By Karen Brewster
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Additional info for Fundamentals of Theatrical Design: A Guide to the Basics of Scenic, Costume, and Lighting Design
For each of the identified problems, make a list of all of the possible solutions and state whether the solution will require time, money, labor, or some combination of the three. 54 Chapter 3 Researching the Design When designers conduct research, they immerse themselves in the world of the play to a level that reading the play alone cannot attain. Effective designers research anything and everything related to the story, the script, and the design. This means researching the more tangible aspects of the script, the given circumstances, and the objectives of time, period, place, locale and character types, as well as the intellectual and inspirational aspects known as theme, mood, and style.
Creating this effect onstage will take the collaborative efforts of costume, property, and scenic designers in addition to the efforts of the actor, stage manager, and running crew. Another type of practical problem involves concerns that stem from issues specific to a particular production. These production issues can include the following: ○○ ○○ ○○ ○○ ○○ ○○ 50 A small or inadequate budget An insufficient or unskilled labor pool Limited equipment or materials Limitations of time The physical limitations of the performance venue The physical limitations of the production spaces (scene shop, costume shop) The Objectives of Theatrical Design How do resources such as budget, labor, materials, and time limitations affect the production, and why should we have to consider these when designing a show?
When designing for any production of The Crucible, awareness of the author’s intent is essential and provides invaluable information. Another challenge for designers is provided when a playwright chooses to present different periods within the same play, as is the case with Charlotte Keatley’s My Mother Said I Never Should. Keatley’s My Mother Said I Never Should spans sixty years and four generations of women in the same English family. The structure of this play is a series of nonchronological short scenes spanning the entire twentieth century, beginning with the birth of the matriarch in 1900, and following the births of four subsequent generations of women who are each a product of her time.
Fundamentals of Theatrical Design: A Guide to the Basics of Scenic, Costume, and Lighting Design by Karen Brewster