CH-5-8 Acting for the Stage – Theatre: The Lively Art : Book Guide

This Document Contains Chapters 5 to 8 Chapter 5 Acting for the Stage Overview and Outline All human beings engage in certain forms of acting; imitation and role-playing are excellent examples of acting in everyday life. Acting onstage, however, differs from acting in everyday life. Historically, stage performances have required exceptional physical and vocal skills: moving with agility and grace, to engage in such things as sword fights and death scenes; dealing with poetic devices (meter, imagery, alliteration, etc.); and projecting the voice to the farthest reaches of the theatre space. From the end of the nineteenth century to the present day, many plays have been written in a very realistic, lifelike style. The characters in these plays resemble ordinary people in their dialogue, behavior, etc. Presenting them requires that performers make the characters they portray believable and convincing. A Russian director, Konstantin Stanislavski, developed a system or method of acting to enable performers to believe in the “truth” of what they say and do, and to project this to the audience. Modern approaches to realistic acting by such teachers as Lee Strasberg, Stella Adler, Sanford Meisner, and Uta Hagen have built on and departed from aspects of Stanislavski’s theories. Two other approaches are those of Robert Cohen and Robert Benedetti. Global influences on actors’ training include the work of the Russian director Vsevolod Meyerhold and the French director Jacques Copeau, as well as the Polish director Jerzy Grotowski. Exercises and tasks have been developed to train performers. These include numerous physical and vocal exercises and techniques taken from other disciplines such as tai chi and the circus. Centering is often emphasized as part of body and voice training. Avant-garde theatre and certain other types of theatre make additional demands on the performer with regard to voice and body training. Audience members should familiarize themselves with the problems and techniques of acting in order to judge performances properly. I. Three Challenges of Acting A. Making Characters Believable 1. The Development of Realistic Acting a. The Stanislavski System: A Technique for Realistic Acting i. Relaxation ii. Concentration and observation iii. Importance of specifics iv. Inner truth v. Action onstage: What? Why? How? vi. Through line of a role vii. Ensemble playing b. Stanislavski and Psychophysical Action 2. Modern Approaches to Realistic Acting B. Physical Acting: Voice and Body 1. The Actor’s Instrument: Voice and Body 2. Centering 3. Training for Special Forms of Theatre C. Synthesis and Integration II. Judging Performances Features: Making Connections: Acting A Historical Perspective: Demands of Classical Acting Warm-Up Exercises for Body and Voice Global Cross Currents: Puppetry around the World Terms
acting beats biomechanics centering circle of attention emotional recall ensemble playing given circumstances integration magic if psychophysical action realism relaxation superobjective tai chi through line or spine viewpoints theory
Topics for Discussion 1. Make a list of some non-theatrical events that require people to engage in imitation or role-playing (jokes, storytelling, children’s games, descriptions of crimes or accidents, etc.). How is imitation used in these situations? What makes these situations different from theatre? Non-Theatrical Events Involving Imitation or Role-Playing: • Storytelling: When telling a story, individuals often imitate voices or gestures to convey characters and emotions. This enhances engagement and helps listeners visualize the narrative. • Children’s Games: Games like "Simon Says" or role-playing games involve imitation of actions or behaviors, allowing children to explore different identities and scenarios. • Jokes: Many jokes rely on impersonation or mimicking certain behaviors or speech patterns to create humor, often exaggerating characteristics for comedic effect. • Descriptions of Crimes or Accidents: Witnesses may imitate the behavior of individuals involved in incidents to convey their actions, adding depth to the account and helping others visualize the scenario. • Cultural Rituals: Events like weddings or ceremonies often include role-playing elements, where participants embody specific roles (like the bride or officiant) to fulfill cultural expectations. Difference from Theatre: Unlike theatre, these situations typically lack formal staging or script. They occur in everyday contexts, emphasizing spontaneity and personal expression rather than structured performance. While theatrical events are crafted for an audience, non-theatrical events focus more on personal connection and communication. 2. Frequently in theatre history, actors have been regarded as undesirable by other sectors of society. Discuss possible reasons why people might distrust actors. You might note that the Greek term for “actor” was the same as our word hypocrite. In connection with this topic, discuss the phenomenon of actors being identified with their roles. Why might people expect actors to be like the role they play? Is this logical? Does an actor have to be like a character in order to play him or her well? Distrust of Actors: Possible reasons for distrust include: • Historical Perceptions: In ancient Greece, actors were often viewed as deceivers, with the term for “actor” sharing roots with the word “hypocrite.” This association led to skepticism about their authenticity and motives. • Role-Playing Nature: Actors inhabit characters that may differ vastly from their true selves, leading to suspicion about their real personalities. This dissonance can create doubt about their integrity and reliability. • Public Personas: Actors may be perceived as prioritizing fame over authenticity, fostering distrust among audiences who expect genuine emotion and connection. Identification with Roles: People often expect actors to embody their characters, blurring the line between the actor's true self and their portrayal. While it may be logical for audiences to associate an actor’s performance with their personality, it is not necessarily accurate. An actor does not have to resemble a character to portray them effectively. Skills in emotional understanding and interpretation can allow actors to deliver powerful performances without sharing characteristics with their roles. 3. Discuss the concept of believability. Does the concept essentially mean “true to everyday life”? Or is there a difference between believable and “true to everyday life”? What about characters like Frodo and Gandalf in The Lord of the Rings: Are they true to life? Are they believable? What about musicals? In “everyday life,” people do not burst into song to express their thoughts and feelings. Does this mean that performers in a musical do not have to be concerned with believability? Discuss how this relates to the concept of “willing suspension of disbelief” described in Chapter 2. Discuss the idea of the “audience contract”: the rules of a play or film that let the audience understand what is realistic within the world it depicts. Believability in Performance: • Concept of Believability: Believability does not always equate to being “true to everyday life.” A character can be fantastical yet still feel believable within the context of the story. • Examples from The Lord of the Rings: Characters like Frodo and Gandalf may not be “true to life” in a literal sense, as they inhabit a fantasy world. However, they exhibit relatable traits (courage, loyalty, wisdom) that resonate with audiences, making them believable within the narrative context. • Musicals: While everyday life rarely involves bursting into song, the conventions of musicals create a framework where heightened emotion justifies musical expression. The audience willingly suspends disbelief, accepting that characters express thoughts and feelings through song as part of the narrative’s rules. Willing Suspension of Disbelief: This concept refers to the audience’s conscious decision to overlook incongruities for the sake of enjoyment. Audiences enter an “audience contract,” where they agree to accept the world depicted in the play or film, understanding that realism can be bent for artistic expression. Audience Contract: This contract establishes the boundaries of believability within a performance. Viewers recognize that in a fantasy world, for example, extraordinary events can occur, and they willingly engage with the story under those terms. This understanding allows for diverse storytelling methods, from realistic dramas to whimsical musicals, enhancing the overall experience. 