Editing Scenic design

{{short description|Creation of theatrical or film scenery}}
{{For|film and television|production design}}
{{more citations needed|date=October 2020}}
[[File:Marcel Jambon - Giuseppe Verdi - Otello Act I set design model.jpg|thumb|Set design model by Marcel Jambon for an 1895 Paris production of [[Giuseppe Verdi]]'s ''[[Otello]]''.]]
[[File:2016 Magic Flute Rehearsal • NZ Opera • 060516 • 045.jpg|thumb|Set design for the [[New Zealand Opera]]'s 2016 production of [[Wolfgang Amadeus Mozart|Mozart]]'s [[The Magic Flute|''Magic Flute'']]]][[File:Scenic Design, The Family Series, by Glenn Davis.JPG|thumb|Scenic design for ''The 2010 Family Series'', by Glenn Davis]]
[[File:Oresteia by Aeschylus, adapted by Ryan Castalia for Stairwell Theater, 2019.jpg|thumb|A simple red curtain set design for the ''[[Oresteia]]'' presented by Stairwell Theater, 2019]]
'''Scenic design''', also known as '''stage design''' or '''set design''', is the creation of [[scenery]] for [[theatrical production]]s including [[Play (theatre)|plays]] and [[Musical theatre|musicals]]. The term can also be applied to [[film]] and [[television]]<ref name=":1">{{Cite web |title=Set Designer {{!}} Berklee |url=https://www.berklee.edu/careers/roles/scenic-designer |access-date=2023-11-05 |website=Berklee |language=en}}</ref> productions, where it may be referred to as [[Production designer|production design]].<ref>{{cite book |chapter-url=https://www.degruyter.com/document/doi/10.1007/978-3-7643-8140-0.345/html |doi=10.1007/978-3-7643-8140-0 |title=Design Dictionary |chapter=Set Design |date=2008 |pages=345–347 |publisher=Birkhäuser |isbn=978-3-7643-7739-7 |editor-last1=Erlhoff |editor-last2=Marshall |editor-first1=Michael |editor-first2=Timothy }}</ref> Scenic designers create sets and scenery to support the overall artistic goals of the production. Scenic design is an aspect of [[scenography]], which includes theatrical set design as well as light and sound.

Modern scenic designers are increasingly taking on the role of co-creators in the artistic process, shaping not only the physical space of a production but also influencing its blocking, pacing, and tone. As Richard Foreman famously stated, scenic design is a way to "create the world through which you perceive things happening."<ref name=":2">{{Cite journal |last=Aronson |first=Arnold |date=1984 |title=American Scenography |url=https://www.jstor.org/stable/1145574?origin=crossref |journal=The Drama Review |volume=28 |issue=2 |pages=3–22 |doi=10.2307/1145574 |issn=0012-5962}}</ref> These designers work closely with the director, playwright, and other creative members of the team to develop a visual concept that complements the narrative and emotional tone of the production. Notable scenic designers who have embraced this collaborative role include [[Robin Wagner (designer)|Robin Wagner]], Eugene Lee, and Jim Clayburgh

== History ==
The origins of scenic design may be found in the outdoor amphitheaters of ancient Greece, when acts were staged using basic props and scenery. Because of improvements in stage equipment and drawing perspectives throughout the Renaissance, more complex and realistic sets could be created for scenic design. Scenic design evolved in conjunction with technological and theatrical improvements over the 19th and 20th centuries.<ref name=":2" />

=== The New Stagecraft Movement ===
In the early 20th century, American scenic design underwent a dramatic transformation with the introduction of the New Stagecraft.<ref name=":2" /><ref name=":4">{{Cite journal |last=Brewster |first=Karen |last2=Shafer |first2=Melissa |date=2011-01-01 |title=Fundamentals of Theatrical Design: A Guide to the Basics of Scenic, Costume, and Lighting Design |url=https://dc.etsu.edu/etsu_books/6/ |journal=ETSU Authors Bookshelf}}</ref> Drawing inspiration from European pioneers like Adolphe Appia and Edward Gordon Craig, American designers began moving away from the overly detailed naturalism of the 19th century.<ref name=":2" /> Instead, they embraced simplified realism, abstraction, mood-driven environments, and symbolic imagery. Leaders of this movement, including Robert Edmond Jones, Lee Simonson, and Norman Bel Geddes, laid the foundation for a more interpretive and artistic approach to stage design in the United States.

=== Poetic Realism and Its Legacy ===
Following the New Stagecraft, designers like Jo Mielziner and Boris Aronson helped define a style known as poetic realism.<ref name=":2" /> Characterized by soft lighting, romantic imagery, scrims, and fragmented sets, this style prioritized the emotional tone of a production over strict realism. These designers often collaborated closely with playwrights and directors, shaping the mood and meaning of American theater classics like the early works of Arthur Miller and Tennessee Williams.

