Stage Art: A Comprehensive Guide to Stage Practice

Author: (English) Trevor R. Griffiths/et al.
Translator: Sun Daqing/et al.
Publisher:
Publishing Date: 2000-03-01
Features: This book covers all aspects of stage art, including directing, acting, stage design, lighting design, costume design, makeup, stage management, publicity planning, and more—justly earning the title of a comprehensive guide to stage art. Since it is called a guide, readers can imagine that this book does not dwell on artistic depth or theoretical discussions. Its content is more focused on practicality and operability. Discussing the creative process from the perspective of actual operation, this approach may provide valuable references for the developing stage art in China. This book is a comprehensive guide to stage art, offering a thorough introduction to the creative and practical aspects involved. It is divided into eleven chapters, covering topics such as directing, acting, stage design, lighting design, costume design, makeup, stage management, scenic construction, and publicity planning. The content emphasizes practicality and operability, providing a macro overview of the interrelationships between the various elements of stage art while also analyzing specific issues that arise in creative practice. The book discusses creation through practical analysis. It serves as a handbook for stage art professionals and a valuable supplementary reading for students of theater.
Excerpt: The responsibilities of a stage designer
Stage design must establish a connection with the actors performing within it. At the same time, it must also connect with the play's dialogue and performance. This is entirely different from home interior design, where the customer will propose suggestions based on their preferences and needs, and the designer will not know or care what happens to the room after they leave. However, the dialogue and actions that take place in the stage space are extremely important for the stage designer. The most important responsibility of a stage designer is to handle the stage space, making it suitable for living actors and their movements, and helping them create visual action on stage. There are no restrictions on how the stage space can be used, and the most important task for the stage designer is to determine how to use it, which will directly impact the work of the actors and the director. This is far more important than deciding what color the scenery should be. Whether the space is large or small, the designer should not be intimidated by it; they should consider the space from horizontal, diagonal, vertical, and planar angles. The designer must be prepared to reject their initial spatial structure ideas until they find the correct spatial treatment for the play. The stage can be treated as a small space through concealment; alternatively, the entire rear stage area can be used, exposing rigging and lighting. Side wings, orchestra pits, even lobbies and lounges can be included in the spatial design, and seating can often be removed or moved. In recent years, directors and designers have created scenery that forces actors to engage with it, such as setting up spaces that actors must pass through, enter, and move around, thereby compelling them to better coordinate with the scenery. The designer has the responsibility to provide actors with space to perform and to give their actions meaning. For example, if the designer designs a room with no walls, the actors must also perform as if they are in a room. Every production will present new challenges for the designer. These challenges are not only related to the play itself but also to the company they are working with, such as the theater situation, the director and actors, funding, and the number of assistants available. However, none of this should intimidate the designer, as with the passion, spiritual strength, vitality, and confidence brought by a good script, the designer can certainly do well. If a production has very limited funding, with no scenic workshop and a lack of personnel, the designer will have to take on many responsibilities. In such cases, the designer must be prepared to do everything related to the production and carefully consider the production difficulty and workload when designing. However, if the designer cannot handle the situation or finds the producer foolish, they should not take on the design work. Designing for a stage production is both demanding and complex. To master the many aspects of production, the designer must handle a very large workload. If someone believes that the designer only needs to hand over basic sketches and construction drawings to the production team and make some minor adjustments to the scenery before the premiere, they are greatly mistaken. The design process is different from most creative artists, as the stage designer does not work alone but as part of the production team. In theater, the better the collective cooperation, the greater the rewards for each individual, and the better the stage effect—the this is astonishing. The way the designer collaborates with other members of the company and how the work is carried out varies greatly from person to person. Each company is different, and designers do not work in the same way. However, there are some common points to follow when planning and preparing for a play.
Interpreting the script
The first step for a scenic designer is to read the script. The initial reading is important and cannot be repeated. At this stage, the designer should approach the script with an open mind, without considering the material or technical issues that may arise. After thinking about it, the designer can discuss the script with the director to exchange ideas on the concept. When reading the script again, the designer must take notes on details that seem important to capture the actors' feelings and context. Most playwrights rely on the designer as an artist to create, so they do not rigidly specify certain settings, such as windows on the right side of the stage or doors in the middle and back. The designer must find what is necessary for the play and weigh each element—for example, does a room need to have everything a normal room should have? Does it need walls? Should the audience be able to see what's behind the room? The designer must familiarize themselves with the performance space. Walk around the stage and sit in the audience seats to fully understand the space. During the third reading of the script, the designer can refer to the stage plan of the theater and precisely determine the performance area they envision. Before finalizing the concept, the designer must discuss with the director again. The designer must immerse themselves in the visual materials and research related to the play, read background information, and find images or paintings from the play's era to gather relevant information. Sketches and models come in two main forms, used to present the designer's intentions to others, and many designers use both methods. When sketching, perspective drawing should be used to show the scenery's different colors in each scene, accompanied by a stage plan sketch. Models, on the other hand, are made from lightweight wood or cardboard and are often the best way to showcase a design concept. If the production team is accustomed to seeing three-dimensional models rather than flat sketches, they can better understand the designer's ideas. Designers are often surprised by the differences between the final scenery shape and the model. Therefore, they must learn to create good models. Models are best made at half-inch to 1-foot or 1-centimeter