Scenography - The Theatre Design Website

The Royal Shakespeare Trainee Designer Scheme.

AIM:

With the decline in regional rep residencies and the absence of any on-the-job training for designers fresh from the UK’s large number of excellent design schools, the RSC has created a training opportunity that is sadly missing for most designers. This is a unique chance for two young designers to see at first-hand how a major theatre company works. They will experience the creative processes of a range of different top designers and then follow how the ideas they have worked on, in the studio, are translated to the stage.

WHO:

Applicants should be recent graduates of a theatre design course. Applicants with relevant practical experience of work in theatre will also be considered. Overseas applicants are also considered. They should have an extremely positive outlook, relish problem solving, with a high degree of self-motivation, and be very hands-on and practical, with a strong visual sense

THE ROLE:

?The Trainees will work for the RSC for a period of a year, with time spent in both London and Stratford. They will be on a one year fixed term contract, but only working nine months out of the year. This gives them some flexibility to pursue any freelance work that may arise during the year. Approximately a third of the year will be spent assisting RSC designers in their studios. This will involve research, model making, technical drawing, and basic administration. The Trainees will be able to witness the creative debates between designer and director, and the way in which the designer works with other members of the RSC, company members and freelance workers such as Costume Supervisors. They will attend rehearsals during the London phase of the year, and help in fabric sampling etc.

The rest of the time will be spent in Stratford, following the progress of the shows they have worked on through the workshops. They will be able to build up their craft skills and knowledge of processes in areas which they/the RSC believe they will benefit. In Wigs and Costume Cutting the aim is to observe the working process and better understand how these craftspeople work with designers, through discussions, fittings etc. In other departments e.g. Dye and Paint shop we hope to be able to offer directly relevant practical experience, which will enable the Trainees to better create their own work in a small scale professional setting. They will attend a range of Stratford Company and technical rehearsals, and assist in the transfer of Stratford shows to other venues. They may do some work on the Stratford redevelopment scheme, alongside the Associate Designer, and create some of the RSC’s season-stage model boxes.

SKILLS REQUIRED:

Excellent theatre design ability (as demonstrated through a portfolio of past work); model making to a high standard; technical drawing skills; knowledge and interest in costume design and construction; painting skills; interest in the plays of Shakespeare and an appreciation of theatre. Good communications skills and high degree of motivation are essential.

MENTORING:

The Trainees will be mentored by Tom Piper, the Associate Designer at the RSC. We hope to be able to offer external placements with several highly experienced freelance designers who work extensively for the RSC In the past this has included, Es Devlin, Jeremy Herbert, Peter Mackintosh, Giles Cadle, Lez Brotherston, Rae Smith, Hildegard Bechtler, Katrina Lindsay, Stephen Brimson Lewis, Kandis Cook, Richard Hudson, Nikki Gillibrand, Sutra Gilmour, Francis O’Connor etc.

WHEN:

The closing date for applications is 27th September 2008. First interviews will be held in early October. The initial short listing is judged by a panel of three designers and based on a ten page A4 portfolio and CV. There then follows an interview with full portfolio for the short-listed candidates. The post begins in December, depending on availabilities of the chosen candidates. 

APPLY VIA EMAIL TO:

jobs@rsc.org.uk

OR VIA POST TO:    

Human Resources    
Royal Shakespeare Company  
The Courtyard Theatre    
Southern Lane    
Stratford-upon-Avon
CV37 6BB    
Warwickshire

WEB SITE FOR FURTHER DETAILS:

(Scroll down to Trainee Designer): http:/www.rsc.org.uk/aboutthersc/1297.aspx

Garance Marneur, Overall Winner of the Linbury Biennial Prize for Stage Design in 2007 for designs she created for Brecht’s Turandot, will be revealing the results of her winning commission at Hampstead Theatre in its UK premiere on 8 September 2008.

Turandot was Brecht’s final play, written shortly before his death in 1956.  Originally found in the book of traditional Persian stories, One Thousand and One Days, the story of Turandot has been told in many different guises, most famously in Puccini’s opera. Brecht’s imagining of the comic parable was influenced by his experience of Germany in the build-up to the Second World War. This lively new version by Edward Kemp is directed by Anthony Clark and will feature Chipo Chung (Talking to Terrorists, The Overwhelming) as the legendary Princess Turandot and Gerard Murphy (Associate Artist; RSC and Birmingham Rep, Batman Begins) as the Emperor.

