Properties i) LIGHTING Tel eee TMNT ee Tel -OUTDOOR PROPS - FOOD AND DRINK BU Ui E cr Lamps and lanterns (including fires) or) CoCr tc 140 SI 146 ior 3 148 Ce EOC oo ‘ 149 Seed 150 Scie i : 154 Se ey . 156 Frames (pictures and mirrors). . 158 oe ) Da Re : : 160 Sree ue eid feu oy Dee ae i 106 eee eee) 168 aC a oO) CU er L) eC Ce 2Riverside lamp Street lamps ‘Constructed over a rigid wooden support the lamps are given shape and character with various materials. Use wire, wood strips and stiffened felt for frames, varnished tissue or muslin for glass. Paint to simulate weathered look. wide base Two street lamps. Part of a scene from ‘Oliver’ see also pages 130-31 136Torches, fires and braziers For the effect of a live fire, use two lamps. The orange cone should be permanently lit, the other orange (or red) ‘one should have a broken circuit using a neon starter switch. Flaming torch 4 yellow amd. orange tissues ~lightly oc or Varnish to mnake Semi~ Brazier soaked hardboard 5 frame lie together wilh wire camvas or ussues: Antique tripod Above: an antique tripod (the temple fire for sacrificial offerings or, on other ‘ccasions, a toashing borol). The small inset shows a brazier with hot coals. Use estorted layers of warm-coloured tissues ith one or 100 lamps—see fires, 0p left. 37/) A great state candelabrum | ‘This page shows a candle-holder large enough for use as a set piece or, in a pair, suitable for flanking the entrance to a royal apartment, ‘The example shown consists of a wire frame secured to a wooden dowel support and a heavy base plate. (For the method of taping wires, see the making of spectacles on page 233.) Candie } Ee hp Mie flame or candle lamp small wood or layered. wire mesh, paper pulp or macheCandlesticks G Y tie wires to A) wood dises is a Siguplified stick jon wit See Sawn out, shin “paper pulp/string { rmsuldaigs Pa plywood. cliscs-hoie to fit dowel anc ee mon Single candlesticks ‘Two methods of building a candlestick: left ~ using a piece of dowel rod, all mouldings built up with glue and pulp or plastic wood; right ~ a lathe-turned candlestick (if the height is 25-35 cm it can be turned in one piece = larger ones shouid be made in parts as shown, to facilitate drilling through centres). String -Soak and shape ante swt decoration ate Pp sb for Wiceness Renaissance candle wall bracket ds —, | camdle or plaster wax OG, white tissue pasted |\, hovlow pi fl around bulbs —,/ | {| wires soldered. to bulb, Two-branch Georgian candlestick (properties in a scene from ‘She Stoops to Conquer’ ~ age 98) Decorative features are built up with papier maché, pulp and string. The under-painting is black, the finish silver. 39portrait bust MONUMENTAL SCULPTURE-1 ee vhisteee Sh Roman Portrait busts, temple sculpture, etc. Certain plays, usually historical, require large sculptural properties. Some can be painted on to a cloth. If time and labour resources allow, however, a three-dimensional sculp- ture is worth attempting. ‘The examples on the next few pages give a variety of type and construction methods. (See page 48 for a note on fireproofing expanded polystyrene.) Sa ies faborplasthe drapes ~ use son dij in. plas Scone from ‘Adventure Story’ ~ the Temple of Apollo, Delphi. Construction ‘method shoten on right.structioral members in 18mm board or 25 mm. polystyrene cithars 1 muaslig. or sri. . dipped im plaster J 2= thick ee (paper, weld Sized. wine or string Ues- HAIR. ‘glued, screwed &- tuvisted. newsprint. er amd ScHeUL ~ Secure witle thin wire or string ots to vertic | Receal eionborsMONUMENTAL SCULPTURE -2 Garden and street objects Urn Left: garden urn. ‘Two photographs showing construction and completed um. Note the use of wire mesh round the wood frame before applying papier mfché. The ‘swag’ shapes are made by dipping hessian scrim into plaster. See page 102 for urns in a garden setting. Right: small stone figures. This stone figure, suitable for fountains or classical garden settings, is constructed with a