Thesis- Scenic design : Theatre by kaksha

SCENIC DESIGN : THEATER

D e d i c a

o n

I extend my love and gra tude to my family: Dad, Mom, and my darling sisters - chaitu and virudada Your uncondi onal support made this journey possible.

Sunil Desai

Juhi Sugandhi

Divy Gohil

Priyanaka Kalaria

Bhaven Patel

Amit Mistry

Drashti Doshi

Nimesh Desai

Bhavika Patel

Farheen Lanewala

Prachi Patel

Ishrat Motiwala

Setu Upadhyaya

Â Rhea Chirayath

Sonam Ratnawat

A c k n o w l e d g m e n t I am indebted to every single person who generously spent their me and interest to accomplish this disserta on. I am very grateful to my educators- Ar. Sunil Desai, Er. Amit Mistry and thesis commi ee for guiding me. Special thanks are reserved for ar sts and educators who are associated with this ďŹ eld:Mr. Setu Upadhyaya, Mr. Nimesh Desai, prof. Sou k Chakraborty, prof. Ashish Ketkar. Their invaluable me and eďŹ&#x20AC;orts are appreciable. My weirdest friends and roomies Bhavli, Chakki, Farukdi, Ishubaa, Juhi, Pinkudi, Riyu, Somni, Prachi who were with me for all these 4 years. Special thanks to Yatri Soni who understand my problems like Set designer. Special men on to Ashwaliya, Bhavla, Divy, Jayli, Chirag, Anjad bhanjad, Aayusi reporter to for harassing me and 12ID class A for lovely memories. Thanks to mahesh kaka, mukeshbhai, babu kaka , mistri kaka for their small yet most important par cipa on. Pranav Vaid and Neel Naik - without you my disserta on wouldn't even have started and other Sur dostars Vidhi, Ravi, Jigar, Krishna, and Mehali who didn't help me with this disserta on but men oning their name is mandatory.

A b s t r a c t This disserta on is based on the process of scenic design for theatre. The purpose of this to know how selec ve interior design established a mood to depict a backdrop to the story. The wri en part of this disserta on is to know the process of scenic design into theatre. A er that the case study helps to analyse the parameters to design a set. A er that follows a por olio document my process designing the set for 'suitable bride'. This disserta on is a journey to understand how interior design is diďŹ&#x20AC;erent and similar to set design. And how this two disciples are clearly connected. This interdisciplinary research concludes with this subjects: Tools which are used to design for stage, components of set design, material selec on, construc on and technical details.

I Ch 1

Overview - Aim - Objec ves - Scope of work - Methodology -

Ch 2

Ch 3

Ch 4

Ch 5

Proposal

. . . . .

01 02 02 02 03 03

Introduc on - Theatre as a composite artâ&#x20AC;Ś - Historical Conven ons of Set Design - Types of performance spaces Physical impact of the theatre space on scenic design - Understanding proscenium

. . .

06 07 11

Introduc on to theatrical Scenic design - Components - Objec ves of theatre set design - Design tools Visual elements Prac cal elements - Set typology

. . . . . .

18 20

Case study - Single loca on set - Mul ple indoor loca on - Mul ple indoor and outdoor loca on - Compara ve analysis - Inferences

. . . . .

29 33 37 43 44

. . . .

46 49 51 70

Design Development - Site demonstra on and analysis - Proposal / script - Final design -

Bibliography

21 23 25

OVERVIEW

Scenic Design

Overview

Scenic design is the art, cra and prac ce of designing and implemen ng 3rd Dimensional environments for drama, opera, musical theatre, dance performance, live concert events, ďŹ lm, video and television produc ons and themed events and environments. Though similar in some ways to interior or architectural design, scenic design goes beyond decora on to visually and environmentally support and thema cally expand a script, screenplay or scenario by facilita ng human interac on and/or choreography within the context of an event. â&#x20AC;&#x153;scenographyâ&#x20AC;? is to create the visual 'world' - realis c, sugges ve or abstract - in which to drama ze human condi on, establishing an atmosphere and mood for a presenta on for whether a serious play, an entertaining musical or any other event. Overview | 01

Aim

Design three dimensional space with perceiving a two dimensional frame through the visual faculty with aspect of crea ng illusions and how dynamics of two dimension and three dimensional depic on and percep on is applied in diďŹ&#x20AC;erent condi ons mainly to enhance the mood ,scale, psychological manipula ons of depth, by using lights, and technology.

Objectives

To study how three dimensional space transform into two dimensional frame. Understand how to create visual illusion by applica on of visual theory with modern technology to enhance the mood , scale , psychology of play. To study of the percep on of space will be limited to a 2D frame. The form of play and typology can be studied.

Scope of work

Design set for live drama in a seminar hall / Auditorium. Design a set with Directorâ&#x20AC;&#x2122;s a tude and point of vision towards story line. To design a set of par cular typology for ,the scene in par cular by using modern technology. Design set considering ligh ng and visual aspects as prior design parameters.

Overview | 02

Understanding the concept of crea ng illusion and perceived reality / ďŹ c on. Case studies â&#x20AC;&#x201C; Stage sets will be chosen to understand the principles and design aspects and how the applica on of those principles creates visual illusions of the depth, distance, lights colours etc.

Methodology

Program brief prepara on considering certain aspects. The applica on of this analysis in a three dimensional space, where the

Why scenic design? Scenic design is a composite art to create a visual environment for performance by using every cubic inch of stage. Thus designers has full freedom to design in the most simplis c or the most weirdest extent one want to design

Why stage design for theatre? Selec on of play would be more challenging to create an environment by using visual elements, methods, objec ves with in constrain boundary. The transi on three dimensional space into two dimensional frame would involve the stage design by applica on of visual theory with modern technology.

