Stage Design

DOVER BOOKS ON CINEMA AND THE STAGE Honnon Movrs PosrERs IN Fur-l CoLoR, Alan Adler (ed.). (0-486-23452-5) Su.ns op rur AN.lsRrc.qN Musrc.u THe,qrrn rN HlsroRtc PuorocRapHs, Stanley Appelbaum and James Camner (eds.). (0-486-24209-9) TsE Mlom,wnl SmcE, E. K. Chambers. (0-486-29229-0) M.lcrc: A PrcruRs Hrsronv, Milbourne Christopher. (0-486-26373-8) WoRr-o Dnq,v.r.: AN ANruolocy, Barrett H. Clark (ed.). (0-a86-20057-4, 0-486-20059-0) Two-volume set Brnurv AND rHE BEqsr: DnRv on'A FILM, Jean Cocteau. (0486-22776-6) PuNcu.tNl Juov, John Payne Collier. (0-486-44903-3) THE Iu,Lr.lN Courov, Pierre Louis Duchartre. (0-486-21679-9) Cnssrc MovrE Posrrns, Carol Grafton (ed.). (0-486-44542-9) ScrE,r'rcE-FrcrroN AND

Fnn-Smn Ponrnqrrs oF rHE FIrtrES, John Kobal (ed.). (\ot available in United Kingdom) (0-486-24008-8) HoLrvwooo Gr-.q.uoun PoRtR-nns, John Kobal (ed.). (0-a86-23352-9) MovrE-SrAn PoRrn-rns oF rHE FoRurs, John Kobal (ed.). (0-a86-23546-7) Gnr,qr AusntcaN FII-n,t DrRscroRs Iru Puorocna,pHs, Richard Koszarski. (0-486-247s2-X)

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lllus. 71. MODEL PLUGS, DooRs, AND wlluDows. Gut these from chipboard.

Paint them, and fasten them over the chipboard rectangles that represent openings in your model flats. This can easily be done with strips of double-faced cetlophane tape. 53

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lllus. 72. BASIC SHAPES FOR SETS. Almost every interior you ever design will fit one or another of these fundamental floor plans. Any design that fails to fit is apt to degenerate into a formless set like the one in lllus. 10 (page 15).

Basic Shapes. Irregular sets like that in lllus. l0 (page l5) form a crude semicircle. All well-designed sets take one of three basic shapes: eLAIN, JoG, and ALcovE (Illus. 72). Variations. Many variations of these basic patterns are possible-a set can be parallel or raked. When it rakes, it can slant either right or left. Rakes of less than 10 degrees or more than 25 degrees rarely look well, but any angle between these limits can be used.

Cornbinations. An alcove can be added to what is essentially a jogged set (Illus. 73) or a second alcove to a set that already has one (Illus. 5, page 9). This makes the plan more complex and provides more room in a set that would otherwise be overcrowded. Thus, the alcove in Illus. 73 helps to suggest that the set represents a huge room which extends off stage on both sides.

Corners. If the stage is shallow, lopping off one corner of the set may help (Illus. 74). This can also be done when you have nothing to put in the corner and want to avoid empty space. When you are not confined to stock flats, you may occasionally want to round off one or more corners (Illus. 75). However, curved corners are not recommended unless your building carpenters are experienced.

The Short l{all. Every raked set has one shor: wall. Normally, it should be placed on the direc: axis as it is in Illus. 5 (page 9). This arrangemen: is unrealistic, but it is certainlythe most practical lva-, to keep most of the set on axis and still avoid ba: sightlines on the short side.