4. Discuss the use of poetic language onstage. Why would a playwright use poetry instead of “everyday” speech? Are there certain types of emotions or thoughts that are more effectively expressed in poetic language? What are they? How does the use of poetry relate to the use of songs in a musical? Sometimes playwrights, such as William Shakespeare, alternate between poetic and everyday language. Why might they do such a thing? Use of Poetic Language Onstage: • Why Use Poetry Instead of Everyday Speech? Playwrights often use poetic language to elevate the emotional intensity and lyrical quality of the dialogue. Poetry can condense complex emotions and thoughts into powerful, evocative phrases that resonate more deeply than ordinary speech. The rhythm and meter can create a musical quality, enhancing the overall experience for the audience. • Emotions Effectively Expressed in Poetry: Certain emotions, such as love, grief, longing, and existential contemplation, are often more effectively conveyed through poetic language. The heightened expression allows characters to articulate feelings in ways that reflect their inner turmoil or passion, creating a more impactful connection with the audience. • Relation to Songs in Musicals: The use of poetry in dialogue parallels the use of songs in musicals, where heightened emotion and character development are expressed through music. Both forms allow for deeper exploration of character motivations and feelings. Songs often serve as a climax for emotional expression, while poetic dialogue builds the narrative's emotional landscape. • Alternating Between Poetic and Everyday Language: Playwrights like William Shakespeare switch between poetic and everyday language to create contrast and highlight different aspects of character or situation. Poetic language may be used during moments of high emotion or significant thematic weight, while everyday speech can ground the characters in reality, making them more relatable. This variation enriches the text and provides depth to character interactions. 5. Stanislavski felt that relaxation was one of the most important aspects of an effective performance. Discuss the effects of tension on everyday activityhow does tension affect the way you think, move, and feel? When a person is tense, can others sense this? How do they react? How might all of this affect an actor’s performance, and the way an audience responds to him or her? If a character is tense, shouldn’t the performer be tense as well? Effects of Tension on Everyday Activity: • Impact on Thinking, Movement, and Feelings: Tension can significantly hinder cognitive function, making it difficult to think clearly or make decisions. It can also lead to physical stiffness, affecting posture and movement, and can heighten feelings of anxiety or irritability. In tense situations, individuals may struggle to express themselves freely or connect with others. • Sensing Tension in Others: People can often sense when someone is tense through nonverbal cues such as body language, facial expressions, and tone of voice. This awareness can create discomfort or apprehension in social interactions, prompting reactions such as avoidance or increased anxiety. • Effects on Acting Performance: For an actor, tension can be detrimental to their performance. It may restrict physical expression and emotional range, leading to a less authentic portrayal of a character. Audiences may also sense an actor’s tension, which can disrupt their immersion in the story. Conversely, if a character is meant to be tense, the performer may need to channel that tension authentically. However, it should be balanced to avoid compromising the overall performance. 6. Discuss why doubling may be an appropriate choice for some plays. Discuss how this might affect an actor’s approach to her/his roles etc. How does doubling affect the focus of the action of the play? Doubling in Plays: • Appropriateness of Doubling: Doubling, where an actor plays multiple roles within the same production, can enhance thematic connections and draw parallels between characters. It can highlight similarities or contrasts, enriching the narrative and adding layers of meaning. For instance, in plays exploring duality or identity, doubling can effectively illustrate those themes. • Actor’s Approach to Roles: When actors double, they must adapt quickly to different character dynamics and motivations. This requires versatility and a keen understanding of each character’s unique traits. Actors may develop distinct physicalities, vocal qualities, and emotional responses for each role, enriching their overall skill set. • Focus of the Action: Doubling can affect the focus of the play’s action by inviting the audience to draw connections between the roles, making them reflect on the relationships between characters. It may also create a sense of unity or irony within the narrative, enhancing the thematic depth and engaging the audience’s imagination as they navigate the layers of meaning presented by the actor's dual performances. Exercises and Demonstrations 1. Try out some of the vocal and physical exercises described in this chapter. How do they make the students feel? Vocal and Physical Exercises After trying out vocal and physical exercises, students often report feeling more relaxed, energized, and connected to their bodies. These exercises can enhance their confidence and readiness to perform by loosening tension, improving vocal clarity, and fostering a sense of teamwork. Many students may express that they feel more expressive and free, which can translate into a more dynamic performance. 2. Draw a parallel between Shakespeare’s use of iambic pentameter and contemporary rap music. Have the students choose a Shakespearean soliloquyfor instance, Macbeth’s “Is this a dagger I see before me” soliloquyand have them set it to rap music. Discuss how breath control, a sense of rhythm and phrasing, and clear articulation are important to performing both rap and Shakespeare. Shakespeare and Contemporary Rap Shakespeare’s use of iambic pentameter and contemporary rap music share a rhythmic foundation that emphasizes cadence, flow, and emotional expression. By selecting Macbeth’s soliloquy and setting it to rap, students can explore how the rhythm of the verse enhances the meaning of the words. Discussing breath control, students will learn that both forms require precise timing to maintain flow and ensure clarity. Articulation becomes essential in both rap and Shakespearean performances, as clear delivery conveys the emotional weight of the text. This exercise not only highlights the musicality in both styles but also invites students to reinterpret classic literature in a contemporary context. 3. Ask a student to perform a series of everyday activities in front of the class. For instance, have him or her walk into the room, see a piece of paper on the floor, pick it up and throw it into the wastebasket, stretch, sit in a chair, etc. The activities should be things that everyone does naturally and without thinking. Discuss with the actor whether these simple activities become any more difficult when performed in front of an audience. Ask the audience if the actor seemed natural. A similar experiment might involve having a student stand in front of the class and explain how to tie a shoelace or a necktie. The point is to discuss how the presence of an audience and consciousness of one’s actions affect a person’s ability to behave naturally. Everyday Activities Performance When students perform simple everyday activities in front of the class, they often experience increased self-consciousness, making the actions feel more challenging. The audience's presence can amplify nervousness, leading to exaggerated movements or awkwardness. Discussing the performance, students may recognize that their natural behaviors become scrutinized, causing them to overthink their actions. The audience might share that while the actor seemed somewhat natural, subtle changes in behavior indicate the impact of performance anxiety. This exercise emphasizes how awareness of an audience can alter behavior and highlights the importance of grounding techniques for actors. 4. Research the idea of “viewpoints” as described in the writing by and about Anne Bogart. How do her ideas differ from Stanislavski’s? Would an actor trained in one tradition be more suited for certain types of roles than others? Viewpoints vs. Stanislavski Anne Bogart’s “viewpoints” approach focuses on physicality, improvisation, and collaboration, encouraging actors to explore their bodies and spatial relationships in performance. In contrast, Stanislavski emphasizes emotional truth and psychological motivation, urging actors to delve deeply into their character's inner life. An actor trained in Bogart’s method might excel in experimental or ensemble-driven roles where movement and interaction take precedence, while a Stanislavski-trained actor might be more suited for character-driven narratives that demand emotional depth. Understanding these differences can help actors choose roles that align with their training and strengths. This comprehensive exploration encourages students to engage with performance from multiple angles, enriching their understanding and skills as actors. Chapter 6 The Director And The Producer OVERVIEW AND OUTLINE A key element of the theatre event is the director—the person who, with detailed support from the stage manager, rehearses the performers and coordinates their work with that of
other theatre artists to make certain that the script is performed appropriately, intelligently,
and excitingly. While it is sometimes argued that the director did not exist prior to 1874, it
