Stagecraft

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Early stagecraft master Robert Edmond Jones drawing at a high table (c. 1920). Robert Edmond Jones.jpg
Early stagecraft master Robert Edmond Jones drawing at a high table (c. 1920).

Stagecraft is a technical aspect of theatrical, film, and video production. It includes constructing and rigging scenery; hanging and focusing of lighting; design and procurement of costumes; make-up; stage management; audio engineering; and procurement of props. Stagecraft is distinct from the wider umbrella term of scenography. Considered a technical rather than an artistic field, it is primarily the practical implementation of a scenic designer's artistic vision.

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In its most basic form, stagecraft may be executed by a single person (often the stage manager of a smaller production) who arranges all scenery, costumes, lighting, and sound, and organizes the cast. Regional theaters and larger community theaters will generally have a technical director and a complement of designers, each of whom has a direct hand in their respective designs. Within significantly larger productions, for example a modern Broadway show, effectively bringing a show to opening night requires the work of skilled carpenters, painters, electricians, stagehands, stitchers, wigmakers, and the like. Modern stagecraft is highly technical and specialized: it comprises many sub-disciplines and a vast trove of history and tradition.

History

Ancient Greece

Greek theatre made extensive use of stagecraft, and Greek vocabulary and practice continue to influence contemporary Western stagecraft. The defining element of a Greek theatre's stage was the skene, a structure at the back of the stage, often featuring three doors. The usual setting for a classical Greek tragedy was a palace, and skenes were decorated to support that setting. [1]

On the audience-side of the skene, what are now known as flats could be hung. Flats evolved from one-sided to two-sided painted flats, which would be mounted and centered on a rotating pin. Rope would run around each consecutive pin, allowing the flats to be turned for scene changes. The double-sided-flat eventually evolved into the periaktos.

Greek stagecraft was essential to the storytelling of its works. An ekkyklema , similar to a contemporary wagon, was used to present the death of a character by rolling out their dead body, instead of showing their death onstage. [2] The mechane , a crane for lifting actors over the skene, supported the conclusions of plays, whose storylines were often suddenly resolved by the introduction of a god. The mechane is the literal source for the contemporary phrase deus ex machina. [3] Performances were lit by sunlight, often taking advantage of the particular time of day to support the story. [4]

Europe

Plays of Medieval times were held in different places such as the streets of towns and cities, performed by traveling, secular troupes. Some were also held in monasteries, performed by church-controlled groups, often portraying religious scenes. The playing place could represent many different things such as indoors or outdoors (as in the Cornish plen-an-gwary amphitheatres). They were played in certain places so the props could be used for the play. Songs and spectacles were often used in plays to enhance participation. [5] [ page needed ]

More modern stagecraft was developed in England between 1576 and 1642. There were three different types of theaters in London – public, private and court. The size and shape varied but many were suggested to be round theaters. Public playhouses such as the Globe Theatre used rigging housed in a room on the roof to lower and raise scenery or actors, and used the raised stage by developing the practice of using trap-doors in theatrical productions. Most of the theaters had circular-design, with an open area above the pit to allow sunlight to enter and light the stage. [6]

Proscenium stages, or picture-box stages, were constructed in France around the time of the English Restoration, and maintain the place of the most popular form of stage in use to-date, and originally combined elements of the skene in design, essentially building a skene on-stage. Lighting of the period would have consisted of candles, used as foot-lights, and hanging from chandeliers above the stage.

Stagecraft during the Victorian era in England developed rapidly with the emergence of the West End. Prompted by and influx of urbanites in the greater London area, Parliament was forced to do away with previous licensing laws and allowed all theaters to perform straight plays in 1843. Electric lighting and hydraulics were introduced to draw large audiences to see on-stage storms, explosions, and miraculous transformations. Technologies developed during the latter part of the 19th-century paved the way for the development of special effects to be used in film. [7]

Lighting continued to develop. In England, a form lamp using a blowpipe to heat lime to incandescence was developed, for navigation purposes – it was soon adapted to theatrical performances and the limelight became a widespread form of artificial light for theaters. To control the focus of the light, a Fresnel lens was used.

After candles, came gas lighting, using pipes with small openings which were lit before every performance, and could be dimmed by controlling the flow of gas, so long as the flame never went out. With the turn of the 20th century, many theater companies making the transition from gas to electricity would install the new system right next to the old one, resulting in many explosions and fires due to the electricity igniting the gas lines.

Modern theatrical lighting is electrically-based. Many lamps and lighting instruments are in use today, and the field is rapidly becoming one of the most diverse and complex in the industry. [8]

Sub-disciplines

A wide range of disciplines are included in stagecraft, all of which are crucial to creating compelling and immersive theatrical productions. Stagecraft is the foundation of any theatrical play, impacting the audience's experience, from the skilled application of lighting to the elaborate creation of scenery and costumes. Stagecraft promotes flawless performance execution and amplifies the emotional impact of storytelling by coordinating the interaction of visual and aural elements. Stagecraft is essential to producing captivating and unforgettable theatrical moments, whether it is through the creative application of makeup and wigs, the inventive use of mechanical scenery, or the well-planned fusion of sound and visual effects. Stagecraft brings dramatic dreams to life by a fusion of artistic innovation and technical mastery, making a profound impact on audiences all over the world.

