The document discusses the roles and responsibilities of scenic, lighting, sound, and costume designers for theatrical productions. A scenic designer is responsible for the shape of the acting space and set design elements based on the playwright and director's vision. Standard set designs like wing and drop scenery emerged over centuries. Lighting, sound, and costume designers similarly work to set mood, direct focus, and enhance realism through their respective design elements.

2. DESIGNERS JOB
•CONTROL ENVIRONMENT.
•A GOOD DESIGNER DRAWS WHAT THE PLAYWRIGHT AND DIRECTOR ASK
FOR WHILE AT THE SAME TIME MAKING SUGGESTIONS ON HIS OR HER OWN
ABOUT STYLE OR EFFECT.
•THE SHAPE OF THE ACTING SPACE AND THE LOOK OF ANY SCENERY OR SET
PROPS ARE THE SCENIC DESIGNER'S RESPONSIBILITY.

3. DEVELOPMENT OF DESIGN
•WING, DROP, AND BORDER SCENERY BECAME THE STANDARD IN ITALYTHEN
IN THE REST OF EUROPE AND EVENTUALLY THE AMERICAS.
•THE BOX SET BECAME A STANDARD FOR INTERIORS AFTER 1830.
•BY THE SECOND DECADE OF THE TWENTIETH CENTURY, MANY AUDIENCE
MEMBERS EXPECTED EACH PRODUCTION TO HAVE A UNIFIED STYLE THAT
WAS APPROPRIATE FOR THE PLAY.

4. PAINTED SCENERY
•WING, DROP, AND BORDER SCENERY INCLUDED:
•FLAT PAINTED PANELS ON EITHER SIDE OF THE STAGE
•A LARGE EXPANSE OF PAINTED FABRIC UPSTAGE
•STRIPS OF CLOTH OR PANELS HUNG HORIZONTALLY ACROSS THE TOPS OF
THE WINGS

6. REPRESENTATIONAL
•AN APPROACH TO DESIGN THAT IMITATES PRECISELY THE KIND OF
ENVIRONMENT AND DETAILS IN WHICH THE ACTION OF THE PLAY WOULD
OCCUR IN REAL LIFE.
•REPRESENTATIONAL SCENERY CAN BE APPLIED TO ANY PLAY EVEN THOSE
WRITTEN BEFORE THE BEGINNING OF REALISM.

8. GROUND PLAN
•A DRAFTING OF THE STAGE AS SEEN FROM OVERHEAD, SHOWING WHERE
ALL SCENIC PIECES ARE TO BE PLACED.

11. RENDERING
•A PICTURE OF THE SET, DRAWN IN PERSPECTIVE FROM THE AUDIENCE'S
POINT OF VIEW.

12. • HTTP://WWW.DAVIDCAUDLE.ORG/MUCHADOREND.JPG

14. MASKING
•ONCE THE SCENIC DESIGNER DETERMINES
SIGHT LINES, MASKING IS USED TO HIDE
ANYTHING THAT SHOULD NOT BE VISIBLE
TO THE AUDIENCE.

15. LIGHTING
•CREATE PRIMARY AND SECONDARY FOCUS
•CREATE MOOD
•HEIGHTEN THE SENSE OF REALITY

16. FOCUS

17. MOOD

18. HEIGHTENED
REALITY

19. LIGHTING ANGLES
•ANGLE IS AN IMPORTANT PART OF DISTRIBUTION SINCE IT AFFECTS THE
MOOD AND APPEARANCE OF THE ACTORS AS WELL AS SUGGESTING TIME
OF DAY.

20. ACTORS

21. TIME OF DAY

22. LIGHTING
•BEFORE TECHNICAL REHEARSALS A MASTER ELECTRICIAN DIRECTS A LIGHTING CREW TO
HANG, FOCUS, AND FILTER THE LIGHTING INSTRUMENTS.

23. SOUND
•RESPONSIBILITIES OF THE SOUND DESIGNER:
•AMBIENT SOUND
•EFFECTS TO SUGGEST OFFSTAGE ACTION
•MUSIC AS BRIDGES DURING SCENE CHANGES

24. SPECIAL EFFECTS
•THE MEDIEVAL PERIOD CREATED DESIGNS FOR ITS CYCLE PLAYS THAT
OFTEN INCORPORATED SPECTACLE SUCH AS TRANSFORMATIONS,
RAINSTORMS, AND FIRE EFFECTS EMANATING FROM THE MOUTH OF HELL.

25. COSTUME RENDERING
A PICTURE OF A COSTUME
ON AN ACTOR.

26. COSTUME PLOT
•CHART THAT RECORDS ITEMS OF
CLOTHING WORN BY EACH ACTOR IN EACH
SCENE OF THE PLAY.