Questions and Answers Regarding the Application .Of the Open Stage to School, College, and Community Groups, (7)

DOCUMENT RESUME ED 028 609 EF 002 695 The Open Stage, Based on the Designs of James Hull Miller. Hub Electric Co., Inc., Chicago, Ill. Report No-BULL-109-AIA File-31-F-25 Pub Date 65 Note- 72p. Available from-Hub Electric Co., Inc., 2255 West Grand Avenue, Chicago, Illinois 60602 (S1.00) EDRS Price MF-SO.50 HC-S3.70 Descriptcrs-Acoustical Environment, *Aucktoriums, besign, *Dramatics, Equipment, *Facility Case Studies, Lighting, Physical Design Needs, Planning, Projection Equipment, *Stages, *Theaters A complete statement on "the open stage which will prove of value to architects, consulting erigineers and school administrators inthe construction of college, community and school auditorium theaters. Directors and teachers of drama should find this booklet a practical source of advanced technical knowledge in their field. The introduction deals with the language of vision in general while the remaining sections are directed specifically to architects, engineers, administrators, dramatics and background projection. Specific areas dealt with indude--(1) six typical plans and sections with production sketches and brief project histories, (2) curtains and the open stage, (3) acoustical design of auditoriums, (4) architectural and engineering layout factors, (5) lighting equipment and lighting control switchboards, (6) typical questions and answers regarding the application .of the open stage to school, college, and community groups, (7). direction for the open" stage, (8) approach to. Scene design, (9) lighting, (10) stagecraft, and (11). architectural planning to the preparation of imagery. (00

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Illustrations by LIGHT CONTROL Rkhord Leocroft HUB REFERENCE MANUAL No. 109 A Messagefrom Hub Following a tradition of fifty years,the underlying philosophy ofthe Hub Electric Company, continues tobe directed towards engineeredequipment based the The Open on soundartistic principles, these ends cannotbe accomplished without counsel of recognized professionaldesigners. I sincerely believe thatthe Contribu- tors of Bulletin No. 109have made the publication oneof the most complete Stage statements on "The OpenStage" existing anywhere in theworld today. I hope that this material wiii proveof value to Architects,Consulting Engineers and School Administrators, inthe construction of college,community and school INDEX auditorium theatres. Directorsand Teachers of Drama shouldfind this booklet a practical source of advancedtechnical knowledge in theirfield. INTRODUCTION The Language of Vision Page3 I. M. Fixman President Hub Electric Co., Inc. ARCHITECTS' AND ENGINEERS' SECTION Six Typical Plans and Sections, with Production Sketches and Brief Project Contributors Histories Page4 Curtains and the Open Stage Page 15 James Hull Miller,one of the con-tional theatres and television programs temporary pioneers of the free-form openandiscurrently at the University of Acoustical Design of stage, has been consultingdesigner forMinnesota. Professor Atkins isinterested audi- Auditoriums Page 17 some forty theatreprojects. His influencein the different relationships of an ence to radio,television, motion pictures Architectural and Engineering on theatrearchitecture comes from his experiments with visual forms of stage-and especially to thevarious forms of Layout Factors Page 21 dramaticlive theatre. His article herereflects a craft and a new dynamics of for the Lighting Equipment and environment. His background is in tech-study of directoral notebooks apprecia-Stratford Festival Theatre inOntario. Lighting Control nical theatre but he has a keen Page 26tion of modern architectural trends.His Switchboards views are summarized in the Summer Russell Johnson,a member of the 1963 issue of the Tulane Drama Review.staff of Bolt Beranek and NewmanInc., ADMINISTRATORS' SECTION Mr. Miller lives in Shreveport, La. Cambridge, Mass., has served as consultant on the acoustical designof numerous Typical Questions and Richard Leacroft,with professionalcampus and civicauditoriums including Answers Regarding the backgrounds in both architecture andLa Grande Salle at the Place desArts in Application of the Open theatre, is well known for hispublishedMontreal, Clowes Memorial Hall atBut- Stage to School, College research and illustrations. Recent worksler University in Indianapolis, andWar- and Community Groups Page49 include an outline history TheTheatrener Concert Hall atthe Oberlin Conser- (Roy Publications), The Building of An-vatory of Music. He is amember of the cient Egypt (Young Scott Books) andhisAcoustical Society of America, theAudio DRAMATICS SECTION studies on "Actor and Audience" appear-Engineering Society, the UnitedStates Direction for the Open Stage_Page53 ing in the April and May 1963issues ofInstitute for Theatre Technology,and has the Royal Institute of BritishArchitects'authored several articles onauditorium Approach to Scene Design Page56Journal. Professor Leacroft lives inLei-design. the School of Lighting Page61 cester, England, and is with Architecture of the Leicester Collegeof Albrt M. Kogahas designed and de- Stagecraft Page62 Art. veloped special lighting, stagelighting, and lighting control switchboardsin col- Percy Corryhas been closely associ- BACKGROUND PROJECTION SECTION and pro-laboration with architects and engineers ated with theatre, both amateur graduate direc-throughout the United States. A From Architectural Planning fessional, for fifty years, as actor, of the College of Engineering of theUni- tor, technician, lecturerand administra- col- to the Preparation of planner. He hasversity of California, and a former Page 67 tor, and lastly, as theatre lege instructor of mathematics andphys- Imagery factoryin Manchester, an equipment ics, he has had wide experience invarious England, where he also lives. Heis a he has former president of England's first ama-phases of lighting. For many years HUB ELECTRIC COMPANY, INC. been Chief Lighting Engineer of theHub teur little theatre, theStockport Garrick. and is aElectric Company, Inc. and has worked 2255 West Grand Avenue He has written several books consultant to James Hull informa-as technical Chicago, Illinois 60602 regular contributor to Tabs, the projects. StrandMiller on numerous open stage tive quarterly published by the He has served on the Board ofManagers Electric Company of London. Over 50 Years of Service to the of the Illuminating EngineersSociety, Chicago Section, and in variousOffices Educational Theatre Irwin J. Atkinshas been an East Coast actor, has worked in manyeduca-of the Chicago Lighting Club.

2 U.S. DEPARTMENT Of HEALTH.EDUCATION & WELFARE OFFICE Of EDUCATION

EXACTLY IS RECEIVED FROMTHE THIS DOCUMENT HAS BEEN REPRODUCED "PERMISSION TO REPRODUCEMIS IT. POINTS Of VIEW OROPINIONS PERSON OR ORGANIZATION ORIGINATING COPYPAHTED MATERIAL HAS BEENGRANTED REPRESENT OffICIAl OffICE OfEDUCATION STATED DO NOT NECESSARILY Introduction: gy I. PI. ivtcxv FV, POSITION OR POLICY. .

TO ERIC AND ORGANIZATIONSOPERATING The Language UNDER AGREEMENTS WITH MEU.S. OFFICE Of EDUCATION. FURTHER REPRODUCTIONOUTSIDE ME ERIC SYSTEM REQUIRESPERMISSION Of of Vision ME COPYRIGHT OWNER."

The purpose of this bulletin is to orientaudience remembers that is important. With scenery centrally developed, more than one acting area is possible. and encourage ...by the example and In the theatre, itis not always neces- experience of others. The ideas expressedsary to display every single pieceof the It is here that the proscenium frame here are so new that ten years ago thisenvironment as itexists in reallifein and the open stage theatres differ most bulletin could not have been written. order to make the proper impression. sharply. Who were those who went forward and The open stage in allits traditional built without security of prior example? With very elaborate equipment, someforms has always been a free-form, multi- proscenium frame theatres are able toscene theatre, while theproscenium thea- Open Stage Pioneers transcribe scenes taken from life itself.tre was developed around theidea of The open stage enthusiast, however, be-making one scene at a time within the The three general forms of the open lieves that the nature of his theatre per- space defined by the pictureframe. stage described on the following pages,mitS him to cut right to the heart of an the forward thrust platform, the reverseenvironment and select highly character- An example of open stage scenery is curve caliper and thearcade, were pio-istic details which will trigger a chain of illustrated below. It is a typical free-stand- neered, respectively, by Art Cole and theimagery in the mind of the audience. ing set, here formed primarily of folding Midland Community Theatre, Ted Skin-This can provide much the same post- arch screens and self-supporting by virtue ner and the LamarCollege of Technol-production recall as if the spectator had of its angular deployment. ogy in Beaumont,Texas, and Barbaraseen the actual objectsrendered in com- Lange of Swarthmore College in Penn- Obviously the size of the platform up- plete detail. placed is of no con- sylvania. on which this set is cern, for the same setcould be placed Behind these projects lie the influencesAdvantage of the Open Stage with equal success upon a dais at the end of Thomas Wilfred in lighting research, of a ballroom. Masked areas and covered John Ashby Conway in production, What, then, is the particular nature ofpassage to the vicinityof the island are George Kernodle in his penetrating writ-an open stage theatrewhich makes this created by folding screens of variously possible? The answer lies in the neutral ings of the historical time-space equa- sized panels. tions, and Eric Paw ley, architect and stu-enclosure of the playing area by architectural decor. Inthis space thereis dent of visual psychology. placed free-standing scenery in the Who is the Open Stage Client? amounts and sizes determined by the Scene Design Defined Resistance to the open stage is largely scenic artist. resistance to new forms of scene design, Scene design is the language of vision and as such, is largely institutional in which communicates the meaning of the It will be seen at once that this sort ofcharacter, in much the same manner as dramatic environment to the audience.scenery dominates the heart of anacting"academy" painters discourage new artis- And, in the last analysis, itis what thearea, rather than definingits perimeter.tic delineation and "conservatory" musi- cians frown on new tonalities and modular systems.

The typical open stage clientis one whose resources are modest. He is also aware that the traditionalmethods of theatre communication have become costly and, in many instances, of dubious value from a practical standpoint. Being knowledgeable in contemporary art and architecture, fields which have undergone considerable changes in the last twenty years, he acts upon new ideaswhich may help him create a first class theatre along open stage lines. JAMES HULL MILLER

A typkal open stage set, free standing and, here,self-supporting. It consists primarily of folding arch screens angularlydeployed. 3 ARCHITECTS a ENGINEERS Open EndTheatre for Senior HighSchool Findlay, Ohio

ROBERT A. VAN AUKEN Superintendent of Schools

.""'" PANORAMA AND CURTAINS'''"' PERKINS & WILL Architects and Engineers Chicago, Illinois OPEN PLATFORM

MAJOR CURTAIN in"."""Arvvvvy The plan for this theatre chamber was developed by Robert L. Palmer of the architectural firm of Perkins 'and Will, / and James Hull Miller, consulting design- PLENUM BAFFLES er, for an educationalassembly,, concert and modern drama center. Later, the plan was reworked for community theatre needs (see cover illustration) and published as a project inthe December 1962 Players Magazine.