However, there are two reasons why you m:decide to place the short wall on the set axis (Illu. 76). Having all the walls at right angles emphasizr'

lllus. 73. SET TO SHOW A ROOM TI{AT lS LARGER THAN THE STAGE. This is made to look like a huge room br extending it off stage in the up-right and down-left corners- Adding an alcove to what is basically a iogged set alsr makes the room seem targer. The reverse jog lets the set run off stage -left without introducing unsolvabft sightline problems. When you try to match this with the convertible model, use a plain wall instead of the stage-righ: alcove and move the clerk's desk further onstage. The elevator will require specially built slidihg doors' 54

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lllus. 101 . ARENA G EOG RAPHY. Directions are designated like the hours on a clock. Let one end of the stage arbitrarily represent 12 o'clock and number the other directions and areas accordingly. Each performer and each large prop has a separate clock, Thus, the diagrarn shows a girl at 7 o'clock. She will move 1 o'clock to a position that is 6 o'clock from the table, center. She then moves 5 o'clock and turns 2 o'clock to face the man at 4 o'clock.

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:rena productions, it is certainly the designer's i:rty to restrict these to an absolute minimum. For this reason, I advocate starting a design by drawing imaginary wall lines and then arranging -urniture to match. Even if this does not relieve the audience from the need to perform mental gym:astics, it lets the director and actors think in terms ef plausible actions in a believable room. A set becomes easier to visualize when the wall 'nes are stressed by placing furniture along them. -\11the sets in Illus. 102 through Illus. 107 do this. Try to locate at least one important piece of rurniture against each wall and one in or near each

corner. Unless this is done, actors will have no excuse to approach the empty wall or corner. That makes it difficult for the director to plan his movemen\and

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Sightlines. When a short lvoman is seated, her 3' 9" above the floor. If the first row of seats is on the stage level, no bulky prop can safely be higher than 3' 6". Tall, thin props, such as candles or pens in a desk set, give no trouble. We can even build a summerhouse by making a lattice of thin strips. However, chairs with high backs are useless, and such items as screens and chiffoniers are out of the question. Even a3' 6" bar is undesirable eyes are about

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is an arena version of the set in lllus. 30

(page 271 made to fit the seating plan in lllus, 101. As that places the doors in the corners, the effect is unrealistic.

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lllus. 103. ENTRANCES GENTERED. The in lllus. 98 controlled this version of the set in lllus. 72 (page 54). lt is weak because the four doors left little scope tor a more satisfactorr arrangement. seating plan

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Unfortunately, some plays cannot be staged without one or two high props or scene units. In many of them, pianos are required by the action.

the first row can be added to 3' 6", and the resul: fixes the sightlines. Thus, if the first row is l, abor.t the stage floor, props 4' 6" may be used. This permii.

the use of bars, sideboards, and chairs with hisi-

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Arsenic and Old Lace needs a long stairway. Romeo and

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Juliet is unthinkable without a balcony. In cases of this sort, the only solution is to place such awkward features in one or two aisles. These may be used as part of the set when the action demands them. Nevertheless, they introduce a completely unrealistic convention which should be avoided if possible. Compare this with the situation on a proscenium stage where stairs are highly

Axis of Movernent. Many plays revolve aroun* two opposing forces that can be symbolized 'r doors or props. Thus, a play may deal with son-r=one who must decide between facing danger _: hardship for some important cause or retiring : comfortable obscurity. One door can lead to acr-_: and the other to safety. The actor will be able ::

desirable.

moving towards one door or the other. The altar in Illus. lB (page 20) is a prop

When the seats are arranged in tiers, the height of 86

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symbolize how his character feels at each moment

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He should also try to provide a clear path for the axis of movement. Illus. 102 through Illus. I04 all fall short here. An actor moving from one door to the other would have to follow an irregular curve.

could also be used in this way. If a character is torn between a desire to serve God and a longing for rvorldly pleasures, this could be symbolized by the actor's movements between the altar and the door. Such symbols establish an AxIs oF MovEMENr.

