Filología Inglesa
Theatre Production
Theatre Production, the various means by which any of the forms of
theatre are presented to a live audience. The term theatre is often
applied only to dramatic and musical plays, but it properly includes
opera, dance, circus and carnivals, mime, vaudeville, puppet shows,
pageants, and other forms—all of which have certain elements in
common. They are essentially visual; are experienced directly (although
film, videotapes, or recorded sound may be incorporated into a
performance); and are governed by sets of rules—such as scripts,
scenarios, scores, or choreography—that determine the language and
actions of the performers; language, action or atmosphere may be
contrived, in order to elicit emotional responses from the audience.
Functions and Characteristics of Theatre
Ever since Aristotle discussed the origin and function of theatre in his
famous treatise Poetics (c. 330 BC), the purpose and characteristics of
theatre have been widely debated. Over the centuries, theatre has
been used—apart from purely artistic expression—for entertainment,
religious ritual, moral teaching, political persuasion, and to alter
consciousness. It has ranged from realistic storytelling to the
presentation of abstract sound and movement. Theatre production
involves the use of sets and props, lighting, costumes, and makeup or
masks, as well as a space for performance (the stage) and a space for
the audience (the auditorium), although these may overlap, especially
in later 20th-century productions. Theatre, then, is an amalgamation of
art and architecture; literature, music, and dance; and technology. The
most rudimentary performances may depend on found space and
objects and be the work of a single performer. Most performances,
however, require the cooperative efforts of many creative and
technically trained people to form, ideally, a harmonious ensemble. See
also Drama and Dramatic Arts.
III. Presentational and Representational Theatre
Approaches to the presentation of drama vary from one generation to
the next and across cultures, but most can be categorized roughly
either as presentational or representational. Most African, Oriental, pre-
Renaissance Western, and 20th-century avant-garde theatre is
presentational. The stylized approach of presentational theatre makes
no attempt to hide its theatricality and often emphasizes it. Thus, the
German playwright and theoretician Bertolt Brecht advocated exposing
the lighting instruments and stage machinery so that the audience
would be reminded constantly that it was viewing a play.
Representational theatre, on the other hand, is illusionistic. Most
Western theatre since the Renaissance has been essentially
representational: plays have had plausible plots, characters have
seemed true to life, scenery has tended towards, or been suggestive
of, the realistic.
Most performances do not, of course, fall neatly into one or the other
category but may contain elements of each. The plays of the American
dramatist Tennessee Williams, for example, are rooted in psychological
realism but often employ dream sequences, symbolic characters and
objects, and poetic language.
IV. Types of Modern Western Theatre
Aside from aesthetic intention, Western theatre can also be classified
in terms of economics and of approaches to production, categorized as
subsidized, commercial, non-commercial—frequently called experimental
or art theatre—community, and academic theatre.
A. Subsidized Theatre
Subsidized theatre is financially underwritten by a government or by a
philanthropic organization. Because of the considerable expense of
mounting a theatrical production, the limited audience capacity of most
theatres, and, often, the limited appeal of much theatre to the
population as a whole, many theatres can only remain financially
solvent and mount quality productions with subsidies to supplement
box-office income.
Most countries have a designated national theatre company supported
by the state. In Great Britain and Germany, most cities or regions have
subsidized companies as well. In the former-Communist countries
virtually all theatre was state-supported; often this allowed more
elaborate design, technology, and experimentation than in Western
European and US theatre. There are signs that such funding is no
longer so widely available. Until recently, considerable government
support was available for the arts in the United States, especially for
regional theatres—permanent professional companies located in major
cities that often present performers in rotating repertory, such as the
Tyrone Guthrie Theater in Minneapolis, Minnesota, and the Arena Stage
in Washington, D.C. The amount of government support to the
American theatre, however, has always been far less than that given
to its European counterpart, and it is increasingly dependent on the
unpredictable generosity of philanthropic foundations. This situation,
largely caused by the very size and diversity of the United States and
of its audience, also reflects current government cutbacks. Other
important reasons are the lack of a single dominant cultural centre
such as London or Paris and the lack of a strong theatrical heritage.
