THEATRE 1050 PROPS

When faced with the design and construction of a prop the following guide
will be of use:

RESEARCH

We are fortunate in this era to have a wealth of information available in
books and on the Internet. If you do not yet have a collection of your own books, check out the library. The internet does not yet have a comprehensive prop oriented site, although this will come in time.

As well as finding furniture and accessories of the period
it is sometimes worth looking at the history of the time. There have been
occasions of such a radical shift in the political climate that one side
wouldn't be caught dead in the other fellow's chair!!

People are another great source of information so don't hesitate to call
anyone you can think of who might be able to assist you. Most people are
happy to share what they know and it is surprising how many of them like
the idea of being associated with "show business".

Also consider collecting a picture "morgue." i.e. pictures gathered from
magazines, newspapers, etc. and your own photographs and sketches.

DESIGN

If you are designing for others to build, you must convey your ideas clearly
and concisely so that there will be no confusion.
This may be done with the aid of sketches and/or renderings accompanied by
scale drawings or blueprints. Photographs and photocopies can also be used.
Keep in mind that props do not always have to follow industrial fabrication
techniques, rather it is better to break it down into a simple but
mechanically sound framework with all the frills and glitz added on.
This is the point at which the question about end use should be asked. There
is no need to spend a lot of time using 2 x 4 's when a piece of old canvas
thrown over a cardboard box would do! On the other hand an actor should be
able to use a prop without fear of it's falling apart or injuring them. Check
with the director or attend rehearsals to find out about how a prop will be
used (or misused!)



CONSTRUCTION

Knowledge of the basic techniques used when working with a variety of
materials is essential to good prop making.

Read, take craft courses, talk to people with experience and don't be afraid
to experiment.

 
TOOLS

The tools used in prop making include most of those used in set construction
i.e. table saw, radial arm saw, bandsaw, drills and sanders, etc.

The following are some of the tools found in a prop shop in addition to these.
scroll saw, soldering gun /iron, glue gun, propane torch, vacuform machine, lathe, Dremel or Foredom Tool, sewing machine, metal shears & nibbler

 
MATERIALS

cane, rope, string, wire, chicken wire, hardware cloth,
paper, cardboard, fabric of all kinds plastics, wood,
metal sheet, rods, tubes (Alum. brass, copper, tin, steel)

 

The large majority of props can be made from the inside out by using the
following guide:

Framework - (called armature in sculpture) of cane, wire, wood, metal, etc.

Shape - using foam, chicken wire, hardware cloth, etc.

Cover - using fabric, paper, plastic

Decorate (applique) - rope, string, lace, plastic, & etc. etc.

Paint - usually a base coat followed by some treatment such as spattering, marbling, etc
also "broken down"...aged, shadowed, textured.

 

 

 

 

 

 

 



 

The above diagram illustrates the stages of building a rock. Framed with
wood, shaped with 'Styrofoam' and covered with factory cotton. After the
initial painting other touches could be added...such as lichen, or grass
growing in crevices. If the frames are built to accept weight then this rock
would be able to handle one or two actors standing on it.




MAKING MOLDS AND CASTS

MOLD MATERIALS:

Flexible :

Latex Rubber (Carpet cement, craft latex are in ammonia solvent and
cannot be used on the skin. Cosmetic versions are available.) Must be painted
on to object in layers (6?10). Requires parting agent in some cases.
Vinamold (vinyl heated to melting, approx. 300° F). Tends to fume at
this temperature and, of course, must be handled with care. Unaffected by
most solvents and so good for fibreglass resins.

"Jeltrate" (alginate dental impression material) Mixes with water.
Excellent results, safe for skin, no parting agent needed. Does not keep long
after mixing (1 or 2 days if wrapped in damp cloth).

Glue compound: Equal parts (by wt.) animal glue (Swift's protein
colloid #70001), antifreeze and water. Heat in double boiler. Good general
purpose material. Drawbacks ; hot when poured ; affected by heat and
moisture from casting material.

Rigid :

Plaster of Paris. Mix with water. Must plan mold sections carefully to be able to get object out.

Wood, metal, clay or plastic. Machined, constructed, carved or as found.


