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Performer Behind the Scenes: The Set Designer

Lesson Plan

Performer Behind the Scenes: The Set Designer

Grade Levels

11th Grade

Course, Subject

Theatre
  • Big Ideas
    Artists use tools and resources as well as their own experiences and skills to create art.
    The arts provide a medium to understand and exchange ideas.
    The skills, techniques, elements and principles of the arts can be learned, studied, refined and practiced.
    There are formal and informal processes used to assess the quality of works in the arts.
  • Concepts
    Actors use in-depth script analysis to reveal emotional, social and intellectual dimensions of a role which enables them to create and sustain characters.
    Artist refine skills and techniques to carry out their intentions in their artworks.
    Artistic teams may introduce new creative elements or place a play outside of its cultural or historical context to communicate a particular perspective.
    Artists and designers use the elements of arts and principles of design in strategic ways to convey meaning.
    Artists and students of art frequently engage together in formal critiques of artwork as part of the process of developing their practice.
    Artists use various techniques to create strong reactions to their work.
    Artists work to develop skills, techniques, and ideas in a sketchbook or visual journal to document and refine their process.
    Dancers and choreographers use a variety of styles to choreograph, stage and perform original works in dance.
    People use analytic processes to understand and evaluate works of art.
    Theatre artists create habits of self reflection and evaluation to inform their work.
    Theatre artists use improvisation to explore characters, relationships and motivations.
    Theatre artists use improvisation to explore ideas and themes and to create new works.
    Theatre artists utilize elements from many art forms to produce a fully staged play.
    Understanding the basics of sound amplification and set illumination helps a theatre artist work with a production team.
    While much of the school-based musical experience happens within a group, it is also important for people to be able to create, recreate, rehearse and perform music independently.
    Artists create works of art that communicate their personal vision, concerns and life experiences.
    Technology has the potential to change the way we perceive the value of art.
  • Competencies
    Analyze text and subtext in scripts to identify character relationships, as well as physical, emotional, and social characteristics of an assigned role, and apply this knowledge to deduce motivation.
    Analyze the techniques used by a controversial artist and explain how the techniques affect audience response.
    Apply elements of good design such as unity, balance, proportion and color to create designs for scenery, costumes and lighting.
    Create a logo in which elements and principles work together to enhance the meaning of the image and represent the personality of a company or organization.
    Create a multimedia presentation designed to guide the viewer through analysis of a work using formal, contextual and intuitive criticism.
    Create an artist statement that explains the intent of their artworks.
    Create an original play using group improvisations and the process of creating, performing, reflecting and revising.
    Create, rehearse, reflect and revise to prepare and film a performance, then respond to that performance using intuitive and formal criticism.
    Demonstrate the ability to independently create, recreate, rehearse and perform musical works and explain why this is important.
    Describe the role of inventions in the history of art, e.g. how the invention of the camera influenced the valuation and perception of paintings.
    Develop and present a personal body of work that documents personal vision, concerns and life experiences.
    Generate a series of entries in a sketchbook or visual journal that demonstrates attention to skills, techniques, and ideas in process.
    Identify the features and functions of light and sound boards and demonstrate the ability to operate light and sound boards safely.
    Independently choreograph, stage and perform an original work in dance that synthesizes a variety of styles.
    Participate in a formal critique with peers to assess the developing qualities in their own artwork.
    Reconceptualize scenes or plays, placing them in other time periods or cultures or breaking conventions in order to shed light on human behavior, e.g. Taming of the Shrew conceived as an episode of The Honeymooners 1950’s sit-com.
    Using prompts from poetry, abstract ideas and other sources, improvise and sustain characters and interact with each other in role.

Rationale

Fills a gap

Vocabulary

  • intuitive criticism
  • formal criticism
  • realistic set design
  • abstract set design
  • representational set
  • unit set
  • box set
  • blocking
  • stage left
  • stage right
  • downstage
  • upstage
  • center stage
  • elevation
  • cross
  • counter cross
  • curved cross
  • upstaging
  • above
  • below
  • enter
  • exit
  • open/close
  • cheat
  • fourth wall
  • triangle
  • diagonal
  • blocking
  • proscenium arch stage
  • thrust stage
  • arena stage
  • elevations
  • elements of design
  • components of set construction

Objectives

Students will learn about set design using a combination of internet scavenger hunt resources, guest speakers and actual practice.

