Bristol UWE - Module specification: SET DESIGN AND PRODUCTION PROCESS

University of the West of England

MODULE SPECIFICATION

(Revised October 2005)

Code: UAMPE9-40-M Title: Set Design and Production Process Version: 3

Level: M UWE credit rating: 40 ECTS credit rating:

Module type: Project

Owning Faculty: FCA/ Bristol Old Vic Theatre School Field: Stage Management

Valid from: February 2008 Discontinued from:

Contributes towards: MA Professional Theatre Design

Pre-requisites: UAMPE8-50-M – Design for Performance Projects module

Co-requisites: All other modules under the above awards

Excluded combinations: Modules included under Awards in Stage Management and Costume.

Learning outcomes:

On successful completion of this module students will be able to:

• produce a complete set design for a public production, including a model, all necessary drawings and reference material;

• complete the production process in the leading role of a set designer, maintaining close contact with all the relevant production departments throughout the realisation of the designs;

• work closely with the director and the costume designer as part of a collaborative and creative team, and recognise this team’s leadership responsibilities;

• engage confidently, throughout the rehearsal process, with the actors and all members of the production departments, motivating, making decisions, helping to solve problems and providing information and guidance as required;

• source, evaluate and present any reference material required for the effective production of all design elements of the production;

• deliver original creative designs on schedule, which meet with any given restrictions set by budget, time and safety;

• work under the pressure of long hours and deadlines with imagination and self-motivation;

• communicate effectively and negotiate using interpersonal skills with every one involved in the production.

Syllabus outline:

Supported by the Head of Design and the production staff the student designs the set, furniture and props for one of the Theatre School’s public productions.

This involves working for three to four weeks with an experienced director on their design ideas and producing a set model and all the required drawings. They will work to deadlines for the production of a preliminary model and be expected to make any modifications suggested by the production department in order to keep within the budget and to be achievable given the staffing and time allocation before the final design deadline. The student will present the model and all the drawings to the production departments at a final design presentation and meet with individual departments on the details of the construction. In keeping with current theatre practice, they will also present the model and drawings to the acting company on the first day of rehearsals.

During the rehearsal process the student designer attends regular production meetings to co-ordinate all developments arising out of the rehearsal and production processes. The student is works continuously, throughout the production period, with the stage management department, the scenic painters and the construction workshop providing detailed drawings and reference material, making decisions and helping to solve problems as they arise.

Finally, the student is closely involved with the fitting-up of the set in the theatre, the technical and dress rehearsals and the paint calls leading up to the opening night of the production.

A further opportunity may also arise to design a small-scale production.

Teaching and learning methods:

The student is given full responsibility as designer within the support structure and professional theatre environment provided by the Theatre School. This allows the student to practice and refine skills and techniques acquired in the previous module and experience the production process at first-hand. They are expected to work independently, organising their time and relevant research, and initiating meetings as required.

At all stages the student is encouraged to experiment and develop their creative skills and working practices. Regular production meetings ensure that the student has enough information and guidance to make effective decisions regarding feasibility of realising their designs within the restraints of the budget, skill base and time available for the production in hand. Close collaboration, in line with industry practice, with the production’s director is required, with supervision of the student’s work undertaken by the Head of Design.

Reading Strategy

Students are encouraged to become familiar with the subject area, and texts specific to the module, through reading lists and reference material provided in the course handbook. Lists are updated annually to maintain currency and relevance. Each department holds texts and reference material, as well as the general access provided to the Schools library and access to the Internet. The specifically vocational nature of training and study, combined with the project based nature of learning on the course, may require that students are guided to reading and research material in the first instance by the module leader.

NB: BOVTS students do not have access to UWE Libraries and UWE OnLine

Indicative sources:

The following list is offered to provide validation panels/accrediting bodies with an indication of the type and level of information students may be expected to consult. As such, its currency may wane during the life span of the module specification. However, as indicated above, CURRENT advice on readings will be available via other more frequently updated mechanisms.

Production scripts from the English dramatic repertoire, e.g.:

W Shakespeare A Midsummer Night’s Dream, (London: New Penguin, 1967).

W Shakespeare Pericles, (London: New Penguin, 1967).

Relevant material about the period, theatre design history etc., e.g.:

Hayward Gallery The Georgian Playhouse: Actors, Artists Audiences and Architecture 1730 – 1830, (London: Arts Council, 1975).

E T Joy Furniture AD43 – 1950, (London: Batsford, 1962).

D Yarwood English Houses, (London: Batsford, 1966).

Alternative example:

Play script for Laurie Lee, Cider with Rosie, adapted by Nick Darke.

References include:

Birch, L. Stanhope A. Forbes, A.R.A, and Elizabeth Stanhope Forbes A.R.W.S, (London: Cassell, 1906).

Gardiner, S.J. & Stroud and the Five Valleys in old Photographs, (Gloucester: A. Sutton, 1984).

Padin, L.C.

Gardiner, S.J. & Stroud and the Five Valleys in old Photographs: a second selection, (Gloucester: Padin, L.C. A. Sutton, 1987).

Everleigh, D.J. Firegrates and Kitchen Ranges, (Bucks: Shire, 1996).

Langley, R. Walter Langley: Pioneer of the Newlyn Art Colony, (Bristol: Sansom, 1997).

Assessment

This is a Project module with only one component of assessment. This component has only one element of assessment.

In assessing Component A there will be meetings between the student and the relevant tutor at formal assessment points over the course of the module to discuss and record the student's progress judged against the learning outcomes for this module. The result of these assessment points (of which there are normally not more than three) are cumulative in nature and give rise to a final mark/grade at the end of the module.

ATTEMPT 1

First Assessment Opportunity

Component A

Description of each element Element weighting

1. Set Design and Production Process 100%

The student will be assessed during each stage of the module in this way to ensure preparation for each subsequent stage of the production as it arises. These are:

1) initial design period in which most contact is with the director, with some input from the production manager;

2) the presentation of the designs to the production team;

3) realisation of the designs.

In assessing a student’s work, particular attention will be paid to:

• the designer’s ability to respond to the practical requirements of the production whilst remaining faithful to the original design idea;

• the designer’s ability to inspire and inform the other members of the production team to achieve the highest standards of execution;

• the designer’s ability to organise their work and meet deadlines;

• the quality of the technical drawing, model-making, and artwork provided for the relevant production departments;

• the originality of the design ideas;

• the confidence and maturity the student demonstrates throughout the design process;

Second Assessment Opportunity (further attendance at taught classes is required)