Think Like A
Set Designer
Student Workbook
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Think Foundation Level - First Edition
Contents
Introduction
3
Section 1- Set Design Fundamentals
What makes an effective set design?
4-5
Examples of Set Design
6
Set Design Fundamentals
7
Vocab Test 1
8
Section 2 - The Role of the Set Designer
The Set Design Process
9 - 10
Research Methods
11
10-Step Set Design Process
12
From Page to Stage: Growl
13 - 17
Vocab Test 2
18 - 19
Section 3 - Stage Spaces
Stage Spaces: End on & Proscenium Arch
20 - 21
Areas of an End On Stage Space
22
Sketching an Aerial View of an End On Stage Space
23 - 26
Thrust Stage Space
27 - 28
Traverse Stage Space
29 - 30
Theatre-in-the-Round Stage Space
31 - 33
Areas of the Stage Quiz
34
Vocab Test 3
35 - 36
Section 4 - Mini-Projects
Mini Project 1- Analysing a Script as a Set Designer
37 - 43
Mini-Project 2- Create a Mood Board
44
Mini-Project 3- Sketching and Model-Making.
45 - 47
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Introduction
Welcome to your Student Workbook for Think Like a Set Designer. You can
work through this pack independently or it can be used in your lessons. This pack
will give you a strong foundation in your knowledge of set design. By the end of this
Workbook & Scheme you will:
Know the purpose of an effective set design.
�
Be able to analyse a script as a Set Designer.
�
Understand the role and the process of a Set Designer.
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Be able to undertake research like a professional Set Designer.
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Know and understand the pros and cons of different stage spaces.
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Be able to sketch an aerial view of an End On Stage Space
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Have learnt a range of vocabulary linked to set design.
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Look out for the following throughout the workbook:
• Key Vocab in Focus - This enables you to focus on learning key vocabulary
linked to set design.
• Want a Challenge? - Complete these tasks if you love a challenge.
There are links to video clips throughout the workbook for you to watch, created by
a professional set designer - Richard Cooper. You will need the password from your
teacher to access the videos. Enjoy working through the pack! By the end, you will
definitely be able to Think Like a Set Designer!
Key to icons
Writing task
Research task
Watch task
Creative task
© We Teach Drama 2021. Reproduction permitted for teaching purposes only. No rights granted to third parties to distribute or to create derivative works.
All other rights are reserved. For more information please visit www.weteachdrama.com.
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Challenge
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What makes an effective
set design?
Task 1: Watch Video 1, with set designer
Richard Cooper talking about what makes
an effective set design. Can you fill in the
third feature of an effective set design?
An effective set design communicates the following to an
audience:
1) Setting and period
2) A deeper meaning through signs, symbols, and metaphor
3)
In the video, who does Richard say he collaborates with, when creating his set
design? Complete the sentence:
Set Designers often work closely with other creatives, such as...
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Key Vocab in Focus - What is the difference between the terms
‘mood’ and ‘atmosphere’?
The mood created often connects to character. For example, a high level conveys
the status, power, and authority of a character or a vibrant red bedroom reflects
a character’s vivacious personality.
The atmosphere links more to the given circumstances being conveyed. For
example, dimly-lit ancient grave stones behind a rusty gate communicates the
eerie atmosphere of a graveyard.
Task 2: Answer the following questions.
What does set designer Christine Jones particularly enjoy about working on Harry
Potter and the Cursed Child?
How does Bunny Christie use set design to create setting and mood in Curious
Incident of the Dog in the Night-time?
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Examples of Set Design
Task 1: Think about the live and digital performances you have seen or researched.
Complete the following sentences about these productions.
My favourite set design in a live performance is…
This set design was particularly effective because..
My favourite set design in a digital performance is…
This set design was particularly effective because...
Want a Challenge? Find three images of your favourite set
designs and annotate why you think they are effective. What
do they communicate in terms of location, setting, mood or
atmosphere?
