Scenery
Scenery is a staple of technical theatre components and can make an incredible impact on a production. The PAC Shop has a fully functioning work space complete with tools and materials for designing and constructing scenery. PAC Shop staff are equipped to offer advice and support.
- Hand Tools
- Measuring: Tape Measure, Framing Square, Tri Square, Protractor, Level
- Marking tools: Pencils, chalk line, scribe, compass
- Hammers
- Cutting tools: Saws, utility knife, scissors, tin snips, chisels, planes/rasp, files
- Clamping tools: Vises, bar clamp, c-clamp, quck-grip, vise gripes, band clamps, pliers, wrenches
- Screwdrivers: Standard, phillips, nut drives, ratchet screwdriver
- Misc.: Wrecking bar, nail puller, grommet set, staple guns, bolt cutter, pipe cutter, Tap and Die set
- Power Tools
- Stationary: Table Saw, Radial Arm Saw, Band Saw, Drill Press, Power Miter Box, Bench Grinder
- Power Hand Tools: Circular Saw, Saber Saw, Electric Hand Drill, Belt Sander, Plam Sander, Router, Hand Grinder
- Pneumatic Tools: Air Compressor, Pneumatic Staplers, Pneumatic Nailer
- Stock Lumber
All stock lumber is graded. There are two primary grades of wood, select and common. Common grade is typically used for scenic construction.- Select Wood is free of all knots, blemishes, erratic graining and warps.
- No. 1 Common Lumber can have knots up to 1-1/2 inches. Knots do not have to be tight and may fall out. Warping and twisting are more prevalent in this grade.
- No.2 Common The knots can be greater than 1-1/2 inches, and the edges can show an occasional strip of bark. The wood will probably be warped and twisted
- Dimensions of Stock Lumber The Department of Agriculture determines the standards for the thickness, width, and length of all stock lumber sold in the US. Since the sizing is done before the boards are milled to a smooth surface, the actual dimensions of the lumber are smaller that the indicated size. Slight variations in the actual dimensions can be measured on almost any piece of stock because of milling variations and shrinkage. Measure Twice, Cut Once. Typical sizes shown here.
- Nails
- Screws
- Staples
- Bolts and nuts
- Glues and Adhesive
- Hinges
- Lashing Hardware
- Flying/Rigging Hardware
- Bracing Hardware
- Casters
- Safety glasses and goggles
- Hearing protection
- Dust Masks
- Respirator
- Work Gloves
- First Aid kits
- Paints
- Dyes
- Brushes
- Sponges
- Rollers
- Sprayers
Drafting
Mechanical drawings are extremely important in technical theater. Drawings can be made by hand or with a computer.
- Hand drafting involves the use of drafting equipment such as the T-Square, triangles, a compass, and templates.
- Computer drafting requires a computer with drafting software and a printer or plotter. The Shop’s computer lab is available for just such a job.
Drafting involves drawing the object you want to represent in scale. To scale a drawing means to choose a specified increment to represent a measured foot.
Multiple 2-dimensional views are used to fully describe the 3-dimensional environment of the stage.
The Ground Plan is usually thought of as a bird’s-eye view of the stage. It aids the designer in developing the scenic design. It is also used by the director for establishing the flow of the action. For the lighting designer, it is a mandatory instrument for planning the lights. And for the stage technician, it is invaluable in determining the placement of the scenery
Common symbols used in Groundplans
USITT Scene Design and Technical Production Graphic Standards
The Section is a vertical dissected view of the entire theater, including the audience seating. The cutting plane for this view is the center line. The “cut” goes through all scenery on the stage and all scenery that is overhead, including the masking. It also shows the location of all lighting positions, both in the house and onstage
Elevations are front views used by the designers and technicians to build scenery, props, furniture, and practicals. Elevations show either the front, back, or side of a particular portion of the Ground Plan and “elevate” it into a straight on, flattened out, full face, no perspective view of that part of the set. It should contain all the structural information needed to build that piece of scenery and all of the applied or painted detail (moldings, trims, windows, etc.)
examples of elevations drawings
The Light Plot is used as an accurate scaled “road map” of the Lighting Design. The Light Plot is a drawing indicating the placement of the lighting equipment in the theatre. The primary purpose is to depict, in scale, the exact location of all lighting instruments used in a production. It should show the location of the scenery in relation to the physical structure of the theatre. Information about instrument type, color, and control is indicated. The plot also includes a legend describing each of the symbols used on the plot as well as a title block that details the pertinent information about the production.
All Performing Arts Groups using Annenberg Theaters, Iron Gate Theater, Houston Hall Auditorium, or Irvine Auditorium will be expected to provide very specific descriptions of their lighting needs. This is done with the Light Plot, the scaled drawing showing the placement and use of every light needed for a production. The Light Plot is typically drawn by the Lighting Designer. Many of the theaters have Standard House Plots that provide for general lighting for groups without experienced Lighting Designers or for productions with only basic lighting requirements.
