Stage SettingsSharon Swift

Early Renaissance

Sets included:› Painted walls of city streets and a large

central entrance–forerunner of the proscenium arch.

› Prism sets and raked stages were sometimes used.

› Experimentation with other backdrops, wing settings, revolving stages, and shutters.

During the Restoration

End-stage action took place on the raked apron.

Little action occurring behind the proscenium in the scenery.

19th-century

Efforts made to the individual play. Mid century: more realism—settings

changed as the apron shrank, orchestra seats were added, painted backdrops were eliminated, and wings were closed.

20th century

Experimentation with scenery is common.

Naturalism peaked with the photographically accurate sets.

Designers typically use a proscenium set that has all the essential entrances, and two-sided or three sided rooms.

Types of Sets

Box set, which consists up two or three walls built of flats often covered by a ceiling

A unit set, which consists of several scenic units which can be moved about the stage, turned, and interchanged to create several settings.

Permanent set, which can vary in design but rarely changes during a play.

Types of Sets

Profile set, which can be constructed of screens and forms the entire perimeter of the setting.

Curtain Set, which simply uses curtains as a backdrop for the play.

Skeleton set, which consists of frames and openings that can be left empty were filled by draperies, backings, and doors.

Before Designing a Set

Size and shape of the auditorium Details about the available space Storage space Dimensions of the apron and the wings The number and the sizes of flats,

drops, and scrims. … whether they are special units

In addition…

The designer must have a good knowledge of the play and the audience.

Four Key Considerations

Unity—all of the elements on a set form a whole that centers on the theme of the play.

Emphasis—focuses on a particular object, area or furnishing.

Proportion—all elements are scaled realistically if realism is the goal, or distorted appropriately if non-realism is the goal; and Balance ---the distribution of emphasis from one side of the stage to the other.

The Steps in Constructing a Flat

Gathering the materials and hardware Assembling and bracing the frame,

which can be done through the use of butt joints or preferably, miter joints.

Watching the frame with a flameproof solution.

Covering the frame with cloth. Sizing the cloth.

Steps in Constructing a Flat

Sizing the cloth Attaching a lash line The best fabric for covering flats is

canvas, but because it is expensive to purchase, the next best choice is unbleached muslin.

Shifting Scenery

Requires an experienced crew Stage manager is responsible Directs the crew members That grips moved flats, periaktoi , and

set pieces. Fly crew raises and lowers scenery and

draperies.

Color Choice

Page 422. Analyze the set design on page 422.

Look at the types of sets. Discuss why do you think this scenery was made the way it was.

Lighting and Sound

Key elements In establishing mood, atmosphere, and

setting in a play. Effective lighting conveys a particular

interpretation. While the lighting technician needs to know

the technical aspects, every one should understand how lighting effects the elements of production. Without a sound system most audiences would not be able to hear the actors