For Turandot, Marneur has designed a set and costumes which draw from three distinct periods – 18th century China, Brecht’s 1940s and the pop culture of modern Britain. The set is an abstract structure based upon references of 18th century Chinese cotton markets and 1940s German propaganda posters. The theme of the three periods is continued in the costumes and suggests their place in the hierarchy and their relationship to power, from traditional and imperial costumes through to 1940s gangsters and modern politicians. By overlapping these three periods and their respective locations, one can analyse their similarities and notice that history repeats itself, universally.

Regularly produced in Europe, the play has never previously been performed in the UK. Translator Edward Kemp’s adaptations have earned him great acclaim, notably his version of Lessing’s Nathan the Wise for Hampstead Theatre in 2008. The only one of Brecht’s plays  which he himself described as a comedy, Turandot focuses upon the intelligentsia’s complicity with authoritarianism and inability to stand up to regressive forces.

Garance Marneur was announced as the Overall Winner of the Linbury Biennial Prize for Stage Design in November 2007, and has since been working closely with the creative team at Hampstead Theatre to realise her winning design for Turandot.

The Linbury Biennial, founded in 1987 by Lady Anya Sainsbury, is the only prize of its kind and gives recently graduated stage designers an unparalleled opportunity to work with professional theatre companies and to collaborate with writers, directors and technical teams at a crucial stage in their careers.

Anthony Clark, Artistic Director, Hampstead Theatre said: “Having been offered the opportunity to participate in the prestigious Biennial Linbury Prize for Stage Design, I found it a challenging and inspiring experience to work with three talented, recently graduated designers on Brecht’s version of Turandot. Garance Marneur’s intriguing design of this political satire, and the generosity of support from the Linbury Trust, have made this production possible.”

Post of Trainee Designer

Theatre by the Lake has always made a commitment to training and development, particularly of theatre workers at an early stage in their careers. The repertoire season, which forms the core of our home-produced work, means that we are particularly well placed to offer training and development for creative staff. We bring an acting company together for 7 months of the year thus offering staff the opportunity to be involved with the creation of six varied productions during the summer months. In addition, this programme provides the trainee with the opportunity to both assist our Resident Designer, Martin Johns, and then progress to take on full design responsibility towards the end of the scheme. These factors, we believe, make us uniquely placed to offer a very valuable and successful training experience - previous trainees have maintained constant employment in the theatre industry and have also returned to work with us on a professional basis.

Post Details & Further Particulars

We are looking for a self-motivated, enthusiastic and hard-working individual who has completed formal Theatre Design training to degree level (or equivalent standard) within the last two years. Ideally, the trainee will have realised both set and costume designs in a theatrical context and have a working knowledge of the processes involved.

Applications

To request an application pack, please contact Ali Wylie on 017687 72282 or email ali.wylie@theatrebythelake.com or for further information about the post contact Sophie Curtis on 017687 81108. Please note that applications should include a completed standard Theatre by the Lake application form together with visual images of two contrasting set designs and two contrasting costume designs on which the applicant has worked. The closing date for applications is Friday 15 August.

Interviews

Interviews will take place on Friday 29 August, and will be conducted by Martin Johns (Resident Designer), Ian Forrest (Artistic Director), Stefan Escreet (Associate Director) and Karen Ann Billington (Technical & Production Manager). Candidates will also be given a tour of the building and have an opportunity to find out more about how Theatre by the Lake’s Summer Repertoire Season works.

Starting Date & Proposed Schedule of Work

The post will begin on Monday 27 October running through until Saturday 25 July 2009. Throughout the scheme, Martin Johns, Resident Designer, will act as Mentor to the trainee.
The suggested programme of work will be as follows:
OCT / NOV 2008:
Upon arrival, the Trainee will have the opportunity to see the full Summer repertoire up-and-running as we reach the end of our 2008 season.
Work as Design Assistant to Martin Johns on A CHRISTMAS CAROL (Theatre by the Lake’s Christmas 2008 Main House production) and work alongside our Trainee Director, Anthony Middleton, on the design aspects of A TOUCH OF MAGIC (a late-night show of magic and readings in Theatre by the Lake’s Studio).

