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How Theatre Happens
by Debra Bruch
 The
theatre is a collaborative effort of giving and doing. That means that
a person cannot do theatre alone. Every member must be a part of a cohesive
community. The better the community functions, the greater the potential
to impact people's lives through experience. An understanding of people's
roles is necessary to understand how to build this rather unique community.
Essentially, we need only the actors, the play, and the audience, but
a survey of the expanded version of theatre production is necessary
to understand the interrelationships among community members to produce
theatre and potentially create a meaningful and emotional experience
for the audience.
The
ideal theatrical enterprise includes the producer, the playwright, the
director, the scene designer, the light designer, the costume designer,
the sound designer, the properties designer, the makeup designer, the
assistant director, the stage manager, the running crew, and the actors.
These
positions can be divided into two categories. One category is pre-production.
Long before the performance begins, people begin to actualize it. Another
category is production. People who fall under this category actually
work during the performance. The only group of people who fall under
both categories are the actors.
PRE-PRODUCTION
The Producer
The
producer finds or offers the means to produce theatre. He or she is
primarily concerned with monies and as such seeks funds and usually
finances anything that needs to be financed. The producer often carries
the role of publicist and basic business administrator. He or she hires
or assigns the director.
The Playwright
The
playwright, more than any other person, works long before the production
work begins. Except when producing an original script, the playwright's
work is done before the process begins. When producing an original script,
the playwright often works with the production staff to better the script.
Otherwise, the playwright is rarely seen.
The Director
The
director supervises all creative elements of a theatre production. A
single person must unify the work of others, or the process will be
in danger of being reduced to chaos. As such, the director offers a
production a quality of unity by filtering all other creative work through
his or her own vision. The director casts and rehearses the actors,
approves all designs, and oversees the entire production.
Either
the producer or the director chooses the drama to be performed. However,
many veteran directors will choose their own plays. It depends on the
circumstances.
The Designers
A
designer is a creative person in his or her own right. An excellent
designer has particular qualities and abilities. A designer must be
able to visualize a production from reading the script. He or she must
have a high sense of visual beauty and harmony and be able to translate
these attributes into color, mass, form, line, and so on. And finally,
a designer must be able to subordinate his or her concept to the entire
production. In other words, the designer must be able to combine his
or her own concept with the director's concept.
In
most situations, the scene designer goes through several stages to actualize
a design. First, the designer must be able to analyze the drama in order
to get a general, visual idea of the demands of the script. Second,
the designer meets with the director and draws rough sketches. This
way, he or she begins to put concepts into tangible form. Third, the
designer converts his or her rough sketches into a finished floor plan
and side elevations. A floorplan is a bird's eye view of the setting
on the stage floor. A side elevation is a cross section of the setting,
usually drawn to check masking (the hiding of something such as the
back of the stage area). Fourth, the designer draws perspective drawings,
and either makes a model of the set or paint a rendering of the set.
This way, the director clearly sees what the set will look like. Fifth,
the designer drafts working drawings from which the technical director
and the shop foreman plan to build the set. Working drawings are highly
detailed and in scale. And finally, the designer helps oversee the setup
of the scenery.
The
scene designer works with the technical director, the properties designer,
the scenic artist, and sometimes the scene shop foreman. The technical
director coordinates all design aspects of a production and assesses
and purchases materials. The properties designer is the person who designs
and supervises the building of props. Props are hand-held pieces by
the actors during the performance. The scenic artist is a visual artist
in his or her own right and paints the set. The scene shop foreman takes
the designer's drawings and directly supervises the building and rigging
of the set.
As
implied, the lighting designer designs and supervises stage illumination.
He or she takes a copy of the floorplan of the scene design and determines
what kind of light will go where, what angle, and what color to create
a particular affect. Some lights serve to make the actors visible on
stage. Other lights attempt to create an atmosphere or mood. The combination
of all elements is the design. Once plotted on paper, the light designer
gives his or her design to the electrician who supervises light hanging,
cabling, and channeling.
Like
the scene and light designer, the costume designer must be able to subordinate
his or her concept to that of the director's. The costume designer's
main concern is to illuminate a character's traits by what that character
wears. Once designed, the costume designer hands over the drawings and
renderings to the seamstress who supervises the building of the costumes.
The
makeup designer attempts to illuminate a character's traits by using
an actor's face, hair, hands, and any other visible body parts. Often,
the makeup designer tries to change the specific look of an actor. Once
designed, the makeup designer hands the task to the makeup artist during
dress rehearsals and performances.
Sound
is an often neglected element of design. Some playscripts call for particular
sound effects such as a bell, a whistle, or night sounds. The sound
designer's task is to find or create these sounds and record them for
production. Sound design can be an integral part of the whole concept
of the production, for sound helps create a mood or atmosphere. Sound
designers also search for music to be played at a particular time during
the performance to enhance the mood and help draw the audience into
a particular experience.
Assistant Director
The
assistant director serves as a main liaison between designers and the
director. The assistant director also sets up for each rehearsal period
before anyone else arrives. During the rehearsal process, the assistant
director prompts the actors and gives any of his or her own input to
the director. Also, the assistant director creates the main promptbook
for the stage manager. Often, the assistant director and the stage manager
are the same person.
Actors
The
actors' main concern before the performance is to create a character.
That takes physical and vocal discipline and exercise, an analysis of
the playscript, memorizing lines, and a commitment to the director,
his or her vision, and the rehearsal process. The actors are also aware
of the efforts of other people who actualize theatre, and treat their
products with respect.
PRODUCTION
All
pre-production elements come together during the first technical rehearsal,
about a week to a week and a half before performance. During this time,
a whole new set of people emerge to actually run the show (except, of
course, the actors!). While the director moves to bring all production
elements together, he or she begins to fade from view during the week
before performance. During technical and dress rehearsals, the director
continues to have input with designers, but much is left to other people,
for other people will be actualizing the performance. At this time,
the director is largely concerned with the actors, and continues to
give notes. By the first performance, however, the director's main role
is to go around to everyone and wish them well before the performance
begins, and then sit in back of the house to watch the performance,
sweat, and have a heart attack.
Stage Manager
The
person in charge of the technical rehearsals, dress rehearsals, and
performances is the stage manager. The stage manager supervises all
aspects of the performance, including the actors. The stage manager
sets the stage and makes everything ready before the performance begins.
He or she calls cues to the light and sound board operators during performance,
supervises set and prop changes during performance, makes sure that
actors are ready, and solves any problems that might arise. Often, the
stage manager has an assistant.
Light and Sound Board Operators
The
light and sound board operators' main function is to run the equipment.
They take their cues from the stage manager during performance. Before
the house opens, they check all equipment to see if it works.
Makeup Artist
The
makeup artist supervises all aspects of character makeup during dress
rehearsals and performances.
Costume Runner
Some
playscripts call for a character's change of clothing during the performance.
The costume runner organizes and manages costume changes.
Property Master
With
the help of the property designer, the property master assembles all
props used during performance. He or she is responsible to organize
the props, set them out before performance begins, see that the actors
get them, and puts them away after the performance ends. The property
master often has assistance from the running crew.
Running Crew
People
assigned as a running crew are concerned with backstage activities.
They help run props and shift the scenery if needed. They also help
set the stage before the production begins, help light and sound board
operators check equipment, prepare any sound equipment needs, and help
put things away after the performance ends.
Conclusion
The
ideal situation in theatre production is something for which to strive;
such an organization lends the potential for quality. The goal is to
give the audience the best and most meaningful experience they can possibly
have.
Copyright 1990 Debra Bruch
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