2.  Sets included: › Painted walls of city streets and a large central entrance–forerunner of the proscenium arch. › Prism sets and raked stages were sometimes used. › Experimentation with other backdrops, wing settings, revolving stages, and shutters.

3.  End-stage action took place on the raked apron.  Little action occurring behind the proscenium in the scenery.

4.  Efforts made to the individual play.  Mid century: more realism—settings changed as the apron shrank, orchestra seats were added, painted backdrops were eliminated, and wings were closed.

5.  Experimentation with scenery is common.  Naturalism peaked with the photographically accurate sets.  Designers typically use a proscenium set that has all the essential entrances, and two-sided or three sided rooms.

6.  Box set, which consists up two or three walls built of flats often covered by a ceiling  A unit set, which consists of several scenic units which can be moved about the stage, turned, and interchanged to create several settings.  Permanent set, which can vary in design but rarely changes during a play.

7.  Profile set, which can be constructed of screens and forms the entire perimeter of the setting.  Curtain Set, which simply uses curtains as a backdrop for the play.  Skeleton set, which consists of frames and openings that can be left empty were filled by draperies, backings, and doors.

8.  Size and shape of the auditorium  Details about the available space  Storage space  Dimensions of the apron and the wings  The number and the sizes of flats, drops, and scrims.  … whether they are special units

9.  The designer must have a good knowledge of the play and the audience.

10.  Unity—all of the elements on a set form a whole that centers on the theme of the play.  Emphasis—focuses on a particular object, area or furnishing.  Proportion—all elements are scaled realistically if realism is the goal, or distorted appropriately if non-realism is the goal; and Balance ---the distribution of emphasis from one side of the stage to the other.

11.  Gathering the materials and hardware  Assembling and bracing the frame, which can be done through the use of butt joints or preferably, miter joints.  Watching the frame with a flameproof solution.  Covering the frame with cloth. Sizing the cloth.

12.  Sizing the cloth  Attaching a lash line  The best fabric for covering flats is canvas, but because it is expensive to purchase, the next best choice is unbleached muslin.

13.  Requires an experienced crew  Stage manager is responsible  Directs the crew members  That grips moved flats, periaktoi, and set pieces.  Fly crew raises and lowers scenery and draperies.

14.  Page 422.  Analyze the set design on page 422. Look at the types of sets. Discuss why do you think this scenery was made the way it was.

15.  Key elements  In establishing mood, atmosphere, and setting in a play.  Effective lighting conveys a particular interpretation.  While the lighting technician needs to know the technical aspects, every one should understand how lighting effects the elements of production. Without a sound system most audiences would not be able to hear the actors