wood frame, wire mesh and plaster. depth of relief dependant ou viewpome and lighting ~inorease deptle Seem pars fromthe side wire mesh or hessian scrim in plaster for Dowls Screwed up news; if een Polushirene seqments 10x25 cm softwood IT.» {for lightness es, Ce) So Street fountain in reliefThe fountain, whose construction is shown on the left, asit appeared ina scene from The Merchant of Venice’ — other scenes are shown om pages 92-93. iguves constructed as (Escribed on previous page bul as i tpovemghe er i, 50x25 mim hardboard ov ¢ Sides ~ top 150%2S Sofewoed §— up inv hard boa ow SOXIS mm free hand board. strips owite around a hi Felt edgin Srl apport ae foroantds contre by Soxsomn and arotes seftwootl post / hardboard arches cornices and ant Seon loons mt Tpiop ats mnt Sefenvor planking Plywood or r q havdboard faci g} Huoughoue Market piace drinking fountain Occasionally a market place, courtyard or garden scene can be enhanced by a major property in the central area of the stage. The drinking fountain shown above is built with three sides, if set ‘square to the setting line. Only two sides need be completed if set at 45 degrees. ‘An octagonal step fountain is shown below with a stone figure, suit able for a courtyard scene. An arcaded backing with or without rostra steps would make a suitable acting area. framework - woot courtyard arcade ~ Hats or built Garden fountain 148MONUMENTAL SCULPTURE -3 Architectural detail and structure Left: crucifix constructed with a wood frame and wire mesh. The modelling can be built up with sim dipped in plaster for a small crucifix. Any large example would be built up with papier maché because of toight problems ~ see page 129 Romeo and Juliet’) Below: tympanum. Medicoal doorways, especially to churches and chapels, cam be enhanced by a sculptured tympanum above ‘Built over a prepared wooden former, strengthened with galvanised wire, the modelling can be done with wire mesh and finshed with papier mdché. If on a small sale, the whole tymparuom could be modelled in expanded polystyrene sheet (approximately. 3 em ‘hich cut with a hot wire ~ see page 147. Fine wine cut fe for shapes ‘Tympanum over doorways mesh at Wear Of figures adternative lo figures felt shapes, cut laed. ae aes wood Ste notteSCULPTURAL RELIEFS Sun motif Large low reliefs finished in metallic paints or foils can ‘make very effective backings to history plays. Imagine the set of three flats on page 57, with sculptured metallic reliefs under well-placed lighting, as a set-piece for a ‘small hall. The simple motif illustrated here could also be made from cardboard layers or papier maché, The finished relief, constructed as shown on the right. Finish in varying layers of metallic paper, foil and paint. 146 cutout mouf layers 25mm expanded <«, pots a ‘sheet rusevery sharp kiufe on cutting board Cece ne with eve esive 1d shape sheet of aliminsemt a amma rpig cree haeoarksymbols Without a backing cam be jade from felt cutouts and glued ae a ~~ —- a- Durning out ‘by moving quit across ‘Flatne Pamted bres Ystse eat Eel b- using am electric wire cutter — “battery or methods use 25m expanded pelenyrae transformer Trophies, symbols and architectural frieze ‘An alternative to painted decoration and ornaments on architectural scenery and properties is 3-dimensional relief. Reliefs are useful for architectural features such as pilasters to which lighting will give a feeling of added depth. Soke oeROCKS Rocks, or any irregular structure on which people are to stand, will require care in construction. The timber framework and_ planking should be securely glued and screwed before covering with can- vas, felt or stiff paper. Stiffen fabric with shellac or size. softured planking, bleckboard or jood French plywood cutout Low relief ground-row pies low relief of If only a shallow rock or irregular e aN papier maché on piece of landscape is required, it can AD) wite orsevine be built as 2 ground-row in low relief. A narrow ledge can be