What's the most important part of your design process?
- Thread starterGrog12
- Start date
ColbyAtTroy
Member
I'm going to take a stab here and say that knowing your space and/or what you have to work with is the most important part. I can't design a set that is 12 feet tall, if the room is only eight feet.
Really hope that made sense.
Really hope that made sense.
masterelectrician2112
Active Member
What if it's a touring show? And the venue(s) have yet to be determined? Isn't (one of) the goals of design to transport the audience to another place and time?
too true, too true. what i meant is at my highschool. for a touring show or something that you don't know the house i would think it would be to know what you want to do. AKA that time or place you are trying to take the audiencce to.
ColbyAtTroy
Member
True. There would need to be thourogh analysis. Meaning, read and re-read the script. Also,the desginer would have contraints for what he is designing, typically. A designer does not have the freedom to design whatever they want. Some things that might create a limited design would be, the production concept, which is what you'd need to follow to keep the director's artistic goals in check, and if the show is a touring peice. I know some can tour, even if they were intended to. Also, I imagine you'd have to take in account the needs of the actors, in case they have needs, or have to perform certain tasks (i.e., an actor can't do a skating number, if the whole set is at different levels). Then, obviously, the physical needs of the Script (Doors, windows, beds, kitchen, etc.). Most importanlty, however, you would have to take in account the laws of physics.
So yeah, I guess analysing would be the most important part, and all this is what I mean by that.
I think the first step might be to clarify what you mean by "your design" as there can be multiple design aspects related to theatre. In particular, there can be technical facility or system design, artistic design of general areas (lighting, sound, sets, etc.) for a particular performance or design of specific original elements such as graphics or video, original music, a set piece and so on. A 'design' effort may encompass one or more of these areas and which aspects are involved could significantly affect the approach used.
Perhaps the one common aspect is to first develop, define and document what the expectations and vision are for the design effort, in terms of both scope and result.
Perhaps the one common aspect is to first develop, define and document what the expectations and vision are for the design effort, in terms of both scope and result.
For me, the most part of the important process is the Lighting Concept/Lighting Statement.
It never ceases to amaze me how many folks skip this, IMHO, most important of steps. Read the play.
When I'm designing my first 3 steps are:
1) Read the play.
2) Read the play.
3) Read the frigging play.
Once just to read it, and experience it. Twice to start really delving into what it means and to work on my lighting concept/statement. And a third time to solidify my concept and start marking out cues.
In ballet/dance this changes from read the script to watch the dance. In rock and roll it changes to listen to the music.
But designing something that you don't have a firm grasp on will only lead to a harder tech proscess and you not having any ammo to back up your choices to your directors and producers.
chadillac802
Member
Know the show. There's a reason the first few steps of the design process is read, research and more research. I find researching the time, place and social/economic situations of a play bring to light to some ideas. Also the more you know about the area the play takes place in will help you visualize what the set, costumes, lighting etc should look like. I also find researching art/artists of the particular time period and place particularly helpful when doing theater.
Remember, design is mostly about what the piece needs to help tell the story, not necessarily what you the designer "wants" to do.
Remember, design is mostly about what the piece needs to help tell the story, not necessarily what you the designer "wants" to do.
For me as an LD, I would say that understanding the script and understanding the directors vision (not necessarily in that order) are pretty key. I like to read through the script five times:
1) Just read it so I understand the plot, etc
2) Read through more slowly and try to get a solid handle on the dramaturgy. This step is probably accompanied by research into past dramaturgical analysis and also sometimes some research around things like period vocabulary (if applicable).
3) After learning about the director's vision at the first production meeting.
4) Going through and identifying all of the cues during and after seeing a rehearsal.
5) Right before production week.
I also have a few different friends who are also theatre designers and we frequently get together to work and bounce ideas off of each other. I find this process to be pretty invaluable.
1) Just read it so I understand the plot, etc
2) Read through more slowly and try to get a solid handle on the dramaturgy. This step is probably accompanied by research into past dramaturgical analysis and also sometimes some research around things like period vocabulary (if applicable).
3) After learning about the director's vision at the first production meeting.
4) Going through and identifying all of the cues during and after seeing a rehearsal.
5) Right before production week.
I also have a few different friends who are also theatre designers and we frequently get together to work and bounce ideas off of each other. I find this process to be pretty invaluable.
Anonymous067
Active Member
I generally start by reading the script a few times. The first time, just for comprehension, plot, etc. Next I read it a little slower, making sure to catch the deeper meanings, underlying plots, secondary things, and making sure I understand the relationships of characters, etc.
After that, I like to sit down with the TD/Director, and discuss anything they want to do specifically. After that meeting, I'll read the script again and start looking for things I need to provide, microphones, cues, etc.
After that I'll sit down with the TD, then the Director, in that order, to discuss my ideas and how they want to handle them, or any potential problems.
Finally, I go through my script a final time and start marking it up with scrips and whatnot.
Throughout this entire process, I'm watching as many rehearsals as I possibly can.
After that, I like to sit down with the TD/Director, and discuss anything they want to do specifically. After that meeting, I'll read the script again and start looking for things I need to provide, microphones, cues, etc.
After that I'll sit down with the TD, then the Director, in that order, to discuss my ideas and how they want to handle them, or any potential problems.
Finally, I go through my script a final time and start marking it up with scrips and whatnot.
Throughout this entire process, I'm watching as many rehearsals as I possibly can.
deltaleader
Member
Since I usually am SM along with lighting design, I tend to be with the director a lot, plus im at every practice... the most important part for me is making sure that im doing the RIGHT thing in such-and-such scene. Am I getting the most out of my plot, am i doing a good job covering all areas, while having it still look intimate... thats the biggest part of my process... Feeling the play/musical/show