All Light Plots need to be seen first by Amanda Labonte and then Penn Live Arts (PLA Spaces), and/or a representative from Visual Sound (PQ Spaces) for approval at least 2 weeks prior to your show’s load-in. They can also answer questions about inventory and procedures. Seek them out early!
Recommended Practice for Theatrical Lighting Design Practice
Example of a light plot
USITT recommended lighting symbols
The Performing Arts Shop supports a small computer graphics lab. Cadd software used in the lab includes: AutoCad, Bricscad, Sketch-Up and VectorWorks. Bricscad is also available on the workstations in the Platt Student Performing Arts House.
These programs can produce plans, sections, elevations and light plots. Depending on the skill and experience of the user and the complexity of what is being drawn, it may or may not take longer to draft on the computer than by hand. Computer drafting reduces the time needed to make corrections or changes to a drawing. The computer can also draw objects in 3 dimensions and show them from different views. This can be used in design visualization and to create plans, sections, and elevations from the same drawing objects.
It is debatable that learning to draft by hand is a better way to learn the basic principles than learning on the computer. You will find yourself when you have to draft something and either you don’t have access to a computer or you don’t know the software on the computer. Therefore, you still need to read an architect’s rule, operate a T-Square and triangle, draw a straight line, and perform the other drafting skills.
Models and Renderings
- Scale models are the best way for designers to develop and communicate their Scenic ideas.
- Renderings are good for showing mood and lighting effects
Production Organization
It takes many people doing a variety of jobs to mount any Theatrical Production. Explore the below descriptions of the many positions on a Production Staff. Position titles, duties, and responsibilities are explained for a typical Penn show.
Director Types
- Responsible for and oversees entire production
- Handles all budgetary matters
- Oversees all publicity matters
- Acts as liason between group and various theatre staff
- Makes sure all other staff members are doing their jobs
- Responsible for actor selection
- Directing of stage action
- Consults with designers for realization of the concept of the production
- Oversees all aspects of production to keep them in line with the concept
- Delegates authority to Assistant Director as sees fit
- Responsible to the Producer
- Takes Director’s notes
- Attends all rehearsals
- May supervise line rehearsal, blocking rehearsals
- Keeps communication open between Director, Music Director, and Choreographer
- Runs errands
- Responsible to Director
- Responsible for rehearsing singers
- Proper musical interpretation of score
- May or may not conduct pit orchestra
- Meets with Director often to discuss interpretation of score
- Responsiible to Producer
- Responsible for staging all dance pieces in a production
- Responible to Director
- Takes blocking notes, set and prop position notes, cue placement notes
- Incorporates all notes into prompt script
- Makes up and posts rehearsal schedules, photo calls, etc.
- Inspects theatre each evening before show for condition of house, safety equipment, etc.
- Takes direct responsibility of the show upon opening.
- Enforces director’s.blocking and staging.
- Makes scene shift diagrams for prop placement.
- Posts scene by scene schedule for actors’ entrances, exits, etc.
- Calls the show, calls all cues, all set changes, all actor calls, bows.
- Maintains phone lists of key personnel and actors emergency numbers. Phones late actors.
- Supervises collection of valuables from dressing rooms each night.
- Makes sure theatre is struck properly and returned to original state, including dressing room areas.
- Signs out scripts, scores, libretti, and collects same at end of show.
- Delegates responsibilities to Assistant Stage Manager
- Responsible to Director and Producer
Designer Types
- Meets with Director and discusses design concepts for production, usually several week or months in advance.
- Reads script thoroughly and does preliminary sketches.
- After further discussion with Director finalizes drawings.
- Draws a scale groundplan, section and elevations of the scenery.
- Does painter’s elevations and renderings.
- Discusses set with Technical Director as to materials to be used, desired visual effects, special effects, etc. Revises accordingly.
- Keeps a close check on the progress of the set construction. May or may not actually build the set.
- Responsible for all painting done on the set.
- Supervises final placement changes at load-in with Director
- All through the design process, meets with the other designers and discusses color, texture, form, etc.
- Much the same process as Scenic Designer, though later in the game.
- Designs the lighting in accordance with what the other designers have done and with the Director’s wishes.
- Selects types of instruments to be used, positiong, of coloring.
- Draws the Light Plot Supervises the focusing of the lights
- Sets the light cues for each scene with the Director.
- Many similar elemts as above.
- Designs look of costumes after meeting with Director.
- Makes color renderings of costume designs for Director’s approval Revises as neccessary.
- Specifies materials to be used in construction
- Provides fabric swatches to lighting and scenic designers
- Supervises and is responsible for the fitting of costumes and general constuction
Technical Types
- Takes elevations from Scenic Designer and produces working (construction) drawings to build the set
- Specifies materials to be used (after discussing with Scenic Designer), dimensions, special hardware, etc.
