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This Unit in Stagecraft:

PROCESS OF (SCENIC) DESIGN

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Day 1:   Set Design Process / Set Designer

  • Discussed:  Rehearsals can't start without what?  (rights, rehearsal space, performance space, director, cast, set design)

  • Next unit:  How does a set get designed/built?  Who makes the choices of what it will look/feel like?  Is there a process for designing a set for a show?

  • Watched a video on the Role of a Scenic Designer (watched from 4:05-11:05) and completed Handout (for video 1).

  • Ms. Price shared the PROCESS of Set Design (see image that was shared in class HERE)

  • Discussed:  The FIRST step in all design for stage is to READ THE SCRIPT

    • Ms. Price asked the class:  What INFORMATION might a set designer be looking for when reading a script?  (Discussed answers)

    • Discussed that there are CLUES throughout the script about what a set should look like, feel like, and function.  However, beyond that, scenic design is open for interpretation of the designer.

      • Designers must read ALL of the script because clues may be in the italicized information, in the information that characters speak, in the lyrics of the music, etc.​

      • Ms. Price shared some examples from the script, Mary Poppins.

  • Ms. Price described the NEXT/FINAL course assignment in which students will...​

    1. Choose a musical script to read (6 choices were offered)​

    2. Design the scenic elements/sets for 2 consecutive scenes in that show, along with the transition between those 2 scenes.

    3. Work in groups of 3  (no more than 2 groups can work on the same show title)

  • Discussed:  How is reading a MUSICAL different than reading a play or a screenplay?​

    • MUSIC!  (music adds story, mood, and style information to your potential design)​

    • YOU MUST LISTEN TO MUSIC WHILE READING THE SCRIPT

  • Ms. Price led the class in an activity (Handout) in which students listened to the FIRST musical number in 6 different musicals, and jotted down what they "felt" (mood) from the music, as well as the story that was told in the music. Discussed each as a class.

  • Students signed up for teams & musicals with which they'd like to work for the final Stagecraft Summative Set Design Project.  (Ms. Price will print out a musical script for you, depending on what musical you sign up for.)

Reminder:​

Bring ear buds next class for listening to/reading a musical.

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Day 2:   What designers "look for" when reading a script

  • Reviewed:  What is the process of set design?  (see image that was shared in class HERE)

  • Ms. Price passed out / Reviewed:  Stagecraft Summative Design Project. & Rubric

  • Ms. Price reminded students that reading a musical (as a designer) is NOT just about figuring out the story.  Instead it's about letting the story, characters, music, setting, meaning, and style of the show help you determine the best and most creative way to TELL the story.​​

    • Reminder:  You CAN'T do any other part of the summative project without FIRST reading the script in its entirety (and listening to the music as you read)​  

  • Watched an additional video about the Role of a Scenic Designer and completed Handout (for video 2)​

  • Discussed:  With musicals you MUST read/listen for MOOD/FEELING/MEANING.  (The music directly supports the mood/feeling/meaning of the show, so that is why you MUST listen to music while reading a musical.)

  • Discussed:  Besides Mood/Feeling/Meaning, what else might a designer be "looking for" when reading a script?

    • WHERE scenes are taking place

    • WHEN the scene is taking place (in the story, and in the context of history, etc.)

    • WHAT is NEEDED in the scene (How do actors need to use the space in the story?) ​

    • Special Effects or "magical moments" that might require problem-solving

    • Meaning (Why is this story being told, and what should it "feel" like?)

    • Transitions (What is the "flow" of the show from scene to scene, and how can that be accomplished with set?)

  • Ms. Price gave an example of how to read a script for set clues (using a page from the script, Mary Poppins) 

  • Groups were given their scripts and had time to get into groups and begin reading / listening to their chosen musicals. 

    • Students were instructed to highlight (as they read) any NEEDS of the script (stated or implied) that could impact the design of the set.

    • Students were given a link to each musical's soundtracks.  (Click HERE)

Reminder:​

Bring ear buds next class for listening to/reading a musical.

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Day 3:   Reading scripts  for FEELING/MOOD/STYLE

  • Reviewed:  What is the process of set design?  (see image that was shared in class HERE)

  • Ms. Price passed out (to any absent students from yesterday) / Reviewed:  Stagecraft Summative Design Project. & Rubric

  • Watched an additional video about the Role of a Scenic Designer (Comedy of Errors) and discussed the following questions:

    • What does the designer DO when reading a script?​

    • What are some FEELING/MOOD/STYLE words she gave that guided her in her design?

