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E-raamat: Teaching Introduction to Theatrical Design: A Process Based Syllabus in Costumes, Scenery, and Lighting [Taylor & Francis e-raamat]

,
  • Formaat: 390 pages
  • Ilmumisaeg: 22-Dec-2016
  • Kirjastus: Routledge
  • ISBN-13: 9781315639499
Teised raamatud teemal:
  • Taylor & Francis e-raamat
  • Hind: 216,96 €*
  • * hind, mis tagab piiramatu üheaegsete kasutajate arvuga ligipääsu piiramatuks ajaks
  • Tavahind: 309,94 €
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Teaching Introduction to Theatrical Design: A Process Based Syllabus in Costumes, Scenery, and LightingSuurem pilt
  • Formaat: 390 pages
  • Ilmumisaeg: 22-Dec-2016
  • Kirjastus: Routledge
  • ISBN-13: 9781315639499
Teised raamatud teemal:
Taylor & Francis e-raamatudRohkem infot Taylor & Francis e-raamatute kohta
Raamatu kodulehekülg: https://www.taylorfrancis.com/books/9781315639499

Teaching Introduction to Theatrical Design is a week-by-week guide that helps instructors who are new to teaching design, teaching outside of their fields of expertise, or looking for better ways to integrate and encourage non-designers in the design classroom. This book provides a syllabus to teach foundational theatrical design by illustrating process and application of the principals of design in costumes, sets, lights, and sound.

 