Overview | 03

Proposal

A Theatreâ&#x20AC;&#x2122;s as good a place as many for magic...

INTRODUCTION

Theater

Theatre as a composite art… Theatre Theatre is a collabora ve form of fine art that uses live performers to present the experience of a real or imagined event before a live audience in a specific place. The performers may communicate this experience to the audience through combina ons of gesture, speech, song, music, and dance. Elements of design and stagecra are used to enhance the physicality, presence and immediacy of the experience. “Theatre is an act of transforma on, and for designers it is the transforma on of words into visual and musical imagery.” As there are many performing arts associated with theatre, like drama, pantomime, musical performances, ballet, etc. Every performing art has their own iden ty and needs. Performing space, scenography, ambience, targeted audience, etc. are essen al for any performing art which strongly influences its iden ty.

HOW SCENIC DESIGN EFFECTS THEATRICAL PERFORMANCE? The essen al art of theatre is found in the exchange that happens between ar sts and audience during a live performance. The art of theatre is transitory, shared, and empathe c encounter involving the in mate examina on of the lives, thoughts and feelings of other people. Scenic design supports to translate that in every typology of performance with diﬀerent level of needs. The term “scenography” includes all of the elements that contribute to establishing an atmosphere and mood for a theatrical presenta on: ligh ng, sound, set and costume design. 2.1 Diﬀerent theatrical performing arts

Introduction | 06

Historical conven on of performing space 1500-1650 Renaissance

753BC - 476 AD. Ancient Roman theatre T h e Ro m a n s c o n n u e d Greek theatrical tradi on. Their theatres resembled Greek amphitheatres but were built on their own founda ons and o en enclosed on all sides.

8500 BC. Primi ve tribe dance and religious rituals w e r e performed where they travel.

Introduction| 07

Adopted basic shape of Greek and Roman theatres but diﬀerence was en re structure was enclosed in one building. Cavae was an ellipse instead of semicircle.Elaborate permanent sets of street scenes were built in forced perspec ve.

1000 -146 BC. Ancient Greek theatre

900- 15005. Medieval theatre

The Ancient Greeks created purposed -built theatres called amphitheatres. Greek amphitheatres were usually cut into hillside, with ered sea ng surrounding the stage in semi the stage in semicircle.

A er the Romans le Britain, theatre all but died out. It was reintroduced during the 10th century in the form of religious dramas, plays with moral and ‘mystery’ plays performed in churches.

Historical conven on of performing space

1600 -today Kabuki theatre

1837- 1901 Victorian theatre

Japanese kabuki theatre is famous for its stage include trapdoors, a sec on that rotates and a foot bridge into the audience.

The technological breakthroughs of the industrial revolu on had an i m p a c t o n t h e fo r m o f electrical ligh ng and use of machinery to create visual and audio spectacles.

1660-1714 Restora on theatre A er the English civil war, puritans banned all stage performances. However, theatres were reopened in 1660. Audience were made up of rich people, as well as the middle classes and servants.

21st century Modern theatre theatres today ranges for big budget show to low budget with diďŹ&#x20AC;erent type of advance stage technology. and stage types varies according to stage and audience.

Introduction | 08

Historical Conven ons of Set Design ORIGIN

The theatre history meline spans approximately the last 10,000 years. Where primi ve tribal dance and religious rituals were performed by people where they stay. There were no par cular performing space to perform.

Greek theatre

The western tradi on of theatre began in ancient Greece. Ruins of the earliest theatres – great outdoor amphitheatres .The designers of those theatres understood that maximum communica on between the stage and audience was essen al. Theatre was the place where ci zens gathered to hear vital issues discussed, declaimed and dissected. Those huge amphitheatres allowed literally thousands of spectators to see, hear and share the onstage ac on that was so important to their daily lives, without the audio ampliﬁca on. Ancient Greek theatre fes vals may or may not have used painted scenery, and they may or may not have changed the scenery to represent diﬀerent loca ons. Even then someone needed to make sure that actors were seen and heard in order for the dialogue to con nue, and that hasn't changed.

WHAT HAS HAPPENED SINCE Roman theatre

Medieval theatre

The history of design for theatres and for the sets on which theatre is played since ancient mes is a story of change and innova on. Over many hundreds of years, performances have popped up on urban European streets, in churches, on traveling wagons, in castles, in courtyards, in purpose-built auditoria and on sites designed for other purposes, like factories, hospitals, and train sta ons. Early stage sets were portable – banners, structures built on wagons – but later innova ons include the fascina ng and sophis cated stage machinery in Baroque theatres allowing ships to sail and sea-storms to sink them. The indoor theatres we use today – o en splendidly equipped with the latest technology – owe a lot to what evolved over the centuries. The actual “set” design as we think of it now was minimal. For the most part, the actors' voices, music and dance carried the story. Costumes were chosen for maximum visibility for the actors. Ligh ng was the bright hot Mediterranean sun.

Renaissance theatre

Introduction| 09

THE TWENTIETH CENTURY

Historical Conven ons of Set Design

The modern set designer emerged early during twen eth century. At that me electrical ligh ng was in its early stages and its use in theatres was rudimentary but poised for the huge advances to come. Actors usually supplied their own costumes and the no ons of coordina on, colour, texture and aesthe cs were pre y ad hoc. Audio ampliﬁca on had yet to be invented.