Commercial Theatre
Commercial theatre appeals to a large audience and is produced with
the intention of making a profit. The basis of commercial theatre is
entertainment; social relevance and artistic and literary merit are
secondary considerations. Commercial theatre is centered in areas such
as London's West End or New York's Broadway theatre district, and
every major city in the world has an equivalent. Before transferring to
these venues, many shows are performed in other cities, offering the
opportunity to work out difficulties or to test audience response.
Equally, a successful show in New York or London may tour other cities.
In 1980 a typical Broadway drama or comedy cost approximately
US$500,000 to produce, a musical about US$1 million. Such high initial
costs, plus the weekly operating costs (theatre rent, salaries, royalties,
publicity, insurance, equipment maintenance, and the like) may cause a
show to take several years to pay off its debts and begin to make a
profit. Sometimes only the lucrative sale of film rights puts a production
in the black. Because of such economics, West End and Broadway
producers seldom take risks with unknown playwrights or unusual
plays. Although the economics were not so harsh before World War II,
commercial theatre has always been inherently conservative and
inhospitable to experimentation. See also West End Theatres;
Broadway Theatres.
C. Non-Commercial Theatre
Attempts to circumvent the economics peculiar to commercial theatre
since the end of the 19th century have resulted in the evolution of non-
commercial theatre. Known as art theatre in Europe and America
before World War I, and later as experimental theatre, it is often
identified today in New York as Off-Broadway and Off-Off-Broadway
(the latter being a reaction to the increasing commercialism of the
former), in England as fringe theatre, and elsewhere by a host of other
names. The various goals of such theatre include presenting more
serious, literary, politically active, artistic, and avant-garde drama;
experimenting with new forms of production, acting, and design; and
giving voice to new playwrights, actors, and directors.
Non-commercial theatre tends to operate on limited budgets, to make
lack of resources a virtue, and to be unconcerned with profit. It tends
to believe strongly in specific ideals and often disavows the apparent
slickness associated with commercial theatre. Non-commercial theatre
tries to survive on box-office income and donations, but in recent years
it has become increasingly dependent on state and private subsidy.
Those companies that cannot obtain adequate funding are usually
faced with bankruptcy after a short time or else are forced to
compromise their ideals to survive. In fact, those that do survive almost
become as commercial as the theatre they once rebelled against. This
has been a repeating pattern in 20th-century theatre history.
See also Feminist Theatre; Propaganda Theatre.
D. Community and Academic Theatre
Community theatre is generally non-professional, consisting of
members of a community who practice theatre as an avocation. The
repertoire of community theatre tends to be commercial fare, although
this may vary. Academic theatre, as the name suggests, is produced by
educational institutions, most often colleges and universities. The
educational purpose of such theatre results in a repertoire often
weighted towards the classical and experimental. Some colleges have
technical facilities that surpass those of commercial theatres. Academic
theatre is far more active in the United States than elsewhere; with
over 5,000 productions a year, it is responsible for more theatre than
all other American forms combined.
V. Theatre Space
Theatre can also be discussed in terms of the type of space in which it
is produced. Stages and auditoriums have had distinctive forms in
every era and in different cultures. New theatres today tend to be
flexible and eclectic in design, incorporating elements of several styles;
they are known as multiple-use or multiple-form theatres.
A performance, however, need not occur in an architectural structure
designed as a theatre, or even in a building. The English director Peter
Brook talks of creating theatre in an “empty space”. Many earlier forms
of theatre were performed in the streets, open spaces, market
squares, churches, or rooms or buildings not intended for use as
theatres. Much contemporary experimental theatre rejects the formal
constraints of available theatres and seeks more unusual spaces. In all
these “found” theatres, the sense of stage and auditorium is created
by the actions of the performers and the natural features of the space.
