Set Design 101
Set designers take the director’s vision and make it a reality on stage. They must also stay true to the time period that the production is set in: if the set does not feel authentic, the director’s vision, and the play itself, will not be a success.
Sets can be abstract, highly realistic, or anything in between. The primary function of a set is to provide the audience with some context for the play, but it can also be a chance to create something stunning to draw in the audience.
The most important thing to remember as a set designer is to be innovative and original. Inspiration can come from almost anything or any place, and you should never stop thinking about creative ways to help tell a story. As set designer, you not only have to create a concept that is in line with the director’s vision, but you also have to decide how it will be built, painted, and decorated.
A good set design will draw the audience into the world of the play, and will not allow any opening for the “real world” to interfere with the actions of the characters and flow of the plot.
In order for the set designer to achieve this, they must first develop concepts for what belongs on the stage, and what doesn’t. This requires knowledge of props, set design, and costume design. The mood is also a huge factor, which is often set by lighting, so any great set designer will develop a strong relationship with the lighting designer, as well as with the sound designer, as they help set the mood as well.
Depending on the director’s vision for the play (and the budget!), the set designer has a choice to either create a detailed stage filled with props and scenery or a more sparsely decorated stage that focuses the audience’s gaze directly on the actors. When the stage has less on it, it doesn’t mean the job of the set designer is easier – in fact, it’s often harder, because each piece will carry more significance and will have to be chosen more carefully.
The use of curtains to move seamlessly between scenes and Acts is often also the work of a set designer. A good set designer will know the difference between curtain types, such as teasers, valance curtains and backdrop curtains, mains, and when to use each.
Some Basic Terminology:
Setting:
The location where a play takes place. Setting can change from scene to scene in a play.
Rendering:
A colored drawing or sketch of the setting (or costume).
Ground or Floor Plan:
A birds-eye drawing of the setting, showing where things are in the setting. Designers make a floor plan before they build a set. The floor plan helps them to see the size and placement of the background and set props.
Elevation Sketch
A design of the set as seen from the audience's point of view.
Flats:
Flat pieces of theatrical scenery which are painted and positioned on stage so as to give the appearance of buildings or other background.
Ramps:
An inclined surface.
Platforms:A raised horizontal surface, varying in size to raise the actors above the stage height.
Risers:
A low platform on a stage, used to give greater prominence to a speaker or performer.
Set props:
Pieces of "furniture" or large items that are part of the setting in a play. Usually large, like trees, tables, etc.
Gripping
Moving a set piece by hand.
Rolling
Moving a set piece on wheels (castors).
Flying
Moving a set piece using the rigging system above the stag.e
Types of Set:
Unit set:
Single setting which can represent a variety of locales with the simple addition of properties or scenic elements.
Curtain Set
A set that uses the drapes to create the location of a play/scene.
Minimal Set
a set that uses what is only absolutely necessary.
Permanent Set
set that remains in place throughout the production, elements may be added, but the structure stays the same.
Box Set
set that consists of 2 or 3 walls and maybe a ceiling, the most common type of set.
Prism Set
uses Periaktoi (flats mounted on wheels), allows scenery to be changed by turning and rearranging the structures.
Unit Set
set made of pieces that can be rearranged.
Types and parts of the Stage:
Proscenium Stage
The audience sits on one side of the performance and uses the proscenium as a "4th wall" to view the action through, usually calls for the most elaborate set designs, the stage is framed by the Proscenium (Arch).
3/4 Thrust Stage
The audience sits on 3 sides of the performance, usually uses minimal sets for sight line issues.Arena Stage
AKA "theatre-in-the-round," the audience sits on 4 sides of the performance, usually encourages actor-audience interaction, props and scenery must look authentic b/c of proximity to the audience.
Apron
The "lip" of the stage (the distance between the closed main drape and the edge of the stage), usually curved.
Parts of the Theater:
Back Wall
Opposite of the proscenium.
Trap
A door in the stage floor.
Wings
The areas directly offstage L/R, so called b/c they fan out like wings when viewed from above.
Grid
Short for gridiron, the supportive framework of beams above the stage.
Types of Curtains:
Mains
AKA "main curtain/drape," "front curtain/drape," "grande curtain/drape," will usually be opened at the beginning of the show, might be closed between scenes or acts, will be raised/lowered or part in the middle.
Cyc
Short for cyclorama, the white curtain that is used to blend lights.
Scrim
A curtain that is opaque when lit from the front and translucent when lit from behind.
Drop
Shortened form of backdrop, a curtain made of muslin with scenery painted on.
Teasers
Short curtains used to mask lighting instruments and unused set pieces, can also adjust the proscenium height.
Legs
Long curtains that do not move, used to mask the backstage area from audience view.
Tormentors
Long curtains on tracks, used to regulate the stage width.
Tabs
Long curtains that can be turned or rotated to mask the backstage.