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Set Design Fundamentals
Watch Video 2, with Richard Cooper talking
about the six fundamental aspects of designing
a set. Fill out the table below and make notes
about why each element is important.
Set Design Fundamental
Why it is important
1. Practicality and Shape
2. Colour and Condition
3. Scale
4. Masking
5. Materials
6. Set dressing
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Vocab Test 1
Revise the key terms you have learnt so far by completing the following sentence starters:
1) An effective set design communicates
to an audience. (1 mark)
2) There are several set design fundamentals, including
(6 marks)
3) Masking is
(1 mark)
4) The scale used by set designers, when they are creating white card or 3D models
is usually
(1 mark)
5) Practicality is important to consider for a set designer because
(1 mark)
Total Mark out of 10 =
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The Set Design Process
Task 1: Watch Video 3, with Richard
Cooper talking about his process as a set
designer. In the table below, write notes
about why each stage is important.
Stage of Richard’s
Design Process
What happens during this stage of the design
process and why is it important?
1.Script Analysis and
Initial Sketches
2. 3-D Model Making
3.Create a Full
Drawing Pack
4.Visit the Set
Department
5.Technical and Dress
Rehearsal
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Here are the links to the websites of three professional set designers:
Richard Cooper: http://richardccooper.co.uk
Samuel Beal: https://samaturgy.godaddysites.com
Naomi Dawson: https://www.naomidawson.com
Task 2: Select one image from an online set design portfolio. Why
are you drawn to it and why do you think it is effective?
Want a Challenge? Look at all three websites at the top of this
page. Choose one to focus on and create a Research Handout
(A4) or a Powerpoint Presentation which includes:
� Name of the designer and the URL to their website.
� Information about how they trained as a set designer.
� Which genre of performance do they work in? (e.g. theatre,
dance, site-specific, opera, musicals, etc.)
� One image from their portfolio that you find inspiring and why.
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Research Methods
Task: Watch Video 4, with Richard talking
about Research Methods. What techniques
does he use?
What is a Mood Board?
Once the set designer has analysed the
script, they might create a mood board.
This allows them to research and explore
colour, textures and visual imagery which
might go into their final design. This might
include images of furniture and props.
Want a challenge? Create a mood board for a set text you are
studing. Think about the images, colours, and textures you will use
in your design.
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10-Step Set Design Process
Follow the step-by-step process of a set designer, from the initial read-through to
the final performance. Remember to discuss ideas with your director throughout the
process!
1.
Script Analysis
Read the script three times, discuss ideas with the director and other
designers.
2.
Research
Research contextual information relating the play or piece, including visual
research. Create a mood board or presentation and share it with the director.
3.
Watch a Rehearsal or Run-through
Get a sense of the show in rehearsal and ‘on its feet’. Make notes whilst you
are watching it and continue to discuss ideas with the director.
4.
Produce an Initial Sketch
Create an initial sketch of the set design and discuss your ideas with the director.
5.
Draw an Aerial View Ground Plan
Draw an aerial view ground plan of your design.
6.
Build a Model Box
Build a set model box of your design (usually 1:25 scale)
7.
Source the Materials
Source the materials and furniture you need for your set design.
8.
Build your Set
Build and paint your set design.
9.
Technical Rehearsal
Run through the production ‘cue-to-cue’. This means running through the
cues for set changes, transitions, lighting and sound for the first time.
10. Dress Rehearsal & Performance
The dress rehearsal is the first full run-through with all the design
elements, leading up to the final performance in which all the creative
elements come together.
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From Page to Stage: Growl
Richard Cooper designed the set for the production of Growl, written by Timothy
Knapman and Laurence Mark Wythe. This was originally staged by the National
Youth Music Theatre. Here is a guide to his design process for Growl:
‘I read through the script three times and annotated it with my initial ideas. I then met with
the director to discuss these ideas’.
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‘I then created
my initial
sketch.