Throughout history, however, most theatres have employed one of
three types of stage: end, thrust, and arena. An end stage is a raised
platform facing the assembled audience. Frequently, it is placed at one
end of a rectangular space. The simplest version of the end stage is
the booth or trestle stage, a raised stage with a curtained backdrop
and perhaps an awning. This was the stage of the Greek and Roman
mimes, the mountebanks and wandering entertainers of the Middle
Ages, commedia dell'arte, and popular entertainers into the 20th
century. It probably formed the basis of Greek tragic theatre and
Elizabethan theatre as well. See also Theatre Buildings; Theatre Stage
Design.
A. The Proscenium Theatre
Since the Renaissance, Western theatre has been dominated by an
end stage variant called the proscenium theatre. The proscenium is the
wall separating the stage from the auditorium. The proscenium arch,
which may take several shapes, is the opening in that wall through
which the audience views the performance. A curtain that either rises
or opens to the sides may hang in this space. The proscenium
developed in response to the desire to mask scenery, hide scene-
changing machinery, and create an offstage space for performers' exits
and entrances. The result is to enhance illusion by eliminating all that is
not part of the scene and to encourage the audience to imagine that
what they cannot see is a continuation of what they can see. Because
the proscenium is (or appears to be) an architectural barrier, it creates
a sense of distance or separation between the stage and the
spectators. The proscenium arch also frames the stage and
consequently is often called a peep-show or picture-frame stage. See
also Proscenium.
B. The Thrust Stage
A thrust stage, sometimes known as three-quarter round, is a platform
surrounded on three sides by the audience. This form was used for
ancient Greek theatre, Elizabethan theatre, classical Spanish theatre,
English Restoration theatre, Japanese and Chinese classical theatre,
and much of Western theatre in the 20th century. A thrust may be
backed by a wall or be appended to some sort of end stage. The
upstage end (back of the stage, farthest from the audience) may have
scenery and provision for entrances and exits, but the thrust itself is
usually bare except for a few scenic elements and props. Because no
barrier exists between performers and spectators, the thrust stage
generally creates a sense of greater intimacy, as if the performance
were occurring in the midst of the auditorium, while still allowing for
illusionistic effects through the use of the upstage end and adjacent
offstage space.
C. The Arena Stage
The arena stage, or theatre-in-the-round, is a performing space totally
surrounded by the auditorium. This arrangement has been used in the
20th century, but its historical precedents are largely in non-dramatic
forms such as the circus, and it has limited popularity. The necessity of
providing equal sight lines for all spectators puts special constraints on
the type of scenery used and on the movements of the actors, because
at any given time part of the audience will inevitably be viewing a
performer's back. Illusion is more difficult to sustain in an arena, since
in most set-ups, entrances and exits must be made in full view of the
audience, eliminating surprise, if nothing else. Nonetheless, the arena,
when properly used, can create a sense of intimacy not often possible
with other stage arrangements, and, as noted, it is well suited to many
non-dramatic forms. Furthermore, because of the different scenic
demands of arena theatre, the large backstage areas associated with
prosceniums can be eliminated, thus allowing a more economical use of
space.
D. Variant Forms
One variant form of staging is environmental theatre, which has
precedents in medieval and folk theatre and has been widely used in
20th-century avant-garde theatre. It eliminates the single or central
stage in favour of surrounding the spectators or sharing the space with
them. Stage space and spectator space become indistinguishable.
Another popular alternative is the free, or flexible, space, sometimes
called black-box theatre because of its most common shape and colour.
This is an empty space with movable seating units and stage platforms
that can be arranged in any configuration for each performance.
E. The Fixed Architectural Stage
Most stages are raw spaces that the designer can mould to create any
desired effect or location; in contrast, the architectural stage has
permanent features that create a more formal scenic effect. Typically,
ramps, stairs, platforms, archways, and pillars are permanently built
into the stage space. Variety in individual settings may be achieved by
adding scenic elements. The Stratford Festival Theatre in Stratford,
Ontario, for example, has a permanent “inner stage”—a platform
roughly 3.6 m (12 ft) high—jutting on to the multilevel thrust stage from
the upstage wall. Most permanent theatres throughout the
Renaissance, such as the Teatro Olimpico (1580) in Vicenza, Italy, did
not use painted or built scenery but relied on similar permanent
architectural features that could provide the necessary scenic
elements. Noh and kabuki stages in Japan are other examples.
