Manual Scenic Art for the Theatre, Second Edition: History, Tools, and Techniques

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Scenic Art Theatre by Susan Crabtree

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Painting Faux Rust and Patinas for Theater - Scenic Art

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With the elevator stage, multiple scenes could be changed in a fast and detailed way. The elevator stage was described in Scientific American , April 5, While the play is proceeding before the audience, the assistants arrange another scene on the upper stage. New styles of scenery meant that new means of scene shifting were needed.

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Booth's Theatre , opened in , was the first in a new generation of theaters built specifically to suit three-dimensional set pieces. It was the first theater to have a level stage floor rather than a raked floor, as had been the standard in proscenium-arch theaters since the Renaissance and no grooves in the stage floor for shifting flats. This idea would become the standard by the end of the century. Elevators and equipment for flying scenery also complemented the space.


Nineteenth-century technology revolutionized stage lighting, which until then had been primitive. The introduction of gas lighting was the first step. In , Philadelphia's Chestnut Street Theater became the earliest gas-lit playhouse in the world.

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  4. It provided a somewhat more natural and adequate light for the play and the scenic space upstage of the proscenium arch. However, this new richness in lighting provided difficulties at first. Though scenic painters had to learn to subdue their colors to the increased candle-power, the brightness only further highlighted the disparity between three-dimensional set pieces and their two-dimensional backdrop and led to the latter's eventual decline.

    The advent of limelight , also known as Drummond light , also effectively introduced spotlighting to theater. It made electricity the most flexible, most controllable, and safest form of lighting; in the twentieth century, it would make stage lighting design a true art. These new means of illumination tremendously increased the control over stage light and stimulated interest in imitating lighting phenomena of nature.

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    It was during this time that scenic artists began to be recognized for their work. Many of the scenic artists operated their own scenic studios in New York and towards the latter half of the century, the first theatrical unions were formed as a response to the Theatre Syndicate. Producers who originally hired staff carpenters and company painters began to place their productions out to bid.

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    It was also during this time period that designers began working with models to convey their design. The end of the 19th century witnessed both the height and the end of scenery painted in traditional perspective. Realism was but a passing style. Towards the end of the century, realism would find an opposite in naturalism.

    Their controversial ideas would be the basis of the New Stagecraft. The 20th century would bring the scenic designer an entirely new aesthetic for the world of the theatre in the form of Henrik Ibsen and Modernism.