Basic Design Intent It was the intention of the designers that the dramatic environments ofthis theatre follow the open stage principleof settings which stand free in spaceand therefore possess their own terminal lines. Thus the auditorium itself becomesthe initial background to the playing area. Five of the six walls and the bafflewalls PLAN VIEW are of masonry and aresandstone in col- or. The sixth wall,the panorama wall, is FUT 0 10 20 30 40 SO 60 70 of sand-floated plaster and iswedgewood in colora blue-gray tintsuitable for rear projection fromoverhead. Wing controls, that is, thecreation of sheltered areas offstage, includingcovered INSTRUMENT SITING CATWALKS scenic groupings, are r I access to selected PROJECTION 7 by two sets of 3' x 12' four-foldpanel SYSTEM.pANORAMA screens to each side. \ ----CURTAIN \ TRACIC These folding panel screensgive the service areas \, theatre completely flexible or, when struck, afree platform area as SAND FLOATED wide as the building. PLASTER WALL-1T (PANORAMA) The building itself forms an acoustical shell for large musical activities,while acoustical shells for smallermusical pro- FEET 0 10 20 30 40 SO 60 70 grams are fashionedfrom folding sereens of plywood similar in appearance tothe wing controls described above. Interior Illumination spotlights, with round and oval beamoverhead ceiling panels are gunmetal gray Interior illumination for this theatre islenses, 750 watt ellipsoidal spotlights, andin color. divided into two distinct phases: a combination of 750 watt scoop flood- The audience seating area accommo- lights and the 2100 watt beam projection dates 770. 1. Architectural Down lighting unit for background projection (described This phase was achieved by baffle ringon page 67). Control, by reason of bud- This theatre was activated in the fall of fixtures throughout the entire chamber,get, is by 6000 watt autotrarisformer dim-1963 with a five-day workshop conduct- subdivided for purposes of control, byers, though the initial equipment scheduleed by Mr. Miller. As this chamber was remote stations, into the seating, thecalled for a silicon controlled rectifier orto be a civic facility, jointly used, repre- forestage, and the upstage areas. magnetic amplifier dimming system. sentatives of nearby Findlay College and the Fort Findlay Players, a community 2. Theatrical Lighting Curtains, Floor and Ceiling group, attended the workshop as well as This second phase was achieved chief- There is one main curtain of rust ve-faculty, students and administrators of ly by spotlights and by the back-lour, operated by hand purchase line, andthe Findlay school system. ground projection system, from over- two sets of adjustable curtainpanels, Presentations from the stage have head instrument-siting catwalks, withslate and dark blue, on I-beam tracks control at the rear of the auditorium. ranged from a single performer to a com- just ahead of the panorama. bined chorus and orchestra of 300. The The theatrical lighting schedule (listed The stage and allother flooring atfacility was reported in the December on page 27) includes 1000 wattfresnelstage level are of dark-stained maple. The1963 issue of Nation's Schools.

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overhead. Note the wing Dress rehearsal on the Findlay stage. Settings standfree in space with the background projected on the panorama wall from control which, by folding screens, creates sheltered areas offstage; whenfolding screens are struck the stage becomes a free platfrom as wide as the building. ARCHITECTS & ENGINEERS Caliper Stage For Senior High School Longmont,Colorado

MERLE V. CHASE Superintendent of Schools

BUNTS & KELSEY Architects, Colorado Springs,Colo. PANORAMA PANORAMA WALL CURTAIN TRACK EDUCATIONAL FACILITIES MAJOR CURTAIN TRACK LABORATORY CALIPER STAGE New York, New York

This auditoriumis an excellent example of open stage concepts applied to a conventionalrectangular shape and seating arrangement. It was the belief of the architectsthat DIVISIBLE CLASSROOM AREAS the traditional proscenium stagedoes not handle with efficiencythetotalhigh school program imposed upon it.

100 140 FEET 0 10 20 30 40 SO They felt that the proscenium stage P 1719 was too broad fordramatics in conven- enough for PLAN VIEW tional trappings, not intimate lectures and forums, and acousticallybad for concerts unless a sound shell wereto be erected. INSTRUMENT SITING PROJECTION SYSTEM CATWALKS Open Stage Advantages It was also felt that the newerstage- LIbHTING craft forms which serve the open3tage MAJOR CURTAIN TRACK CONTROL ROOM PANORAMA. IIIIIIII1111111111 II were more suitablefor student participa- CURTAIN I ACTING tion. Set pieces and projectedbackgrounds . TRACK GALLERY are more economicalthan full sets and LED painted backdrops, and are alsosmaller SAND FLOATED ORCHESTRA PIT FEET 0 30 40 50 GO 70 SO in scale, changing the logisticsof prepa- PLASTER WALL r 10 20 Frr 14 H (PANORAMA) 1 ration and storage. SECTION

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Other advantages stressed by the archi- NanglIAllr tects in their report to the Educational 41111.1:111111" 11111G11111 ININCINEW Facilities Laboratory were: -.wan. ism.,NIMaIMMI 11=1.11,0":""

11 0 I. The reduction in fire hazard by the NIEZ111 I Li 1 elimination of the stagehouse loft. 7V.4.9,04:Aier 2. The safety afforded by catwalks to 49f, 44,41b. the lighting positions in lieu of portable ladders. 3. A lower equipment installation cost. The architects achieved the open stage design chiefly through a common ceiling, with breaks for lights and curtain tracks; by widening the proscenium opening; and by softening the proscenium line through the addition of calipei- stage extensions and the actors' towers, two stories in VIEW ON PLATFORM height, in place of the usual "frame". View on platform illustrating common ceiling with "breaks". Notetypical open stage catwalk for lighting and background projection equipment. Wing areas of this theatre are controlled by folding screens, and the entire "backstage" area, with the exception of the panorama wall, was decorated to match the auditorium walls. A complete schedule of the auditorium and theatrical lighting recommended for this theatre is listed on page 31.

On the basis of its design, Longmont High School was the recipient of the "School of the Month" award by Na- tion's Schools magazine for December 1963. This theatre was activated in the fall of 1964 by a five-day workshop conducted by Mr. Miller. The workshop was the final phase of a design grant program by the Educational Facilities Laboratory of New York. In his workshop, Mr. Miller concen- trated on the time-space quality of the wide acting area, developing a series of scenes which carriedpilgrims up the caliper approach, across aprojected vista, to a sanctuary pavilion ofactual scenery, thus paralleling in contemporary theatri- VIEW TOWARD PLATFORM cal form the "long shot," the "pan," and the "close-up" techniques of the motion View toward platform showing caliper stage extensions and actors' towers.The ceiling over the auditorium and the stage area is common, with breaks forlights and curtain tracks. pictures. ARCHITECTS & ENGINEERS Combination Fore-Thrust and Caliper Stage r, .. or Senior High School La Junta, Colorado

SPIRAL PHILIP RULE STAIRCASES Superintendent of Schools

SHAVER AND COMPANY INNER STAGE ACTING CALIPER & Architects, Salina, Kansas ACTING GALLERY CALIPER & (ABOVE) GALLERY (ABOVE)

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GALLERY The basic plan of this theatre features 111111MM PLAZA (SOUND an apron-type stage with caliper arms '-i % // t______r -______j \ CONTROL) which encircle the forward seating ter- / % races and form a connecting cross-aisle ( /) through the center of the auditorium. \ i \ // The forward stage shape possesses a \_ _i large focal area with a number of flank- F EET 0 10 20 30 40 50 100 ing areas for additional dramatic action. PLAN VIEW An arcade encloses an inner acting area at the stage level and forms a portico INSTRUMENT SITING CATWALKS supporting an acting area above. Gallery calipers extend the upper level and lead to elevated plazas for light and sound control. 0000000 00000000000 GALLERY 0000 0 0 0 00000 Scenery for all of these acting areas 000000 / 00 00 0 takes the form of space sets as pavilions I I 00 0 0 o oo or poly-folded screens. 00000 0 0 00o oo o o o 000 o o o000 000 0 0 0 000 o 0000 0 0 00 0 0 _ Treatment of Arcade ,. The colonnade of the arcade forms embrasures into which both conventional ARCADE flats and translucent screen panels may ORCHESTRA be locked. These translucent screen panels PIT serve as a composite backdrop and pano- FEET 0 10 20 30 40 50 $O H 141-4 H H -4 1- I rama, receiving color and imagery from a rear projection system as described on SECTION page 67. Trans lux screen panels or inserts may A complete lighting and lighting con- Preliminary training in the use of the also be locked into place to serve televi- trol schedule is listed on page 35. arcade-type theatre is particularly chal- lenging, since the stagecraft forms are sion, motion picture and slide projectors The possibilitiesfor the scenes are located at the rear. highly ideographic almost a kind of numerous, including the bi-level acting visual shorthand, and thus appropriate to Curtain tracks are attached to the front area, space foe _numerous setsarranged the new time-space concepts in playwrit- and rear of the arcade lintel. simultaneously, lighting by zone, the tri- ing today. partite panorama, and the architecturally complete stage volume into which actors. Two Phases of Lighting The modern designer believes that properties and sets may be introduced the Illumination for this theatre is divided polar perception is rapidly replacing at will. perspective in into two phases: more familiar rectilinear This theatre was activated in the fall our visual languageand that the living 1.Architectural downlighting, by areas, of 1964. During the preliminary work- theatre, in contrast to the framed media throughout the chamber. shop considerable attention was given to of television and motion pictures,holds the use of the arcade, especially with the the key to the understanding of human 2.Theatrical lighting, the majority of nature confronting the space age. which is located on the open cat- translucent screenpanels which were walks suspended below the dome. constructed during the workshop.

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and sound equipment. The design of this stage permits several areas foradditional dramafic The elevated plazas and catwalk contain the lighting action, both at the sides and on the portico and the uppergallery calipers. 9 RCNITECTS ag ENGINEERS Fore-Thrust Platform StageFor CommunityTheatre WesternSprings, Illinois

GUS ORTH Architect, Chicago, III.

