Stage set pieces are the scenic elements which are added to the stage for a production.

Scenery is the term used to describe everything on stage (except props and actors), used to represent the time and place where action is occurring, for example, backdrops with painted scenes or three dimensional scenery, such as trees and fences.

There are several different types of stage set pieces these include:

• Weight bearing scenery: Things that you can actually sit or stand on

Examples: Chairs, tables, rostra (platforms or risers) and stairs are the most common weight bearing set pieces used on stage.  

• Non-weight bearing scenery: Usually representing the background and not designed to have much wieght on it.

Examples: flats and paintings attached to walls.

• Soft Scenery: Made from material or cloth

Example: Curtains, floor cloths, drapes

Platforms are weight bearing stage structures that are used as acting space. They are placed on a stage to create different levels of varying heights. They can be constructed on site, or are purchased or hired as standard sizes used in the industry. Some have wheels so that they may be rolled on and off stage during set changes. 

Some platforms are low in height and others can be several metres high requiring stairs to reach the top of them. 

Elevated work platforms are used by crew to construct sets, rig and focus lights, assist with flying speakers and any general height work that needs to be done.  An elevated work platform can be motorised, such as a scissor lift, or it can be a fixed platform, which is climbed up, such as a scaffold.

Stairs (sometimes known as treads in theatre) are generally used on stage to enable actors to access high platforms.  Any stair higher than .75 metres should have a handrail for the support and safety of the actors.  The two main parts of the stage stair are the ‘tread’ – the part you stand on, and the ‘riser’, the vertical part of the stair.  Stairs also have a stringer, or carriage, which is the support which holds the treads together.  Stairs must be well designed and comfortable for actors to use.  Each tread (step) should be the same height and be deep enough for the actors’ feet to fit well.  Actors often use steps in low light, so it is very important that they are safe. 

There are a variety of methods that can be used to construct stairs. Some form self-supporting units that require little or no mounting to the set, while others form units that must be attached to the set at their top and bottom points.  

There are four common types of stairs used on stage: 

• A dependant carriage is a carriage, which depends on another unit to support itself

• An independent carriage has its vertical support built in and is a unit unto itself

• A cut carriage staircase is one where the treads are nestled into notches cut into the carriage

• The closed carriage is a carriage in which cleats (small 25mm or 50mm stock) are attached to the inside edge of the carriage in order to attach the treads.

Set props are props attached to the set, or props which function as part of the scenic design. Stage furniture consists of tables, chairs, lounges, cupboards and anything needed to set the time and place of the scene. For example: If the play is set in a factory, machinery would be part of the stage furniture.  Furniture used for stage plays is often specifically constructed as it needs to accommodate the size of the stage, the rake of the stage and be easily transportable.  Small and community theatre companies may purchase or hire ready-made furniture to reduce the cost of constructing theatrical furniture.

A flat is a fake wall which can be used to hold scenery elements, such as doors and windows.  There are two main types of flats.  Both types usually have a timber frame.

Soft flats consist of a frame covered with muslin or canvas and are painted with a substance called sizing, which tightens the material and makes a good waterproof surface on which to paint. Soft flats have the advantage of being extremely light and easy to transport, but they are not especially durable, requiring quite a bit of care to avoid damage.  

Hard flats (sometimes known as Hollywood flats) have a frame covered with lightweight wood, such as three ply or particle board. This gives hard flats a distinct advantage over soft flats in that hard flats can take much more abuse without being destroyed.  

Caster wheels can be attached for easy movement of flats or they can be flown if the theatre has a fly tower.

• Rail – horizontal batten within a flat, forming the top or bottom of the flat. The rail is the full width of the flat.

• Stile – side or vertical piece within a flat, which sits between the rails of the flat.

• Sill – the bottom rail of a flat.

• Toggle – a support at the middle of a flat, which sits between the stiles. Especially important for canvas flats, where there should be a toggle approximately every 75cm (2 feet 6 inches), to provide structural strength to the flat. 

• Keystone – small piece of plywood (around ¾” or 19mm thick) which connects the toggles to the stiles. 

• Corner Block – triangular piece of plywood (as above) which connects and braces the rails to the stiles. 

• Corner Brace – used to brace between the rail and stile, at the top and bottom of one side of the flat. 

• Covering - Any cloth can be used. Muslin provides a very cheap and lightweight covering for short-run shows. Canvas should be used for heavier duty use, and for flats (e.g. black masking flats) that are likely to remain in stock and unaltered for a long period. 

Connecting flats is required for many reasons in productions and can be done through the use of the following:

Battens

In theatres, a batten (also known as a bar or pipe) is a long metal pipe suspended above the stage or audience from which lighting fixtures, theatrical scenery, and theatre drapes and stage curtains may be hung. Battens that are located above a stage can usually be lowered to the stage (flown in) or raised into a fly tower above the stage (flown out) by a fly system. 

Lashing

Lashing is joining two flats together using ropes.

Nails and Screw

Flats can be joined by screw or naling them together

Hinges

Pin hinges can be screwed to adjacent flats to enable them to be held together securely. To take the scenery down, simply remove the pins. 