is generally recognized that the function of the director has always existed. In the twentieth century, the auteur and postmodern directors have come into being: directors who are really the authors of the plays they direct, taking responsibility for shaping every element of the production, including the script. Frequently, it is the responsibility of the director to choose the script, decide upon the
“spine” of the play, determine a style for the production, and arrive at a concept. Occasionally, the director will take advantage of the assistance of a dramaturg, whose contributions to the director’s work can be very important. At the same time that the director is developing a conceptual approach to the play, he or
she is also working with the designers on the physical production. In addition, the director is responsible for casting the play, conducting rehearsals, and serving as the audience’s eye until
the play’s opening. The director gives shape and structure to a play in two dimensions—in space, and in time—and thus must be careful that the production’s movement, pace, and rhythm are appropriate and effective. In addition to the director, the producer—or, in a nonprofit theatre, the manager—oversees the entire business and publicity side of a production: maintaining the theatre, arranging publicity, handling finances, and managing ticket sales, budgets, ushers, and so forth. I. THE THEATRE DIRECTOR II. THE TRADITIONAL DIRECTOR a. The Director and the Script i. Choosing a Script ii. The “Spine” of the Play iii. The Style of the Production iv. The Directorial Concept 1. Concept and Period 2. Concept and Central Image 3. Concept and Purpose b. The Director and the Dramaturg III. THE AUTEUR DIRECTOR AND THE POSTMODERN DIRECTOR a. The Auteur Director b. The Postmodern Director IV. THE DIRECTOR AND THE PRODUCTION: THE PHYSICAL PRODUCTION V. THE DIRECTOR’S WORK WITH THE PERFORMERS a. Casting b. Rehearsals c. The Director as the Audience’s Eye d. Movement, Pace, and Rhythm e. Technical Rehearsal f. Dress Rehearsal g. Previews VI. THE DIRECTOR’S POWER AND RESPONSIBILITY a. The Audience’s View VII. THE PRODUCER OR MANAGING DIRECTOR a. The Commercial Producer b. Noncommercial Theatres i. Administrative Organization of a Nonprofit Theatre ii. Responsibilities of a Noncommercial Producer or Manager VIII. COMPLETING THE PICTURE: PLAYWRIGHT, DIRECTOR, AND PRODUCER IX. HISTORICAL PERSPECTIVES: The Evolution of the Director X. GLOBAL CONNECTIONS: Peter Brook: International Director XI. DYNAMICS OF DRAMA: Modern Versus Postmodern Production Aesthetics XII. SUMMARY IDENTIFY OR DEFINE 1. Director 2. Stage manager 3. Actor-manager 4. “Spine” of a play 5. Style 6. Naturalism 7. Slice of life 8. Heightened realism or selective realism 9. Allegory 10. Expressionism 11. Directorial concept 12. Period 13. Central image 14. Directorial purpose 15. Dramaturg or literary manager 16. Auteur director 17. Casting 18. Typecasting, or casting against type 19. Blocking 20. Visual composition 21. Pace 22. Rhythm 23. Technical rehearsal 24. Run-through 25. Dress rehearsal 26. Previews or tryouts 27. Producer or manager 28. Angels 29. Front of the house 30. Postmodern director QUESTIONS FOR STUDENT ESSAYS OR DISCUSSION 1. Imagine that you are directing one of the plays read during the semester. Describe the director’s responsibilities in preparing the play for performance. Trace the process by which a director selects and rehearses actors and actresses before public performances. Director’s Responsibilities As a director, key responsibilities include interpreting the script, creating a vision for the production, and ensuring cohesive performances. The process begins with analyzing the text to understand themes and character arcs. The director then auditions actors, seeking those who embody the characters authentically. After casting, rehearsals commence, where the director guides actors in developing their roles, blocking scenes, and fostering ensemble dynamics. Throughout this process, the director collaborates with designers (set, costume, lighting) to create a unified aesthetic before culminating in public performances. 2. The auteur director uses the play text as raw material for his or her own vision. The text may be altered or radically reinterpreted to fit the auteur director’s vision. Discuss whether this approach to directing is ethical. Should the director be able to distort an author’s work? Is rearrangement or reinterpretation distortion? What if the result is a brilliant work of art in itself? Are there boundaries beyond which an auteur director should not go? Ethics of the Auteur Director The auteur approach raises ethical questions regarding fidelity to the original text. While artistic reinterpretation can lead to innovative productions, it risks distorting the author's intentions. Rearrangement or reinterpretation can be viewed as distortion, particularly if it misrepresents core themes. However, if the outcome is a brilliant work that resonates with audiences, it prompts debate about artistic license. Boundaries may exist around preserving the fundamental messages of the original work, yet the director's creative vision can provide fresh perspectives. Ultimately, ethical considerations should weigh the integrity of the original text against the potential for transformative art. 3. While the director is very important to the success of a production, his or her work is snot easily identified by audiences. Discuss how a critic or a reviewer might be able to evaluate a director’s contribution. Evaluating a Director’s Contribution A critic evaluates a director’s contribution through various lenses: coherence of vision, effectiveness of staging, actor direction, and overall production quality. They might analyze how well the director interprets the text, the pacing and flow of scenes, and how effectively the director communicates themes. Critics can also assess audience engagement and emotional resonance, providing insight into the director’s ability to create a compelling experience. Comparisons to past productions and the uniqueness of the director's interpretation also inform evaluations. 4. For the traditional director, it is important to be true to the spirit of the play as well as the author’s intent. In the case of an author who is dead, how might the director go about doing this? Honoring the Author’s Intent When directing a play by a deceased author, directors may research the author’s historical context, literary influences, and previous interpretations to understand their intent. Engaging with scholarly analyses and existing productions can provide insights into the play’s themes and characters. The director should strive to honor the original tone while considering contemporary relevance, using creative choices that align with the spirit of the work. Ultimately, a director's vision should seek to illuminate the text without straying from its essence. 5. The text indicates that several “spines” are possible for a given play. How can this be? Multiple "Spines" of a Play The idea that several "spines" are possible for a given play reflects the complexity and richness of theatrical texts. Different interpretations can emphasize various themes or character motivations, allowing for multiple narrative threads. Each spine offers a distinct perspective, enabling directors to tailor their productions to resonate with specific audiences or contexts. This multiplicity can lead to innovative stagings and discussions around the text's meaning, highlighting its depth and versatility. 6. Both the critic and the director “stand in” for the audience during various phases of the production process. Discuss similarities and differences between the two jobs. Do you think a director would be a good critic? Would a critic be a good director? Similarities and Differences Between Critic and Director Both critics and directors represent the audience at different stages, but their roles differ significantly. Directors shape the production, making creative decisions that influence the audience's experience, while critics analyze and evaluate the effectiveness of those choices post-performance. A director may possess a deep understanding of the production, enabling them to critique effectively; however, their immersion in the process might cloud objective judgment. Conversely, a critic’s external perspective can provide valuable insights, but they may lack the hands-on experience to understand the intricacies of directing. Each role requires distinct skills and perspectives, making direct comparisons challenging. 7. Compare the roles of director, performers, producer, and stage manager with roles in business or other arts. For instance, is there a job in a corporation that is similar to that of the director? Is there such a job in a symphony orchestra? Discuss the other roles in these terms as well. Comparing Roles in Theatre and Business The director's role is akin to a project manager in a corporation, overseeing the execution of a vision and coordinating diverse teams to achieve goals. In a symphony orchestra, the conductor parallels the director, interpreting the score and guiding musicians in performance. Performers resemble employees executing specific tasks aligned with the organization’s objectives. The producer’s role aligns with a business executive, securing funding and resources. The stage manager can be compared to an operations manager, ensuring smooth day-to-day functioning. Each role, while distinct, requires collaboration, communication, and leadership to achieve success. 