KRISTA D. PRICE
SENIOR STAGECRAFT
FOR SENIORS NEEDING TO EARN STAGECRAFT CREDIT, THE FOLLOWING OPTION IS PROVIDED:
1.) Learn about the PROCESS of design in theatre (below)
2.) Choose ONE area of theatre design (from the boxes below) that you want to learn more about
3.) Start a Google Doc journal for your learning (and "share" with Ms. Price)
4.) Let Ms. Price know when you've completed the work & have a brief "exit interview" with her (via Zoom)
Your learning will be self-guided and at your own pace; it must be completed BEFORE May 8. Reach out if you need ANY help!
THE DESIGN PROCESS in theatre
The design PROCESS of design in theatre always starts with the script. All designers must read the script. Realistic and interesting designs can not be created without knowing exactly what the script requires.
Once the NEEDS OF the script are determined, all designers take the time to INTERPRET the script: What does it MEAN? What's MOST IMPORTANT to convey through design? What is the HEART of the production? What should it FEEL like? What's the THEME? Is there a STYLE that should be considered when designing? Is there an important or implied METAPHOR that could be shown through design? What COLORS, IMAGES, and COMPOSITION on stage may best support the director's telling of the story?
Watch the video below in which Tony-winning set designer Bunny Christie shares her design for the play, INK. Notice all the ways that she references the feeling, mood, and heart of the production which she then intentionally reflected in her design.
Watch: Design on Stage (Bunny Christie)
Journal Entry: Reflections on Design (Ink)
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What did YOU find visually interesting in Bunny Christie's design? Why?
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In what ways did the designer's SCRIPT INTERPRETATION and/or RESEARCH assist in the creation of her final design? (List at least 3 specific ways.)
After a designer has INTERPRETED the script (which is shared/discussed with the director), (s)he then goes in search of rESEARCH & INSPIRATION for the design. This is often done by researching various aspects of the script/story, including the setting, the time period, historical references within the script, the style or genre of the piece, photos from the time period or setting, source material, etc. A designer may also research her/his own ideas and inspiration for design. (Optional: See an example of what I mean by this HERE.)
Finally a designer in theatre comes up with an overall DESIGN CONCEPT to drive her/his decisions in design. (Sometimes that concept starts with the director and is shared with designers as a starting point for their own designs.) The Design Concept is used to BEGIN DESIGNING. From there, designers create models, mock-ups, color renderings, and design boards to help communicate their designs and collaborate with others (the director, actors, other designers, etc.)
DIRECTIONS: Be sure you've read/understand the process described (above) and have watched the video (above). Then pick a design area (below) which you are MOST interested in learning about. Read about what's involved in that role, and watch any required videos. Your only assignment to earn credit for Stagecraft is to keep a journal (Google doc shared with Ms. Price) and answer the questions asked after each video/reading. Enjoy! I hope you learn something new or interesting from whichever design area you choose. Reach out if you need ANY help at all.
