Scenic design

Stage referred to either the visual design of a scenic area or its material, ie all the facilities, paintings and scenes as well as the stage machinery, stage make up pictures. They are used for plays and opera performances, musicals, choreography, performances and films.

Depending on demand and form of the performance they have different functions: of of illustrative decoration, often illustrated texts on subjective Architecture, promoted the staging processes and influences, to room installation that enables a scenic arrangement. Here, a stage the scenic action space (room, square, landscape, etc.) and temporally define ( historical, contemporary, etc.).

Stage sets are designed by set designers and monitored in execution. At larger venues they are produced by the in-house workshops, work for small theater without their own workshops or for special performances such installations in public space specially compiled artisan team.

Job description of a stage designer

Design

The stage initially worked closely with the director. This is mandated by the theater management to stage a play which he then edited content with the playwrights.

After text analysis and research by the set designer created the first drafts. These images are often converted into scale models in which the spatial effect and the technical and dramatic flow can be reliably simulated. In another collaboration with director and dramaturge, a concept is emerging that supports the intended effect of the staging visually. This phase of preparation can sometimes longer than a year before the premiere begin.

Implementation

For the implementation of the set designer meets with the technical staff of the theater and presents his drawings and models.

To the original dimensions to discuss the impression and the tags during the performance on site is carried out predominantly a rehearsal in the German-speaking area with old decoration parts, fabrics, slats and standard components, the basic dimensions of the design are improvised on stage. Proportions, colors, lighting, etc. can be re-examined in original size and technical trifles to be clarified.

According to the latest amendments to the draft technical drawings from the stage, his assistant and the technical staff (Technical Manager or design office) created by which workshops can make the decoration parts.

The workshops typically include a joinery and locks, responsible for supporting substructures, also work there a scene painter and sculptor stage, the pictorial representations that produce surfaces and plastic objects, and upholsterer or decorators, the fabric, and do upholstery work.

The stage looked after together with his assistant, the stage manager, the technical management and the responsible for coordinating the workshop manager is now beginning the implementation process. At the same time he must - in collaboration with the prop master - can choose or design furniture and props and produce.

At the beginning of rehearsals, the stage with the other members of the ensemble directed teams, the performance concept before, usually on the basis of the model.

Are the decoration parts ready, they are put together in the equipment module on stage. In this first construction details to be adjusted, and the set designer looks for the first time the complete decoration on the stage. After setting changes can be made in exceptional cases. Here, the timing, the financial resources, the workshop capacity of the theater as well as the quality of the planning and imagination of the stage designer play a significant role. Together with the stage technicians are tested, modification, dismantling and ability to function.

The stage has previously (sometimes together with a lighting designer ) designed in consultation with the Director a lighting concept. This is done using the model or, increasingly, with three-dimensional working, the lighting precisely simulated computer programs. Often it takes several days until all the cues are made ​​sense.

The stage requires very good knowledge of lighting and color mixing of light, because the visual impression is so strongly affected and the psychological impact of a stage to the audience through the screen determines decisively.

Final samples

Then the stage rehearsals follow in original decoration in which the set designer often has to be present, because now fine-tuning is necessary: ​​the actor, who previously worked in a sample decoration with partially different dimensions need to "conquer" the "new" room, it with life fill and how he himself defines their style of play. In musical theater now find first sample instead of with orchestra, in which the acoustic effect of the space is assessed.

As part of these samples, the technical stage personnel with the assembly, and remodeling makes familiar and has first opportunity to practice the invisible, sometimes complex processes for the viewer.

The emergence of a theater performance is an ever- in- motion creative process of many artists whose determined by the director direction is never conclusively planned. The phase of the consolidation of all scenic elements may therefore be a more beautiful or painful process for all involved.

Among the most two main samples are to be completed all the decorations, props and costumes and lighting. Now everything is set up on the smooth running of the evening, being in musical theater takes place the first rehearsal with piano and usually last directorial and technical processes is dedicated, while the second with orchestra is the musical touches. In these samples, detailed changes to stage design, costume and lighting still be made in the play even on the text. It is common after the ensuing rehearsal, which happens precisely as an idea to prevent further changes.

The stage manager present already in many samples is now invisible coordinator of the production. According to his signals run all the technical and dramatic flow and occur up and down the performer. Here sensitivity is necessary to bring together the concept of the equipment and the production into a coherent form and to provide for the safe running of the show.

It was not until the evening of the premiere proved by the reaction of audiences and critics, has actually found what extent the artistic energy of movement, ensemble and director in stage design an effective course.

Known Set

• Giuseppe Galli da Bibbiena, the beginning of the 18th century as opposed to the Renaissance perspective a Übereckstellung decoration anwandte so that rejuvenate the rooms to multiple vanishing points back and nest and so - painted with the help of the first use of transparent materials - infinity pretend.
• Adolphe Appia, of the interplay between the movement of actor, space and light called as a trained musician. He designed, especially for the operas of Richard Wagner, " rhythmic spaces" from reduced architectural elements and light.
• Wilfried Minks, for which the set contains most of dramaturgical thinking. His stage characterize the productions and make yourself a part of the Director dar. Especially his collaboration with Peter Zadek coined the " Bremen style ", the most innovative era of post-war German theater.
• Caspar Neher, the most important stage designer and employee of Bertolt Brecht, developed by the theater painting coming, the aesthetics of the " epic theater " with painted commenting backgrounds and lettering.
• Jürgen Rose, who presented the performers on stage in the center of his visual aesthetic, and in the course of his work realizes a more sophisticated reduction of the actual decor.
• Anna Viebrock, their style of sarcastic naturalism developed for the productions of Jossi Wieler and Christoph Marthaler often by real models, it discovers on research trips. Her trademark are spaces in which life has left its mark; there are always interiors, usually completed claustrophobic.
• Erich Wonder, who took to the stage under the influence of cinema aesthetics industrial architecture and industrial and street lighting. Even sophisticated interior architectures are his specialty. Large virtuosity he developed in the use of painted grommets, one behind the other hung and can change their transparency by separate lighting. This float the images in space and can be hidden.

Training

Most set designers have studied for internships and work placements at theaters three to five years stage design at an art college. There are also self-educated and career changers (eg architects ). The painter Pablo Picasso designed, for example, in 1917 the stage together with curtain and costumes for the ballet Parade.

Some studies in Germany, Austria and Switzerland, which form the set designer:

• Academy of Fine Arts in Munich
• Academy of Fine Arts Vienna
• University of Fine Arts Hamburg
• College of Fine Arts in Dresden
• University of Design Offenbach am Main
• Art Academy Dusseldorf
• Art Academy Berlin -Weissensee

• State Academy of Fine Arts Stuttgart
• Technical University of Berlin
• University of the Arts Berlin
• University of Applied Arts Vienna
• University of Music and Performing Arts Graz
• University Mozarteum Salzburg
• Zurich University of the Arts