8. Casting is an important aspect of the director’s job, since it has such an effect on the way the play is perceived by an audience. Directors frequently cast according to type in order to make the audience’s perception easier. Is this good for the play? The actors? The theatre as a whole? Impact of Casting on Perception Casting is crucial to a production's perception, as it shapes how audiences connect with characters. Casting according to type can simplify audience perception and enhance believability, helping actors find their footing within familiar archetypes. However, this practice can limit diversity and risk pigeonholing actors, potentially stifling creativity in casting choices. For the play, typecasting can create a predictable experience, while for actors, it may reinforce constraints on their range. For the theater as a whole, it can perpetuate conventional norms that may need challenging to foster innovation and inclusivity in storytelling. These responses aim to stimulate thoughtful discussion and deepen understanding of directing and theater production. EXERCISES AND DEMONSTRATIONS 1. Have a student in the class audition other students for a part in a play. Student Auditioning Having a student audition peers for a part in a play can be a valuable learning experience. The student auditioning should prepare by outlining the audition process, including selecting appropriate sides or monologues, providing feedback, and creating a supportive environment. This exercise can help build confidence and develop critical evaluation skills among all participants. After auditions, a discussion can focus on what qualities were observed in performances and how casting decisions may reflect different interpretations of the characters. 2. You are casting the leads for a new production of Grease (or choose something that is quite familiar to your students). Using other students in your class, how would you cast Danny and Sandy as a traditional director? As an auteur director? Did you cast according to type or against type? What other casting strategies might you consider, such as cross-gender or multicultural casting? How might your casting choices alter for nonprofit theatre as opposed to commercial theatre? Casting Danny and Sandy Traditional Director Approach: As a traditional director casting for "Grease," I would focus on finding actors who physically fit the iconic roles of Danny and Sandy. For Danny, I would look for a charismatic male student with a confident demeanor and strong singing ability. For Sandy, I’d seek a female student who embodies innocence and has a strong vocal range. Casting would likely be done according to type to maintain audience familiarity with these characters. Auteur Director Approach: An auteur director might take more creative liberties with casting. I could choose a male actor who is not the typical “Danny” type—perhaps someone who brings a unique energy or a different background. For Sandy, I might cast a student who can bring a fresh perspective, emphasizing aspects of her character that are often overlooked. This casting against type could lead to innovative interpretations of the characters. Other Casting Strategies: • Cross-Gender Casting: I might consider casting a female student as Danny or a male student as Sandy to explore themes of gender identity and fluidity. • Multicultural Casting: Choosing actors from diverse backgrounds can enrich the narrative, reflecting a broader spectrum of experiences and perspectives. Nonprofit vs. Commercial Theatre: In nonprofit theatre, I might prioritize community engagement and diverse representation, leading to more experimental casting choices. In commercial theatre, the focus may shift to marketability and audience appeal, often favoring established types to attract ticket sales. 3. Rehearse a scene in class using some of Stanislavski’s acting concepts to help the actors. How do the actors respond? Repeat the scene, making changes to demonstrate the rehearsal process. If possible, arrange to attend a technical or blocking rehearsal at a campus or local theatre. Rehearsing with Stanislavski’s Concepts When rehearsing a scene using Stanislavski’s acting concepts, I would encourage actors to engage deeply with their characters’ motivations and emotions. Techniques might include: • Given Circumstances: Discussing the characters' backgrounds and the context of the scene. • Magic If: Asking actors how they would behave if they were in their character’s situation. After the initial run-through, I’d guide the actors to make specific changes, perhaps focusing on emotional depth or physicality. Observing their responses, I might notice increased connection to their characters and improved interactions. This iterative rehearsal process helps them refine their performances, illustrating the importance of preparation and exploration. 4. Have your students attend a production at a nearby theatre. Closely observe how the director engages with her actors. Hear the specificity with which she engages with the cast. In class, discuss the success of the director in bringing the elements together. Observing a Production Attending a production allows students to see a director’s engagement firsthand. During the performance, students should pay attention to how the director communicates with the cast—whether through specific notes on performance, blocking, or emotional beats. In class, we can discuss: • Specificity of Direction: How clearly did the director convey intentions? Were there moments that stood out? • Actor Engagement: Did the actors seem confident and connected to their roles? How did the director facilitate this? Evaluating the director's success in integrating various production elements can deepen students’ understanding of the collaborative nature of theatre. Discussing these observations can foster critical thinking about directing styles and the overall impact on the production. These exercises aim to enhance students’ practical understanding of directing, casting, and acting processes in theatre, promoting a collaborative and reflective learning environment. 5. Have a handful of students attend a production meeting, if possible. How does the director communicate his concept? Is the director using language that is clear and specific? What are some of the other issues that arise in a production meeting? Attending a Production Meeting Having students attend a production meeting provides valuable insights into the collaborative process of theatre. The director should communicate their concept clearly and specifically, using language that conveys the vision for the production, including themes, tone, and character interpretation. Students should observe if the director uses visual aids or reference materials to enhance understanding. Other issues that may arise include logistical challenges (budget, scheduling), discussions on design elements (set, costumes), and addressing team dynamics among the cast and crew. Students can reflect on how effectively the director navigates these discussions and fosters a collaborative atmosphere. 6. Have several students direct different versions of the same scene. Discuss the different point of view of each interpretation, and how the casting of different performers affects the scene. Directing Different Versions of the Same Scene When students direct different interpretations of the same scene, each approach highlights unique perspectives and thematic emphases. For example, one director might focus on a comedic interpretation, while another might lean toward a dramatic, serious tone. Discussing these interpretations can reveal how the casting of different performers alters the scene's dynamics. A more expressive actor may bring heightened emotion, while a subtle performer might evoke deeper reflection. This exercise emphasizes the importance of directorial vision and the impact of actor choices on storytelling. 7. Show slides or pictures of different productions of the same play—demonstrating stylistic differences in costumes, scenery, concept, etc. Comparing Productions of the Same Play Showing slides or pictures from various productions of the same play allows students to analyze stylistic differences in costumes, scenery, and overall concepts. Discussing elements like color schemes, historical context, and innovative staging choices can prompt conversations about how these choices influence audience perception and thematic interpretation. Students can explore how each production's unique vision shapes their understanding of the text and what choices resonate or clash with their interpretations. 8. Experiment with arranging a group of people in front of the class. How can people be arranged or moved in order to focus attention on one person? Arranging a Group for Focus Experimenting with the arrangement of a group of people in front of the class can illustrate how staging influences audience attention. By experimenting with formations—such as a circle, a straight line, or staggered positioning—students can observe how proximity and angles affect visibility and focus. Moving one person forward or highlighting them with lighting can draw attention. This exercise reinforces the idea that physical arrangement and movement are vital tools for directors in shaping audience engagement. 