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This would obscure the axis to a point where it would make little or no impression on the audience. In Illus. 105, on the other hand, the axis of movement is a smooth, symmetrical curve. For most plays, this is better than a straight axis as it leads to more graceful movements. Variety. Proscenium designers have no difficulty providing variety. Illus. 30, 47,50 and 84 all have the same floor plan. However, the wall treatments are so different that a group could use two of these

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proscenium set, the symbols must not be close together, but their exact locations are rarely crucial. Arena designs are a different matter. Many directors like to establish an axis of movement whenever the play permits. They then plan the whole action around this. In such cases, the designer should place the key doors or props at opposite corners (Illus. I02 and Illus. 104) or at opposite ends (Illus. 103) of the set.

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lllus. 104. DOORS NEAR ENDS. The plan

in lllus. 99 makes design fairly easy. lts chief fault is that it does not permit raked sets. The parallel set shown is an arena version of the club room in lllus. 78 (page 57).

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in the same season without having the duplica- aware of the differences between them. If you design three or more living-room sets for the same tion noticed by the audience. sets

Arena living rooms, on the other hand, all have a strong family resemblance. I have tried to vary the plans in Illus. 102 through Illus. 105 as much as possible, but I suspect that few playgoers would be

variety becomes a major consideration. Try to choose furniture of different styles, weights, and colors. Thus, the sofas in Illus. 50, 78 and 84

season,

would be obviously different even if they were used

lllus. 105. DOORS OFF CENTER. The unsymmetrical seating plan in lllus. 100 has definite advantages. lt tends to create interesting furniture arrangements. Also, it offers chances to provide a strong diagonal axis of movement and hence has somewhat the effect of a raked set. The set shown here was based on that in lllus. 13 (page 17),but I have added twodoorsto create an axis of movement.

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lltus. 106. RAKED SET. This is another version of the ctub room set in I llus. 78 (page 57) and 1 04. Note that changing the angle of the set involved a drastic rearrangement of the furniture. A raked set takes up more than its parallel counterpart even though the actual playing space is

in arena sets with the same floor plan. Slipcovers are valuable here. Use plain material for one set, small patterns for the next, and bold prints for the third. Nevertheless, you cannot afford to sacrifice appropriateness for variety. If you need dark, plain upholstery in your first set and your second must represent a club room like that in Illus. 78, you cannot introduce gay, pink and yellow slipcovers merely to be different. Raked Sets. Designers who arrange furniture in random groups have no use for raked sets. However,

smaller. This creates problems when the auditorium is

cramped. With a large auditorium, however, the seating plan for a raked set provides more chairs in each row. Not€ that the arena for a raked set must be more nearly square than those in lllus.98 through lllus. 105.

anyone who has learned the value of axes will find that raking an arena set has important advantages when the nature of the play permits. Illus. 106 shou.s a raked version of the set in Illus. 104. We cannor say that it is better without knowing the pla,v for which it was designed. However, it is certainly more

interesting and dynamic. It would also provide the director with a wider variety of expressive movements and groupings. Furthermore, a raked set permits the use of jogs and alcoves (Illus. l0). This helps the designer to 8!)

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lllus. 107. ALCOVE SET. An arrangement like this creates an interestingftoor plan and also makes a set seem less formal. This one is an arena version of the set in lltus. 5 (page 9) and lllus. 6 (page 10). lt could also be worked with the seating ptan in lllus.98, but not with those in lllus. 99 or 101.

90

achieve both variety and interest. Theoretically, jogs and alcoves can be used when the set is placed parallel, but this seldom works well in practice. As Illus. 106 and Illus. 107 show, a raked set calls

for an arena that is more nearly square than

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where the set is placed parallel. Also, either the set must be smaller or the arena must be larger. When these conditions are undesirable or impossible, we can get a raked effect by placing the entrances (and the aisles) offcenter (Illus. 105). However, this works