The operating group for thistheatre is SHELTERED WING MECHANICAL community centered, withindividuals TOOLS AND from many professionalwalks of life. STORAGE The group had been inoperation 28 PANORAMA years before undertakingthe planning of STEPS OF CURTAIN this open stage, and it hadproduced plays STAGE FORETHRUST TRACK in many locations and inall possible PLATFORM STAGE I manners. MAJOR SERPENTINE It was concluded that theproscenium % . CURTAIN style was definitely noteconomical of .,Sigai time, money or energy, allof which are %* ***- " limited in community theatreoperation. 2 SEATS4111140Iimm On the other hand, it wasfelt that ***Simm arena production was toorestrictive, ex- samessims eassaum cluding a great part of verticaldesign ek..11Pailsomusomm and subtle illumination, aswell as exclud- 11Fmlitilesemsww DRESSING ing the participation ofmembers in these Isimunnsium Lossamem areas. simasesEr For these reasons the open stage was selected as an ideal form. DRESSING Seating on Slope The audience of 412 at WesternSprings is seated about a stagewhose front is approximately a quarter circle. The steep (200) seating slope is goodacoustically 40 50 100 FEET 0 /0 20 30 and visually, and this isaccomplished by a series of terraceseach 12 inches high PLAN VIEW by 38 inches deep. These terraces create a highlydimen- INSTRUMENT SITING PROJECTION SYSTEM sional acting area since theaudience looks LIGHTING CONTROL CATWALKS ROOM down upon it.

Stage Dimensions SAND FLOATED PLASTER WALL The radius point from whichthe stage (PANORAMA) and seating arcs are strucklies 181/2 feet upstage, the plaster panoramawall for background projection (see page 67)lies 0,0 another 11 feet upstage,giving a total SMALL PIT fairly normal 100 120 stage depth of 291/2 feet, 30 40 50 CENTER FEET 0 10 20 for this wide a seatingplan. The total FITFTITI1I=1"-- SECTION

10 stage width between the permanent archi-Other Design Advantages public premiere with a production of tectural screens is 52 feet. Dark of the Moon. The forward edge of 1he stage is flexi- The plaster panorama wall is 32 feetbly designed and can be converted to This order of events is mentioned be- wide, and its entire surface is visible fromsteps or a small orchestra pit. cause itis particularly important to live every seat in the theatre. The near stadium slope of the audiencewith a new theatre for a number of seating area creates a split-level spacemonths and to learn its artistic potential before opening to the general public. This theatre is an excellent example ofunder the lobby for rehearsal and storage. a low rise building. Th& technical equip- Since its opening this theatre has at- ment overhead, including catwalks,is The entire plant was built and equip-tracted visitors from all over the world contained within a 7 foot truss system.ped for approximately $250,000. Clear distance to the stage floor is 15 feet. and has been written up in numerous This theatre opened in 1961to thepublications, including Encore, Tabs To this open truss system are wired themembership with a production of My(London), and the Journal of the Asso- cement-asbestos board acoustical panelsThree Angels. This was followed by aciation of British Architects. It was the which also shelter the majority of thethree-day workshop by Mr. Miller illus-subject of a paper presented by Mr. instrument-siting catwalks. A completetrated by actual scenery shipped from hisMiller to the 1961 London Conference of listing of the lighting equipment is shownArts Laboratory in Shreveport. Follow-the International Association of Theatre on page 38. ing the workshop, the theatre made itsTechnic ians.

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:11:11:111:11 ALLEN W. ROBERTS Superintendent of Schools

KUHN & DRAKE Architects, Summit, New Jersey

This high school auditorium fits withinfor island-type set pieces used in drama-42, and details of the background projec- a square architectural shape of a highertic productions. tion system, on page 67. rise than the surrounding classroom areas. In this section, and also in the preced- This theatre was opened in the fall of The ovaloid plan affords a wide seat-ing Findlay section, the termination of1964. The acoustics are remarkable and ing area that focuses on a platform 271/2the auditorium ceiling planes, the main the architectural design suggests intimacy feet deep (minimum) by 64 feet whichcurtain track, and the image position ofdespite the high seating capacity. is encircled by offset caliper arms of thethe backgroundprojection systemall auditorium walls themselves and the plas-occur at a common location. In the spirit of true school cooperation, ter panorama wall. the workshop was attended by faculty This is not intentional from an artisticmembers and students of the shop, art This design avoids both the far cornerstandpoint, as the more these positionscrafts and speech departments. seats associated with a fan-shaped plan,are offset, the less separation there ap- and the seating in depth associated withpears to be between playing and audience Since the seating capacityislarge, a more rectangular plan. areas, but this situation may occur when the ceiling trim is from 20 to 24 feetspecial attention was given to the handl- The plan is an excellent example ofabove the stage floor. ing of ceremonials, fashion shows and the architectural envelope which forms a other presentational activities as well as container for both the platform and the A complete equipment schedule usedthe usual instructioninthe design of seating area, and becomes a backgroundin this auditorium will be found on page space-centered scenery.

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:S:STO=11,=11 SISTER FRANCIS MARY, O.P. of borderlights for such programs as bandequipment specified for this installation Principal concerts, meetings, and early reheArsals.is shown on page 45. Those interested in further pursuing CHILDS & SMITH Savings in the initial equipment willthe advantages of a "modified prosceni- Architects & Engineers, Chicago, Ill. offset cost of catwalks and the more cus-um" installation can find an additional tomized electrical circuitry of the opendiscussion in Hub Bulletin No. 105, avail- R. L. IGNELZI stage. A complete listing of thelightingable on request, at no charge. Associate Architect

"Modified proscenium" here means the proscenium stage which incorporates the features of the open stage overheadin CURTAINS and the place of the stage loft that is convention- ally associated with a proscenium plan. Open Stage Three Great Advantages However, two sets of curtains remain The modified proscenium installation Curtains for the open stage are option- useful to the open stage: offers three important advantages: al. The chief reason for the inclusion of a major curtain occurs where thetheatre 1. A major curtain downstage for pur- 1. The hard overhead panels which re- chamber has a strong multi-purpose proposes of "show", concealment, or place the cloth masking system pro- music gram of lecture, forum, assembly, forestage background. videexcellentacousticalreflection, and drama. and acoustical reflection is also ob- 2. Curtains upstage to conceal or re- tained from the flexible architectural The selection and arrangement of the shape the plaster panorama. screens to the sides of the stage andcurtains for the open stage involve the from the plaster panorama to the early consideration of the architect, for These must be provided for in the "re- rear. Each flexible wing screenis such installations will affect the design offlected ceiling plan", with the exception suspended from a central pivot, the the highly specialized architectural ceilingof arcade theatres like La Junta and pivot device in turn riding on an up-planes over the platform area; whereasSwarthmore (illustrated on pages 8 and and down-stage track system. curtains for the proscenium theatre are in 71 respectively) where there are no major the nature of accessories applied to thecurtains, but lesser curtains associated with 2. A finer quality of lighting is achieved uncommitted volume of the stagehouse.the arcade portals. through better equipment locations, Two Curtains Useful reached in safety by catwalks. Choice is Limited its space set Due to the low-rise feature of the open Background projection replaces paint- The open stage, with 3. stagebuildings,thearchitectwillbe ed drops. Refer to page 67. for a full pieces and modular folding screen sets, eliminates such traditional curtain itemsdenied the mechanics of the "drop" cur- discussion of this system. as wing or tormentor pieces, teaser ortain to conceal scene changes, and the Fits in Wasted Space border cloths and, of course, the clothwidth of the open stage precludes the backdrop and cyclorama pieces. tableau curtain, so choice is limited to the One observes that the acoustical ceiling for the stage, the spotlighting illumination system serviced by catwalks, efficient '4;'r1; downlighting, and the background projec- . tion device can be inserted into most C - conventional school auditoriums without - changing the basic architectural design ...and in a space now wasted with acoustically absorptive cloth masking systems which, in turn, encourage the instal- -

lation of more lighting equipment than OAIta;f:: 1 4 .17 r required. c Economic Advantages When we are talking proscenium "plan" in conjunction with these new "elevations" some direct comparisons in costs maybe drawn from experience with recent installations. One can expect a 25% reduction in equipment costs, even including the architectural downlighting fixtures over the stage area, for the illumination of non- dramatic programs; a 40% reduction in Plattorm of the Olathe (Kansas) High School Auditorium, showing thecurtains closing on the "scenic area" maximum current consumption for theat- while a new scene commences on the forestage.Illumination from the overhead projection system passes through a trapezoidal cut in the stage canopy and ontothe 12' by 14' blaster panorama standing free ricals; and there can be a reduction of at the rear of the platform area. Here a curtainof semitransparent material is used. Two curtain panels 55% in current consumption with the are mounted on a single I-beamtrack and the amount of transparency is controlledmanually by arrang- use of the downlightingfixtures in place ing the fullness. ARCHITECTS & ENGINEEkS feet deep remains for dramatic scenes or French valance or contour, or the simple schoolauditoriumatOlathe,Kansas, draw or traveller curtain, the latter madeWayne Fick, Superintendent ofSchools,other activity. Kansas, complex through the preference and often and Shaver & Co., of Salina, Scene Design Needs Study necessity for serpentine track runs. Architects. There is no doubt that surprise is one The rear curtains associated with the The auditorium is designed in such aof the dramatic elements of theatre,but panorama wall shouldconsist of a num-manner that the majorcurtain track en-one wonders whetherthe heavy use of a ber of separate panels attached toI-beam closes only that area of the stage plat-major curtain in an open stage theatrefor tracks and should be maneuvered intoform on which would be located thethe concealment of changeable sceneryis position by hand, using batons attached larger scenic pieces for dramatic use, due notaanachronistictodayasisthe to the lead carriers of a panel, sothat ato extreme sightlines. changeable scenery itself, which requires such concealment. variety of arrangements are possible. Visibility to the forward area and free The architect is referred to theScene The forward curtain track, if one is tocirculation to all areas of the stage platform are unaffected by the closing ofthis Design chapter in the DRAMATICSSec- be used, is generally purchase-line oper- tion for further study. ated from off-stage or by remote control curtain, and a peninsular space about 15 via a motor unit. Fire Curtains Is Forward Curtain Necessary? Most codes and ordinancesdealingand the audience encircles the playing The discussion of this forwardcurtain with the subject of stage and audiencearea to a greater degree,architects seek track, its plan, its method ofoperation, separation for purposes of fire controlinterpi e,ations to existing codes by hav- even its inclusion, willelicit a wide range were written during aperiod when theing then preliminary plans reviewedby of opinion. proscenium frame theatre was inthetheauthoritiesresponsibleforpublic This is understandable when one real-ascendancy. Scenery for the prosceniumsafety. izes that the curtain as we know it todaytheatre is generally associated with the Since national, state and local codes was not used as a devicefor masking perimeter of the acting area, and, subse-are involved eithersimultaneously or in scene changes until themiddle of thequently, is considerable in size, a great but was primarily part,it would be imprudent to lay out nineteenth century, deal being attached to the theatre itselfguidelines for future projects based on decorative and employed to mark the be- through rigging. Actually the proscenium Con- specific experiences in the past. The read- ginning and end of a performance. stagehouse is a combination warehouse all the theatres cealed scene changes were not the custom. er may rest assured that and performance area, with itshigh risein Bulletin 109 were cleared by the re- The curtain was unknown in themedi-stage tower and sheltered wings. quired authorities in each case. eval and classical theatres, save inpavil- such As staging concepts move from the Some of the essentialpoints which ions, arcades and other embrasures should be emphasized are the lack of as the Elizabethaninner stage. linear to the polar, from backdrops and flat, rigged settings to multi-dimensionalstorage areas within the theatre chamber, the extremely compact nature of open Curtain Track Placement setpieces and projectedbackgrounds, many codes reflect this changeby dis-stage scenery, the proper security ofshop In the modified proscenium planthere tinguishing between theatres with operat-and other service areas from the chamber is no problem, and the track isplaced in ing lofts and those without them. Now,and the effectiveness of sprinkler systems the usual position. On reverse-curvecali- as the proscenium frameitself melts awayunder low rise building conditions. per stages such as Longmont,the curtain, slightly upstage, may still ride on a straight track, packing behind the actors' towers. Floors and theOpen Stage With fore-thrust plans such as Western Springs, a serpentine track isrequired, Both the positioning of the actor andently self-supporting. The application of and itis in this situation that negative his scenery in the architectural spaceofan accessory system of support such as factors may often outweigh thebenefits the theatre and the steeply pitchedaudi-the stage brace and screw familiar in of such a major curtain track: ence resulting from aconsiderable degreeproscenium technique would be most of encirclement bring the stage floorintolimited in view of the broadened audience Noise of carriers. 1. play as a vital part of the background.perspective, especially on peninsular plat- 2. Necessity of motor drive,with me-Consequently, a surface of some beautyforms where set pieces are surrounded chanical rhythm. and permanence is required. by space.

