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FR SEMIntroduction to Theatre

by: Gia Jones

FR SEMIntroduction to Theatre THEA 152W

Marketplace > College of William and Mary > Theatre > THEA 152W > FR SEMIntroduction to Theatre
Gia Jones

GPA 3.81

Richard Palmer

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Richard Palmer
Class Notes
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This 10 page Class Notes was uploaded by Gia Jones on Thursday October 29, 2015. The Class Notes belongs to THEA 152W at College of William and Mary taught by Richard Palmer in Fall. Since its upload, it has received 50 views. For similar materials see /class/231137/thea-152w-college-of-william-and-mary in Theatre at College of William and Mary.


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Date Created: 10/29/15
11910 Lighting Art How a text begs for certain types of lighting Lighting in our classroom there are significant patches of shadow towards the ceiling would you want this lighting for your room it s a little harsh What does quotharshquot mean speaking in terms of edges the edge around a spotlight Specular versus Diffused light diffusion implies scattering how do we scatter light eX why are the blue ridge mountains blue altitude What would it look like ifa boulder was on the moon and the sun was behind it You would see absolutely nothing Because there s no atmosphere on the moon Atmosphere re ects and refracts the light so they can move around objects even when they are in shadow The sky is lighting not only the sun We can see into shadow on the earth because were picking up light from the sky as well as the sun back to the discussion on quothard and soft soft light is diffused and hard light is specular Lights in room are diffused with a baf e to scatter it even further Baf e is re ective It s diffused light shadowed areas of face are bring filled with bounce light we don t have a constant sensitivity EX in black and white photography the ratio of brightest to darkest space is 110 Your eye has a range of 11000 When you are adapted to very high or low light levels your sensitivity is skewed glare is light that gets in the way of visibility your eyes are trying to adapt to the brighter light from the back wall by eliminating those lights you adapt to a lower light level Light in the back will silhouette you It creates a halo shadow absence oflight is important focus for where your eye should go on the stage modeling related to visibility your perception ofvisibility Product of shadow quotwhat is a gloomy dayquot grey washed out no shadows because there is no direct sunlight the lac of shadow why is modeling important for us as performers differentiate yourself from the set Helps to shape your environment How do you communicate Your body and your face it s interesting the difference in dance lighting and theatrical lighting There were stands of light on the sides There was relatively little light coming from the front of the house Sides mazixum lighting ofboth face and body comes from the sides Lights use different color Two color lights sources of light sun sky blue what s the color ofa shadow blue shadows are bluer than highlight What we normally do on stage is use a warmcool combo so that what we re doing is filling the shadow By adding the cool fill light we can see on the other side as well that basically is the same way we light faces 45 degrees on both horizontal plane and vertical plane Warm and cool are NOT absolute You can have two blue lights oe warmer than the other Or two amber lights one warmer than the other quotNatural light warm and cool light directions oflight side vs back key the specular light source fill the diffused light source key is associated with the sun p ortrait lighting Linear Characteristics Constructionist exposes the structural aspects of the building Line object that has a better dimension in one direction than the other sharp edges curvy weight heaviness oflines Robert Edmond Iones oe Melsinger shape in relation to line an area that is enclosed by lines look at Winterset by Maxwell Anderson play is a synthesis of Hamlet and King Lear set under the Brooklyn Bridge dealing with the mafia in Brooklyn also written in verse quotMan of1000 Days Monumental shape Robert Edmond Iones quotThe Fountain Shape Look for triangles Look for linear aspects The sign in the Guys and olls design create a definite boarder Open and Close space positive and engative space negative what we perceive as empty positive what we see as full be careful assigning a specific emotional value to any specific color color values are NOT absolute We respond to change there is no dominant emotional response to any given color Red does not represent passion or seX red is simply red 9 You can describe relations not necessarily emotional value You can stop with quotthe lines are angular and smooth quotThink about what your attention is immediately drawn to May not be perfectly semetrical One of the challenges for a scenic designer is that the actors move in your space In part the designer is making suggestions to the actor and the director as to how the space can be used What Iones sees a set as is a promise in a way or potential First thing to describe the point of focus Color is obviously not a focus In terms of shadow and not shadow that can be very significant In visual field of light and dark your eye tends to go to the white areas In a variated field eyes go to the light areas It pulls your eye up Otherwise you would just concentrate at the bottom of the set In context of shape find a dominant shape Texture What is the difference between pattern and texture Scale is the difference Texture is small and how small it is and the nature of the repetition determines the pattern There is a visual texture in a design as well Pattern is a design that you have in terms of pattern Pattern