Painted scenery using rabbit glue and canvas

Aims

Through the construction and painting of the set design the student will learn:

• how to translate a design from a drawing to full size
• methods to achieve three-dimensional visual impact on a flat surface
• the use of traditional painting techniques with natural colours and rabbit glue
• self-organisation and group work.

Key Information

Number of learners	4-10
Number of staff	1 teacher
ECTS Credits (if applicable)	Not applicable

Learning process

	Lecture/seminar	Lecture, presentation, discussion (face-to-face or online)
X	Making project	Making a model, mock-up, plan or design (physical or digital)
	Performance project	Making a performance or demonstration (live or mediated)
	Records and Archives	Interviews, photographs and videos of artefacts, annotating archives, creating learning materials (physical or digital)
	Independent study	Reading, researching, analysing and evaluating learning materials (physical or digital) in groups or alone

Type of learner

X	Student of technical theatre
X	Student of theatre design, architecture
	Student of theatre arts
	Professional
X	Researcher
	General public

What You Will Need

Duration and schedule

Preparation by the teacher: 6 hours to prepare the teaching materials, groups and work plan.

Preparation by the students: no preparation is required, provided students are familiar with workshop tools, and have a knowledge of perspective, colour theory and drawing.

The workshop is best done as a single, continuous process. Depending on the complexity of the chosen scene and the number of students, allow 3-5 days as a minimum.

Room or type of space

A space large enough to lay out the largest piece of scenery you want to make, with a wooden floor you can nail into. The room should be well lit. You will need access to a sink and water.

Equipment

• long-handled bristle brushes
• long-handled charcoal holders
• a cooker for preparing the colours and glue
• brushes of various sizes
• rulers and squares
• paint buckets
• a large board to use as a palette
• chalk line, or a long length of string
• reciprocating and table saw
• A-ladder or platform, so the canvas can be seen from above when laid on the floor

Most of the work is done standing up. Long-handled brushes and charcoal holders reduce the amount of bending needed when working with the canvas on the floor.

Materials (consumables)

natural-coloured cotton canvas pigment paints, in powder form rabbit glue. Alternatively, use traditional size sticks of drawing charcoal large-headed tacks or nails

Learning resources (books, websites)

Canon stories:

• E.04 Fit for a King: Baroque Court Theatres
• F.04 The Architectural Scene: The work of the Galli Bibiena family

Canonbase articles:

• perspective
• The Renaissance stage: documents of Serlio, Sabbattini and Furttenbach

Other resources:

Mello Bruno: Trattato di Scenotecnica. De Agostini, Novara 2009

C. Ossicini and P. Bignami. L’album di Scenotecnica di Koki Fregni. Clueb, Bologna 2008

Susan Crabtree and Peter Beudert. Scenic Art for the Theatre: History, Tools and Techniques. Focal Press 2012

Theatrical chandlers, such as Flints (www.flints.co.uk) sell the materials needed, and their websites also offer advice on how to use them.

Credits

This learning method was made by:	XXX
Institution:	XXX
Thanks to:	XXX