Stagecraft, the technical aspects of theatrical production, which include scenic design, stage machinery, lighting, sound, costume design, and makeup. In comparison with the history of Western theatre, the history of scenic design is short. Although Greek theatre enjoyed its golden age two millennia ago, scenery in theatre not heavily utilized until after 1600.
And the position of scenic designer. Who is responsible for the visual appearance and function of scenic and property elements, not commonly credited until the mid-1920s. Robert Edmond Jones generally acknowledged as among the first credited scenic designers, for a 1915 production of The Man Who Married a Dumb Wife.
The term scenery can include any noncustomer visual element used in support of a production. In the context of this article, however, it will be define as any non-permanent two- or three-dimensional background or environmental element place on the stage to suggest the historical period, locale, and mood of the play being perform.
While properties with set props like sofas, chairs, draperies, etc. And hand props or any non-costume items handled by the actors, such as glassware, cutlery, or booked the same, they generally are not considered scenery.
Role Of The Scenic Designer Production
Approaches to contemporary scenic design procedure are fairly uniform throughout the Western world. One guideline is generally follow the design needs to be expressive of the mood and spirit of the play. The terms mood and spirit can be further define. Generally, mood refers to the production’s overall emotional quality happy, sad, tragic, comic, and so forth.
Spirit refers to the production concept the style or manner in which a particular production is to be present, as decided by the production design team. The director and producer almost always create the initial production concept. Depending on its clarity and the director’s and producer’s belief in it, the production concept may remain unchanged. However, it may be modify by input from designers.
The process for creating a scenic design begins with the designer closely studying the script for information it contains about the period, country, locale, mood, and spirit of the play, the socioeconomic status of its characters, and any other information that will help with the development of the design. The designer also typically researches the history of the period depicted in the play.
This is to learn not only the visual style of the period but its social context as well. The scenic designer also attends numerous production meetings where budgets, the production venue, and the details of the play and its production are discuses.
Throughout history, Western theatre has been significantly influence by religion. This is probably because, in almost all Western cultures, theatrical presentations began as an outgrowth of local religious practices. See Western theatre: The origins of Western theatre. Dominant religions in other areas of the world similarly influenced theatrical activities.
For example, in regions where Islam is the primary religion, theatre faces prohibitions against presenting images of living beings. Nonetheless, popular plays based on folkloric themes thrived. These performances did not occur in theatres or use scenery. The only staging elements employed were, at most, a rug laid on the ground and a canopy suspended overhead.
Almost all Arabic-speaking cultures also have a strong tradition of shadow puppet theatre. Among the most prominent traditions is the Karagöz puppet show. Shadow puppets, so-called because the audience sees only the shadows of the puppets projected on a cloth screen, thrived by sidestepping Islamic prohibitions.
Because the audience never saw the puppets human operators and because the puppets two-dimensional join body translucent, the shadows they produce not consider representations of humans. Like other forms of popular theatre in the Arabic-speaking world, shadow-puppet theatre uses no scenery.