 

CAST MATERIALS:

Plaster of Paris

Resins (Acrylic, Epoxy, Polyester)


PARTING OR RELEASE AGENTS

Oils (mineral, machine, vegetable ?i.e. Pam)

Greases (Vaseline, automotive)

Waxes (candle, furniture, silicone)

Plastics (P.V.A., Saran wrap)

Zinc Stearate (used for wet plaster)

 

 

MASK MAKING

Masks can be built on existing or specially sculpted forms but if an
actor must wear the mask for a long time then it needs to be custom-made
to fit. This is accomplished by first making a plaster cast of the actor's
face then using this to build the mask on. Thus the mask will conform to
the actor's face whatever features are put on the outside.
In most cases the mold of the face is made with plaster bandage or
straight plaster of Paris. Other materials, such as Jeltrate and cosmetic
latex foam, can be used but, since these are flexible, they must be backed
with a rigid layer or support in some way to preserve their shape.
When using plaster the person should be reclining (as in a makeup or
barber's chair) or supine (on a table or bench) and be made as comfortable
as possible. Protect clothing with a sheet of some kind. A swim cap (or
plastic bag taped in place) will prevent the hair from getting caught in the
plaster and the ears should be included in this. Then coat the face with
Vaseline paying particular attention to beard, sideburns, eyebrows and
eyelashes. As an added precaution small pieces of Saran wrap can be
placed over the eyebrows and eyelashes (eyes closed!) Beards could be
handled this way also.
Provide breathing tubes for the mouth or nostrils.
The plaster can now be mixed and poured over the face, going back to
the ears and including part of the throat. The consistency should be such
that it will not slide off yet still be able to pick up all the details of the
face. Once set, the mold can be removed from the face. If time is short the
cast can be made right away using zinc stearate or green soap as a parting
agent. Otherwise allow to dry completely (a slow oven helps) then coat it
with a wax of some kind before filling with plaster.
The back of the head can be done in the same way to provide a full
bust. Some means of getting the correct front-to-back dimension must be
used.
With this cast of the actor's face or head the mask can now be built with
confidence that it will fit!



PAINTING

Paint is composed of:

Pigment (colour)

Binder (to attach the colour to the surface)

Medium (water, oil)

Water based paints are used for most painting in theatre.
Most paints come ready to use. Some, like tempera poster paint, contain
pigment and binder and need only water added.
We also have the option of mixing pigment with glue and water. Hide glue or white glue may be used. If pigments have to be mixed to achieve the
colour you want, do this dry. Take care not to contaminate the powders in
the containers when dipping.

Porous materials, such as plaster, should be sealed before painting using
thinned white glue or shellac
When using water based paints, which dry quickly, wet the brush before
putting it in the paint. This will prevent the paint hardening in the
bristles while painting.
Wash the brush immediately after finishing painting and continue until
the water runs clear. Latex & etc. paints dry in 20 minutes or so and the
brush will be ruined if not cleaned right away. Do not use hot water as this
can cook the paint into the bristles.

 


PROJECTS

 These projects will give you experience of some of the techniques used in
prop making. Also Nos. 1 & 3 are designed to reawaken your creative,
artistic capabilities (many schools do not encourage these) and so extra
time is allotted to these projects.

1/ Design and make a medallion, using Plasticene, (maximum size - 10cm across by 1cm thick).

Suggestions: a badge of office, an Olympic medal, a family heirloom, etc.
A mold will be made of this, using the animal glue compound.
Use the mold, when set, to cast a plaster copy of the medallion.

2/ Sculpt a face using brick clay. Humanoid, normal size or a bit smaller.
Make a paper and glue mask on this face. As parting agent use zinc stearate if wet, Vaseline if dry.
Paint both the medallion and the mask. This is an opportunity to try the three types of paint available.

Using matte board, ruler and X-Acto knife make the pedestal table. See drawing on page 9.

Extend the techniques of #6 above to make a model of the chest of drawers. See drawing on page 10.

