Beruflich Dokumente
Kultur Dokumente
Grade 12 Drama 30
March 6th March 27th, 2015
The Shirley Sovdi School for the Gifted
Mr. Matthew Fosen
Rationale The major focus of this unit is the designing of set pieces within the
context of a stage. I believe this unit will have many benefits for the students:
1. The students will gain an appreciation of the amount of effort and planning
that goes into set design. The students be shown through their own practice
just how much planning and effort is involved in creating a stage show.
2. The students will gain a working knowledge of the steps involved in creating
a miniature model for production. The students will create their own models
of the stage, the set pieces, and if necessary, the props for the show. This will
aid in the students understanding that there are many hurdles that need to
be overcome for the logistics of a show and a successful performance.
3. The students will have a working understanding of the moving parts
involved in set changes during a performance. The students will appreciate
the difficulties of working within a confined space and the limitations and
advantages of that space.
4. For students who do not wish to move ahead in the technical theatre stream,
these students will still gain a deeper understanding and appreciation of just
how much work is involved in making them look good.
5. For those students hoping to move forward in technical theatre, this will give
those students working practice with stage elements as far as design is
concerned, so that they are prepared for the challenges of either postsecondary education or field experience.
6. Create a portfolio piece for those students interested in moving into technical
theatre.
I speak from my own experience when I say that I received no formal training in
technical theatre at the high school level. Had it not been for my involvement in
community theatre, I would have missed opportunities I think are critical for all
students of theatre, regardless of the stream they choose. As mentioned above, this
unit gives technical students practice and a great portfolio piece, and gives acting
students a greater appreciation for the work involved in making a show successful.
Unit Overview:
Aim: The students will now work at creating a large-scale version of their
backdrop. Of course, due to the space limitations, they will not be going
full size, but the principle is largely the same. The students have the
entire class to work on scaling up their piece, and will be due next class,
so they will also have home time to work if they did not finish in class.
Learner Expectation: TRM
Aim: Students will not only need to be finished their projects, but they will
be participating in the critique. The theatre is a very collaborative
process, and the students will need to learn to talk and work with others,
as well as give and receive constructive feedback. The critique serves to
create a safe environment for students to work on being collaborative and
involved in critical discussions.
Learner Expectations: TRM
of being able to witness if the student took the feedback from the
previous critique and used it or ignored it. This, in addition to the
expectations for speaking during the critique, will establish a strong
formative assessment on the students ability to collaborate with others.
Learner Expectations: TRM
Functionality
Scale
4
Student has
taken extra
care to
make sure
models look
clean and
professional
. Shows an
aptitude for
craft and an
attention to
detail.
Miniature
set pieces
function
exactly as
they would
in largescale. Easy
to
understand
how they
move and
interact with
the stage.
Scale is
3
Students
work is
consistent
with few
errors or
flaws.
2
Students
work shows
potential, but
is held back
by hasty
technique or
incomplete
finishing.
1
Students
work is
haphazard
or sloppy.
Miniature set
pieces get
across the
general idea
of their
function and
show the
potential for
their use at
full-scale.
Miniature set
pieces are
understanda
ble after an
explanation,
or do not
translate how
the piece
interacts with
the stage.
Scale is
Scale has
Miniature
set pieces
are
impossible
to
understand,
or do not
function at
scale or
work with
the concept
of the
stage.
Little or no
Score
Translation
artfully
consistent,
and the
piece is
easily
extrapolate
d to large
scale.
The piece
looks
exactly like
the
preliminary
sketches,
and the idea
is easily
brought
across into
three
dimensions.
mostly
consistent
with few
discrepancie
s.
several
hiccups
that make
the piece
harder to
read.
attempt
was made
at
establishing
a consistent
scale.
The piece
looks mostly
like its
drawn
counterpart
with only a
few oops
moments or
changes.
The piece
and the
sketch share
some similar
moments,
but only after
explanation
do their
relation
become
clear.
The piece
and the
sketch are
two very
different
things.
Sketch was
likely
abandoned
in the
building
process.
Comments:
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
Bibliography
Bellman, Willard F. Scene Design, Stage Lighting, Sound, Costume & Makeup:
A Scenographic Approach. New York. Harper & Row. 1983.
Clark, I. E. Stagecrafters Handbook: A Guide for Theatre Technicians. Second
Edition. Schulenberg, TX. I.E. Clark Inc. 1977.
Govier, Jacque. Create Your Own Stage Props. Englewood Cliffs. Prentice-Hall.
1984.
Payne, Darwin Reid. Theory and Craft of the Scenographic Model. Revised
Edition. Carbondale, Southern Illinois University Press. 1985.
Wilson, Edwin. The Theatre Experience. Fourth Edition. Montreal. McGraw-Hill
Book Co. 1988.