=== Modern Trends in Scenic Design ===
A key element of modern trends is the '''integration of spectacle'''.<ref name=":2" /> This movement towards larger-than-life visuals, mechanized scenery, and intricate special effects has reshaped both Broadway productions and regional theater. Designers like David Mitchell, known for his work on kinetic sets, exemplify the push towards spectacle that mirrors the influence of cinema on stage design. This trend emphasizes the audience's sensory experience, focusing on visual impact and technical prowess rather than traditional storytelling techniques alone.

At the same time, many designers are exploring minimalism and abstraction, moving away from overly realistic representations to create symbolic and suggestive environments that focus on mood rather than realism. The evolving role of the designer as a collaborator with directors and playwrights has also reinforced these trends, as designers today have a more equal voice in shaping the vision and narrative of a production.

== Elements of scenic design ==
Scenic design involves several key elements:
* '''Set pieces''': These are physical structures, such as platforms, walls, and furniture, that define the spatial environment of the performance. Set pieces are carefully constructed to reflect the time period, location, and atmosphere of the story.
* '''Props''': Objects used by actors during a performance, which help to establish the setting and enhance the narrative. Props can range from everyday objects to fantastical items, and they are integral to the story, helping to reveal character traits, advance the plot, or symbolize themes.
* [[File:Christmas Pantomime Burke expedition John Hennings Dec1861.jpg|thumb|The Christmas Pantomime at the Theatre Royal', scenic backdrop by John Hennings, commemorating the tragic Burke and Wills expedition.]]'''Backdrops''': Painted or digitally projected backdrops and flat scenery that create the illusion of depth and perspective on stage. These elements help establish the overall mood of the scene and can be as detailed or abstract as the design requires. With advances in technology, projections and digital elements now allow for dynamic, evolving backdrops that enhance the visual storytelling.
* '''Lighting''': Setting the tone, ambiance, and focal point of the performance, lighting design is an essential component of scenic design. Advances in lighting technology have expanded the range of possibilities, enabling designers to control color, intensity, and movement.
* '''Functionality:''' In order to meet the demands of the actors, crew, and technical specifications of the show, and sets must be useful and practical. When building the set, designers have to take accessibility, perspectives, entrances, and exits into account. Functionality ensures that the set can support the physical actions of the actors, accommodate scene changes, and maintain safety standards. Finding a balance between artistic design and practical design is a fundamental part of for overall design. 
* '''Scenic Art and Painting:''' Scenic artistry involves creating highly detailed, realistic paintings that enhance the visual storytelling of a production. Scenic artists paint backdrops, textures, and other elements that bring a designer's vision to life. They use a range of traditional and modern techniques, including trompe l'oeil (fooling the eye), texture application, and faux finishes to create realistic or abstract environments on stage.<ref name=":3">{{Cite book |last=Crabtree |first=Susan |url=https://www.taylorfrancis.com/books/9781136027468 |title=Scenic Art for the Theatre |last2=Beudert |first2=Peter |date=2012-09-10 |publisher=Routledge |isbn=978-1-136-02746-8 |edition=0 |language=en |doi=10.4324/9780080489681}}</ref> As digital and mechanized techniques have advanced, scenic artists now also incorporate technologies such as computer-generated imagery (CGI) and digital projection into their work.<ref name=":3" />

== Scenic designer ==
A scenic designer works with the [[theatre director]] and other members of the creative team to establish a visual concept for the production and to design the stage environment. They are responsible for developing a complete set of [[design]] drawings that include:
*''Basic [[floor plan]]'' showing all stationary scenic elements;
*''Composite floor plan'' showing all moving scenic elements, indicating both their onstage and storage positions;
*''Complete floor plan'' of the stage space incorporating all elements; and
*''Front elevations'' of every scenic element and additional elevations of sections of units as required.
In planning, scenic designers often make multiple [[scale model]]s and [[Rendering (computer graphics)|renderings]]. Models are often made before final drawings are completed for construction.<ref name=":0">{{Cite web |last=Pincus-Roth |first=Zachary |date=2008-01-31 |title=ASK PLAYBILL.COM: Sets |url=http://www.playbill.com/article/ask-playbillcom-sets-com-147339 |access-date=2019-10-31 |website=Playbill |language=en}}</ref> These precise drawings help the scenic designer effectively communicate with other production staff, especially the [[technical director]], [[Production manager (theatre)|production manager]], [[charge scenic artist]], and [[property master|prop master]].

