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The process of scene design

Every designer has their own method to make a scene but still in general pattern.
The director read the idea script and develop about the scenery. The ideas maybe
few and vague, or they may include an exact picture of what the scenery should
look like. Frequently they are somewhere between two extremes. Meanwhile,
designer has developed his/her ideas.
The director and designer meet at a preliminary conference. Both have read the
script, and they exchange idea about the script. Following this, the designer
develops rough sketches, called thumbnail sketches, and rough plans to provide the
basis for further discussion.
As the designer proceeds, he or she attempts to fill out visual concept. In this work
the designer makes use of the following elements:
1. Line, the outline silhouette of elements on stage, for example, predominantly
curved lines versus sharply angular ones.
2. Mass and composition, the balance and arrangement of elements, for
example, a series of high, heavy platforms or fortress walls versus a bare
stage or a stage with one tree on it.
3. Texture, the feel projected by surfaces and fabrics: for example, the
slickness of chrome or glass versus the roughness of brick or burlap.
4. Color, the shadings and contrast of color combination.
The designer will use these elements to produce effects on the audience in
conjunction with the action aspect of production. When director and the designer
have decided on an idea and a rough design they like, the designer will make a
more complete sketch usually in color, called rendering. if the director approves of
this. The designer will make three dimensional scale of it.
There are two types of model, such as:
a) The models show only location of the platform and walls, with perhaps the
light detail drawn in, it is usually white in color.
b) The second model is a complete one that shows everything in duplicate mode
as fully as possible, including color and perhaps molding and texture.
Once a rendering or model is complete and has been approved, it is turned over to
the technical director of the production. The technical director is also given a
necessary ground plans and blueprints. Together with the building and paint crews,
the technical director then sees that the scenery is built, painted and installed on
the stage.
PRACTICAL ASPECTS OF STAGE DESIGN

The playing area must fit into a certain stage space and more important it must
accommodate performers. As for the requirements of the play, the designer must
take into account the physical layout of the stage space. The ground plan is the
blueprint, or floor plan outlining the various levels on the stage and indicating the
placement of all scenery, furniture, doors, windows, and so on. Working in
conjunction with the director, the designer is chiefly responsible for a practical
ground plan. To designate areas of the stage, the scene designer uses terminology
peculiar to the theater. Stage right and stage left is opposite from the audience
perspective. The area of the stage which is nearest to the audience called as
downstage. And the area farthest away from audience is upstage. The designer
should make the performers easy to move and the audience could see it clearly
while theyre play on the stage.
MATERIAL OF THE SCENE DESIGNER
The stage floor is a beginning while creating a stage set. Sometimes the stage floor
is turntable; that is, a circle is set into the floor which can turn mechanically to bring
one set into view as another disappears. At times, trapdoors are set in the floor
through which performers can enter or leave the stage. For some productions,
tracks or slots are set in the stage floor and set pieces or wagons are brought on
stage in the tracks and stopped at the proper point. A wagon in this case is a low
platform set on wheels. Wagons stage are brought on stage mechanically or by
stagehands hidden behind them. This type of scene change is frequently used in
musical comedy.
instead of scenery coming from the sides, it can be dropped from the fly loft-to fly, it
will be recalled, is the term used when scenery is raised into the fly loft out of the
view of the audience.
From floor level, ramps and platforms can be built to any height desired. To create
walls or divisions of other kinds, the most common element is the flat. so named
because it is the single flat unit. It consists of canvas like a solid wall. Used in
conjunction with other flats, it can be made to look like a solid wall. Used in
conjunction with other flats, it can be made to look like a complete room. The scene
designer's art comes into play at this point creating the illusion of virtually any type
of room or architecture required. Other vertical units are cutout - small pieces made
like canvas flats or cut out of plywood.
A very special type of scenery is a scrim. The scrim is a gauze or cloth screen which
can be painted like a regular flat. The wide mesh of the cloth, however, allows light
to pass through. When the like shine in front of scrim, it is reflect of painted surface,
and the scrim appears to be solid wall. But when the lights comes from behind, the
scrim becomes transparent and the spectators can see performers and scenery
behind it. The scrim is very effective for ghost scene. It could be a part of time, if
the scrim got a light from behind, it shows something that happened in the past.

But nowadays we have a n invention called as screen projection that is more simple
than scene painting

SPECIAL EFFECTS
There are effects of scenery, lighting, sound and props that seems miraculous or
unusual. Special effect include fog, ghost, walls that fall apart, buildings on fire and
mostly the designer and director wants to appearing the natural law and create the
illusion of extraordinary effect. The through scrim and projections are used to create
a number of effects such as dream sequences. Special fog machines created a
cloudy vapor that can be blown across the stage by fans giving the impression of
clouds or fog.
In the area of lighting, there are several special effects that can be used to create
interesting visual pictures. A simple one is positioning the source of light near the
stage floor and shining the light on the performers from below. This creates
shadows under their eyes and chins and gives them a ghostly or horrifying quality.
Another thing is a ultraviolet light that is use in very dark or even black stage that
can make the costume of the performers which has been painted with special
phosphorus paint will light up in the dark. The slow motion effect in silent movies
use the strobe light a very powerful and bright gas discharge which flashes at
rapid intervals to create the effect.
Not the lights, the sound of theater could be a strong thing that can influence the
play.
DESIGNING A TOTAL ENVIROMENT
In theater not only the stage and property, the designer also decides where and
how the audience will be placed as well as where the playing areas will be. In this
case, the designer considers the size and shape of the space, the texture and
nature of the buildings materials, the atmosphere of the space, and the needs of the
play itself.
CONCLUTION
Making a scene is like making a cake. Designer needs to make a new cake base on
the script as the recipe, directors wishes as a must and every element that the
designer uses as ingredients of the cake. The designer of theater should be careful
to make every single scene not to do too impress the audience because it will make
the play not be concerned. The designer should make the performers easy to move
and the audience could see it clearly while theyre play on the stage. In the theater
the scene is one of the elements that is used to make the play stronger and alive.

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