Theatrical Scenic Art

Emma Troubridge

• Publisher: Crowood
• Year: 2018
• Print ISBN: 9781785004339
• eBook ISBN: 9781785004346
• Topic: Media & Performing Arts
• Subtopic: Theatre Stagecraft & Scenography

Theatrical Scenic Art is a detailed guide to the creative process of painting and preparing scenery for theatre. The book offers key insights into the role of the scenic artist, detailing the process from planning, budgeting and developing samples through to creating and delivering the final finishes. Topics include: design interpretation and realisation; choosing the right tools and equipment; drawing and colour theory; preparation for floor and frame painting; traditional and contemporary techniques for hard and soft scenery and, finally, a range of processes including creating textures, polystyrene carving, scenic faux finishes and sign writing. With personal insights from highly acclaimed designers, this practical guide offers advice on how to become a scenic artist, useful work experience, valid courses and career options for both freelance and fulltime painters. Supported by over 400 striking illustrations, this is an essential companion for technical theatre students, practising scenic artists and for all who are interested in the art of creating painted and textured surfaces for performance. Supported by over 400 colour illustrations. Emma Troubridge is Head of Scenic Art at the Royal Opera House.

1

THE ROLE OF A SCENIC ARTIST

I found I could say things with colour and shapes that I couldn’t say any other way – things I had no words for.

Georgia O’Keeffe

INTRODUCTION

The theatrical scenic artist has a most challenging, satisfying and fulfilling career. Scenic artists are first and foremost part of a wider creative team that build a practical production from ideas. Being part of this collaborative process as it evolves from its very first concepts, right through to the thrill of opening night, is a remarkable journey. However, there are many vital cogs in the creative process and the scenic artist’s role cannot stand alone. In order to understand this completely, we will start at the very beginning, as the seed of a performance is sown.

THE PRODUCTION PROCESS AND THE COLLABORATIVE TEAM

The production of a piece of theatre, no matter what the size and technical complexity, from a commercial musical to a school’s annual Christmas pantomime, requires a multitude of different skills from many individuals in order to ensure that the production process runs smoothly. Endless planning is required and there will be many meetings and discussions before the design aspect is even in draft form. This design aspect will include:

•Chosen venue.

•Scale of show.

•Number of performances.

•Budget.

•Hiring: performers, actors, singers, children, animals, musicians, chorus members, dancers, specialist artistes; the list is long…

•Artists’ agents and all legal contracts.

•Health and Safety concerns when dealing with performers, certain venues and local councils.

ROLES WITHIN THE PRODUCTION TEAM

The collaborative team required is numerous and multi-skilled. Depending on the nature and size of the production, the teams can be described as a broad brushstroke across a division of responsibilities in three ways, though many of these roles merge into each other as only a true collaborative art form can:

• The creative team: this can include the director, the choreographer and the designers of scenery, props, costumes, lighting, sound and video/projection. Depending on the production, individuals may do one, a few or all of each of these roles.

• The makers: all those involved in the actual creative realization of the production, and this includes the production manager (PM), the draughtsperson, all those in production workshops, scenic engineers, carpenters and artists, costume-makers, wig-makers, prop-makers and so on.

• The technical and stage staff: all those who provide technical support to and on the stage, including all stage management, stage crew, lighting (LX), sound, dressers and so on.

Designed by Rob Jones, directed by David McVicar in 2015. This period production of Andre Cheniér is set during the French Revolution 1789–1799.

Whether staff are full-time, part-time and/or freelance workers, depends on the size of the production studio, theatre or commercial production company, and whether it is subsidized or not. Once the creative teams have been chosen and logistical planning is in process, a set designer will be appointed to work alongside the director or choreographer. Working in close collaboration, they form ideas and concepts for the stage design as a means to visually convey the narrative through the use of shape, form, colour, texture and movement.

The design is of the utmost importance to a performance, however simple or complex. In conjunction with lighting, sound and costumes, it is what the audience hears, feels and sees appearing before them, from the very moment of entering a performance space. Every director and set designer will have a very personal idea of what the performance is to say to the audience and how it is to be said: from strictly period settings that remain utterly faithful to the original text, through to contemporary or even abstract worlds. The design is how the director/choreographer believes that the audience can be made to feel a greater subjective empathy or personal recognition through reality, or just a deeper connection to the piece.

Directors or choreographers may have weak or strong visual ability when it comes to a stage design; they communicate their talent through movement and subtle nuances of text, dance and sound, and the nature of their collaboration with the stage designer is therefore critical. Many designers will be solely relied upon to create a concept that successfully relates the narrative of the piece through visual means, whilst simultaneously interpreting and fully understanding the requirements of the director and the piece to be performed. This complex balance is achieved during early meetings via the use of sketches and discussions, and often whilst listening, reading or watching the chosen piece. The ideas and inspirations that form will evolve and ultimately mature into what becomes the visual narrative for the performance. Directors frequently develop enduring working relationships with a particular designer whose work concept strongly complements their own, and these relationships frequently last many years.

Designed by Alison Chitty and directed by Daniele Abbado in 2016, this production of Verdi’s Nabucco shows a contemporary interpretation.

Alison Chitty’s sketch of concept ideas for Benjamin Britten’s Billy Budd.

Mikhail Mokrov’s storyboard for the design of Cherevichki’s opera The Tsarina’s Slippers.

Mozart’s opera Don Giovanni. Designed by Ez Devlin and directed by Kasper Holten in 2014, with ingenious video designs by Luke Halls.

Designed by Ez Devlin, directed by John Fulljames in 2015, the opera The Rise and Fall of the City of Mahagonny shows brilliant videography by F...

Table of contents

• Cover Page
• Title Page
• Copyright Page
• Contents
• Dedication
• Acknowledgements
• Foreword by Alison Chitty
• Introduction
• 1 The Role of A Scenic Artist
• 2 Design Interpretation
• 3 Design Realization
• 4 The Scenic Paintshop
• 5 Tools of the Trade
• 6 Hard Scenery
• 7 Soft Scenery
• 8 Drawing
• 9 Colour
• 10 Preparation for Floor and Frame
• 11 Traditional Scenic Painting Methods
• 12 Cut Cloths and Appliqué
• 13 Spray Techniques
• 14 Textures and Carving
• 15 Scenic Faux Finishes
• 16 Signwriting
• 17 The Road Ahead
• Glossary
• Further Information and Suppliers
• Index