9. Divide the class into several groups and assign them a play to read. Each of the groups should then develop a spine and a concept for this play, as outlined in Chapter 6 of the text. Developing a Spine and Concept Dividing the class into groups to read different plays and develop a spine and concept can foster collaborative creativity. Each group should outline the core emotional journey (spine) and a specific vision or interpretation (concept) for their assigned play. Students can present their ideas to the class, highlighting how different perspectives influence the overall narrative. This exercise encourages critical thinking and deepens understanding of thematic elements and directorial choices. 10. While reading the lyrics to a popular song, have your students listen to the artist performing the song. Now listen to a cover of the song by another artist. How has the spine of the song changed? Analyzing Song Versions By reading lyrics to a popular song and then listening to performances by different artists, students can explore how the spine of the song shifts with interpretation. For example, one artist may emphasize a romantic theme, while another may present a more melancholic or energetic vibe. Discussing these variations can lead to reflections on how performance style, instrumentation, and vocal delivery can alter the emotional impact and interpretation of the same text. 11. Placing students in groups of three or four, provide to them the lyrics to a popular song (there are myriad online sites that provide lyrics). Have each group create their own spine for the song. Is the work of each group different/similar to other groups in the class? How might their work mirror that of the traditional director or the auteur director? Creating a Spine for a Song In groups of three or four, students can create a spine for the lyrics of a popular song. After sharing their interpretations, discussions can reveal similarities and differences among groups. Some may focus on themes of love, loss, or empowerment, while others might emphasize narrative storytelling. This exercise mirrors the work of both traditional and auteur directors, as students explore how directorial choices shape interpretation. Reflecting on how their spines differ may highlight the influence of personal experiences and artistic visions in creative processes. These activities are designed to engage students in practical applications of directing, interpretation, and collaboration in theatre, fostering a deeper appreciation for the complexities of performance art. SUGGESTED PLAYS Christopher Marlowe’s Doctor Faustus Henrik Ibsen’s Peer Gynt Arthur Miller’s The Crucible Elmer Rice’s The Adding Machine Shakespeare’s Troilus and Cressida Eric Overmyer’s On the Verge Peter Brook’s The Mahabharata Mary Zimmerman’s Metamorphoses Julie Taymor’s Juan Darién: A Carnival Mass, These are wide-ranging plays with many elements that require a directorial concept and strong control. Chapter 7 Theatre Spaces Overview and Outline An indispensable element of all theatrical productions is the physical space in which the performance occurs. A theatre space must include a place for the spectators to sit or stand. Theatre spaces may be indoors or outdoors, and of any size or shape, but four basic arrangements have prevailed throughout theatre history. Probably the best-known arrangement is the proscenium-arch or picture-frame stage. First introduced in Europe during the Italian Renaissance, it grew in popularity throughout Europe and the United States, and it is still frequently used. The action takes place behind the proscenium arch, which can also be used to conceal elaborate machinery for creating realistic or spectacular scenic effects. In the earliest Western theatres, the most popular arrangement was the thrust stage with three-quarters seating, developed by the ancient Greeks and adapted by the Romans. Variations of the thrust stage were also used in English courtyard theatres and Spanish corrales, and for traditional Chinese and Japanese drama. Another basic arrangement of theatre space is the arena stage, or theatre-in-the-round. Arena staging brings more of the audience closer to the stage than is possible with a proscenium or thrust arrangement; thus one of the advantages of the arena stage is a sense of intimacy between audience and performers. The fourth type of theatre arrangement is created or found space: performances that take place not in a permanent theatre but in a park, a church, a garage, or some other place that does not usually serve as a theatre. All four types of theatre spaces are used in the United States today, as are many variations, including the multifocus space and the flexible experimental theatre. I. Proscenium or Picture-Frame Stage: History and Characteristics II. Thrust Stage: History and Characteristics III. Arena Stage: History and Characteristics IV. Created or Found Spaces V. Multifocus Environments VI. All-Purpose and Experimental Spaces Feature: Making Connections: Popular Performance Spaces Terms
aesthetic distance appropriateness arena stage or theatre-in-the-round black box corral created space or found space fly loft fourth-wall convention multifocus theatre multimedia theatre orchestra platform stage (or trestle stage) proscenium proscenium arch rake run or running street theatre thrust stage wagon stage
Topics for Discussion 1. Make a list of other places that have characteristics similar to those of a theatre space (for instance, a football or baseball field, a movie theatre, a church or synagogue). Discuss how the shape of each space is influenced by the event that is to take place there. Could the event take place equally well in another space? For instance, could a football game be played in a proscenium arrangement? Why or why not? Similar Spaces to Theatre List of Spaces: • Football or Baseball Field: Large, open areas with a defined playing field; audience arrangement typically in tiers, facing the action. • Movie Theatre: A proscenium-style space where the screen serves as the focal point, often designed for visual immersion. • Church or Synagogue: Intimate spaces focused on community gathering and rituals; seating is usually arranged to foster connection and engagement. Discussion: Each space's shape is influenced by the event's nature. For instance, a football field’s layout allows for expansive play, while the audience's elevation provides clear sightlines. A football game could not effectively take place in a proscenium theatre due to the need for vast space and movement inherent to the sport. The field's design facilitates dynamic action that a stage cannot accommodate. 2. With several of the theatre spaces described, an audience member watching a play is able to see other audience members behind the actors. Discuss what effects this might have on the theatre experience. Does it affect aesthetic distance? The willing suspension of disbelief? Effects of Audience Visibility When audience members are visible behind actors, it can impact the theatrical experience in several ways: • Aesthetic Distance: The presence of other audience members may diminish the sense of separation between the performance and the audience, affecting immersion. • Willing Suspension of Disbelief: If viewers can see each other, it might remind them of their reality, potentially breaking the spell of the narrative. However, it can also create a communal atmosphere, enhancing the experience of shared engagement. 3. Make a list of contrasting environments other than those that are part of your college or university (home, hotel lobby, public park, courthouse, airport, and so on). Describe the mood and atmosphere of each and the ways they contrast with one another. Then, do the same for various college environments (classroom, laboratory, gymnasium, chapel, library, student lounge). Discuss what type of play might be set in each of the spaces named. Contrasting Environments List of Contrasting Environments: • Home: Warm, intimate; conducive to personal connection and relaxation. • Hotel Lobby: Polished, transient; can evoke feelings of anonymity or excitement. • Public Park: Open, casual; often a setting for leisure and social interaction. • Courthouse: Formal, serious; invokes authority and judgment. • Airport: Chaotic, dynamic; a mix of anticipation and anxiety. College Environments: • Classroom: Structured, focused; ideal for learning and discussion. • Laboratory: Experimental, collaborative; encourages innovation and discovery. • Gymnasium: Energetic, active; supports teamwork and competition. • Chapel: Reflective, peaceful; invites contemplation and community. • Library: Quiet, studious; promotes concentration and research. • Student Lounge: Casual, social; facilitates interaction and relaxation. Play Settings: • A play set in a home might explore familial relationships, while one in a courtroom could focus on justice and moral dilemmas. A laboratory could host a sci-fi narrative, whereas a gymnasium might be suitable for a story about sports or personal struggle. 