http://www.propgeeks.com/theater-scrim/
theater scrim
What are alternatives to authentic theatre scrim?
I am looking for a quick and inexpensive way to create a scrim effect without having to purchase an actual scrim.
I was thinking using fencing mesh would work or even a greenhouse shade would suffice.
Does any one know of any fabrics that work just as well as scrim?
Any suggestions would be welcomed.
Thanks
Lighting design, however, is not simply aiming the lighting instruments
at the stage or bathing the stage in a general wash of light. Audiences
usually expect actors to be easily visible at all times and to appear to
be three-dimensional. This involves the proper angling of instruments,
provision of back and side lighting as well as frontal, and a proper
balance of colours. Two basic types of stage-lighting instruments are
employed: floodlights, which illuminate a broad area, and spotlights,
which focus light more intensely on a smaller area. Instruments consist
of a light source and a series of lenses and shutters in some sort of
housing. These generally have a power of 500 to 5,000 watts. The
instruments are hung from battens and stanchions in front of, over,
and at the sides of the stage. In realistic settings, lights may be
focused to simulate the direction of the ostensible source, but even in
these instances, performers would appear two-dimensional without
back and side lighting.
Because so-called white light is normally too harsh for most theatre
purposes, colored filters called gels are used to soften the light and
create a more pleasing effect. White light can be simulated by mixing
red, blue, and green light. Most designers attempt to balance “warm”
and “cool” colors to create proper shadows and textures. Except for
special effects, lighting design generally strives to be unobtrusive; just
as in set design, however, the skilful use of color, intensity, and
distribution can have a subliminal effect on the spectators' perceptions.
The lighting designer is often responsible for projections. These include
still or moving images that substitute for or enhance painted and
constructed scenery, create special effects such as stars or moonlight,
or provide written legends for the identification of scenes. Images can
be projected from the audience side of the stage on to opaque
surfaces, or from the rear of the stage on to specially designed rear-
projection screens. Similar projections are often used on scrims, semi-
transparent curtains stretched across the stage. Film and still
projection, sometimes referred to as mixed media, was first used
extensively by the German director Erwin Piscator in the 1920s and
became very popular in the 1960s.
The lights are controlled by a skilled technician called the electrician,
who operates a control or dimmer board, so called because a series of
“dimmers” controls the intensity of each instrument or group of
instruments. The most recent development in lighting technology is the
memory board, a computerized control system that stores the
information of each light cue or change of lights. The electrician need
no longer operate each dimmer individually; by pushing one button, all
the lights will change automatically to the pre-programmed intensity
and at the desired speed.
G. Costume Design
A costume is whatever is worn on the performer's body. Costume
designers are concerned primarily with clothing and accessories, but
are also often responsible for wigs, masks, and makeup. Costumes
convey information about the character and aid in setting the tone or
mood of the production. Because most acting involves impersonation,
most costuming is actual or re-created historical or contemporary
dress; as with scenery, however, costumes may also be suggestive or
abstract. Until the 19th century, little attention was paid to period or
regional accuracy; variations on contemporary dress sufficed. Since
then, however, costume designers have paid great attention to
authentic period style.
As with the other forms of design, subtle effects can be achieved
through choice of colour, fabric, cut, texture, and weight or material.
Because costume can indicate such things as social class and
personality traits, and can even simulate such physical attributes as
obesity or a deformity, an actor's work can be significantly eased by its
skilful design. Costume can also function as character signature,
notably for such comic characters as Harlequin or the other characters
of the commedia dell'arte, Charlie Chaplin's Little Tramp, or circus
clowns.
In much Oriental theatre, as in classical Greek theatre, costume
elements are formalized. Based originally on everyday dress, the
costumes became standardized and were appropriated for the stage.
Colours, designs, and ornamentation all convey meaningful information.
H. Mask
A special element of costume is the mask. Although rarely used in
contemporary Western theatre, masks were essential in Greek and
Roman drama and the commedia dell'arte and are used in most African
and Oriental theatre. The masks of tragedy and of comedy, as used in
ancient Greek drama, are in fact the universal symbols of the theatre.
Masks obviate the use of the face
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