12.1: Classroom Lecture and Activity by Ukaisha Al-Amin
- Page ID
- 386526
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)Setting the Stage
pic by pexels: Monica Silvetre
For a story to be engaging there needs to be some kind of conflict, but how that conflict is performed depends heavily on the setting of the play. Where are the characters? In what ways does the setting on the stage help or hinder the choices that the characters/actors have to move? How detailed or minimum in the set? What props are essential to the story? As the playwright, you are the initiator of these ideas. How closely the director sticks to them will depend on various things, but usually if the setting is purposeful, adds depth to the play and thus helps the audience understand the story better, the director is likely to keep the descriptions you use in the original script. Setting can be the physical space on the stage, but also the time period and town. This impacts the costume design and even the dialect, accent, or dialogue of the characters and how the actors portray them.
For instance, if there is a play that takes play on a CTA platform, it may be integral to emphasize the the map of the train. If one character lives on the south west side and another on the north west side, this not only means they are probably waiting for two different trains, but it may also signify socio economic status. You might also ask yourself what is so important about having the characters in this setting instead of in their homes.
picture of standard theater set up
No matter what you choose that is best for your play, you should always keep in mind that plays are performed in front of a live audience. Where objects are placed is important to be sure that audience’s view is not blocked. This means that most sets are created with the 4th wall open. This means nothing should be blocking the downstage area. See the diagram above for an example.
Another example would be the play Two Trains Running by August Wilson. This play is set in a diner in 1968 in the Hill District of Philadelphia. This setting impacts the characters greatly. The diner has to be set up in a way that shows the characters at work, the customers sitting down, and the pay phone that is used often throughout the play. As stated earlier, the down stage area is left open.
Below is a picture of Frankie Bradshaw's set design for Two Trains Running.
frankiebradshawdesign two trains running [www.frankiebradshawdesign.com]
Break into 4 or 5 groups. Using the classroom furniture and front of the classroom as downstage area, come up with a quick set design for a play that takes place in some one’s dining room. Where should you place the furniture? It might be helpful to also come up with a quick scenario for the characters in that place. Discuss your groups choices with the class. For extra practice, try writing a description of the Two Trains Running set. This will help you prepare for the homework.
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