 

 
PROPERTIES ORGANISATION

The term "properties" is extremely general. It includes everything in the
world _past, present and sometimes even future.
The "moving van" idea is a good way of illustrating the term. Whatever space
is being represented on stage, a house or apartment, a warehouse, a railway
station, etc., the van arrives and delivers all the property appropriate to the
owner and the use to which the space is put. For convenient reference, the
contents of the van are broken down into the following grouping

SET PROPERTIES

Any item that sits on the stage and would show up in a floor plan. Includes
such things as furniture, rugs and other floor coverings, large kitchen
appliances, benches, trees and stumps, rocks, bushes, and similar items.
Built-in items such as some fireplaces, bookcases or china cupboards are
usually handled by the construction shop but could be given to props. The
decision, depending on such things as work load, skills and union agreements,
would be made at an early production meeting or by the technical director.

DECORATIVE or DRESS PROPERTIES

Items that are used to complete a set. Generally not handled by the actors.
Most pieces of furniture have things on them: antimacassars on Victorian
chairs, dishes or vases of flowers etc. on tables or sideboards, notes on the
fridge, and so on. Also on the walls: curtains, pictures, mirrors, lamps, etc.
(TRIM props)

HAND PROPERTIES

This identifies small objects that are handled by the actors as part of their
business: bags, umbrellas, wallets, keys, letters, briefcases, cigarettes and
lighter, books, trays, telephones, a branch of a tree, a baby carriage, etc.

 
PERSONAL PROPS

Any hand prop for which custodial responsibility has been transferred, by
mutual consent, to the actor.

 

 
The following terms may apply to any of the above:

Practical props

Those props which must work in the usual manner (and thus are not fake), - a
telephone that rings, curtains that open, running water from a faucet, edible
food, etc.

Trick prop

A prop which works, but in an unusual manner. Flowers that droop on cue, a
picture falling off the wall, a candle going out.

Breakaway prop

A prop which is designed to break on cue without endangering the actors, such as a chair that falls apart, a sword that breaks, a bottle breaking on a head.

 


PROPS PERSONNEL

Head of Props

Responsible to technical director or production manager. Consults with
director and designer
Responsible for developing a property list and supervising the props
personnel. Controls prop budget.

Property acquisition crew

Responsible to Head of Props
Checks availability of props at stores, rental houses, and other sources.
Aids designer and director in final choice of props.
Makes purchases and handles funds and /or paperwork involved in the
process.
Buys materials for prop construction, if necessary.
Handles details of hauling, storage, and return of props rented or
borrowed.


Property construction crew

Responsible to Head of Props
Builds props, or alters existing ones, as specified.
Decorates and "animates" props.
Aids in the construction of effects- magic wands, flaming torches, and so on.
Works with all tools of carpenter plus such things as welders, metal
working tools, heat guns, glue guns and etc.
Works with wood, metal, plastic, paper fabric, etc.



Property running crew

Responsible to Stage Manager through crew chief
Handles all properties during run of show (unless permanently fastened to the set) until strike.
Stores props securely off stage and checks them before each performance.
Ensures props are ready to hand to actors as needed and takes them from actors as they leave the stage.
Installs and removes set dressing during shifts.
Makes minor repairs to props during run.
Provides expendable props (food, etc.) and stores them before and after
show. (May buy such props during run.)

Prop Plot

A series of lists, charts, drawings, and plans detailing the placement and
handling of all properties during and between performances. Every prop should have an established location both on- and off-stage.

The setup plot

Prepared for each scene to indicate the location of each property. A floor plan and/or chart are the usual way to describe the set props in relation to the setting. The plot should indicate the colour of spike mark used. Hand and
decorative props are listed by location.

 
Prop tables

These are used to set out hand props that the actors need to carry on with
them. There should be enough to cover all entrances and exits. Each prop
should have its own permanent location, marked with tape or marker, etc.

The shift plot

This lists the changes between scenes or acts. Because changes must be made
with the minimum of time and noise (and in blackout at times) they need to
be carefully planned, even choreographed at times, and all crew member
must fully understand which props they are responsible for and where they
come from and go to.

The storage and cleanup plot

At the end of the performance, all props must be located, inventoried, and
placed in a secure place until the next performance. Hand and dress props
should be stored in a lockable cabinet or room.



Prop cabinets, (or trunks if travelling) must have "a (labeled) place for
everything and everything in its place." Never put away dirty dishes. Broken
props should be attended to before storing.
Since anything can be used as a prop, it should be obvious that nothing on or
around the stage should be moved or used without clearance from the prop
crew chief.

