Synopses & Reviews
SCENE DESIGN AND STAGE LIGHTING, Eighth Edition, continues its tradition of being the most detailed and comprehensive text available in the scenic and lighting design and technology fields. Much of the scenery design and technology section has been re-worked with an emphasis on modern technology. Changes in the lighting section reflect current practice and technology. The authors have placed an emphasis on collaboration in all sections of the new text. "Designers at Work" interviews with professional lighting and scenery designers are a new addition to the Eighth Edition. In addition, the entirely re-written section on sound for the theatre reflects the digital age we live and work in.
This established and respected text for courses in scene design and stage lighting offers a contemporary viewpoint from two experienced authors. Current trends are highlighted, such as the importance of collaboration in the theatrical process. Dance lighting is discussed in detail. The discussion of automated fixture design and control is the most extensive available. The light plot and paperwork for the Broadway show Tommy highlight the most current theatrical practices. The changing nature of the field is reflected in the discussion of the growing use of computers in design, drafting, and technical production. Current electronic drawing systems, such as CAD, are included. A new chapter on "Lighting for the Commercial Theatre -- Broadway and Regional" prepares students for working in this arena.
This text for courses in scene design and stage lighting offers a contemporary viewpoint. This edition has been redesigned and updated, reflecting changes in the field.
About the Author
W. Oren Parker inspired hundreds of designers over his very long and successful teaching career. His absolute love of architecture and furniture was obvious to anyone who took his History of Architecture and Decor class (affectionately known as "Pots and Pans," which he no doubt thought was hilarious) if only from the sheer volume of information and detail involved. His dedication to teaching was unbeatable. Parker was born and raised in Michigan, where he met his wife, Thelma (known as Teschie). He received his bachelor's degree from the University of Michigan and his master's degree from Yale University in 1940. He joined the faculty of Yale and remained there until becoming professor of drama at Carnegie Mellon University (then Carnegie Tech) in 1963. He retired in 1976. His book, SCENIC TECHNIQUES, was the first to standardize drafting for theatre, and SCENE DESIGN AND STAGE LIGHTING, written in collaboration with Harvey Smith in 1963 and now in its ninth edition, was the definitive text for designers planning to enter the profession. Parker joined the United States Institute for Theatre Technology (USITT) in 1963 and was elected a fellow in 1986, the same year he received one of the Institute's highest honors--the USITT Award--for his work as designer, educator, and author. In 2001, the USITT created the W. Oren Parker Scene Design Award. Sponsored by Stage Decoration and Supplies, Inc., the award is given annually to an individual who has demonstrated excellence or outstanding potential in the area of scenic design in the performing arts while pursuing an undergraduate degree. It was the first of USITT's Awards for Young Designers and Technicians in the Performing Arts aimed at undergraduate students.R. Craig Wolf is Professor of Design and head of the design program at San Diego State University, as well as a professional lighting designer whose designs have been seen nationwide, including productions for San Diego's Old Globe Theatre, Dance Theatre Workshop in New York, Virginia Shakespeare and the Richmond Ballet Company, Theatre Artaud in San Francisco, and the Japan America Center and Odyssey Theatre Ensemble of Los Angeles. The author of the lighting and sound sections of SCENE DESIGN AND STAGE LIGHTING, Ninth Edition, Wolf is a past Lighting Commissioner and board member of the United States Institute for Theatre Technology (USITT) and current vice-chair of the publications committee. He became a lighting associate member of the United Scenic Artists Design Union in 1977. Wolf also has taught at the University of Michigan and University of Virginia.Dick Block has served on the faculty at Carnegie Mellon for 17 years following a freelance career based in New York City, where his design credits include "Conrack" for AMAS (nominated for an Audelco Award), "Fascinating Rhythms" for Columbia Artists (also toured), "Much Ado About Nothing" for Equity Library Theatre, and two pieces for Theatreworks USA as well as a new play, "Wilson." He also worked on such Broadway productions as "Evita," "42nd St.," "Barnum," and "Cats." Block has been active locally with projects designed at the Pittsburgh Playhouse, Opera Theatre of Pittsburgh, and the Pittsburgh Public Theatre. Additional regional credits include work at the McCarter Theatre in Princeton, the American Repertory Theatre in Cambridge, Mass., Center Stage in Baltimore, and Opera Theatre of St. Louis. Recent designs include "The Nerd" and Steve Martin's "The Underpants" at The Human Race in Ohio, Feydeau's "Silly Goose in Cairo," "A Christmas Carol" at Virginia Stage in Norfolk, and "Saturday Night" at the Weston Playhouse. Block is also active with the United States Institute for Theatre Technology (USITT) and both regionally and nationally with the Kennedy Center/American College Theatre Festival, having served as the first National Design Chair. He is the recipient of the Kennedy Center Medallion for Distinguished Service, and he received his MFA from Northwestern University.
