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The term "properties" in the context of the stage made its first appearance in the English language during the 1425 CE Morality play, "The Castle of Perseverance." Fast forward to 1841, and we see the emergence of the abbreviated form "props," while the singular "prop" found its place in 1911. During the Renaissance in Europe, small acting troupes operated as cooperatives, sharing resources and dividing earnings. While performers often provided their own costumes, certain items, such as stage weapons or furniture, were deemed "company property," hence the term "property."
The linkage between "property" as ownership and "property" as stage or screen objects is fundamental.
Essentially, these objects "belong" to whoever employs them on stage. This connection persists across different mediums, whether it be theatre, film, or television. As Bland Wade, a seasoned properties director, notes, "A coffee cup onstage is a coffee cup on television, is a coffee cup on the big screen." However, he also emphasizes the existence of different responsibilities and vocabulary across these mediums.
Delving into history, the earliest known props were stylized hand-held masks called Onkoi, utilized by performers in Greek Theatre.
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These masks have endured through time, evolving into the iconic "comedy and tragedy masks" symbolizing theatre. The term "theatrical property" was coined to describe objects integral to stage plays and similar entertainments, furthering the narrative or action.
Technically, a prop can be any object that imparts a specific period, place, or character to the scenery, actors, or performance space.
Originally rooted in live-performance practices, especially theatrical methods, the term has evolved to encompass a broad spectrum of artistic performances, extending to film, television, and electronic media. Props in a production usually originate off-stage, unless preset before the production begins. They are stored on a backstage prop table during production and locked in storage between performances.
The individual responsible for handling props is commonly referred to as the props "master" or "mistress." Additional roles include coordinators, production assistants, and interns, depending on the project's scope. In modern usage, the term seamlessly transferred to television and motion picture production, where it is often interchangeable with "movie prop" or "film prop." The increasing popularity of movie memorabilia has given new life to the term, elevating props to coveted collector's items.
Noteworthy is the fact that many props, while seemingly ordinary objects, must "read well" from the audience or on-screen. This means they must look authentic to fulfill their narrative purpose. Real objects are not always suitable due to size, durability, or appearance under bright lights. Therefore, some props are specially designed to look more authentic than the actual object.
Special props, such as a prop sack or a prop weapon, are designed with functionality and safety in mind. For instance, a prop sack might contain an inner black fabric bag for strength and to conceal contents, creating a visual illusion for the audience. Prop weapons, whether on stage or in film, are typically non-operable replicas or have safety features to mitigate the risk of harm.
Breakaway objects or stunt props, including balsa-wood furniture or sugar glass, provide the illusion of real breakage without posing significant risks due to their lightweight and weak structure. Even seemingly safe props may involve stunt doubles for shots requiring the use of breakaway items to ensure the safety of the main actor.
The role of prop designers has gained prominence, working in tandem with set designers, costume designers, lighting designers, and, at times, sound designers. Prop design has become more specialized, driven by a pursuit of realism and the rise of theatre in the round, where props play a crucial role in the absence of elaborate sets. Beyond artistic creations in the prop workshop, a significant part of the prop designer's work involves research, phone searches, and the practical aspect of sourcing required items.
While prop designers may not always receive explicit credit in theatre, film credits routinely acknowledge the entire staff of designers, artisans, and craftsmen. The evolving landscape of theatrical properties reflects not only changes in performance practices but also the increasing importance of props in shaping the visual and narrative aspects of diverse artistic productions.
In conclusion, the journey of theatrical properties unfolds as a fascinating exploration of historical, artistic, and functional dimensions. From their earliest manifestations in Greek Theatre to their integral role in contemporary film and television, props have evolved into powerful tools that transcend the boundaries of medium. The interplay between ownership, functionality, and aesthetics underscores the significance of props in conveying a specific period, place, or character within the realm of performance arts.
The enduring legacy of theatrical properties lies not only in their ability to enhance storytelling but also in their capacity to captivate audiences and collectors alike. As we navigate the intricate world of props, we recognize them not merely as inanimate objects but as dynamic contributors to the rich tapestry of human expression in the performing arts.
Theatrical Properties: Unveiling the Historical Tapestry. (2016, Sep 26). Retrieved from https://studymoose.com/theatrical-property-essay
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