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Drive in theater equipment

The montage of a dramatic work is always carried out in a scenic setting. The scenic area, therefore, consists of the stage where the comedians act and the space in which the spectators are situated. Drive in theater equipment, It is evident that neither the stage has to be of the conventional type, that is, a raised space closed on three sides and opened by the entrance with its curtain, nor does the place intended for the spectators have to be a room with its stalls and seats. their boxes.

A work can be staged on the street, in a square, in a party room, in a restaurant, in a neighborhood patio, in a bullring, or in the forest under the trees. In any case, it will be necessary to find a place where the actors can move freely and another, close to it, from which the spectators can see and hear without difficulty.

Evolution of the scenic environment

The scenic environment par excellence is situated in a theater and has been changing over time. The Greeks created a type of scenic environment that later, with some variations, the Romans inherited. The Greek theater consisted of three parts: the orchestra, the stage, and the bleachers. The orchestra ( orkestra ), located in the center, had a semicircular shape and was intended for dancers. It was cut by the scene ( skene ) that consisted of an elongated and narrow rectangle with one or two floors facing the public that rose like a palace or temple. Between the stage and the orchestra stood the proscenium , lower than the first and higher than the second. The actors represented on the stage.

The bleachers ( koilon ) extended in steps from the orchestra to the top. These theaters were located on the side of a hill to take advantage of the unevenness. Drive in theater equipment, Its capacity was large and its acoustics perfect, as can still be seen in the Epidaurus.


Drive In Theater Equipment

Some of the Roman theaters are preserved in Spain, such as those in Mérida and Sagunto.

At the fall of the Roman Empire the theater declined. Only jesters, histrions and mimes performed in the streets. During the Middle Ages, however, the theater re-emerged within Christian churches. Then, the temple went out to the atriums of the cathedrals and the adjoining squares, thus creating other scenic areas. It was the preferred place for the representations of the mysteries. At the present time, The Mystery of Elche is still represented in the temple of Santa María in that city.

Under Scenography

A work can have a realistic-naturalistic montage or an unrealistic montage. But, still being faithful to these principles, the set designer has to communicate to the public the sensation of novelty or surprise inherent in the work of art.

The sets, therefore, rather than frame the place of the action, have to create the dramatic space and be an integral part of the representation. Drive in theater equipment, Consequently, the problems that are presented to the set designer are linked to the montage and the treatment given to the work.

At the realistic-naturalistic level, the setting is required, although not with overtones of extreme verisimilitude, but with a touch of creativity. On the unrealistic or theatrical plane, the main problem is to find a set that at each moment of the staging has functionality to create the necessary climate. In reality, both planes tend to intersect at the present time and are not categorically excluded, especially given the tones of critical farce or symbolism with which texts are treated today. Drive in theater equipment, This not only favors the treatment, but also helps with the staging in which more and more the false sense of verisimilitude is escaped.

Scene mutations

There are two classic procedures. One is that of successive mutations by series of sets that are suspended from the grid and that are changed when the moment requires it. The other, the rotating stage that has several scenes mounted on its platform that follow one another after the rotation imposed on it. In both cases there are limitations and complications, despite the facilities of each system.

There are other systems:

The permanent decoration that starts from a general decoration valid for the entire work. By means of scenographic elements such as screens, fermas …, partial changes or dimensions of the stage space are made, as required by the development of the action. Drive in theater equipment, Thus, with a fixed set and with variable elements, an approximation to the unity of place and the environmental diversification that the staging requires is achieved.

The tabladillo called inset in English , which consists of fitting a small decoration into a larger one. The change is made by introducing or removing the components of the minor decoration, which is usually done by uploading it to the loom.

Use of scenery

Although each work and each staging has its own requirements, there are some practices that should be known:

The colors acquire significant value. The warm and cheerful colors – red, yellow, orange – perfectly match the setting of the comedy; while cool colors – green, blue, purple – are preferable for drama and tragedy. Drive in theater equipment, Black and white are reserved for solemn occasions. The gray, in itself, gives a somber tone. Sometimes the chromatic success of the set is such that it becomes an active element of the staging and often acts as an antagonist.


2.º The mixture of plastic and pictorial elements is often dangerous due to the presence of two or three-dimensional components, which can lead to confusion.


3.The decoration painted on paper has fallen into disuse. You can tell that it is paper, because of the folds, and the slamming doors and movements behind the scenes are excessively accusing. Cloth-covered or hardboard-veneer screens are now preferred.


4.Both in indoor and outdoor scenes, the director seeks support for the actors in the furniture. Regarding interiors there is no difficulty; but outdoors the chairs and tables have to be replaced by rocks, piles of stones, natural platforms. In any case, one must avoid mannerisms and falling into excessively obvious conventions.


5.The construction of armed sets must provide not only the artistic and style aspects, but also the practical aspects: entrances and exits, transfer and passage of furniture. The set must be practicable.


6. Staged in a dynamic scene, they make use of junk and props that they remove and put in view of the public pages, mimes, goblins or the actors themselves in a display of agility and play. Thus the scene is composed and decomposed as many times as necessary, and the show takes on freshness and naturalness within the most unrealistic styles. Drive in theater equipment, It is logical that those who intervene in these functions with the public must be convinced that they are acting and proceeding with lightness and measure gives the action a special appeal.

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