F. Auditoriums
Auditoriums in the 20th century are mostly variants on the fan-shaped
auditorium built (1876) by the composer Richard Wagner at his famous
opera house in Bayreuth, Germany. These auditoriums are shaped like
a hand-held fan and are usually raked (inclined upwards from front to
back), with staggered seats to provide unobstructed sight lines. Such
auditoriums may be designed with balconies, and some theatres, such
as opera houses, have boxes—seats in open or partitioned sections
along the sidewalls of the auditorium—a carry-over from Baroque
theatre architecture.
VI. The Theatre Staff
Regardless of the type or complexity of a production, all theatre
performances have similar requirements. For a small, non-commercial
production, most of these requirements may be met by two or three
people; a West End or Broadway show requires dozens; certain opera
companies employ several hundred. The staff may be divided into
administrative, creative (or artistic), and technical personnel.
The administrative group includes the producer, box-office and publicity
personnel, and front-of-house staff (house manager, ushers, and
others responsible for the audience). The artistic staff consists of the
director, designers, performers, and, if applicable, playwright,
composer, librettist, choreographer, and musical director. Technical
personnel include the stage manager, technical director, and various
construction and running crews, all working backstage.
A. Producer
The producer is responsible for the overall administration—raising and
allocating funds, hiring personnel, and overseeing all aspects of
production. Large productions may have several producers designated
as executive, associate, or co-producers, each of whom may be
responsible for a specific aspect of the show. Someone may be listed
as a producer by virtue of the amount of money invested. An
organization can be a producer, as was the Theatre Guild, a group
responsible for some of the most important productions on Broadway
from the 1920s to the 1940s. In such arrangements, of course,
individual members of the organization still supervise.
For a new commercial production, the producer contracts with a
playwright for a script; raises funds from private investors called
“angels” (who may invest after seeing a fragment of the play at a
special staging known as a backer's audition); hires the artistic and
technical staff; rents a theatre and all the necessary equipment for the
stage; and oversees publicity, ticket sales, and all the financial aspects
of the production. Box-office operations are handled by a general
manager. In theatre companies that do repertory, a season of several
plays, the producer may be responsible for selecting the repertoire,
although this is often the task of the artistic director. The producer also
arranges tours, subsidiary productions, and the sale of subsidiary
rights, including film, television, and amateur production rights. Most
theatres also have a theatre or house manager, responsible for
theatre maintenance and audience control.
B. Director
The director makes all artistic or creative decisions and is responsible
for the harmonious unity of a production. The director, usually in
conjunction with the designers (and perhaps the producer), determines
a concept, motif, or interpretation for the script or scenario; selects a
cast, rehearses them; and usually has a deciding role in scenery,
costumes, lights, and sound. Movement, timing, pacing, and visual and
aural effects are all determined by the director; what the audience
finally sees is the director's vision. From the time of the ancient Greeks
until the 17th century this role was generally fulfilled by the playwright,
and from the 17th to the end of the 19th century directing was the
function of the leading actor of a company. Under such conditions,
however, ensemble performance was rare.
The concept of the modern director can be traced to the 18th-century
English actor-manager David Garrick, although George II, duke of the
German principality of Saxe-Meiningen, is generally referred to as the
first director; touring Europe with his theatre company in the 1870s
and 1880s, he exercised absolute control over all aspects of
production. In the 20th century there has been a recurring tendency
for directors to use a script simply as a starting point for their own
theatrical visions, resulting in unorthodox and frequently spectacular
productions often called “theatricalist”. Such productions often achieve
clarification or emphasis of themes or images in the text, or a new
relevance for classic scripts, sometimes—admittedly—at the expense of
the integrity of the original. Some notable directors of this type were
Vsevolod Meyerhold, Max Reinhardt, Jean-Louis Barrault, and, more
recently, Peter Brook, Peter Stein, and Tom O'Horgan.