only when the furniture is arranged to permit an axis of movement that follows either a straight line or a smooth curve. Moving the end doors off center in lllus. i03 would not help because the axis is blocked by the furniture in the middle. Adapting Proscenium Plans. The plans in printed plays show proscenium sets. Adapting these to a convertible proscenium set may present problems, but major alterations are rarely necessary. Even when they are, we can usually follow the printed design to some extent. Printed plans are much less helpful to the arena designer. Drastic changes are almost always required. Indeed, if the captions of Illus. 102 through Illus. 106 did not identify the originals from which they were

room sets gives me more trouble than anything else in arena design. Chairs, sofas, and tables are apt to look misplaced unless they are arranged in groups. The list of items that can be introduced or left out at will is extremely small. In fact, I havdused up my entire list on the sets in Tllus. 102 throush Illus. 107. Modified Arenas

Doors do wonders to make entrances and exits dramatic. Playwrights know this and often write scenes that depend on it. Stairs are also of great value in arranging interesting and significant movements and groupings. Arena sets have no doors.

When stairs are available, they are in the aisles. This reduces them to a clumsy convention which may occasionally be required but which has no dramatic value. These considerations have led many groups to adopt modified arenas, such as those in Illus. 108 through Illus. 110. If we deepen the apron of a proscenium stage, it becomes a FoRESTAGn. A plan of this type is well suited to the production of classic plays such as those of Shakespeare and the Greek playwrights. When the main stage is shallower and the forestage

taken, you might not be able to tell which is which. One reason for making changes is the fact that, even with makeshift seating, the designer cannot

is narrower, the result is called a THRUST srAGE (Illus. t0B). It leaves room for doors and may

permit this. The set in Illus. 106 is an even clearer example. This is a raked version of lllus. 104, but the arrangement had to be entirely different because the walls are shorter. Also, I lacked room for a sofa at 5 o'clock and was forced to substitute a love seat. Designs for proscenium interiors are usually controlled by the fact that wall space is limited. It must be used efficiently if each door and piece of furniture is to be worked in without interfering with sightlines. The arena designer faces the opposite condition. After he has located all the furniture in the printed plan, he usually discovers that one long wall is left bare. Finding appropriate props to fill gaps in living-

permit stairs when the main stage is deep enough. Unfortunately, it raises serious directorial problemsespecially when the forestage is deep and narrow. Thus, if character at B is afraid of one standing at A, the one at B would have to approach his enemy in order to exit. This is unnatural at best and can create an unwanted laugh if B tries to make it plausibte by moving sidewise around A. Illus. 109 places the audience on two sides and devotes the other two to scenery. Architects who like to appear advanced sometimes prefer this plan. As I have never worked on such a stage, I am not really qualified to comment. Nevertheless, it appears to combine the disadvantages of proscenium and arena stages without the virtues of either one. A corner stage might be set up in a gymnasium or armory and would serve well for a dramatic pageant. But I cannot see that a permanenL theatre of this type has any merit.

control the exact length of his walls. Thus, in Illus. 103, I would have preferred to put the end table beside the sofa at I o'clock instead of beside the chair at 2 o'clock, but the wall space did not

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92

The double-ended arrangement in Illus. 110 is much more practical. It seats fewer people than either a pure arena stage or a thrust stage. On the other hand, it permits the use of a little scenery and lets the

designer use doors and stairs.

I know of no permanent

theatre built on this plan, but I have found it highly satisfactory in a makeshift auditorium.

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lllus. 109. CORNER STAGE. This plan almost forces actors to turn their backs to the audience when they either exit or mount the platforms. In most cases, such actions are technically bad. Note also that the convertible platforms in lllus. 68 (page 50) do not work wetl on a corner stage.

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lllus. 110. SCENERY AT ENDS. Although this plan seriously limits the size of the audience, directors and actors will find it highly practical. Compare it with the arena version of the same set in lllus. 103.

