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    Gfdftrytry 5 BBFGDD

    Uploaded by

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    fsfsdgfhhtryt75675hgf

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    The Craft and Art of Scenic Design, Statgies, Concops, and Resources Chapter 2 Scenic Design in the Past and Today To work seriously in any fed, it is necessary to understand both something of ts history andthe shracteristics ofthe work being dose today The thente has along and distagushed history. The role of scenic design in i has changed quite a bit over the entries but never #0 much a nthe ast 100 year, A (Very) Brief History of Stage Design ‘The Greek and Roman Theatre = ‘To sara the beginning, the theatre of eacient Gresee and Rome vwasa fixed archtecrural form that placed the audience in an are stound a performance space, providing focused playing area and ap architectural backsrousd that conasned Some permanent igure 2.1), For the most past the backaround was not scenic. I id net give specific information as to location or sicod There may have been the ure sonte scenic tremments and cof stage machineny—the crane of deus ex machina fume, and pevialzt, tce-sided rotating panels—but this > uncertain ‘Much of what Gredk and Ronan performances wore like 1 lost ‘What remains is relationship, in architecture, between stonteller and auience ‘The Elizabethan Stage Figure 2 Th hoa a Spurs Exsena Potro! Shuernock.comn This open stage form is ako very much the Blizabethan model (Figure 2.2). Shakespeare: Globe was a performance space that id not change scenically very moch from palace 10 heath Scenes were played in flont of am architectural facade that provided doors for entrances and exis, and a raised balcony. Shakespeare wrote most ofhis scenes with characters entering 2 ‘he beginning ofthe scene and exiting at the end because there was ne scenic or fighting solution to how they could appear oF Aisappeat Ever practical, the playwright solved the problem, often having the players announce the location they were centering. Again, stage machinery may have been used in a modest way, and there may have been scenic treatments involved, such the pained “heavens” on the ceiling above the stage Revival of the Elizabethan stage form in the mi-swenteth century brovekt the term open stage into common use Tt is generally used fora thrst stage frm in wich the performance Space pushes imo the audience, and stenic components are ana3 582 Tho Craft and Art of Scone Design, Sates, Concepts and Resources Fo peosceninm form Asian Theatre ‘This feed architect “non scenic” approach is cross-cut, with Asian theawe examples suchas Tapuncse Nob and Kabuki nd Chinese Opera having ser svc, “non-scenic”sohtons to staging The Noh stage, shown in Figure 28, codified the acters ‘movement and postions onsinge and even he building materials ofthe sage, the tonal choice being unfinished nck wood Painted om the back wall oF the stage 16 the Auger, a wee symbolic asthe manner of extrance of spirits onto the ste Teis ‘The Seventeenth and Eighteenth Centusies The Buowue Thee, following Renaissance developments in spective er i nt he Pomc ng Ste, cn fl the most common today. This form of theatre archaectce Placed the andence co that flocked tthe tage through fim that tughteand the viewsng angle so perspecuve eects of the 7 The Crafeand Ar of Scale Desgn, Sateen, Concepts and Resources work, This form of production stayed i practice throughout the Seventeenth ad eighteenth cemuries. Cesky Krumbole Castle in the Czich Republic, shown in Figure 24, as bute 1680- 1682 and renovated with modern stage machinery a0 1765, Its ce of vey few Pigure23 ‘Baroque theatres that have survive sul containing some of ts 7 Qa The Craft and Ar of Scene Desgn,Srategles, Concepts, and Resources ‘The Nineteenth Century Tn the nineteem ceny the dramatic aye in fashion became Naturalism bt basically comtaued this pictorial scenic form (ee Figure 2.5), but wit is subject matter changing fiom gods and ings to more ordinary people and locations. Another facet of the ‘heats of the nineteenth cen was that because ts seeney 38 en ordered fom a stork lst of genene locales made by a Scenic Srio («7B Moonlit Lake or #32 Fancy Cane) and costumes Were often chosen by the indiadual ato, thee Was a Jack of uty, of cohesiveness, the look of producions. AS more and more thee atts though this should change, the job of designer was bor. ‘The changes in the late ainteeath and early twentieth centuries tha ushered in the modem period of stage design roughly paralleled the changes that were occurring inthe bth of modem fr The ars changed fr esny reasons, but portant Store ‘vere the advent of photography and paychology. Photography tock away om ar what had been ite principal enction, recording vial reality Peychologysntiaed the study of the ‘ner sel and writers n all media began to Took inside. Art was