Technical Theatre/Prop Design

The prop design of each show depends on the artistic style of both sets and costumes, as well as the requests and needs of the director and/or choreographer. At a first reading of the script, the property designer will make a general list of all mentioned items and those that can be inferred from narration. Basic background research will begin for the look of items from a set period and location. Communication with all departments and designers helps to eliminate various items that overlap into costumes or set Lists. An initial "Prop list" is generated and dispersed to each of the other designers as well as the director, and all relevant parties. After receiving notes from the various departments, the "prop list" is updated and a second reading of the script is done to double check information gathered is consistent with script requirement as written. Research continues and narrows in on items that will require special attention. Budget constraints require that many items be used from stock, borrowed or rented before a purchase of a new item is made. Some items that are not in the company stock and cannot be located are fabricated. Props from a period settings are not always widely available and often require some amount of research to determine what the item is, how it was used and where it can be located.

Prop
A property is designated depending on the theatre and the structure of design responsibility set by years of trial and error. It is common for a prop to be defined as anything that is not firmly adhered or 'nailed' down to a piece of setting. This may include all set dressings and furniture as well as hand held "props". Other theatrical organizations may only designate that which the actor actually picks up as a 'prop'. The range in-between varies. Props may be an item usually associated with another department or require close work with them. Costume pieces may sometimes be the responsibility of the costume department to fabricate and then be tracked in rehearsal and performance by the prop department such as hat and purses, coats that come off or never worn but held as part of the costume. At other times in the script, a dress may be picked up and packed in a suit case on stage and never worn. The prop department would acquire one of the correct period, basic size, etc. and may possibly require the approval of the costume designer. Another example of a possible cross over would be a microphone. If live, it would require input from both the sound and electrics department but may be chosen and tracked by the prop department. The choice of microphone may require the input of the sound designer, set designer and the prop designer.

In some theatres a prop may be among many different elements layered on top or around each other with backdrops and architectural elements, elaborate costumes, large ensembles as well as lighting. With theatre in the round the elements are distilled down to the most basic elements. The 360 degree "line of site" adds limitations to sets. While costumes may be as elaborate, theatre in the round has a much more limited area then a proscenium and cast size could be limited as well. These are a few reasons that make theatrical properties in this situation stand out more. It also puts a more direct spotlight on the item and in many cases is central to the development of plot or central character.

Specialized props used as 'sight gags' could be a rubber chicken or a more elaborately conceived notion. Simple looking items, in many cases, require specialized work. Requirements, specific to a production may require an item be 'rigged' in one way or another. A burlap bag may require an inner lining smaller than the outer shell that may be stuffed to emulate content.