The Orange Thetare Company is looking for someone to create their sets for their upcoming theatrical production. One of the main jobs will be creating flats with a dimension of 1200mm x 2400mm. All flats will need to be covered in 9mm mdf and painted with a white undercoat ready for the scenic artist to paint onto it. 

To prove to the client that you are the right person for the job, construct a scale model flat, using the scale 1:10, ensuring that the finished flat is ready for painting.

To construct the flat you will need to complete the following steps:

1. Draw and label your flat including all bracing using the 1:10 scale.

2. Create a list of everything you will need including wood (amount and size), mdf, screws, paint, tools, etc.

3. Cut all pieces to size (including mdf).

4. Pre-drill pieces.

5. Construct frame.

6. Attach mdf

7. Paint undercoat.

Props handled by actors are known as hand props, props which are kept in an actors costume are known as personal props. These can include anything from pocket watches and hankerchiefs to mobile phones and weapons.

A props inventory is a detailed list of props required for a production, their location and condition before and after use in the production. This is often prepared by a Deputy Stage Manager or Properties Manger.

Generally,  props are divided into three broad categories. They are:

• Set props - furniture, tree stumps, chandeliers, wagons and other large objects;

• Hand or Personal props - things directly handled by the actors, such as canes, books, briefcases, etc.

• Set dressing props - elements that help define the world of the play but are not required by the actors, such as pictures, plants, rugs and wall decorations, etc.

An additional category includes costume accessories like umbrellas, watches, jewellery, handbags, wallets and gloves. 

Weapons such as knives, swords, handguns or rifles are also considered props however they come under a department called ‘armoury’. Many times these props are real such a handguns but use ‘blanks’ as ammunition. Under gun laws a person must be a licenced and registered gun owner and this person is called the ‘armourer’. 

Productions will generally have a props table  which is a table in a convenient offstage area on which props are prepared prior to a performance and to which they should be returned after use.

Click on the link (left) to discover more about creating a master props list.

Props can be acquired in five ways: 

• Use what the theatre production company or the venue already has

• Made by the prop maker/master/mistress

• Purchased from homeware shops, department stores, hardware stores, op shops and so on

• Hired from prop hiring businesses

• Borrowed from a variety of sources

Watch the video 'Prop manager' to explore the process of properties in a stage production from a professional props manager.

Watch the performance of 'It's a hard knock life' from Annie the musical.

Identify all the props used in this item and discuss how they contribute to the establishment of the setting.

A drop is a large piece of fabric that has painted scenery on it and hangs in the background. A ‘drop’ is used in to establish the location of a scene. By using drops and other pieces of scenery it is possible to create convincing location changes. Also known as ‘backdrops’. These hang on battens and can be changed out in scene changes 

Cyclorama or ‘cyc’ refers to the drop on the back wall of the stage, it is usually made of canvas or muslin.  It is usually white in colour.  It is mainly used for lighting and projection purposes.  When pictures of scenes are painted onto the ‘cyc’ it is called a backdrop.

A scrim is a gauze cloth which is opaque when lit from the front, transparent when lit from the back or have images projected onto it.  Scrims are used to create effects, such as a dream sequence, or to allow the audience to see through the wall of a building.

We have already learned that in staging, sets and/or scenes are created using backdrops, scrims and flats. The creating of scenes on backdrops or flats is a stagecraft discipline called scenic art. Scenic art can be something that is printed onto fabric or wood, or painted on by a scenic artist.  

One of the widest used style of painting in scenic art is landscape. The set background may be an outdoor scene, or street scene. Landscape art depicts scenery such as mountains, valleys, trees, rivers, forests and cityscapes. Sky is almost always included in the piece and weather conditions are a facet of the composition.  

A specific scenic art style is Trompe-l'œil. The term is a French meaning ‘to trick the eye’. True trompe-l'œil is life sized and includes shadows and highlights to make the object look three dimensional as opposed to flat. The main benefits of trompe-l'œil set paintings are that they can create an illusion of a space that could not normally exist, would not be affordable to create, or would defy the laws of nature.

Projection is being used more frequently in theatrical productions.  Projections from lights using GOBOs are often used to replace scenic elements such as paintings.  A Gobo with a castle on it can be very effective in portraying a castle on the cyclorama wall.  GOBOs have progressed from being simple cut out silhouettes to full colour images that can be rotated on demand.

Video projections are more flexible and are displayed using powerful video projectors.  They have the advantage of being able to project still images or video clips.

When constructing sets and props we must ensure the safety of ourselves and those around us. 

Read the document (right) and discuss with the class the various saftey considerations when constructing sets and props. Can you think of any further safety considerations?

When we are creating sets and props we must also consider the impact we are having on the environment. This may include use of materials, electricity and water but also includes the huge over turn of sets and propsdue to the fact that once the run of a show is over, there is no immediate need for these things and often they are disposed of to reduce the need for storage.

To reduce our environmental impact we could employ some of the following actions:

• recycle materials when finished with it

• reuseset pieces and props in future productions

• utilise technology such as projections instead of ellaborate sets

Can you think of some more ways to reduce the impact set and prop construction has on the environment? Discuss with the class.