is what you see Texture is how it feels Visually the texture can be seen as well Generally speaking you need repetition for pattern Repetition and shape The relationshp between the figure and the space is something that the director is manipulating quotThe Birthday of Infantile A space is always balanced because we have visual ways of organizing our environment What we consider to be the visual frame The shape of the oor can also cause it Within that space we have a compulsion to find the center Not where it s balanced but rather IS it balanced It can also be based on an actor Remember what we re looking at are static images but theatre is a time art a design must be thought of temporally Balance and Symmetry What s the difference Balance s a description of the entire visual field symmetry tells you ab out the relationship on the parts In symmetry the two halves are alike Asymmetrical balance the two halves are unalike Near symmetrical Because it is not symmetrical because it s balanced You can balance a mass stage left with intense color stage right Does not necessarily Balance comes from our tendency to shape the environment It comes from our need to organize space which is inevitable How can I manipulate the design elements in order to elicit a certain type of response Balance is simply there It s like frame Extremely balanced and symmetrical sets can be balanced and symmetrical due to set design as well as actor placement Style Cubist Constant our compulsion to see balance is directly correlated with our perception of gravity As a scene designer we must take into account that our audiences have a perception of gravity One actor changes one aspect of the scenery and the whole scene changes People get upset with the fact that the actors keep quotmessing up the set Lighting costume and scenery Rhythm movement repetitious movement with a pattern tempo Stairs a little choppy set of stairs with a steep rise you can t make a dignified eXit Really awkward steps down that someone has to do when they are leaving a platform Repetition some designs have stronger rhythmic or visual elements than others Death ofa Salesman set 0 Layers the house is fading We re not dealing with solid mass but rather with lines There are sharp corners and angles Very low horizon line don t see much of the oor In some theatres with a highly raised auditorium the audience sees more of the oor than anything else Therefore the designer has to essentially design the oor Color pastelish and washed out Green is really dominant In the house is We can see those structures 00 Ornament a pattern that is usually we think ofit as surface and not substantive usually there to establish a style or a mood Not structural they re there for embellishment and to establish style PBK is an apron stage that apron is a vestige of a very old English tradition An apron is the part in the 17th century when the English came back from france the produced the priscinium theatre But the English court was eXiled to france and they saw the Italia at stage Which is a priscinium arts stage When the English adapted it the had a several hundred year tradition ofa large thrust stage and they pt a priscinium behind The enterances behind the stage weren t from the scenery they were from the apron Eliminated half of the deep apron however the English theatre kept that forestage Alot oftheatres keep that apron A lot ofus prefer the apron rather than the space behind the priscinium This stage has an apron For the most part in Broadway theatres we like to be able to see Priscinium is the frame the apron is the space in front of it Stratford Ontario theatre Festival theatre sometimes described as three quarter or thrust What is the difference between these What is the advantage or disadvantage ofbeing in one seat versus the other Arena stage U ofWisconsin As an audience member you are aware of the rest of the audience which can be both an advantage and a disadvantage Vomitorium VCU theatre There are basically three sections of the house and those three sections behave very differently Grosses Schauspielhaus 1919 seated 4000 people Propensity towards doing characters with television personalities Environmental Theatre Where the actors and the audience are intermixed The people all around are mixed 102610 Consequences of choosing to do an arena You must be more aware of the viewing angles Less opportunities to see a different angle In an arena the actor s back is always to someone It is inevitable Ifyou have two people on stage then they could possibly block each other How do you fiX this Take steps back and put more space in between the actors 9 Four wedges that come to the center Keep the actors moving in order to keep them seen by the audience The tendency of a character to rotate Blocking issues in area are quite different than in prescenian Arena audience on four different sides theatre in the round In terms ofmovement what is the difference in thrust and arena In some ways there is almost the same problem as in arena Thrust similar to arena looking at profiles a lot Have to keep things moving Scenery in an arena What is going to happen You can t have any kind ofa back drop because it would block out the audience Theatre in Russia that had arena with audience around it They managed to get a boxed set they closed the fourth wall It becomes opaque when you light it from the front when you put light on something behind it it more or less disappears skrim sheet Things that are waist high or knee high How can a lobby effect a performance Difference of how a theatre s enterance space is different than that of an art museum Open stage separates the audience from the playing space but it has no prescenium The walls of the building become the limits of the space The staging is free standing there is no attempt to tie off the ends of the stage How do you cover enterances