This dissertation sought to investigate how theatre space and dramatic genre influence the scenographic process. Three designs of Greg King's were selected and analysed to determine how the theatre space and dramatic genre played a role in his design choices.
Semiotics was offered as a vehicle by which King's designs could be interrogated as signs and symbols are present in his designs.
As scenery has always been a part of theatre productions, the first area examined was the development of the proscenium arch theatre. It was found that as the performance space altered the type and use of scenery underwent a number of changes. The outdoor or open theatres primarily relied on the architectural features of the building to provide a backdrop to the action and scenery. With the introduction of the proscenium arch, scenic artists explored the use of perspective in their designs and machinery was invented that assisted in changing the scenes. However, the scenery remained predominately generic in nature and was not integrated into the action on-stage and performers were 'out-of-scale' to most of the scenery. In the nineteenth century, a number of changes occurred that again affected the use of scenery. These included the introduction of the director, the naturalistic, realistic, and symbolist movements, electric lighting, and, in the twentieth century, the film and later television industry.
It was established that in most cases the theatre venue does not limit the designers' decisions as a designer uses and exploits the strengths and weaknesses within the venue to create his/her setting. In examining the work of three international designers, it was found that all three designers have adapted their designs to suit the venue. Svoboda predominantly worked in proscenium arch venues. His designs accommodated the single directional view of the spectator and he made use of and 'invented' technologies in order to enhance his designs. Both Lee and Koltai have worked in a number of different theatre layouts. They are able to create designs that compliment and exploit the venue space. This was evident in Lee's work at the Delacorte Theatre where the natural outdoor environment led him to develop an emblematic and sculptural style, while Koltai made use of the height in the Albert Hall as part of his design for Carmen.
The three venues chosen as case studies, although all proscenium arch spaces, emphasised the variations that can occur in proscenium arch theatres and the challenges they present to the scenic designer. The size of the Seabrooke's Theatre poses many problems for a designer. The venue is more suited to box settings or settings with black legs and a painted backdrop. The height of the venue can create difficulties for both the set designer and lighting designer. Large complex settings were not practical as the stage, side stage space and storage was limited. However, King was able to maximise the space offered by this venue and create a realistic box set that provided a functional space for the performers. The Elizabeth Sneddon Theatre and the Playhouse Drama Theatre, although relatively similar in stage size and audience capacity, differ in the technical equipment they have to offer the designer. The Playhouse Drama Theatre has more flybars and a large rear stage space into which a designer can extend his/her design. King made full use of the equipment the Playhouse Drama Theatre had to offer and many of his set changes included flown pieces of scenery. The theatre was also able to install a personal lift.
The Elizabeth Sneddon Theatre benefits from its location, as it is easily accessible for spectators. King and Stead knew their choice of the Elizabeth Sneddon Theatre would pose some design issues and through careful analysis of the text, they were able to retain the key elements of the story. King used reversible trucks that made good use of the stage space and limited off-stage storage space, and substituted puppets for some of the action. It was established that the KickstArt Company select their venues based on the production they have chosen. This means King is aware, in advance, of the venue's facilities and is able to adapt his design to suit the limitations imposed by the theatre.
However, he also enjoyed the challenge offered by the KwaSuka Theatre where he was able to alter and change the seating and performance spaces in order to create new environments and layouts that suited different productions.
The dramatic genre was also offered as an area of exploration. It was found that the text provides the designer and director with a 'map' for the production. The dramatic genre however, determined the style in which the text is written. The director and the designer's approach to text analysis does not change from production to production or from genre to genre, but the dramatic genre often determined to what extent spectacle
was used within a production. A drama does not necessarily require a complete visual recreation of the text's physical environment as the spoken text can 'paint' a verbal image for the spectator. The use of spectacle is more firmly entrenched in the musical and pantomime genres as the text is written in a manner that provides the designer with opportunities to create decorative settings. The three international designers found the text an important factor in the decision making process. Svoboda felt one should "not merely illustrate a literary text" and that the designer should "transform it creatively into specific theatrical elements " (in McKinney and Butterworth, 2009:391). During Lee's career his approach to the text changed. His early work was emblematic and iconic as he sough to 'dictate' an image onto the production by an "outside to inside" approach to the text (in Unruh, 2006:29-30). In Lee's later designs, he explored the text from "inside to outside" (in Unruh, 2006:67) and he felt this provided him a greater awareness of what the playwright was intending to communicate. Koltai examines the text in order to create a metaphor that expresses the text's intentions. He aims to 'bring to life' the text as interpreted by the director.
King also studies the text as it provides him with the clues for his design. The genre, however, often influences how he approaches his designs. In his three designs it was evident that the genre played an important part in his interpretation of the text and his creation of the design. In Oleanna, King chose to use a box set that provided the performers with a small claustrophobic environment to perform that suited the play's mood. Stead's text for Aladdin gave King the opportunity to design a number of exciting scenes and as spectators normally assume pantomimes have multiple scenes and lavish settings, King's design incorporated many of these different aspects. For The Wizard of Oz, Stead and King analysed the text and retained the important elements of the storyline in order to accommodate the limitations imposed by the venue. As it was a musical from a children's story, King used a cartoon-like style for his design, which included a blend of bold primary and secondary colours. In addition to exploring the dramatic genres of the texts, King incorporates many different iconic symbols into his designs that assist the spectator in identifying visually the location, mood, social status, and atmosphere of the production.
As a production is a collaborative effort amongst many people, the relationship between the designer and the other members of the production team was examined. It was found
that the director plays a critical role in guiding and selecting the production concept to which the designer has to respond. All three international designers acknowledged the important role the director plays in assisting them in formulating their designs. In examining the KickstArt Theatre Company, it was found that the relationship between King and Stead is collaborative and they are able to combine their creative talents.
In examining the three international designers' and King's design processes it was found that South Africa has a scenic designer whose designs are comparable to the work being done in other Western Countries. In addition to King, South Africa has many other talented scenic designers who include Andrew Botha, Dicky Longhurst and Sarah Roberts who could be studied, in the future, to ascertain their influence on scenic design in South Africa. King continues to work in Durban and has recently designed the musical Cabaret (2011), which had a successful tour to Johannesburg and Cape Town in 2012 and the drama Red (2012). At the end of the same year KickstArt is presenting Disney's Beauty and the Beast at the Elizabeth Sneddon Theatre (KickstArt, 2012:
Internet)