Part 3: Theatrical Production
• This section treats the varied processes involved in the
creation of a theatrical production
• Topics include:
– Theatrical Space and Production Design
– Playwriting and Dramaturgy
– Directing and Producing
– Acting
– Scenic Design
– Costume Design and Makeup
– Lighting and Sound Design
Chapter 11: Theatrical Space and Production Design
The Influence of Theatrical Space
• Factors that influence audience response and
the use of production elements:
– Degree of formality
– Size
– Arrangement or configuration
The Influence of Theatrical Space
STAGE
Proscenium
AUDIENCE
Thrust
STAGE
AUDIENCE
The Influence of Theatrical Space
AUDIENCE
STAGE
Arena
AUDIENCE
AUDIENCE
Flexible
STAGE AREA
AUDIENCE
The Proscenium Arch Stage
•
Raised platform framed by arch
•
Marks division between stage and auditorium clearly
•
Sometimes includes an apron = extension of acting
platform slightly beyond proscenium arch into
auditorium
•
Seats on one level or raked upwards toward back of
auditorium; may include one or more balconies
•
Stage designed to be seen from front only
•
Overhead system for movement of
scenery = fly system
•
Offstage space at sides = wings
STAGE
AUDIENCE
The Thrust Stage
•
Raised platform surrounded on 2 or 3 sides by seating
•
Brings spectators closer to the action
•
Discourages realistic spectacle due to sightlines
•
Most do not have fly systems,
although lighting instruments
may be hung overhead
•
Scenic units shifted by hand
STAGE
AUDIENCE
The Arena Stage
•
No platform: open space at floor level
•
Seating usually a stepped arrangement on 4 sides of
acting area
•
Fully 3-dimensional playing area
•
Very restricted scenery due to sightlines
•
Generally no fly system
•
•
Scene changes made in full
view or in semi-darkness,
usually by hand
Passageways running under
seating and opening onto the
acting area = vomitoria
AUDIENCE
STAGE
AUDIENCE
Flexible Space
•
No defined rules about the audience/actor relationship
•
Arrangement changes from production to production
or even during the same performance
•
In modern times, the flexible space has been used
since the 1960s
•
When indoors: often referred to as a black box since
it is basically a a bare room with black walls
•
Indoor or outdoor; small or
large
•
Intermingled arrangement
may use multiple focus
AUDIENCE
STAGE AREA
AUDIENCE
Auxiliary Spaces
•
Some spaces function as audience facilities
•
Other spaces function as work areas for theatrical
personnel
•
Auxiliary spaces for theatrical personnel may include:
1.
Scene Shop
7.
Control Booths
2.
Property Room
8.
Rehearsal Rooms
3.
Costume Shop
9.
Dressing Rooms
4.
Costume Storage
10. Greenroom
5.
Light Shop
11. Business Offices
6.
Lighting Storage
Using the Theatrical Space
•
In most instances, the audience space cannot be
manipulated; directors view it as fixed and
unchangeable
•
Some directors use Flexible Space as an integral part
of production design
•
Examples:
•
Jerzy Grotowski
•
Peter Stein
Collaborative Production Design
•
The audience typically perceives a production design
through hearing and seeing
•
Aural components include:
•
•
Sound Design
•
Actor’s Voices
Visual components include:
•
Scenery
•
Costumes
•
Lighting
•
Actor placement and movement
Collaborative Production Design
• Visual elements of design:
•
•
Line
•
Shape
•
Space
•
Color
•
Texture
•
Ornamentation
These elements function as building blocks for
designers and for the director
Collaborative Production Design
• Basic principles of design:
•
•
Harmony
•
Balance
•
Variety
•
Proportion
•
Rhythm
•
Emphasis
These elements help the designers and the director to
use the visual elements effectively
Collaborative Production Design
Costume Designer
Scenic Designer
Lighting Designer
Sound Designer
Director
common interpretation or goal
coordinated aspects of production
cohesive experience for audience
Collaborative Production Design
• Most designers begin with the script,
completing a series of readings to
accumulate relevant information on:
• Action
• Characters
• Themes
• Language
• Meaning
Collaborative Production Design
•
•
Designers also use other sources to assemble information on
topics such as:
•
The specific look of the period of the play’s action
•
The manners and customs of a time period or culture
•
The theatrical conventions of the time period during which
the play was written/performed
•
The quality of light and sound in various locations
indicated in the play
•
The political and social contexts out of which the play
came
The designers and the director meet to discuss the play and its
interpretational focus
Collaborative Production Design
Costumes
Lighting
Sound
Scenery
each element can project messages and evoke responses
Lighting
Costumes
Sound
Scenery
Theatrical production is an inherently collaborative
process. The final product is a group creation.