| "Everyone
who enjoys thinks that the principal thing to the tree is the
fruit, but in point of fact the principal thing to it is the seed.--Herein
lies the difference between them that create and them that enjoy."
--Friedrich Wilhelm Nietzsche
COURSE
DESCRIPTION
Designing for the stage means working within specific time limitations
and a predetermined stage space while striving to remain true
to the script and satisfy the visual and, to a lesser degree,
audio requirements of each production. This class will provide
you with the means that enable you to successfully manage your
time, consider your space, and use the script to discover and
anchor a particular production's technical needs.
COURSE
OF STUDY
Students will build their knowledge of stage design practices
by exploring play texts as plans for action and imagining play
scripts from a designer's point of view. To this end, students
will develop an imaginative and practicable understanding of the
major elements out of which scenic (and to a lesser degree costume
and lighting) designs are produced, an awareness of the interrelation
and interdependence of these elements, and the techniques involved
in executing a particular design. In short, you will explore how,
in all relevant specifics, design can help a script find expression
in theater. Working on a prescribed plays, students will focus
on the following design projects:
I.
Scenic design for the Student-Directed One-Act Play Festival in
late May. Specifically, you:
--develop
a set designer's grid (149-52), outlining all set-related matters
in the script
--meet
with the director(s) for input and clarification
--design
a set for one play in the one-act festival; designs should include
a ¼" thumbnail
sketch
(99), a 1/8" schematic drawing (109), and a ½"
master ground plan with a
checklist
of scenic units (110-13, 117, 120-24).
--construct
an actual part of the design for the performance (selection must
be approved
by
instructor and director).
II. Scenic design for an upcoming
B-CC Theater Program production. Specifically, you:
--develop
a set designer's grid (149-52), outlining all set-related matters
for entire script
--meet
with the director(s) for input and clarification
--design
a set for an assigned scene for two consecutive acts of the production;
designs
should
include a ¼" thumbnail sketch (99), a 1/8" schematic
drawing (109), and a
½"
master ground plan with a checklist of scenic units (110-13, 117,
120-24).
--create
and present a scale model within a model box of one act (approved
by director),
discussing
set-in, special scenic effects (including projections, dressing
of sets &
scenery,
matte shots, gobos, and visual transition devices), and design
choices.
ADDITIONAL
COURSE WORK
In addition to regular studies, there are several projects that
need to be completed outside of class:
- In addition
to recording their directing experiences, students will respond
in their journals to occasional textbook readings, interviews
with designers, and class activities as assigned. The primary
function of the journal is to help the instructor assess student
progress in less measurable areas of design. It will play a
large role in determining quarterly grades. (Journals are collected
on Tuesdays)
- In May/June,
design students will present/defend their second scenic design
to the instructor/ director; this will serve as an oral version
of a final exam.
GRADING SCALE
25%: Weekly journals and portfolio
15%: Oral Presentation
10%: Reading Quizzes
25%: Design Project 1
25%: Design Project 2
All performances
and assignments will be graded using a rubric listing standards
and expectations tailored to the particular assignment. Students
will receive the rubric when the work is assigned. Generally,
a grade of "C" on a project / performance is an indication
of satisfactory completion of the assignment, both in terms of
preparation and execution. Grades higher than “C”
will be based on those elements of the project / performance that
indicate a high degree of personal investment, thoughtful preparation
(particularly through practice exercises), and a desire to surpass
basic standards.
RETEACHING
/ REASSESSMENT
All assignments graded by rubric can be reassessed. A reassessment
must be requested by the student the same week the initial assignment
is returned. The reassessment will be scheduled within five days
of the return of the initial assignment. The assessment may be
in the original format or an alternate format. Students are expected
to seek additional help and guidance from the teacher outside
of class, preferably after school.
COMMUNICATION
All scores for work--written or performed--will be accompanied
by direct feedback from the teacher, in writing or orally. Scores
will be based a point system with more demanding projects being
assigned more points possible. Anytime you'd like an update on
your progress, check Edline
or schedule a brief meeting w/ the instructor before or after
class to ensure meaningful feedback. Parents wishing to discuss
your progress need only to contact the teacher via email. Otherwise,
the teacher will communicate progress regularly through interim
reports.
ALLOWANCES
AND EXPECTATIONS
Theater Conservatory / IB students are granted a large amount
of freedom and responsibility when making artistic choices; to
prevent any infringement on a student’s choices, additional
help from the instructor, when needed, must be sought.
Also, since
this is a conservatory class, it should also be understood by
students enrolled in this class that all performances will be
critically scrutinized and evaluated; honest feedback by the instructor
(or other students) should be viewed as an opportunity for growth;
it should never be looked upon by a performer as a personal attack,
a judgment of personal worth, or an attempt to undermine confidence.
The critiques are part of the activities and are intended to help
individual students reach very deep within themselves so that
their work can be true.
COMPLEMENTARY
READINGS
1. Pecktal, Lynn. Designing and Drawing for the Theater.
New York: McGraw-Hill, 1995.
2. Campbell, Drew. Technical Theater for Nontechnical People.
New York: Allworth P, 1998.
3. Parker, W. Oren and R. Craig Wolf. Scene Design and Stage
Lighting. Orlando: Harcourt, 1996.
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