Scenic Construction Practicum




ScenicConstruction Practicum

Ihail from a family with an interest in theater activities. Evenbefore I joined college, my family used to visit the Chinese NationalGrand Theater regularly. Every year, the theater would launch a newrepertoire with a limited stage. During the various plays, I foundmyself paying attention to the repertoire scene layout while payinglittle attention to the actors. It is the reason I arranged the sceneas the first step of my practicum.

Fora junior student, it would be wise to apply for a theater minorbefore applying for a double major. But as Hemingway said, “Courageis grace under pressure.” As a qualified apprentice of scene, Iabide by my personal ethical and motivational declaration to abideby the professional ethics, adhere to strict quality control andmaintain the highest level of disciplined even when working for longhours. I also strive to participate actively in various learning andtraining and read the syllabus carefully to improve my understandingof this course. I also know that listening to the teacher is alsoimperative for in this course. I am positive, proactive, and diligentand have a strong sense of responsibility. I am willing to accept theleadership in the working arrangement I also pay attention tocultural learning. I have also improved my ideological consciousness,theoretical and operational capabilities.

Whenproducing a play, the woodwork is an important consideration. Fromthe production point of view, woodwork demarcates the entire scene.However, most viewers think that the stage design and the level ofproduction technology level are the basic considerations for arepertoire. Therefore, when setting a scene, performers regard it asa top priority.

Asa late freshman in the theater course, I did not participate for thelayout of In God of Carnage. I was not involved when in setting thestage for the production phase of this repertoire. However, I joinedthe team in after the completion of the basic stage layout. I tookpart in adjusting the furnishing, painting, organizing the circuits,and helping teachers carry out the final inspection for the entirestage.

InGod of Carnage is about the collision of two schools of thought thataddress the issue of whether humans should be more focused on thepursuit of material wealth than spirituality. The play portrays themiddle class working men as having less concern for their familiesand their tight schedules do not allow them to spend quality timewith them. It also portrays the hostess who remarries after failingto get enough attention from the husband. As a housewife, she hadlost the social touch due to reduced interaction with other people inthe public arena. Her identity as a housewife makes her husbandperceive that her area of concern should not extend beyond the house.An outsider would view such a family as perfect mainly due to thesocial acceptance of the positions that set aside for the husband andthe wife

Theplay juxtaposes the middle-income family with a writer of color, anda very negative sales staff who live together. They are said to be inpursuit of spiritual things rather than the material wealth. However,the strive for spirituality cannot make u for their lack of materialwealth.

Theplay portrays life as always full of irony and full of competition.It portrays the role played by alcohol and the various challengesthat come with its continued use. Those who use it stagger and theycannot get enough. Conversely, those who do not take it havedifferent problems that are not attributable to alcohol. Theconclusion is that every class in the society is under pressure allthe time. Individual pursuit of material or spiritual are unhealthy,and this unhealthy state will make people continue immersed in thesocial discontent, and then more distorted themselves.

Thefirst main stage show that I fully participated in was The SpringAwakening. Although there were several parties who took part towardsthe success of the play, it is imperative that I mention the role Iplayed in the play. I participated in the foundation stage of theproduction, display, stitching, and coloring. I colored the trees onboth sides of the stage (solo work ten trees). I also fixed part ofthe external stage installation as well as the edge of the stagecurtain.

Afterthe production and processing in this semester, I found out that thescenic construction is complex, and it requires organized work. Itrequires enough time allocation. On every Tuesday and Thursday from10:00 to 12:00 I dedicate the time to understand the complex in FA97. During the semester, I participated in the production of the mainstage. We had to make a lot of props, background, and a huge stage.

Thereare three examples of stage productions subvert my imagination.First, the production of a stage in my imagination should be made ofpure wood. However, I discovered that wood can be bulky, and thismakes plastic and foam the next best option for their safety and easytransportation. I also thought that all the activities end up in thestudio including deciding on how to set the stage. I considered themto be small independent projects that are transferred to the mainstage after their completion. But contrary to my thoughts, most ofthe activities are inseparable. For example, costume and lighting areinseparable. When setting the main stage, lighting and costumetechnicians will have to be present for testing. Their feedback iscrucial for the other teams to implement the required changes. Forexample, at the edge of the stage that lacks props cover there is aneed to provide color coverage. The lighting technician s will haveto be present to give a recommendation on the most appropriate colorthat gives the best reflection.

Also,I found team work to be important in all the activities. There is alarge number of tree trunks as part of the background presentation inthis production. Every tree has to be painted to reflect three blacksides and one white. According to my experience, an individual takesbetween 30 minutes to one hour to complete. A team of painters canmaximize the painting to three trees per hour.

Underthe guidance and the knowledge of my teacher, I know that I stillhave a long way to go, and there are many things to learn. I lookforward to improving my professional knowledge skills, cognitiveabilities in a consistent way. I will actively learn all kinds ofspecifications, procedures, and standards about theater. I will keephigh standards and meet strict demands and consistently sum up myexperience in construction. I will exploit the practicum steppingtowards my goal of becoming a stage manager.