The stage designer co-operates first closely with the director . This selected a piece, which he then in coordination with the theatre linewith the stage and Kostümbildner and the drama door gene contentwise works on.
After the text analysis the stage designer provides drafts. These become as sketch, fig. etc. presented and in the direction team discusses. As source material often associative and historical material becomes from picture volumes o. A. used. In modernDirection teams are also referred at this time already appropriate specialists into the consultation (e.g.Lichtgestalter).
Usually in the course of the scenery development also one or more models true to scale one makes, in that all scenes and/or. Szenenbilder to be placed or simulated can. This is for clarifyingthe space concepts and the spatial conditions meaningfully.
At this time it can come to presentations before the ensemble (actor, singer etc.) and to discussions with that technical staff of the later performance place. The direction concept as well as the stage and Kostümentwürfe are presented to the acting artists. Itperhaps gives discussions and changes.
If the draft process is terminated, it goes to the conversion.
The stage designer meets with the technical staff of the theatre and presents its designs and models. It begins a longer process of the tuning, particularly if the stage designernot early enough with the technical conditions of the house made itself familiar. By the stage designer, and by the technical staff (technical manager and/or design engineering department) technical designs are provided to its assistant, after which the workshops can manufacture the decoration parts.
Around the original mass, the impression and also thosedeveloping problems of the szenischen changes during the performance locally to discuss, a building sample is accomplished. On the stage become, often with old decoration parts, which improvises basic dimensions of the draft. Proportions, colors, lighting etc. know so 1:1 examined, technical details can clarified and still easily changedbecome.
The stage designer takes necessary changes of the draft forwards and cares for thereafter together with the Bühnenmeister, the technical manager (and/or its Assistenz), the workshop manager and its own scenery assistant the conversion process in the workshops. In the meantime there are particularly trained specialists (engineers of the theatre and meeting technology),the problems of technical and kommunikativer kind arising in this connection to master know. The stage designer tries to naturally obtain here as exact a conversion of its drafts as possible, however it must consider the technical and financial conditions of the theatre. With this process must a great many very muchdifferent humans to co-operation to be motivated. The stage designer must sketch, select and manufacture let now also furniture and Requisiten.
If the decoration parts and costumes are finished, they are together set in the technical mechanism on the stage.
Some work can only on the stage, for exampleat the courses, to be made. Here the stage designer sees for the first time the finished decoration parts at their place of destination.
After the mechanism still changes can be made. Play also here the financial means, the workshop capacity of the theatre as well as the quality of planning and the imaginative power of theStage designer a substantial role.
The lighting sample follows.
The stage designer needs very good knowledge of the lighting system and color light mixture, because the optical impression for the spectator can be crucially affected with it. A good scenery can go down by a bad lighting.
Subsequently, the stage samples in original decoration follow, to which the stage designer must be often present, since fine tunings are necessary now.
ThoseActors must conquer the “new” area and fill him with lives. This can for everything took part more beautifully or also a painful process to become. The stage designer needs now above all strong nerves and a director, which stand to its direction concept.
These samples belong to the actors, Maskenbildnern, Requisiteuren and costume workshops, who furnish with the stage and to the Kostümbildner everything now on a smooth operational sequence of the evening. With these samples become on all levelsChanges of detail made (costume, light, equipment, partially even still at the text).
The Inspizient becomes now the invisible conductor of the complex Bühnenmaschine and is responsible for the smooth operational sequence of all off and appearances. Here intuitive feeling is necessary, around the concept of the equipment and the role understanding of the actorsto lead to a conclusive form together.
In the evening usually a mixture from strained nervousness, hecticness and professional working prevails to the premiere. The stage designer remains on this day often only those the role of the viewer and/or psychological responsible person. Traditionally it becomes short,before the curtain in the premiere evening lifts itself, three times on the stage spit.