THAR_101_TEST_3_study_guide

THAR_101_TEST_3_study_guide - THAR 101 TEST 3 STUDY GUIDE...

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THAR 101 TEST 3 STUDY GUIDE Chapter 14 Scenery Designers make connections between symbols and ideas, creating the world of the play in which the performers interact. They deal with the practical and aesthetic concerns of the production. History of Stage Design Ancient Greek Theatre Originally no “sets,” stage itself was background for the action , with some special devices to create effects. PERIAKTOIS: a prism-shaped piece of scenery consisting of three flats hinged together. Each side of the periaktoi is painted with a different scene, and can be set in different configurations on a stage, each configuration displaying the sides which together represent the scene that is being played. DEUS EX MACHINA: (as used when we studied structure, a plot device in which a person or thing appears "out of the blue" to help a character to overcome a seemingly insolvable difficulty.) In this usage it means a crane was used to lower actors playing a god or gods onto the stage. Medieval Theatre MANSIONS: small set pieces set up in villages to represent biblical stories. PAGEANT WAGONS: traveling wagons that functioned as stages to perform in different villages. In Elizabethan England, bare stages were used no scenery. The proscenium stage evolved in Italy in the 17 th century, and scenery design took off. The growth of realism as the predominant stage style during the 19 th and 20 th centuries, as well as the use of electric light, required more detailed scenery. Scenic Design Today The designer must make specific choices as to what they include in regards to: symbolic meaning (selected items SIGNAL something, and make an impression on the viewer) practical implications Objectives of Stage Design Creating an environment for the performers and for the performance Helping to set the mood and style of the production Helping to distinguish realistic from nonrealistic theatre Establishing the locale and period in which the play takes place Evolving a design concept in concert with the director and other designers Where appropriate, providing a central image or visual metaphor for the production Ensuring that the scenery is coordinated with other production elements Solving practical design problems Realistic and Nonrealistic Scenery Realistic Theatre Settings that resemble the real-life counterpart (Traditional Western theatre) Nonrealistic Theatre Uses imagination and symbol to evoke meaning and spatial ideas (Traditional Eastern performance) Regardless of the style, the designer must indicate locale, period, and a sense of the play. The Design Concept A unifying idea carried out visually o Important when shifting the play in time and place allows audience to know when/where the story occurs (this happens most often with Shakespeare or Greek works) Establishes central image or metaphor Provides the means to coordinate the whole design all the design elements
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This note was uploaded on 12/13/2010 for the course THAR 101 taught by Professor Schultz during the Spring '07 term at Texas A&M.

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THAR_101_TEST_3_study_guide - THAR 101 TEST 3 STUDY GUIDE...

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