Course Title: Theatre Design - Portfolio Course
Hours per week: 3 hours. 12 weeks beginning September and January.
Places: 10
Course requirements: Grounding in basic/general art.
School Principal: Satnam Gill
Course Leader: Malvern Hostick

THIS COURSE IS SUITABLE FOR:
Students who wish to progress to BA or HND Theatre/Performance Design courses, and see the advantage of a specialist element in their portfolio. They would know that with added Theatre/Performance Design evidence they can show a basic understanding at least and, perhaps more importantly, demonstrate an interest in and commitment to the subject. At an interview those with greater specialist knowledge will feel more confident and should impress more favourably. Students might be present or previous art access/foundation students or those with good basic art experience who have an interest in the subject. They might find that their foundation course cannot offer the necessary level of help, and would find a course such as this a useful supplement.

THE COURSE:
This project-based course will guide the student through the very basics of the Theatre/Performance Design process, incorporating Analysis/Research, Set and Costume Design, and Lighting. Being only three hours a week running over twelve weeks, with some work outside the class, it is ideally suited to those with art foundation/access commitments. The aim is to help the student produce an exciting visual response as much as a workable solution. It is assumed that the design process for theatre/performance is the same whether it is carried out at a basic and simple or higher and more complex level, - the difference is in the depth to which design is informed. Teaching is individually based and notes that students are of differing levels of skill and experience, although information on aspects of theatre design is presented generally where necessary. Consequently previous knowledge of theatre is not a necessity; commitment and a good basic grounding in art are. Students choose their own project in consultation or can select from a list presented. This might be a theatre play, opera, dance, musical, or visually designed music performance. Where appropriate, aspects of CAD and financial costing could be approached. If a student chooses a text-based project, a reasonable grounding in English is essential. A mathematical knowledge, especially of scale, is an advantage. Advice will be given on progression to higher level theatre design courses. It is advisable that potential students make contact with the tutor before they enrol. They can request this through the College.

ELEMENTS OF THE COURSE:
Analysis and Research
Analysis:
To deconstruct a text, libretto, or story line etc, discovering and noting the practical and aesthetic necessities for the performance. This is carried out inside and outside tutoring hours.
Research:
Implications artistic, historical, geographical, and sociological etc. surrounding the work. These as defined by the author, and the designer (student) commonly in conjunction with the director. This usually involves the collection of relevant imagery to help an effective visual interpretation. This is carried out outside teaching hours.
Advice given on:
Methods of analysis and where to go for effective research.

COSTUME DESIGN
To fit an appropriate style and 'feel' to costumes, reflecting personalities and roles of characters.
To understand the way that the human body affects the way clothing hangs, and the way certain styles of costume cause the wearer to move, stand or behave in a particular manner.
To understand how one costume relates dynamically with another or a group; how costumes can talk of the relationships between characters.
To link costumes to set in a convincing visual way.
Advice given on:
Methods of mark-making and colour application to affect an exciting and accurate rendering of costumes in two dimensions, using paint, collage etc.

SET DESIGN
To create a convincing environment with a sense of place and time.
To present a visual overview of the work, built in scale, reflecting the ideas of the designer (student), the director's notions of how the piece should be interpreted and the set used physically, while being sympathetic to the view of the author.
To tie-in with the costumes effectively, giving the whole design authority and believability.
Advice given on:
Technical drafting of set ground plans, elevations, and technical drawings, with access to CAD if appropriate.
Model making of performance space/set.
Scale.

LIGHTING
To grasp how different lighting effects give a variety of atmospheres, reflecting varying moods within the piece.
Advice given on:
Simple lighting techniques.

CRITICISM:
Structured 'Crits.' in some ways mimic artistic and production meetings, where a designer explains his/her response to a piece, 'sells' ideas and practical solutions, and can often incorporate compromises into a design to make what is a collaborative effort work successfully. 'Crits' and ongoing discussions are therefore an important part in the learning of the theatre design process.