Overview
The set designer is, somewhat paradoxically, responsible for designing the set for a production. The design should be based on the director's vision and must conform to all fire/safety regulations. The set designer is also responsible for any artistic decisions made about the set, for example choosing paint colors.
Set designer is a BIG JOB. Take this into account when figuring out your commitments for this semester.
Basics
The Ensemble usually performs term 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/ for KLT talk to other ensemble members to obtain them. A quick note, apparently the pipe between 8V and 9V in Sala mysteriously isn't there.
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. Make sure the path from the audience entrance (large double doors) to the seats is straightforward and is large enough for a large flow of people (in case of fire).
What's Involved in Designing a Set
Unfortunately, there are very few basic principles involved in designing a set. But the basic idea is that the set should look nice and there should enough space for the actors to act in. Fortunately, the director will very often have detailed ideas about what they want the set to look like. This can occasionally get annoying. But some basic principles to consider:
- 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". - 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. 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.
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.
As a side note, we strongly recommend against a theater in the round:
- As an audience member, it looks cool as you enter but if your audience is only half of house, it looks very awkward and the fact that no one came is in the back of your mind during the whole performance
- It makes lighting harder (actors need to be lit from all sides)
- It's harder to fit in the space (Sala is a very narrow rectangle)
- It's harder to stage (you need to make sure that all sides of the audience get as much action)
- It's harder for actors to understand their entrances and where they are supposed to face
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, pillars, or other such things that will need to be blocked around).
The set designer should also become familiar with VectorWorks.
Rehearsal Period
Semifinal Set Design
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. 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.
The semi-final design should be sent to the show list.
Final Set Design
The final set design should be in a digital format. The final set design should be approved by the TD and director if possible before it is presented to the production staff and should be as detailed as possible. It should include sight lines, the spaces that any moving objects (such as a door) will pass through, and anything other information that could possibly be useful. The design should also conform to all fire/safety regulations.
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.
The audience platforms that we can get from CAC are:
- Germans: 78*.5” x 39.5”. They can be at 3 different heights ({}15.5”, 23.5”, 31.5”*)
- Butterflies: 6' x 8'. They are at a height of 16"
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.
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.