By Stephen Di Benedetto

This advent to theatre layout explains the theories, suggestions, and instruments of useful layout paintings for the undergraduate pupil. via its various illustrated case reports and research of keyword phrases, scholars will construct an figuring out of the layout method and find a way to:

  • identify the basics of theatre layout and scenography
  • recognize the function of person layout components resembling surroundings, gown, lights and sound
  • develop either conceptual and analytical pondering
  • Communicate their very own knowing of complicated layout work
  • trace the traditions of degree layout, from Sebastiano Serlio to Julie Taymor.

Demonstrating the dynamics of excellent layout in the course of the paintings of influential designers, Stephen Di Benedetto additionally appears to be like intensive at script research, stylistic issues and the significance of collaboration to the designer’s craft.

This is a vital advisor for college students and academics of theatre layout. Readers will shape not just a powerful skill to give an explanation for and comprehend the method of layout, but in addition the fundamental talents required to conceive and fully grasp designs in their own.

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Extra resources for An Introduction to Theatre Design

Sample text

What wonderful things might not be produced by the light, when not dispensed in that equal manner, and by degrees, as is not the custom. Were it to be played off with a masterly artifice, distributing it in a strong mass on some parts of the stage, and by depriving others, as it were, at the same time; it is hardly credible what effects might be produced thereby; for instance, a chiaro obscuro, for strength and vivacity, not inferior to that so much admired in the prints of Rembrandt. Algarotti, in the eighteenth century The growing taste for machinery and spectacular effects was encouraged by the growth of court masques, intermezzi, and opera that made increasingly elaborate use of spectacle and illusion.

Limelight uses a block of quicklime heated by oxygen and hydrogen to produce a sharp, highly controlled shaft of light that was used as a spotlight. These spotlights positioned in the balcony of the house or on the sides could illuminate a small area of the stage, the actor, or create an illusion like moonlight. By the late nineteenth century the carbon arc lamp was introduced and used instead because it was safer, had more control, and produced less heat. A carbon arc lamp works by hooking two carbon rods to an electrical source; current flows through the spaced rods as an arc of vaporizing carbon, producing an intense white light.

The costumes, splendid and ridiculously rich when they are strictly historical, are almost always in bad taste when, there being no documentary evidence, imagination and originality must be employed. Their lighting effects are very successful, but too often they are regulated without art. For instance, instead of moving gradually, a very beautiful ray from the setting sun that shone on the noble head of an old man dying in his armchair, all of a sudden passed across the stained-glass window at the exact moment that the good man died, with the sole purpose of providing a tableau.

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