3 Excessive length of track. Therefore a dark-stained hardwood The proximity of the audience de-such as maple or a heavy linoleum such In the larger auditoriums withmajor mands a density of structure for quiet-as Armstrong 1/4" heavy gauge(brown curtains, some musical directorsprefer to ness. The surface shouldbe mat in finishor black), are found on the stagefloors of have the orchestra set-upentirely behind to prevent the reflectionof directionalthe majority of theatres shown in this the curtains. This means that thecurtain illumination onto the panorama or arcadebulletin. Sub-flooring in turn should rest will have to be placed well downstage. panels. The proscenium solution of aupon sleepers mounted upon concretevia canvas floor covering cannotbe adaptedspring clips or mastic pads. Itis impor- On the other hand, thecurtain should to the open stage, for the clothitselftant that traps, where used, aresufficient- be far enough upstage topermit the per- needs to be framed by masking elementsly solidin construction to present the forming of small scenes beforeit. not found here, such as thefootlight cut,same appearance and soundreflection as wing pieces and the settings themselves.the floor surrounding them. Dual trap Olathe Solution closures are required for sound isolation where areas below the stage are used for A rather unusual applicationof the One of the requirements of open stage other activities. curtainis found in the 365 seathigh scenery is that it be designed tobe inher- 16 Acoustical DesignFor the Open Stage

By RUSSELL JOHNSON Bolt Beranek and Newman Inc. Consultants in Acoustics \

Auditoriums can be categorized into two broad groups: 1. Multi-purpose auditoriums. 2. Specialized auditoriums. Specialized auditoriums include recital halls, playhouses, cinemas, concert halls, lecture halls, etc. The traditional forms of these specialized types, as realized in completed buildings, usually are peculiarly adapted to the .primary activity for which they were intended. As a natural consequence these buildings do not lend themselves comfortably, functionally or acoustically, to most other types of activity. For example, it is difficult to stage operas or plays using con- ventionalstagecraftina conventional recital hall. Similarly, conventional play- Figure 1. An open stage, the Blackfriars Theatre in London, circa 1590, as recon- houses usually are acoustically inhospi- structed by G. Topham Forrest. One hundred eighty years later, this basic form was table to concert activities. again in use in the Schouwburg in Amsterdam, including the open platformand the triple tiers of audience seating along the sides of the hall.

Evolution of Specialized Halls The basic forms of contemporary specialized auditoriums have evolved from earlier building types. Opera production and public concerts became a part of the culture of the Western world in the 16th and 17th centuries, and as the institutions of concert music and opera grew, opera houses and concert halls evolved simultaneously, developing from other building types, including churches, refectories, cor- tiles, courtyards, inn yards, tennis courts; banqueting, reception, and audience halls. Halls originally used for the occasional production of speech plays and operas, and for the presentation of recitals and concerts, were usually long, narrow, rectangular, high-ceilinged rooms, often with shallow side galleries and a makeshift platform at one end. (Later, the portable Figure2.Plan of a theatre designed by Amandi (Paris, platform evolved into a permanent plat- 1660). Note the resemblances to Figure 3. form.) ARCHITECTS & ENGINEERS

111111

Figure 3. This plan and section, published by Fabricio Carini Matta in 1676, shows close relationships 111111111111111M with the theatresof1630 and 11% kIIIIkISM 1660 inthe PalaisRoyal, Paris, =MIMI MINIM and the later Bibiena Markgra- flische Opern haus inBayreuth (1748), and the Dresden Opern- haus (1719). Structural technology of the time limited the length of the roof trusses, encouraging long narrow rooms such as this. Other influences on plan shape and size were the value of landinthe heart of a city, and that available sites were often based onrec- IN [I II g u tangular surveys and plats. Alio VR11_10'1111" PHIN Figure 4. Symphony Hall, Boston, 1900. One of riolimaii_ 110141 the best known concert rooms in the United States. In its predecessor, the Boston Music Hall, the concert platform was completely open to the room and flanked on the sides by audience seating.

only the ceiling is flown. In La Grande The Rectangular Shape The portable platform at one end of a ballroom was gradually transformed intoSalle. in Montreal, the walls of the con- These halls, of course, had been de-a cavernous stagehousewhich dwarfs thecert shell telescope into the stagefloor. signed and built for other purposes. Mostaudience chamber in practically all of theAnother project in the planning stage in- of them were of rectangular shape be-"Italian" opera houses on the continent.cludes a full shell on casters, complete cause this form was, for reasonsof struc- with orchestra risers, chairs, music stands, ture, site shape, and habit, the most prev- This heritage is with us today ...in and lighting, to ease the scheduling prob- alent for roofed spaces. opera houses, and in manycommunitylem of interleaved symphony, opera, bal- and college playhouses and multi-purpose let, and other theatrical rehearsals and Many of these spaces, designed as auditoriums...in the form of large banquet-halls, or audience halls, and performances. stagehouses that communicate with the These conversion procedures, and vari- sometimes used for masques, revels, plays, audience chamber through a proscenium encircling open ations of them, are used in many multi- or ballet, had one or two opening. be; for galleries. These shallow galleries provid- purpose halls and will continue to In auditorium buildings of the "operathe goal of most building committeesis ed space for the largest audience that multiple-purpose au- could be accommodated within the con-house" or multi-purpose type, which mustto design and build ditoriums that will satisfactorily house a fines of the building. house both the paraphernalia of"picture frame" theatrical illusion and the per-full range of performances, from play These 16th and early 17th centuryformance of concert music and recitals,productions through concerts and convo- halls, both those with demountable stages it is essential to be able to transformthe cations. plat- and those with permanent stage stagehouse into at least a rudimentary However, many colleges and universi- forms, were all quite small compared withform of the "sending end" of the pure they contemporary auditoriums, and the actor, ties do not use the concert shells concert hall. own because of thelabor costs involved thesinger,theinstrumental ensemble In fact, were in the same"acoustical enclosure" in erecting and striking them. The Concert Shell Solution there are many multi-purpose auditoriums as the audience. ad- This is done by temporarily erecting athat operate without the acoustical Such concert halls as New York's Car- "room," or enclosure, within the stage-vantages of a demountableconcert-recital negie Recital Hall, the Salle Gaveauin house which walls off the fly loft, the side enclosure. Paris, Vienna's Musikvereins3aal, Boston's stages, and their cloth cycloramas, teas- In particular, many high schooland Symphony Hall, and, also, a hall pro-ers, legs, and travellercurtains. posed for one of the majorAmerican university auditoriums suffer acoustically orchestras clearly exhibit descent from At Detroit's Ford Auditorium andin because no concert shell is available; or because the rigging of their shell requires ..long, the new Clowes Memorial Hall in Indian- the 16th century prototypes . because they narrow high halls withencircling gal- apolis,this concert shellisflown. Intoo many man-hours, or own a poorly designedshell. leries. Northrop Auditorium, the Minneapolis Symphony uses a steel shell which folds The Open Stage Solution The Opera House into a space at the upstage wall of the However, the opera house (or theatre) stagehouse. Low or moderate budget operations developed from the same origins into a such as these can derive considerable The enclosure proposed for a new au- benefit from the use of a stage that is "machine" for spectacle. This evolution simultaneously a concert shell and an act- moved in pace with the vogue of elabo-ditorium in Michigan incorporates large ing area ready to accommodate a prac- rate scenery for court masquesand opera.castered towers to handle the walls, and

