PREVIOUS STUDENTS
2013 PROGRAMME
In 2013 the Scenehouse programme expanded to 8 weeks. Lucia and Craig who did the whole programme reflect on their experience, as well as Nikki who joined us for the 4 weeks of the design course. Their comments are taken from our end of course tutorials.
Lucia - Fine artist
I wanted to get a hands on experience of what it would be like to work in theatre; in props, painting and design, learn the fundamental skills involved and enjoy myself at the same time, to meet and work with new people and work really hard, and that’s exactly what I got from it. Yes doing the whole 8 weeks was very tiring but that level of intensity was what I was looking for. We didn’t mind the hours.
I do have a lot more confidence now to go on and apply for work and I have a portfolio of images to support it. It’s up to me now to keep up and build on those skills.
I think that sometimes for creative people there are so many possible avenues you want to explore it can be really hard to pin down exactly what it is you want to do. This time last year I was thinking of going into painting restoration. But the course has really proven to me that this is what I want to do. It naturally pulls together all of my interests in fine art and making and performance.
I know that Scenehouse is new but I’m certain that in a few years it’s going to have a massive reputation. Myself and the others were really impressed at all the effort you'd put into to organising all the trips and lecturers. Seeing your dedication was inspiring. It really kept us all motivated and working hard.
I wanted to get a hands on experience of what it would be like to work in theatre; in props, painting and design, learn the fundamental skills involved and enjoy myself at the same time, to meet and work with new people and work really hard, and that’s exactly what I got from it. Yes doing the whole 8 weeks was very tiring but that level of intensity was what I was looking for. We didn’t mind the hours.
I do have a lot more confidence now to go on and apply for work and I have a portfolio of images to support it. It’s up to me now to keep up and build on those skills.
I think that sometimes for creative people there are so many possible avenues you want to explore it can be really hard to pin down exactly what it is you want to do. This time last year I was thinking of going into painting restoration. But the course has really proven to me that this is what I want to do. It naturally pulls together all of my interests in fine art and making and performance.
I know that Scenehouse is new but I’m certain that in a few years it’s going to have a massive reputation. Myself and the others were really impressed at all the effort you'd put into to organising all the trips and lecturers. Seeing your dedication was inspiring. It really kept us all motivated and working hard.
Craig - Fine artist
Initially I was just interested in scenic painting really, just to see if I could move up from the sort of painting that I do now, but make it work at a theatrical scale. And I was interested in the model and props making skills too. But obviously that developed and changed after the first week, and I became more and more interested in the whole process of design. The design part of the course, that last month, was unbelievable. So now I think I want to get into set design and also to learn more about lighting.
The course was so intense. I wasn’t expecting to learn so much so quickly. That’s one of the reasons I decided I had to stay on and do the whole 8 weeks (Craig initially signed up for the first 4). It was quite an experience, coming in each morning. By the end of the course and everyone being shattered but smiling.
The course delivered on all of the things I was expecting to get out of it, absolutely. But it leaves you wanting to know more. Now I’d wish there’d been a section on carpentry.
(We are looking at adding a short carpentry course outwith the main 8 week programme)
Initially I was just interested in scenic painting really, just to see if I could move up from the sort of painting that I do now, but make it work at a theatrical scale. And I was interested in the model and props making skills too. But obviously that developed and changed after the first week, and I became more and more interested in the whole process of design. The design part of the course, that last month, was unbelievable. So now I think I want to get into set design and also to learn more about lighting.
The course was so intense. I wasn’t expecting to learn so much so quickly. That’s one of the reasons I decided I had to stay on and do the whole 8 weeks (Craig initially signed up for the first 4). It was quite an experience, coming in each morning. By the end of the course and everyone being shattered but smiling.
The course delivered on all of the things I was expecting to get out of it, absolutely. But it leaves you wanting to know more. Now I’d wish there’d been a section on carpentry.
(We are looking at adding a short carpentry course outwith the main 8 week programme)
Nikki - Various previous experience in Stage management and Arts Management positions.
I hadn’t been in a rehearsal room in quite some time so it was really nice on that first day (of Design 1) to get into the space and being able to look at those familiar elements, but in a new way. The “figures in space work” was really exciting. Getting back to basics and thinking about the stage from a design perspective That was really lovely, I really enjoyed that first day.
I did get a little bit frustrated during the discussions around production schedules and rehearsal plans but that’s because those are the elements of this job I’ve previously lived and breathed, but then the next day we were technical drawing, something totally new and challenging for me, that was really satisfying. I knew there would be those moments of frustration going into the course but didn't expect them to pass so quickly.