I would not
usually share
this with
anyone but use
it as a starting
point for
developing my
ideas further’.
‘I would then create a 3D
model. This allows me to
start to think about scale
and the practicalities of
the design. For example,
how things fit on stage. I
also start to think about
colour and the position of
lights at this stage’.
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‘I then create a white card model, which is 1:25 in scale. This is painted, with all the details
of the intended final design’.
‘Finally, before I start to build the set, I create a ground plan of the design. I usually do this
on the computer, but you can also draw them “freehand”’.
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What is the set designer’s role during Set Build, Fit Up and the Technical
Rehearsal?
“Before the set is built, I would send the scale drawings and paint swatches to the set
builders to ensure that all the elements are being built correctly, as per the original design.
I will also draw scale floor plans for each scene so that the Production Manager knows
exactly where the set and set piece are going to be positioned.”
“I will always go and visit the workshop where the set is being built, to speak to the set
builders at every stage and be available to answer any questions they may have. They
might have questions about scenery locations, measurements or entrances and exits.”
Here is a picture showing the set being built for Growl:
“During the Technical Rehearsal I will always sit close to the Lighting Designer and the
Director so that we can discuss creative ideas. I will make notes throughout the Technical
Rehearsal on what needs to be finished or adjusted before the Dress Rehearsal.”
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“Here are some final images of Growl so you can see how the set came together in the final
performance.”
Vocab in Focus- Scale
The white card model created by set designers is usually 1:25 scale. This means
that real life objects are scaled down twenty-five times. You can also create 1:50
models but these are less detailed. These will include model figures so that the
size of the set can be seen and explored in relation to the actors in the space.
3-D modelling can also be created on a computer, but designers often prefer to
produce a tangible model.
A white card model of the set is a visual aid, which the designer can share with
the director early in the process. They can explore the exits and entrances within
the modelled space and the size of set pieces. The final model will be much more
detailed. This allows the designer to explore material textures and paint finishes.
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Vocab Test 2
Test your knowledge of key vocabulary and terms you have learnt so far. Answer
three questions below and aim for the highest score. The maximum score you can
achieve is 10 if you complete the bonus task too.
A set designer’s role
involves…..(three ideas)
Bonus Task: Name
a professional set
designer (apart from
Richard Cooper)
How many times does
Richard Cooper read
through a script when he
first receives it?
Describe two steps
early in the set design
process.
A set designer’s role
involves __________
(one idea)
Describe three steps in
the later stages of the
set design process.
Richard annotates the
script with ________
(two ideas)
Richard annotates the
script with__________
(one idea)
What does Richard
do in the Technical
Rehearsal?
Richard annotates the
script with _________
(three ideas)
Blue = 1 point
Green = 2 points
Pink = 3 points
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Answer 1:
Answer 2:
Answer 3:
Total Mark out of 10 =
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Stage Spaces: End On
& Proscenium Arch
An End On or Proscenium Arch stage space has the audience on ONE SIDE, facing
in ONE DIRECTION. This stage space is suited to the audience observing but not
participating and lends itself to more naturalistic productions.
The Proscenium is the ‘arch’ that frames the stage and creates a clear divide
between the actors and the audience. When creating a set, designers must always
consider ‘sightlines’. The stage is often raised and the audience sits in raked
seating, which means that large pieces of scenery can be used on stage without
obstructing the audience’s view.
Proscenium Arch
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Task: Watch Video 5, about a proscenium
arch stage space. What are the advantages
and disadvantages of the proscenium arch
or end on stage space for actors and
audience? List the main points here.
Design Considerations:
• Set pieces can be stored in the wings at the side of the stage or flown in from
above the stage from the fly floor
• Portal size can be manipulated by legs and borders (tabs) at the side and above
the stage
• The audience will have similar view which is helpful for hiding scene changes/
equipment
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Areas of an End On
Stage Space
An End On stage space can be divided into nine areas, which all have names and
abbreviations.
Task: Label the areas of the stage with the correct terms.