18 tical system of scenic investiture. The REVERBERATION CONTROL CURTAINS open stage is such a stage. Iteliminates SOUND TRANSPARENT SCREEN the need for a cumbersome, demountable music shell, and at the same time avoids the other acoustical problems inherent in .21011 i. !---.. the proscenium theatre. ta___:-1----41113. t--1 if .r 1 The teasers, borders, cloth cycloramas, 1 I *L and other paraphernalia of the prosceni- searreall :ftestaalwasseas: um theatre absorb sound ...particularly r s.....:iamaiiim..... PANORAMA detrimental to music performance. This a I - a WAU. a acoustical problem is compounded by the a I a +41. _j____ proscenium wall with its relatively small a VENHEAD I a SOUND proscenium opening. This wall has a tend- a DIFFUSING ency to contain the sound inthe stage- amosarmaaI goonsoaa PANELS house, and gives the sound-absorbing ma- iirso...siesomm1 terials in the stagehouse more opportunity I 11 to "kill" the sound of the music, produc- I 2 ing the effect usually referred to as "dry" --.L...2_ .0°. v.--ir---%.--..- acoustics. .21-...41121.11.0. okik The open stage, however, avoids the . acoustical problems of the proscenium SOUND DIFFUSING PANELS CURTAINS IN STORAGEPOCKET stage ...the acres of sound-absorbing material,thedifficult-to-handle m us ic Figure 5. Plan of a multi-purpose, open-stage auditorium for a hypothetical shell, the obstruction of the proscenium campus showing partial height sound-diffusing panels. wall, and the loss of sound energy in the cubage of the stagehouse. SO UND DIFFUFAGPANELS LIGHTING CATWALK The basic concept of the open stage, PLASTERCEILING as described in this bulletin, grewfrom the economic need in this country for SOUND- TRANSPARENT SCREEN less expensive methods of mounting theatrical productions. The open stage, in re- turning to simpler procedures of theatri- LOUDSPEAKER cal productions has returned to an earlier, CUSTER but still valid form which is simultaneous- J ly an auditorium for the presentation of TOPOF plays as well as concert music, without PANORAMA the need for a demountable music shell. ii LI ill It should be noted that a building owner OP EDGE OF SOUND planning an auditorium which must house CI DIFFUSING touring shows with a full investiture of PANELS conventional scenery must plan for both a conventionalstagehouse and a de- I.CL, mountable concert shell. REVERBERATION CONTROLVII CURTAINS STORAGE FOR CHAIRS.MUSIC An Open Stage Prototype I-STANDS.MUSICAL INSTRUMENTS. ft SCENERY Figures 5 and 6 show some typical as- TORAGE FOR CHAIRS HYDRAUUC LIFT pects of the acoustical design of an open stage, multi-purpose auditorium.The Figure 6. Longitudinal section showing cubage above visual ceilingused schedule of activities includes pageants, to develop reverberation for concert use. convocations, drama, band concerts, choral concerts, recitals, chamber music,by a sizeable choral group. With the liftconcealed by a sound-transparent screen. lyric theatre, film exhibition, revues, in-lowered for additional audience seating,This screen might be constructedof frequent symphony concerts, and operaor to serve as an orchestra pit, thesize ofsmall, widely-spaced wood strips; or of (modestly mounted). the platform remaining is about 22 feetperforated or expanded metal (approxi- deep by 44 feet wide. mately 60% open), or open-weave plas- This design was developed from the tic cloth such as Lumite. basic dimensions of the stage platform, Given these platform dimensions, note which incorporates a large hydraulic lift.the narrow front portion of the audience The lift services a complex of large stor-chamber. The average width does not ex-Design of the Ceiling ... and below the age rooms below the stage ceed 62 feet. This promotes clarity for The visual ceiling is constructed in a audience area. music and intelligibility for speech. Be-similar manner. The purpose of the cu- The platform, when the liftis posi-yond the eighth or tenth permanent rowbage above this lower, visual ceiling is to of audience seating, the house widens tioned at stage level, is approximately37 develop sufficient reverberation fornausic feet deep, and is about 44 feetwide up-considerably. activities. Note that the upper ceiling is stage and 55 feet widedownstage. The polycylindrical sound-diffusing sur-approximately fifty feet above the level These dimensions can accommodate afaces along the front side walls, whichof the stage platform. (A rough rule of large symphony orchestra accompaniedvary in height from 10 to 18 feet, arethumb is to provide 40 to 44 cubic feet ARCHITECTS & ENGINEERS

PADDED TELESCOPINS GYMNASILIW BLEACHERS (CASTERED) WITH BACK REST, FOR CHORUS

reapapapetallooeiell solution suggested here consistsof three rows of thesedouble-curved sound re- a flectors, five panels in each row. 100""3 . And the Curtains I Three-layer cloth curtains on traveller Seiss""eiggt, tracks, which can be retracted into dry- s ORGAN 2 I i wall storage pockets, should beprovided to time laI__I 0000 for adjustment of the reverberation S 0 for various types of stage activities. sostaissers 000 Part of these curtains should belocated in the open lofts above the topsof the polycylindrical panels, and the rest in the space above thesound-transparent ceiling. Figure 7. Stage set up for large orchestrawith chorus and organ. Generally speaking, lengthy reverbera- tionishospitable for choral concerts, chamber orchestra, violin, cello, orvoice recitals,organ, symphony,and opera. The reverberation should bereduced by drawing the acoustical-adjustment cur- mew" I --tt ,, for con- I g tains out of their dry-wall houses ___,--4,---Writ*464646, vocations, film exhibition, plays,musical il ;I 1 comedies, revues, band concerts, pag- I ' jazz combos, etc. 111111111111411111111 111111.411malefteiti eants, dance bands,

:11111111011111 1111111115100884 Other Features I m a I 2 I :I al There is not sufficient space available .1 I II I 71 so here to discuss all aspects of the design 1 ..1 of this prototype. Note, however,the :14.241 1 steep ramp of the main floor.The steeper sessimsts "1".1 this slope the better, both for sight lines st and for hearing. so \ I 1-...._e_ 1--t ° ,,,,,, u,,,,,, sisto,. a "IC: ,,,,,,,,,,,,,,.,,,,,,,,, Balcony cantilevers should be limited to three or four rows ofoverhang. The - sightlines into the offstage space are w- ronged for masking "back-stage" areas from the corner seats. The sound-transparent screen can be used on the upstage Figure 8. Use of folding hardboard screens toform an acoustical shell for masking walls partly to camouflage the small instrumental ensembles. Forestage liftused for extra audience seating. four entryways.

Small chamber ensembles, string quar- for each square foot of phony orchestra is to be accommodated, or room volume thetets and recitalists should useportable, balcony floor, main floor, and stageplat- the height of the ceiling just below loudspeaker cluster should be at least 22vertical sound reflectors. Folding screens form. The core of feet. can be used for this purpose. The height of the lower,visual ceiling each leaf should be 1/8 inch hardfiber- can be establishedonly after considering board. Burlap (for visual texture) may all aspects of the problem . ..the esthetic Concealed just above the sound-transparent ceiling, in the front ofthe room,be glued directly to the face ofthe hard- scale of the space,acoustical require- 10 feet concealing the loud-are sound-diffusingacoustical reflectors.board. These screens should be ments, needs for high. Enough of them should beprovided lighting, These shouldhave curvaturein two speaker cluster and theatrical to surround an area ofapproximately 14 projection machineplanes, and for this reason shouldprob- and positioning of the Thefeet by 26 feet as illustrated inFigure 8. for the panorama wall. If alarge sym-ably be made of plaster or plastic.

Russell Johnson is a staff member of BoltBeranek and Newman Inc. 50 Moulton St., Cambridge, Mass.

20 Both the architect and the engineer are vitally involved in every aspect of the open stage theatre chamber, and both must be fully aware of the principles of dramatic production to be used. tri Architectural In the immediate past, the stagecraft S;t, of a theatre was largely contained in a stagehouse separate from the auditorium and Engineering and the majority of this stagecraft con- sisted of floating equipment which could be jobbed into a relatively simple build- Layout Factors ing volume. The size of the proscenium frame determined scenic and sightlinerequire- ments, and the production elements to be Crossover serviced were determined in many cases Panorama Wall 30 ft. to 50 ft. (must be flat) by a commercial shuttle system, the road show. Essential was standardization of Minor Curtain Track shape, equipment and stagecraft. PLAN TYPE 1 Panorama to Stage Front 27 ft.o 35 ft. Wing Control by Folding Screens, Angle of Pivotal, Tracked or, preferably. Open Stage Standards Differ Chamber Wall Self-supporting through Angular to be dramatically Deployment. effective. The open stage has developed no (cf. Findlay) standards equivalent to the above partly Proscenium Width (50 ft. with Strong Tower because its development has been associ- 30 ft. to 40 ft. and Shallow Depth) Major Curtain Track ated either with individual festival pro- ZZZZZZZZZZZZZZZZZZZZZ 8 ft. radius grams or with smaller (300 to 500) CONSERVATIVE CONTEMPORARY capacity theatres removed from commer- 5 ft. to 8 ft. cial pressures, and partly because of the TOWER nature of its stagecraft: floor-based "is- (Actors' Vestibule) land" compacts arranged on a free-form 5 ft. to 8 ft. platform space. MODIFIED PROSCENIUM (REVERSE CURVE & CALIPER) Indeed, freedoM to diversify in archi- to 750 Seating Capacity tectural design may well be a character- Building Width 50 ft..:o 80 ft. istic of the open stage and one of its

Crossover main attractions. Panorama Wall 30 ft. to 40 ft. In order to demonstrate the degree of

PLAN TYPE 2 Minor .Curtain Track involvement of the architect and engi- Panorama to Stage Front 24 ft. to 31 ft. neer, the balance of this section will be used to analyze a typical theatre project ...from programming to stage operation. \ For Space Stagecraft 21 ft. Radius (Quadrant) 45 ft. to 55 ft. Slab Phase One Major Curtain Track Minimum 4 ft. The client decides on open stage as the design approach to his future theatre and Auditorium \ WciJJ works with a theatre consultant concern- ANGULAR CURVED Minimum 3'.6" (Aisle) ing his prcigram, the philosophy of pro- Arc duction, and stagecraft requirements.

Seating Pla; To Coincide When the audience capacity and the CONSERVATIVE OPEN STAGE (FORE4HRUST WITH CALIPER) nature of the stage space have been determined, the architect then proposes the Crossover False Wall building envelope. In, open stage design, PLAN TYPE 3 the architectural agiects of the envelope Angle of 6 ft. minimum depth required or theatre chamber are extremely impor- Chamber Wall for Rear Projection Units tant, for the same structural elements to be dramatically 3 to 4 - 8 ft. x 8 ft. Openings1 effective. (Should not be higher than wide) which form a weather shelter may also (cf. La Junta) v =1 f=== Set Piece Entrance be part of the dramatic experience as (When Arcade Portals Closed) Curtain Tracks both sides Arcade architectural decor which surrounds actor Platform Area Downstage of Arcade and audience alike. Furthermore, the en- Should be Resolved by Auditorium Walls Arcade to Stage Front 12 ft. to 18 ft. gineering is inserted into the custom de- Cf. Illus. 9, 11, 60. sign of structure and decor rather than applied to it. (STRAIGHT WITH CALIPER) Both the artistic and practical success FREE FORM of open staging depends on how well ex- ARCADE IN THEATRE CHAMBER pressed is the idea of a chamber common to actor and audience, for by this the

21 ARCHITECTS & ENGINEERS (Taken from Theatres Known for GoodSightllnes) AUDIENCE PERSPECTIVES MARJORIE LYONS PLAYHOUSE,SHREVEPORT, LA.

