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Set designer is a rather front-loaded prod staff positions. Take this into account when figuring out your commitments for this semester. (Note: For the fall show, to help address this issue, it is suggested that emails soliciting people interested in being Set Designer should be sent out by the beginning of August.)
Basics
The Ensemble usually performs term performs fall/summer/IAP (?) shows in Little Kresge and spring shows in La Sala de Puerto Rico and summer shows in Little Kresge. Digital models of both places exist - for Sala go to http://web.mit.edu.ezproxyberklee.flo.org/aff/www/mitspaces/sala/ to ???? (old link is dead, poke... Jakob?) and for KLT go to httphttps://webdrive.mitgoogle.edu/aff/www/mitspaces/klt/com/open?id=1_mEFC4XsoWmTdlxsAplu6cGjn0XIcrgK. A quick note, apparently the pipe between 8V and 9V in Sala mysteriously isn't there.
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- Sight Lines
This involves two main parts - left and right; up and down. The basic principle is that the audience should be able to see everything that is happening on stage. If this is not the case, either you are avant-garde or doing it wrong. Large, opaque items should therefore go at the back of the set. chairs, stools, potted plants that aren't too tall, are often nice to have in front.
A slightly more subtle part of this is that the audience member is not all in the center. So angled set pieces can block sight lines for some audience members but not for others - Acting Spaces
Directors are really obsessed with the idea of levels. This is bound up with the idea of acting spaces. Directors will often have different parts on the stage that are supposed to represent different areas, or that different actors are supposed to use in different times. These can often be quite distinct, and perhaps the central problem of set design is to unify all of these desperate areas into one unified stage picture. Directors also like the idea of levels, so that actors can seem to be much higher than others. Places to sit are also often useful. To consider: a good height for one step is 8.5". For KLT, the plug in the front of the stage can be removed to create an open space – see pictures of the Tempest (Summer 2016) for what this looks like. Talk to the director EARLY to determine if you want to remove the plug. - Entrances, Exits, and Tormentors
Another important thing to consider is where the entrances/exits are on stage. In La Sala, this is usually controlled by the setup of both the set pieces and the black curtains (also known as tormentors). You control (in conjunction with the technical director) the hanging of the blacks. DO NOT FORGET CURTAINS WHEN DESIGNING YOUR SET!!! They must be on pipes, but other than that can be anywhere. Also important to consider is the path from West Lounge to wherever you want the entrances to be. There are lots of options, but be aware of sight lines. The Kitchen Doors, the many entrances into La Sala, and judicious use of blacks are your friends. For KLT, you want to think of how deep you want to make the set – where will you put your back curtain? Mars is usually a pretty safe bet, but we've had different depths. Consider things like space backstage for storing set pieces and blocking when deciding this.
Complexity
The complexity of your set can change depending on a lot of things – director's vision, your technical staff, and your own time and dedication. Talk with the director very early to determine what is most important for them and then what is most important for you. Some directors will insist on one or two things that MUST be in the design. Some will ask for something more abstract, some will want something more obvious. This is very, very important to establish early.
Talk with your TD a lot to see what they think for the set. Don't go into the design thinking of specifically how something will be built. Have a big picture and goals for the TD, and let them tell you what they think they can make happen. Don't let important things of your design be swept under the rug, but also remember that the TD and MC are only human. Consider prioritizing set pieces – having things that are absolutely necessary for the flow/blocking of the show, things that are necessary for your vision, and things that could be cut if necessary.
In the end, it is your design, and you should be proud and happy about it.
Painting
Painting masonite to cover the floor in Sala is a must – think about what you want this to be! For KLT, CAC has decided they no longer want the floor/walls to be painted, but the Ensemble has figured out workarounds – masonite for the floor, linoleum for the walls. More info is in the TD wiki. Keep in mind that this is a possibility, but otherwise the floor and walls will be black (which imo is usually no problem unless you have a specific vision for it)
Designing a set in the round
Remember that you can't have any tall pieces or lines of sight will be broken. However, small pieces can be hung from the ceiling to help create an image.
It you have a square or rectangular set, people tend to want to enter through the corners, so have those be the entrances. To be clearer, have the set look like A not B. This also avoids the issue of circular seating.
Also keep in mind that we don't have enough blacks to have some on all four sides.
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The set designer should have a semifinal set design, preferably in digital format, by the date specified in their contract, this is often early in the term. VectorWorks is the preferred software for creating the set design, but some success has been had with Google SketchUp. Many older members of the Ensemble are familiar with VectorWorks; feel free to ask them for help if you're unfamiliar with the software. It is definitely not necessary to have too detailed of a design in VectorWorks – as someone who has set designed and TD'd before, I find VectorWorks is the most useful for placing and sizing set pieces, but hand drawing/SketchUp is more useful for drawing exactly what you want things to look like. If you have both, give them to the TD! Having more is always better than not having enough.
The semifinal design should be presented at the earliest possible prod meeting. The other designers, particularly lights, should give feedback how the design will interface with their departments. After the prod meeting, the set designer should meet with the TD to discuss the technical feasibility of the set. Remember that the TD has the final say in all structural/safety decisions.
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