Lesson Essential Question(s)

How do theatre artists use self reflection to inform their work?  
How do theatre artists manipulate playing spaces to impact audience response?
How do design artists support a production?

Duration

Seven 45-minute sessions.

Materials

●    unit outline (see Addendum)
●    rubric/scoring guide (see Addendum)
●    notebooks/folders
●    computers and internet access
●    example of a set design drawn on a floor plan
●    floor plans of the school stage drawn on graph paper
●    sheets of symbols for common stage objects/furniture, etc.
●    blank nine acting area stage grids
●    lists of stage movement terms and definitions and blocking strategies
●    reserve performance area
●    selected scenes
●    drawing materials and drawings of various set designs
●    exemplars (floor plans, blocking scripts, stage shorthand, stage pictures)
●    Reflection Questions (see Addendum)
●    Set Design Checklist (see Addendum)
●    videotaping device

Suggested Instructional Strategies

Instructional Procedures

Lesson 1:  Introducing the Set Design

Students view two performances of the same scene taken from You Tube or Teacher Tube recordings.  Students, in small groups, compare and contrast the set design in each performance using the following prompts:
    How did each set design use space, levels and color?
                  How did the elements of the set design help the actors?
                  Did any element of the set design seem to get in the way?  (e.g. colors seem wrong for

the mood of the piece, set pieces make it difficult for actors to be seen, etc.)

                  Why do you think we need trained set designers?
Small groups report their findings.

Students are given handouts of the unit outline and rubric (see Addendum).

Students review definitions of intuitive and formal criticism and analyze the class discussion of the two performances.  In what ways did they use formal criticism?  In what ways did they use intuitive criticism?

Homework:  Begin a “design folder” – a notebook, binder, or folder in which to keep your design notes, homework assignments and ideas.  Place your unit outline in the folder.  Using the internet or your local newspaper, read a film or play review and identify an example of a critic using formal and/or intuitive criticism.   

Formative Assessment:   Teacher observations during the class discussion will help guide further learning.

WHERETO:
W = Students are given a handout that contains a unit outline and rubric.
H = Students view two performances of the same scene taken from You Tube or Teacher Tube recordings.
E = Students analyze the class discussion of the two performances, using intuitive and formal criticisms.
R = Small groups answer teacher prompts, groups make reports to the class based on their findings, class discusses these findings, then re-analyzes its discussion using intuitive and formal criticisms.
E = For homework, students will use the internet or local newspaper, read a film or play review and identify an example of a critic using formal and/or intuitive criticism.
T = Teacher uses visual, auditory, recall and comparison techniques to involve students.
O = Teacher guides class in intuitive and formal criticism discussions and then, for homework, asks students to identify an example of a critic using formal and/or intuitive criticism.

Lesson 2:  Internet (or Library) Scavenger Hunt: Exploring Realistic and Abstract

Class meets in the computer lab (or library).  Teacher explains class is meeting here in order to have an internet (or library) scavenger hunt.

Teacher asks selected students to share an example of intuitive criticism and an example of formal criticism they found for their homework assignment.  (This should be a review of prior knowledge for the students)

Teacher then places students in research groups and introduces the first internet scavenger hunt.  Teacher distributes Lesson 2 Handout (see Addendum) and points out the assignment blocks for students to complete during their time together..

Teacher collects the homework and asks the students to begin their internet scavenger hunt as described in the unit outline in their design folder.

Teacher observes and conferences with students as they engage in the internet scavenger hunt.

During the last fifteen minutes of class, teacher shares an example of a set design drawn on a floor plan.  Teacher then passes out floor plans of the school stage drawn on graph paper and sheets of symbols for common stage objects/furniture, etc.  Teacher guided discussion draws out the elements of a floor plan:  view from above, objects represented by symbols, symbols are to scale, etc.  Teacher reviews the homework assignment.

Homework:  Read an assigned scene and create a simple floor plan to scale.

Formative Assessment:  Teacher reviews and comments on the homework assignment.

