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The theatre is a collaborative effort of giving
and doing. Every member must be a part of a cohesive
community. The better the community functions,
the greater the potential to impact people's lives
through experience. An understanding of people's
roles is necessary to understand how to build
this rather unique community. It is necessary
to understand the interrelationships among community
members to produce theatre and potentially create
a meaningful and emotional experience for the
audience.
The
ideal theatrical enterprise includes the producer,
the playwright, the director, the scene designer,
the light designer, the costume designer, the
sound designer, the properties designer, the makeup
designer, the assistant director, the stage manager,
the running crew, and the actors.
These
positions can be divided into two categories.
One category is pre-production. Long before the
performance begins, people begin to actualize
it.
PRE-PRODUCTION
The
Producer
The
producer finds or offers the means to produce
theatre. He or she is primarily concerned with
finances. The producer often carries the role
of publicist and basic business administrator.
He or she hires or assigns the director.
The
Playwright
The
playwright works long before the production work
begins. Except when producing an original script,
the playwright's work is done before the process
begins. When producing an original script, the
playwright often works with the production staff
to better the script.
The
Director
The
director supervises all creative elements of a
theatre product. The director offers a production
a quality of unity by filtering all other creative
work through his or her own vision. The director
casts and rehearses the actors, approves all designs,
and oversees the entire production. Either the
producer or the director chooses the drama to
be performed. However, many veteran directors
will choose their own plays. It depends on the
circumstances.
The
Designers
An
excellent designer has particular qualities and
abilities. A designer must be able to visualize
a production from reading the script. He or she
must have a high sense of visual beauty and harmony
and be able to translate these attributes into
color, mass, form, line, and so on. And finally,
the designer must be able to combine his or her
own concept with the director's concept.
The
scene designer goes through several stages to
actualize a design. First, the designer analyzes
the drama in order to get a visual idea of the
demands of the script. Second, the designer meets
with the director and draws rough sketches, putting
concepts into tangible form. Third, the designer
converts the sketches into a finished floor plan
and side elevations. A floorplan is a bird's eye
view of the setting on the stage floor. A side
elevation is a cross section of the setting, usually
drawn to check masking (the hiding of something
such as the back of the stage area). Fourth, the
designer makes a model of the set or paint a rendering
of the set. Fifth, the designer drafts working
drawings from which the technical director and
the shop foreman plan to build the set. And finally,
the designer helps oversee the setup of the scenery.
The
scene designer works with the technical director,
the properties designer, the scenic artist, and
sometimes the scene shop foreman. The technical
director coordinates all design aspects of a production
and assesses and purchases materials. The properties
designer is the person who designs and supervises
the building of props. The scenic artist is a
visual artist and paints the set. The scene shop
foreman takes the designer's drawings and directly
supervises the building of the set.
As implied, the lighting designer designs and
supervises stage illumination. He or she determines
what kind of light will go where, what angle,
and what color to create a particular affect.
Some lights make the actors visible on stage.
Other lights create an atmosphere or mood. The
combination of all elements is the design. Once
plotted on paper, the light designer gives his
or her design to the electrician who supervises
light hanging, cabling, and channeling.
Like
the scene and light designer, the costume designer
must be able to subordinate his or her concept
to that of the director's. The costume designer's
main concern is to illuminate a character's traits
by what that character wears. Once designed, the
costume designer hands over the drawings and renderings
to the seamstress who supervises the building
of the costumes.
The
makeup designer attempts to illuminate a character's
traits by using an actor's face, hair, hands,
and any other visible body parts. Once designed,
the makeup designer hands the task to the makeup
artist during dress rehearsals and performances.
Sound
is an often neglected element of design. Some
playscripts call for particular sound effects
such as a bell, a whistle, or night sounds. The
sound designer's task is to find or create these
sounds and record them for production. Sound design
can create a mood or atmosphere. Sound designers
help draw the audience into a particular experience.
Assistant
Director
The
assistant director serves as a main liaison between
designers and the director. The assistant director
also sets up for each rehearsal period. During
the rehearsal process, the assistant director
prompts the actors and gives any of his or her
own input to the director. Also, the assistant
director creates the main promptbook for the stage
manager. Often, the assistant director and the
stage manager are the same person.
Actors
The
actors' main concern before the performance is
to create a character. That takes physical and
vocal discipline and exercise, an analysis of
the playscript, memorizing lines, and a commitment
to the director, his or her vision, and the rehearsal
process.
Conclusion
All
of the above elements come together during the
technical rehearsals of the show. In my next article,
i will discuss the people who emerge during the
actual production of the show.
How
Theatre Happens - Part 2 by Debra Bruch
PRODUCTION
All
pre-production elements come together during the
first technical rehearsal, about a week to a week
and a half before performance. During this time,
a whole new set of people emerge to actually run
the show (except, of course, the actors!). The
director moves to bring all production elements
together, and then begins to fade from view during
the week before performance. During technical
and dress rehearsals, the director continues to
have input with designers. At this time, the director
is largely concerned with the actors, and continues
to give notes. By the first performance,the director's
role is to go around to everyone and wish them
well before the performance begins.
Stage
Manager
The
person in charge of the technical rehearsals,
dress rehearsals, and performances is the stage
manager. The stage manager supervises all aspects
of the performance, including the actors. The
stage manager sets the stage and makes everything
ready before the performance begins. He or she
calls cues to the light and sound board operators
during performance, supervises set and prop changes
during performance, makes sure that actors are
ready, and solves any problems that might arise.
Light
and Sound Board Operators
The
light and sound board operators' main function
is to run the equipment. They take their cues
from the stage manager during performance. Before
the house opens, they check all equipment to see
if it works.
Makeup
Artist
The
makeup artist supervises all aspects of character
makeup during dress rehearsals and performances.
Costume
Runner
Some
playscripts call for a character's change of clothing
during the performance. The costume runner organizes
and manages costume changes.
Property Master
With
the help of the property designer, the property
master assembles all props used during performance.
He or she is responsible to organize the props,
set them out before performance begins, see that
the actors get them, and puts them away after
the performance ends. The property master often
has assistance from the running crew.
Running
Crew
People
assigned as a running crew are concerned with
backstage activities. They help run props and
shift the scenery if needed. They also help set
the stage before the production begins, help light
and sound board operators check equipment, prepare
any sound equipment needs, and help put things
away after the performance ends.
Conclusion
The
ideal situation in theatre production is something
for which to strive; such an organization lends
the potential for quality. The goal is to give
the audience the best and most meaningful experience
they can possibly have.
Back to
Great Expectations Curriculum
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