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| Audience is arranged on one side of a raised stage area, divided by an implied “fourth wall.” Allows for more formal “presentation” of a play and, for the designers, a bit more control over what the audience can and cannot see. |
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| A stage in which the acting area juts out into the audience; it usually ha an audience on three sides. Features of ideal thrust theatre that influence designs are the extreme conditions of both the horizontal and vertical sightlines. Forces the location of large scenic pieces to the back wall and support the use of furniture and props to establish the locale. |
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| A theatre space in which the audience encircles the acting area; also referred to as theatre-in-the-round. Hiding props and machinery is much more difficult than proscenium. Visual elements normally have to be confined to small, low units or open pieces that can be seen through. Like thrust, more emphasis on the design of the floor. |
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| What does designer look for when he/she reads the script? |
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Definition
| Play’s content, avoid pre-conceived images, where is it, what’s the actions, kind of play, dominant mood, play’s intent, read “between the lines” and get full picture. Look for what the play needs, use of language. |
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| A pleasing or congruent arrangement of scenic forms, creating an aesthetic unity, often achieved through repetition. |
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| In scenery, dissimilarity of forms used to create interest. In lighting, a difference in color, intensity or distribution. |
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| Slight or major changes in the elements or principles of a form that prevent monotony and add interest to the composition. |
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| Transitional steps in a sequence used to create emphasis and a feeling of movement in a design. |
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| Visual prominence using the elements and principles of design to guide the viewer to a specific area of the design. |
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| A theatre that is usually small and that allows flexibility in the arrangement of the audience to acting space; so named because the walls are usually painted black. |
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| The size or mass of a form |
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| A straight geometric figure, consisting of a series of points that has direction, length, and width, although the width is often so narrow it is usually not recognized. |
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| Light reveals form. It can be thought of in three different ways: first, as real light capable of revealing form; second, as real light having its own design form; and last, as stimulated light as it might appear in a two-dimensional representation of a three-dimensional form. |
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| A powerful stimulus that can change the dimension of form, reverse the direction of line, and alter the interval between forms. Color in the theatre comes from two basic sources; pigment on the surface of the form or the color transmitted by light. |
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| Partially inspires composition of design. Adds interest by giving character to the finished form. Different textures inspire different emotional responses. |
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| The name of a color; scientifically, the color’s wavelength or position in the spectrum. |
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| The presence of white or black in a color; the lightness or darkness of a color. |
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| The purity of a color or the amount of adulteration (neutrality); often referred to as intensity or saturation. |
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| Colors directly opposite each other on the color wheel. |
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| Has little contrast because it uses three hues that are adjacent on the color wheel. |
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| A straight-line projection drawing of an object showing three views, typically the top, the front and the side. |
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| A view of a set from above, as if it cut across horizontally. |
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| A view of a set from one side, as if cut across vertically at the centerline. |
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Definition
| Scaled and dimensioned drawings that provide information about the profile, size, and location of openings and decorative detail of every unit of scenery and any built props. |
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Definition
| Scaled elevations that indicate the colors and painting technique of each unit of scenery. |
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