WHERETO:
W = Students have the unit outline and rubric in their design folder for reference.
H = Teacher explains class is meeting in the computer lab (or library) in order to conduct an internet (or library) scavenger hunt.
E = Teacher observes and conferences with students as they engage in the internet scavenger hunt.
R = Homework from Lesson 1 is reviewed; also, students use intuitive criticism to briefly comment and critique the set designs found on the internet.
E = For homework, students will create a simple floor plan to scale, providing evidence of knowledge acquired on the internet and from teacher-guided discussion.
T = Students are placed in research groups in order to capitalize on student’s strengths; also, teacher uses visual, auditory, recall and comparison techniques to involve students.
O = Teacher shares an example of a set design drawn on a floor plan and guides the discussion, drawing out the elements of a floor plan.  Using this information, students are instructed to design a simple floor plan to scale for homework.

Lesson 3:  Internet or Library Scavenger Hunt: Exploring Set Design Components

Class meets in the computer lab (or library).  Teacher introduces the second internet scavenger hunt.

Teacher then places students in research groups, distributes Lesson 3 Handout (see Addendum) and points out assignment blocks for students to complete during their time together.

Teacher collects the floor plans (homework from Lesson 2).

Teacher observes and conferences with students as they engage in the internet scavenger hunt.

Homework:  Use the internet or text books to find and copy or print several examples of set designs by other designers that contain an idea or element you feel might be useful in planning the set design for your scene.  Be ready to tell why you chose each design.  Cite your sources for each image using MLA format on the back of the image.

Formative Assessment:  Checklists and reflection questions embedded in the scavenger hunt handout, along with teacher observation and conferencing during research times.

WHERETO:
W = Students have the unit outline and rubric in their design folder for reference.
H = Teacher introduces the second internet scavenger hunt.
E = Checklists and reflection questions embedded in the scavenger hunt handout, along with teacher observation and conferencing during research times.
R = Lesson 3 Handout provides reflection questions which the student then revisits during their homework.
E = For homework, the student will find and copy or print several examples of set designs by other designers that contain an idea or element he/she feels might be useful in planning their set design.
T = Students are placed in research groups in order to capitalize on student’s strengths.
O = Teacher provides the Lesson 3 Handout that students will complete in class.  Students then apply this knowledge to their homework assignment.

Lesson 4:  How Stage Space Is Used

Field trip to the school stage.

Teacher returns the floor plans with comments/suggestion/notes.

Teacher provides each student with a list of stage directions and abbreviations for movement.
Teacher and students briefly review the areas of the stage, as needed, by walking in small groups through the areas (drawing on prior knowledge).  Students not physically moving about the stage will use the abbreviations to label a blank nine acting area stage grid (including upstage, downstage, stage right, stage left, center stage, etc.)

Students are given a list of stage movement terms and definitions and blocking strategies.  Students practice simple blocking strategies in small groups (triangle blocking, moving on the diagonal, using elevations, cheating out, upstaging, curved crossing, fourth wall)

After the movement work, the Teacher guides a discussion to reflect on what they have done and point out the ways in which blocking and the use of levels can focus the audience’s attention, heighten a dramatic moment, etc.  

Working in small groups, students use the abbreviations agreed upon and the strategies modeled to design stage pictures and notate blocking for a brief selection from an assigned scene.  

Homework:  Based on what they have learned about stage movement, students will make revisions to their floor plan designs.  

Formative Assessment:  Stage directions grid.

WHERETO:
W = Students have the unit outline and rubric in their design folder for reference.
H = Field trip to the school stage.
E = Teacher and students briefly review the areas of the stage and students practice simple  blocking strategies in small groups.
R = After the movement work, the Teacher guides a discussion to reflect on what they have done.  Also, students use the abbreviations agreed upon and the strategies modeled to design stage pictures and notate blocking.
E = Based on what they have learned about stage movement, students will make revisions to their floor plan designs.
T = Students are placed in small groups in order to capitalize on student’s strengths.
O = Teacher first provides each student with a list of stage directions and abbreviations for movement.  From there, the class practices simple blocking strategies and then must make revisions to their floor plan designs based on what they have learned about stage movement.