eet follow: The art movements of symbolam, expeesionse, sad may others became portant Tk sage design, the relisic two-dimensional painting presiousy in vorue began seem busy, dated, and false May ‘het ats bepan to ere toward simple, fee ter! aoe Two designees of seve at this ume, Edvard Gorden Ces and Adelpe Appa, wrote articles and books on these nes seas that became very influential. Both advocated a clean architectural space on stage in which deal would be replaced by mood and ‘the actor would mose through & spare thtee-imensonal space (Gee Figure 2.6) ltegral to thei dens was a new technology Elec lghung had become technically feasible oustage, and this made posible the ve of lighting sa design element, ‘The paied of Mosem Stage Deszu was born 7 The Craftand Aro Scenic Daslgn, Suateples,Conceps, and Resources iso lhyshoae igure 24 tard Godon Crate med! for Hare, Mo Figure25 U1 Were King, New York, 190 Modern Stage Design “Modern Stage Design woud be characterized by Simplification: In reveling agen srct nurs, ‘Arcignore wl aint Atal har ene Saal The Crftand Arto Sank Delgn, Stotenies, Concept, end Resources necessary’ 20 would not datas from the tory and the performer Wit this simplification would come store vse of symbolic and metaphoric Tnification: A major part ofthe new design was the relicmon tha all elements of » production should be wailed and therefore designed. This Seve understand ittoday. Lighting 25 a design element: Electrical tage Tigting ws just becoming posible inthis period desizned Hak would be to the ew idem Changeable ighing would go hand-inchand wth ‘he nes smplified architec we of apace ‘Three-dimensionality: Seeaers would. become lees iat panting and more 3D and cultural With the testmest of the stage ara rea, frte space with Iss dependence oa the iusion of pated peed gress to he profession of stage designer tnd designers were fst eeeme how smporant this would come mote emphasis ou texture and on ‘Rober Edanond Jones uaveed to Europe in 1913 with the acl of suing the now themicalfouns bogus by Cig aud Appia aad ‘roughest the mainstem of German theatre by dxector Max Rebar. Jones came back to America with ths Comnectal Stagecraft and lniched a caret that would make him the most Impotnt designer of his generation His 1922 Mochi for direcor Arhoe Hopkins (Figure 27) was panned inthe press when st opened bur was clearly ahead of rime wth ta progressively more dstoned arches and plant masks of the itches hung above the 0 ‘To Micizner worked a8 an atsstaa to Rober Edsiond Jones sand then followed Jones asthe preeminent desiner of the next _eneration, designing alist of the reat plavs and mmsials of he ost Yeas tats unmatched inthe American teat util bi sath 1976 His design for Doth af Solarmn i one of the ‘most ionic designs in modern thee history (Figure 28), 20 respecte tha arene Mike Nicole chose 1 08 fo he 2014 Broadway revival staring Philip Seymour Hofinan, 65 years fis premsee production Micinne’'s desian for Achar Mill's Afr the Fall Ie intresting i that wk many ways a is a clear comtiguaton of ‘ements ofthe Continental Staperat TQ The Cat and Ar of Scene Design, Suategies, Concepts, and Resoures bs into rom The Tae of Bobet Edmond oes © 1958 by Ral Figue2.8 Jo Miekiner defor Det of Salesman, 149 £50 years before, its multiple levels capable of eine ed at ‘nduidual locations or emtwe pieces with iting to Led the soemalnmeienaeed (air), TQ The Craft and Art of Scenic Design, Saegies, Concept, and Resources oh Ingen igure2.9 ner den for Ae a Fal, 964 A wonseriol tion continued when, after assisting Jo Miclsne, Ming Cho Lee vould become the most important ‘American designer of our tine ough the eng of his elegant ‘work andthe inueace of is teaching upon many generations of esigners at Yale School of Drama. His design fx Tennessee ‘Wiis The Gnas Frain eas ant spl yeu der evocative (Figure 210). Lee's Elecra (Figure 211) va landeark production because st embodies the dtetion he began in the early 1960s a esdent designer atthe New York Shakespeare Festival wo bring the influence of Brecht to Amencon design (See “Brecht and is Designers” flowing) igure 210 ez Cho La Inch mode fr The Goat 7 Te Craft an At of Scale Dna, Saeplos, Concepts ana Rexowcas- is nos w Figure212 infor Caton aot Ti Reo A Closer Look: An Example of Modern Stage Design Cat on a Hot Tin Roof The Crattand Ar ofSceleDesgn, Sates, Concepts and Resouces Designer Jo Misziner Broadway 1955 Miclainer’s evocative design isan exampl design fo swe of. of modem stage ‘Simplifcaion: The bedroom ofthe Mississippi planation hose is reduced to simple spacedefning shapes and the event pisces offumiture. A ceding pect and the raked platform define the room vat the suggestion of cofuatsuputage US). Unifcarion: The sinplicason ond limited mumber of pieces create wity Lighting asa design slomert The lishing san import

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