Audience
Centre Stage (CS)
Centre Stage Right (CSR)
Downstage Centre (DSC)
Upstage Right (USR)
Downstage Right (DSR)
Upstage Left (USL)
Downstage Left (DSL)
Upstage Centre (USC)
Centre Stage left (CSL)
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Sketching an Aerial View
of an End On Stage Space
Task 1: Watch this video of Richard Cooper sketching an aerial
view of an End On stage space. List at least three key areas of the
stage space that you must label.
Key Vocab in Focus - Masking
Richard labels ‘masking flats’ in the sketch. These allow the actors to move more
freely around the stage without being seen. They are ‘masked’ by the ‘flats’,
which are screens placed on stage left and right.
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Task 2: Sketch your own aerial view stage space using the following
steps:
1. Draw the outline of the stage and the dot-dash centre line.
Draw the two blocks for the proscenium.
2. Add masking flats stage left and stage right (three on each side).
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3. Sketch a raised platform or stage area in the middle with steps (also
known as ‘treads’). Add the height of the platform or raised stage.
4.Add audience and seating area and then draw arrows
that show the direction in which they are facing.
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5. Add entrances and exits for actors using arrows
and a wiggly line for the curtain or cyclorama.
6. Label areas of the stage (DS/US/SL/SR).
Want a Challenge?
Can you find the origins of the word ‘proscenium’?
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Thrust Stage Space
You may have already encountered a Thrust stage space when studying Shakespeare.
Early modern playhouses, such as The Globe Theatre, utilised thrust or apron stages.
The playing space ‘thrusts’ out into the audience, creating greater intimacy and more
opportunities for interaction between the actors and the audience. In this stage
configuration, the audience can feel as if they are part of the action. There was minimal
scenery on the stages of the early modern playhouses, due to sightlines. Therefore,
the audience needed to use their imagination much more.
Task 1: Read the following notes about the challenges for a set designer working
with a Thrust Stage space:
Design Considerations
• A thrust can be added to an end on stage to extend the action into the audience
• Sightlines must be considered from three directions on the thrust - no large set
pieces
• Thrust can be used for additional playing space on a smaller stage or to integrate
the audience into the performance in a more conventional setting
Task 2: Complete the following worksheet about the pros and cons of a Thrust
Stage space.
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Class
Name
STAGE
SPACES
Thrust Stage Space
Audience on THREE SIDES
We Teach Drama
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Teacher
Date
Answer the following questions about a THRUST Stage Space
using a range of drama terminology.
What do you think are the
advantages of a Thrust Stage
Space, for both actors and
audience?
What do you think are the
disadvantages of a Thrust Stage Space,
for both actors and audience?
What is an alternative term for a
thrust stage space ?
Can you find examples of three
productions which have been staged
on a thrust space?
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Traverse Stage Space
Commonly known as an alley or corridor stage,
a Traverse stage space is when the audience
is on two sides, facing each other. This is like a
catwalk runway at a fashion show.
Video Task: The production of
The Railway Children at Kings
Cross & Waterloo Station was
performed in a Traverse stage
space, with the railway track
running along the traverse.
Watch this clip about how they built the sophisticated set for the show:
Research Task: To get a sense of a traverse stage space on a
smaller scale, look at the set design for Anna Reid’s Opera Scenes.
This will give you a sense of how immediate and intimate Traverse
stage spaces can be (annareiddesign.com). What sort of
atmosphere do you think the designer is trying to create with this
set design?
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Task: Complete the following sentences:
1. One challenge of designing for a traverse stage space is...
2. The audience experience in a traverse stage space is unique because...
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Theatre-in-the-Round
Stage Space
Theatre-in-the-Round is certainly
the most challenging stage space
for actors and directors to work on.
For a designer, the set must work
from all angles and it is important
to consider the size and scale
of set pieces due to sightlines.
Blocking is also tricky for directors
on this stage space, especially
with several actors on stage.