The director usually selects the cast through auditions in which
performers read sections of the script to be produced, present
prepared scenes or speeches, or, when appropriate, sing and dance.
The director of a musical production is aided in the auditioning process
by the musical director and the choreographer. Although auditioning is
acknowledged to be a flawed method, it does allow the director to
judge the talents and qualities of potential performers. Actors may also
be employed on the basis of reputation, recommendation of agents, or
simply for physical appropriateness.
C. Performers
Acting implies impersonation, and most plays require the creation of
complex characters with distinct physical and psychological attributes.
In the broadest sense, however, a performer is someone who does
something for an audience; thus, performing may range from executing
simple tasks to displaying skill without impersonation, to believably re-
creating historical or fictional characters, to exercising the virtuoso
techniques of dancers and singers.
The director and cast of modern productions generally rehearse from
two to six weeks, although certain European subsidized theatres have
the luxury of several months' rehearsal time, and certain types of Asian
theatre require several years of formal training (the bunraku puppet
theatre of Japan and the kathakali dance theatre of India are notable
examples). During rehearsals, blocking (the movement of the
performers) is set, lines are learned, interpretations are determined,
and performances are polished. If a new play is being rehearsed, the
playwright is usually present to change lines and to rearrange, add, or
delete scenes as necessary. In the case of musicals, songs and dances
may be added or dropped; the choreographer rehearses the dancers,
and the musical director rehearses the singers.
Most professional actors belong to Actors' Equity Association, a trade
union, or some equivalent organization. The union determines salaries,
length of rehearsals, number of performances per week (normally
eight), working conditions, and benefits. Although acting is often
thought to be a lucrative profession, it is so for only a very few—the
stars. Base salaries for actors and dancers are lower than in most
other trade professions. Moreover, theatre does not provide steady
employment or job security. Of the thousands of Equity members, at
least 85 per cent are unemployed at any one time.
D. Set Design
In Europe, one person, frequently called a scenographer, designs sets,
costumes, and lights; in the United States these functions are usually
handled by three separate professionals. Set design is the
arrangement of theatrical space; the set, or setting, is the visual
environment in which a play is performed. Its purpose is to suggest
time and place and to create the proper mood or atmosphere. Settings
can generally be classified as realistic, abstract, suggestive, or
functional.
1. Realistic
A realistic setting tries to re-create a specific location. During the height
of Naturalism at the end of the 19th century, directors strove for total
verisimilitude, leading to such practices as purchasing real meat to
hang in a butcher's shop scene or transferring a complete restaurant
on to a stage. The insistence on realistic sunset effects and the like by
American producer-director David Belasco led to significant
improvements in lighting design and equipment early in the 20th
century. But naturalism is also illusionism; such settings are designed
to fool the audience. Walls of a stage set are usually not made of wood
or plasterboard, as they would be in a real house, but are constructed
from flats—panels of canvas stretched on wooden frames—supported
from behind by stage braces. Flats are lightweight and thus easy to
move and store, and they are reusable. Trees and rocks may be
constructed from papier-mâché; elaborate mouldings are made from
plastic; wallpaper, shadows, and inlaid woodwork are more often
painted than real; false perspective may be painted or built into the
set. The stage floor may be raked—inclined upwards from the front of
the stage (downstage) to the back (upstage)—and furniture
appropriately adjusted to compensate for audience sight lines or the
normal effects of perspective. The result is the illusion of a room, or
park, or forest, but the reality may be a carefully distorted
conglomeration of canvas, glue, and paint.