con- structed if necessary. L 148RAILINGS AND BALUSTRADES Exterior settings occasionally need dividing with walls or railings. Classical exteriors need balustrades and country scenes a fence. A narrow, shallow stage can be given a new sense of depth by these means. Plywood cutout for backings lathe tured 2or3 stups of S Hick fell ghied and sp Si Minder round cybinde ich brace Fencing This style of fencing appears in a setting for ‘Fiddler on the Roof? shown on page 70. Stone balustrades 149THRONES Thrones are among those items of furniture difficult to hire, and yet they are essential to many historical plays. They will have to be made in the workshop and should be strongly constructed, The easiest method is to build over a stool or the seat of an old chair. ‘The larger thrones will have to be constructed with wood and board as illustrated on the next few pages. plywood. or block board top -softivood_frame hardbcard sides and hard board, € A Hhickness Deki amd sides Shatow rostrum Simple thrones Basic box shapes with a plinth ‘underneath or a step in front to give importance to the seat. 150 top of plywood or hardboarat Pilate's throne A simple structure suitable for a primary school Passion play (see pages 240-242 for other Passion play items). }OOx25 mm Si a pata Pi Plywood or hardboard rome amd sides cA side elevation ee cA! — Sor steps The Snow Queen's throne Shapes such as this are related to the fantastic and fairy tale, The throne shown above was designed for a primary school production of “The Snow Queen’ based on Hans Andersen's tale.Throne with footstool (Egyptian Oriental with variations in decorations) “Thrones can be elaborate and in two or more sections for the convenience of scene-changers. Traditional wood joints give very strong structure but glued butt-jointing with screws is quite adequate. 100x25 mm softwood~ knobs— pee ‘tmortice anc aan joints pulp onthe hardboard. fed of paper pulp eee aurve tacked and gl plywood or Kno cactouss for projections of animal reli (jeotstoct used 4% separate ikem) ae” eeGothic throne A shape more suitable for the Gothic period. Knobs, pinnacles and a lancet-shaped back can be varied to suit various settings. (Sce page 84 for an illustration of a throne in its setting.) heraldic doe stone, Paint or cut feue. T2 = ental support a~arcaded c = Dutt or tenon joints A double throne or bench With the addition of a back, this type of bench can be converted into a throne - the same method could be applied to a narrow bench.hardboard or tun plywood panels — hardboard or | 100 or 15X25 mm een Aq cutout Pee ec back ~ protect with sized muslin worked. | wo seit % C 4 re) / Throne with canopy - 4 es u 3 A ein sii more prominence othe thrones i Poet ore? pear er HinG ywood Vow Gy aoe from panel and sonews thronghowt ~or period. Bult by 14 year old boy mortice & Conon uf preferred 153STREET FURNITURE (see page 136 for street lights) Fire hydrant (American street) Objects of basically cylindrical form: of a setting for ‘West Side Story’ on page 105. ff Bollards Pillar/post boxes 15425x25 mm Softwood, Capstans tin alloy sheeting com be used as ive hardboard on most of ese properties 25; ils, Milestones & tombstones ate aon or aac Village pumps 5 Scrap orpaper pulp knob i>» glued eee ie, hopes 155TREES AND SHRUBS ‘The two examples on this page properly belong to the section on flats, but are illustrated here to show the fixture of foliage to the main structure. Rear view of Shrub - a ‘set piece’ mm plywood. or board. base or short ground-rowFLOWERS AND LEAVES or Screwed popet When complete, paint with scenic dimensional tree colours. on under layer of paper 157FRAMES Miniatures ve bases ‘A frame of any shape or complexity 10 suit a historical period can be made from expanded polystyrene sheeting or papier miché on a wood base or, if preferred, various scrap items glued to a wood frame, Full-length sping maeror he io Bisseanneer ly smooth ouc metal foil over ‘on stand Cc. adhesive x “MIRROR* (ork