4. Discuss how the size of a theatre might affect the audience’s experience. How might it affect the actors? Would certain types of plays be more appropriate for a small space or for a large space? Impact of Theatre Size Theatre size significantly affects the audience's experience: • Intimacy: Smaller theatres create a more personal connection, allowing for nuanced performances and emotional engagement. • Scale: Larger theatres can accommodate grand productions but may dilute intimate moments. • Play Appropriateness: Smaller spaces may suit character-driven dramas, while large theatres can enhance spectacles, musicals, or epic narratives that benefit from scale and visual impact. 5. Using the plays read or studied during the term so far, discuss what type of theatre the students feel would most benefit a production of each play. Theatre Types for Plays Discussing specific plays studied during the term, students might suggest: • Intimate dramas like Death of a Salesman would benefit from a small, close-knit theatre to foster emotional resonance. • Epic narratives like Les Misérables might be best suited for a large musical theatre, allowing for sweeping visuals and ensemble numbers. • Experimental works could thrive in flexible, non-traditional spaces, encouraging innovation and audience interaction. 6. Discuss how decisions must be made based on both a business and an artistic perspective in scheduling certain types of plays in certain types of performance spaces in a season if a theatre company or university has different types of spaces available for them to perform in. Balancing Business and Artistic Decisions In scheduling plays, theatre companies must consider both artistic merit and business viability: • Audience Preferences: Popular shows may attract larger audiences but could overshadow less commercial, artistically significant works. • Space Availability: Certain plays may only fit specific venues, affecting scheduling decisions. • Budget Constraints: High-production costs for larger plays might necessitate more affordable, smaller productions to balance the season's financial health. 7. Discuss what sort of play might be best staged in a multifocus environment. What would such a space be good for? Multifocus Environment Plays A multifocus environment—where multiple performances occur simultaneously—works well for: • Interactive or immersive theatre: Audiences can choose which storyline to follow, enhancing engagement. • Festivals: Showcasing short plays or scenes in various locations fosters a vibrant, dynamic atmosphere. • Community-based works: This space allows for diverse narratives and performances, reflecting various voices and experiences. These discussions aim to deepen students' understanding of the relationship between space, performance, and audience experience in theatre. Exercises and Demonstrations 1. Divide the students into groups. Have each group choose one of the theatre types and an era in which it was prevalent, and find a site somewhere on campus or in the immediate vicinity where a performance from that era could be recreated. The group should do whatever preliminary research is necessary. You might want to spend a class period visiting the sites and having each group explain its choice and how it would use the space. Group Research on Theatre Types Activity: Divide students into groups and have them select a specific theatre type (e.g., Greek amphitheatre, Elizabethan playhouse, modern proscenium theatre) and an era (e.g., ancient Greece, the Renaissance). Each group should research the characteristics of their chosen theatre type, focusing on its architectural elements, performance conventions, and social context. Site Visit: Groups should identify a location on campus or nearby that could serve as a suitable performance space for their selected era. After conducting preliminary research, they can present their choice to the class, explaining how they would adapt the space for a performance, including staging, audience arrangement, and any necessary modifications to create an authentic experience. 2. Create a series of different spatial arrangements in a classroom by rearranging the chairs and desks: arena, thrust, etc. Discuss the effects of each arrangement. If possible, conduct a class session in a different space. Discuss the effect of the new environment. Experimenting with Spatial Arrangements Activity: Rearrange chairs and desks in the classroom to create different spatial configurations (e.g., arena, thrust, proscenium). Each arrangement should promote varied audience experiences and engagement with the performance. Discussion: After experimenting with these arrangements, discuss how each setup influences actor-audience interaction, visibility, and acoustics. If possible, conduct a class session in an alternative space (like a gymnasium or outdoor area) and analyze how the environment impacts communication, focus, and overall dynamics. 3. Perform a scene from one of the plays read during the semester, or an improvised scene, in a found space. Discuss the demands, advantages, and disadvantages of the space. If the students had to perform regularly in such a space, would they tend to chooseor rejectcertain types of material? Performance in a Found Space Activity: Choose a found space (like a courtyard, hallway, or cafe) and perform a scene from a play studied in class or create an improvised scene. This exercise should help students adapt to the space’s unique features. Discussion: After the performance, discuss the demands of the space, such as acoustics, audience proximity, and obstacles. Consider whether students would prefer or avoid certain types of material if they had to perform regularly in that environment. For example, intimate scenes may feel awkward in a large, open area, while dynamic, energetic scenes could thrive in such a space. 4. Find a large, open space and have the students measure out a Greek theatre from the classical era. Discuss how the dimensions and arrangement would affect the acting styles. Measuring a Greek Theatre Activity: Find a large, open area and have students measure out dimensions based on a classical Greek theatre (such as the Theatre of Epidaurus). Discuss key features, including the circular orchestra, tiered seating, and the stage structure. Discussion: Examine how these dimensions affect acting styles, particularly the use of voice, gesture, and movement. Students can reflect on how the architecture encourages specific performance techniques, such as projecting voices to reach larger audiences and using exaggerated physicality for visibility. 5. The director and theorist Augusto Boal describes several different ways to create theatre, including Invisible Theatre. Research this technique, and do an experiment using it. How does Boal’s concept of space, combined with a different actor-audience relationship, affect the performance? Exploring Invisible Theatre Activity: Research Augusto Boal’s Invisible Theatre, where performances occur in public spaces without the audience’s prior knowledge, challenging norms and prompting social dialogue. After studying the concept, conduct a small experiment, perhaps with a scene that addresses a social issue relevant to the students. Discussion: Reflect on how Boal’s approach alters the actor-audience relationship. Consider the effectiveness of engaging audiences unexpectedly and how this format affects the performance’s impact, reception, and the messages conveyed. Discuss the ethical implications of this technique and how it fosters community engagement and dialogue around societal issues. These activities aim to deepen students’ understanding of the relationship between space, performance style, and audience engagement in theatre, encouraging creativity and critical thinking. Chapter 8 Scenery OVERVIEW AND OUTLINE We encounter forms of scene design in everyday life: in the carefully planned decor of a restaurant or hotel lobby, for instance. However, scene design for the stage differs from interior decorating in that it creates an environment and an atmosphere that are not filled until occupied by performers. In addition to creating an environment, the scene designer has the following objectives: to
set the tone and style of the production, distinguish realism from nonrealism, establish time and place, develop a design concept, provide a central design metaphor or visual image, coordinate scenery with other design elements, and deal with practical considerations. Some of the latter considerations include dealing with the limitations of the stage space and offstage area as well as actor movement and staging possibilities. All of these objectives are addressed in meetings between the designer and the director, in conjunction with the other designers. Through a series of drawings (sketches and renderings) and, finally, a three-dimensional model or perhaps computer-assisted design visual, the set designer gradually arrives at the final design for the production. Once that design stage is complete the designer completes detailed floor plans and front elevations of all scenic units.