- Checks constuction for Safety Enforces fire and electrical safety codes
- Orders all construction materials
- Maintains scenery budget Supervises load-in and strike
- Ensures that shop and theatre are clean and returned to original state after production closes
- Delegates reponsibilities to assistant (when applicable)
- Resposible to Producer
- Maintains prop lists as dictated by script and Director
- Procures said props for rehearsal and production
- Adapts or builds special props
- Maintains prop budget
- Returns all borrowed props
- Ensures the return and proper storage of stock props
- Supervises prop tables during show
- Locks up or otherwise ensures the security of all props at conclusion of each show
- Secures personal props from dressing rooms
- Prepares food for onstage use Shops for consumables during run
- Responsible for care and clean-up of live animals within the theatre
- Responsible to Technical Director, Scenic Designer, and Producer
- Runs lighting console during technical rehearsals and all shows
- Supervises light hang and focus
- With the Stage Manager runs an instrument check each night before the show’s opening
- Replaces burned out lamps
- Maintains cue sheets for running the show
- Takes cues from Stage Manager during run of show
- Supervises strike of electric equipment from set and from theatre
Production Calendar
- Production Meeting with Amanda Labonte, PAC Technical Advisor (which will include)
- Discussion of Production Concept
- Advising on Ground Plan
- Design/Production Team Finalized (Producer; Director; Scenic, Costume, & Lighting Designers; Stage Manager)
- Initial Director/Designer(s) Meetings
- Production Calendar Drafted
- Finished groundplan and model/renderings Construction period starts
- Complete schedules and contact lists
- Crews assigned (all positions filled, actors for construction if needed)
- 4 Week Production Meeting (Penn Live Arts/Annenberg)
- Tech Rider Due (VPUL spaces)
- Light Plot complete
- Special FX approved
- Trucking arranged
- Rentals arranged
- Sound arranged
- All scenery constructed, flameproofed, and painted.
- All lighting equipment prepared/rented
- All costumes finished/found/altered
- Props finished
Production Meeting Schedule (PLA/Annenberg Spaces)
Six Weeks prior to load-in. At this meeting we will go over general production requirements, personnel involved, and calendar items. Attended by Producer, Designers, Stage Manager, and Technical Director.
- Four weeks prior to load-in. At this meeting the following items should be prepared and presented.
- Scenery: Ground plan and rendering/model to be turned in for review, comments, and questions
- Contact Sheet: Listing all cast and crew members who need to be admitted into the theater at any time during the production.
- Production Requirements: The company should be prepared to discuss general requirements such as sound, wardrobe, tables, chairs, special effects, and other miscellaneous materials.
- All special effects must be discussed in advance with the Annenberg Center Production Manager/Iron Gate Tech Supervisor and the Student Performing Arts Technical Director and must comply with all existing safety codes in construction and execution
- Production Schedule: This should be a comprehensive listing of all dates and times for load-in and set-up, electrics hang and focus, technical work, technical rehearsals, meal breaks, show calls, performances and strike/load-out. Potential problem areas will be discussed at this meeting. A detailed estimate of production costs will be based on this schedule, as will the assigning of any necessary technical staff from the Annenberg Center Technical Department/Visual Sound Technical Pool.
- University Budget Code: A University of Pennsylvania Budget Code Number must be provided at this time in order to confirm the booking of the space.
- Two weeks prior to Load-in
- Lighting: Light plot must be turned in at this meeting to the Annenberg Center Production Manager and the Lighting Coordinator for review, comments, and questions.
- Scenery: Review of the progress on scenic construction. Any changes will be discussed at this meeting.
- Production Schedule: Any revisions or changes will be reviewed at this meeting and suggestions made for resolution of production problems.
The Performance Supervisor will determine at the time of load-in if all of the above criteria are met and if the production is acceptable for load-in. At the Performance Supervisor’s request, the production can be reviewed by the Student Performing Arts Technical Director and/or the Annenberg Center’s Production Manager.
When making a Production Calendar it is often easiest to work backward from opening night.
Props
PAC Props maintains the stock props and furniture for use by participating PAC groups. All PAC groups have access at no charge to these materials. In return, we request that any group that uses PAC Props donates any new properties they purchase to the stock. The Prop Shop contains treasures beyond your imagination. In order to be able to fairly distribute the resources of PAC Props, the following guidelines are used :
- No one shall enter the prop or furniture storage areas without permission. Please contact the PAC Shop to schedule an appointment.
- Any articles used must be signed out and the person/group taking the props must assume full responsibility for the articles taken. If any articles are removed without permission a $25 fine will be charged to the group or individual.
- If a borrowed article is lost or damaged, the borrowing group must either replace, repair, or pay the replacement value of the item.
- All borrowed items must be returned at the strike of the performance. Amanda Labonte or Michelle Moller will be present at the strike to supervise the return and ensure the props and furniture areas are left in good condition.
- Any group which cannot provide a University account number must leave a refundable deposit equal to the replacement value of all borrowed items to ensure the safe return of the borrowed items.