1.
Robert Edmond Jones
–
Robert Edmond Bobby Jones was an American scenic, lighting, and costume designer. He is credited with incorporating the new stagecraft into the American drama and his designs sought to integrate the scenic elements into the storytelling instead of having them stand separate and indifferent from the play’s action. His visual style, often referred to as simplified realism, combined bold vivid use of color and simple, yet dramatic, born in Milton, New Hampshire, Jones attended Harvard University and graduated in 1910. Jones eventually moved to New York where, with friends made at Harvard, in 1913 Jones and several friends sailed to Europe to study the new stagecraft with Edward Gordon Craig in Florence. The school in Florence would not accept Jones so he went to Berlin instead and his innovative designs for Vladimir Rosings American Opera Company in 1927 and 1928 were praised by critics. Jones also brought his style to many productions put on by the Theatre Guild, with innovative designs for The Philadelphia Story, Othello. Jones’s biggest commercial success was with The Green Pastures, which, if we include its revival in 1951 and this revival was Jones’s last production. Other Broadway credits include Holiday, Mourning Becomes Electra, Ah, juno and the Paycock, and Lute Song. Jones was also the designer for some early three-color Technicolor films, such as La Cucaracha and Becky Sharp. Jones published many articles on design in the course of his career. His books include Drawings for the Theatre, and The Dramatic Imagination and his book The Dramatic Imagination is considered the definitive work on modern stage design in the first half of the 20th century. He died in the house he was born in on Thanksgiving Day,1954, in a time where theatrical set designs were extravagant and realistic, Jones counteracted the norm by creating simple or expressionistic sets and props. He was an unashamed pleader for beauty and, far more important, are attempting to express directly to the audience the unspoken thoughts of their characters, to show us not only the patterns of their conscious behavior but the pattern of their subconscious lives. We accept unthinkingly as objective transcripts of life, whereas in reality they are images of life. On stage we shall see the characters of the drama. The theater is a school we shall never have done with studying and learning, a stage setting is not a background, it is an environment. I think needs also actors who have in them a kind of wildness, an exuberance, a take-it-or-leave-it quality, I am indebted to the great Madame Freisinger for teaching me the value of simplicity in the theater. The sole aim of the arts of scene-designing, costuming, lighting, is, as I have already said, to enhance the natural powers of the actor
2.
Costume
–
Costume is the distinctive style of dress of an individual or group that reflects their class, gender, profession, ethnicity, nationality, activity or epoch. The term also was used to describe typical appropriate clothing for certain activities, such as riding costume, swimming costume, dance costume. Appropriate and acceptable costume is subject to changes in fashion and local cultural norms, before the advent of ready-to-wear apparel, clothing was made by hand. Costume comes from the same Italian word, inherited via French, National costume or regional costume expresses local identity and emphasizes a cultures unique attributes. They are often a source of national pride, examples include the Scottish kilt or Japanese kimono. In Bhutan there is a national dress prescribed for men and women. These have been in vogue for thousands of years and have developed into a dress style. The dress worn by men is known as Gho which is a robe worn up to knee-length and is fastened at the waist by a called the Kera. The front part of the dress which is formed like a pouch, in olden days was used to hold baskets of food and short dagger, but now it is used to keep cell phone, purse and the betel nut called Doma. The dress worn by women consist of three known as Kira, Tego and Wonju. The long dress which extends up to the ankle is Kira, the jacket worn above this is Tego which is provided with Wonju, the inner jacket. However, while visiting the Dzong or monastery a long scarf or stoll, called Kabney is worn by men across the shoulder, women also wear scarfs or stolls called Rachus, made of raw silk with embroidery, over their shoulder but not indicative of their rank. Some stylized theatrical costumes, such as Harlequin and Pantaloon in the Commedia dellarte, exaggerate an aspect of a character, the wearing of costumes is an important part of holidays developed from religious festivals such as Mardi Gras, and Halloween. Christmas costumes typically portray characters such as Santa Claus, in Australia, the United Kingdom and the United States the American version of a Santa suit and beard is popular, in the Netherlands, the costume of Zwarte Piet is customary. Easter costumes are associated with the Easter Bunny or other animal costumes, in Judaism, a common practice is to dress up on Purim. During this holiday, Jews celebrate the change of their destiny and they were delivered from being the victims of an evil decree against them and were instead allowed by the King to destroy their enemies. A quote from the Book of Esther, which says, On the contrary is the reason that wearing a costume has become customary for this holiday. Buddhist religious festivals in Tibet, Bhutan, Mongolia and Lhasa and Sikkim in India perform the Cham dance, parades and processions provide opportunities for people to dress up in historical or imaginative costumes
3.