Wi from centre NM eoards sidesCLOCKS Adapting modern timepieces to an antique body: El eh Left to right: rococo wall clock, Regency bracket clock, 18th century French mantel clock, 19208 ‘Deco? clock. cs oe Nineteenth century clock glue card sides“ To wood Block, assorted metol somap glued and painted 1700 lantern clock Long case or grandfather (er decoratic ja Chinese sigie 1919 mm softwood. |DRINKING VESSELS: Pots and goblets Cup-shaped goblet A variety of types and construction methods are shown, all using easily obtainable materials. Practically any cylindrical container can be adapted to make a goblet ~ the plastic containers for yoghourt, cream, etc. are ideal for small vessels (use a P.V.A. or polystyrene adhesive for plastics). All vessels can be made waterproof by a ‘generous coat of varnish inside. ( coups tubs otd cycle bells Seti Ce Collect a wide range of card, cord and assorted scrap materials. 160le prepared cara a Soin tape stem part to secure ) _glue/paste tissue paper reeks make cord stat ae jewels~ tick ‘ase pul ee: ilver/pewter goblet dark. atone eanben ohsefee ord neta Powders whee lear Shellac 161 to COUR tabs ‘ined Fil goes pe een tabs| Lathe-turned goblet template for use with lathe if a Set of idewticad stems is required. -onill rote same diameter as. kuitting needleTo giveameuallic finish, underpaintall vessels with greys) blacks for silver and pewter; warm browns/umbers for golds. Finish with two coats of clear shellac. split pins Torstrews)JUGS AND PITCHERS If liquid is to be used, all surfaces should be varnished thoroughly. Direct papier maché method Papier miché can be built up over a greased vessel, allowed to dry, cut in half to remove the vessel and re- joined with sticky tape and a final layer of paper. See page 264 for the technique of papier maché. cower evga ves wih piecesah 6 ier ithe ae alton es rg using a sharp knife ,cut lightly through oppasite Of vase ama trim top and bottom edges L- gently prise apart otk halves ance paste dou (oese ends reassemble two halves, jovmng with adhesive tape glue nasow strip of butter inustiv or finger bandage along jowis ‘aiswi a ihial Sopra tant et Concealed-glass method Large containers for liquid can be built round an existing jar or flagon-type bottle. Simply attach a wire frame for a ‘handle and a spout; then paste paper over the surface area, The card and glue for making the spout must be ‘waterproof. Secure firmly to the top of the jar. out gined Aptian a inedium gauge wire 7% frame To secure handle original vase thick card gine to vase \ wil widen base area fy required ™ handle ofeare ov elk & y ayo glued. scrim or muslin hotds wine Firuly glue trimmings aud base With mush and paperpass hanclle wires wood discs and staple todowel size of dowel and wood discs dependant onthe scale of jug, pitcher or vase fine wine mesh Res, =~ te inate —_ cond. lower ving methods of taping wires Wire mesh method A further method is to make up a wire frame to your own design, based perhaps on a historical shape (see the ‘outlines on the opposite page) and build up the surface with papier maché. This is not practical if liquid is to be used ~ only for decorative purposes. Another useful idea for creating an impression of pottery or porcelain: find a flagon-type cider bottle or some similar large glass bottle, pour paint into it, shake well and pour out the surplus. The effect from a distance will be of glistening porcelain. Mixtures of paint will produce marbling. Some basic shapesMUSICAL INSTRUMENTS - Stringed Study paintings drawings ‘Medieval instruments can be constructed for decorative Photdoraphs for decomtion purposes. Strings can be fitted and plucked to mime an and colours of ald instruments~ | actual (hidden) instrument or recording. ya Shes oe ‘card strips for ~ A scene from ‘Adventure Story’ (see also page 140) showing one of the characters ‘playing’ the Iyre. 166cut card cone glued To wire Ving and dowel DI Nastic tub 2s basic Early horn Shape to