From the Renaissance to the mid-19th century, realistic settings
generally consisted of a painted backdrop and wings—flats placed
parallel to the front of the stage to help mask the offstage space, and
often painted to enhance the scenic illusion. Some furniture or free-
standing set pieces were sometimes placed on the stage, but generally
it was an empty space for the actors. The settings were “stock”,
consisting of an interior set, an exterior set, and variants that sufficed
for all performances. Most interior scenes since the early 19th century
have utilized a box set—a room from which the fourth wall (the one
nearest the audience) has supposedly been removed, leaving a room
with three walls, a ceiling, and three-dimensional furniture and decor.
Such an arrangement posits the spectator as voyeur. In actuality, the
setting is once again illusionistic; the arrangement of furniture and the
positions and movements of actors are designed for audience
convenience.
Even in the most realistically detailed setting, the designer still controls
much of the setting's effect through choice of colours, arrangement of
props and set pieces (is the room sparsely furnished or cluttered,
spacious or claustrophobic?), and placement of entrances. All this has a
profound, albeit subtle, effect on the audience.
2. Abstract
The abstract setting, most popular in the early 20th century, was
influenced largely by the Swiss designer Adolphe Appia and the English
designer Edward Gordon Craig. The theories of these two men have
influenced not only design in general but much contemporary theatre.
An abstract set does not depict any specific time or place. It most often
consists of platforms, steps, drapes, panels, ramps, or other non-
specific elements. Most common in modern dance, abstract settings
work best in productions in which time and place are unspecified or
irrelevant, or in which the director and designer want to create a sense
of timelessness and universality. This is common, for instance, in
Shakespearean productions, in which locale may alter rapidly, is
frequently not indicated by the script, and may be suggested
adequately by a few props and by the poetry itself. Abstract settings
place more emphasis on the language and the performer and stimulate
the spectator's imagination. Costuming thus becomes more significant,
and lighting takes on great importance.
3. Suggestive
Most settings in today's commercial theatre are suggestive, descended
from the so-called new stagecraft of the first half of the 20th century.
Sometimes called simplified realism, its scenic effect is achieved by
eliminating non-essential elements—an approach championed by the
American designer Robert Edmond Jones—or by providing fragments of
a realistic setting, perhaps in combination with abstract elements, such
as a window frame suspended in front of black drapes. Universality and
imagination are encouraged through the lack of detail; yet some
specificity of time, place, and mood is achieved. Such sets may appear
dream-like, fragmentary, stark, or surrealistic.
4. Functional
Functional settings are derived from the requirements of the particular
theatrical form. Although they are rarely used in dramatic
presentations, they are essential to certain kinds of performance. An
excellent example is the circus, the basic scenic elements of which are
determined by the needs of the performers.
E. Stage Facilities
The use and movement of scenery are determined by stage facilities.
Relatively standard elements include trapdoors in the stage floor, lifts
that can raise or lower stage sections, wagons (rolling platforms) on
which scenes may be mounted, and cycloramas—curved canvas or
plaster backdrops used as a projection surface or to simulate the sky.
Above the stage, especially in a proscenium theatre, is the area known
as the fly gallery, where lines for flying—that is, raising—unused
scenery from the stage are manipulated, and which contains
counterweight or hydraulic pipes and lengths of wood, or battens, from
which lights and pieces of scenery may be suspended. Other special
devices and units can be built as necessary. Although scene painting
seems to be a dying art, modern scene shops are well equipped to
work with plastics, metals, synthetic fabrics, paper, and other new and
industrial products that until recently were not in the realm of theatre.
See also Stage Design.
F. Lighting Design
Lighting design, a more ephemeral art, has two functions: to illuminate
the stage and the performers and to create mood and control the focus
of the spectators. Theatre lighting may be from a direct source such as
the Sun or a lamp, or it may be indirect, employing reflected light or
general illumination. It has four controllable properties: intensity,
colour, placement on the stage, and movement—the visible changing of
the first three properties. These properties are used to achieve
visibility, mood, composition (the overall arrangement of light, shadow,
and colour), and the revelation of form—the appearance of shape and
dimensionality of a performer or object as determined by light.