Elizabethan theatre

But, architecture, carpentry, pain ng and non-electrical ligh ng for the stage were well established and the period from roughly 1900 to 1970 was a highly innova ve one for many scenic designers. Inﬂuenced by the Bauhaus Movement, and other important developments in the visual arts, theatre design established itself as a dis nct discipline and proceeded to develop conven ons for what would be seen on Twen eth Century stages.

TODAY Kabuki theatre

The 21st century builds on the past, with the important difference of accessible and steadily advancing technology. The increasing use of computer generated imagery, computerized ligh ng systems, robo cs and technologies that allow stage walls and floors to move, rise and drop at the touch of a finger to a keyboard mean that the future of stage design will be one of innova on and stunning visual effec veness.

Modern theatre

Introduction | 10

Performing space The performing space is the most important element and space. Its success has greater inﬂuence on how event will perform and func on. Performing spaces varies according physical arrangement of audience and stage.

STAGE In the theatre, a stage is a pla orm where plays are performed. Roofed theatre has permanent stage scenes and complex machinery for sound and ligh ng eﬀects.

PHYSICAL IMPACT OF THE THEATRE SPACE ON SCENIC DESIGN Scenic design is the configura on of the stage space, its size, and its rela on to the audience. Designing the scenery will differ vastly from stage to stage. The size of stage and its availability of wing space, fly space, and stage mechanism such as traps, turntables, and counterweight systems also influence over design decision.

- stage - audience

ARENA

THRUST

Ÿ Seats on all 4

Ÿ Combina on of the

sides Ÿ Very in mate Ÿ More emphasis on props & costumes than on scenery.

arena and proscenium stages Ÿ Seats on 3 sides Ÿ Raised pla orm surrounded by raked sea ng.

Introduction| 11

PROSCENIUM th

Ÿ Removed 4 wall Ÿ Picture frame Ÿ The audience sits on

one side to watch the ac on through the frame

BLACK BOX Ÿ A ﬂexible space Ÿ The “empty space” Ÿ Stage and sea ng not

ﬁxed

Understanding proscenium.. Proscenium stage: The audience directly faces the playing area which is separated by a portal called the proscenium arch. The stage is o en raised a few feet higher than the ﬁrst rows of the audience. The audience is on a rake, ge ng higher as the sea ng goes towards the rear of the house.

II 5

4 3 2

TYPICAL SCHEMATIC GROUND PLAN OF PROSCENIUM 1. Audience 2.orchestra pit 3. Apron 4. Proscenium line 5. Ac ng area 6.back stage 7. Cyclorama 8. Entry / exit door 9. Oﬃce 10. Wash rooms 11. Green rooms

TYPICAL SCEMETIC SECTION OF PROSCENIUM I. Grid iron II. pin rail 1.Dressing room 2.Basement

Introduction | 12

Understanding proscenium.. Stage components

Proscenium wall: portal that divides the audience and stage area. Proscenium: Cut out in proscenium wall through audience can see the Drama. Proscenium arch: an arch framing the opening between the stage and the auditorium theatres. Ac ng area : 35' X 20' – behind proscenium wall

Backstage: Areas of the theatre adjacent to the stage accessible only to performers and technicians, including the wings, crossover, and dressing rooms. Typically this refers to areas directly accessible from the stage and does not include spaces such as the control booth or Orchestra pit

Apron stage: The area of the stage in front of the proscenium arch, which may be small or, in a thrust stage, large. Cyclorama: any set of curtains that enclose the back and sides of stage se ng. False Proscenium: a frame with in the ﬁxed proscenium to make smaller the exposed area of the inner stage.

6 4 3

2 1

Rake: A slope in the performance space (stage), rising away from the audience. Wings: Areas that are part of a stage deck but oﬀstage (out of sight of the audience). The wings are typically masked with legs. The wing space is used for performers preparing to enter, storage of sets for scenery changes and as a stagehand work area. Wings also contain technical equipment, such as the ﬂy system.

Introduction| 13

TYPICAL PROSCENIUM STAGE 1. Orchestra pit 2. Apron stage 3. Proscenium 4. Main curtain 5. Proscenium border 6. Flat wing / ﬂy wings 7. Back curtain 8. Trap door 9. Cyclorama

Understanding proscenium stage.. 6

LR 7

Stage Division of proscenium stage

Ÿ Ÿ Ÿ Ÿ Ÿ Ÿ

Proscenium stage is divided into six division UL - upper left UC- upper centre UR- upper right LL- lower left LC- lower centre LR- lower right

Upper centre stage is visible to all audience, thus it is most important division of stage.

Detail cross section of stage

According to human tendency a person’s vision travel from left to right. therefore, in cyclorama people standing on the left side have more importance than to right. Hence, designer should consider positive entry / important scene on left, negative / less important scene on right side.

4 1

1. Orchestra pit 2. Masking wings 3. Entry ﬂats 4. Apron stage 5. Proscenium border 6. Grid iron 7. Pin rail 8. Cyclorama

Introduction | 14

INTRODUCTION

Theatrical Scenic Design

Theatrical scenic design Ÿ The "stage picture" is the "look" or physical appearance of the

stage for a play. Ÿ Physical surroundings in which the ac on will take place. Ÿ Scenic design in theatre, For Designers it is the transforma on

of words into visual and musical imagery. Ÿ Scenic design is Drama c imagina on and aesthe c sensibility

within a collabora ve framework of interac on with diﬀerent components and design principles.

