Chapter 1 – Set design Defi nition Set Design as part of the Interior Design world The Elements of Set Design The Infl uence of Set Design and their props on performing arts

from Elena Hastry, Interior Suspense. The Chill of the Victorian Mansion

Introduction

Chapter 1

Set Design

Set designers usually create spaces and sets in an artistic way to support the plot, whether that might be for theatre, fi lm or television. That means they build the physical surroundings in which the actions of a story will take place. In corporation with their production team, they turn drawings and ideas into a realistic and believable scenery, including furniture and props. However, the set design itself only includes those things on stage that are merely decorations. Props on the other hand, is what the actors are actually interacting with. Together, they make up every object on stage. Set design is often synonymously referred to as “production design” and is a noble art which requires creative qualities and a deep knowledge of history, art and architecture To ensure that everyone’s visions and expectations are met, set designers use tools such as rough sketches, fl oor plans and miniature three-dimensional models in close consultation with everyone involved in the process to create the perfect set.

Fig. 2: An early sketch of the Academy of Unseen Arts set from Netfl ix’s „Chilling Adventures of Sabrina.“

Not only do they consult with the production team to adequately bring the plot to life, they also work closely with the costume and lightning designers to create a coherent and matching frame for the plot. Therefore, set design is the heart of almost every stage production, however minimal it may be. It serves several functions. Although it fi rst and foremost creates context for the plot of the story that is told, it may also be used as a tool to draw in the audience with its elaborate and memorable design. Set design is particularly important considering that the spectators often “tend to remember what they see, rather than what they hear” (Colin Winslow 2007, 6) and therefore helps making the story come alive.

Set Design and Interior Design are deeply entangled. Many Set Designers do in fact have a background in Interior Design (“Set Design”). This is hardly surprising, seeing that just as Set Design, Interior Decoration is “concerned with the selection of furniture, products, accessories and backdrops in the creation of a particular styled ‘scene’” (Jean Whitehead, Creating an Interior Mis-en-scène 2019). The only diff erence is that Interior Designers, as opposed to Set Designers, does not create sets for theatre, fi lm or TV purposes, but for their client’s personal and private space, “interiors aim to refl ect the tastes and aspirations of their inhabitants or clients, to convey a certain atmospheric tone or mood” (Jean Whitehead, Creating an Interior Misen-scène 2019). Just as Set Design evolved and got more complex by theatre and television productions becoming more complex, Interior Design has had the same journey. Although it is often linked to a modern origin with the development of luxury homes, it does date back to nomadic cultures, according to Macmillan Dictionary. According to Whitehead (Creating Interior Atmosphere 2018), “an interior can act as a mirror, refl ecting the lives of the occupants it contains” (21) and elaborates that this refl ection can be used to create particular eff ects that may help with storytelling or staging an experience (21). This practice is called mis-en-scène, which Whitehead describes as “essen

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tially the art of presenting” (21). Although the term originated in theatre (22), it is now widely used for all performing arts, referring to everything, that is put on stage. It includes not solely the set design, but also “the position, movement and technical possibilities of the camera; the composition and design of the set; the placement of the props and actors; their relation to each other; and the setting” (22). Whitehead also adds the performance by the actors as well as their costumes and the lighting and camera work to this list of essentials (22). Mis-en-scène helps communicate not only the production’s setting of time and location, but also its atmosphere and message (23). Settings are “enhanced through the use of elements that enrich the mood of the fi lm ‘psychologically’” (23). Summarised, it aims to establish elements and information of the production without verbal description but with “mere appearance” (26). Not only are Set Design and Interior Design interwoven, Set Design does, in fact, infl uence Interior Design trends. “From the furniture, accessories, to the colour palette and more”, iconic Set Designs can often be found as inspiration for Interior Design. The interior set design of The Chilling Adventures of Sabrina, which will later be used as an example, has inspired several magazines to publish articles on how to recreate the sets so fans of the series can reside just like their favourite on-screen characters. Some Set Designers even collaborate with brands to create according Interior products (“Set Design”). This only illustrates how deeply related and interdependent Set Design and Interior Design are.