to 25-centimeter scales. Clay models or other materials that can help accurately represent the concept can be used. The designer should not expect others to explain the concept when viewing the model but should ensure that the model clearly conveys the idea. A model of an actor can be made to scale and placed inside the model to arrange movements, which may help others better understand the stage space presented. The most important person to see the model is the director. Although the discussion of sketches and models is entirely based on the artist's individuality, many ideas must be refined in this way. Some directors place great importance on technical issues, while others do not. Some have clear ideas about the shape of the scenery, while others do not. However, all directors consider the feasibility of the actors' stage movements. Therefore, the designer must anticipate these factors, ensuring their plan is practical and suitable for the play. Next, the designer and director must discuss and strive to reach a consensus on the interpretation of the script. This may be difficult, but it is essential. If both parties collaborate well in the concept, it will create a positive state where the concept is intertwined with each other. After discussing with the director, the designer must make corresponding adjustments to the model, refining and improving it. At this stage, the designer must consider various factors that may affect the realization of the concept, such as funding limitations, production constraints, and, most importantly, the capabilities of the production team. If several designers can be brought in to help, that would be ideal. The designer must be clear about what they need to produce and have a mental image of the actual scenery while creating the model. The scenic designer should involve the lighting designer in detailed discussions as early as possible in the design process, as the latter's technical expertise is also crucial. Materials used in the design, such as gauze, shiny metal, or velvet, are greatly affected by lighting, with significant differences between lit and unlit states. The discussion should cover the types of lighting to be used and their positioning, allowing the scenic designer to make corresponding adjustments to the model. Scenery design and lighting should complement each other. The stage manager is another important person to participate in the model discussions, as they may notice issues that the designer overlooks. Stage masking must be addressed, blocking areas the audience should not see. In traditional theaters, the entire backstage area is masked using light-absorbing black fabric, a method that remains very practical. Masking is not fixed and, in recent years, many successful productions have abandoned it, exposing everything—stage lighting, rigging, grid ceilings, ropes, and wires. However, if masking is used, it must be neat and sufficient. If the masking curtains have visible seams or are patched together, it will greatly affect the audience's experience, which would be disastrous. The scenic designer should not take on costume design as well. Next, the scenic designer must discuss the model with the costume designer. The two should provide specific references on the overall feel and color scheme of the stage design. On the first day of rehearsals, the stage plan is usually marked on the rehearsal floor. During the first meeting, which includes the director and all actors, the designer presents the model. The designer explains their concept, and actors can ask questions about distances and props. This is another important discussion that will bring valuable suggestions and ideas.
Construction drawings
The next step is to create detailed construction drawings. The scenic workers will use these drawings to build the scenery. Professional companies typically use scenic workers, while in amateur groups, the designer may have to do the work themselves with the help of stage staff. The drawings must be accurate and drawn using appropriate drafting techniques. They should be clear, precise, and drawn to a universally accepted scale. The drawings should show the proportions, dimensions, and specific details of all design elements. Not only should the front, side, and top views of the scenery be drawn, but also the drawings of props, including pillars, statues, and various furniture. The drawings must be handled with care, with annotations for complex parts, and the designer must keep a copy. Regardless of how detailed and accurate the drawings are, the designer must visit the scenic workshop as often as possible to check the progress and ensure the scenery is being built according to the drawings. From this point on, professional designers must continuously visit the carpenters, painters, and prop workers to oversee the construction and spend time at rehearsals, discussing with the stage manager and director. In amateur groups, the designer may be doing actual scenic work at this stage. However, regardless of the circumstances, the designer must closely monitor all aspects related to the scenic setup. Safety and fire prevention details must be addressed in both professional and amateur groups. At this stage, some productions may need to be reduced due to funding reasons. Always keep an eye on the budget; however, if certain productions cannot be cut, the money must be spent.
Selecting and collecting props
All objects used on stage, from a wine glass to a sofa, are called props and should be selected as soon as possible, as actors will use them during rehearsals. These include items like a crocodile specimen or an electric wheelchair. The designer, stage manager, and even the person responsible for collecting props should create a complete list of all props. This list should then be divided, such as which props need to be made, which should be found by the prop person or stage manager assistant, and which the designer should find themselves. The designer can spend some time visiting second-hand stores or similar places to collect suitable furniture or rent some. If the company has a dedicated budget for this, that is ideal, but if funding is limited, most props will have to be found for free. In such cases, borrowing furniture and props through personal connections with stores or company members can be considered. They are usually very willing to lend to the group, but be careful not to damage them and return them promptly. Usually, a thank you in the program is sufficient. The designer should think of creative ways to find free props. Hospitals often discard bedding, and waste stations have old furniture that can be repainted and used. You can find fences and railings at demolition sites or gather old ropes and splintered wood from riverbanks or beaches. Often, when funding is scarce but the scenery requires rich textures, this approach can also produce excellent results. When selecting specific props, the decision should be based on the space of the scenery and the prop's positioning on stage. The key is to leave enough space for stage action while ensuring the props are fully functional. For example, if five actors are to sit around a table for a meal, the table must be large enough.
Fabrics
Fabrics are widely used on stage, such as for decoration or as curtains. Look around to find suitable and affordable options, and like searching for props, explore channels for free use as well.
Book Contents: Preface, Directing, Stage Management, Acting, Scenic Design, Lighting, Costume Design, Makeup, Scenic Workshop Management, Choosing a Script, Festivals, Performances, and Tours, Professional Vocabulary, Addresses, Acknowledgments