1. A Level Drama and Theatre Theatre Design
Lessons 1 - 3

2. ‘The aim of art is to represent not the outward appearance of things, but their inward significance.’
Aristotle

3. The Designer’s Goal

4. Conjuring the Life of the Play
A play exists in two parts: ‘Outer reality’ The lives of the characters in the situations of the play ‘Inner reality’ Thematic elements that allow us to relate the events of the play to our own lives

5. Example
Hamlet Outer reality – the struggle of a Danish prince as he avenges his father’s death The problem – Very few of us are princes, and even fewer have spoken with our father’s ghost, so there is little on the surface that the audience can relate to, so …

6. … designers and directors must look beneath the surface of events to identify ideas the audience can relate to. Hamlet example: Inner reality The complexity of becoming an adult, the difficulty of taking a parent’s place in the world, the problems of corruption and betrayal, and wrestling with loyalty to our family and friends. The inner reality is what resonates with us strongly as audience members, not necessarily the surface reality.

7. Hamlet set design

8. Conjuring the Life of the Play: Summary
Get under the surface of the play
Focus on animating the play’s internal life
Engage audiences with the inner life through design
Robust reading and analysis of the play is essential at the start of the design process
If a designer does not understand the inner workings of the play, they will not be successful in their role
Designers must focus on creating an effective and powerful experience for the audience member

9. Task Working as part of a group using the exam text:
List the outer realities (focus on the different characters/situations to guide you)
Identify/describe/explain the inner realities
Be ready to share your work.

10. Robert Edward Jones, designer.
‘A setting is not just a beautiful thing, a collection of beautiful things. It is a presence, a mood, a warm wind fanning the drama to flame. It echoes, it enhances, it animates. It is an expectation, a foreboding, a tension. It says nothing, but gives everything.’
Robert Edward Jones, designer.

11. Environment for Dramatic Action
A scenic, costume, sound or lighting designer’s principal job is to create the visible world of the play – the environment where the dramatic action can unfold in all its complexity.

12. Scenic Designers
Consider the atmospheric quality of the space before designing
Think about how the space will affect the actors and the audience – it’s impact
Use iconic elements (more about this later) from your research to guide you, then think about how they might be represented in an interesting and relevant way
Don’t be afraid to take creative risks and to experiment with unusual design
Ideas must be viable

13. Task
Working with a partner: Choose a configuration that you think would be an interesting way in which to stage a version of the exam text (see supporting handout). Think about what will be most effective for the play – you must be able to justify your choice. What are the different possibilities for creating atmosphere and impact? Be ready to share your thoughts.

14. ‘Experienced scenic designers have a particular sensitivity to the atmospheric quality of a space, with an eye toward how it affects both the actors and the audience witnessing the event.’
Lynne Porter

15. Considerations for Scenic Design
Epoch – when will the play be set? (Historical vs contemporary contextualisation)
Themes – how will these be communicated through the scenic design?
What does the action of the play need?
What environment/s are required?
Literal versus representational (style)
Functionality / multi-functionality
Use of colour and materials (colour design – links to costume)

16. Iconic Elements Scenic designer as the beginning of their careers:
Focus on objects they want to put on stage
Lift one or two iconic elements from their research – arrange them in an unusual fashion
However – physical elements do not become viable designs until they are composed to create an environmental quality unique to the play…

17. Example
When working on a Greek tragedy, simply using columns on the stage does not make a viable design.
While columns might be appropriate, the designer must pay attention to the:
Size and scale of the columns
Spaces between the columns
The objects the columns are holding in the air
The overall space the columns define

18. Stop: check! Think about what we have discussed so far: Inner-reality
Outer-reality
Research
Stage configurations
Iconic elements
Do you understand what these terms mean and why they are important to the work of a designer?

19. Task Working in the group allocated (yes, this will mean moving):
Read the /briefing from the Old Vic
Use the materials given to mind map ideas that meet the requirements of the brief
Be ready to present at the start of next lesson

20. Play Analysis for Environment
Know what the play needs before starting your design. Through design elements, which important factors will you need to communicate? Working with a partner, respond to the questions on the handout for each scene in the play. This can be in a note / mind map format – no need for long pieces of writing. Finish on your own for homework before creating your design concept.