Lesson 5:  Advice From an Artist

Guest Speaker:  The school visual arts instructor or other visiting artist

The class meets in the art room or other large open space with tables for drawing.  The visiting artist leads the class in a discussion of several set design drawings or paintings pointing out the ways in which the artist used unity, balance, proportion and color.

Drawing materials and drawings of various set designs are provided on the tables.

Students revisit their floor plans and begin work on a rough sketch of a 2-D drawing of their set design, incorporating unity, balance, proportion and color.  The teacher and visual artist move among the students to answer questions.

Homework:  Students draw a 2-D sketch of the design as it might look built on the school stage.  Students will incorporate unity, balance, proportion and color and also indicate what components they might use to build the design:  flats, platforms, draperies, projections, etc.    

Formative Assessment:  Student drawings in progress.

WHERETO:
W = Students have the unit outline and rubric in their design folder for reference.
H = Guest Speaker:  The school visual arts instructor or other visiting artist
E = The teacher and visual artist move among the students to answer questions.
R = After the discussion with the visiting artist, students revisit their floor plans and begin work on a rough sketch of a 2-D drawing of their set design, incorporating unity, balance, proportion and color.
E = Students will apply what they have learned thus far and draw a 2-D sketch of their set design as it might look built on the school stage.
T = Teacher uses visual, auditory, active engagement and application techniques to involve students.
O = The visiting artist leads the class in a discussion of several set design drawings or paintings pointing out the ways in which the artist used unity, balance, proportion and color.  Students are then to apply this knowledge and draw a 2-D sketch of their set design for homework.

Lesson 6:  Meeting a Set Designer

Guest Speaker:  A set designer from a local theatre or the school set designer

Teacher introduces the set designer and asks each student to take a moment to write down and pass in a question they would like to ask the speaker (alternative idea:  if a computer lab is available, the students could note their comments in a classroom blog which could be projected).

The set designer shows samples of his/her work and discusses how he/she has applied unity, balance, proportion and color in his/her set designs.  A question and answer session follows, including several questions selected from the student generated list.

During the last twenty minutes of class, the students, in pairs, present their designs-in=progess to each other.  Taking turns as director or designer, students present set designs and/or critique the other person’s design using formal and intuitive criticism.  Students should discuss the practicality of each design based on what was learned from the set designer.  Students make any needed corrections to designs.  The teacher and the set designer rotate among the groups to listen and comment.

Teacher hands out Reflection Questions and Set Design Checklist (see Addendum) and explains these are to be completed as an aid to their homework.

Homework:  Create a 3-D model of your set design.  Prepare a brief written designer’s statement explaining the ways in which you used unity, balance, proportion and color, as well as the components of set construction to communicate the theme of the scene/play and serve the actors.  

Formative Assessment:  Teacher observation of paired sharings.

WHERETO:
W = Students have the unit outline and rubric in their design folder for reference.
H = Guest Speaker:  A set designer from a local theatre or the school set designer
E = The teacher and the designer rotate among the groups to listen and comment.
R = Students discuss the practicality of each design based on what was learned from the set designer.  Also, students make any needed corrections to designs based on criticism from peers and comments from teacher and set designer.
E = Taking turns as director or designer, students present set designs and/or critique the other person’s design using formal and intuitive criticism.  Also, employing what has been learned throughout the unit, students create a 3-D model of their set design for homework.
T = Teacher uses visual, auditory, active and interactive engagement and application techniques to involve students.
O = The set designer leads the class in a discussion of several set design drawings pointing out the ways in which he/she used unity, balance, proportion and color.  Students discuss the practicality of their own designs based on what was learned from the set designer.  Students are then to apply this knowledge and create a 3-D model of their set design.

Lesson 7:  Presenting Your Design

Students present their designs to the class using their models to share their artistic vision.  Students describe the ways in which they used the elements of design and the components of set construction to communicate the theme or mood of the scene and serve the actors needs.  After each presentation, the students will use intuitive and formal criticism to offer feedback to each other.  

Teacher guides the discussion and films each presentation, then uploads the videos onto a class website for later access.

Teacher collects designs, design notebooks, floor plans, models and drawings for scoring with the summative assessment rubric.

