The order and process of developing a design for a play could be summarized by the following steps: |
reading the play, researching, imagining, creating a physical presentation, collaborating, approving for the budget, ensuring viability, implementing. |
Realistic costuming took over when which of the following became a major guiding principle in drama? |
historical accuracy |
All of the following are elements the scenic designer might take into consideration when creating the visual presentation of the staging EXCEPT |
underscoring |
All of the following take part in the design of the staging EXCEPT |
the house manager |
The picture frame stage reached its highest realization in the |
baroque period. |
Which of the following types of stage is completely surrounded by audience? |
arena |
During performances, the person fully in charge of overseeing the execution of the show is the |
production stage manager. |
Which kind of stage consists of a bare room able to adapt to a variety of staging possibilities? |
black box |
The development of _____ fostered the great period of scenery design. |
the artificially illuminated indoor theatre |
What kind of scenery attempts to depict, in great detail, a specific time and place in the observable world where the play’s events are presumed to take place? |
realistic |
What kind of scenery uses evocative visual images to make a visual statement about the production’s intended mood or theme? |
metaphorical |
Makeup can serve all the functions EXCEPT which of the following? |
Makeup may be used to help improve the actor’s diction. |
Which is an example of stereophonically located sound design? |
an airplane flying overhead from left to right |
Consider the staging for the Classic Stage Company’s production of Waiting for Godot (1998): a backdrop depicting an abstract moon and stars, a bare floor, low lighting, and dark costumes. This staging would most likely invoke a feeling of |
bleakness |
The type of set that fostered a uniquely architectural theory of theatre was |
the theatre of the fourth wall removed. |
What is NOT an example of projection design as it existed before its contemporary usage? |
Shakespeare’s plays using shadows in front of lanterns to stimulate monsters. |
Which of the following is NOT a postmodern design element? |
furniture taken directly from people’s homes |
In describing dramatic space as "psycho-plastic," which "scenographer" (Europe’s most celebrated in the 20th century) said "The goal of a designer can no longer be a description of a copy of actuality, but the creation of its multidimensional model?" |
Joseph Svoboda |
What is the name for curved scenic backdrop at the rear of the stage often representing the sky, or skyline? |
cyclorama |
Which person is responsible for the building and operation of stage machinery and scenery; scheduling lighting and industrial crews; moving scenery in and out of the theatre; and establishing policies and directives for scene shifting? |
technical director |
Turntables, elevators, hoists, cranes, rolling carts, and wagons, which are all used as scenic elements to accompany and support the dramatic action, are collectively called |
stage machinery. |
Makeup, like costuming, is |
both ceremonial and illustrative. |
Which invention brought lighting to the stage in its modern form and made lighting a more controlled part of the drama? |
the gaslight |
The theatricalist use of lighting in Brecht’s didactic theatre calls for |
the lighting instruments being exposed and placed in full view of the audience. |
A plan or series of plans showing the placement of each lighting instrument—its type, wattage, size, wiring and connection to a dimmer, and color is called |
a light plot. |
Which of the following is true of the history of lighting in scene design? |
Even before the advent of electricity, designers attempted to manipulate lighting with candles, oil lamps, and reflective surfaces. |
The ancient and original use of costume was to |
separate the actor from the audience. |
The production stage manager presides over the working and timing of lighting cues, ensuring that the lights support the play’s action and aesthetic. |
False |
The use of makeup signals to the audience that the actor is a performer. |
True |
In ancient Greek drama, rotating prisms, rolling platforms and painted panels probably had no representational significance. |
True |
The movement toward seeing abstraction began with the theoretical and occasionally practical works of Adolphe Appia. |
True |
The most exciting new development in lighting design is LED technology. |
True |
The name given to the boards that elevate the actors above the level of the audience is a flat. |
False |
Platforms, flats, and drapery are the traditional building blocks of fixed stage scenery. |
True |
A loosely woven fabric that looks opaque when lit from one side and transparent when lit from the other side is called a cyclorama. |
False |
Common goals of lighting design are verisimilitude and atmosphere. |
True |
A list of occasions referred to by number, keyed to the script of the play to indicate changes in intensity or use, is called a light plot. |
False |
Chapter 5- Designers and Technicians
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