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As a form of stage performance, the importance of stage scenery to musicals is self-evident. It can not only create a suitable drama environment for the play, but more importantly, it can turn the short moments in the theater into eternity in the eyes of the audience. It is the appearance and development of stage scenery that expands the performance space of musicals and vividly strengthens the contrast between time and space, thus making all stage activities and scenes of musicals go smoothly.
The design of stage scenery is an extremely important part of music creation. Stage designers must read the script carefully and understand it deeply. On this basis, they should, according to the director's creative ideas, build a space for the future performance of musicals, provide a reasonable schedule for the performance, and reveal the connotation and implication of the drama by artistic means.
Stage scenery design is a comprehensive and complicated work, which usually involves architecture, materials, lighting, technology and aesthetics. Its style and form are very important for a play, which can fundamentally affect the style and style of a musical. Therefore, whether the director and the stage designer cooperate tacitly or not, and whether the stage scenery design is appropriate or not, will often affect the success or failure of the drama performance.
Similar to the development of musical itself, the stage scenery has also experienced a development process from scratch, from simple to complex. In the early musical repertoire, because the story of the musical itself is relatively simple, a play usually has only a few scenes, even a one-act play, and the number of actors in a musical is relatively small, so the stage scenery is dispensable and there is no special requirement. At that time, the stage designer in the musical was not a full-time fixed job. Often before a drama is staged, the theater manager feels it necessary to design the stage, and then temporarily finds a designer to direct it. However, the stage scenery designers at that time did not have an overall design idea, and there was no unified requirement and specification for the stage scenery in musicals, so the stage scenery was often improvised by designers.
The scenery produced in this environment is basically related to the designer's own level and hobbies, and has no direct relationship with the plot. Although the designer can draw a beautiful stage curtain background, it can only be regarded as a beautiful canvas that has nothing to do with the plot, and it can't play a role in shaping characters and promoting the plot. Moreover, the scenery has largely followed the traditional way in old operas and musicals, which is limited to the plane and frame stage mode, and the dramatic environment is only displayed by the canvas hanging behind the actors. If it happens in a palace, a magnificent palace curtain will be hung, while if it happens in a forest, a green forest scene will be put on the stage. Early plays such as "Chorus of Couples" and "Oklahoma" all adopted this setting method to varying degrees. Because there were fewer scenes in early plays, there was no need to carry more drama content, and this flat design could also meet the requirements of musicals at that time.
However, with the development of musical components and the continuous improvement of the status of scripts in musicals, the role of stage scenery and design in musical performances has become more and more prominent, and it has gradually developed from flat to three-dimensional and materialized. The traditional curtain method was questioned and challenged, and the set designers began to break the stage frame mode and seek to update more realistic set devices. Stage scenery design has also become one of the indispensable arts in music performance. The plane curtain was gradually abandoned and replaced by a realistic theatrical environment created by realistic stage props. The "Post Office" set has already appeared in 1930' s Madness of Girls. A small staircase and a small door with one side open were built above the stage to make the actors' performance more natural and real.
The strengthening of science and technology has also greatly improved the ability of stage design and performance. Many achievements of modern science and technology have been applied to the stage, thus creating a stage spectacle with more and more exquisite scenery and props and more magnificent momentum for us. Another representative work of Weber, Phantom of the Opera, has been a great success and enduring. In addition to the thrilling plot and gripping drama suspense, the contribution of stage setting is undeniable. The ever-changing stage mechanism has become an important means to attract the audience, and perhaps nothing can impress the audience more than the underground lake scene in the play. As a shelter for ghosts, this underground lake is full of mystery and terror. Maria Bujonson vividly shaped this illusory and beautiful world for us through sound, light and various lights. Similar to the movie montage, this horrible world is no longer frightening, and the audience has a deeper understanding of the lonely and sensitive "ghost".
In addition to completing the basic task of setting off the plot and creating the atmosphere, the stage scenery sometimes needs to carry more missions. In the eyes of talented drama director harold prince, stage scenery can often be the most powerful means to set off the theme, and sometimes it is even more direct and effective than script and dance. In his famous work Hotel (1966), he adopted a brand-new design to enhance the stage expressive force of the play. There is a huge mirror hanging on the stage curtain, which can directly reflect the appearance of the theater audience. The distorted faces of the audience reflected in the mirror reflect the theme of the play: the philosophy behind the mirror refers to the rampant racism in the United States at that time, while the distorted faces imply the dark side of people's hearts. Prince pointedly pointed out that the United States at that time, like Germany, was in danger of being corrupted by fascist centralization. This idea is amazing, and it also makes Prince famous.