Film
–
A film, also called a movie, motion picture, theatrical film or photoplay, is a series of still images which, when shown on a screen, creates the illusion of moving images due to the phi phenomenon. This optical illusion causes the audience to perceive continuous motion between separate objects viewed rapidly in succession, the process of filmmaking is both an art and an industry. The word cinema, short for cinematography, is used to refer to the industry of films. Films were originally recorded onto plastic film through a photochemical process, the adoption of CGI-based special effects led to the use of digital intermediates. Most contemporary films are now fully digital through the process of production, distribution. Films recorded in a form traditionally included an analogous optical soundtrack. It runs along a portion of the film exclusively reserved for it and is not projected, Films are cultural artifacts created by specific cultures. They reflect those cultures, and, in turn, affect them, Film is considered to be an important art form, a source of popular entertainment, and a powerful medium for educating—or indoctrinating—citizens. The visual basis of film gives it a power of communication. Some films have become popular worldwide attractions by using dubbing or subtitles to translate the dialog into the language of the viewer, some have criticized the film industrys glorification of violence and its potentially negative treatment of women. The individual images that make up a film are called frames, the perception of motion is due to a psychological effect called phi phenomenon. The name film originates from the fact that film has historically been the medium for recording and displaying motion pictures. Many other terms exist for a motion picture, including picture, picture show, moving picture, photoplay. The most common term in the United States is movie, while in Europe film is preferred. Terms for the field, in general, include the big screen, the screen, the movies, and cinema. In early years, the sheet was sometimes used instead of screen. Preceding film in origin by thousands of years, early plays and dances had elements common to film, scripts, sets, costumes, production, direction, actors, audiences, storyboards, much terminology later used in film theory and criticism apply, such as mise en scène. Owing to the lack of any technology for doing so, the moving images, the magic lantern, probably created by Christiaan Huygens in the 1650s, could be used to project animation, which was achieved by various types of mechanical slides
4.
Stage (theatre)
–
In theatre and performing arts, the stage is a designated space for the performance of productions. The stage serves as a space for actors or performers and a point for the members of the audience. As an architectural feature, the stage may consist of a platform or series of platforms, in some cases, these may be temporary or adjustable but in theaters and other buildings devoted to such productions, the stage is often a permanent feature. There are several types of stages that vary as to the usage, the most common form found in the West is the proscenium stage. In this type, the audience is located on one side of the stage with the remaining sides hidden and used by the performers and technicians. Thrust stages may be similar to proscenium stages but with a platform or performance area that extends into the space so that the audience is located on three sides. In theatre in the round, the audience is located on all four sides of the stage, the fourth type of stage incorporates created and found stages which may be constructed specifically for a performance or may involve a space that is adapted as a stage. Since the Italian Renaissance, the most common used in the West has been the proscenium stage which may also be referred to as a picture frame stage. The primary feature is an opening known as the proscenium arch through which the audience views the performance. The audience directly faces the stage—which is typically raised several feet above front row audience level—and views only one side of the scene and this one side is commonly known as the invisible fourth wall of the scene. The proscenium arch evolved from the proskenium in Ancient Greek theaters and this was the space in front of the skênê or backdrop where the actors actually played. Stage floors were raked upward slightly from front to back in order to contribute to the illusion and also to make actors more visible to audiences. Subsequently, audience seating was raked, and balconies were added to give audiences a fuller view, by the end of the 19th century most stages had level floors, and much of the audience looked down on, rather than up to, the stage. The competition among royals to produce elegant and elaborate entertainments fueled and financed the expansion of European court theatres, the proscenium—which often was extremely decorative in the manner of a triumphal arch—framed the prospective picture. A wood grid above the stage supported pulleys from which wooden battens, the weight of heavy pieces was counterbalanced by sandbags. This system required the creation of a stage house or loft that was usually as high or higher than the proscenium itself. Theatres using these systems, which are manually operated by stage hands, are known as hemp houses. They have been supplanted by counterweight fly systems
5.