Students use the filmed presentation to self-critique and score their own designs using the rubric and Self-Critique response sheet (see Addendum).

Homework:  View the film of your presentation and set design.  Use the scoring rubric and Self-Critique response sheet to critique your own design using intuitive and formal criticism.

Summative Assessment: Set design presentations and models scored with a rubric.

WHERETO:
W = Students have the unit outline and rubric in their design folder for reference.
H = Students present their designs to the class using their models to share their artistic vision.
E = Teacher films each presentation.  Students use the filmed presentation to self-critique.
R = Students use the filmed presentation to self-critique and score their own designs using the rubric and Self-Critique response sheet.
E = Students present their designs to the class using their models to share their artistic vision.  After each presentation, the students use intuitive and formal criticism to offer feedback to each other. Aso, students use the filmed presentation to self-critique.
T = Students present a 3-D rendering of their design, compose and give a presentation explaining their design and choices and offer feedback to each other.
O = This lesson is the culminating task in a unit which combines a series of guided experiences that begin with teacher-led discussion and move to student small group work, internet research and a designer’s notebook kept as a tool to communicate student discoveries.

 

Addendums:

UNIT OUTLINE
Name ______________________________________________________________

Performers Behind the Scenes:  The Set Designer  
Summative Task:  Create a 3-D Model of a Set Design, Present and Critique

Lesson 1:  Introducing the Set Design
We will explore the set designs of two different performances of the same scene or play and use intuitive and formal criticism to compare and contrast each.
Homework:  Begin a “design folder” – a notebook, binder, or folder in which to keep your design notes, homework assignments and ideas.  Place your unit outline in the folder.  Using the internet or your local newspaper, read a film or play review and identify an example of a critic using formal and/or intuitive criticism.  

Lesson 2:  Internet (or Library) Scavenger Hunt: Exploring Realistic and Abstract
Use the computer lab (or library) to explore types of set designs.  Identify an example of a realistic, abstract, representational, box and unit set and a floor plan view of each set design.
Homework:  Read a scene from your assigned play.  Draw a preliminary set design on a floor plan of your school stage provided by the teacher.

Lesson 3:  Internet (or Library) Scavenger Hunt: Exploring Set Design Components
Use the computer lab (or library) to explore set design construction elements, stages and playing spaces.  
Homework:  Use the internet or text books to find and copy or print several examples of set designs by other designers that contain an idea or element you feel might be useful in planning the set design for your scene.  Be ready to tell why you chose each design.  Cite your sources for each image using MLA format on the back of the image.

Lesson 4:  How Stage Space Is Used
Take a field trip to your school stage to explore how theater artists (actors, directors, designers) use space and learn basic techniques of blocking (the planned movement directors and actors create in order to focus audience attention and/or heighten a dramatic moment).  
Homework:  Based on what you learned about stage movement, make any needed corrections to your design.  

Lesson 5:  Advice From an Artist
Guest Speaker:  visual arts instructor or painter.  Explore unity, proportion and color with a visiting artist.  Analyze set designs for their use of unity, proportion and color.
Homework: Draw a 2-D sketch of your design as if it were built on the school stage.  Indicate what components you might use to build the set:  flats, platforms, draperies, projections, etc.  

Lesson 6:  Meeting a Set Designer
Guest Speaker:  A set designer from a local theatre or the school set designer.  Shows samples of his/her work and discusses how he/she has applied unity, balance, proportion and color in his/her set designs.  Working in pairs, share your set design sketches and floor plans.  Taking turns as director or designer, present your design and/or critique another person’s design using formal and intuitive criticism.  Discuss the practicality of each design based on what you have learned from the set designer.  Make any needed corrections to your design.
Homework:  Create a 3-D model of your set design.  Prepare a brief written designer’s statement explaining the ways in which you used unity, balance, proportion and color, as well as the components of set construction to communicate the theme of the scene/play and serve the actors.

Lesson 7:  Presenting Your Design
In class, present your model and explain your design while your teacher films your presentation to be posted on the class website or blog.  Critique each other’s designs using formal and intuitive criticism.  
Homework:  View the film of your presentation and set design.  Use the scoring rubric and the Self-Critique response sheet to critique your own design using intuitive and formal criticism.


