Zen and the Art of Prop Making

A realistic flame effect can be obtained with orange coloured lights shining on white pieces of silk fluttering in the air above an electric fan. This is an old theatrical trick that is still convincing today. It’s suitable anywhere you want a realistic flame effect without the inherent danger of using real flames. It is ideal for theatre, parties or special events. Steps in creating a realistic flame effect The following steps are a general guide only and each situation will be different. The basic principles in creating a realistic flame effect remain the same. Step 1 A metal fire cradle is first constructed to look like a typical fireplace. The dimensions will depend on your particular application. This fire was designed to fit inside a moveable timber fireplace that was used in an Opera Australia production of “La Voix Humane” in 2005. Step 2 The success of the effect depends on a quiet electric fan. A large volume of air is needed to blow several pieces of silk. C

There are many occasions in theatre and film where latex bladders of a specific shape and size are needed for props or special effects. Sometimes a commercial product can be adapted but generally they need to be made This simple technique can be adapted to make latex bladders for any situation. The steps involved in the process were originally developed for the construction of a spurting blood razor for the 1998 Opera Australia production of "Sweeney Todd". Steps to make latex bladders The following steps illustrate the principle of making latex bladders for a specific purpose. They can be adjusted as necessary to adapt to the intended use required. Step 1 The original CAD drawings of the razor were used to produce DXF files and the razor part were laser cut in aluminium. When the parts were assembled the handle had a hollow recess into which a clear Perspex trigger handle could slide. Squeezing the trigger handle into the body of the razor compressed the blood fi

One of the things I always like to point out to prospective prop makers is that it is important to put yourself into the position of the actor or peformer who will be using the prop. The reason for this is that all too often a prop is built or *fixed* with no consideration as to how it will be used. This can be disasterous for a performer when a prop fails during a performance. Another consideration is how they will be handled. The precious prop you have put hours of creative work into has to be treated carefully and with respect, right? Unfortunately the reality is they can be treated very roughly during performances particularly if some other problem crops up during a show. The poor prop usually takes the brunt of the performers angst! When not being used there is not a lot of thought given to caring for the props and they are usually thrown into a box or placed in a corner where they are exposed to all sorts of accidental damage. By putting yourself into the mindset of