Constant Rise Terraces: 6" x 36" Modified Proscenium Stage (Standard Solution)

I t I -V' ROBERTS THEATRE, GRINNELCOLLEGE, IOWA

Adjusted Terraces: 4" (plus 4it"increment) x 42" Forethrun Stage (Custom Solution) I 1,---1 1 MIDLAND THEATRE CENTER, TEXAS I 1 I -V-----i r____r---3 , Constant Rise Terraces: 8" x 42" --Forethrust Stage (Standard Solution)

THEATRE OF WESTERN SPRINGS, ILLINOIS

Constant Rise Terraces: 12" x 38" Forethrust Stage (Superior Solution)

CEILING PLANE DETERMINANTS

r5'-0" .,1-Filament: 1500/2100 w. Beam ProjectionUnit ...4-'--2 / Add Further Catwalk for Allow 14" per / A I j(No Higher) Caliper Acting Zones Curtain Track T i and i ....r Filament: 1000 w. Beam .Projection Unit // Forestage-Pit Area I4- I: ...... L. ,.....' : Image/. ll z/ (No Litwer BAFFLE CEILING'' aim PLANES / CATWALK-CEILING INTERCEPT LINES / (To Minimize Spill from Proiection Complex Design of these ceiling planes or Dark Colored by acoustician. Sloping None)/ / /. 45" // 1---r-r- / ACTING ZONE for Plan Type 2 I /1 50" LONGITUDINAL SECTION LAYOUT DATA Cf. AUDIENCE PERSPECTIVES Diagram for Terrace Layout Depending on Project ConditionsIntroduce BACKLIGHTING, Read All Material on LIGHTING andPROJECTION, ind. DATA, Eliminate Overhead Projection Where UsingARCADE, Plan Type 3. 1, Deep Stage. DEVELOPMENT OF BACKLIGHTINGPOSCTION 'Cf. ARCHITECTURAL LAYOUT Plan Type Cf. BACKGROUND-PROJECTIONSection, 1000-2000 w. 8" Oval Beam Fresnel Spotlight (Hub 8809) .411500 w. Projection Lamp Acting Area Lighting (Hub 79031) Trackmaster 500 ...... --+" . Acting Area Lighting --- )4 inadge-1;Major Curtain Track Black Zone la ...- 1 /catwalk vesow,.....0011.1.11.1 I .. Minor 1 Curtain Track1 t / . 1 // 1 / .. 1 / 1 / .... / 1I . // 1 .. / 1 i / I / i / t % ....\.,,....,4. / % I/ it 1 NIt Panorama Wall to Stage Front - 35ft. L

22 director can select playing areas from the 6. From an audience point of view, rear wall, to form a partial or com- general platform space, yet the areas un- compactness in a theatre is a virtue. plete panorama cover (frequently used will appear natural to the chamber The sense of enjoyment is height- these curtains mask shop doors): rather than vacant. ened by the knowledge of popular medial and front curtains on tra- attendance and every effort must verse tracks optional (freeform The devices by which this is achieved be made to emphasize audience serpentine track for these curtains include: presence. possible but not recommended). (Folding screen-sets replace side A. Extension of audience area wall In the open stage theatre with its curtains). surfaces about the playing area. continuation of the auditorium chamber into and about the stage g-Orchestra .pitallow 12 square feet B. Extension of the stage platform in- per player, adding 50 feet for tym- to the audience area. platform, a sense of compactness must be everywhere. The cavern- pani. For safety hydraulic or screw C. Extension of the audience ceiling ous vacancy of the proscenium liftsmust include thetotalpit canopy over the playing area. stage is absent. area; whereas a permanentpit may be undercut below the stage to one- D. Completion of the envelope by the It must also be remembered that third its width. plaster panorama wall at the plat- each theatre will have its own stage- form rear. craft system so that the size of the h.Playing area bear in mind that service areas will be determined by an area 25 by 35 feetwill be ade- E. Use of a dual lighting system: the the nature and scale of the theatre quate for a forward thrust stage dramatic illumination; and down- chamber and the demands of the and that an open end stage is suf- lighting of a uniform quality ficiently wide at 55 feet. throughout, the audience and sev- particular program. eral platform areas being underPhase Two i.Illumination by two distinc.t selective control. types: Prior to the preparation of the final Examples of these devices can be not-plans, the architect,, engineer, and theatre 1. General lighting for both the seated in the six typical plans preceding this consultant should meet and review the ing and stage areas is by architec- section, and it is by the use of these sameoperation of the theatre in detail. tural shadow-baffled downligh ts : features that the general programs of lec- from 15 to 30 foot-candles over ture, forum and concert areenhanced. From this discussion the composition, the seats and from 30 to 60 foot- textures, and colors important tothe candles over the stage, with seating, In this section are illustrated three plantheatre operation are learned, as well as forestage, and stage areas controlled types, audience slopes, andceiling deter- locations for equipment, requirements for independently by motor-driven dim- minants. Various combinations of these mounting, and wiring diagrams pertinent mers located in eitherthe stage con- are possible.However several considera-to stage lighting andcommunication. trol switchboard or in a separate tions should be kept in mind: In many cases it is impossible to sepa- cabinet, these dimmers being oper- rate architectural and engineeringfunc- ated from several remote control I. The wider and more embracing the tions. A typical list of design specifica- stations. seating arc, the shallower will be tions follow: 2. Dramatic lighting is by spot- the stage, for the panorama wall lights, floods and the shadow pro- must be visible to all spectators and a.Platform floor maple, stained Antique Brown, with lusterless fin- jection system operated through acting in depth in this case would dimmers (autotransformer, mag- appear unnatural. ish (Brown or black Armstrong 1/8" linoleum is also recommend- netic amplifier, or semi-conductor 2. The panorama wall should appear ed). In open staging,the floor types, in order of expense) via an as a slab in space, quite unlikethe forms an important part of the inter-connecting (cross-connection) conventional cyclorama which at- background; also, a dull surface panel. Every stage branch circuit tempts a surround of the entire prevents low angle illumination must have two wires (no common neutral wire). Light control should playing area. Frequently the space from reflecting upon the panorama. above the panorama is painted a be at the rear of the auditorium in dark color. b.Panorama wallsand-floated plas- full view of the stage. ter, applied with straight strokes, tinted or spray-painted a light gray- The subject of artistic control of 3. The further the stage thrusts for- blue. lighting is discussed in the DRA- ward into the audience, the steeper MATICS Section. The stage light- must be the seating terraces. c.Auditorium wallswarm in tone, ing schedules, a ceiling plan wiring sand or darker, especially where diagram, descriptions of control 4. The ceiling may hc as free form they pass onto the platform area. (floating clouds) ot. as closed (dou- boards, as well as equipment photo- ble-plated, with lighting slots) as is d.Overall ceiling dark gray; sus- graphs will be found in the LIGHT- consistent with the architectural and pended panels (where used), slate ING AND LIGHTING CON- acoustical design, with the excep- gray. TROL Section. The lighting sched- tion that the background projection, ules cover the six previously men- operation must be screened from e.Walls to be kept clean, no ex- tioned plans. posed conduit, etc. especially about the view of the audience. the platform area, as walls may Passage of dramatic light prob- 5.Since the insertion of an orchestra form the visible outer envelope to pit into the theatre (a) separates the playing space, with low screens ably the most sensitive area of the ceiling design, for the free passage the audience from the playing area forming temporary sheltered areas. structural and or (b) takesvaluable space from oflightthrough the playing area, pits require skill- f.Curtainsone or two "walk-along" architectural elements is not com- ful design. I-beam tracks, just forward of the prehended by simple sectional 3 ARCHITECTS S ENGINEERS drawings but should be studied I. Catwalks the development of an m.Custom itemsthe consultant des- from full-scale mock-ups of cat- efficient catwalk system, with spot- ignatesresponsibilityfor design, walks and ceiling slots using all welded expanded metal tread or procurement of materials, and/or instrument types. subway grating for quietness, and manufacture of essential items not ship's ladders or spiral stairs to fa- commercially available, such as the k.Signal and intercommunication cilitate movement with equipmen folding screens for side masking see charts in this section. in hand. and entrance control,projection image supplies, etc.

STAGE MONITOR with Talk-back Switches

Box Office SOUND

DRAMATIC BACKGROUND Control Room Voice Reinforcement and Motion Pictures

PROGRAM SOURCES

Turntable, With Monaural 'TapeRecorder Microphone, Sound Effects Motion Directional Mike & Stereo Arms & Deck & Voice Reinforcement Pictures PRODUCTION MONITOR

PRE AmP MIXER EQUAL IZER UNIT

Stage Manager I MASTER STATION CONTROL ROOM

Costume Green Shop Room Room

Lobby I Lobby

Dressing Dressing Room Room Auditorium Ceiling I Auditorium Ceiling

HORN for Voice Reinforcement and Motion Picture Sound INTERCOMMUNICATION

Selective Ring Common Talk (Party Line) Auditorium Ceiling Auditorium Ceiling Telephone System

Pit Box Office Pit 1

CONTROL ROOM Lights Sound Mike !nput Receptacles 2 3 Downstage Right Downstage Left Lecture & Discussion

-DIRECTOR REHEARSAL STATION 4 Trap Trap (portable unit)