The process of Set Design is very collaborative. There are many things that need to be considered and taken care of to ensure, that the everything runs smoothly and in accordance with not only the set designers, but the whole team. As George Ledo puts it simply, “ Start with the forest, then get inti the trees and the branches and the leaves”. Colin Winslow gives a rather detailed look into the process of Set Design, focusing on theatre productions. He fi rst starts out by reading the script thoroughly and recommending, to not already start sketching the whole set but, if anything, begin with little sketches of small scenes. After having read the script thoroughly, it is time to meet the director. This meeting is key. Set Designer and director must fi nd a “common method of approach” (2007, 35), since they both might have very diff erent takes on the script and therefore, have very diff erent visions for the set. As Winslow stresses, “the relationship between designer and director is crucial” (36). Without fi nding common ground, the quality of the set design will suff er. Since the design process is a rather solitary activity, deadlines have a way to just creep up on one. Therefore, it is crucial to not only have an eye on the deadlines given by the production manager, Winslow also recommends setting a schedule for oneself to ensure to always be ahead in time. As a next step, Winslow describes Research. This step is necessary for almost every design process. Although the internet is a good tool to fi nd inspiration, original sources should be sought out whenever possible. Now is the time to actually begin to work on the design. Since this step often is the hardest, it might help to take a look back at the earlier made sketches and then to further develop the most promising one. According to Winslow, working on the furniture is the next step. In theatre, furniture includes most prop on set, not just those conventionally understood as furniture, like old boxes (39). Then it is time to further look at the stage itself. It may be in need of rostra, which are temporary platforms (39). For those platforms, it is necessary

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to consider the logistics, as the actors might need help getting on and exiting those platforms or may have to walk beneath them. Those considerations then directly lead to the next step of steps and stairs. Practicability is key here as well. The actors must be able to operate them with ease (42). For some plays and theatres, rakes, ramps and slopes might also be necessary. Especially for those features, it is important to have proper communication with the director, as they might be necessary for wheeled objects, among other things (44). Now it is time to develop the rough sketches. How to proceed here varies from one’s own personal style and preference. Nevertheless, Winslow recommends to not start “making the fi nal model until all the preparatory work is complete” (44). It is also recommendable to keep a close relationship with the director during this stage. This way, one can profi t from the director’s input but the director can also get familiar with the opportunities the design off ers (44). The next step are the plans and working drawings. “The stage plan is probably the most important drawing you will produce” (50). The stage plan is so important, because it will be shared with most people involved in the production process. Now, fi nally, the set model comes into play. While drawings might be abstract and diffi cult to grasp for some people, the miniature model three dimensional model is easy to understand. With the model fi nished, it is fi nally time to present the work. Although it is not necessarily mandatory, attending rehearsals is recommended. It is necessary to monitor the progress of the set’s construction anyways, since one might have to assist the process. Finally, the stage will be built according to the set design. Of course, here also come the other teams, such as lightning technicians into play. During the dress rehearsals, all elements are fi nally brought together. The task of the set designer here is to ensure the stage is perfectly set up from every perspective possible in the theatre. The set designer’s work is fi nally complete on the fi rst night. Changes should only be suggested afterwards if absolutely necessary. Although this ‘guide’ obviously was prepared with theatre productions in mind, the stages of production for TV and television do not diff er greatly in the rough construct. There, it is also important to have a close connection with the director and to start out with rough sketches, before getting more into detail. However, the art department, which production design is an essential part of, “is the ‘hub’ around which the fi lm crew works. It provides the creative template on which the other departments depend” (Ackland-Snow and Laybourn 2017, 22). It consists of several subdivided departments, like construction and set decorator, which the production designer is the head of. The production designer is in charge of creating the vision while the art director and the subdivided departments are then responsible to translate the production designer’s vision to reality. “The work and planning undertaken in the art department enables the crew to build and create the illusion that the audience will see on screen” (22).

“Design is crucial to storytelling” (2012, 7), Georgina Shorter knows. This already makes it clear, how important Set Design is to every stage production, whether that be for theatre, TV or fi lm. The design if a set sets the atmosphere for the whole plot, it “gives context to the action, it aids storytelling, refl ects key characters’ personality traits; it even taints what we the audience see psychologically” (Jean Whitehead, Creating an Interior Mis-en-scène 2019). The set designer’s task is to create a specifi c world and persuade the audience to belief in the world created (Winslow 2007, 7). Set Design is a rather modern concept. In Shakespearean times, for example, Set

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Design was neglected. Words were used to create a scenery (11). Nevertheless, over time this has changed. As of today, the set designer has the important task of assisting the communication between audience and plot (11). Of course, this is especially important for theatre productions. Nevertheless, Set Design might even be more important for TV and fi lm productions, because there, the audience gets most of its scenery from the visuals, not from words. Which is why it is so important, that the set designer and the other people involved, i.e. the director or costume designer, work closely together. Set Design is also not just the background of the story itself. Jean Whitehead (Creating an Interior Mis-en-scène 2019) even argues, “this ability to be transported into another world, however brief, is why cinema retains its hold over us the audience”. Set Design is an art in itself and might be even one more reason for audiences to tune in. This even furthers the infl uence Set Design holds on fi lm, TV and theatre productions and, of course, puts extra spotlight on set designers. For this reason also, Interior Design is infl uenced by Set Design, as stated earlier. Set Design’s infl uence on fi lm, TV and theatre has developed over the years and its infl uence seems to only be growing further.