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?
All of the following are elements the scenic designer might take into consideration when creating the visual presentation of the staging EXCEPT
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
Which of the following types of stage is completely surrounded by audience?
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?
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?
What kind of scenery uses evocative visual images to make a visual statement about the production's intended mood or theme?
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
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 simulate 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?"
What is the name for curved scenic backdrop at the rear of the stage often representing the sky, or skyline?
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?
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
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 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.
The use of makeup signals to the audience that the actor is a performer.
In ancient Greek drama, rotating prisms, rolling platforms, and painted panels probably had no representational significance.
The movement toward scenic abstraction began with the theoretical and occasionally practical works of Adolphe Appia.
The most exciting new development in lighting design is LED technology.
The name given to the boards that elevate the actors above the level of the audience is a flat.
Platforms, flats, and drapery are the traditional building blocks of fixed stage scenery.
A loosely woven fabric that looks opaque when lit from one side and transparent when lit from the other side is called a cyclorama.
Common goals of lighting design are verisimilitude and atmosphere.
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.