Task: What are the main challenges of designing for a Theatre-inthe-Round Stage Space?
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Creative Task: Watch the following video of Richard sketching an
aerial view of a Theatre-in-the-Round stage space:
Have a go at sketching your own and be sure to label all areas of
the stage correctly, including:
• stage space
• audience
• centre line - stage space split into four
• entrances and exits for actors using arrows
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Task 1: Read the following notes on ‘design considerations’ for a theatre-in-theround stage space:
•
Circular or square stage surrounded with audience seating on all sides
•
Immersive style of staging, creating an intimate experience
•
Similar to circus or arena performance
•
Entrances and exits must be through the auditorium
Task 2: What safety measures must be in place if you are designing for Theatre-inthe-Round?
Want a Challenge? There are only a few purpose-built Theatre-inthe-Round stage spaces in the UK. Can you find out their names
and when they were built?
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Figure 1
Areas of the
Stage Quiz
Audience
1) What type of staging is shown in Figure 1?
A. End On
B. Thrust
C. Traverse
2) What is the stage position of the lamp in Figure 1?
A. Centre Stage
B. Upstage right
C. Downstage left
3) Which of the following statements is correct when you are using a
Traverse Stage Space?
A. The audience are seated in a circle around the actors.
B. The audience are seated in two rows, facing each other on either side of
the stage.
C. The audience are seated on three sides of the stage.
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Vocab Test 3
Task 1: Match the following terms to the definition in the table.
Task 2: Contextualise the term in a full sentence. Write these in the third column.
Cyclorama
Thrust
Keyword
End On
Back cloth
Gauze/Scrim
Backing flats
Ground plan
Raked
Auditorium
Sightlines
Keyword in Context
Definition
(e.g. a raked stage slopes down towards the audience)
Angles of visibility for the
audience.
White screen at the back
of the stage. Can be
projected onto. Semicircular (‘cyc’).
Where the audience sits.
Incline of the stage or
audience seating.
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Space
continued...
Keyword
Keyword in Context
Definition
(e.g. a raked stage slopes down towards the audience)
Stage space with
audience on one side.
Cloth flown behind
scenic elements.
Flats behind scenic
elements.
Technical drawing of the
stage space.
Stage space with
audience on three sides.
Scenic cloth used for
vanishing effects.
Total Mark out of 10 =
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Mini-Project 1
Analyse a Script as a Set Designer
Task 1: Read the following script and analyse it as a set designer. Read the extract
THREE TIMES. Remember:
1)
2)
3)
Read-Through 1: To understand the story (or narrative), as well as practical
aspects, such as entrances and exits.
Read-Through 2: To generate creative ideas and brainstorm ideas for all creative elements, including set, sound, lighting and costume. (After Read-Through 2, you need to discuss your ideas with the director.)
Read-Through 3: Having spoken to the director, the third read-through involves keeping the director’s ideas in mind and thinking about how to implement them.
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Task 2: You are now going to analyse and annotate the script
as a set designer would. Here is the colour code to use for your
annotations:
Colour Key Code
RED = Design Notes: Questions you need to answer. For example, ‘character A
enters stage left—where specifically?’
YELLOW = General Notes: Page numbers and key moments. For example, ‘this
scene is set in a dark forest’.
GREEN = Lighting/Sound: Any lighting ideas. For example, ‘lighting through
ripped gauze to create shadows’. Any sound effects ideas. For example, ‘sound of
a howl from offstage—recording?’
BLUE = Mood/Atmosphere: What is the mood and/or atmosphere being
communicated?
Here is a modelled example of how to use the coloured key code to annotate your
script:
How will th is
Setting. Dark?
SettingRUFUS
ESTATES
—
Late
Evening
be created
Affluent estate? — 1913
using
Stately home? Two hazy silhouettes look out from
shadows?
a framed window, peering from the
ors
flo
al
ver
Se
3rd floor, frightened and protective.