“scenic design is USE of every cubic. inch of stage for performance.” - prof. Sau ck Chakraborty

NEED OF SCENIC DESIGN Ÿ Elements of art and stagecra are used to enhance the physicality, presence and immediacy of the experience. Ÿ Characterizes the ac ng space visually Ÿ Makes a strong interpreta onal statement Ÿ Creates mood and atmosphere

Theatre scenic | 17

Music

Costume

Set

Light

Components

Components SET - set is a physical surroundings in which the action will take place. LIGHT - Light offers effects that can be changed at will to match the mood of the action. COSTUME - costumes provides audience information about a character's tendencies towards conformity or individualism. MUSIC - Evoke the appropriate emotion

. Theatre scenic | 18

Components SET Ÿ Set is not just temporary suppor ve structure it is setup to promo ng product; crea ng impression; mood to story. Ÿ Creates 3d on 2d screen. Ÿ Creates the dominant visual mo f. Ÿ Set itself establishes the loca on of the scene. Ÿ Construc on of appropriate backdrops to any story.

LIGHTING Ÿ Light illuminates all. Ÿ When light falls on the surface of an object it becomes visible to us. Ÿ The object with its intricacies, of shape, volume, colour, texture and detailing becomes appear to us. Ÿ Several diﬀerent types of stage ligh ng instruments are used in the pursuit of the various principles or goals of ligh ng.

PHYSICAL IMPACT OF THE THEATRE SPACE ON LIGHTING DESIGN Ÿ The availability of light posi ons is one of the major factors in distribu on and modelling. A theatre with a mul tude of loca ons to mount ligh ng fixtures affords a range of ligh ng angle which to light actors and scenery. Ÿ There are most common ligh ng posi on in proscenium theatre. Likewise front of house, ceiling coves, box rooms, balcony rail, ba en, floor mounts, portable stage, light trees, set mounts, light ladders and foot light. Ÿ Every ligh ng instrument will have maximum throw distance and intensity which gives different effect to produc on.

Theatre scenic | 19

SET DESIGN

Theatre scenic | 20

Visual tools of theatre set design The design elements, known as point, line, shape, mass, color, and texture are the basic building blocks of any artwork. They are to visual Design what the alphabet is to wri ng. The elements can be used to create great artwork and lesser artwork, in eighther case, the essence and the intergrity of the individual design elements remain unchanged.

Line The dominant lines of a composi on might be ver cal, horizontal, diagonal, curved, or spiral. Line itself may dominate the composi on or only deďŹ ne the edges of masses. The composi on below is dominated by lines that move radially from the center of both the ground and the background. colors while blues, greens and purpl

Mass The size of the elements on the stage. On stage, mass rela ve to the actor's body is important: does the scenery dominate an actor (a big cathedral, huge stone palace, large forest) or is it in scale with the actor (an everyday kitchen, a subway car, a corporate oďŹ&#x192;ce)?

Unifying the use of line The eďŹ&#x20AC;ect of ligh ng angles on mass or form

Composi on How are the scenic elements arranged in space (along an x,y, and z axis)? Along any given axis, the composi on might be symmetrical, balanced, or unbalanced.

Space

Lit with direct front light.

posi ve space is three dimensional space taken up by scenic objects. Nega ve space is open space, which may be taken up by actors and perhaps by movement of actors and other pieces of scenery. The example below leaves a great deal of nega ve space, and dwarfs that actor with its massive size and scale. Lit with sidelight .

Theatre scenic | 21

Visual tools of theatre set design Texture can be two dimensional or three dimensional. Two dimensional texture is varia on in color, pa ern and material. Three dimensional texture is a tac le property: objects could be rough, smooth, silky, bumpy, gri y. Because stage lights tend to hide an object's texture and because texture is harder to see across a distance, a scene designer usually exaggerates stage objects' textures.

Color has four proper es. Hue is what we normally think of as color; in paint it is a speciďŹ c mix of primary colors red, yellow, and blue; in light it is the wavelengths absorbed by the object while the rest of the wavelengths are reďŹ&#x201A;ected and caught by the eye. Satura on is how much of the hue, the hue could be faintly or strongly present. Value is the scale from black (value=0) to white (value=100); if you think of conver ng the colors of a picture into a black and white movie, which is really a grayscale with black and white at either end of a spectrum, you will arrive at the picture's values. Temperature is a metaphor used for the emo onal quali es of a color: reds, oranges and yellows are warm colors while blues, greens and purples are cool.

Unifying the use of line

Theatre scenic | 22

Prac cal tools of theatre set design While it is usually a set designer's job to decide how her set will be constructed or to actually build set, Person needs to know the common structures used to create stage environments.

Flats are used to make two dimensional, painted scenery. O en they are painted in perspec ve or with other trompe de l'oeil to give the impression of three dimensional objects. They are usually constructed of canvas stretched over a wooden frame. Walls, whether interior or exterior, are o en built from flats, which are then painted and textured to resemble a real building material or interior decora on. O en flats are used together, by hinging them or lashing them, to represent three walls of an interior. They are o en anchored to the stage floor with stage braces. Flats and cutouts

Cut-outs is a piece of thin wood or other firm material that is cut to represent an exterior outline of an object. It may be used on its own or a ached to a flat; for example, a flat represen ng the edge of a forest might have a straight edge (the flat) along a tree trunk and then a cut-out represen ng leaves higher up where the foliage begins.

Pla

orms

are used to add levels to stages, whether a few steps up into another room of a house, a second story to a building, or a higher level represen ng a diﬀerent loca on.