Offstage Left IOffstage Right 7 6 Upstage Left IUpstage Right

Costume Room Green Room Shop 9 0 8 Polarized receptacles for high fidelity reproducers (with individual "L" pads) Each phone equipped with selector for dramatically placed musk-sound effects. switch for ring or light signal 1\1 n.Miscellaneousin addition to thesion, and the consultant can only wait of coordination between mason and electrical requirements for drama- and wonder. electrician, floor poured before all tic and general lighting, a theatrical conduits were laid down. operation places certain demands What are the things which go wrong most frequently? III.Improper levelson free-hanging upon routine wiring of the build- downlights between panorama wall ing, such as special equipment re- I.Appearance of electrical conduits and the projection system; impro- ceptacles as shown in accompany- across clear mounting spaces for per space allowance for same in ing chart. portable equipment. Excuse: elec- respect to curtain movement; poor- o.If a compressed air system is in- trician worked by a schematic dia- ly planned air-ducts, interfering cluded in the building, furnish an gram only. with catwalks, curtain installations, 85 PSI outlettothe dramatics II.Appearance of electrical receptacles etc.; failure to analyze the opera- workshop for tackers and nailers. and junction boxes on wall de- tion of the projection system, re- Phase Three signed to be clean, such as the side sulting in obstructions and impro- walls in the platform area of hexa- per mounting provisions. During this phase the building is con- gonal chambers and along the base IV.Careless mistakes such as wrong structed and equipped. The client assumes of the panorama wall, except where the plans and the building will be alike, lamps or a lack of lamps for light- noted. Excuses: assumption of con- ing instruments, misplaced recep- the architect and engineers rarely have ventional stagehouse situation, lack the proper funds for adequate supervi- tacles,incorrectfloorfinish, improper illumination levels, and in- EXTRA UTILITY RECEPTACLES tolerable noise levels from machin- (over routine requirements) ery and ventilation equipment. Parallel Blade, Grounded, 20-amp, 120 Volt Special "Floating" Equipment Problems 1:1 Circuits (number of duplex receptacles vary) Requirements o In addition to the above, there is the matter of equipment bids, a most sensi- LOBBY tivearea,for there are the specified in equipment, the "or equal".and "alternate" Commerdal Displays, Coffee Urns equipment, and the contractors' services, Special Exhibits frequently so intertwined that it is nearly impossible to sort the elements and evalu- ate them separately. [ CONTROLROOM! m Then there is the problem of reducing 16 mm. Motion Picture Projector to purely verbal descriptions the perform- Sound System, Repair Tools ance value of a lighting instrument or track or dependability of a control board, as well as the different values of guaran- o AUDITORIUM tees from manufacturers. Motion Picture, Slide & Opaque Projectors Frequently, to bring a building down Vacuum Cleaners in cost, the architect and client will can- cel all "floating" equipment, such as curtains, tracks and spotlights, items that are ORCHESTRA PIT not "nailed down", unlike control boards a and wiring devices. This encourages sup- Musk Stand Lights, Organ I ply companies not in the original bidding to approach the client directly. a OFFSTAGE LEFT 1 a OFFSTAGE RIGHT Often, representatives of such companies do not understand the operating concepts and attempt to sell equipment Reading Lamps, Portable Tools, Effects Machines Cleaning Equipment, Organ, Demonstrations, Monitor that is superfluous and even detrimental I 1 to the theatre. Lamentably, such a sales GREEN ROOM approach is often a combination of arro- in gance and ignorance masked in the dis- Kitchen Unit: guise of "the old pro", and the client's 0 40 amp, 2 pole, 120/208 v. confidence in his project may be under- mined.

3-4 COSTUME ROOM SHOP Other items which have proven trouble- a some in the area of "floating" equipment Sewing Machines Power Tools: Table, Band and Jig Saws, include substandard or misapplied ser- Irons, Washer Sander, Spray Gun, Drill pentine traverse tracks, inadequately sup- ported I-beam tracks, and poor light fields Dryer Stove Unit: from spotlights due to faulty reflector and 30 amp, 2 pole, 120/208 v. 20 amp, 2 pole, 120/208 v. o lens design. Thus it can be seen that full aware- DRESSING ROOM DRESSING ROOM ness, by the architect and engineer, of a g the dramatic principles associated with Radios, Hair Dryers, the open stage theatre is important to Shaver, Iron design and construction of such a theatre. ARCHITECTS & ENGINEER'S Lighting andLighting ControlEquipment

by ALBERT M. KOGA Chief Lighting Engineer Hub Electric Co., Inc.

both equipment and the precise shapes With the requirements of all non-dra- While the general principles of illumi- matic programs satisfied by the general nation remain the same for any freeform and decor of the architectural arrange- specific lighting ments. Subsequently it became necessary lighting, the dramatic lighting equipment or open stage space, the and its control layouts will vary by project. As illustra-to review all of our equipment inrelation may be highly specialized, and to these open stage requirements.All restricted to trained operators. Such ar- tion, circuitry, equipment schedules rangements will be reflected in allof the specifications for lighting control dimmerequipment in this bulletin has been tested boards have been prepat ed for thesix by Mr. Miller in operation in his research following layouts. Analyses of equipment architectural layouts previously discussedlaboratory in Shreveport and on many ofschedules have shown that this "dual" lighting system, made possible by the con- by Mr. Miller. his projects. Further improvements to our equipment line areconstantly being tinuation of the architectural ceiling can- Various parts of the stage are intercon-made. opy over platform andauditorium spaces, nected to such a degree that centralized is no more costly than theolder single supervision of all installations is required. system with centralizedcontrol and pro- Engineers at the Hub Electric Co. review A very desirable by-product of Mr. scenium borderlights. all plans submitted to them by their agents Miller's theatre designs is the achievement and they make the necessaryequipmentof a fine "concert" stage of the platform proposals. These field agents are trainedtype with space suitable both visually and Lastly, special attention must be paid also to observe projects during the con-acoustically for assembly, ceremonials, to such highly interrelated parts asangle struction phase in order to prevent errorsmusical programs and the like. This has of background projection to rear wall and of judgment on the job site where visual-made his stages useful for schools andclearances for the light paths of both the ization of the future operation on the part community centers. Special attention must image and floods from the projection cat- of all workers is obviously beyond normal be paid to the achievement of the proper walk to the panorama; ceiling plane slots expectation. brilliance of the general lighting the as related to servicingcatwalks and clear downlights, concert directional floodlights, pathways for light to the stage, both for- It was in 1957 that Hub became inter- ward and diagonal; and to the natural ested in the designs of Mr. Miller andin and optional wall washes which com- architectural development of backlighting 1959 I observed his techniques in one ofprise the motor driven control system his workshop programs in an open stagewith its remote stations placed at the con- positions and the concealment of those instruments whose lenses face in the gen- theatre. It was immediately apparent thatvenience of personnel not requiring dra- his philosophy of physical production had matic lighting. Frequently these lights, eral direction of the spectators. Also, the enabled him to simplify his stage space especially "over the stage," are mistaken reflective values of the wall and floor and equipment, yet it was equallyevident for "work lights" only. Actually, these surfaces will vary with each project and that this simplicity in turn put a heaviercombine both worklight and concert func- must be individually considered. burden on the "performance" values of tions. Lighting Equipment Schedule For Open End Theatre for Findlay (Ohio) Sr. High School

REMOTE* CONTROL Ni S E SWITCHBOARD CR-2445-H Varitron O / 0 (Silicon Controlled Rectifier) Type \ IMAGE FRAME 58-61 // 62-65 Model MA-2445-G Mina-Mag , WALL CKETS D / (Magnetic Amplifier) Type or // e Dimming Facilities CATWALK C V For Stage Lighting: 2 groups of 6-6000 watt dimmers 4.111 PROJETION -AO 2 groups of 6-3000 watt dimmers alrnta,..-"114.. IrearrAMIWZRA/"...011 a p-siiiiakirt-a ...wily- 1 group of 4-3000 watt Non-Dim. 7...10211 ILTIIII 00 For general Lighting of Auditorium -41 tallam22112 170 00. !Pk._ gat%Cainsitas.1211 _stilliT.te..410"_ and Stage: ,IMMOSS..."40:AMt_ire,Lbt11...!Pgairrls . .01°' 3-6000 watt dimmers. 0 greital ty.-- 0 13/4 *it 4188 Aislusalais 020 olgunisassuf slut te401111 3-18- FLUGGI4'1 ;illt:414,4,114121. 001. Control Facilities: 0-'40**it -wit*1%4jirsialni Zuk2112422111 Sir.._*aft 181ammismsnals For Stage Lighting: muss. firkwimmisitanSidAll *°. Two Scene Preset plus Rehearsal (In- dependent) with 4 groups sub-master, scene masters, and stage master controllers. honiwAir Ira 1 rarammumsith.w.A leivir For General Lighting of Auditorium and Stage: Independent controllers. lag inricsamorsosur: 111111122222211 IAIII I:=1REM MMER BANK Switching Facilities: Cascade control through remote con- U I L *RV CROSS-CONNECTING CONSOLE tactors and relays. PANEL House ON-OFF and transfer switches for worklite (Panic) System.

SUSPENDED Extended Control: IMAGE FRAMEREFLECTOR UNITS PROJECTION UNIT One group of six dimmers for stage lighting and dimmer for general light- DO4LIGHTS SPO-S ing on portable extended control. Switching control (Usher) stations. -== CATWALK A Cross Connecting Facilities: 64-96 retractable cords and SAFETY- TYPE plugs for each stage branch circuit.

WALL POCKET Eight Multi-finger jacks for each 6000 watt dimmer and four for each 3000 watt dimmer and non-dim control. Load-tester with meter and jack. ARCHITECTS & ENGINEERS Physical Data (approx.) Control Facilities General lighting dimming control on Pilot console 40" high x 48" wide x Manual dimming control of stage light- stage. 36" deep. ing: 4 dimming groups, each dimmer ON-OFF switching of general lighting Cross connect panel 78" high x 60" with mechanical interlock handle ex- on stage and usher'sstations. wide x 24" deep. tending its control to group master Remote Dimmer Switchboard 78" handle. Cross Connecting Facilities: high, 77" wide, 27" deep. Stage Auditorium General Lighting: Integral plugging panel with 64-96 re- Portable extended control 24" wide x Dimmers on separate motor drives. tractable cords and SAFETY-TYPE 18" deep. plugs for each stage branch circuit.

ALTERNATE MANUAL FLEXIBLE Switching Facilities: Six multi-finger jacks for each 6000 watt dimmer, three for each2500 watt CONTROL SWITCHBOARD Single cascade control of stage lighting. Contactor of each dimmer for inde- dimmer and non-dim control. Model OBB-2442-E pendent, group, stage master and ex- Load-tester with meter and jack. Dimming Facilities tended switching controls. For Stage Lighting: House ON-OFF and transfer switches Physical Data: 2 groups of 6-6000 watt dimmers by contactors and relays. Baked gray-green wrinkle enamel finish. 2 groups of 6-2500 watt dimmers 1 group of 4-2400 watt non-dim Overall size 128" wide x 35" deep x control. Extended Control Facilities: 40" high. For general lighting of Stage and Au- ON-OFF switching control of stage ditorium: 3-6000 watt dimmers. master on stage.

VaitY VI:SY,OL51tutu iftif ,

t., >131:1___

PEr LIGHTING EQUIPMENT SCHEDULE FINDLAY SR. HIGH SCHOOL

Hub lamp *Circuit Cat. No. Qty. Spec. DESCRIPTION Function No. --- 20009-F 3 Plugging Strip 20 ft. long -Wi-th (6) 20 Amp. duplex (X) Distribution of 1-18 pin plug receptacles with multi-finger floating jacks, term- (21) circuits. inal block and mounting brackets. Provide (2) duplex parallel blade receptacles for 8736 floodlights. 113-115 8809 12 1000/G40/SP Fresnel spotlight with 8" oval beam co-louvered fresnel Visibility Mog. PF lens, color frame, C-clamp, 6' leads and 20 Amp. pin plug. color fill.