RUBRIC
   

 

ADVANCED

PROFICIENT BASIC BELOW BASIC
Design
Statement
Clearly explains and details the elements of the design and the reason for the choices, backed up by examples of ways in which the design may be used by the actors and the directors and/or references from the play.    
Clearly explains and details the elements of the design and the reasons for the choices.  
   
Explains the elements of the design, but the explanation lacks detail supporting the design choices.
   
Little or no attempt to explain the design choices.   
Design Design indicates a thorough understanding of the play’s underlying theme and the ways in which this set will support and communicate that theme.  Design choices use the elements of design (unity, balance, proportion and color), set components and materials in an innovative and/or unusual and effective way. Design shows clear evidence of the use of the elements of design (unity, balance, proportion and color) and a clear understanding of the usual components of stage construction.  Design choices clearly communicate an appropriate theme for this play and contribute to the actors’ use of space. Design shows clear evidence of the use of some elements of design (unity, balance, proportion and color).  However, the elements used and the designer’s statement show little evidence of the use of design elements in a purposeful manner (with an intent to communicate a theme or help the actors use the space).         
Design shows little or no evidence of the use of design elements such as unity, balance, proportion and color, and/or the components of set building.





LESSON 2 HANDOUT:  Characteristics and Qualities of Set Design Scavenger Hunt

Brief History
Although there is some evidence of early attempts at stage scenery (periactoi in Rome and occasional references to a painted drape or side unit as early as Greek times), scenic design to enhance the play and create an imaginary world didn’t begin in earnest until the late 1500’s through the 1600’s.  The internet site “Development of Scenic Spectacle” tells us, “The basic technology for the mechanized scene change was invented in the early16th or early 17th century and became the standard on the European stage for over 200 years; only three theatres survive with their scenery and machinery in working order.  Each of these theatres is a court theatre: Cesky Krumlov (1766), Drottningholm (1766) and Gripsholm (1782).  These theatres, built within 20 years of each other, use three different techniques to change the scenic wings.”  (Mohler, Frank, The Development of Scenic Spectacle, http://www1.appstate.edu/orgs/spectacle/ Cratis D. Williams Graduate School of Appalachian State University: 1998.)  

In Class Assignment:
Explore the animations on this site:  http://www1.appstate.edu/orgs/spectacle/
Initial here when you have completed viewing the website   ________

Set Design Builds the Story  
Every play has a story to tell and a message to send.  Every set sends a message and tells a story--even without the actors on it.  It is the set designer’s job, in partnership with the director, to make sure these two aspects work together:  the set design helps to communicate the theme or mood to the audience and it works well as a playing space for the actors.  

Realistic or Abstract?
   Most sets can be loosely classified as one of two basic style types.  A set is referred to as “realistic” in style if it is mostly an attempt to imitate reality.  A set is referred to as “abstract” if it does not attempt to imitate real life objects, but strays from realism in most of its elements.   
Set designs also can be classified by the way in which they are used.  A “representational set” is an abstract set with one or two things that represent the scene.  These elements may be realistic or abstract.  For example, a representational set for the scene between Red Riding Hood and the Wolf in the forest may consist of one realistic looking styrofoam tree onstage used to represent the entire forest.  Sometimes, entire rooms or locations are built, complete with detailed objects, furnishings and props.  These sets are realistic sets because they include all the elements you would find in real life.  When the realistic set has walls, doors and windows, we call this a “box set” because it is built to resemble a room with the fourth wall removed so that the audience may watch the action.  Sometimes set pieces pull apart and recombine in new ways in order to change the scenery.  When this happens the set is called a “unit set”, because scenery changes are accomplished by moving the different parts or “units” of the set and rearranging them to create a different sense of space.  

In Class Assignment:  Find an example of a realistic, an abstract, a representational, a box and a unit set on the internet.  

1- Find an example of:  

a realistic set design   

    an abstract set design
    a representational set design
    a box set

a unit set

2- Print out each example to add to your design folder
3- On the back of each example list:  the URL
                                                           the name of the play
                                                           the name of the designer
4- For each design example, on the back of the print out, use Intuitive Criticism to briefly comment and critique the set design, telling what you felt was especially well done.


