From 8 November 2018, The National Theatre's Wolfson Gallery has been transformed for the exhibition ‘Playing with Scale: How designers use set models’.
Eleanor Margolies (who is a Jocelyn Herbert Fellow of Camberwell, Chelsea and Wimbledon Graduate School, University of the Arts London) has cleverly and creatively curated this exhibition. Just as all model-making involves selection and distillation of ideas, so did this exhibition. David Neat said, ‘Scale is a filter and a focus for the designer’ and Margolies’ design to explain the concept of 1:25 scale is very filtered and focused – I will never struggle to explain 1:25 scale to my students again!
Exploration of Scale Models and Theatre Design
A scale model is a 3D representation of something – not just in theatre. They are used as physical models to help people understand forms, patterns, shapes and space. In British theatre models are most commonly created in 1:25 scale. They can however come in varying sizes, using different scales to zoom in or zoom out on certain aspects of a design. The model often inspires and helps to solve technical and/or creative problems.
Designers produce a white card model before the final model. They are accurate in terms of size, but they have no surface detail on them, that information comes later. Award-winning set designer Bunny Christie explained that white card models are used initially so that alterations can be made quite quickly without ruining a finished, detailed model.
The white card model can be used for up to 6 months by the design and production team before the final model is made. The National Theatre has its own Drawing Office which uses the white card models to create videos of scene changes to time how long they will take. They create digital sightlines to look at the stage from every angle which in turn helps to note issues with restricted views, which may well have an impact on revenue because of reduced audience capacity or reduced prices for tickets.
Developments in technology with the use of computer-aided design have moved theatre design forward immensely, but the man-made model box has always been the most crucial aspect.
The final model is also an important tool for the props, lighting and sound departments. The materials, finish and texture details, once added, help the props department to design and source props that are in keeping. The lighting department need the model for positioning of their lanterns, and whether any colours on the set will absorb the light or if a mirror is being used that will reflect and negatively impact the design. Sound designers might need to place on-stage speakers within the scenery and will need to see where these can go and, if a certain material is being used, this might absorb sound or cause echo.
Inspiring you and your students
This is a valuable learning resource for Drama … Theatre students, Art, Design … Technology, Computer Science, Maths, Physics and History – particularly when you begin to learn about the Greek Theatre history behind the conception of the Olivier stage: I hadn't realised until I started exploring the exhibition that it was specifically about designs of past productions in the Olivier space and the history of the original design and creation of the theatre itself. I took some time to read the book ‘Concrete Reality’ by Patrick Dillon and Jake Tilson, which was housed within the scaled book shelves of the white card models. This book explained about Denys Lasdun's (the National Theatre's Architect) ideas and Brutalist architecture – some added knowledge gleaned from the exhibition.
Having a re-creation of Jocelyn Herbert's West London Studio as part of the exhibition is also a very fitting tribute to her work. The aim of The Olivier was to put the audience and the actors in the ‘same room’ and when Herbert joined the building committee in 1966, she asked how it might be possible to be more inventive and flexible, while not destroying the ‘one room’ feeling.
It is brilliant that ‘Playing with Scale’ brings this backstage area, so often hidden with an air of illusion and mystery, to the very front of the stage – front of house in fact – in a free, accessible to all, interactive exhibition which educates and inspires. The everyday theatregoer learns just how much creativity, hard work and skill goes into creating the set of the productions they enjoy.
Eleanor Margolies says ‘…set models are made with incredible artistry and accuracy, but they pass through many hands, often getting dented or spattered with paint along the way, and rarely survive beyond the lifetime of the production.’ We are so lucky therefore that the NT Archives preserve such great work and I certainly hope that, for those of you who miss the exhibition, you will be able to go along to the archives and browse these great works of art.