Wagons are pla orms that move into place onstage or move around the stage. The simplest way to make a wagon is to put castors on a pla orm. For some shows, tracks and elaborate electrical systems are installed to run wagons electronically. To raise a wagon or other set piece ver cally, a hydraulic li is o en used. Wagons and slopes

Theatre scenic | 23

Prac cal tools of theatre set design Turnable or revolve is a large circular area of a stage ﬂoor that is built to revolve, like an enormous turntable. Anything from an actor to an en re set can be loaded onto the revolve and then spun around into place facing the audience.

Drops are large, painted canvases hung from ba ens. They could be painted to resemble a city street, a cornﬁeld, or a night sky.

Scrims are large, loosely woven drops, usually unpainted. Because of the loose weave of the fabric, the scrim appears opaque when lit from a front angle but transparent when lit from behind.

Drops and Scrims

Cyclorama is a large white canvas or plaster structure along the back of the stage. Ligh ng designers make most use of a "cyc" to create the eﬀect of sky or washes of color across the background

Projec

ons

have been used increasingly through the 20th century as integral parts of set designs. Projec ons might be s ll pictures, like slides, or moving images shot on video or ﬁlm. They might be projected onto a cyc, a ﬂat, or any other object

Theatre scenic | 24

Set types Unit set A Unit Set is the group of subjects which together make up an approved major sequence or specialisa on. I – FLATS – simple, window, door, arch II – PLATFORMS, STEPS, STAIRS, RAMPS III – CUTOUTS, PAINTED SCENERY, BACK CURTAIN IV – PROPS AND FURNITURES Ready-made props and elements used to create set. Unit set

Minimum set “MINIMUM PROPS MAXIMUM EFFECT” Based on simplified realism. Selec ve light helps to create effec ve impact. Height of flats / wings are less. Spot light distracts viewer's mind from low heighted flats. Box set

Rreversible set When script has demand of more than three scenes, intermediate me for changing sets is very less than reversible set is required. In most of reversible sets, the props and furniture remains the same; only two side painted cloth fixed wings can be reversible. Wings has to fix with hinges. Wings/ flats could be moved or flipped. Levels, ramps, steps etc. which are part of play has ball barring's or rollers at bo om for easy movement. Main disadvantage of this set is; there is possibility of scene changing but no possible change in ground plan. Reversible set

Theatre scenic | 25

Set types Screen set / box set Mixed of reversible and minimum set type. Height of wings / ﬂats should be 8' or 9' Wooden based ﬂats with two side painted cloth and use of minimum props creates illusion of realm.

Prism set Three scene on one prism revolves on one point. Prism can be arranged in par cular angle to achieve inner or outer scene.

Book set Flats with two side painted cloth turns like pages in book. Ver cal support is ﬁxed with upstage on which ﬂats rotate. This type of set used in dance & musical shows.

Prism set

Curtain and wing set Painted backdrop, wings and curtain creates deep scene. More wings and curtains used where ac ng area is less required and to create deep scene Less wings and curtains used where ac ng area is more required and to create cover scene.

Cyclorama set White or greyish large curtain on upstage, wings and curtains in backstage and useful props creates cyclorama set Cyclorama set is type of minimum set.

Book set

Theatre scenic | 26

Set types Permanent set Used where no need to create realm, where ac ng stage movement is more and mostly where numbers of scene has to play. Formal stage organised in par cular way that may help to act and it gives meaning to play. Spot light increase power of ac ng. Jacques copeau style- some part of set is ďŹ xed. Addi onal set added according to script.

Jack knife stage

Jack knife set

A method of staging which employs rostra which are pivoted on castors at one corner so that they can be swung quickly on and oďŹ&#x20AC; stage.

Revolving set Revolving stage, theatrical device for scene changes, or shi s, by which three or more se ngs are constructed on a turntable around a central pivot and revolved before the audience. Some mes it is part of stage of auditorium but where there is no provision for revolving set; 1' heighted false ďŹ&#x201A;oor has been created and circular cut piece rotates on one axis with help of machine.

Revolving set

Theatre scenic | 27

CASE STUDIES

Set Design

Case study - I Aaj jane ki zid na karo

Sequencing

SINGLE LOCATION SET SET TYPE - Replica set

Storyline The plot of the play enacted in a Mumbai Local train, the last one between CST to Karjat. There are only two commuters in the compartment, The main protagonists are a young man, very naive and simple and a Street Walker young girl, pretending to be street smart but a small girl lurking beneath her Street Walker exterior. They share journey of fun, light hearted banter, emo ons and a bond between them caused by common rural background. Though he is standoffish at first, her unbridled exuberance draws him into conversa on and then a strange kind of a rac on. The act culminates in arrest of the girl (not for Street Walking) by the man (who is a Police Constable) for an accidental death of a ruffian during a fis ight with the girl. In the second half (three years forward), man was in search of that girl a er her comple on of punishment to share his feelings for her. He found girl in last local train. Man found that girl was suffering from asthma and she was surviving through explicit telephone conversa on. Man proposes girl for marriage but girl refuses because of her profession. In response to that boy told is story of childhood that he was also a son of street walker and he helps his mother to find customers for his greediness for chocolate. Girl found his guilt of childhood, respect for street walkers and love for her. She agrees to his proposal and decide not to con nue her profession.