Examples of this are The Partner and The Rich Show, which were later co-productions of Prince and Sondheim. Prince's idea of attaching importance to stage scenery also runs through these two plays, and stage designer Harrison has a good understanding of the director's intention, thus presenting a unique spectacle of stage performance for the audience.
In Partner, in order to show the contradiction, estrangement and lack of communication in modern marriage discussed in this play, Harrison designed a unique stage based on his understanding of life in New York for many years: different platforms made of metal skeletons, curtains made of transparent glass between platforms, and elevators that can move up and down in the middle of the whole platform. This "structuralism" technique vividly shows the audience a cold and depressing picture of urban life.
In this stage design, actors can see what is happening in the elevator in the center of the platform through transparent glass, but they have no idea about the world around them, which is a good allusion to man-made obstacles in urban life. The elevator in the middle is not only convenient for people to go up and down stairs, but also has a deeper meaning: the activities and exchanges between men and women in cities are mostly vertical, but rarely flat. People keep climbing for the status and reputation of social respect, but they always ignore the most precious family around them. The elevator has become their best tool to escape from reality and paralyze themselves. This profound design technique completed the "concept" that Sondheim wanted to express.
The stage set design in "Rich Show" reproduces the artistic conception of "rubble and ruins" that the director prince wants to pursue, and creates an environment full of memories in the Winter Garden Theater. Boris Aronsan, a stage designer, made full use of the height of the Winter Garden Theatre, and set up multi-level platforms on both sides of the stage, which can be moved at will, thus skillfully connecting reality and memories through different heights of the same platform. However, when all the high platforms appeared on the stage, the actors completed the transformation from the past to the present on the high platforms, and different heights represented different performance periods of the actors. Once the high platform is completely removed, the whole stage becomes more and more spacious and empty, bringing people back to the splendid performance venue with infinite scenery. In addition, the stage has been specially placed with incomplete statues, withered stage frames and other props suggesting incompleteness. These alternating "fragments" complement the sense of "ruins" created by the whole drama, giving the audience infinite reverie.
Simply put, the set design in musical can be roughly divided into two parts: one is the set design, and the other is the set production team. Of course, the set design is done by the set designer. Generally speaking, the work of a scenery designer can be divided into the following steps:
First of all, after studying the script in detail, I will discuss and communicate the creative ideas with the director, and then combine my own imagination with the director's imagination to find a suitable starting point as the starting point for creating the stage scenery.
Then I will start sketching, outline the stage image and layout in my mind, and then discuss it further with the director.
Next, once the scheme is accepted by the director and the whole creative team, the designer should have a full understanding of the theater, especially the stage space and its equipment, and have an accurate grasp and understanding of the parts that need to be adjusted and improved.
After the field trip, the designer will draw a plan and a three-dimensional perspective. In the floor plan, the location and size of each scene, the specific placement time and location of each prop and the use of the stage position should be accurately marked as the basis for making the installation scenery and props. At the same time, it is necessary to provide a clear stage environment for lighting designers, so that their work can be synchronized and constantly adjusted according to the changes in reality.
Finally, after everything is basically determined, the stage designer can reduce the production model according to the proportion of the whole installation set as a reference for further production of the set. The set model is of great reference value to other parts of the theater, which can let directors and actors better understand the drama environment they want to contact.
The work of the set production team is rather trivial. After they get the designer's floor plan and three-dimensional map, they purchase materials and make various sets that meet the performance requirements according to the map. It is the unknown efforts of the whole group that have created a colorful and wonderful landscape on the colorful stage.
In the past, the audience watched all kinds of performances and drama pictures through the mounted scenery on the stage, but today, everything has made progress, the stage designer has broken through the traditional constraints and restrictions, the three-dimensional and humanized stage has given the audience more theater feelings, the relationship between the audience and the performance area has been completely changed, the performance has become more and more integrated into the audience, and the sense of scene has increasingly become the goal pursued by the director. It is believed that with the further strengthening and improvement of scenery technology, the techniques of stage performance will be more diverse and the stage will become more and more beautiful.