Table of Contents
Part I: CREATING A DESIGN. 1. Introduction. Theatrical Form. Physical Form. Scene Design. 2. Scene Design and the Theatre. The Theatrical Medium. The Physical Stage and Its Auditorium. Working with the Physical Space. 3. Scene Design as a Visual Art. Design and the Designer. Composition and the Elements of Design. Principles of Composition. Composition, Space and Depth. Composition and Unity. Composition and Interest. 4. The Design Process. Function of Scene Design for Drama. Design and Other Theatrical Forms. How to Begin Presenting the Design Idea. Theatrical Design Outside the Theatre. 5. Drafting the Design. Drafting Equipment. The Graphics of Design. Drafting Conventions. The Ground Plan. Designers Elevations. Computer-Aided Drafting. Drafting Three-Dimensional Scenery. Planning Properties. Pictorial Drawings. Part II: REALIZING THE DESIGN. 6. The Scene Shop, Tools and Equipment. The Scenery Shop. Wood as Scenery Material. Woodworking Tools and Equipment. Metal as Scenery Material. Metalworking Tools and Equipment. Scenery Surfaces. Scenery Hardware. 7. Building the Scenery. Types of Scenery. Soft Scenery. Framed Scenery. Three-Dimensional Scenery. Textured and Sculptured Surfaces. Mirror Surfaces. 8. Color in the Design. The Language of Color. Color in Pigment. Color and Light. Color Vision. Color Sensation and Subjective Response. Color Manipulation. 9. Painting Scenery. Paint and Color. The Toxicity of Paint and Dye. Painters Elevations. Paint Procedure. Textured Surfaces. Methods of Painting. Brushes and Other Equipment. Flameproofing. 10. Handling the Scenery. Factors Influencing the Handling of Scenery. Backstage Organization. Manual Running of Scenery on the Floor. Flying Scenery. Scenery on Casters. Lifts and Elevator Stages. 11. Stage Properties and the Designer. Properties vs. Scenery. Selecting Properties. Making and Remaking Furniture. Fabricating and Casting Techniques. Body Armor and Mask Making. Effects Properties. Foliage. Adhesives. The Computer and Props. Sound Effects. Fire on Stage. Part III: SOUND FOR THE THEATRE. 12. Sound and Music in the Theatre. Fundamentals of Sound. Sound in the Theatre. Elements of Sound Design. The Process of Designing Sound for the Theatre. 13. Sound Systems and Equipment. The Sound Systems. The Equipment. How To? Part IV: STAGE LIGHTING. 14. Introduction to Stage Lighting Design. Stage Lighting. Qualities of Light. Stage Lighting and the Elements of Design. Stage Lighting and Theatrical Form. Functions of Stage Lighting. Role of the Lighting Designer. The Lighting Laboratory. Development of a Lighting Designer. 15. Stage Lighting Practice: Distribution. Lighting the Actor. Angles and Direction of Light. Lighting the Acting Area. Lighting the Background. 16. Color and Light. Color is Light. The Language of Color. Color Filtering. Color Interaction. Color Perception. Designing With Color. A Method of Using Color. Color Media. 17. Intensity Control. The History of Dimming. Elements of Electronic Control. Types of Electronic Control. State-of-the-Art Memory Systems. Designing with Electronic Control. The Operator and Remote Control. 18. Distribution Control: Lighting Instruments. Choosing the Right Instruments. The Physics of Reflection and Refraction. The Plano-Convex Spotlight. The Ellipsoidal Reflector Spotlight. The Fresnel Spotlight. The PAR Fixture. Other Theatre Instruments. Care and Handling. 19. Projection, Practicals, and Effects. Light as Scenery. Projection Techniques and Equipment. Practicals. Special Effects. 20. Stage Lighting Practice: The Light Plot and Production. Design Decisions. The Collaborative Process. The Light Plot. Realizing the Plot. 21. Stage Lighting and Electricity. Atomic Theory. Sources of Electric Current. Electric Units of Measurement. Alternating Current. Conductors and Insulators. Stage Connectors. Switches. Circuit Protection. Testing Equipment. 22. Light Sources. Incandescent Lamps. Arc Light. Gaseous Discharge Lamps. Common Stage Instrument Lamps. 23. Stage Lighting Practice: Design. Design Practice: The Proscenium Theatre. Design Practice: Arena Production. Design Practice: Thrust Stage Production. The Flexible Stage. Lighting for Dance. 24. Lighting Design as a Profession. Lighting on Broadway. Interview with Donald Holder. Designing for the Regional Theatre. Interview with Chris Parry. Lighting for Opera. Working as a Lighting Designer. Interview with Robert Shook. Interview with Dennis Size. Interview with Ann Archbold. Interview with Tom Ruzika.