Figures
xi
Preface xix
Acknowledgments xxi
Introduction xxiii
The Organization of This Book xxiii
Our Formula xxiv
Creativity and Evaluation xxv
Selecting Plays for Use in Class xxv
The Classroom xxvii
Portfolio Development xxvii
Books We Want to Share With You xxviii
Section I Costume Design
1(106)
Chapter 1 Organizing Principles of the Class and Week 1
3(21)
Session by Session Framework
4(1)
Section by Section Framework
4(1)
Supplies Needed
5(1)
Introducing Design Elements
5(3)
Exploring Design Elements
8(2)
Hands-on Projects with Design Elements
10(6)
Concept and Design Metaphor
16(2)
Hands-on Projects with Metaphor
18(3)
Read the Plays
21(1)
Building a Student Portfolio
21(3)
Chapter 2 Week 2
24(29)
Supplies Needed
25(1)
Introduction of the Costume Design Final Project
26(1)
Script Analysis
26(3)
Hands-on Projects with Script Analysis
29(1)
Unpacking the Play
29(1)
Combining Metaphor and Design Elements to Create a Metaphor Statement
30(3)
Using French Scenes to Dig Deeper into Detail
33(2)
The Costume Plot
35(2)
Script Analysis by Character
37(2)
Costume Plot and Script Analysis by Character
39(1)
Drawing Clothing on the Human Body
39(11)
Assigning Professional Designer Presentations
50(1)
Portfolio Development Projects
51(2)
Chapter 3 Week 3
53(28)
Supplies Needed
54(1)
Costume Renderings
55(2)
Hands-On Exercises with Costume Renderings and Computer Software
57(10)
Introduction to Color Media
67(4)
Homework Follow-up: `Twenty-One Black Dresses'
71(4)
`Twenty-One Black Dresses,' Exercise Variations
75(1)
Further Research for Designers
76(1)
Where Do Designers Go to Do Research?
76(2)
Combining the Pieces to Build a Design
78(1)
Portfolio Development Projects
79(2)
Chapter 4 Week 4
81(16)
Supplies Needed
82(1)
Swatching
83(6)
The Color Palettes of Master Painters
89(4)
Costume Design Final Project
93(2)
Portfolio Development Projects
95(2)
Chapter 5 Week 5
97(10)
Costume Designer Presentations
98(3)
Presentation by a Guest Artist
101(1)
The Costume Design Final Project
101(2)
The Costume Design Final Project's Continuation
103(2)
Portfolio Development
105(2)
Section II Scenic Design
107(96)
Chapter 6 Week 6
109(27)
Supplies Needed
111(1)
The Purpose of Scenery
111(1)
Describing Environment
112(1)
Composition Influences Perception
113(2)
Detail Contributes Meaning
115(1)
Detail Informs Character
116(1)
The Intentional Environment
117(1)
Script Analysis for Scenic Designers
118(3)
External Influences on the Scenic Environment
121(1)
Minimum Necessary Physical Requirements
122(2)
Learning to Read and Draw in Scale
124(6)
The Sizes of Real Things
130(1)
Laying Out and Building the Small Stage House for `Your First Set Design'
131(3)
`Your First Set Design'
134(1)
Portfolio Development Projects
135(1)
Chapter 7 Week 7
136(20)
Supplies Needed
137(2)
The Human Figure as Baseline of Proportion
139(2)
Making Scale Things for the Model
141(3)
The Function of Models
144(2)
Pros and Cons of Model Formats
146(2)
Using Footprints to Explore Space
148(2)
The Groundplan is a Plan of Action
150(4)
The Scenic Design Final Project
154(1)
Portfolio Development Project
155(1)
Chapter 8 Week 8
156(25)
Supplies Needed
157(3)
Introduction to Drafting
160(11)
What Exactly IS a Groundplan?
171(3)
Graphics Standards
174(4)
Prep for Final Scenic Project
178(1)
Portfolio Development Projects
178(3)
Chapter 9 Week 9
181(15)
Supplies Needed
182(1)
Thumbnails and Essential Gestures
183(5)
Rough Groundplan for the Scenic Final Project
188(4)
In-Class Work Day
192(3)
Portfolio Development Projects
195(1)
Chapter 10 Week 10
196(7)
Scenic Designer Presentations
197(1)
The Scenic Design Final Project
198(2)
Presentation by a Guest Artist
200(1)
Portfolio Development
201(2)
Section III Lighting Design
203(96)
Chapter 11 Week 11
205(19)
Instructor Supplies Needed
206(1)
Our Approach to Lighting Design
206(2)
Thinking about Light
208(2)
The Functions of Stage Lighting
210(1)
Standard Lighting Angles
211(2)
The Controllable Properties of Light
213(3)
Review Moment
216(2)
Standard Angles in the Light Lab
218(4)
Analyzing the Lit Environment
222(1)
Portfolio Development
222(2)
Chapter 12 Week 12
224(17)
Supplies Needed
225(1)
The Cue Synopsis
226(4)
Storyboarding a Lighting Design
230(4)
Six Categories of Purposes
234(5)
The Lighting Design Final Project
239(1)
Portfolio Development
240(1)
Chapter 13 Week 13
241(19)
Supplies Needed
242(1)
Building a Look in the Light Lab
243(4)
Magic Sheets (or, Lighting Diagrams)
247(2)
Color
249(1)
Subtractive and Additive Mixing
249(1)
How Light Sources Can Change Gel Color
250(1)
How Gel Works
251(1)
Using the Swatchbook
252(2)
The Primary Colors of Light
254(4)
Portfolio Development
258(2)
Chapter 14 Week 14
260(11)
Supplies Needed
261(9)
The Final Session before Presentations
270(1)
Portfolio Development
270(1)
Chapter 15 Week 15
271(6)
Lighting Designer Presentations
272(1)
The Lighting Design Final Project
273(2)
Portfolio Development
275(2)
Chapter 16 An Extra
Chapter of Introductory Steps in Developing a Lighting Design
277(22)
Supplies Needed
278(1)
Why We Break the Stage into Areas of Control
279(8)
The Section
287(6)
The Preliminary Hook-Up
293(6)
Section IV Sound Design
299(18)
Chapter 17 Introduction to Sound Design
301(16)
Instructor Supplies Needed
302(1)
Learning to Talk About Sound
303(1)
Vocabulary for Sound
304(2)
More Controllable Properties of Sound
306(3)
Categories of Sound Cues
309(1)
The Sound Plot and Script Analysis
310(4)
Assembling a Preliminary Sound Design
314(1)
Portfolio Development
315(2)
Appendix A Our Current Syllabus 317(4)
Appendix B Materials for Introduction to Design 321(3)
Appendix C Two Short Plays by Eric Appleton, Used for Design Exercises 324(11)
Appendix D Sample Cue Synopses 335(8)
Appendix E Standard Lighting Positions and Unit Numbering 343(4)
Appendix F Design Timelines 347(5)
Glossary 352(4)
Index 356
Eric Appleton is an Associate Professor of Theatre and Dance at the University of Wisconsin-Whitewater. He has been a freelance lighting and set designer since 1994. Tracey Lyons is currently a Lecturer at the University of Wisconsin Whitewater. She has previously been on the faculty of the University of North Dakota and Del Mar College.
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