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The Ensemble usually performs term shows in La Sala de Puerto Rico and summer shows in Little Kresge. Digital models of both places exist- check the Ensemble locker or talk to other ensemble members to obtain them. It is important to go look at the production space and see what can be utilized. In Sala, the most important initial decision is how to orient the space. Be mindful if you want to use the kitchen doors as entrances or if you want to use SpaceDock. When designing in Sala, you'll also decide how the audience will be laid out- galley vs. traditional seating, number of chairs, etc.
Before Auditions
The set designer should read the play and come with some general ideas for feel of the set and how the actors will interact with the set. They should then meet with or talk to the director about the director's concept for the set, and agree on a basic atmosphere as well as major set pieces (platforms, pilliars, or other such things that will need to be blocked around).
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Once the final set design has been presented at a prod meeting, it should be sent out to the show list and posted to the show dropbox/other public storage option. All future updates should also be sent out and uploaded.
Audience Design
The set designer should come up with an audience design sometime before prod week. The design must also conform to fire code- see the TD page for more information.
Meeting with CAC
While the meeting with CAC is primarily the TD's responsibility, the set designer should attend if possible on the off chance the set needs to be changed. See the TD page for more information.
Description and Expectations
The space the Ensemble most often performs in is La Sala de Puerto Rico. The basic set design process goes as follows. At the preliminary design meetings, the director will talk about the over all design concept of the piece. With the feel of the play in mind, it is good to reread the script and think about possible play areas. For example using different levels or specific set pieces. It is also important to go look at the space and see what can be utilized. In Sala, the most important initial decision is how to orient the space. Be mindful if you want to use the kitchen doors as entrances, or if you want to use the balcony. When designing in Sala, you'll also have to come up with an audience layout.
Once design ideas have been exchanged between you and the director and the architecture is known, it is time to create a technical drawing. Don't be shy about asking any of the theater groups or Rinaldi to borrow furniture or other platforms. Another responsibility you have as set designer is letting the producer know how many people you need on build days. Either you or the TD is responsible for organizing people and tasks during pre-put-in hours.
Check List
1. Created a set plot
2. Told producer what paint to order
3. Approved set design with TD
During Prod Week
During prod week you should be available to the TD as much as possible. While your job is mostly done once the paint is purchased and the set is finalized, it's important to remember that you should be present if the TD has questions about the layout (and no matter how much the two of you prepare, questions will always come up). You should also be wedded to your design, which means you should be invested in seeing it executed well. Remember that all the actors and the TD are at least as hosed as you are during prod week and plan to help accordingly. If you aren't present and the set doesn't come out the way you like it, it's on you. If you are present and the set is screwed up, hopefully you can notice and fix the problems before they become too permanent, or better yet, prevent them in the first place. 4. Kept a list of where you borrowed set items from