build dell of trumpet or trumpet scrap Simple bamboo a) Keys etc. pipe ss : 18th century = cork buts end and ‘ oe Papier he basset horn Seape Nae! large cardboard PONE Sera ic sin rey fo Bid nabber ner abun oilame — alee ipo tube rely iategeiee not suitab Drums Casha \ Use existing instruments Side drum Two-ended drumao folded card shaped THE BOX ae fete fe Caskets and | QSY > \ jewel boxes i ——— Ze lstrated Selo fof c= % Shapes wilt protect the Surface. Ey decorate boxes with metnttic parnts— . (old gotd, silver bronze, etc.) umderpamnut Withdark brown, grey, brown respectively. All boxes can be decorated over existing boxes or constructed as shown above. 168The chest A coffin Large decorative boxes can be finish alifelé A simple, plain shape, as used in a production of ‘Oliver’. created out of existing old trunks or Aecovations More ornate designs should be built over a simple chests. With, A.comt shape with wood mouldings, and gilded as required. Medieval chest ‘bottle tops, buttons “sized felt decorations ele, on sized felt on parted lacquer or strip enamak backgrounc Renaissance chest mouldings ‘materials~nse % (pierre PMC. eure head. ia paper pulp, in rick cord , background painted . 169PAPER PROPS Scrolls X Soften the edges or make ragged by tearing. 2 Colour with very thin uneven ‘washes of ochres and pale greys. 3 Pull paper under a straight-edge when it is dry in order to effect curl. Paper money 1 Printing block of expanded poly- styrene carved by electric cutter. 2 Quantity of thin paper cut to size 3 Rollers for printing and pressingBooks If books are to be very large and dominant on stage, it will be preferable to seek out old dilapidated ones at jumble sales and secondhand shops. Thhey can be repaired and decorated with felt, cord, beads, etc. and then painted and shellac varnished if required. \, cut felt glued. to cover . \ Letters and documents They can be made in the same way as scrolls (without curling) and then ribboned together for bundles, QUILLS AND INKWELLS Select some goose quills and any small pot. It may be possible to obtain an old style of inkwell but an easy method of construction is shown below.FOOD AND KITCHEN WARE If feast is to be held on stage, many of the items can be made in the workshop. Grapefruit, oranges, pumpkins, melons and other large fruits of a more or less spherical shape can be modelled over old plastic balls using papier miché, or can be constructed in the wire and paper methods described on previous pages. Bananas, root vegetables and more elongated forms can be built from paper pulp, wire and papier maché, ot carved from expanded polystyrene. Grapes and smaller forms can be made with paper pulp built round fine wire. Cheeses, cakes and other cylindrical forms can be made from round cake/biscuit tins, covered with plaster or paper and decorated. Meats, poultry and all irregular forms can be constructed in foam rubber, expanded polystyrene or by the wire TOU glued: sens 9 herical shaped fruits Papiermend jer old actuat ae i Vindricak forms (cakes, poulbry-use papier pee” fesespasiepusccake Mache over fine wire pl tin foundation. boars head, meats & mesh frome oud wood structure frame and papier m&ché method. Plaster-of-Paris is useful for icing and creams. Brush all surfaces with shellac for a bright, fresh appear- ance and to fix all colours. Bread can be used after painting over with a coat of clear shellac. Edible foods can be arranged among the ‘prop’ foods if eating is required. Care should be taken when choosing food from the table! Cooking utensils, crockery, etc. can usually be obtained and used as found. A slight change of tone and colour may be necessary. If changes of style are necessary to suggest an earlier period, handles, spouts and other fittings can be attached to metal with P.V.A. adhesives. Such additions can be fashioned from wire and paper pulp as previously described and should be painted to match the basic article. shellfish ~actuat Specluion cleanest