Until the Renaissance, almost all performance was outdoors and
therefore lit by the sun, but with indoor performance came the need for
lighting instruments. Lighting was first achieved with candles and oil
lamps and, in the 19th century, with gas lamps. Although coloured
filters, reflectors, and mechanical dimming devices were used for
effects, lighting served primarily to illuminate the stage. By current
standards the stage was fairly dim, which allowed greater illusionism in
scenic painting. Gas lighting facilitated greater control, but only the
advent of electric lighting in the late 19th century permitted the
brightness and control presently available. It also allowed the dimming
of the house-lights, plunging the auditorium into darkness for the first
time.
Lighting design, however, is not simply aiming the lighting instruments
at the stage or bathing the stage in a general wash of light. Audiences
usually expect actors to be easily visible at all times and to appear to
be three-dimensional. This involves the proper angling of instruments,
provision of back and side lighting as well as frontal, and a proper
balance of colours. Two basic types of stage-lighting instruments are
employed: floodlights, which illuminate a broad area, and spotlights,
which focus light more intensely on a smaller area. Instruments consist
of a light source and a series of lenses and shutters in some sort of
housing. These generally have a power of 500 to 5,000 watts. The
instruments are hung from battens and stanchions in front of, over,
and at the sides of the stage. In realistic settings, lights may be
focused to simulate the direction of the ostensible source, but even in
these instances, performers would appear two-dimensional without
back and side lighting.
Because so-called white light is normally too harsh for most theatre
purposes, colored filters called gels are used to soften the light and
create a more pleasing effect. White light can be simulated by mixing
red, blue, and green light. Most designers attempt to balance “warm”
and “cool” colors to create proper shadows and textures. Except for
special effects, lighting design generally strives to be unobtrusive; just
as in set design, however, the skilful use of color, intensity, and
distribution can have a subliminal effect on the spectators' perceptions.
The lighting designer is often responsible for projections. These include
still or moving images that substitute for or enhance painted and
constructed scenery, create special effects such as stars or moonlight,
or provide written legends for the identification of scenes. Images can
be projected from the audience side of the stage on to opaque
surfaces, or from the rear of the stage on to specially designed rear-
projection screens. Similar projections are often used on scrims, semi-
transparent curtains stretched across the stage. Film and still
projection, sometimes referred to as mixed media, was first used
extensively by the German director Erwin Piscator in the 1920s and
became very popular in the 1960s.
The lights are controlled by a skilled technician called the electrician,
who operates a control or dimmer board, so called because a series of
“dimmers” controls the intensity of each instrument or group of
instruments. The most recent development in lighting technology is the
memory board, a computerized control system that stores the
information of each light cue or change of lights. The electrician need
no longer operate each dimmer individually; by pushing one button, all
the lights will change automatically to the pre-programmed intensity
and at the desired speed.
G. Costume Design
A costume is whatever is worn on the performer's body. Costume
designers are concerned primarily with clothing and accessories, but
are also often responsible for wigs, masks, and makeup. Costumes
convey information about the character and aid in setting the tone or
mood of the production. Because most acting involves impersonation,
most costuming is actual or re-created historical or contemporary
dress; as with scenery, however, costumes may also be suggestive or
abstract. Until the 19th century, little attention was paid to period or
regional accuracy; variations on contemporary dress sufficed. Since
then, however, costume designers have paid great attention to
authentic period style.
As with the other forms of design, subtle effects can be achieved
through choice of colour, fabric, cut, texture, and weight or material.
Because costume can indicate such things as social class and
personality traits, and can even simulate such physical attributes as
obesity or a deformity, an actor's work can be significantly eased by its
skilful design. Costume can also function as character signature,
notably for such comic characters as Harlequin or the other characters
of the commedia dell'arte, Charlie Chaplin's Little Tramp, or circus
clowns.
In much Oriental theatre, as in classical Greek theatre, costume
elements are formalized. Based originally on everyday dress, the
costumes became standardized and were appropriated for the stage.
Colours, designs, and ornamentation all convey meaningful information.