Theatre director
–
The directors function is to ensure the quality and completeness of theatre production and to lead the members of the creative team into realizing their artistic vision for it. If the production he or she is mounting is a new piece of writing or a translation of a play, in contemporary theatre, after the playwright, the director is generally the primary visionary, making decisions on the artistic concept and interpretation of the play and its staging. Different directors occupy different places of authority and responsibility, depending on the structure, Directors use a wide variety of techniques, philosophies, and levels of collaboration. In ancient Greece, the birthplace of European drama, the writer bore principal responsibility for the staging of his plays, the author-director would also train the chorus, sometimes compose the music, and supervise every aspect of production. The fact that the director was called didaskalos, the Greek word for teacher, a miniature by Jean Fouquet from 1460 bears one of the earliest depictions of a director at work. Holding a prompt book, the central figure directs, with the aid of a long stick, from Renaissance times up until the 19th century, the role of director was often carried by the actor-manager. This would usually be an actor in a troupe who took the responsibility for choosing the repertoire of work, staging it. This was the case for instance with Commedia dellArte companies and English actor-managers like Colley Cibber, the modern theatre director can be said to have originated in the staging of elaborate spectacles of the Meininger Company under George II, Duke of Saxe-Meiningen. The management of large numbers of extras and complex stagecraft matters necessitated an individual to take on the role of overall coordinator. This gave rise to the role of the director in modern theatre, simultaneously, Constantin Stanislavski, principally an actor-manager, would set up the Moscow Art Theatre in Russia and similarly emancipate the role of the director as artistic visionary. The French regisseur is also used to mean a stage director. A more common term for theatre director in French is metteur en scène, post World War II, the actor-manager slowly started to disappear, and directing become a fully fledged artistic activity within the theatre profession. The director originating artistic vision and concept, and realizing the staging of a production, a cautionary note was introduced by the famed director Sir Tyrone Guthrie who said the only way to learn how to direct a play, is. To get a group of actors simple enough to allow you to let you direct them, most European countries nowadays know some form of professional directing training, usually at drama schools or conservatoires, or at universities. In the early days such programmes typically led to the staging of one major production in the third year. At the University of California, Irvine, Keith Fowler led for many years a programme based on the premise that directors are autodidacts who need as many opportunities to direct as possible. Under Fowler, graduate student directors would stage between five and ten productions during their residencies, with each production receiving detailed critiques. Directing is an artform that has grown with the development of theatre theory, with the emergence of new trends in theatre, so too have directors adopted new methodologies and engaged in new practices
6.