Case study | 29

CENTRAL

RAILWAY

CENTRAL

RAILWAY

CENTRAL

RAILWAY

CENTRAL

First Class First Class First Class

CENTRAL

RAILWAY

First Class

Aaj jane ki zid na karo CYCLORAMA

1200

Design brief PROP MOVEMENT

Ÿ The aim is to develop a set as Mumbai Local 1200

trains' compartment.

1200 600

thus centre part of envelope is open. Open envelop sliding system for be er vision for audience to see what is happening inside the envelope. Centre panels slide through sliding channel by pulling rope. by force of sliding; Centre panels pushes side panels to hide behind side wings. Con nuos movement of sta on’s signboard can be see through doors. It creates eﬀect of moving train. The set is designed as eﬀec ve, realis c and prac cal vision so as not to inhibit the actors. Play is divided in two phases - present and three year backwards; thus set is designed with two changeable sliding panels which can be replaced in an interval.

3000 300

Ÿ Focus of the play was in lower centre stage ,

7200

PLAN

8100

First Class First Class First Class

CENTRAL

RAILWAY

CLOSED ENVELOPE ELEVATION (1ST HALF)

CLOSED ENVELOPE ELEVATION (2ND HALF)

First Class First Class First Class

CENTRAL

RAILWAY

OPEN ENVELOPE ELEVATION (1ST HALF)

OPEN ENVELOPE ELEVATION (2ND HALF)

Case study | 30

Set construc on and ﬁxing Ÿ Handle bar unit:

Each part of unit can be easily ﬁx / detach by interlocking system. Ÿ Compartment top sliding member and structural unit are

locked with each other by nailing and metal caping system. Ÿ Sliding panels:

Closed envelope

Centre panels slide through sliding channel; centre Chanel forces side panels to slid and hide behind side wings. Ÿ Two compartment wings supports each other with metal

caping. Ÿ Sea ng:

Sea ng can be ﬁx /detach by interlocking grooving system.

Open envelope

Case study | 31

Metal caping

Aaj jane ki zid na karo Window picture printed board to create an illusion of window COMPARTMENT WING covered with ply at one side Foldable wooden wing-one side covered with canvas cloth to close the set

Wooden frame for base

Wooden ďŹ&#x201A;atsone side covered with painted canvas cloth

wooden stage covered with ply ďŹ nished with wallpaper

Canvas cloth to cover frame

plywood painted wooden f ra m e d p a n e l s w i t h detachable metal window

w o o d e n s t a g e covered with plywood

Case study | 32

Case study - II Sukh ne ek chance to aapo MULTI LOCATION SET - Indoor door SET TYPE - Box set

Storyline Parsi old lady doctor who le her prac se years ago. Old lady taught an old man who le desire to live how to live like children and cherish each moment of life.

Design brief Box set has to create the interior of an Parsi family on the stage. Corners gives depth in view that helps to establish different space division. here; bedroom, living room, balcony, indirect entry from kitchen; main door; and bedroom. The set was constructed with individual one side painted cloth flats and cutout flats were joined by nailing and screwing. Levels, props, cutouts and different elements helps to enhance beauty of set. Case study | 33

Sukh ne ek chance to aapo Design interpreta

Ÿ Stage design is focus on depic ng Parsi house. In which

living room, bed room and balcony depicted with the concept of selec ve realism. Ÿ Elements such as pointed arch door, painted window,

cornices and color selec on of set gives look of Parsi house interior. Ÿ More movement and most important scenes are in living

room so placement of it is on lower middle stage. Ÿ Raised level for balcony area gives importance to scene. 4.2.1 view of set of Parsi house interior

Ÿ Furniture selec on is based on selec ve realism. MAIN DOOR ENTRY / EXIT

Ÿ Props helps to create an atmosphere as parsi family

house. KITCHEN'S ENTRY / EXIT

BEDROOM DOOR ENTRY / EXIT

LIVING ROOM BALCONY

BEDROOM

Stage division

Stage division Plot is divided into three area. Ÿ living room on upper middle and lower middle stage. Ÿ bed room on lower le Ÿ balcony area on lower right. entry / exit as main door of house is on between upper right and upper centre. entry / exit as Bedroom from lower le stage. entry / exit as kitchen from upper right stage.

4.2.2 Plan of set of Parsi house interior

Case study | 34

Sukh ne ek chance to aapo Set Construc

Ligh ng

Ÿ Set is constructed by ﬂats and cutouts by arranging at 90 angle to create depth achieving

perspec ve. Ÿ Flats are used to make two dimensional, painted scenery.

here they are painted in perspec ve or with other to give the impression of three dimensional objects. They are constructed of canvas stretched over a wooden frame resembled by nailing system.

Ÿ Cutout is a piece of thin wood or other ﬁrm material that is cut to represent an openings like

wise door window etc.

Flood light distributes equal light on stage. which helps to see en re set at once.

Wooden batten frame one side covered with cloth / textured cloth

Case study | 35

Cutout use as opening

Back light from gela n window on actor impacts as mixed emo ons of person.

Case study - III MEERA MULTI LOCATION SET - Indoor and Out door SET TYPE - Symbolic set

Storyline The modern Meera- a young widow, and an archaeologist by profession is lonely and confused. Although educated, and having a c a r e e r, s h e i s f a c e d w i t h s e v e r e condemna on from her in-laws. On one stormy night alone at an excava on site, she encounters a nomadic woman of the same age as herself and ﬁnds that this woman shares her name. The dreamlike image of the saint Meera, no longer a queen but a commoner, reveals the secret of a woman's strength. She invokes the challenging life of the saint who chose to submerge herself in her devo on to Krishna, and be his consort.