and exits You don t Sometimes the supporting spaces wind up in the audience space There is no way of concealing what is going on off stage Why would you want to do this The presceium frame constitutes a sort of psychological barrier between stage and audience Intimacy that you don t get in a wider space A big space behind the pres Is great for a panaoramic effect Big crowd big scenes Big musical numbers It works well for smaller scenes SCENERY What are the functions of scenery Attitudes of scenery have changed over time Actors play in front of the scenery The big four stage had no scenery at all it had two doors on either side the scenery was behind them Forced perspective Things get smaller as you go upstage Things are diminished in order to create a different space How does scenery function in a theatrical world It acts as a back drop Things that theatre is not through the 17th 18th and 19th century the assumptions about the physical worls changed immensely Shift between romanticism and neoclassicism physical world is a way of getting into thematic value Characters begin to relate to their physical world They scene designers go from being archeticts to landscape painters mostly due to this shift EX colonial Williamsburg is a neoclassic environment Gardens are very structured and geometrical With romanticism gardens become unruly because we ban structure because we just do masses of colors and structures People build ruins Romantic notion of nature Not something to be ordered ands tructured but rather a vehicle for you to get to spiritual values You try to recreate nature on the stage Romanticism is replaced with realism and naturalism naturalism reaction to scenery It should be realistic Because it is a truthful representation of how things are Scientific approach to a human behavior How do we test what is the scientific analog for behavior studies regarding human beings How do we do this Theatre It entails setting up hypotheticals We need laws or some set oflaws if it is indeed scientific What are the laws that determine realism heredity and environment Sort ofpick up the Darwinian terminology the assumption about these plays is a group ofpeople behaving in a certain way because they are in a certain environment Oppression workers conditions what happens to the lower classes in society How do thei behave Does their environment develop their behavior How does scenery function in the world Scenery is the environment The setting becomes a determinant ofbehavior Were interested in how people behave In order to make that testable we create an envionrnment that is as real as possible Scene designers are NOT interior decoraters They are not there to make it look pleasing but rather there to make effective for a certain purpose Interior decorations designers of the naturalistic period Table manners is realism Oklahoma is a different type of design One of the big changes is that scenery becomes theatrical It doesn t have to represent universal order or an emotionally charged environment It doesn t have to be a realistic environment Suggestive or fragmented realism where a part represents the whole He talks about the poetry of theare a setting should be an image rather than a picture A picture is presumably a literal reproduction A picture is realistic An image suggests a larger space or meaning It invokes a sense of differentiation These shifts will become a little more drastic when we talk about style In a very general way the attitude about the function of scenery varies through time 9 Function of scenery 1 Locale 2 Opportunity for an actor to interact 3 Movement 4 Establishes conventions 5 Given circumstances 6 Change 7 symbolic 10Relationship between setting and character Setting creates expectation on what is going to happen in the play as a whole What do we expect it to do Gives the actor something to interact with Interact how Interact with their surroundings How one interacts with a setting Sitting on a chair walking up stairs Scenery shapes movement Parallel movement vs diagonal movement The arrangement of furniture in a realistic setting can in uence the way an actor moves Parallel in table manners Heads of the table do not become the strongest point Normally the head of the table are the strongest points Upstage side of the table was the strongest point in Table Manners a 3ml dimension so one can work an opportunity for actors and directors Create visual relationships among characters eX desire under the elms A blank facade Validates what the audience is seeing How it s set up helps the audience to interpret it and allow themselves to engage It establishes dimensions and style scenery can always change Desire under the elsm the house just sits there the whole time But what does it do The wall scene with abby and eben inside It s in terms of how the house is lived in The scenery changes in how the space is being used Handles in through scrims The house was divided into four rooms They re lit on the inside In that case the change is not scenery moving but rather scenery moving in different parts Multiple staging Where you see more than one locale at once Loci seven locations and a platia which is a general plane Localized setting and location presence or absence of the curtain Table manners you expect a meal to occur Locale where the actors are The more a designer can communicate ideas and sell them to a production staff sometimes a producer is actually in control the more input you re going to have in the design process You must communicate to the rest of the staff 102810 Belasco American Director It led to Naturalism Naturalism tends to mean eXtreme realism today Brick a brack realism George Berneard Shaw Thing to remember about naturalism is heredity and environment principle determanents in human behavior Selective realism


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