    • How is theatre different from film when it comes to design?

  • Groups were given time to get into groups and begin reading / listening to their chosen musicals. 

    • Students were instructed to highlight (as they read) any set NEEDS in the script (stated or implied) that could impact the design of the set.

    • Students were given a link to each musical's soundtracks.  (Click HERE)

Reminder:​

Bring ear buds next class for listening to/reading a musical.

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Day 4:   Reading scripts  for Scenic NEEDS

  • Reviewed:  What is the process of set design?  (see image that was shared in class HERE)

    • Discussed:  After reading a script, the next step in the design process is to INTERPRET the script and ​consider the NEEDS of the script in terms of design.

  • Ms. Price passed out (to any absent students from yesterday) & Reviewed:  Stagecraft Summative Design Project. & Rubric

  • Watched an additional video about the Role of a Scenic Designer (Mary Poppins) and discussed the following questions:

    • What were some of the NEEDS of the script?​

    • From where did the designer get the INSPIRATION for his design?  (both original design and touring design)

    • How did the design handle TRANSITIONS from scene to scene?

  • Ms. Price showed examples of how to read a script for needs/transitions by showing a page from the scripts of the musicals, ​Mary Poppins and Peter Pan  and then sharing images of how the director/designers met those design challenges for the show. 

  • Groups were given time to get into groups and begin reading / listening to their chosen musicals. 

    • Students were instructed to highlight (as they read) any set NEEDS in the script (stated or implied) that could impact the design of the set.

    • Students were given a link to each musical's soundtracks.  (Click HERE)

Reminder:​

Bring ear buds next class for listening to/reading a musical.

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Day 5:   Reading scripts for IDEAS / INSPIRATION

  • Reviewed:  What is the process of set design?  (see image that was shared in class HERE)​

  • Watched an additional video about the Role of a Scenic Designer (Shrek) and discussed the following questions:

    • What role do IDEAS have in design?​

    • What words does the designer use to describe the OVERALL FEELING he wanted the show to convey to kids?

    • How can you "play with IDEAS" after you read YOUR script?

  • Discussed how you can CONVEY your IDEAS when you present your final design, and reviewed the IB Rubric for "Thinking Creatively" (Criterion C)

    • Slide presentation in which you share your ideas, images, and final designs / transition = earn up to 6 on the rubric

    • All of the above + Scaled drawings or Groundplans = earn up to 7 on the rubric

    • Slide presentation + Scaled Model = earn up to 8 on the rubric

  • Groups were given time to FINISH reading / listening to their chosen musicals. 

    • Students were instructed to highlight (as they read) any set NEEDS in the script (stated or implied) that could impact the design of the set.

    • Students were given a link to each musical's soundtracks.  (Click HERE)

    • Anyone who doesn't FINISH reading their script, must do so for homework (scripts must be FINISHED by next class)

    • If you finish early, you can start your group's SET NEEDS LIST (this is easy if you've been highlighting set needs in your script as you read)

Reminder:​

FINISH reading your musical at home, if you haven't already.

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Day 6:   Where do IDEAS come from?

  • Reviewed:  What is the process of set design?  (see image that was shared in class HERE)

    • Discussed: 

      • After you're done reading a script, designers INTERPRET the script  (What is at the heart of the story? What's most important for an audience to see and feel in the designs? Etc.

      • Once you've interpreted the script, you begin looking for INSPIRATION / RESEARCH that will support the "world" you're trying to create on stage

      • Designers rarely just "come up with ideas" - it's almost ALWAYS a result of their RESEARCH which leads to INSPIRATION.

  • Watched an additional video about the Role of a Scenic Designer (Newsies) and completed a Handout.  Discussed the following:

    • How was ​Newsies designed to meet the NEEDS of the script?

    • What RESEARCH did the designers do?

    • What was the "starting point" / INSPIRATION for the design of the set?

  • Discussed:  What types of things might a designer RESEARCH in order to design scenic elements for a show?

    • Examples:  Time period, historical references, style, geographical locations mentioned in the script, the style of the script, architectural details for structures on stage, the genre, source material, a specific artist or author, etc.​

    • Ms. Price showed several examples of shows and aspects of research that may be needed to do each show. (Sweeney Todd, The Crucible, Beetlejuice, Clue, Oliver, Sound of Music, Hunchback of Notre Dame, Sunday in the Park with George, etc.)

