How-to

Cardboard Props

Here is an interesting article: Students make ‘trashy’ props for Cats. It talks about a production of Cats at Austin Peay State University in Tennessee where students in the art department made many of the props. The show required large pieces of trash, such as a fish skeleton or can of Campbell’s Tomato Soup.

Brad Reagan, the assistant professor of art, had his students build most of the props out of cardboard, which challenged them to make cardboard props sturdy enough for the stage, and to turn flat sheets of cardboard into three-dimensional shapes.

This brings up two important points.

First, if you are part of educational theatre, you can bring in other departments to help with aspects of certain productions. For example, my undergrad theatre department was often aided by students of the film department if a performance needed projections or live-video integration. The other department will often have equipment and facilities which the theatre department does not or cannot obtain on its own, and the students can receive class credit for their contributions.

Second, building props out of cardboard is an intriguing idea. I found a great Instructable on how to design your own cardboard furniture. It’s a wonderful introduction on working with cardboard and making it structurally sound. Apartment Therapy has a post on carboard furniture made by the Cartonnistes, and another post showing additional cardboard furniture creations. Another website called Foldschool gives you free patterns to download and print to make foldable cardboard furniture.

Credit: Vitra
Credit: Vitra
Showcases

Why Torture Is Wrong, and the People Who Love Them

“Why Torture Is Wrong, and the People Who Love Them,” the world premiere of the new play by Christopher Durang, opened this past Monday at the Public Theatre in New York City. I’ve been a fan of Chris’s plays for years now, and had a great time when I saw it, even though I was solo for the night.

The reviews are in. You can see a round-up at Critic-O-Meter. Eric Reynolds, the assistant properties director at the Public Theatre, showed me that site. It collects all the reviews for shows currently running in New York City, and averages the critics’ responses into a single grade. The run has already been extended another 2 weeks.

Here are photographs of some of the larger props I built for this show and some notes on their construction. Continue reading Why Torture Is Wrong, and the People Who Love Them →

News

Closing Remarks at 2009 SETC Theatre Symposium

Bland Wade and Andrew Sofer give their closing remarks
Bland Wade and Andrew Sofer give their closing remarks

By the end of the 2009 SETC Theatre Symposium, which focused on theatre props, I felt like my brain was full. We heard so many good papers on all aspects of props, from their use by playwrights, their practical application and construction, their historical iterations, and their perception by the audience.

A coffee cup is a coffee cup is a coffee cup

Andrew Sofer began his closing remarks by pointing to a statement Bland Wade had made earlier in the conference: “It has to be a believable item or the audience won’t buy it.” Sofer was struck by Wade’s use of the word “believable” rather than “realistic.” A prop director can find research for an obscure but completely historically accurate object, but if it is out of the realm of what the audience is expecting, they will not believe it. Likewise, we often have to work in more constructed worlds on stage, where time periods are mixed or elements are completely fabricated from imagination, but we still have to provide props which the audience will accept. A prop director’s role is constrained by the audience’s need for mimetic realism.

The Joy of Labor

In regards to the paper I presented, Sofer pointed out the joy of labor and the audience’s appreciation of it. Often, the academic world will focus so much on the meaning of signs and symbols in props that they overlook the audience’s simple joy at seeing well-produced theatre. When props (or any other design element) are well-constructed, meticulously-crafted, and, for lack of a better word, “cool”, the audience has a deeper reaction to the play.

Continue reading Closing Remarks at 2009 SETC Theatre Symposium →

Education

Creating Props, Creating Performances

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On the end of the first day of the 2009 SETC Theatre Symposium, I sat on my first panel, entitled “Creating Props, Creating Performances”.

The first paper, by Teemu Paavolainen, was titled “From Props to Affordances: An Ecological Approach to Theatrical Objects”. An “affordance” is the ability of an object to perform a function. For example, a chair affords sitting. A spoon affords eating soup.

The study of affordances has been around in other fields, such as music and painting, for awhile, but not so in theatre. Theatre, particularly the study of props, has long been dominated by JiÅ™i Veltruský. In 1940, he wrote the famous, “All that is on stage is a sign.” He and the rest of the Prague School believed

The very fact of their appearance on stage suppresses the practical function of phenomena in favour of a symbolic or signifying role.

(The semiotics of theatre and drama  By Keir Elam, p. 6)

Andrew Sofer, one of the keynote speakers at this conference, originally took exception to this when dealing with props in his oft-mentioned book, The Stage Life of Props. Continue reading Creating Props, Creating Performances →

Education

Bland Wade at SETC Theatre Symposium

Bland Wade gave the first keynote speech at the 2009 Theatre Symposium. He spoke about what it means to be a properties director. I thought I’d share a few highlights.

Bland is the props director at the North Carolina School of the Arts. NCSA does about twenty shows per year. He began working as a props director in 1976. Part of NCSA’s philosophy is that the teachers keep tabs on the industry, so in addition to teaching, Bland also works in a professional capacity throughout the year. For instance, he did the set decoration for The Color Purple. The general store is almost entirely his work.

Bland is a member of the Society of Properties Artisan Managers, or SPAM. SPAM began about fifteen or sixteen years ago. In the old days, the props master worked under the technical director. These days, a props director has his or her own shop. SPAM is pushing for the “prop director” terminology, rather than prop master. In my own experience, it seems a lot of theatres are using the prop director term (or prop supervisor, prop head, etc) for the head of the department, while using “prop master” for specific shows.

Bland asked what a prop is, and used his definition in terms of the practical usage of the word. He refers to his “house” analogy. Scenery is the walls and floor. The scenic designer is the architect and interior designer. The technical director is the contractor. The props director is the interior director.

A props director needs to read between the lines of a script. If a play has the line, “Bob walks in with a cigarette,” what does that entail? First, where does the cigarette come from? Is it in a pack? A case? Is he already smoking it? If so, where does he dispose of it? In an ashtray? On the floor? And of course, there is the actual cigarette itself. What brand is it? What color? One stage direction can turn into a whole page of notes.

Bland mentioned a number of skills and responsibilities of a properties director.

  • A prop director must always look at safety. This is true not only of your artisans at work, but also of the actors. This is true in food preparation and keeping the dishes clean. This is also true of weapon safety.
  • A prop director is an historian, a researcher, and inventor. Heron of Alexandria is one of Bland’s favorite inventors. One of Heron’s secrets was the simplicity of his mechanisms. A props director should always keep things simple.
  • A prop director is a problem solver.
  • You need to help the actor create a character.
  • There are many other random skills a prop director needs, such as plumbing and sewing.

“If it looks like crap, the actor’s going to treat it like a piece of crap,” Bland said. This is something I’ve been mulling over for awhile; I’m going to go into this in more depth in a later post.

Bland mentioned the Prop Directors Handbook, which I’ve posted about previously (Properties Directors Handbook), and link to in my sidebar. This book, written by Sandra J. Strawn, could not find a publisher, so she put it online for free. She is also a member of SPAM.

Stay tuned for many more highlights from this year’s Symposium. I also have some photographs once I dig out my USB cable.

Making and finding props for theatre, film, and hobbies