3. Facilitates the dramatic action
Establishes time and place
Provides an environment that embodies the
characters’ lives
Tells the story
Presents a visual metaphor
Creates mood
Defines style
Determines the relationship between audience
and action
Goals of Set Design
22. Goals of Costume Design
• Revealing the essence of the character - Clothes can become a
second skin. They define a character’s identity for the
audience.
“The main job of the costume design is to...provide physical and
emotional support to every actor through the clothing…”
23. Goals of Costume Design
• Establishing Time and Place - clothing immediately
suggest the period in which a scene take place.
• Clothing can help situate the production.
• Time in history
• Or even more specifically time of day.
24. Goals of Costume Design
• Setting the Social and Cultural MIlieu - costumes are
always read within a social context.
• Socioeconomic info is gleaned from costumes.
• Designers don’t conceive of a costume in isolation
25. Goals of Costume Design
Telling the Story - Clothing and accessories tell a tale. In both
Pygmalion and My Fair Lady the costuming of Eliza is a huge part
of the narrative
26. Goals of Costume Design
Demonstrating Relationship among Characters - costumes can
imply union, separation, or shared status (ex. Uniforms)
Specifying Character's Social and Professional Roles - clothing can
define a profession or occupation
27. Goals of Costume Design
• Defining Style - costumes create a representational or
presentational stage world. They may be realistic or fantastic
• Meeting the Practical Needs of the Production - A text may
call for a particular costume piece to take part in the action
28. The Costume Designer’s
Process
Discussion Collaboration
Research – William Ivey Long – 3:25
-Costume Plot - a breakdown of the play by acts/scenes and the
costumes need for each
-Dress Parade - offers the director and designer an opportunity to
see all the costumed actors
29. The Costume Designer’s
Process
Creating the Costume Design
-Thumbnail sketches are used to inspire discussions and show the
direction of the designer’s ideas
-Final sketches show each costume
in detail and present all of the
clothes and accessories
33. Visual Elements of Costume
Design
Line - refers to the silhouette or overall shape of a
costume
Texture - the feel of a costume and how moves and
catches light onstage
Pattern - visual texture made up of line, form,
color and space
Color - provokes direct physical response. Sensory
experience/social convention
36. What are the goals of stage
lighting design?
Setting a mood/atmosphere
Time of day
Weather
Location
Time period
Defines style: Abstract/realistic
Tells the story
Visibility
Visual Metaphor
Rhythm
Reinforces central image or theme
38. The Lighting Designer’s
Process
READ THE TEXT!!!!!!!!!
Discussion and Collaboration
Research
Motivated light cues
Unmotivated Light cues
What can the play not function
without?
39. Creating a Design
More Research
Light plot (a blueprint of the stage and
space)
Lighting grid
Instrument schedule
Gels/gobos/effects/specials/practicals/bac
klighting/sidelighting
The master electrician oversees the
installation
Prompt book
Technical rehearsals
Wicked Lighting…
Lighting Spider-man
40. Visual Elements of Light
Intensity
Distribution
Color
Movement
Composing with light
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54. Sound Design
Live vs recorded sound
What are some possible problems
with recorded sound/music?
What are some possible problems
with live sound/music?
55. Goals of Sound Design
Audibility
Establishing the environment
Telling the story
Defining mood and style
Aiding the flow of the action and
providing rhythm
Reinforcing the central image or
theme
*One of the set designer’s jobs is to not only enhance the character’s world, but to make the action in the play possible.
*When a designer reads a script, they will make note of exits, entrances, and important set elements that take part in the action.
*Noises Off- 1982- British play. Would be near impossible to do without a very specific set. Farce much like Lend Me A Tenor wherein most of the comedy comes from physical actions in relation to the set.
The set can tell us when and where the action is taking place
Thoroughly Modern Millie. 1922. New York City. Art Deco windows. New York City Skyline.