.
eerie/
and windows
Fire appears but softly in the
sense of
What kind of distance, as far cries can be heard
as inaudible sounds . . . Seeking
foreboding.
windows?
justice.
Recorded sound
nce?
From where? In the dista
Created using lighting?
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Setting- RUFUS ESTATES — Late
Evening — 1913
Two hazy silhouettes look out from a
framed window, peering from the 3rd
floor, frightened and protective.
Fire appears but softly in the
distance, as far cries can be heard
as inaudible sounds . . . Seeking
justice.
Mrs Rufus: (stern tone) I cannot
hide you here any longer — if your
Father was here . . . But I cannot
send for him! No one is loyal to
us anymore, I cannot protect you
(holds Jacob’s face with intent as
he breaks from her clutches), even
your Father’s valet has shown his
true colours and fled — to think we
housed him for more than 30 years!
You must leave tonight!
Jacob paces the drawing room as the
fires burn brighter from outside.
The sound of the towns people from
outside the estate was transcending
into anarchy.
General Notes
Lighting/sound
Jacob: I have nowhere to go . . .
I will only make it as far as the
clock tower, (trembling) you have
seen what they do to people from
there ——
Mrs Rufus: —— I know son, but you
have no choice, they don’t believe
your innocence! But I do, God does
and if you run fast enough into the
night, God will carry your legs and
clasp your feet. There’s a small
boat waiting for you on the other
side of the moor, the young lad will
take you to Paris and you can start
again!
The Maid enters, looking distressed
and detached from her formalities.
Maid Maddy: I’m sorry to disturb you
Ma’am, the house is getting cooler
as we appear to be low on coal. I
can fetch for more from my Mother’s
keep but no one will sell coal to me
anymore. (Glances out of the window)
The banging on the door is getting
increasingly louder, shall I get
help or will you go to them ——
Mood/atmosphere
Design Notes
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Mrs Rufus: —— Don’t be so naïve
Maddy, I cannot go outside and
neither can you, you heard what they
said — all of us our responsible for
what happened that night (pinching
her hands in comfort). I cannot bare
to look her mother in the eyes and
deny the accusations they continue
to paint upon our family name (digs
finger nails firmly in the arm rest
chair).
Jacob: (Disappointed tone) Mother,
are you saying you don’t believe me?
I will turn myself in now if that’s
how you feel ——
Mrs Rufus: (Over-lapping dialogue)
Don’t you dare! I brought your very
bones into this world and I do not
want to see you torn limb by limb
from a window pane that is barely
concealing
my
own
protection!
There’s more, many more and they
will continue to surround the house.
Maddy — you must take Jacob through
the underground passage, behind the
wine cellar . . . above the cellar
General Notes
Lighting/sound
is a small hatch. You must push the
hatch, climb up and run to the boat
on the moors by the bluebell orchard
resting place. Fetch the compass from
the drawing room, and take supplies
from the scullery.
Jacob: But mother, I didn’t do it.
You have to believe me, I cannot
leave our family home without you
knowing that the words I speak are
shaken but true! I loved her mother,
I would never ——
Mrs Rufus: - I want to believe you
son, I do. Now go, and send word in
three months when you have reached
your father, but in heavens sake
do not use your own name, they are
checking everything. Go! Go!
Jacob runs frantically down the
stairs into the cellar, closely
guided by Maddy’s lantern.
Jacob: I’m scared Maddy, what happens
if I do not reach the boat in time .
. . I tremble at the thought of it!
Mood/atmosphere
Design Notes
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What will happen to you, to mother?
Maid Maddy: I believe you young
Jacob . . . But they will demand
to see you, if your mother doesn’t
hand you over, the worst that will
come of it is that they will raid
the house, take what is ‘theirs’ for
their troubles and leave that as a
warning! If you’re nowhere to be
seen no one gets hurt. Your mother’s
name is too respected in this town
for any harm to come by her. Take
this lantern — here climb up onto
this stool (passes the lantern to
Jacob) and pull your body weight up.
