Theatre Design & Technology - Summer 1992 - 33
INTERAOTIVE
OOMPUTER
MODEL-
ING
S ANY SCENOGRAPHER KNOWS, DESIGNING FOR THE
stage is a time-consuming task, since any realized
project represents a consensus of thought distilled
from disparate points of view debated over time.
While most graphic artists have only themselves to
please, an integral part of the scenographer's function is to satisfy the needs or wishes
of others. In scenography, interactive dialogue is required with many people if
differences of approach are to be explored and matters of cost and feasibility resolved.
Planning sessions between scenographers
and coworkers-such as direcrors-are
tvpicallv accompanied by on-the-spot
quick sketches that arrempt ro show
three-dimensional srrucrures on tWOdimensional materials; from the
inception of scenery until now this
practice has changed litrle. But even
when made by skilled anists, these
drawings give no more than rough
approximations of what eventually
appears on stage.
Although scaled models progressively
modified and refined usually follow these
initial planning conferences (and
accurate scale models have all but
replaced f1at renderings as final
scenographic indications), modelmaking at these first sessions is-if
attempted at all-necessarily limited ro
playing with blocks or unscaled paperfolding. Even when detailed models are
later made, they present other problems,
the main one being that all scenographic
models are done in scales significanrly
different from those in which designets
and direcrors live.
Jean Cocteau obliquely warned of
this danger when he noted, "To reproduce
a 1II0dei too precisely 011 the stage is olle of
the greatest faults ill theatrical
cmfislllal/Ship." \Xfhat he means is that
when one goes from one scale to
another, perceptions radically change.
His advice is sound: very few peoplescenographers and direcrors includedgive enough attention to what these
differences are. Fewer still can visualize
the effect of a model rendered in full
scale. Scenographers with years of
experience are frequenrly surprised when
they see their models take form in the
scenic shop; sometimes they are
surprised again when a design reaches
the stage. Even with the most accurately
rendered scale models, our judgmentlike Gulliver's viewing the Lilliputiansis as grossly distoned as scales are
REID PAY
TD&T
E
1992 SUMMER
31
Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 1992
Contents
Theatre Design & Technology - Summer 1992 - 1
Theatre Design & Technology - Summer 1992 - 2
Theatre Design & Technology - Summer 1992 - 3
Theatre Design & Technology - Summer 1992 - Contents
Theatre Design & Technology - Summer 1992 - 5
Theatre Design & Technology - Summer 1992 - 6
Theatre Design & Technology - Summer 1992 - 7
Theatre Design & Technology - Summer 1992 - 8
Theatre Design & Technology - Summer 1992 - 9
Theatre Design & Technology - Summer 1992 - 10
Theatre Design & Technology - Summer 1992 - 11
Theatre Design & Technology - Summer 1992 - 12
Theatre Design & Technology - Summer 1992 - 13
Theatre Design & Technology - Summer 1992 - 14
Theatre Design & Technology - Summer 1992 - 15
Theatre Design & Technology - Summer 1992 - 16
Theatre Design & Technology - Summer 1992 - 17
Theatre Design & Technology - Summer 1992 - 18
Theatre Design & Technology - Summer 1992 - 19
Theatre Design & Technology - Summer 1992 - 20
Theatre Design & Technology - Summer 1992 - 21
Theatre Design & Technology - Summer 1992 - 22
Theatre Design & Technology - Summer 1992 - 23
Theatre Design & Technology - Summer 1992 - 24
Theatre Design & Technology - Summer 1992 - 25
Theatre Design & Technology - Summer 1992 - 26
Theatre Design & Technology - Summer 1992 - 27
Theatre Design & Technology - Summer 1992 - 28
Theatre Design & Technology - Summer 1992 - 29
Theatre Design & Technology - Summer 1992 - 30
Theatre Design & Technology - Summer 1992 - 31
Theatre Design & Technology - Summer 1992 - 32
Theatre Design & Technology - Summer 1992 - 33
Theatre Design & Technology - Summer 1992 - 34
Theatre Design & Technology - Summer 1992 - 35
Theatre Design & Technology - Summer 1992 - 36
Theatre Design & Technology - Summer 1992 - 37
Theatre Design & Technology - Summer 1992 - 38
Theatre Design & Technology - Summer 1992 - 39
Theatre Design & Technology - Summer 1992 - 40
Theatre Design & Technology - Summer 1992 - 41
Theatre Design & Technology - Summer 1992 - 42
Theatre Design & Technology - Summer 1992 - 43
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Theatre Design & Technology - Summer 1992 - 47
Theatre Design & Technology - Summer 1992 - 48
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Theatre Design & Technology - Summer 1992 - 68
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
https://www.nxtbookmedia.com