Design brief Storyline is based on mul ple loca on like different rooms of abandoned palace, street view etc. Which was symbolised as different frames and openings like door with decorated columns and pointed arches, carved fencing, foldable jalis, leafs, trunk of tree. Levels and arrangement of frames suggest depth which iden fy as different rooms to perform. The whole set is designed in a mul ple perspec ve, diagonals, and receding elements sugges ng depth. Every frame is on front plane, to look like facades and mul perspec ve creates individual space.

Case study | 37

Meera Elements of frame The set is designed to depict abandoned palace. Walls with creepers performs as exterior of palace incorporates with street. Which moves to backstage and behind another frame which represent interior space Decorated openings and panels is to create the look of palace. Levels and pla orms are to create powerful impact or to give importance of scene. such elements like Leafs, placement of trunk gives look of abundance and keep balance between composi on of frames and comforts vision.

4.3.1 DiďŹ&#x20AC;erent type of jalis and other framing elements are used.

Choice of element All the elements in the frame are consciously chosen and placed with keeping the need of script in mind. All of them are selected to depict palace of that me. The selec on of light, colour, shade, texture, props supports the set.

4.3.2 image showing elements used for designing set

Case study | 38

Meera Frames with in frame The stage frame consists diďŹ&#x20AC;erent frames within itself. Each frame seems to represent a room of the palace or the window of the palace. All the frames are represent in varied levels and types to perform. The wait of interest is ďŹ rst and levelled up on stage where most of the scenes or important scene has to be performed. The second seems a li le further back to create depth and to iden fy another performing space / room.

Create mul

ple loca on

The elements and frames are arranges in mul ple one point perspec ve to create a en on for each frame and also reduces their distance from the observer increases also by increasing height.

4.3.4 perspec ve framing

Create mul 4.3.3 image showing graphical framing of set

The frames are individual and are not linked with any major elements. They are ed together due to the uniformity in colour, pa ern and texture given to them represen ng several windows of frames that depicts same place.

Case study | 39

ple perspec ve (in to in / out)

The elements in the frame are arranged to create diďŹ&#x20AC;erent perspec ves and the a en on to detail reduces as their distance from the observer increases.

Meera Rela

ve assembling of elements

The frame can be broken into ver cal and horizontal components. The horizontal frame can be broken into another several frames at diﬀerent level which subscales the set. 4.3.6 images showing rela on b/w actors

Rela

on with actor and set

Actors are well deﬁned and separated because of frame. The performance is clearly visible bye level upgrada on. Frames and jharokhas and window openings became individual performance space and placement and clear circula on space creates an interes ng story telling. 4.3.5 plane fragmenta on of set

Placement of actor creates point of interest and emphasizes the modula on of the plinth which create depth versus a ﬂat background. The ver cal plane is divided for be er circula on for performance and also to create depth for increase point of interest.

Scale and propor

The actors through in different depths area in all frames creates a fla er look and give a deep space effect. Other elements are present in rela on to scale and propor on balancing the scenic look. Case study | 40

Meera Ligh ng Create mul

ple loca on

Mul ple loca on is created by using diﬀerent frames arranging using depth. Diﬀerent loca on can iden fy Using spot light. Halogen lights are for brightening up the set.

Create mood The intense light creates an eﬀect which represents a turmoil of emo ons.

Create depth By giving diﬀerent type of light such as cut light from wings / opening gives eﬀect of depth to stage and scene also.

4.3.8 diﬀerent colours of light depicts diﬀerent me.

Case study | 41

Meera Colour and Balance Balance between set and costume Set colour and costume colours are contradictory to each other which balance the vision. Actors can iden fy because of Contradict colour.

4.3.8 diďŹ&#x20AC;erent colours and light depicts depth and balance.

Depic

ng balance

Light coloured frame in front and darker in back are emphasised because of silent background which balances the picture frame.

Depic

ng depth

The colours in the foreground is plain while frames colour are contras ng with each other. Light colour creates a faded impression of frame and contes ng colour gives depth than light coloured frame and deďŹ ned outline.

when light is thrown on colour pigment it absorbs light and enhance the beauty of scene. It creates balance between colour and light and also between viewerâ&#x20AC;&#x2122;s vision and set.

Case study | 42

Compara ve analysis CASE STUDY - I

AAJ JANE KI ZID NA KARO Ÿ Train Container created with realis c approach Ÿ Single loca on Ÿ Single perspec ve

CASE STUDY - II

SUKH NE EK CHANCE TO AAPO Ÿ Box set Ÿ Depth has been created with angular wings Ÿ Corner creates diﬀerent loca on Ÿ Mul ple interior loca on Ÿ Single perspec ve

CASE STUDY - III

MEERA Ÿ Frames with in a frame Ÿ Created depth by placing frames at diﬀerent

distance Ÿ Mul ple loca on created by frames Ÿ Mul ple perspec ve

Case Study| 43

I n f Inferences erences From varied case study at different level of the design process I have come across vast range of illusive set ups. The different type of sets are based on the concept behind the theme of the script and need of script. directorâ&#x20AC;&#x2122;s vision is also depend on establishment of setup. The typology of furniture varies accordingly. Sets are temporary and hence have limited life span; so accordingly the materials have to built up the environment. The basic difference between the sets and regular interior is: sets are perceived on 2D screen, while the interiors we see by the naked eye. Interior setups are presented as selective interiors where interior space depicts with selective furniture and props rather than showing whole space. The cone vision varies. In set design less use of props or reuse of props is very much important. Setup has to designed according to less and easy movement of characters / actors. Set design gives an opportunity to use of combination and permutation to build the temporary environment. depiction of regular interiors is adopted with different material . Ever changing interiors can be adopted. like wise custom made modules can be designed. Case study | 44

DESIGN DEVELOPMENT

Theatre set

Site Demonstra on Site : Tagore hall Type : Proscenium type stage Stage Size : 21000 x 18000

ELEVATION

PLAN Site Demonstration | 46

Site Analysis ANALYSIS Ÿ M a s k i n g

a n d performing area are decided with the reference of audience ‘s sight line.

