lights are needed • Equipment—fresnels, scoops, strips, ellipsiodals, spotlights • Intensity of light beam • Throw: distance the light travels • Tragedies and dramas: cool colors—blues, purples, greens, whites • Comedies: warmer colors—yellows, pinks, reds, oranges • where to focus the lights • The most important acting areas need a stronger concentration of light • when to turn the lights on/off
LIGHTING CREW • Procedure for creating Lighting Design • Lighting Designers must create the following • Light Plot • Details the primary stage areas where acting takes place • Details when (at what line) the lights need to be at full in that area • Lighting Cue Sheet • A list of all lighting changes, in the order they happen, and with the lines that correspond to when the change in lights begins and when it ends
SOUND CREW • Responsible for collecting, preparing and running the sound during a performance • Sound includes • Amplification of actors’ voices (microphones) • Music • Preshow—should reflect time period of play and mood of play; sets tone for the show (comedy, drama, tragedy) • Intermission—time period appropriate and fits mood at intermission • Post-show/Bows—should be time period appropriate and fit final mood or feeling at end of the play • Sound effects—phones, thunder, doorbell, car approaching, etc
SOUND CREW • Sound Designer decides • Song choices for music (unless specifically noted in the script) and • Sound choices for effects • Whether or not sounds are live or recorded • Sound designer creates • Sound Cue List • List of all sound effects which includes the page # and the line it corresponds with when it begins and end • Their own sound effects