¿Cómo abordas la escenografía para musicales y óperas?

Some times because of budgetary restraints and economic issues, you are forced to use an existing set. Such was the challenge of my most recent production of Miss Saigon. This was a challenge but I made it work. Found a way to make a minimalist version work-- no helicopter, no Cadillac car, no Ho Chi Minh statue. It did put the emphasis on the storytelling. But yes, to all the above. I do start with a discussion with the set designer re the feel, tone, genre.

We work in a pro-amateur arena as Ink Pot Arts Inc is a not-for-profit Community Arts organisation. Our team is amazing at creating sets with extremely limited resources. This involves recycling and alot of skill from the artists. The director's vision and production concept guides this, as noted. Creativity enables so much!!

I would agree with much of this, I would add that the Director’s vision should be weighted heavily towards the production you are working on. There may be a classical way that the production has been portrayed for the most part, but you may have a Director that wants to put a new spin on the story, character, or historical setting. For me also budget is not always a limiting factor it can be a creative motivation.

The first thing to consider is: what will be more important for both the conductor and the stage manager? Both will try to defend their point of view, but the middle ground must be found. If it is an opera or a concert per se, the most important thing is therefore the music and secondly the stage design. Regarding the design of the space, this is directly related to the needs of the stage director and the space that the musicians will use. I would start by defining the context and concept of the staging, perhaps both directors want to enhance the music and have an austere stage. I do not consider that large amounts of money should be spent on a musical stage, what is the use of a $100,000 stage for a show that will have 10 performances.

The Set should allow easy adjustments and removal to accommodate other shows or events. This flexibility ensures that the set can modified or dismantled efficiently, allowing the theatre to host other events.

In my experience this is the first step. The directors vision has massive influence over what you are designing and can save a lot of wasted time if you can get a clear picture of what the director is looking to achieve. I would also argue that this step repeats often throughout the process to keep the team updated.

One thing I've found helpful is to let the musical selections guide you in set design and prop making. For example, when I was involved in Showboat in Grand Rapids.MN, We did a skit involving the song: Lime and the Coconut. I literally had the actors act out the song.