Professional Documents
Culture Documents
the
Clayesmore School Theatre Department
Stage 1
Analysis
Analysis
Top Girls by Caryl Churchill - Bolton Octagon March 1997 Designer: Jocelyn Meall
Is a specific time or place suggested? Is it important that the production maintains that time or place?
Click to look at the following pictures which ones suggest a particular time or place?
Analysis
Laughter on the 23rd Floor by Neil Simon - Touring August 1996 Designer: Judith Croft
The Winslow Boy by Terence Rattigan - Peter Burke Theatre Dec 97 Designer: A H Peters
Julius Caesar by William Shakespeare - Birmingham Rep, November 1997 Designer: Patrick Connellan
What is the mood of the play? Does the mood change during the play?
Click to look at the following images what can you say about the mood of the plays from these pictures?
Analysis
The Visit by Friedrich Durrenmatt - Peter Burke Theatre March 1996 Designer: AH Peters
Dancing at Lughnasa by Brian Friel - Octagon Bolton Sept 1996 Designer: Richard Foxton
The Trial by Franz Kafka Contact Theatre Company The Dancehouse, Manchester April 1997 Designer: Andrew Wood
Are there any particular requirements? Does the play need more than one door, for example?
You will need to read the play very carefully to answer this question.
Analysis
Does the play fit into a particular genre? Can you identify a subtext? What do you want the audience to go away thinking about?
Analysis
Act
Scene
Location
Time
No. characters
Notes
Stage 2
Research
Research
Ideas dont descend from space and land in your head They result from careful and intelligent research
Research
Everyday objects
Historical/political events Music of the time/place
Research
Stage 3
giving form
Colour
Shape Texture
Giving form
Scale
colour
Try to find a colour that you think sums up the play for you. Try to find an actual colour just saying blue isnt very helpful!
Look at the following 3 slides what mood or idea is suggested by the colour on each slide?
Giving form
shape
Try to find a shape that you think sums up the play for you. Try to find an actual shape or draw it yourself
Look at the following slide what moods or ideas are suggested by the shapes?
Giving form
Giving form
Romeo & Juliet Sherman Theatre, Cardiff Feb1995 Designer: Claire Lyth
texture
The importance of texture as a way of creating a mood or feeling cannot be overstated
Giving form
Richard III
Tidelines by Mary Cooper and Gary Yershon West Yorkshire Playhouse Theatre in Schools Leeds
April 1996
scale
Manipulating the scale of objects can be a powerful way of engaging the audiences attention.
Look at the following examples.
Giving form
The Lion King New Amsterdam Theatre, New York Nov 1997 Designer: Richard Hudson
Now you can start to think about how you could incorporate these qualities into a form on stage. Some people like to do lots of drawing at this stage, others like to play around with very simple models
Giving form
Stage 4
Design style
Design style
Heritage by Nicola McCartney Traverse Theatre, Edinburgh Oct 98 Designer: Fiona Watt
A Different Way Home by Jimmy Chin Coliseum Theatre, Oldham Feb 97 Designer: Celia Perkins
Wagner Workshop Peter Burke Theatre December 2000 Designer: Ben Stocken
Shadowlands by William Nicholson Haymarket Theatre, Basingstoke April 96 Designer: Elroy Ashmore
March 1998
Lucky Sods by John Godber Coliseum Theatre, Oldham Jan 97 Designer: Rachel Blues
Design style
Now look back to the notes you made in stage 1. It is important to choose a style that is appropriate to the play and production. Dont just choose a style you fancy working in!
Stage 5
Design format
Think about the space you want to design for. Do you want to work in a proscenium arch,a thrust, a promenade, in-the-round
Make sure you know what these terms mean and then look at the following pictures and decide which space is being used.
Design format
Honk by George Stiles & Anthony Drewe Stephen Joseph Theatre Dec 1997 Designer: Peter McKintosh
The Relapse by John Vanbrugh Swan Theatre, Stratford May 1995 Designer: Tim Goodchild
March 1998
Venus & Adonis by John Blow The Opera House, Gent, Belgium Designer: Benoit Dugardyn
Designer: A H Peters
Of course, you dont have to use one of these formats. Look at the following sketch for Grotowskis production of The Prince
How would you feel if you were an audience member having to stretch to peer over a wall at the action?!
Design format
Stage 6
Or, if you dont trust your drawing skills, go straight to the next stage and make a white card model a very quick and simple version of your design.
Once you are happy with this stage, go on to make scale drawings using plans of the theatre you are designing for
Your aim is to make a model that looks exactly like your finished set will/would look on stage.
Look at some of the examples in the Art Department to see what you are aiming at. Or look at the next slide which is a model?
Jenufa by Janacek
Most important
Remember that we go to SEE a play. The Designer is absolutely crucial to the success of a production.
Have Fun!