Stagecraft comprises many disciplines, typically divided into a number of main disciplines:

Scenery

Performance of Gijsbrecht van Aemstel in Amsterdam (c. 1904-1905). Gijsbrecht van Aemstel - Stadsschouwburg 1904-1905.jpg
Performance of Gijsbrecht van Aemstel in Amsterdam (c. 1904-1905).

The theater designer, responsible for orchestrating the visual and auditory aspects of a stage production, is traditionally known as the set designer. This convention has emerged for practical reasons, ensuring efficiency in the design process. [9] Upon entering a theater, viewers are immediately drawn to the set design, shaping their initial impression of the show. In this moment, designers establish the show's concept, define its style, evoke mood and atmosphere, and establish the tone by revealing the date and setting. Stage designers intentionally select elements to craft the audience's perception of the depicted worlds in a play, rather than simply replicating settings realistically. For much of theatrical history, there was no dedicated scenic designer role. Instead, theater practitioners relied on stock scenery or utilized the space itself to establish settings.

Stage Management

While playwrights, producers, directors, designers, and performers all have specific roles to play, the stage manager is the one who manages the intricate collaboration between all of these important participants. Serving as the production's center point, the stage manager makes sure that every aspect, from staff to materials, works in unison to realize the theatrical concept. [10] Their responsibilities are broad and include managing backstage operations, organizing technical cues, and arranging rehearsals. In addition, the stage manager plays a pivotal role in mediating issues and fostering constructive communication between the actors and the creative team during the course of the production. As a result, even if the actors and directors receive most of the attention, the stage manager's hard work and knowledge behind the scenes preserves the integrity and professionalism of live theater production.

See also

Related Research Articles

<span class="mw-page-title-main">Outline of theatre</span> Collaborative form of performing art

The following outline is provided as an overview of and topical guide to theatre:

Theatre techniques facilitate presentation of performances by actors. Improvisational theatre techniques involve spontaneous enactments of stories on the spot.

<span class="mw-page-title-main">Stage management</span> Theatre or event coordination and organization

Stage management is a broad field that is generally defined as the practice of organization and coordination of an event or theatrical production. Stage management may encompass a variety of activities including overseeing of the rehearsal process and coordinating communications among various production teams and personnel. Stage management requires a general understanding of all aspects of production and provides complete organization to ensure the process runs smoothly and efficiently.

Theatrical production management is a sub-division of stagecraft. The production management team is responsible for realizing the visions of the producer and the director or choreographer within constraints of technical possibility. This involves coordinating the operations of various production sub-disciplines of the presentation.

<span class="mw-page-title-main">Theatrical scenery</span> Space used as a setting for a theatrical production

Theatrical scenery is that which is used as a setting for a theatrical production. Scenery may be just about anything, from a single chair to an elaborately re-created street, no matter how large or how small, whether the item was custom-made or is the genuine item, appropriated for theatrical use.

<span class="mw-page-title-main">Set construction</span> Creation of scenery for theater, film, or TV

Set construction is the process undertaken by a construction manager to build full-scale scenery, as specified by a production designer or art director working in collaboration with the director of a production to create a set for a theatrical, film, or television production. The set designer produces a scale model, scale drawings, paint elevations, and research about props, textures, and so on. Scale drawings typically include a groundplan, elevation, and section of the complete set, as well as more detailed drawings of individual scenic elements which, in theatrical productions, may be static, flown, or built onto scenery wagons. Models and paint elevations are frequently hand-produced, though in recent years, many Production Designers and most commercial theatres have begun producing scale drawings with the aid of computer drafting programs such as AutoCAD or Vectorworks.

<span class="mw-page-title-main">Scenic design</span> Creation of theatrical or film scenery

Scenic design, also known as stage design or set design, is the creation of scenery for theatrical productions including plays and musicals. The term can also be applied to film and television productions, where it may be referred to as production design. Scenic designers create sets and scenery to support the overall artistic goals of the production. Scenic design is an aspect of scenography, which includes theatrical set design as well as light and sound.

Scenography is the practice of crafting stage environments or atmospheres. In the contemporary English usage, scenography can be defined as the combination of technological and material stagecrafts to represent, enact, and produce a sense of place in performance.

In theatre, the running crew are members of the technical crew who supervise and operate ("run") the various technical aspects of the production during a performance. While the "technical crew" includes all persons other than performers involved with the production, such as those who build and take down the sets and place the lighting, the term "running crew" is generally limited to those who work during an actual performance.

