So, this is a reference to a drafting note that I use a lot. Basically, as my mentor would put it, “When all else fails, notate the hell out of the drawing and make sure you always say to ‘discuss further with the designer’.” I love this note because it not only buys me some more time to think through how I actually want to draft/draw/paint/picture the thing (hey, just being real here, translating every micro-detail of a thought on to paper so other people can make it a reality is flipping hard), but it also encompasses the core of why I love this art form. To say it’s “collaborative” is an exercise in gross understatement. The entire core of our work as theatre artists hinges on one thing and one thing only; communication. So. Much. Communication.
Everything I produce as a designer is all an attempt to communicate what’s inside my brain to my fellow collaborators. Everyone from the director, to fellow designers, to the production team, management and actors; they all need to get as clear a picture of the world as they can in order to make a production a reality. And then times that a million for every person on the creative team. Each designer is constantly trying to communicate their choices to at least two other entities (director and a shop) in order to make the show reality.
Now, I’m a scenic designer. Let me start by saying that EVERY DESIGNER’S JOB IS CRAZY (caps for emphasis). We all have nuances and details to our jobs that makes its own unique challenges. What are the unique challenges for the scenic designer? Well, if I had to limit to less than a series of encyclopedias, here is the short list:
Scenic designers are usually first “boots on the ground” so to speak. They are the ones often connecting with the director first to establish the physical parameters of the world. This puts a bit of pressure considering they are the first translators of the director’s thoughts; not to mention that a good portion of the rest of the creative team’s work (especially lighting) is going to have to harmonize in reaction to what is physically established. Yup, totes fine.
Scenic designers are interfacing with at least two productions shops (technical direction and paints) often three (add props) and even more if you get into the land of practical lighting (electrics). For some perspective, imagine if, just to get your breakfast in the morning, you had to write/draw/meet with three-five different people, each being responsible for putting together a different aspect of the meal. These three to five people are also seasoned professionals who can provide the parameters on what can actually be accomplished for breakfast that day and you need to come back with reactions to that information….yeah maybe just wait until lunch.
Obviously there’s much more I could list, but those two things are the particulars to my little slice of the process as I’ve seen it so far. Granted, I’m admittedly a fresh designer ultimately starting to establish herself, so definitely take what I’ve observed with a grain of experienced salt for sure. Also, and this I will repeat, I am working within the American theatre model. There are definitely exceptions and variations on all themes and “truisms” even from theatre to theatre.
Bottom line, this is all opinion and discovery based in my own experience, past and current-ongoing. I am learning and shifting my paradigms everyday. My opinions will grow and change as I grow through my time in this industry; so I write this in real time. I want this to be a place where I can share in a wider “discussion” with the designer. Whether you are a veteran theatre artist who enjoys looking at other artists interactions with the work, or someone who is brand new to looking at this kind of work at all, I bid you welcome. Get ready for a wild ride!