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The Craft and Art of Scenic Design: Strategies, Concepts, and Resources explores how to design stage scenery from a practical and conceptual perspective. Discussion of conceptualizing the design through script analysis and research is followed by a comprehensive overview of execution: collaboration with directors and other designers, working with spaces, developing an effective design process, and the aesthetics of stage design. This book features case studies, key words, tip boxes, definitions, and chapter exercises. Additionally, it provides advice on portfolio and career development, contracts, and working with a union. This book was written for university-level Scenic Design courses.
This long-awaited bibliography of recent books about theatre architecture, scenography and costume, published with the support of Belgian Ministry of Culture and the «Théâtre & Publics» Association, has been prepared in collaboration with experts in five languages: English, French, German, Italian and Russian. This extensive bibliography, which meets the demands of the International Theatre Institute organizations and the International Organization of Scenographers, Theatre Architects and Technicians, will prove useful to theatre practitioners as well as to confirmed or young theatre scholars. Cette bibliographie rassemble un choix d'ouvrages sur le théâtre et l'architecture, la scénographie, le costume. Elle a bénéficié de la collaboration d'experts internationaux (anglais, français, allemands, italiens et russes). Répondant à la demande de l'IIT (Institut international du théâtre) et de l'OISTAT (Organisation internationale des scénographes, techniciens et architectes de théâtre), cette bibliographie en cinq langues est un précieux outil pour tout praticien et théoricien du théâtre.
Theatre and Performance Design: A Reader in Scenography is an essential resource for those interested in the visual composition of performance and related scenographic practices. Theatre and performance studies, cultural theory, fine art, philosophy and the social sciences are brought together in one volume to examine the principle forces that inform understanding of theatre and performance design. The volume is organised thematically in five sections: looking, the experience of seeing space and place the designer: the scenographic bodies in space making meaning This major collection of key writings provides a much needed critical and contextual framework for the analysis of theatre and performance design. By locating this study within the broader field of scenography – the term increasingly used to describe a more integrated reading of performance – this unique anthology recognises the role played by all the elements of production in the creation of meaning. Contributors include Josef Svoboda, Richard Foreman, Roland Barthes, Oscar Schlemmer, Maurice Merleau-Ponty, Richard Schechner, Jonathan Crary, Elizabeth Wilson, Henri Lefebvre, Adolph Appia and Herbert Blau.
Volume three of a unique three-volume history covering all aspects of American theatre.
Basic. This is the key word in Scenic Design and Lighting Tecniques: A Basic Guide for Theatre, written by two seasoned professionals with over twenty years of experience. This book is designed to show you how to turn a bare stage into a basic set design, without using heavy language that would bog you down. From materials and construction to basic props and lighting, this book explains all you will need to know to build your set and light it.
William H. Pinnell first issues an "invitation to investigate the magic of perspective and explore its wondrous surround," then escorts the beginning as well as the advanced student through the complex process of artistically conveying scene designs via the scenographic drawing. Step by step, he illustrates the principles of perspective that apply to stage design. Starting with a brief history of perspective, he furnishes all of the information designers will need to transform a blank surface into a unique expression of theatrical space. As Pinnell makes clear, a stage setting must be fully planned far in advance of its actual construction. Each designer must have a picture of how the setting will appear when it is ready for opening night. The scenic designer must then be able to render that picture, to communicate his or her ideas through a series of initial sketches that, combined with directorial consultation, eventually evolve into an approved plan for the actual setting. Many of these plans take the form of working drawings--floor plans, elevations, and the related schematics necessary for the shop staff to construct the design. Pinnell insists that as closely as possible, the model--the graphic and tangible rendering of the designer's vision--must reflect what the actual stage set will look like when the audience sees it in the performance. His concern is to show how one faithfully and accurately represents the actual, finished stage design through theatrical rendering. Pinnell achieves this goal through an introduction and six chapters. He provides the historical background in a chapter titled "The Perspective Phenomenon," which covers preclassical Greece, Greek and Roman notions of perspective, and the concepts of the Italian Renaissance. "The Perspective Grid: Learning the Basics" deals with drafting tools, drawing the perspective grid, and the basics of measuring on the perspective grid. "The Perspective Grid: Expanding the Basics" discusses transferring a simple interior setting, plotting curves, and creating levels. "The Perspective Grid: Variations" analyzes the thrust stage, the raked stage, and the two-point perspective grid. "Coloration and Form" explains varied backgrounds, color media, and rendering with gouache. Finally, "Presentation" explains protection, framing, duplication, and the portfolio. Except for the intricacies of the human anatomy, there is nothing a designer must draw scenically that is not covered in this book.