In [[Europe]] and [[Australia]],<ref>{{cite web |title=Training as a Theatre Designer |url=http://sceno.org/theatre-design-101/training-as-a-theatre-designer/ |url-status=dead |archive-url=https://web.archive.org/web/20160903172738/http://sceno.org/theatre-design-101/training-as-a-theatre-designer/ |archive-date=2016-09-03 |access-date=2011-04-02 |publisher=Central School of Speech and Drama, University of London article}}</ref><ref>{{Cite web |title=Scenography, MA/MFA |url=https://www.cssd.ac.uk/courses/scenography-mamfa |access-date=2023-11-08 |website=The Royal Central School of Speech and Drama |language=en}}</ref> many scenic designers are also responsible for [[costume design]], [[lighting design]] and [[sound design]]. They are commonly referred to as theatre designers, [[scenographer]]s, or production designers.

Scenic design often involves skills such as [[carpentry]], [[architecture]], [[Script breakdown|textual analysis]], and [[budget]]ing.<ref name=":1" /> In addition, successful scenic designers must have a strong understanding of theatrical collaboration, including the ability to communicate ideas clearly, engage with the director’s vision, and address technical challenges in the design.<ref name=":5">{{Cite book |last=Hayford |first=Michelle |url=https://www.taylorfrancis.com/books/9781000392951 |title=Undergraduate Research in Theatre: A Guide for Students |date=2021-05-20 |publisher=Routledge |isbn=978-1-003-02380-7 |edition=1 |language=en |doi=10.4324/9781003023807}}</ref>

Many modern scenic designers use [[3D modeling|3D]] [[Computer-aided design|CAD models]] to produce design drawings that used to be done by hand.<ref>{{Cite web |title=Scenic Designer |url=https://up.yalecollege.yale.edu/roles-responsibilities/scenic-designer |access-date=2021-12-22 |website=Yale Undergraduate Production}}</ref> CAD tools have revolutionized the way designers create technical drawings, allowing for precise, scalable plans that are easier to adjust and communicate to the entire production team.<ref name=":4" />

=== Influential Scenic designers ===
Some of the most influential scenic designers include:[[File:The Glass Menagerie (37125707913).jpg|thumb|A scene from Tennessee Williams' ''The Glass Menagerie''. The lighting and backdrop contribute to the play's atmosphere.]]'''Robin Wagner''': Known for his work on Broadway musicals like ''A Chorus Line'' and ''The Producers'', Wagner's designs often blur the boundaries between traditional and modern aesthetics. His sets are celebrated for their dramatic flair and innovative use of space, enhancing both the storytelling and the audience’s emotional engagement.<ref name=":3" />

'''Eugene Lee''': A key figure in contemporary scenic design, Lee's work on ''Sweeney Todd'' and ''The Glass Menagerie'' showcases his ability to create immersive environments that serve as a vital part of the narrative. His work often integrates lighting design with set elements to create an emotional connection with the audience.<ref name=":3" />

'''Jim Clayburgh''': Clayburgh's sets for productions like ''The Red Shoes'' and ''Pippin'' have demonstrated his collaborative process with directors and designers, focusing on creating highly theatrical and dynamic spaces that support the narrative’s emotional core.<ref name=":3" /><ref name=":2" />

'''Bob Crowley''': Recognized for his work on the Broadway musical ''The Lion King'', Crowley’s designs are iconic for their ability to integrate '''traditional African aesthetics''' with a modern theatrical approach. His work has influenced the integration of '''[[puppetry]]''' and '''[[stagecraft]]''', making the set an active part of the storytelling process.<ref name=":3" />

== Cultural Differences in Scenic Design ==
Scenic design varies significantly across different cultures, reflecting diverse traditions, artistic sensibilities, and historical contexts. These differences are particularly evident when comparing '''European''', '''American''', and '''Australian''' scenic design practices, as well as in non-Western theater traditions.<ref name=":4" />

Designers in countries like '''Germany''' and '''France''' are typically referred to as '''[[scenographer]]s''', a term that emphasizes their role in integrating '''set design''', '''lighting''', and '''costume design''' into a cohesive artistic vision. This approach to design is especially well known in European operas.<ref name=":3" /> '''American''' scenic design traditionally focuses more on '''set construction''' and the '''physical environment''' of a production. Designers are often responsible for creating the '''illusion of realism''', particularly in Broadway musicals and dramatic plays.<ref name=":2" /><ref name=":4" />

In '''Australia''', scenic designers frequently take on '''multi-disciplinary roles.''' Many Australian designers, especially in '''regional theater''', are involved in the design of both the '''sets and costumes''', and they often collaborate closely with lighting and sound designers from the early stages of production.<ref name=":5" />