LESSON 3 HANDOUT:  Characteristics and Qualities of Set Design and Stages

Basic Set Building Blocks
In class assignment:  Explore the following websites to learn about the components of set design and construction, initial each site after you have visited:   
___  http://www.ehow.com/video_4396172_designing-sets-community-theater.html
___  http://en.wikipedia.org/wiki/Scenic_design    
___  http://www.ehow.com/video_2389466_knowing-unit-set_-platforms.html  
___  http://www.ehow.com/video_2389468_knowing-set_-panel-tri_fold-panel.html
___http://www.ehow.com/video_2389469_knowing-unit-set_-steps.html?cp=1&pid=1&wa_vlsrc=continuous&wa_vrid=e54c0fe9-105c-4ad4-9812-4740377b39f0
___  http://www.keithtuckerart.com/Set_Design.html
___  http://www.grosh.com/
   
In Class Assignment:  Answer this question:
What are some basic components of stage set construction that you will use to create your design?  Describe each.











Types of Stages


In Class Assignment:  Answer this question:
What type of stage is our school stage or playing space?



LESSON 6 HOMEWORK HANDOUT:  Creating & Presenting your Design
Answer the following reflection questions.  These will help you create your designer’s statement to present your set design.

Reflection Questions:
If I were to describe what the scene/play is about in one or two words, what would I say?




If I were to describe what my set is about in one or two words, what would I say?





What set design style have I chosen and why?





What elements of set construction have I chosen to create this set (flats, draperies, platforms, lights, projections, etc.)?  Why have I made these choices?





How will my set help the actors be seen in the playing space provided?






How will my set help the audience understand the mood or theme of the scene/play?




Set Design Checklist:

Name___________________________________________________________________
___ I have drawn a simple sketch of my design for my design folder.
___ I have chosen a style of set design and a type of staging.
___ I have received a copy of the scoring guide (rubric).
___ I have drawn my design to scale on graph paper.
___ I have conferenced with the teacher.
___ I have created a 2-D drawing of the stage floor plan.
___ I have gathered pictures of textures, fabrics and any special furnishings for my design folder

to illustrate elements of my set design.

___ I have added color, texture and furnishings (if applicable) to my set.
___ I have written my set design description and justified my choices.
___ I have included the name of the play, the characters (if applicable) and a little about the

scene/play I am designing for.

___ I have corrected my final written portions and edited my design.
___ I have turned in my 2-D and 3-D renderings, my written description of the set design and my

design folder to my teacher for a final score.


LESSON 7 HANDOUT:  Self-Critique

After viewing the film of your design presentation, please use intuitive criticism to critique your set design.







After viewing the film of your design presentation, please use formal criticism to critique the ways in which you used the elements of stage design and the components of set construction.

Formative Assessment

Related Materials & Resources

Scenic Design Links:
E-How Video discussion with Community Theatre Set Designer
    http://www.ehow.com/video_4396172_designing-sets-community-theater.html
Tupelo Community Theatre instructions for building a flat
    www.tctwebstage.com/flat.htm  
Wikepdia discussion of the elements of Scenic Design
     http://en.wikipedia.org/wiki/Scenic_design    
E-How videos of a Texas High School Drama instructor and her students demonstrating different kinds of platforms, flats and step units

http://www.ehow.com/video_2389466_knowing-unit-set_-platforms.html

http://www.ehow.com/video_2389468_knowing-set_-panel-tri_fold-panel.html       

http://www.ehow.com/video_2389469_knowing-unit-set_-steps.html?cp=1&pid=1&wa_vlsrc=continuous&wa_vrid=e54c0fe9-105c-4ad4-9812-4740377b39f0

Grosh stage scenery website illustrating painted backdrops and draperies
    http://www.grosh.com/
Set Designer Keith Tucker’s website

http://www.keithtuckerart.com/Set_Design.html

Author

Authors of the original unit: Bill Colvin, Mary Kay Everett, Jim Johnson, Kim Ryan, Tami Shilling, Jacqui Scales-Sorrells Authors of the revised unit: Christine Vaught, Cory Wilkerson

Date Published

October 28, 2010
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