Be quick but discreet (the sounds of
the banging on the door appear to have
shattered through into the corridor,
herds of tormented footsteps invade
the family home). There is no time,
you must depart!
General Notes
Lighting/sound
Mood/atmosphere
Design Notes
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Task 3: What did you discover from the read through about the set
design and what initial ideas do you have?
Possible sentence starters for your notes:
•
•
•
•
During the first script read-through I discovered/ realised that..
I think that the set design at the start of this extract needs to be…
My initial set design ideas include…
The mood and/ or atmosphere or the scene is….
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Task 4: What questions did the read-through raise? (These would
be questions you would need to discuss with the director or other
designers)
Possible sentence starters for your notes:
•
•
The first read-through did raise some questions, which I will need to discuss with the
director, such as….
One question I would need to raise with the director is…
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Mini-Project 2
Create a Mood Board
Task 1: The scene is set in the year 1913. Find 10 images from this
era which could inspire your design. This could include images of
settings, characters, and imagery from popular culture at the time
such as books and magazines. Key questions to consider:
1. How was the class system different to the present day?
2. Was there a particular colour palette associated with this era?
3. How could you use advertising and literature to inspire your designs?
Task 2: You are now going to create a mood board. This could be a digital mood
board, created on the computer, or one made of paper/ card. Divide your page into
four and create a mood board using the following layout:
Colour palette
Textures
and materials
Imagery/ photos
Set dressing
and furniture
Task 3: Share, discuss and present your mood board to your class. It is also interesting
to see what others have created and how their response differs from yours.
Want a challenge? Can you incorporate some of your own
photographs, art work and sketches into the mood board?
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Mini-Project 3
Sketching and Model-Making
Task 1: You are now going to sketch your design on an End On Stage Space.
Remind yourself of how Richard did this by watching the following video:
Sketching an Aerial View of an End On Stage Space
Task 2: Watch the following two videos, showing Richard Cooper sketching thrust
and traverse stage spaces.
Sketching an Aerial View of a Thrust Stage
Sketch an Aerial View of a Traverse Stage
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Task 3: How could your design be adapted for one of the other stage spaces?
Sketch your design again but on a different stage space.
Want a Challenge? Can you make a
3-D model of your design?
The easiest way to do this is using a
shoebox as your set structure. See p.47
for step-by-step instructions.
Here’s an example. Paint it, create your furniture and
add the scale figures for your actors:
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How to make a Shoebox
Theatre
Shoebox Theatre
You will need:







Step One:
1 shoebox (with separate lid)
Scalpel (or scissors)
 Remove lid
Metal ruler
 Place lid face down on table
Double sided tape (or glue)
 Carefully cut out one of the long sides of
Masking tape
the box
Paints/ pens/ pencils
Extra card, paper and fabric for getting creative!
Step Two:




Place box on top of the lid
Attach box to lid (with masking tape or glue)
Measure the piece you cut from the box into 3
even strips and mark with pencil
Cut the extra piece along pencil lines
Step Three:

Carefully score 2 of the 3 strips a few
inches from the top, and bend into a right
angle (you will need to measure this)
These pieces will form the sides of your
proscenium arch, and give your stage more
depth

Step Four:



Push side strips a few centimetres into slots and tape
underneath
Bend the strip where you scored it, and stick to the
main box (with double sided tape)
Use the final strip as the top of the proscenium
(attach to the sides with double sided tape)
Your basic model box is complete!
Now you can decorate your stage however you like! Try
making flats and scenic elements out of spare card- cut slots
in the top of the box to ‘fly’ the pieces in and out. You could
make a backdrop or cyclorama for the back wall with tracing
paper, and curtains with felt or fabric. You could also try using
battery powered LED lights to give your stage atmosphere
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Cut slots either side of the lid, wide
enough to fit your side strips