Set Designs: Dianna May C. Macapulay

SET DESIGNS
Dianna May C. Macapulay

Set designers need to consider the period
and genre of a play, as well as the venue
where the performance will take place.
They also need to respond to the social,
historical and cultural context of the
production.
*For a play text, this might mean thinking about when and where the play was
written, as well as when and where it is set.
Location is the ‘where’ of the set design: what
place does the design represent? For a realist
set, this might be a certain room, in a certain
house, belonging to a certain character. The
designer will try to ensure that the audience
understand this by placing specific objects and
furniture into the space, as well as creating
appropriate scenery.
Era is the ‘when’ of the set design: when does
the action take place? This might be the era in
which the play is set, or another era that the
director or designer has chosen for the
production. Knowing about the era of the play
text allows you to make choices in your design
that are appropriate for the production.
What style is the set?
Set designers can work in a range of

styles. It is important to be able to identify
the style a set designer is using in order to
understand how and why the set works for
a specific play or production.
Realism
 Realist set designs incorporate elements that are meant

to look like real life. Realism can be total or partial. Total
realism means a set that looks as close to real life as
possible and includes scenery, furniture and props that
mimic a real-life setting. The design will reflect the period
that the play is set in with historical accuracy. Partial
realism incorporates realistic elements into a set that
might not be realistic overall, for example using detailed
period furniture on a stage constructed of a series of
platforms.
Minimalism
Not all set design has to be large-scale.

Minimalist sets use pieces of stage furniture or
props to indicate a setting or location. For
example, a table and two chairs could indicate
a kitchen, dining room, or even a café. The
specific identity of the space is determined by
the way in which the actors behave. This
process is called minimal signification. There are
many small theatre spaces, for example black
box theatres, that are well-suited to minimalism.
Fantasy
Fantasy set designs allow the designer to

create a new world for a production.
Designers can engage with fantastical
locations without the constraints of
representing a world that is already known
to the audience. However, it is worth
remembering that a fantastical design still
needs to maintain an internal logic so that
the audience can understand and
engage with the world of the production.
What decisions has the designer
made?
A set designer’s job is to make deliberate
decisions about what the audience see in the
stage space. Part of understanding a stage set
is considering what decisions have been made
and what effect they might have on an
audience. A set can be the first information that
the audience is given about a production, as
the set is often the first thing that the audience
see in the theatre. Set designers might make
decisions related to:
Shape
the shape of the stage floor, the shape of any

platforms, levels, or pieces of scenery and the
shape of any stage furniture. Different shapes
can have a different effect on the audience or
create a different atmosphere: lots of smooth
curves look and feel very different to lots of
jagged, pointed lines.
Colour
the colours used on the stage floor, pieces

of scenery, stage furniture and backdrop.
Colours on stage have many functions:
they can be used to reflect colours in real
life, create an atmosphere or tell an
audience about the mood of a place or
the personality of a character.
Scale
the size of individual items on stage and

the relationship between different objects
of different sizes. An audience can be told
that an object is very important by making
it slightly bigger and ‘out of scale’ or a
strange atmosphere can be created by
varying the scale of different parts of the
stage.
Texture
the textures of surfaces on the stage (the floor or the
walls), as well as the texture of the stage furniture.
Texture either comes from the materials used to
create the set (wood, metal, fabric) or it can be
created using paint effects (for example a painted
woodgrain effect). Different textures can give the
audience information about the setting of the play
(ie heavy velvet curtains hanging at a window can
tell the audience that the character who lives here is
very wealthy) or can help create an atmosphere on
stage (ie shiny metal surfaces can give a set a cold
and clinical feeling).
Paul O’Mahony created the set design for the Abbey Theatre’s
production of Ibsen’s play Hedda Gabler in 2015. It is a good example
of partial realism, using realistic furniture to indicate the setting.
What practicalities should I consider?
Set design is very different from painting: a

theatre set has to work in practice, in a
performance. Here are some practical
questions to consider when starting your
design:
How will the actors get on and off stage?
A beautiful design is useless if the actors cannot
easily get on and off the stage. Think about how
many entrances and exits you will need and where
you will place them. If you are designing a realistic
set, think about where any entrances and exits
might lead (to another room in the house, perhaps?)
and whether these are partially visible. If you are
designing a non-realist set, think about how and
where the actors need to enter and exit during the
performance. Where will the actors go when they
aren’t on stage? For example, will you need wings or
masking?
Can the actors move around easily
and safely?
Complex sets with many levels can be
very interesting and effective for the
audience, but can the actors easily and
safely move between the different levels?
Have you made sure that any steps aren’t
too steep to climb, or that any sloped
stage areas (called a raked stage) aren’t
too difficult for an actor to walk on?
How much space do the actors need?
Make sure that you have enough room in

your design for all the actors in the scene
and take into account what the actors will
be doing (standing, running or dancing?).
Crowded stage spaces can be used to
great effect, but only if they are used
deliberately. Don’t create a space that is
too crowded for the actors to move,
unless you have very good reason for it!
Where are the audience and how are
they seated?
Remember to consider the

configuration of the audience and
their sightlines. Each configuration will
have an effect on your designs. For
example, in-the-round spaces mean
that furniture cannot be too high, or
you will block the audience’s view.
Is it possible?
All designers also need to be

sensible about their resources:
consider whether you can
achieve your design within a
sensible budget, and whether
your ideas are possible in a live
performance.
Where can I get inspiration?
Research is a very important part

of stage design. You can use
research to develop your own
ideas and to make sure that you
understand the location and era
of the production you are
designing.
Thank You 

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SET DESIGNS

Dianna May C. Macapulay

Set designers can work in a range of

 Realist set designs incorporate elements that are meant

Not all set design has to be large-scale.

Fantasy set designs allow the designer to

the shape of the stage floor, the shape of any

the colours used on the stage floor, pieces

the size of individual items on stage and

Set design is very different from painting: a

Make sure that you have enough room in

Remember to consider the

All designers also need to be

Research is a very important part

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