Theatrical Design and Production Chapter 11: Stage Properties © 2006 McGraw-Hill. All right...

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Theatrical Design and Production Chapter 11: Stage Properties 06 McGraw-Hill. All right reserved. In the proscenium theatre, stage properties are the icing on the scenic designer’s cake They are the primary design tool used to provide clues to the personalities and socioeconomic status of the characters The following three slides show the same set dressed with different props

Transcript of Theatrical Design and Production Chapter 11: Stage Properties © 2006 McGraw-Hill. All right...

Theatrical Design and Production

Chapter 11: Stage Properties

© 2006 McGraw-Hill. All right reserved.

In the proscenium theatre, stage properties are the icing on the scenic designer’s cake

They are the primary design tool used to provide clues to the personalities and socioeconomic status of the characters

The following three slides show the same set dressed with different props

Theatrical Design and Production

Chapter 11: Stage Properties

© 2006 McGraw-Hill. All right reserved.

Theatrical Design and Production

Chapter 11: Stage Properties

© 2006 McGraw-Hill. All right reserved.

Theatrical Design and Production

Chapter 11: Stage Properties

© 2006 McGraw-Hill. All right reserved.

Theatrical Design and Production

Chapter 11: Stage Properties

© 2006 McGraw-Hill. All right reserved.

In thrust and arena theatres, the visual importance of stage properties increases significantly

Because the stage space cannot house large sets, the furniture and decorative props become the major visual element of the design

Theatrical Design and Production

Chapter 11: Stage Properties

© 2006 McGraw-Hill. All right reserved.

The property master must have a detailed working knowledge of every craft area in theatre

Woodworking

Metalworking

Electrical wiring and electronics

Mold making

Ceramics

Sewing

Upholstery

Furniture construction

Scene painting

Theatrical Design and Production

Chapter 11: Stage Properties

© 2006 McGraw-Hill. All right reserved.

What is a Prop?

Stage properties are traditionally divided into three categories

Set props

Hand props

Decorative props

Theatrical Design and Production

Chapter 11: Stage Properties

© 2006 McGraw-Hill. All right reserved.

What is a Prop?

Set Props

Set props are defined as larger movable items, not built into the set, that are used in some way by the actors

Furniture, floor lamps, rugs, stoves, tree stumps, etc.

Theatrical Design and Production

Chapter 11: Stage Properties

© 2006 McGraw-Hill. All right reserved.

What is a Prop?

Hand Props

Hand props refer to small items that are handled or carried by the actors

Plates, cups, letters, books, fans, lanterns, etc.

Theatrical Design and Production

Chapter 11: Stage Properties

© 2006 McGraw-Hill. All right reserved.

What is a Prop?

Decorative Props

Decorative props include all the things that are used to enhance the setting visually but are not specifically touched by the actors

Window curtains, pictures, table lamps, bric-a-brac, books in bookcases, etc.

Theatrical Design and Production

Chapter 11: Stage Properties

© 2006 McGraw-Hill. All right reserved.

Property Design

In the commercial and educational theatre, properties are normally designed by the scenic designer

The prop master then builds, buys, rents, or borrows the props for the production

Theatrical Design and Production

Chapter 11: Stage Properties

© 2006 McGraw-Hill. All right reserved.

Property Design

Real or Fake?

If an actor is going to touch or pick up a prop, it should feel real

A book that will be picked up and opened should feel real and have pages

Props can be faked if they are not going to be used by the actors

Books on a shelf may be no more than the spines

Theatrical Design and Production

Chapter 11: Stage Properties

© 2006 McGraw-Hill. All right reserved.

Property Design

Property Acquisition

To create an aura of authenticity, property masters frequently try to find actual objects appropriate to the period of the play

Since antiques are expensive and rare, the property master may build or acquire a reproduction of period pieces

Theatrical Design and Production

Chapter 11: Stage Properties

© 2006 McGraw-Hill. All right reserved.

Property Design

Property Acquisition

Borrowing or Renting Props

Any type of prop used in the theatre is subject to unusual stresses and wear

When borrowing or renting, assure the lending agent that the item will be returned intact

Lending agreements can make this process easier

Theatrical Design and Production

Chapter 11: Stage Properties

© 2006 McGraw-Hill. All right reserved.

Property Design

Property Acquisition

Building Props

Some props, such as antiques, are best not used on stage

It is usually more appropriate wither to use a reproduction or to build the piece in the shop

Some props, like fantasy pieces, must be built

Theatrical Design and Production

Chapter 11: Stage Properties

© 2006 McGraw-Hill. All right reserved.