MASKING

Ÿ Sigh ngs that extend

from the extreme seats to any posi on on the stage Ÿ Sight-line drawings are

used to determine how much of the stage and backstage will be visible from speciﬁc auditorium seats

Site analysis| 47

Audience’s sight line analysis

Site Analysis

LOWER LEFT

LOWER CENTRE

LOWER RIGHT

MIDDLE LEFT

MIDDLE CENTRE

MIDDLE RIGHT

UPPER LEFT

UPPER CENTRE

UPPER RIGHT Site Analysis | 48

SUITABLE BRIDE Story line CAPRICORN LEO

ARIES

LIBRA

VIRGO

TAURUS

PISCES

CANCER

SCORPIO

AQUARIUS

Proposal | 49

SAGITTARIUS

GEMINI

Story is about an NRI Patel boy who comes to India to ﬁnd a bride. Yogesh decides that he will see one girl from each zodiac sign due to less me. yogesh met twelve girls each from one zodiac. Yogesh also have foreigner girlfriend in U.S .a er seeing each one of them he decide not to marry Indian girl and go back to his girlfriend But girl denied . So in frustra on he ask his uncle to c h o o s e o n e fo r h i m . t h e suspense is that Yogesh does not know who is the girl. He saw girl on his marriage day in surprise and LIGHTS OFF…!!!

Story Board

CHICAGO’S AIRPORT

YOGESH’S HOUSE

HOTEL LOBBY

HOTEL ROOM

RESTAURANT

ZANKHNA’S HOUSE

HOSPITAL ROOM

AHMEDABAD’S POL

PADMA’S HOME

KIRTI’S OFFICE

BHAVNA’S HOME

CLIMAX SCENE Proposal | 50

Sequencing

CHICAGOâ&#x20AC;&#x2122;S AIRPORT

Sequencing

YOGESHâ&#x20AC;&#x2122;S HOUSE

Sequencing

HOTEL LOBBY

Sequencing

HOTEL ROOM

Sequencing

RESTAURANT

Sequencing

ZANKHNAâ&#x20AC;&#x2122;S HOUSE

Sequencing

HOSPITAL ROOM

Sequencing

AHMEDABADâ&#x20AC;&#x2122;S POL

Sequencing

PADMAâ&#x20AC;&#x2122;S HOME

Sequencing

KIRTIâ&#x20AC;&#x2122;S OFFICE

Sequencing

BHAVNAâ&#x20AC;&#x2122;S HOME

Sequencing

CLIMAX SCENE

VIEW SCENE 1: CHICAGO’S AIRPORT

The ﬁrst scene demands a scene on the chicago airport where ﬁrst the narrator is introduced and later the actor. The depiction of airport is done by using columns that depicts the volume as well as a look of an airport. In order to create the ambience of night, blue lights are used while the skyline is depicted by gobo lights.

VIEW SCENE 2: YOGESHâ&#x20AC;&#x2122;S HOUSE

Taking the refrences from the pole houses of ahmedabad, i have taken a jali and a column to depict the second scene. As the scene demands an intense mood, i have tried to create it by crea ng a shadow with diďŹ&#x20AC;use light which is on the backside of the jali.

VIEW SCENE 3 : HOTEL LOBBY

The third scene demands a hotel. The par on from the second scene is retained and it slides between the two columns. The second column is placed right behind the ďŹ rst par on which serves as the purpose of a hotel crea ng a small passage.

Details Flats and Wings

25 X 25 mm aluminium L section

25 mm TH fabricated particle board

Wooden batten frame one side covered with cloth / textured cloth

25 X 25 mm aluminium L section

Foldable Flat

Masking Wing

Backdrop Flat Design | 66

Details Foldable ďŹ&#x201A;ats

25 X 25 mm aluminium L section

25 mm TH fabricated particle board

Movement-1

Foldable Flats Detail| 67

L Hinge

Movement-2

Movement-3

Details Revolving stage small wagons bolted together

special segments to complete circular stage

Pivot point Axel aligned with pivot point

Pivot

Caster

wooden battens as truss for support

Revolving stage Design | 68

Details Sliding par

Partition with door stop at bottom

37.5 x 37.5 mm wooden batten with 18.75 x 18.75 grove Site analysis| 69

Bibliography Books: -Rangtantra by yashvant kelkar -Natya nirman by markand bha -Beyond the proscenium : reimagining the space for performance by theatre India : NSD -Scene design for stage and screen by orville k Larson -Fundamentals of set design

Thesis: illusion perceiving reality / set design by meghna cha erjee -I.E.D Library Depic on of reality through visual percep on in art by silvee shah -I.E.D Library

Internet research: h ps://en.wikipedia.org/wiki/Theatre_of_India h p://www.geneseo.edu/~blood/SetDesign1.html h ps://theatre.illinois.edu/programs/theatre-studies h p://www.stageligh ngguide.co.uk/ h ps://www.scribd.com/document/175789398/Theatre Bibliography | 70