94

INDEX abstract design elements, B0

acrylic paints, 69 adapting proscenium plans, 9l 54 (def.),56, 90 apron,13, la (def.) architect's scale rule, l6 arena design, 82 arena geography,82, 84 atomizetr T0 alcoae sets,

13-15 (def.), 54 axis of rnooement, 86 (def.), BB backings, I I (def.), 29, 38, 50 balance,60 (def.) axes,

balance, hidden, balance, oecult,

balconies

in

61 (def.)

6l

(def.) theatres, 26,27 r 29

ballet, set for, 23 base coat,

Tl

(def,)

basic shapes, 54 basic tools,35

designing with a model, 47 design, principles of, 60 designs, enlarging and reducing, 44-45 desigru, originating, 53 deaices,4T (def.) direct axis, 13, 14 (def.), 54

display models, 35, 36, 37 door frames, 17, 28, 29, 32 door panels, 33 doors, 17, 28, 29, 32, 36, 40, 46, 78,91 double-ended stage, 93, 94 dounstage, I l, 14 (def.) drapery sets, 17 (def.)

drawing board,35 dressing a srt, 59 (def.) drops, 13, 22,23,26 drops, model, 41 emphasis and subordination, 6l enlarging and reducing, 4445 entrances in arenas, 85,86,87, 88

blind areas, 27 books,29 (defi),35,48

expositinn, T6 (def.)

border for amateurs, 25 border, netted, 25

exteriors, 24, 26 fireplaces, 17 , 29, 32, 37

equipment,

borders, 7 , 13, 22, 23,24, 25, 26 borders, model, 4l box sets,24 (def.),27 bracing, 39, 40 bricks, painting, 73, 74 buildingueu, II (def.) bushes, l8 canvasr 32 carton board,32, 35, 37 (def.) ceilings, 49, 59

ceiling units,28, 29 center line,13, 14 (def.) chair pattern, 42 character touches, 79 chicken wire, 60, 61 chicken wire frame, 33 chipboard, 35, 37 chroma, 64,65 (def.) chroma chart, 64, 66 classical plays, settings for, colored light, 70 color mediums, 7l color wheel, 64

2

convertible sets, 46, 47 corner brace, 28, 33 corner irons, 48 corner joints, temporary, 39 comers, 54, 55 comer stage, 91, 93 cornices, 32, 33 conecting coats, 7l :occr fats, 28, 32 (def.), 50 :ttouts,22 (def.), 30, 32 cutouts, model, 4I

;.r, l7

scene, windows

elements,

footlights, 12 forestage,9l (def.) fullruss, l7 (def.), 41 full-scale convertible set, 47

for,

hingedjoints,

12

hinges, permanent, 39 hinges, temporary, 39

hinging, 3L,37,40 hinging a jigger, 39 hinging plans, 29 hue,64,65 (def.), 66 hung scenery, 4l impressionistic sets, 20 (def.), 22 intensit1t,65 (def,)

intefiors,24,27 interior set, 9 irregular set,

15

irregular-shaped scenery, 33 jiggers, 12, 29 (def.), 31 jiggers, model, 38 jogs,30 (def.), 48, 50

joining books, 30, 3l joining model books, 38 joints, 12,48 joints, corner, 39

61

:a;go, functions ol

18

7

17

graining, T3 (def.) grid, 13 (def.) gri.diron, 13 (def.), 22 gromd rous, l9 (def,),22, 23,26' 30' 40 ground rows, model, 4l hidden balanee, 6l (def.)

jogs, model, 51, 52

:-;clorama, model, 4l c:.r-glorv colors, 65

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floor plans, B, 9

fown scenery,lS (def.) foliage,7,24,75

jog sets,54 (def.), 90

(def.)