Organizing Props for Production

If props are going to be effective in a production, they must be consistently places in their proper locations in and around the set

Hand props and small set props should be locked up between rehearsals and performances

A written list, including a map or location indicator, detailing the onstage placement of all set props must be created

Theatrical Design and Production

Chapter 11: Stage Properties

© 2006 McGraw-Hill. All right reserved.

Organizing Props for Production

During rehearsals and performances, the property crew will place the set props in their appropriate locations

The organization of hand props must also be exact

The prop crew head should create a precise list of what props are handled by the actors during each scene

Theatrical Design and Production

Chapter 11: Stage Properties

© 2006 McGraw-Hill. All right reserved.

Organizing Props for Production

A “prop table” on which on hand props are placed is normally set up in the wings

To aid in organizing props, this large table (or tables) is usually covered with butcher paper and “mapped” with the names of the props

The appropriate prop is placed in its location on the “map” on the table

Theatrical Design and Production

Chapter 11: Stage Properties

© 2006 McGraw-Hill. All right reserved.

Craft Techniques

Furniture

Upholstery

Decorative Curtains and Draperies

Papier-Mâché

Vacuum Forming

Molds

Foam Carving

Heat Forming

Fiberglass

Wood Turning

Theatrical Design and Production

Chapter 11: Stage Properties

© 2006 McGraw-Hill. All right reserved.

Craft Techniques

Furniture

Carpenter-style furniture can be built using ordinary woodworking tools and techniques

Theatrical Design and Production

Chapter 11: Stage Properties

© 2006 McGraw-Hill. All right reserved.

Craft Techniques

Upholstery

Many times the apparent age or period of a fabric-covered piece can be altered by simply changing the fabric

Theatrical Design and Production

Chapter 11: Stage Properties

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Craft Techniques

Upholstery

The fabric covering can be altered in two ways

Slipcovers—covers existing fabric

Reupholstery—replaces existing fabric

Theatrical Design and Production

Chapter 11: Stage Properties

© 2006 McGraw-Hill. All right reserved.

Craft Techniques

Decorative Curtains and Draperies

Decorative curtains are used by the scenic designer to help dress the set

The type and style is dictated by the period being represented

A variety of material can be used in making draperies

Theatrical Design and Production

Chapter 11: Stage Properties

© 2006 McGraw-Hill. All right reserved.

Craft Techniques

Papier-Mâché

One of the oldest and cheapest craft techniques used in the theatre

It is used to make or cover a wide variety of shapes and objects: logs, statues, fake food, etc.

Papier-Mâché is made by building up a form with successive layers of paper that are bound together with a wheat-paste binder

After it is constructed, the item can be painted easily

Theatrical Design and Production

Chapter 11: Stage Properties

© 2006 McGraw-Hill. All right reserved.

Craft Techniques

Vacuum Forming

Also known as vacuforming, this process shapes plastics through the application of heat and vacuum pressure A sheet of plastic is heated by an oven and then placed over a mold

When the plastic cools, it retains the shape of the mold

His system can be used to form banisters, cornices, wall panels, masks, etc.

Theatrical Design and Production

Chapter 11: Stage Properties

© 2006 McGraw-Hill. All right reserved.

Craft Techniques

Molds

Molds are used to create multiple copies of a wide variety of items: fake food, decorative panels, cornice molding, costume jewelry, etc.

There are two categories of molds: open and closed

They can further be divided into rigid and flexible

Rigid molds are made form wood, fiberglass, plaster of paris

Flexible mold are made from synthetic materials, like silicone

Theatrical Design and Production

Chapter 11: Stage Properties

© 2006 McGraw-Hill. All right reserved.

Craft Techniques

Foam Carving

Expanded polystyrene foam (Stryofoam) is used in the fabrication of statues, columns, cornices, etc.

Light-blue Styrofoam is fire resistant, but the white variety is not

Styrofoam is easily cut with any power saw

Theatrical Design and Production

Chapter 11: Stage Properties

© 2006 McGraw-Hill. All right reserved.

Craft Techniques

Heat FormingHeat forming refers to warming plastic until it

becomes flexible enough to bend

FiberglassFiberglass is formed by coating glass-fiber

reinforcement with polyester or epoxy resin

Theatrical Design and Production

Chapter 11: Stage Properties

© 2006 McGraw-Hill. All right reserved.

Craft Techniques

Wood Turning

Wood turning is done on a lathe

Various prop and scenic items (banisters, newels, chair and sofa legs) are frequently turned on a lathe