Scenic design
–
Scenic design is the creation of theatrical, as well as film or television scenery. Scenic designers come from a variety of backgrounds, but in recent years, are mostly trained professionals. Scenic designers design sets and scenery that aim to fully immerse the viewer in the production, a designer looks at the details searching for evidence through research to produce conceptual ideas that’s best toward supporting the content and values with visual elements. The subject of, “How do we generate creative ideas. ”The most consuming part of expanding our horizons toward scenic concepts is more than witnessing creativity. It starts with us opening our mind to the possibilities, to have an attitude toward learning, seeking, and engaging in creativity and to be willing to be adventurous, inquisitive and curious. Whether outside or inside, colorful trees or concerts, star lit skies or the architecture of a great building, discovering what will best clarify and support the story being told. The scenic designer works with the director and other designers to establish a visual concept for the production. All of these required drawing elements can be created from one accurate 3-D CAD model of the set design. Scenic designers are responsible for creating models of the scenery, renderings, paint elevations. Prague, CZ What is Scenography Article illustrating the differences between US and European theatre design practices Special, WhatLinksHere/Julia Anastasopoulos
7.
Lighting designer
–
The LD also works closely with the stage manager or show control programming, if show control systems are used in that production. The role of the lighting designer varies greatly within professional and amateur theater, for a Broadway show, a touring production and most regional and small productions the LD is usually an outside freelance specialist hired early in the production process. Smaller theatre companies may have a resident lighting designer responsible for most of the companys productions or rely on a variety of freelance or even help to light their productions. At the Off-Broadway, or Off-Off-Broadway level the LD will occasionally be responsible for much of the technical work that would be the work of the lighting crew in a larger theater. The LD must take account the shows mood and the directors vision in creating a lighting design. Because lighting design is more abstract than costume or scenic design. Various forms of paperwork are essential for the LD to successfully communicate their design to various members of the production team, examples of typical paperwork include cue sheets, lightplots, instrument schedules, shop orders and focus charts. Cue sheets are of the most value to stage management, the light plot is a scale drawing that communicates the location of lighting fixtures and lighting positions so a team of electricians can independently install the lighting system. Next to each instrument on the plan will be information for any color gel, gobo, or other accessory that needs to go with it, often, paperwork listing all of this information is also generated by using a program such as Lightwright. The lighting designer uses this paperwork to aid in the visualization of not only ideas but simple lists to assist the Master Electrician during load-in, focus, professional LDs generally use special computer-aided design packages to create accurate and easily readable drafted plots that can be swiftly updated as necessary. The LD will discuss the plot with the production manager. After the Electricians have hung, circuited and patched the lighting units, nevertheless, any errors of focusing or changes to the lighting plan are corrected only when the performers are not onstage. These changes take place during work or note calls, the LD only attends these notes calls if units are hung or rehung and require additional focusing. The LD or Assistant Lighting Director will be in charge if in attendance, if the only work to be done is maintenance then the Production or Master Electrician will be in charge and will direct the Electrics crew. After the tech process, the performance may go into Dress rehearsal without a ticketed audience and/or Previews with a ticketed audience, during this time, if the cueing is finished, the LD will sit in the audience and take notes on what works and what needs changing. At this point, the Stage Manager will begin to take over the work of calling cues for the light board op to follow. Often, changes take place during notes call, but if serious problems occur the performance may be halted. If the show is still in previews, then the LD will make changes, changes should not be made after the lighting design is finished, and never without the LDs approval
8.
Principal photography
–
Principal photography is the phase of film production in which the movie is filmed, with actors on set and cameras rolling, as distinct from pre-production and post-production. Its start generally marks a point of no return for the financiers, feature films usually have insurance in place by the time principal photography begins. The death of a star before completing all planned takes. For example, sets are notoriously flammable, and most older studios feature water towers for that reason, furthermore, professional-quality movie cameras are normally rented as needed, and most camera houses will not allow rentals of their equipment without proof of insurance. Once a film concludes principal photography, it is said to have wrapped, in these circumstances, additional material may have to be shot. If the material has already been shot once, or is substantial, the process is referred to as a re-shoot, learning materials related to Filmmaking at Wikiversity Media related to Filmmaking at Wikimedia Commons
![[icon]](/wiki/File:Wiki_letter_w_cropped.svg){kind=small}