A scenographer or scenic designer, also production designer, is a person who develops the appearance of a stage design, a TV or movie set, a gaming environment, a trade fair exhibition design or a museum experience exhibition design. The term originated in theater. A scenographer works together with the theater director to make the message come through in the best way they think possible, the director having the leading role and responsibility particularly for dramatic aspects - such as casting, acting, and direction - and the scenographer primarily responsible for the visual aspects or "look" of the production - which often includes scenery or sets, lighting, and costumes, and may include projections or other aspects.

<span class="mw-page-title-main">Stage (theatre)</span> Designated space for the performance of productions

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Television crew positions are derived from those of film crew, but with several differences.

<span class="mw-page-title-main">Stagehand</span> Person who works backstage at a performance

A stagehand is a person who works backstage or behind the scenes in theatres, film, television, or location performance. Their work include setting up the scenery, lights, sound, props, rigging, and special effects for a production.

The technical rehearsal or tech rehearsal is a rehearsal that focuses on the technological aspects of the performance, in theatrical, musical, and filmed entertainment.

Performing arts – are art forms where the participant engages in a physical performance using their body, voice, language, or use of specific equipment for entertainment purposes.

A theatrical technician, also known as a theatrical tech, theatre technician, or theatre tech is a person who operates technical equipment and systems in the performing arts and entertainment industry. In contrast to performers, this broad category contains all "unseen" theatrical personnel who practice stagecraft and are responsible for the logistic and production-related aspects of a performance including designers, operators, and supervisors.

<span class="mw-page-title-main">Costume designer</span> Person who designs costumes for a film, stage production or television show

A costume designer is a person who designs costumes for a film, stage production or television show. The role of the costume designer is to create the characters' outfits or costumes and balance the scenes with texture and colour, etc. The costume designer works alongside the director, scenic, lighting designer, sound designer, and other creative personnel. The costume designer may also collaborate with a hair stylist, wig master, or makeup artist. In European theatre, the role is different, as the theatre designer usually designs both costume and scenic elements.

<span class="mw-page-title-main">Video design</span> Creative field of stagecraft

Video design or projection design is a creative field of stagecraft. It is concerned with the creation and integration of film, motion graphics and live camera feed into the fields of theatre, opera, dance, fashion shows, concerts and other live events. Video design has only recently gained recognition as a separate creative field. For instance, United Scenic Artists' Local 829, the union representing designers and scenic artists in the US entertainment industry, only added the Global Projection Designer membership category in 2007. Prior to this, the responsibilities of video design would often be taken on by a scenic designer or lighting designer. A person who practices the art of video design is often known as a Video Designer. However, naming conventions vary worldwide, so practitioners may also be credited as Projection Designer, "Media Designer", Cinematographer or Video Director. As a relatively new field of stagecraft, practitioners create their own definitions, rules and techniques.

The following outline is provided as an overview of and topical guide to stagecraft:

Theatre in the nineteenth century was noted for its changing philosophy from the Romanticism and Neoclassicism that dominated Europe since the late 18th century to Realism and Naturalism in the latter half of the 19th century before it eventually gave way to the rise of Modernism in the 20th century. Scenery in theater at the time closely mirrored these changes, and with the onset of the Industrial Revolution and technological advancement throughout the century, dramatically changed the aesthetics of the theater.

References

  1. ↑ Wilson, Edwin; Goldfarb, Alvin (2012). Living theatre: history of the theatre (6th ed.). New York: McGraw-Hill. p. 46. ISBN   978-0-07-338220-3.
  2. ↑ Eis, Joel D. (2016). "Confirming an Ekkyklēma in Sophocles' Acrisius". Acta Classica. 59: 193–202. doi:10.15731/AClass.059.10. ISSN   0065-1141. JSTOR   26347107 . Retrieved 1 April 2023.
  3. ↑ Wilson & Goldfarb 2012, p. 47.
  4. ↑ Wilson & Goldfarb 2012, p. 44.
  5. ↑ Coldewey, John (2001). Drama: Classical to Contemporary. New Jersey: Prentice Hall, ISBN   978-0130884411
  6. ↑ Styan, John L. (1967). Shakespeare's Stagecraft, Cambridge University Press. ISBN   0521094356 [ page needed ]
  7. ↑ Bratton, Jacky (15 March 2015). "Theatre in the 19th century". Discovering Literature: Romantics & Victorians. The British Library. Archived from the original on 10 July 2022. Retrieved 1 April 2023.
  8. ↑ White, Timothy R. (2015). Blue-Collar Broadway: The Craft and Industry of American Theater. University of Pennsylvania Press. ISBN   978-0812246629.[ page needed ]
  9. ↑ Di Benedetto, Stephen (2012). An introduction to theatre design. London; New York: Routledge. ISBN   978-0-415-54753-6.
  10. ↑ Lawrence, Stern (2012). Stage Management (10th ed.). Pearson. ISBN   9780205006137.
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