Set design: the scene, the place for creation - POPA
Alberto Negrin

Set design: the scene, the place for creation

Introduction

Stage design is a process of discovery, learning and search. It encourages curiosity and readiness for adventure. Developing the range of our horizons towards stage concepts is much more than being creative or witness to creativity. The scene, place for creationis based on teaching the concepts of representation, on the ideas or images that replace reality and are generated through imagination or reasoning, in order to constitute a theory and practice of theater stage design.

The course offers a context of training in which students will be able to explore the potential of their own talents, not only applying them to perfecting spatial and visual abilities, but also by cultivating their minds and methodology of research, in order to produce conceptual ideas by stimulating creative force and imagination.

The bases of this endeavor are training, practice, and the abilities and knowledge acquired by Alberto Negrin, set designer and architect, in over 25 years’ work. Apart from his experiences, the words by famous artists of awarded accomplishments add their interesting opinions to the course.


Recipients

  • Set Designers
  • Architects
  • Designers
  • Actors
  • Directors
  • Sculptures – painters – artists
  • Students of related areas
  • Journalists, art critics and related areas
  • People from disciplines linked to the theater industry and performing and visual arts
  • People interested in arts who want to discover how the different disciplines come together to make the magic of a show happen on stage

Program

Module 1

Ability and dexterity.

A part of life.
The theater: A place of ceremony.
Ability and dexterity.
The scenographer.
The scenographer’s craft.
Interpretation.
The importance of scenography in the theatrical mise-en-scène.
The stage object.
From the page to the stage.
Theater as an event.
Theater as a form of design.
Design as a form of transformation.
“Peter Schaffer. Amadeus.” My vision.

Module 2

The artist’s relationship with his or her time.

The scenic space.
Edifice and environment.
The theatrical edifice.
Room-scene typologies.
Key historic moments in the scenic space.
Greek Theater.
Roman Theater.
Medieval Theater.
Renaissance Theater.
Spanish Corrals.
Elizabethan Theater.
18th and 20th Centuries.
Italian Theater. Glossary.
Practicing the stroke and first attempt at composing on the plane.
“Bernard-Marie Koltès” and his “Night just before the forests”.

Module 3

Freedom for spacing.

What is space?
Characterization of the space.
lncitement of the space.
The appearance of a new space.
The relationship between Total space and the new world.
Time and space.
The moment of reading.
Levels of literal and contextual reading.
The starting point.
The text as territory.
“Arthur Miller. The Ride Down Mt. Morgan”.
Text without image: Creation of the image.

Module 4

Designing and playing.

The “Cabaret” world.
The projective world.
Design of the scenic space.
Processes.
Memory of spatial vision.
The mock-Up.
The relationship between total space and the spectator’s gaze.
Composing on the plane.
Construction of scenography. Directing. Set up
Entering the game, the will to create and believe.

Module 5

The possibilitiy of shadows and secrets.

What does it mean to inhabit the stage?
The dramaturgy of the space.
Senses and the dramatic significance of space.
The closed space.
Circular structure.
The dramatic space as a sign.
The theatrical mise-en-scène.
The meaning of the scenic object.
Systems of the scenic object.
The object.
The scenic paraobject.
From the written Idea to the formal image.
From “Shakespeare” to “Laurent Baffie”.
Several works on the same stage.

Module 6

Species – spectum – specto.

Vision.
Vision and perception.
Depth perception.
Processing visual information.
From visual to visiblel: The perception of space.
The eye and the spectator’s gaze.
From visual to imaginary.
Visual attention.
The visual search.
Optical illusion.
The Role of the spectator.
The pleasure of viewing.
Watching and knowing.
From imagination to image.
From Film to Stage. “The Apartment. Billy Wilder”.
Managing bodies in tight spaces.

Module 7

The inhabitant.

The geometry of the space.
Scenography and architecture.
The inhabitant.
Techniques.
The image and its spectator.
The plastic language.
Abstract object.
Composition. Organization.
Materiality. The language of materiality.
Technical and artistic resources.
Resolution alternatives.
“Peau de Vache”. “Barillet et Gredy.” Concrete and abstract space.
“Mel Brooks. Young Frankenstein”.

Module 8

Pact and passion.

The scenic pact.
The passion for scenography.
The critique.
Theatrical technique.
Masters of theater.
Concepts and work experiences.


Alberto Negrin

Set designer, architect, draftsman and painter, he has more than 25 years of experience. He was in charge of the scenography of works such as Cabaret, Sugar, Novecento, The Goodbye Girl, Amadeus, Tita, una vida en tiempo de Tango, El joven Frankenstein, Boquitas Pintadas and A Doll’s House, among many others. He has worked on projects in theaters in Argentina, Spain, Holland, Germany, France and Portugal, among other countries. For his work, he has been awarded the Konex Platinum Award for Best Set Designer of the Decade 2001-2011 and has received awards from ACE, Hugo, Florencio Sánchez, Carlos, Estrella de Mar and Premios Tato.
I WANT THIS COURSE
  • Audio: Spanish
  • Subtitles: English
  • Duration: 9h 34min of original material
  • Program: 8 modules
  • Price US$: 126
  • Price AR$: 12600