BELLAHOUSTON ACADEMY
Drama DEPARTMENT
THEATRE PRODUCTION SKILLS
PROPS
Why do we need this skill in a theatrical production?
69
The term ‘prop’ stands for stage property, an object that is the property of the theatre. A prop
is simply any object used by an actor on stage. Props are as important to a theatrical
production as any other theatre production skill. Imagine a naturalistic play, approaching the
climax and the downtrodden servant reaches for the gun to do away with his abusive master –
what happens if the gun is not where the actor expected? The prop gun is a vital element of
the production and is necessary to the action. If the props master has failed to ‘set’ this prop,
the performance would be in serious trouble. A prop may be essential in order to tell the
story effectively. Imagine Snow White without the poisoned apple.
Props can be mimed, but if the production is naturalistic in style, appropriate props must be
used to make the piece realistic and believable. The piece of drama will also be easier to
follow for the audience, as they can clearly see what object the actor is using and how they
are using it. If an actor mimes the use of a paper and pen badly, some members of the
audience may be unsure as to what the actor is doing and, if the writing of this letter is central
to the plot of the drama, then the audience may have ‘missed’ a crucial development. Props
can be crucial in terms of effectively communicating the plot of your drama to your
audience.
Props may also aid the actors in their performance. It is much easier to use an object that
actually exists than to mime one that doesn’t. The prop can also provide a focus for the
actor’s performance. Think of a character directing all of their anger and bitterness into their
diary – much easier to convey for the actor if the diary actually exists.
There are several different types of props:

PERSONAL PROPS –an item that is used personally by the character. These are
props that are carried on and used by a character such as a handkerchief, mobile
telephone or shopping bags. They may also be part of a character’s costume, such as
an engagement ring, a watch or a pair of spectacles. In this instance, an engagement
ring would be a prop because it is an essential element of the story and not just part of
the visual look of the character. When the props person gives the prop to the actor,
s/he is then responsible for all their personal props. These props may also be placed
on the props table by the props master for the actors to collect when needed.

PRE-SET PROPS - these are props which are placed on the set before the
performance begins or between scenes. These props are used by the characters. These
props are pre-set on the stage by the props person or stage crew and have to be in
place at a set time in a set place, such as the gun in the drawer or the diary on the
desk.

DRESS PROPS – these are props which are also placed on the set to enhance the
visual impact of the set design (this is called dressing the set). These props are only
there for visual purposes and are not used by the actors, for instance crockery on a
sideboard in a country house.

A REHEARSAL PROP – used in rehearsal only, this is a prop that represents the
actual prop. This is usually because the original is too delicate or is being sourced or
made. Although the actor isn’t using the real prop, it is very useful for the actor to get
used to having something in his/her hands.
70
All of these types of prop may serve a different purpose or role – all of which are explained
below.
What can props tell/show an audience?
Period of time in which the production is set
Present day (a mobile telephone)
 Victorian times (a handheld gas lamp)
Location
 Space – a laser gun
 The Wild West – a wanted poster
Climate or weather
 A fan
 An umbrella
Occupation of character
 Doctor – a stethoscope
 Mechanic – a spanner and a dirty rag
The occasion
 A celebration – champagne glasses
 Funeral – single red rose to place on the coffin
Recent events
 A character entering carrying a blood stained knife because they have just committed
a murder
Character’s status
 Police officer – police badge - high status
 Homeless person – begging cup - low status
Character personality
 A character who constantly checks their reflection in the mirror, which they keep with
them at all times, will come across as someone who is vain and self-absorbed
All of the information above may be crucial to the communicating of your story, the
development of your plot or the delivery of your message.
The role of the props master
71
The role of the props master is to research, source (find), design and create props
appropriate to a particular production. By appropriate, we mean props that are ‘correct’ in
terms of the period and location in which the production is to be set, the style of production,
the mood and atmosphere of the production and the director’s interpretation of the
characters. The props must be practical and usable and should fit with the director’s
blocking of the play.
It is also the job of the props master to lay the props table and pre-set props and to make
sure that actors know where the props will be placed and how to use them.
Who does this theatre production team member work with?
The props master will liaise with the following people:
 the director – to ensure that props support the director’s interpretation of the play in
terms of period and style
 the set designer - to ensure that props match the set designer’s interpretation of the
play in terms of period and style
 the costume designer- to ensure that props match the costume designer’s
interpretation of the play and the characters, especially personal props
 the stage manager as this is the team member with the best overview of all of the
technical aspects of the production
 the actors – to ensure that the actors are aware of where and when props will be
placed or set and, if necessary, how more complex props operate
What equipment does a props master use?





Reference materials such as source books, internet, art and design
books/magazines/periodicals
Drawing materials
Props table
Tools such as hammer; saw; screwdriver; pliers; craft knife; scissors;
electric drill; glue gun; sewing kit
Materials such as timber; hardboard; cane; nails; screws; tacks; staples;
canvas; felt; fabrics; wire netting; fuse wire; chicken wire; coat hangers;
adhesive tape; double sided tape; masking tape; glue; Velcro; paint; varnish;
spray paint; metallic powders; gold and silver leaf; modelling materials such
as clay, Plasticine, plaster of Paris.
72
How can a props master be creative?






Interpretation of period styles
o Is the prop in keeping with the period?
o Does it clash with the period?
o Why?
Does the prop reflect and support character’s personality?
Does the prop help to reflect and support the themes and issues of the play?
Do the props help to reflect and support style of production?
How can the props help to reflect and support mood/atmosphere?
Use of colour, texture, materials
1. Write down, in your own words, what you feel the main roles and
73
responsibilities of a props master to be.
Write them down as bullet-points, for example –

Read the play and analyse it, making notes about characters and period
2. Why are props essential to a theatrical production? (Why do we need this
skill?)
For example –

Props helps to define the period in which the action is taking place
3. Write down the members of the theatre production team that the props
master has to work/liase with and why this liaison is necessary.
For example –

It is important that the props master liases with the director to make sure that the
costume designer’s plans support the director’s interpretation of the play and the style
of the production.
74
Props table
75