Part 3: Theatrical Production

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Gavin Gordon
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1 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

2 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

3 The Influence of Theatrical Space 4 common physical arrangements of the performer-audience relationship: Proscenium Arch Stage = acting area at one end with all spectators facing it Thrust Stage = acting area surrounded on 2 to 3 sides by audience Arena Stage = acting area surrounded on all 4 sides by audience Flexible Space = relationship between acting and audience areas as variable and flexible

4 The Influence of Theatrical Space STAGE Proscenium Arch Stage Thrust Stage STAGE

5 The Influence of Theatrical Space Flexible Space STAGE STAGE AREA Arena Stage

6 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 STAGE Offstage space at sides = wings

7 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

8 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 STAGE

9 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 bare room with black walls Indoor or outdoor; small or large Intermingled arrangement may use multiple focus STAGE AREA

10 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 2. Property Room 3. Costume Shop 4. Costume Storage 5. Light Shop 6. Lighting Storage 7. Control Booths 8. Rehearsal Rooms 9. Dressing Rooms 10. Greenroom 11. Business Offices

11 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

12 What do YOU think? Imagine seeing the same theatrical performance in each of the 4 common types of theatre spaces. 1. How might your experience of the performance vary in each space? 2. How would your relationship with the performers change based on the type of spatial arrangement? 3. How would your relationship with other audience members change based on the type of spatial arrangement? 4. Which type of space would you prefer? Why?

13 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

14 Collaborative Production Design Elements of design: Line Shape Space Color Texture Ornamentation These elements function as building blocks for designers and for the director

15 Collaborative Production Design Principles of design: Harmony Balance Variety Proportion Rhythm Emphasis These principles help the designers and the director to use the elements effectively

16 Collaborative Production Design Costume Designer Lighting Designer Sound Designer Director Scenic Designer common interpretation or goal coordinated aspects of production cohesive experience for audience

17 Collaborative Production Design Most designers begin with the play, completing a series of readings to accumulate relevant information on: Action Characters Themes Language Meaning

18 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

19 Collaborative Production Design 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.

Chapter 13: Directing and Producing

Chapter 13: Directing and Producing Playwright Producer Functions are distinct yet entwined Director Writing, producing, and directing come together in a variety of ways and meet in production Playwright