I really wanted to acquire the key technical design skills; technical drawing, working at scale, model making, that whole area. I’d never had any experience with anything like that before. I also just wanted a playground to test my own conceptual ideas as a designer. I felt I had some innate talent but I wanted to challenge my own abilities in a more professional environment and get feedback from professional practitioners.
Networking and getting a sense of the scene in Scotland was also an important element of the course. Just learning about the different producing companies and different organisations that make up the working world here. Hearing those names bouncing round the room was really useful.
The course definitely met all of those needs for me, absolutely, I couldn’t express that more. My only wish was that the course were had been longer, that we had more time to spend on things like CAD or Costume Design. But at least I know where to look now and I can take that forward. It’s opened up so many avenues.
I hadn’t been in a rehearsal room in quite some time so it was really nice on that first day (of Design 1) to get into the space and being able to look at those familiar elements, but in a new way. The “figures in space work” was really exciting. Getting back to basics and thinking about the stage from a design perspective That was really lovely, I really enjoyed that first day.
I did get a little bit frustrated during the discussions around production schedules and rehearsal plans but that’s because those are the elements of this job I’ve previously lived and breathed, but then the next day we were technical drawing, something totally new and challenging for me, that was really satisfying. I knew there would be those moments of frustration going into the course but didn't expect them to pass so quickly.
I really wanted to acquire the key technical design skills; technical drawing, working at scale, model making, that whole area. I’d never had any experience with anything like that before. I also just wanted a playground to test my own conceptual ideas as a designer. I felt I had some innate talent but I wanted to challenge my own abilities in a more professional environment and get feedback from professional practitioners.
Networking and getting a sense of the scene in Scotland was also an important element of the course. Just learning about the different producing companies and different organisations that make up the working world here. Hearing those names bouncing round the room was really useful.
The course definitely met all of those needs for me, absolutely, I couldn’t express that more. My only wish was that the course were had been longer, that we had more time to spend on things like CAD or Costume Design. But at least I know where to look now and I can take that forward. It’s opened up so many avenues.
2012 PROGRAMME
Katie - Recent Theatre Studies graduate
The four weeks have been massively helpful and enlightening. Set design before was a bit of a mysterious process. I’d thrown stuff together without plans or model boxes. I’d not been through the process of design, so going through that has been really great. What I had from my previous course was a sense of dramaturgy and how the designer tells a story. What the course has given me are the skills and process to bring it all together.
I think the studio time was the most valuable aspect of the course for me because I’ve just not had tuition in that way, one to one. Design 2 really let us come forward with our own designs, with Sarah acting as a sort of combined director and production manager.
The theatre visits were good. I’ve been on backstage tours before but not up into the flies. And getting the detailed technical explanations of how everything works, so you can start to play with it in your mind. That was amazing. The Traverse tour was brilliant.
The guest speakers were great. Particularly Kirsty, ( Kirsty McCabe – Designer of “Stones in His Pockets” at the Tron Theatre ) because I’d like to think that she’s where I’ll be in a couple of years time. It’s good to hear from our generation of designers and how they go about getting work. I thought because she’s gone to the RCS that she’d have walked straight into a job, but it wasn’t like that. It’s kind of reassuring, that you don’t have to go to one of the big conservatoires to be in with a chance.
The talk on being self-employed, tax, insurance and all that was pretty terrifying, but it’s all stuff you need to know. That’s the bit that scares me so I’m glad we covered it.
It was a really great moment when we finally presented our independent designs. That moment of lighting the model box with the figures in it and your research laid out. You’re saying this is it. This is my vision.
The four weeks have been massively helpful and enlightening. Set design before was a bit of a mysterious process. I’d thrown stuff together without plans or model boxes. I’d not been through the process of design, so going through that has been really great. What I had from my previous course was a sense of dramaturgy and how the designer tells a story. What the course has given me are the skills and process to bring it all together.
I think the studio time was the most valuable aspect of the course for me because I’ve just not had tuition in that way, one to one. Design 2 really let us come forward with our own designs, with Sarah acting as a sort of combined director and production manager.
The theatre visits were good. I’ve been on backstage tours before but not up into the flies. And getting the detailed technical explanations of how everything works, so you can start to play with it in your mind. That was amazing. The Traverse tour was brilliant.
The guest speakers were great. Particularly Kirsty, ( Kirsty McCabe – Designer of “Stones in His Pockets” at the Tron Theatre ) because I’d like to think that she’s where I’ll be in a couple of years time. It’s good to hear from our generation of designers and how they go about getting work. I thought because she’s gone to the RCS that she’d have walked straight into a job, but it wasn’t like that. It’s kind of reassuring, that you don’t have to go to one of the big conservatoires to be in with a chance.