H. Mask
A special element of costume is the mask. Although rarely used in
contemporary Western theatre, masks were essential in Greek and
Roman drama and the commedia dell'arte and are used in most African
and Oriental theatre. The masks of tragedy and of comedy, as used in
ancient Greek drama, are in fact the universal symbols of the theatre.
Masks obviate the use of the face for expression and communication
and thus render the performer more puppet-like; expression depends
solely on voice and gesture. Because the mask's expression is
unchanging, the character's fate or final expression is known from the
beginning, thereby removing one aspect of suspense. The mask shifts
focus from the actor to the character and can thus clarify aspects of
theme and plot and give a character a greater universality. Like
costumes, the colours and features of the mask, especially in the
Orient, indicate symbolically significant aspects of the character. In
large theatres masks can also aid in visibility.
1. Makeup
Makeup may also function as a mask, especially in Oriental theatre,
where faces may be painted with elaborate colours and images that
exaggerate and distort facial features. In Western theatre, makeup is
used for two purposes: to emphasize and reinforce facial features that
might otherwise be lost under bright lights or at a distance and to alter
signs of age, skin tone, or nose shape.
I. Technical Production
The technical aspects of production may be divided into pre-production
and run of production. Pre-production technical work is supervised by
the technical director in conjunction with the designers. Sets,
properties (props), and costumes are made during this phase by crews
in the theatre shops or, in the case of most commercial theatre, in
professional studios.
Props are the objects handled by actors or used in dressing the stage—
all objects placed or carried on the set that are not costumes or
scenery. Whereas real furniture and hand props can be used in many
productions, props for period shows, non-realistic productions, and
theatrical shows such as circuses must be built. Like sets, props can be
illusionistic—they may be created from papier-mâché or plastic for
lightness, exaggerated in size, irregularly shaped, or designed to
appear level on a raked stage; they may also be capable of being
rolled, collapsed, or folded. The person in charge of props is called the
props master or mistress.
J. Sound and Sound Effects
Sound, if required, is now generally recorded during the pre-production
period. From earliest times, most theatrical performances were
accompanied by music that, until recently, was produced by live
musicians. Since the 1930s, however, use of recorded sound has been
a possibility in the theatre. Although music is still the most common
sound effect, wind, rain, thunder, and animal noises have been
essential since the earliest Greek tragedies. Any sound that cannot be
created by a performer may be considered a sound effect. Such sounds
are most often used for realistic effect (for example, a train rushing by
or city sounds outside a window), but they can also assist in the
creation of mood or rhythm. Although many sounds can be recorded
from actual sources, certain sounds do not record well and seem false
when played through electronic equipment on a stage. Elaborate
mechanical devices are therefore constructed to simulate these
sounds, such as rain or thunder.
Technicians also create special aural and visual effects simulating
explosions, fire, lightning, and apparitions and giving the illusion of
moving objects or of flying. See also Acoustics (theatre).
K. Stage Management
The stage manager serves as a liaison among the technical personnel
and between them and the creative staff, oversees rehearsals,
coordinates all aspects of production, and runs the show in
performance. The stage manager “calls” the show—signals all
technicians when to take their cues—and supervises the actors during
the production.
The running crew is determined by the needs of the production. It may
consist of the following: scene crews, or grips, who shift the scenery;
prop crews; wardrobe crews, who assist the performers with their
costumes and maintain the costumes between performances; sound
technicians; electricians; and flymen, who operate all flying scenery. In
commercial theatre, all technicians belong to the stagehands union.
When the scenery is built, it is “loaded in” and set up. Lights are hung,
focused, and gelled—given coloured filters. Technical rehearsals are
then held, during which light, sound, and scene, and scene-shift cues
are set and rehearsed—first with the crews alone, then with actors.
Finally, in dress rehearsals, the show is rehearsed with all elements
except the presence of an audience. When a show closes, the set is
“struck” and “loaded out”.
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Enviado por: | Estudiomaníaca |
Idioma: | inglés |
País: | Chile |