DEC 2008 / JAN 2009:
Initial design discussions with the Directors of the three 2009 Summer Season Studio productions.
Attendance at production and design meetings for Melvyn Bragg’s THE MAID OF BUTTERMERE, adapted by Lisa Evans (Theatre by the Lake’s Easter 2009 Main House production).

FEB / MAR 2009:
Work as Design Assistant to Martin Johns on THE MAID OF BUTTERMERE.
Continue work on Summer Season 2009 Studio designs.

APR – JUL 2009:
Rehearsal/production period for 2009 Summer Repertoire Season. Work as Designer for the three Studio productions plus additional ‘hands on’ input working together with Martin in support of all six Summer Season productions.
NB. Titles of the six Summer Season productions will be announced in late October 2008.

Salary

The salary is £1250 per month.

Criteria

The Trainee will be required to base themselves in Keswick or the surrounding area for the duration of the post (Theatre by the Lake has a digs list with details of available accommodation in Keswick and the immediate vicinity). Please bear in mind that Keswick is not a place for city-lovers – it is a small rural town in the heart of the Lake District and not the most accessible of locations by train or coach.

As mentioned above, we are ideally looking for someone who has recently completed a Theatre Design course (within the last 2 years). We see the post as a substantial opportunity for a designer at the beginning of his or her career.

Other Terms and Conditions

Standard terms and conditions apply to staff of Cumbria Theatre Trust (Theatre by the Lake). These will form part of a formal contract of employment.

Equal Opportunities

Theatre by the Lake is committed to the development of positive policies to promote equal opportunities regardless of sex, marital status, colour, race, ethnic origin, age, disability, sexual orientation or responsibilities to dependents. The principal criteria for selecting a person for a particular job shall be a person’s ability and the job’s requirements.

Smoking

Theatre by the Lake is a ‘no smoking’ building.

A 5-day intensive course led by David Neat
Rose Bruford College, Sidcup
Summer 2008 dates: 21-25 July, 8-12 September

The term ‘advanced’ is used because it is assumed that those interested will already have the basics, but want to extend their repertoire of techniques and understanding of different materials. It is aimed at practitioners or experienced students in a variety of disciplines.

David Neat is a professional model-maker with 25 years experience in theatre, film, 3D design, architecture and exhibitions. He is a Motley graduate, a practicing sculptor, and a qualified teacher (including Rose Bruford College, Central St. Martins, Central School of Speech and Drama, RADA and Wimbledon College of Art where he teaches on the ‘Technical Arts and Special Effects’ and ‘Set Design for Stage and Screen’ courses). His book Model-making: Materials and Methods, a comprehensive, interdisciplinary book on model-making, has just been released by Crowood Press.

His emphasis in these workshops is on accessible techniques of building, modelling, surfacing and finishing which are largely common to all the above disciplines, and relevant both to designers and makers. There is also an emphasis on ‘realism’ in representation, which is geared more to theatre and film work than the other disciplines, but the aim in keeping the course solidly materials-based is to provide just as much of relevance to the architectural or product model-maker. Each session will offer a wealth of information, supported by specially prepared examples and clarified through demonstrations and practical exercises. Areas covered include: -
methods of constructing with card, plastics and foams; methods of casting; modelling with soft materials inc. figures; techniques of soldering and etching metals; simulating plants and trees; various surface/texture treatments and paint finishes.

Many materials are covered, while both traditional and new techniques are explored. Another aspect is the reliance on simple tools and accessible materials, rather than complicated or expensive machinery. All materials for the practical exercises are provided. Participants must however bring their own essential equipment (such as scale rule, scalpel, cutting mat and soldering iron). A complete list will be forwarded prior to the begin.

Each individual will also bring with them their own varied knowledge and talent, making this a valuable opportunity to discuss and compare personal experience. Whether you are a theatre designer wishing to make better, more convincing models; a  stop-motion puppet animator searching for the right environment, or an interior designer aiming for the right presentation - this course will help you on the way.

The cost per person will be £220, payable to Rose Bruford College in advance. This is still very low for an intensive course of this nature. Places are limited to 15, for the most effective teaching and participation, so those interested are advised to apply a.s.a.p.

Email… davneat (at) aol.com or phone David Neat on 07989 474786 for more information or to request a booking form.