Beginsels van dekorbeplanning en dekorontwerp in teaters met beperkte verhoogfasiliteite

[摘要] English: The point of view assumed as premise is that a drama is not necessarily unstageable, only because the theatre concerned has certain limitations as regards facilities. It was also accepted that directors often reject scripts for performance according to surmountable standards.The necessity of investigating various possible solutions for the problems with which directors are confronted, served as motivation for this study. The primary purpose of the research was to formulate the theoretical principles of scene planning and scene design, to submit theoretical guidelines for design, to present practically applicable solutions for scene planning and to show that almost all play scripts can be staged through innovative and creative thought with regard to scene planning and scene design.All the relevant aspects of scene planning and scene design were dealt with in this research, especially their application in a theatre with limited stage facilities. The various aspects include the purpose and function of scenery in a play production, the origin and development of scenery in western theatres, the scenery styles of the twentieth century, theatre scenery as a joint artistic creation, the statistical andphysical data with regard to limited stage facilities in two specific theatres and the analysis of theoretical scenery requirements, as well as the presentation of practical planning solutions for fourteen stage productions. The study indicates that the main purpose of a stage set is to create, within a given acting space, an ideal environment in which the dramatic action of a specific play script can take place. A distinction can also be made between two secondary aims, namely the promotion of visual understanding and the projection of aesthetic qualities.The inquiry into the origin and development of western stage scenery, shows that from the origin in the ancient Greek theatres, there has been a gradual development of technical aids for the erection and shifting of scenery. Before the First World War the theatre industry reached a stage of technical skill when all the inventions that are in use today, were already known and used.According to the study, the end of the romantic movement in the nineteenth century marked the turn of artistic styles, which resulted in the quick succession of scenery styles, especially at the beginning of the twentieth century. From the research the standpoint emanated that the creation of the stage set is determined by the viewpoints of three different creative artists, namely the dramatist, the director and the designer. Special emphasis is placed on the close cooperation that should exist between the director and the designer and that the stage set should always play a supporting and functional role. The characteristics of theideal set designer and his working procedure were also formulated.The study clearly shows that the various limited facilities in two specific theatres, namely the Scaena Theatre and the Observatory Theatre in Bloemfontein, do not detract from the fact that both can be regarded as useful, intimate theatres with excellent acoustics and sightlines.The investigation of the presentation of fourteen play scripts on the abovenamed stages, shows that original solutions to problems were discovered, simply by making slight alterations in respect of the placing of scenes. Technical aids which were found to be extremely useful in these investigations, are shifting panels, enlargements of the stage, small trucks and the revolving stage.In the study it was concluded that the stage ability of a drama i a relative concept in the sense that it is determined amongst others by the nature of the available stage facilities and the innovative creativity of the director and the designer.

[发布机构] University of the Free State