  • Reviewed: 

    • Although RESEARCH can help you keep aspects of your design accurate or rooted in the reality of the show, the real by-product of research is INSPIRATION.

    • RESEARCH is the first step in "coming up with ideas".

    • Theatre isn't film.  It doesn't always have to be "realistic".  Set can support the story in MANY ways, so be sure you get at the heart and meaning of your story first, because metaphor, color and imagery can be just as effective at conveying meaning and mood than literal location - and on stage it's even MORE effective.  

  • Groups were given time to:

    1. Start the research process ​

    2. Collect research in a central place (google drive, Pinterest, etc.)

    3. Finish the group's SET NEEDS LIST 

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Day 7:   How and WHAT should you RESEARCH?

  • Reviewed:  Designers rarely just "come up with ideas" - it's almost ALWAYS a result of their RESEARCH (and collaboration) which leads to INSPIRATION.

  • Watched an additional video about the Role of a Scenic Designer (Charlie & the Chocolate Factory) and discussed the following:

    • In what ways can the characters be reflected in the set design?

    • What RESEARCH images did you notice in the set designer's shop?

  • Clarified:

    • RESEARCH is what you actively LEARN (and can lead to inspiration)​

    • INSPIRATION is what sparks your OWN creativity & ideas

  • Ms. Price illustrated how your own ideas from reading a script can spark both your research and your inspiration for a set design.  Click HERE for a description and illustrations of the process of IDEAS, RESEARCH, and INSPIRATION that helped Ms. Price design the "Lost Boys' Hideout" in Peter Pan.

  • Ms. Price passed out students' Rubric for Research/Inspiration (this is an individual grade, not a group grade)

  • Groups were given time to:

    1. Continue the research process ​

    2. Collect research in a central place (google drive, Pinterest, etc.)

    3. Finish the group's SET NEEDS LIST 

    4. Decide which scenes/transition to design

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Day 8:   Developing a Design CONCEPT

  • Reviewed: 

    • ​Designers rarely just "come up with ideas" - it's almost ALWAYS a result of their RESEARCH which leads to INSPIRATION.

    • RESEARCH is what you actively LEARN (and can lead to inspiration)​ and INSPIRATION is what sparks your OWN creativity & ideas.

  • Discussed: 

    • Interpreting the script, and also your Research & Inspiration can lead to your Design CONCEPT.

  • Watched an additional video about the Role of a Scenic Designer (Wicked) and completed Handout.

  • Discussed:  INSPIRATION is all around us!​​

    • Ms. Price showed several examples of items she saw in the world around her that ultimately became design elements or inspiration for design concepts in her shows.​

    • The Lesson:  Artists and designers see inspiration EVERYWHERE.  (To be artist means you look at things differently.)

  • Discussed:  INSPIRATION is often the result of COLLABORATION​

  • Next step:  "Napkin Sketches" of your group's ideas

  • Groups were given time to:

    • Continue the research and inspiration process

    • Collaborate as a group and begin discussing overall design CONCEPT

    • Start sketching design concept ideas

Reminder:​

All groups will meet with KP/G/John to discuss their set design ideas.  The purpose of this meeting is collaboration with set designers/builders.  KP will give guidance and help you get to even stronger ideas for your designs...however, groups MUST come prepared to the meeting with a strong understanding of script, its needs, and also strong research.  Groups must also have an overall design concept that they're beginning to work with.  See more information (Task / Grading) HERE.

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Day 9:   Developing a Design AESTHETIC 

  • Reviewed:  Once you've determined your overall design CONCEPT, you can begin sketching out your designs.  (In this class, we call these "napkin sketches"....informal drawings of your design ideas.)

  • Watched a video about the Role of a Scenic Designer (Beetlejuice) and completed Handout (for video 3).

  • Watched the "making of" Beetlejuice's sets & set pieces (Notice all the artists involved in bringing David Korin's design ideas to life!)

  • Discussed: Design AESTHETIC 

    • What style, "rules", colors, etc. will drive YOUR design decisions?​ = AESTHETIC

    • What CONCEPT will determine your set's LOOK & FUNCTION?

    • Ms. Price had students (in groups) read and analyze ONE (of 3) of her own Design CONCEPTS for shows she's previously directed/designed.  Students discussed in their design groups.