n.:!.trama, 17 (def,), 20

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fixatif atomizer, 70 flats,29 (def.), 35,40 fies, ll (def.), 13, 24,25,26 fipper, ll (def.), 26, 4l

furniture, 59 furniture arranging, 15, furniture, model, 42, 43

constfuction, scene, 9 convertible models, 5l

cutting board, 35

11

lash cleats, 28,

3l

lashedjoints,

12

lash hooks, 28, 31 lashing, S0 (def.), 40, 48 lash lines,28, 3l layout, 35, 36

light, colored, 70 Iighting effects, 20 lined cycloramas, 18 lines, in sets, 61-63, B0 Mahony, Felix,65 Mahon2 sjtstem, 67 (def ,) makeshift set, 17 mantelpieces, 17, 36, 50 marionettes, 7 maslcing, 1 1 (def.), 22, 24, 26, 50 maski.ng pieces, 22 (def,)

masonry,73,74 mass, 63, 80

melodrama, set for, 23 metal straightedge, 35 miniature theatre, 6, B model actors, 9 model bed, 43 model bench, 43 model bust, 44 model candle. 44 model chair, 43 model cutouts, 4l model model model model model model model

cycloramas, 41 desk set, 44 drops and borders,

4l

furniture,42,43

ground rows, 41 jiggers, 38 lamp, 44 modelling clay,43 model potted paIm,44 model properties, 43 models, 6 model scenery, 35 model set pieces, 4l model sky cyclorama, 41 model sofa,.43 model stagehouse, 15

model steps and platforms, 4l model telephone, 44 model typewriter, 44 model wings, 4l modified arenas, 9l

mood,9 moulding, 32,33,35 musical, set fot,22,23 nailing, Sl, 40 netted borders,24,25

night scene, windows for, lB nosing,32 (def.), 33 occult balance, 6l (def.) of axis, 15 (del.) of stage, l1 (def.) ofstage, ll (def.) on axis, 15 (def.) on stage, ll (def.) onstage, ll (def.) openings, 57, 58, 59, 78

originating designs, 53 overlap, masking, 50 overlaps in flats, 48, 56

paint, applying, 7l 95

painted perspective, 23 paint hood, 71 painting a set, 59 painting brick, 73

painting flats,47,49 painting foliage, 75

painting models, 36, 37, 38 painting model scenery, 69 painting stone,74r75 paint, mixing, 69 panels, 33 paper pattems, 42

papier michC, 43 parallel placement, 13 (def.), 54 partial sets, 19 (def.), 20 patterns, paper,42 perspective, painted, 23 picture frames, 32, 33 pinking shears, 41 pinking wheel, 4l place,77 (def.) plain sek,5a (def.) plaster, imitation, 72 platforms, 30, 32, 34, 46, 48, 50

platforn safs, 20 (def.), 26 platflorms, model, 41, 59

llugs,47 (def.), 48, 49

plugs, model, 51, 53 portal sets,20 (def.), 2l lractical uni*, 33 (def ,) properties,6 (d,ef.) properties, model, 43 props,6 (def.) props, small model, 44 proscenh.nn, 12, 16 (def.)

railings, 32 tahed sets,13, 14

(def.), 54,62,89

realistic sets, 19 reducing designs, 44-45 (def.), 40

returns,

ll

rippings, 39

risers,4l (def.) rocks, 33,60,61 scale, 16 scale tnodcl, 16 (def,) scene construction, 34 scene painter's pigments, 69

scenery,

7

scene shifting, 22 scene units, 29 seumbling, T2 (def.)

96

seating plans in arenas, 82, g3 principle, 60, 6l set a.!cs:13, 14 (def.), 54, 56 set desrgn tbr arenas. 92 set pieces, 19 (def.), 3b

thickness, showing, 24, 73 lieus, 33 (def.), 97, 40, 7 s three-drmensional units. 33

seesaw

t(ickws1.

