The following slides will show you a few examples of mypersonal work as a professional set designer. Hopefully, they will give you a basic understanding of the thought process a set designer goes through when designing for the stage. I apologize for the quality of the actual photographs. They were scanned from original 35mm slides. Also, many of the photos were taken with the actual stage lighting. The Scene Designer s Objectives: 1. Help set the tone and style of the production. 2. Establish the locale and period in which the play takes place. 3. Develop a design concept consistent with the director s concept. 4. Provide a central image or metaphor, where appropriate. 5. Ensure that scenery is coordinated with other production elements. 6. Solve practical design problems. 1
The Producer * The producer is the ultimate authority in the organizational structure of a theatrical production. He or she is, arguably, the most influential member of the team. The producer secures the rights to perform the play; hires the director, designers, actors, and crews; leases the theatre; and secures financial backing for the play. The specific functions of the producer can vary considerably. In the New York professional theatre, most productions are set up as individual entities. As a consequence, the producer and his or her staff are able to concentrate their efforts on each production. They will sometimes be working on the preliminary phases of a second or third production while another show is in production or in the final stages of rehearsal, but in general they concentrate on one show at a time. * J. Michael Gillette, Theatrical Design and Production: An Introduction to Scene Design and Construction, Lighting, Sound, Costume, and Makeup, (4 th edition), WCB/McGraw-Hill, 1999 2
The first step after reading the play several times is to meet with the director to learn what his or her vision of the overall production is. After the initial meeting, I work up a rough sketch of the design. The Director * The director is the artistic manager and inspirational leader ofthe production team. He or she coordinates the work of the actors, designers, and crews so that the production accurately expressesthe production concept. Any complex activity such as the production of a play must have someone with the vision, energy, and ability to focus everyone else's efforts on the common goal. The director is thisleader. He or she works closely with the other members of the production design team to develop the production concept and also works with the actors to develop their roles in a way that is consistent with the production concept. The director is ultimately responsible for the unified creative interpretation of the play as it is expressed in production. * J. Michael Gillette, Theatrical Design and Production: An Introduction to Scene Design and Construction, Lighting, Sound, Costume, and Makeup, (4 th edition), WCB/McGraw-Hill, 1999 3
This is my initial rendering for Eugene O Neill s, Ah, Wilderness. Basically, this play is a comedy (a humorous version of his play, Long Day s Journey Into Night, which is anything but humorous). The main concern at this stage of design concept is to nail down the overall feel of the physical production. 4
A detail view of the rendering for Ah, Wilderness. 5
Notice that this rendering also includes sketches of furniture and drapery. These rendered notations are usually done to help the Property Master get a visual understanding of the physical props that may be used in the overall production design. They establish period when the play takes place and style. The next slide illustrates the use of drapes which will frame the window. A detail view of the rendering for Ah, Wilderness. 6
Note that I have drawn two types of drop-leaf writing desks. The Director will eventually decide which type will best suit the actors blocking and set piece stage position. A detail view of the rendering for Ah, Wilderness. 7