The talk on being self-employed, tax, insurance and all that was pretty terrifying, but it’s all stuff you need to know. That’s the bit that scares me so I’m glad we covered it.
It was a really great moment when we finally presented our independent designs. That moment of lighting the model box with the figures in it and your research laid out. You’re saying this is it. This is my vision.
Lauren - Graphic Artist
I feel like I’ve learned a ton. There are days when I’ve been like a sponge that can only absorb so much and your mind is straining to cope, but that’s exactly what I was looking for, and I’ve thrown myself into it.
It really helps the way the days are broken up by the schedule. It was great that when you’re in the studio and you’ve gotten to the point that your brain is struggling, then suddenly, OK there’s a field trip this afternoon. You get that change, and you’re still learning a whole bunch, and you can cope.
The Skyping worked really well. It was great having Tom Piper with us. I wondered if it would work as well as a visit, and it did.
The intensity was really good. I was amazed that we all produced our solo designs in a week. We all thought we’d need way more time, but Janis was right ( Janis Hart, tutor for the individual project * ) we could do it and we managed it.
And the group design project the next week was also really focused but in a completely different way. I love those periods of intensity because I guess that’s how it is in the industry.
Completing my individual design felt so great because I know that I just couldn’t have done that just two weeks earlier. Getting to that complete finished product, I really liked that.
There were a few real revelations: I think the very first day ( the body in space work in the rehearsal room ) really helped to think about design from a performers’ perspective. That was so useful.
I feel like I’ve learned a ton. There are days when I’ve been like a sponge that can only absorb so much and your mind is straining to cope, but that’s exactly what I was looking for, and I’ve thrown myself into it.
It really helps the way the days are broken up by the schedule. It was great that when you’re in the studio and you’ve gotten to the point that your brain is struggling, then suddenly, OK there’s a field trip this afternoon. You get that change, and you’re still learning a whole bunch, and you can cope.
The Skyping worked really well. It was great having Tom Piper with us. I wondered if it would work as well as a visit, and it did.
The intensity was really good. I was amazed that we all produced our solo designs in a week. We all thought we’d need way more time, but Janis was right ( Janis Hart, tutor for the individual project * ) we could do it and we managed it.
And the group design project the next week was also really focused but in a completely different way. I love those periods of intensity because I guess that’s how it is in the industry.
Completing my individual design felt so great because I know that I just couldn’t have done that just two weeks earlier. Getting to that complete finished product, I really liked that.
There were a few real revelations: I think the very first day ( the body in space work in the rehearsal room ) really helped to think about design from a performers’ perspective. That was so useful.
Isabel - 2nd Year design student
I would recommend the course to anyone who wants to design. It’s been a great combination of elements, the site visits and the people we’ve been speaking to, it all just flowed really well. I liked the structure. It’s important to know exactly what we’re going to be doing every day. On Thursday evening we’re going out to see a show, on Friday we have a guest speaker...and so on.
Throughout the course I’ve felt like I’m learning in every minute, particularly about theatre culture. And I had all these doubts. I’d been sitting in my room in London thinking “where do I start”, and this has given me a way through, because you’re being pushed. The pressure is good. There’s no time to worry, you just have to start; and then you achieve. It’s great to have these new skills, to really understand scale drawing and to have learnt about new techniques and materials. I’m leaving feeling a lot more confident about what I’m doing.
I loved it.
I would recommend the course to anyone who wants to design. It’s been a great combination of elements, the site visits and the people we’ve been speaking to, it all just flowed really well. I liked the structure. It’s important to know exactly what we’re going to be doing every day. On Thursday evening we’re going out to see a show, on Friday we have a guest speaker...and so on.
Throughout the course I’ve felt like I’m learning in every minute, particularly about theatre culture. And I had all these doubts. I’d been sitting in my room in London thinking “where do I start”, and this has given me a way through, because you’re being pushed. The pressure is good. There’s no time to worry, you just have to start; and then you achieve. It’s great to have these new skills, to really understand scale drawing and to have learnt about new techniques and materials. I’m leaving feeling a lot more confident about what I’m doing.
I loved it.
Karianne - Theatre Practitioner
I entered this course with a theatre background, and I left feeling more inspired than ever. Each session was carefully planned in diverse topics within the world of theatre, with time to reflect and discuss along the way. When I think about my time at the Scenehouse, I remember the enthusiasm and passion for theatre design amongst our tutors. Such a great inspiration source, thank you all!
I entered this course with a theatre background, and I left feeling more inspired than ever. Each session was carefully planned in diverse topics within the world of theatre, with time to reflect and discuss along the way. When I think about my time at the Scenehouse, I remember the enthusiasm and passion for theatre design amongst our tutors. Such a great inspiration source, thank you all!