The technical director converts those drawings into a complete set of working drawings, and construction begins. The technical director then coordinates all areas of construction, painting, properties, and special effects (as well as lighting and sound) to make certain that all units are completed in time for installation in the theatre prior to the technical rehearsal process. Additionally, during the construction process the stage manager has been keeping track of any slight changes in daily rehearsals that may affect any of the production areas. All designers and members of the production team receive daily rehearsal reports from the stage manager that cover every single area of production. I. THE AUDIENCE’S VIEW II. THE SCENE DESIGNER III. A BRIEF HISTORY OF STAGE DESIGN IV. SCENIC DESIGN TODAY a. The Scene Designer’s Objectives i. Establishing Tone and Style ii. Establishing Locale and Period iii. Developing a Design Concept iv. Providing a Central Image or Metaphor v. Coordinating Scenery with the Whole vi. Solving Practical Design Problems b. Elements of Scene Design i. Five Elements of Scene Design ii. Physical Layout: The Playing Area iii. Materials and Devices of Scene Design iv. Special Effects c. The Process of Scene Design: Steps in the Design Process V. The Scene Designer’s Collaborators and the Production Process a. Designing a Total Environment VI. GLOBAL CROSSCURRENTS: The Magic of the Designer Josef Svoboda VII. SUMMARY IDENTIFY OR DEFINE 1. Design concept 2. Central image or visual metaphor 3. Locale and period 4. Ground plan 5. Turntable 6. Treadmill 7. Wagon 8. Fly loft 9. lauan 10. Hollywood flat (hard cover) 11. Stage convention 12. Scrim 13. Screen projection 14. Property or prop 15. Set dressing 16. Special effects 17. Fog 18. Line 19. Mass and composition 20. Texture 21. Color 22. Designer/front elevations 23. Rear elevations (working drawings) 24. Technical director 25. Scenic/paint charge artists 26. Thumbnail 27. Rendering 28. models 29. Paint elevations 30. Robert Edmond Jones 31. Eugene Lee QUESTIONS FOR STUDENT ESSAYS OR DISCUSSION 1. Write a detailed description of a “stage setting” encountered in everyday life (restaurant, department store, office, or the like) and explain the atmosphere created, and what elements combine to create that atmosphere. Everyday Stage Setting Description Setting: A Café Atmosphere: The café has a warm, inviting atmosphere, characterized by soft lighting and a mix of wooden and metal furniture. The faint sound of espresso machines and light chatter fills the air, creating a cozy ambiance. Elements Creating the Atmosphere: • Lighting: Soft, warm lights hang from the ceiling, creating a gentle glow that makes the space feel intimate and relaxed. • Furniture: A mix of comfortable seating options—cushioned chairs, small round tables, and communal benches—encourages social interaction and a laid-back vibe. • Decor: Artwork by local artists adorns the walls, giving a sense of community and creativity. Potted plants add a touch of nature, softening the industrial elements. • Sound: Background music plays softly, blending with the sounds of clinking cups and conversation, enhancing the café's vibrant yet relaxed energy. • Layout: The arrangement allows for both quiet corners for solitary patrons and larger tables for groups, fostering a sense of inclusivity. 2. Make a list of colors and associate a mood with each color. Are these associations universal, or are they tied to specific cultures and traditions? Can certain associations be created by their use in a specific show? Color Associations List of Colors and Associated Moods: • Red: Passion, energy (can evoke excitement or aggression). • Blue: Calm, trust (often associated with tranquility or sadness). • Yellow: Happiness, optimism (can be overwhelming in large doses). • Green: Nature, growth (can suggest freshness or envy). • Black: Elegance, mystery (can also imply mourning or negativity). • White: Purity, simplicity (can feel stark or sterile). Discussion: While some color associations (like red for passion) are somewhat universal, others can vary significantly across cultures (e.g., white symbolizes purity in some cultures but mourning in others). In theatrical design, specific color associations can be crafted to fit the show’s themes, influencing audience perception and emotional response. 3. Often a designer can use only a small amount of scenery to suggest a particular place. What single piece of furniture or prop would you use to suggest the following places: classroom; laboratory; doctor’s office; church or synagogue; courtroom; bus depot; subway station; grocery store? Minimal Scenery Suggestions Single Piece of Furniture/Prop for Various Places: • Classroom: A desk with a stack of books. • Laboratory: A microscope. • Doctor’s Office: An examination table. • Church/Synagogue: A pulpit or altar. • Courtroom: A judge’s gavel. • Bus Depot: A bench or bus stop sign. • Subway Station: A ticket booth. • Grocery Store: A shopping cart. These items effectively evoke their respective environments, relying on audience familiarity to fill in the details. 4. Discuss the psychological aspects of line, mass, composition, and texture. For instance, what impression does a shiny, sharp-edged white surface give? Psychological Aspects of Design Elements Discussion: • Line: Straight lines can convey order and stability, while curved lines may suggest fluidity and comfort. For example, sharp, angular lines in a setting may create tension or unease. • Mass: The weightiness of objects influences perception; large, heavy furniture can feel oppressive, while light, airy designs foster openness. • Composition: The arrangement of elements affects visual balance and harmony. A well-composed space guides the viewer’s eye and can evoke specific emotions. • Texture: Smooth, shiny surfaces (like a sleek white countertop) often feel modern and clinical, creating a sense of sterility. In contrast, rough textures (like weathered wood) suggest warmth and authenticity. 5. What are the advantages and disadvantages of designing a “total environment” for a play? How might a total environment affect an audience? How might it affect aesthetic distance? Total Environment Design Advantages: • Immersion: A total environment can fully engage the audience, making them feel part of the world of the play. • Cohesion: It creates a strong sense of place, enhancing the storytelling. Disadvantages: • Cost: Designing a total environment can be expensive, potentially limiting creative choices or the scope of productions. • Aesthetic Distance: It can reduce the distance between the audience and the performance, making it harder for viewers to critically engage with the material if they feel overwhelmed by the environment. 