It should also be pointed out that actors should be willing to accept
responsibility for the care of their personal hand props and costume
accessories. Make sure they are handed to props on leaving the stage and not carried to the dressing room!

 

ACQUISITION AND CONSTRUCTION

The time/cost factor is an ever-present consideration in theatre, the general
rule being: - the closer one gets to opening night....the more expensive things become! Thus it is important to analyze the script for prop requirements as soon as possible. It is a good idea to read the play at least twice; the first time to get an understanding of the plot and its setting, the second time, with pencil in hand, to produce a preliminary prop list. Even though the final choice of the type, number and style of the props will rest with the designer and/or director, it is a good idea to be prepared for any surprises. Avoid the temptation of saying "Oh, that won't be hard to find." Check it out anyway !



Having obtained a prop list, divide it into three categories: -
(a) Items that can be pulled from stock - if you are fortunate enough to
have storage space!

(b) Items that you can beg, borrow, rent or buy (if budget allows).

(c) Anything that is left must be made.

Items (b) & (c) require much time and the early start recommended
above is a wise move.

Rehearsal props

The actors should be provided with props to rehearse with fairly early, so
hat their use will become natural. To this end props that are handled should
be approximated in both size and weight, particularly in the case of unusual
or trick props.

 

 
BIBLIOGRAPHY

Construction & General

Adix, Vern Theatre Scenecraft
The Children's Theatre Press 1961

Arnold, Richard L. Scene Technology.
Prentice Hall NJ 1985

Bellman, Willard F. Scene Design, Stage Lighting, Sound, Costume & Make-Up. Harper Row NY 1983

Burris, Meyer & Cole Scenery for the Theatre 2nd. Ed.
Little Brown co. Boston

Gillette, A. S. Stage Scenery: It's Construction and Rigging
Harper Row

Hogget, Chris Stage Crafts
A & C Black London 1975

Potts, Norman B. Ed. Theatre Technology & Design. A Course Guide.
The International Thespian Society.

Wolfe, Welby B. Materials of the Scene: An Introduction to Tech-
nical Theatre. Harper Row NY 1983

Wagner, Willis H. Modern Woodworking Tools, Materials & Procedures
The Goodheart-Wilcox Co. Ltd.


Painting

Pecktal, Lynn Designing & Painting for the Theatre.
Holt Rinehart and Winston


Lighting

McCandless, Stanley A Syllabus of Stage Lighting.
Drama Book Specialists. NY

Pilbrow, Richard Stage Lighting.

Rosenthal, Jean


Makeup

Corson, Richard Stage Makeup
Prentice-Hall Inc. Englewood Cliffs NJ 1975


Costumes

Perry, P. Ed. The Vogue Sewing Book
Vogue Patterns NY

 

 

 

Properties

Bruder, Karl Properties and Dressing the Stage.
Richard Rosen NY

Conway, Heather Stage Properties
Herbert Jenkins London 1959

Govier, Jacquie Create Your Own Stage Props
Prentice-Hall Inc. NJ 1984

Holt, Michael Stage Design and Properties
Phaidon Press Oxford 1988

James, Thurston The Theater Props Handbook
Betterway Publications White Hall Va. 1987

James, Thurston The Prop Builders Molding and Casting Handbook
Betterway Publications White Hall Va. 1989

James, Thurston The Prop Builder's Mask Making Handbook
Betterway Publications White Hall Va. 1990

James, Thurston The What, When, Where of Stage Props
Betterway Publications White Hall VA.

Kenton, Warren Stage Properties and How to Make Them
Sir Isaac Pitman & Sons Ltd. London (?)

Motley Theatre Props
Drama Book Specialists NY

Meyer, Franz Sales Handbook of Ornament
Dover Pubs. NY
General Pub. Co. 30 Lesmill Rd. Don Mills

Napier, Frank Noises Off. A Handbook of Sound Effects.
J. Garnet Miller London

 

 

Model Making

Pattinson, Graham D A Guide to Professional Architectural and Industrial Model Building.
Prentice?Hall, Englewood Cliffs, NJ 07632 1982

Payne, Darwin Reid Theory and Craft of the Scenographic Model
Carbondale, S.Illinois University Press, C1985