In '''non-Western theater traditions''', such as '''Chinese''', '''Indian''', and '''Japanese''' theater, often employ vastly different scenic approaches, relying heavily on symbolic elements, minimalistic sets, and '''dynamic stage movements'''.<ref name=":4" /> For example, '''Kabuki''' theater in Japan uses elaborate costumes and stylized, symbolic sets to convey meaning, with a heavy focus on '''color symbolism''' and '''abstract designs''' rather than realistic representations.<ref name=":4" /> In '''Chinese opera''', the use of large, symbolic backdrops and the minimalistic set serves to enhance the performance of actors and emphasize the '''gestural language''' and '''music'''.<ref name=":4" />

==Notable scenic designers==
[[File:Robert Edmond Jones.jpg|thumb|left|180px|Scenic designer [[Robert Edmond Jones]] (1887-1954) drawing at a waist-high table (c. 1920).]]
Some notable scenic designers include: [[Adolphe Appia]], [[Boris Aronson]], [[Alexandre Benois]], [[Alison Chitty]], [[Antony McDonald]], [[Barry Kay]], [[Caspar Neher]], [[Cyro Del Nero]], [[Aleksandra Ekster]], [[David Gallo]], [[Edward Gordon Craig]], [[Es Devlin]], [[Ezio Frigerio]], [[Christopher Gibbs]], [[Franco Zeffirelli]], [[George Tsypin]], [[Howard Bay (designer)|Howard Bay]], [[Inigo Jones]], [[Jean-Pierre Ponnelle]], [[Jo Mielziner]], [[John Lee Beatty]], [[Josef Svoboda]], [[Ken Adam]], [[Léon Bakst]], [[Luciano Damiani]], [[Maria Björnson]], [[Ming Cho Lee]], [[Philip James de Loutherbourg]], [[Natalia Goncharova]], [[Nathan Altman]], [[Nicholas Georgiadis]], [[Oliver Smith (designer)|Oliver Smith]], [[Ralph Koltai]], [[Emanuele Luzzati]], [[Neil Patel (designer)|Neil Patel]], [[Robert Wilson (director)|Robert Wilson]], [[Russell Patterson]], [[Brian Sidney Bembridge]], [[Santo Loquasto]], [[Sean Kenny (theatre designer)|Sean Kenny]], [[Todd Rosenthal]], [[Robin Wagner (designer)|Robin Wagner]], [[Tony Walton]], [[Louis Daguerre]], [[google:ralph+funicello&oq=ralph+funicello&aqs=edge..69i57j0i390l2j69i64.3694j0j1&sourceid=chrome&ie=UTF-8|Ralph Funicello]], and [[Roger Kirk (designer)|Roger Kirk]].

==See also==
{{div col|colwidth=23em}}
*[[Prop design]]
*[[Film sculptor]]
*[[Scenic painting]]
*[[Scenographer]]
*[[Scenography]]
*[[Set construction]]
*[[Stage machinery]]
*[[Theatrical scenery]]
{{div col end}}

==References==
{{Reflist}}

==Further reading==
* Brockett, Oscar G., Margaret Mitchell, and Linda Hardberger. ''Making the Scene: A History of Stage Design and Technology in Europe and the United States'', Tobin Theatre Arts Fund, distributed by University of Texas Press, 2010. Traces the history of scene design since the ancient Greeks.
* Pecktal, Lynn. ''Designing and Painting for the Theater'', McGraw-Hill, 1995. Details production design processes for theater, opera, and ballet. The foundational text provides a professional picture and comprehensive references to the design process. Well-illustrated with detailed lined drawings and photographs to convey the beauty and craft of scenic and production design.
* {{cite journal |last1=Aronson |first1=Arnold |title=Postmodern Design |journal=Theatre Journal |date=1991 |volume=43 |issue=1 |pages=1–13 |doi=10.2307/3207947 |jstor=3207947 }}
* {{cite book |doi=10.4324/9781315442723-2 |chapter=Design Elements |title=Media Design and Technology for Live Entertainment |date=2017 |last1=Gaddy |first1=Davin E. |pages=27–50 |isbn=978-1-315-44272-3 }}
* {{cite journal |id={{Project MUSE|787014}} {{ProQuest|2507722208}} |last1=Henke |first1=Robert |title=Visual Experiences in Cinquecento Theatrical Spaces by Javier Berzal de Dios (review) |journal=Theatre Journal |date=2021 |volume=73 |issue=1 |pages=111–112 |doi=10.1353/tj.2021.0007 }}

== External links ==
* {{Commons category-inline}}.
* [http://www.pq.cz/ Prague Quadrennial of Performance Design and Space] Largest scenography event in the world.
* [http://www.stephstuff.com/scenography/sceno.html What is Scenography] Article illustrating the differences between US and European theatre design practices.

{{Stagecraft}}
{{Design |disciplines}}

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[[Category:Scenic design| ]]
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[[Category:Theatrical occupations]]
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