Space	Time/duration	Dilevery/encounter	Structure/progression
Set	light	Costume	Set
Light	Sound	sound	Costume
Sound	costume	Set	light
Costume	Set	light	sound

SPACE

Set : memainkan peranan penting dalam menjangka bilangan penonton yang menyaksikannya, keluasan dan rekaan pentas, susun atur ruang lakonan, penggunaan ruang untuk aktor termasuklah persekitran rekabentuk dalaman sesebuah panggung. Hal ini kerana mempengaruhi kesan visual yang dilihat dalam panggung tersebut.

Light : memainkan peranan penting untuk menimbulkan perasaan mood dan suasana drama dalam bentuk visual iaitu dapat dilihat oleh deria mata. Ruang besar dan kecil juga memberi kesan  terhadap percahayaan dalam memenuhi keseluruhan dalam set. Ruang juga penting terhadao bilangan lampu yang dipasang. Lighting juga memberi kesan khas terhadap bentuk ruang yang dihasilkan. Contohnya pantulan projekter terhadap skrin pentas bagi menghidupkan suasana pentas.

Sound : memainkan peranan dalam  memberi suasana dramatik daripada bunyi. Ruang yang besar dan kecil memberi kesan  terhadap kualiti yang dihasilkan.  

Costume :  tidak berapa penting terhadap ruang. Hal ini kerana costume lebih menumpukan pakaian pelakon dan props dan tidak memberi kesan terhadap set. Hal ini kerana Pentas adalah untuk pelakon yang memberi ruang terhadap gerak geri dan keluasan yang menentukannya untuk pelakon beraksi .

TIME

light : memainkan peranan yang sangat penting dalam mengawal lampu tepat dalam setiap babak yang berlaku atau suasana dramatik yang berlaku. Contohnya babak seram, peralihan lampu terhadap pentas hendaklah bersesuaian dengan plot tersebut iaitu penggunaan warna panas. Contohnya merah, kuning dan oren.

Sound :  memainkan peranan yang penting dalam mengawal bunyi di setiap sudut ruang pentas. Ketepatan masa dalam mengawal bunyi dalam setiap plot drama memberi kesan terhadap penonton yang mendengarnya disamping melihat terhadap visual yang dilakukan oleh aktor tersebut.

Costume : costume kebiasaannya tidak lebih spesifik kepada masa. Hal ini kerana ia lebih menfokuskan  satu babak ke satu babak yang lain.

Set : tidak memainkan peranan yang penting kerana set tidak memerlukan masa. Hal ini kerana set tersebut sudah sedia ada.

Publish

Adolphe Appia


          When he died on February 29,1928. His friend and Jacques Copeau accurately summed up Appia radical reform of the stage. For him, the art of stage production in its pure sense was nothinh other than the embodiment of a  text or a musical composition, made sensible by the living action of the human body and it reaction to space and masses set against.
Adolphe Appia was published two of major book in his lifetime.

• Music and the Art of Theater (1892) and The Work of Living Art (1921)

Adolphe Appia

Adolphe Appia (1862-1928)

Adolphe Appia (1862-1928) developed theories of staging, use of space and lighting which have had a lasting influence on modern stagecraft.

          The two most important theoreticians and designers of the non-illusionist movement were the Adolphe Appia and the Englishman Edward Gordon Craig. Appia began with the assumption posited by Wagner that the fundamental goal of a theatrical production  was artistic unity. However, Appia felt that the incongruity of placing three-dimensional actors in front of two-dimensional settings, which many of the stage reformers rejected, was intensified by the mythic, symbolic nature of the Wagner operas. He concluded that there were three conflicting elements in production,the moving three-dimensional actor, the stationary vertical scenery, and the horizontal floor. He categorized stage lighting  under three headings: a general or acting light, which gave diffused illumination; formative light, which cast shadows; andimitated lighting effects painted on the scenery. He saw the illusionist theatre as employing only the first and last of these types. Appia proposed replacing illusory scene painting with three-dimensional structures that could be altered in appearance by varying the colour, intensity, and direction of lighting. The solid structures, according to Appia, would serve to create a bond between the horizontal floor and the vertical scenery and enhance the actor’s movements, which were rhythmically controlled by the music of the score. The lights, too, would change in response to the musical score, thus reflecting or eliciting changes in emotion, mood, and action. In creating a scene, Appia conceived of light as visual music with an equal range of expression and intensity.

      Appia elaborated his theory through a series of proposed designs and mise-en-scènes (complete production plans) for Wagner’s operas. He was brutally rebuffed by Wagner’s widow, who considered his projects the work of a madman. Intensely shy, he created only a few designs and realized even fewer productions. His influence spread largely through his three books on staging and lighting design published from 1899 onward, one exemplary performance in a private theatre in Paris in 1905, and his collaboration with Emile jaques-Dalcroze. Jaques-Dalcroze was a fellow Swiss who developed, and published in 1906, a system of physical exercises that he called eurythmics , intended to inculcate in the student a sense of rhythm and control over it. The exercises made liberal use of space and grew into an expressive dance movement. For Appia, eurythmics became a part of his integrated system of production. In 1912, at Hellerau on the outskirts of Dresden, as part of one of the first garden city  developments in Europe, a large hall was built to the design of Appia and Jaques-Dalcroze. Stage and auditorium were united as a single rectangular hall without proscenium or separate lighting. The walls and ceiling were hung with translucent silk through which beams of light filtered. The lighting equipment comprised 10,000 lamps, all controlled by a gigantic console capable of fine gradations of intensity. Appia designed an abstract scenic architecture of platforms and steps that could be arranged in a variety of combinations. Every trace of illusionistic scenery was dispensed with, and the setting served only as a structural foundation for the rhythmic, gymnastic movements of the players. The few performances, which were interrupted by the outbreak of World War I, were attended by many of the leading innovative directors in Europe at that time.

        Where as Appia’s work followed a continuous developing line, Craig’s was characterized by a restless experimentation. His early productions of Purcell and Handel operas at the start of the century explored the use of the “frieze” or “relief” stage a wide, shallow stage surrounded by drapes, structures in geometric shapes, and a lighting system that dispensed entirely with footlights and side lighting and used only overhead sources. In order to facilitate this and make colour changes possible, Craig devised an overhead bridge accessible from both sides. Although Craig’s designs stressed vertical planes as against Appia’s horizontal ones, in the operas he utilized a series of levels for the action. His designs for Purcell’s Dido and Aeneas used no wings or borders. The back drape ascended to the flies (space over the stage from which scenery and lights can be hung), and the proscenium  was very low in contrast to the great width of the stage. The sides of the setting were enclosed by curtains hung at right angles to the proscenium arch. What impressed many of those who were present was the use of colour symbolism in the costumes, settings, and lighting and the extraordinary consistency with which Craig manipulated all of the elements of the mise-en-scene

resourses :

1.www.britannica.com/EBchecked/topic/30582/Adolphe-Appia.