  • Ms. Price showed examples of "napkin sketches" from previous shows she's designed and discussed what to do / not do with "napkin sketches".

    • Napkin sketches ARE:​

      • a way to get your thinking/ideas VISIBLE​

      • only possible AFTER you've done previous INTERPRETATION and RESEARCH, etc.

      • based on the NEEDS of the script

      • the result of your design CONCEPT as well as COLLABORATION

    • Napkin sketches ARE NOT:​

      • artist renderings (you don't have to be an artist)​

      • scaled drawings

      • your final design

      • the end of your project (you'll share your FINAL ideas in your presentation in visual form)

  • Groups were given time to:

    • Discuss new info / ideas

    • Discuss design AESTHETIC & CONCEPT

    • Work on sketching design ideas

Reminder:​  All groups will start meeting  with KP/G/John NEXT CLASS to discuss their set design ideas.  The purpose of this meeting is collaboration with set designers/builders.  KP will give guidance and help you get to even stronger ideas for your designs...however, groups MUST come prepared to the meeting with a strong understanding of script, its needs, and also strong research.  Groups must also have an overall design concept that they're beginning to work with.  See more information (Task / Grading) HERE.

BRING to Design Meeting:​ 

  1. YOUR highlighted script & GROUP'S Set Needs List 

  2. YOUR research (printed; printed in color if there are images in your research)

  3. YOUR inspiration images (printed in color)

  4. Your group's "napkin sketches" and ideas for design

***PLAN AHEAD!  You must PRINT IN COLOR!***

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Day 10:   What ELSE can support your set design? / Design Meetings

  • Watched a video about the Role of a Scenic Designer (Hamilton) and discussed:  What was the CONCEPT that inspired the design?

  • Ms. Price challenged students to not only think about the "positive space" on stage, but also what is supporting the set design in the "negative space" as well.  

  • Students looked at images of spaces to consider including in your design (in order to support your set design):

    • Will you be...

      • Using the cyc?  (If so, what colors, projections, effects or gobos will be on it?​)

      • Using a groundrow?  (If so, what will it look like?)

      • Flying in any parts of your set?  (If so, what?  And where will it "play" in relation to your set?)

      • Using a backdrop?  (If so, find a vendor and backdrop your plan to use?  Backdrops must be rented or created.)

      • Re-creating a proscenium or legs that are part of your design?  (If so, what & how?)

      • "Breaking the 4th wall" with your design elements?  (If so, what could be added in the house to support your design?)

  • Groups were given time to:

  • Ms. Price (and G/John) met with 2-3 groups about their Designs while remainder of class worked on tasks listed above.

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Day 11:   Finalizing your Design Concept & Set Design / Design Meetings

  • Watched a video about the Role of a Scenic Designer (Hamilton) and discussed:  What was the CONCEPT that inspired the design?

  • Discussed / Reviewed how there are multiple ways you can CONVEY your IDEAS when you present your final design, and reviewed the IB Rubric  ("Thinking Creatively" - Criterion C)

    • Slide presentation in which you share your ideas, images, and final designs / transition = earn up to 6 on the rubric

    • All of the above + Scaled drawings or Groundplans = earn up to 7 on the rubric

    • Slide presentation + Scaled Model = earn up to 8 on the rubric

  • Groups were given time to:

  • Ms. Price (and G/John) met with 3-4 groups about their Designs while the remainder of class worked on tasks listed above.

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Days 12-13:   Finalizing your Design Concept & Set Design / Design Meetings

  • Discussed / Reviewed how there are multiple ways you can CONVEY your IDEAS when you present your final design, and reviewed the IB Rubric  ("Thinking Creatively" - Criterion C)

    • Slide presentation in which you share your ideas, images, and final designs / transition = earn up to 6 on the rubric

    • All of the above + Scaled drawings or Groundplans = earn up to 7 on the rubric

    • Slide presentation + Scaled Model = earn up to 8 on the rubric

  • Groups were given time to:

  • Ms. Price (and G/John) met with 3-4 groups about their Designs while the remainder of class worked on tasks listed above.

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Days 14-16:   Design Presentations

  • Students presented their set designs as a group (Be sure to bring your PRESENTATION RUBRICS!)

  • End-of Semester Reminders:

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Supplemental (Going Beyond) Information:

To learn more about SCENIC DESIGN for the Stage:  

 

Inspiring Videos:

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