Scenic painting

The theater painting is the design of the stage set and aims as decoration painting is mostly depend on the realization of the spatial and temporal contexts on the stage. She has always been intensely interwoven with other visual arts. Their purpose is in the picturesque compound of the elements of opera, theater or ballet performance, the sensual blend for the viewer to a whole. Not only the production of large-sized paintings on fabric (so-called backdrops ) is the task of the theater painter, but also the painting of sculptures, props, scenes, wood and much more.

Origin and history

The emergence of the theater painting is probably as old as the beginnings of European theater in ancient Greece in the 6th century BC itself

Pliny the Younger and Vitruvius reported at this time of paintings in the theaters and Roman arenas.

Fixed, painted stage scenery in the form of linen -covered frame behind architecturally steady stage front found in the Renaissance application, such as in the perspective image stage at the Teatro Olimpico. At this stage the form you used the art of perspective representation of the Renaissance artists to fool the viewer the illusion of a three-dimensional stage scenery. This stage passes between the front and back of the stage were provided with materials on painted wooden frame to complete the spatial effect of a perspective for the viewer. Both in the Renaissance, as well as in the era of Baroque antique decorative elements were newly discovered, elaborately designed and adds functionality.

The preferred Zentralperpektive since the Renaissance painting was included in the now unstoppable rapid development of stage decoration. As a result, Filippo Bunelleschi (1377-1446) is known as a pioneer of theater painting. It created large-scale paintings, the inferior contemporary oil paintings in art and perfection in anything. The purpose of this central vanishing point perspective was the illusion of an aspiring into infinity vanishing point, for example, often used by urban canyons and impressive display to enhance their effect.

At the beginning of the Baroque developed in 1606 Giovanni Battista Aleotti mobile free ride scenes to make the stage decoration changeable. These rigid decorative elements were of course painted with scenic, landscape or architectural representations. Also the transformation of the stage were painted Telari - modeled after the ancient Periakten. This three-sided prism vertical components were juxtaposed from the front are perceived as homogeneous surface which bewerkstelligten by turning a quick, easy change of the stage.

See also: History of the Theatre

Painted decorative parts

During the production of a stage numerous and often unorthodox materials must be painted. The most obvious are the so-called stage backdrops, ie, linen curtains, cotton cheesecloth, tulle and plastic, which can act as a background brochure, alleys hangers, intermediate curtain cyclorama etc.. These backdrops are fixed in the stage equipment on trains and may thus on stage up to the flies are driven back and down into the field of view of the audience.

However, not only these so-called " limp decoration parts" must be painted, but also " rigid" as: backdrops, Verstatzstücke (eg a bush made ​​of wood with back, folding stand), sculptures which establish the theater sculptor, props and countless other.

Painting techniques

Since the theater painter a variety of curtains, painted are on the stage, his techniques are as varied and specifically how the fabrics and other materials that he needs to work on require it.

For a long time - and still is - there were and techniques that belong to the unspoken professional secrecy of the scene-painter, and are difficult to learn; then it was said many times " that had to be stolen with the eyes ". Techniques that are commonly known, are just as common in the free art painting techniques, such as Alla -prima painting ( painted in a layer) and the glazing technique ( multi-layer painting). The latter is very often used in theater painting; not for nothing the theater painter paints his giant " screens " on the ground stretched.

The glazing technique implies diluted mediums, with even the lowest layer of paint still shines through to last through further layers of paint.

This process starts as traditional as follows: The design, which is to adorn the prospectus as painting later, first with coal - ( a piece of coal on long rod ) using carbon rod while standing on the primed fabric background - mapped out. The Kohlevorzeichnung is then (often a sepia or brown tone ) followed suit with a diluted color; However, not only the contours, but already extensive elaboration. Here you can already achieve a plasticity of painting by glazed over areas that need to be darker times. This process, which serves to flesh out his sketch and " hold " on the surface to be painted is called Tinterung. About the Tinterung the color orders are then glazed, the Tinterung here is to see through still. Finally, the lights and the darks are placed somewhat more hiding. In the wake of large-scale paintings which are to be found mainly in opera houses, it makes sense to fix the Kohlevorzeichnung with a strong überleimten glaze with a spray gun. In this technique combines the grainy texture of imprimatura, which is also retained in a subsequent translucent painting with a spray pattern, if you work with a spray gun.

The theater artist - in addition to his artistic ability picturesque - also a painter imitation of marble, stone, wood, rust, patina, etc. For each of imitation, there are various techniques and tricks; to marble structure " wrap " over beer glaze or " beat " Kolzkörner. However, this primarily includes the long-range effect, as with all theater paintings; because the next viewer, looking at the work on the stage, usually sits at least eight meters away.

Occupation and

→ Main article: scene painter

The profession of scenography is still called in the language of theater painting. His education was not recognized by the state in the former West Germany only since February 2000. The learning of this profession mainly takes place in the framework of vocational training and usually is three years. The courses are now held mainly in the dual system (ie school and operationally ), and only operational in individual cases. There are three known vocational schools in Germany: one in Berlin, one in food and in Baden -Baden. In Dresden is Germany 's only university offering the course in theater painting. Both for the degree course as well as for most training companies is a portfolio of artistic works as an application a necessary condition. To date, there is no master financial statements for the Curriculum; every stage painters are either unskilled, skilled journeymen or diploma.

Theater painters are mostly employed at state and municipal theater and opera houses, their work is the painting studio. There are, however, increasingly independent decorating companies or studios; where freelance stage painter, but also an artist or decorator are employed. Also in film productions scene painter are employed, which provide the set with her painting.

Collections

Larger collections of historical theater painting have survived in Germany in the Theatre Museum Meiningen ( decorations from the tour time of the Meiningen, 1874-1890 ) and the Konzerthaus in Ravensburg ( decorations of the Stuttgart Court Theatre painter William Babb, 1902-1910 ).