thrust stage,9l (def.), 92 time, 78

set pieces, model, 4l sets, types of, 17, 54

toggle bars,29 (def,) tone contrasts. 65 tone harmonies, 65

shadow box, B shadow coat,72 S,h1kesg9a1g1 plays, settings

shapes, 62, 63 (def.). B0 short uall, 13 (def,),' 14, 54, 56

show-card colors. 69 (def.) sightlines in arenas. g5 sightlines, pl,an of, i2 sightlines, vertical, 26, 27 sill irorc, 28,.35 (def.) ' sky backing, lB sky bordus, lg (def.) sk2 Eclorama, 19 (def.). 20 sky cyclorama, -oaei, +t small model props, 44 spatter,70 (def.) spatter coats, 7l special effects, 33 sponging, T2 (def.) stability of ses, 6l sightlines,

ll

T square,

upstage, ll, I4 (def.) oalue,65 (d,ef.) value and chroma chart. 64 vertical sightlines for exieriors. 26 vertical sightlines for interiors, 27 vines, artificial, 75 visual weight, 60

volume and mass, 63

wallboard,32

ll, 14 (def.) ll, l4 (def.)

wall lines in arenas. 82 wall panels, 33

gl

steps, model, 4l stffining, 38-39 (def.), 40 stifming battens, 39 (def.\ stiles, 28

3l

symbols, 79

symmetrical sets, 6l teasers, lI (def.), 25, 26, 29 temporarlt books, 37 (def.) tent set. lB texture,7L (def.)

35

two-dimensional scene units, 29_33 unit sets,20 (def.),21 unity and variety, 68

stage left, stage right,

subordination and emphasis, slmbolic sets, 19 (def.)

axis, lS, 14 (def.)

trees,23,24,93,94, 4g triangle,35

stagehouse, model, 15

stonework, 74, 75 stop blocls, 3l stippers, 29 (def.), 30, Styrofoam, 43

tows,65 (def,), B0 solid,65 (def.), 66 tormentor liru, L3, 14 (def.), 55 torncntors, I I (def.), 13, 40 touclus,76,77 (d,ef,) training model, 52 tone

treads,4l (d,ef.\

I

stencils, 72, 73 steps, 30, 32,34,97,46, 59,

82

transt)erse

stage geogruphlt, I (def.), 14 stagehouse, I (def.)

I

for,2I,

6l

wallpaper, 73 walls, 7, 14 walls, drapery, 17 walls, Iong, 30 walls, short, 54 wall units, 28,29,46, 47 weight-bearing units, 34 window backings, 50 windows, lB, 28, 29, 27, 40, 46, 49 windows, model, 53 uings,13, 14 (def.), 26 zo?,gr (cutouts),22 (def.), 30 wings, model, 4l wire framework, 33 wood wings, 24

woodwork, 73 X-acto knives, 35

4

SCENE DESIGN AGUIDE TOTHE STAGE WRITTEN AND ILLUSTRATED BY

HENNING NELMS Anyone working on scene design for the first time will find this book indispensable-amateur and semi-professional groups, high school students and their teachers, even puppeteers who will find the advice on model building invaluable for their own sets. whatever play you are putting on, designing the set will be no problem when you have this book to guide you. It contains an excellent discussion of scenery, sets, models, the principles of design, painting scenery, and arena design. Throughout this discussion, the author gives many tips that will save you much wasted materials and hours of work: working out sightlines before you design the set, choosing among different kinds of sets, constructing flats, making a truly realistic model, constructing a convertible set, working with a color chart and tone solid, spatter painting, adding touches, and much more. When technical terms are used, all are defined with extreme clarity: raked set, cyclorama, set axes, flats, flippers, masking pieces, etc. The author's I10 drawings and diagrams are especially helpful floor plans of sets, audience views, reverse viervs, different scene designs on the same basic set, and similar material. Therre is also a complete index.

Unabridged republication of the original (1970) edition. Index. 96pp.

816

x 11. Paperbound.

ll0

illustrations.

-

See every Dover book in print at www.doverpublications.com 7 a

,d. SBN- 1 3: 978-0-486 -231 53-2 ISBN-1 O:0-486-231 53-4 I

+14.15

USA

PRINTED IN THE U.S.A.

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