Technical Aspects of Theatre
Theatre presupposes collaborative modes of production and a collective form of reception. The structure of dramatic texts, unlike other forms of literature, is directly influenced by this collaborative production and collective reception. The production of plays usually involves contributions from a playwright, director, a cast of actors, and a technical production team that includes a scenic or set designer, lighting designer, costume designer, sound designer, stage manager, and production manager. Depending on the production, this team may also include a composer, dramaturg, video designer or fight director.
The technical aspects of theatrical production are described collectively as "stagecraft". This includes, but is not limited to, the construction and rigging of scenery, the hanging and focusing of lighting, the design and procurement of costumes, make-up, sourcing of props, stage management, and recording and mixing of sound. Stagecraft is considered a technical rather than an artistic field, and it relates primarily to the practical implementation of a designer's artistic vision. This distinguishes it from the more recent, wider discipline of scenography.
Stagecraft may be implemented by any number of workers, from a single person (who arranges all scenery, costumes, lighting, sound, and organizes the cast) to hundreds of skilled carpenters, painters, electricians, stagehands, stitchers, wigmakers, and the like. This modern form of stagecraft is highly technical and specialized: it comprises many sub-disciplines and encompasses a vast trove of history and tradition. Regional theatres and larger community theatres will generally have a technical director and a complement of designers, each of whom has a direct hand in their respective designs.
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Famous quotes containing the words technical, aspects and/or theatre:
“A technical objection is the first refuge of a scoundrel.”
—Heywood Broun (1888–1939)
“Grammar is a tricky, inconsistent thing. Being the backbone of speech and writing, it should, we think, be eminently logical, make perfect sense, like the human skeleton. But, of course, the skeleton is arbitrary, too. Why twelve pairs of ribs rather than eleven or thirteen? Why thirty-two teeth? It has something to do with evolution and functionalism—but only sometimes, not always. So there are aspects of grammar that make good, logical sense, and others that do not.”
—John Simon (b. 1925)
“As in a theatre the eyes of men,
After a well-graced actor leaves the stage,
Are idly bent on him that enters next,
Thinking his prattle to be tedious,
Even so, or with much more contempt, men’s eyes
Did scowl on gentle Richard.”
—William Shakespeare (1564–1616)