6. Discuss the increasing importance of spectacle in many Broadway musicals, such as The Lion King, Wicked or The Phantom of the Opera. How does this affect theatre as a whole? For instance, discuss the expense of elaborate scenery and its effect on the types of plays done. Or discuss the new opportunities afforded playwrights by such technological wizardry. Importance of Spectacle in Musicals Discussion: Broadway musicals like The Lion King and Wicked emphasize spectacle through elaborate sets, costumes, and technological innovations. This trend has several implications: • Financial Impact: High production costs necessitate larger audiences to cover expenses, which can steer producers towards safer, commercially viable options rather than experimental works. • Creative Opportunities: Technological advancements allow playwrights and directors to explore new storytelling methods, enhancing the visual experience and expanding the potential for innovative narratives. • Changing Expectations: Audiences may come to prioritize spectacle over narrative depth, which could shift the landscape of theatre toward more visually driven productions. These discussions explore the interplay of space, design, color, and spectacle in theatrical contexts, enhancing students’ understanding of how these elements influence performance and audience experience. EXERCISES AND DEMONSTRATIONS 1. Supply the students with a floor plan (realistic interior floor plans work best for this exercise) of a play set in a theatre they will visit during the semester. Select an object near the middle of the floor plan and have them label the stage placement of various other objects in the floor plan in relation to that central object. Example: The central object is the long library table, center stage, for Tom Stoppard’s Arcadia. The “book case” is upstage right of the library table. The instructor can make this small assignment as simple or complex as desired. Answers should be consistent with each floor plan used. Floor Plan Exercise Provide students with a realistic floor plan from a play they’ll see during the semester, such as Arcadia. Start with a central object like a long library table at center stage. Ask students to label the placement of various objects like the bookcase (upstage right), chairs (downstage left), or fireplace (upstage left). The task encourages spatial reasoning and consistency with stage directions. 2. Show slides of a variety of stage settings from recent Broadway seasons, explaining the practical and aesthetic problems of each. Slides of Stage Settings Show slides of various stage settings from recent Broadway shows. Discuss practical challenges, such as accommodating moving sets (Harry Potter and the Cursed Child) or integrating special effects (The Lion King), as well as aesthetic decisions like lighting design and color palettes. This gives students insight into balancing creative vision and functional design. 3. Have students make a ground plan of a room in their home. Then, they should describe the things found there. What is the atmosphere of the room? If the room were a stage set, what information might the audience derive from the setting? What sort of play might take place there? Home Ground Plan Students create a ground plan of a room in their home (e.g., their bedroom or living room) and describe the objects, atmosphere, and mood. Discuss what the setting communicates about the inhabitants (e.g., cluttered space might indicate chaos, a minimalist space might suggest calmness). Then, ask them to consider what kind of play could be set there (e.g., an intimate drama in a cozy living room). 4. Using the same ground plan as in exercise 3, alter the arrangement of the furniture so that it would work on a proscenium stage that is considerably larger than the room itself. What adjustments need to be made? Can the same atmosphere be maintained? Adapting Ground Plan for Proscenium Stage Using the same ground plan from exercise 3, students rearrange the room for a proscenium stage that’s larger than the room itself. They should consider spacing out furniture to accommodate sightlines and ensure audience visibility. Discuss whether the same atmosphere (intimacy, warmth, etc.) can be preserved, and how the larger space changes the room's dynamics. 5. Put a group of students in front of the class. Call out stage directions and have them move accordingly. Next, reverse the procedure: the students in front move to various places, and the class must identify in which stage directions they moved. Stage Directions Exercise Place a group of students in front of the class. Call out stage directions like “move downstage left” or “move upstage center,” and have students move accordingly. Then reverse the exercise: students move to various positions, and the class identifies where they are in terms of stage directions. This helps students internalize theatrical geography and terminology. 6. Take the students on a tour backstage at a college or local theatre. Explain what the stage areas are, how the scenery is constructed and shifted, etc. Backstage Tour Take students backstage at a college or local theatre. Show them different stage areas, such as the wings, fly system, and trap doors. Explain how scenery is constructed, stored, and shifted during a performance. Introduce them to various backstage roles like stagehands, carpenters, and lighting technicians, providing an understanding of the collaborative nature of theatre production. 7. Show different ground plans, elevations, and sketches for plays read during the semester. Ground Plans, Elevations, and Sketches Show students a series of ground plans, elevations, and sketches from plays they’ve read during the semester. Explain the visual translation from script to stage and how designers use these tools to communicate ideas to the production team. For example, compare different interpretations of the same play to highlight varied artistic approaches. 8. Create a central design metaphor, in words or by means of a collage or drawing, for a play read this semester or for a film that you have seen recently. Central Design Metaphor Ask students to create a design metaphor (through words, collages, or drawings) for a play read during the semester. For example, for A Streetcar Named Desire, students might use a decaying rose to symbolize the fragility and decay of Blanche’s world. This exercise encourages students to connect visual symbols with thematic elements. 9. For designers the “tyranny of the first idea” inhibits the evolution of design ideas. This design exercise is an excellent way to move beyond that first tyrannical impulse. Have your students quickly rough sketch (thumbnail) as many December holiday cards as they can in ten minutes. Do they stick with traditional ideas of the holiday season? Do they progress after they exhaust their initial ideas or falter? Try the exercise again using marriage as inspiration for the cards. Design Beyond the First Idea To break away from the “tyranny of the first idea,” have students quickly sketch as many holiday card designs as possible in 10 minutes. After exhausting traditional ideas (e.g., Christmas trees, snowmen), they’ll have to push beyond clichés. Repeat the exercise using “marriage” as the theme to encourage fresh concepts. This develops creative thinking and idea generation. 10. Attend a technical rehearsal at your university or community theatre. Ask if you can walk around the setting prior to or after the rehearsal. What elements make up the set? Is any machinery being employed for set changes? Observe how the scene designer is working and with whom he is collaborating. Attend a Technical Rehearsal Attend a technical rehearsal at a local theatre. Walk around the set before or after the rehearsal to examine elements like props, backdrops, and any machinery used for set changes (e.g., automated lifts or rotating stages). Observe how the scene designer collaborates with directors and technical staff to ensure the set functions smoothly and supports the narrative vision. These activities will engage students with both theoretical and practical aspects of stage design, encouraging creative problem-solving and deeper insights into theatrical production. SUGGESTED PLAYS Shakespeare’s As You Like It Federico García Lorca’s Blood Wedding Elmer Rice’s The Adding Machine Peter Shaffer’s Equus
Titanic (musical) August Strindberg’s A Dream Play Company (musical) Phantom of the Opera (musical) Ruth and Augustus Goetz’s The Heiress These plays call for imaginative scenery. Discuss in detail the visual elements of the play you read. ADDITIONAL READING Robert Edmond Jones’s The Dramatic Imagination Solution Manual for Theatre: The Lively Art Edwin Wilson, Alvin Goldfarb 9780073514307