, 8760-1 2 2000/T30/1 Ellipsoidal spotlight with 8" co-louvered step-lens, framing Dramatic pools Mog. PF shutters,iris, wooden handle, C-clamp, color frame, 6' of light; leads and pin plug. follow spot.

8764 15 750/T12/9 Ellipsoidal spotlight with 6" co-louvered step-lens, framing Dramatic pools Med. PF shutters, color frame, C-clamp, 6 ft. leads and pin plug. of light; highlighting; Side accent.

403 12 C-clamp with vertically adjustable pipe and adjustable Maximum mounting bracket. flexible positioning of spots.

601K 9 Extension cables, 50' long with male and female pin plugs.

20009-F 3 Plugging Strip 20 ft. long with (6) duplex pin plug re- Distribution of ceptacles. (18) circuits. 19-36

8811 12 1000/G40/SP Fresnel Spotlight with 8" round beam co-louvered fresnel Directional Mog. PF lens, color frame, C-clamp, 6' leads and pin plug. illumination.

8764 15 750/T12/9 Ellipsoidal spotlights as before. Med. PF 8768 6 500/750/T12/9 Ellipsoidal Spotlight with (2) 6" condenser lenses, framingDramatic Pools Med. PF shutters, color frame, C-clamp, 6 ft. leads and pin plug. of light; highlighting; Side Accent.

403 12 Adjustable hanger as before.

601K 9 Extension cables as before.

....1144 ..A..., 11328 1 Surface mounting pocket with single pin plug receptacle. Distribution of a circuit. 37

79030 1 2100/T24/8 Projection Unit with 4-way matting shutters, tilt lamp ad- Transfer of 60 Volt justment, blower, 12 ft. lead, pin plug, and 120/60 volt Image to Mog. Bi-Post step-down transformer. Panorama Wall.

420 1 Projection Unit Mounting Assembly. For Precise adjustment. . 421 1 Image Frame Mounting Assembly. For variously sized frames.

1 A 20009-F 2 t Plugging Strip 20 ft. long with (9) duplex pin plug re- Distribution of ceptacles. (12) Circuits. 38-49

8361 12 750/13552/IF 18" Scoop floodlight with ALZAK reflector, yoke, C-clamp,Color washes on Mog. Screw color frame, 6 ft. leads, and pin plug. Panorama Wall.

Continued on next page. ARCHITECTS & ENGINEERS LIGHTING EQUIPMENT SCHEDULE FINDLAY SR. HIGH SCHOOL

Hub Lamp *irCcuit I 1 Function Cat. No. IQty. Spec. DESCRIPTION 1 No. I

irl.b...... 1...... maikarei. iadMalM.e.Y.rdwal...... ". 304 2 4-Gang flush mounting type with doors, (4) duplex pin Distribution of plug receptacles. (8) circuits. 50-57

20110 / Tree with 10 ft. vertical pipe, 3 sets cross-arms, 24" castSupport of units iron base and plugging strip with (3) duplex pin plug for low side receptacles and (3) 6 ft. leads with pin plug. accent lighting.

8768 6 500/T12/9 Ellipsoidal spotlight with (2) 6" condenser lenses, framing Med. PF shutters, color frame, "C"-clamp, 3 ft. leads and pin plugs. _ . j".1.... S-. , ..-g.1161.ataie.A.A1:61Zr-as. 104 2 4-Gang type with cast iron door and (4) duplex pin plug Distribution of receptacles. (8) circuits. 58-65

21632 4 150/A23/IF Strip-light 8 ft. long with (12) reflectors and color frames, Occasional for gelatine or roundels, wired on 3 circuits, castered cra- horizon glow. dles, (3) 6 ft. leads and pin plugs.

20824 4 60/A19/IF Strip-light 30 inches long with (8) receptacles, hook, 6 ft. Interior set lead and pin plug. illumination. .,

. 3540-S 500-13540 Suspended reflector unit with stem and swivel outlet box General 0 IF Mog. Screw covers. Lighting on Dimmer A. 101-104

8584-F 4 750 R-57 Flush mounted with Micro-Baffles and plaster ring for 105-108 CO Mog. Screw sloped ceiling. .--f.DOWNLIGHTS 7.4.0 _ 8584-F 14 750 R-57 Same as above. General Mog. Screw Lighting on Dimmer B. 109-112

8736 6 500.Watt PAR-64Floodlight with C-clamp, 3-ft. leads and parallel blade re-Angled lighting ceptacles on Catwalk A. for re-enforcement. on Dimmer B. 113-115

- - -- , ,:ZDOWINIOGHTS:. -* -k

8579-F 23 500 R-57 Flush mounted with Micro-Baffles and plaster ring for flat General Mog. Screw ceiling. Lighting on 0 Dimmer C. 116

(X) All receptacles provided with 20 Amp. multi-finger *Circuits 1-65 for stage lighting controlled through Cross- floating jacks for positive electrical contact. Recep- connecting panel. Each circuit must have own neutral. tacles are also available with 2-pole plus ground (add Circuits 101-116 for general lighting controlled by Silicon suffix G to Cat. No.). Controlled Rectifier or Magnetic Amplifier type dimmers. 0 0 t6 receptacles adjacent to each side of image frame on 6 circuitsfor floodlights: other receptacles on individual Symbols are shown on plan-view drawing. circuits. Lighting Equipment Schedule For Caliper Stage of Longmont Sr. High School

CATWALK F IMAGE MANUAL FLEXIBLE CONTROL FLOOR POCKETS G PROJECTION UNIT SWITCHBOARD 1111MIIV10. Model WS-742-E Auto-transformer Type 68-70 64 67 I. CATWK E Dimming Facilities: '1M For stage lighting CATWALK D 6 groups of 1-6600 watt master dimmer and 3-2500 watt minor dimmers. 20-27- 615---c-241-_ CATWALK 1 group of 1-6600 watt master dim- 47 pimigimigt mieggo,11 mer and 6-1200 watt minor dim- g-4 arm-7-211,. mers. ;arra 1 group of 4 2400 watt non-dim 4 9, 112 control. .For General lighting of Stage and Au- ditorium: 7-6000 watt dimmers.

r.-4.711 CATWALK 11. I ccautCUITS:11 Control Facilities: Manual dimming control of stage light- POCK NOW 0 9 ing: 7proportional dimminggroups, tke rarlisms 3 CI each with one master and minor dim- 41184.88ainn, mers. Each master dimmer serves a FLUSH OU dual function, it can operate indepen- DOW IG dently or as a proportional master.

r-- Ti ING CO It has mechanical interlock handleex- SWITCHBOARD tending its control to master handle. Each minor control unit is of the modular plug-in type and has non-inter- locking handle. 141. It can operate independentlyor under proportional control. Motor driven dimming control ofgeneral lighting: Dimmers for stage and auditorium on four motor drives in IMAGE PROJECTION UNIT CATWALK A separate housing.

(LI/ Switching Facilities: rd Single cascade control of stage lighting FLCiODS SPOTS / with contactor for each master dimmer 1m.= FLUSH MOUNTEDi and each group of minor dimmers. DOWNLIGHTS Master dimmer on independentor as proportional master. FLO POCKETS G ETS Minor dimmer on independentor under proportional control. House ON-OFF and transfer switches by contactors and relays. ARCHITECTS & ENGINEERS Extended Control Facilities: ON-OFF switching control of stage master on stage. General lighting-dimming control on stage. ON-OFF switching control of general ..... lighting on stage and usher's stations. ***** ex.:.-fTe Cross Connecting Facilities: I Integral plugging panel with 72-96 retractable cords and SAFETY-TYPE plugs for each stage branch circuit. Six Multi-finger jacks for each 6600 watt dimmer, three for each 2500 watt dimmer and non-dim control and two for each 1200 watt dimmer. Load-tester with meter and jack.

Physical Data: Baked gray-green wrinkle enamel finish. Approximate overaall size 110" wide x 35" deep x 34" high.

Model WS-742-E LIGHTING EQUIPMENT SCHEDULE LONGMONT SR. HIGH SCHOOL *Circuit Hub No. Cat. No.

...... _ 11328-2 7 Single gang surface mounting pocket with one 20 Amp. Distribution duplex pin plug receptacle with (x) multi-finger floating of (7) jacks. circuits. 1-7 Dramatic pools 8764 16 750/T12/9 Ellipsoidal spotlight with 6" step-lenses, framing shutters, Med. PF color frame, C-clamp, 6 ft. leads, and pin plug. of light; high-lighting.

Dramatic pool I 87604 2 2000/T30/1 Ellipsoidal spotlight with 8" co-louvered step-lens, framing Mog. PF shutters, iris, wood handle, C-clamp, color frame, 6' leads of light; and pin plug. follow spot.

_ . 8-19 20009-F 2 Plugging Strip 30 ft. long with (6) duplex pin plug recep- Distribution tacles, terminal block, and mounting brackets.Provide (3) of (14) duplex parallel blade receptacles for No. 8736 floodlights. circuits. 111-112

Visibility 8809 8 1000/G40/SP Fresnel spotlight with 8" oval beam co-louvered fresnel Mog. PF lens, color frame, C-clamp, 6' leads, and pin plug. color fill. Directional 8811 8 1000/G40/SP Same as 8809 with 8" round beam lens. Mog. PF illumination.

8764 8 750/T12/9 Ellipsoidal spotlights as before. Dramatic pool Med. PF of light. Maximum 403 16 C-clamp with vertically adjustable pipe andadjustable mounting bracket. flexible positioning of spots.

601K 12 Extension cables, 50' long with male and female pin plug.

32 LIGHTING EQUIPMENT SCHEDULE LONGMONT SR. HIGH SCHOOL

Hub Lamp I *Circuit Cat. No. Qty.---.....Spec. DESCRIPTION Function No. . ,Ars

20009-F 2 Plugging strip 28 ft. long with (8) duplex pin plug recep- Distribution tacles, terminal block, and mounting brackets. of (16) circuits. 20-35

8809 10 1000/G4OSP Oval beam fresnel spotlight as before. Directional Mog. PF illumination.

8764 6 750/T12/9 Ellipsoidal spotlight as before. Dramatic pool Med. PF of light.

403 10 Adjustable hanger as before. _ ,

20009-F 2 Plugging strip 28 ft. long with (8) duplex pin plug recep- Distribution tacles, terminal block, and mounting brackets. of (16) circuits. 36-51 8811 10 1000/G4OSP Round fresnel spotlights as before. Directional Mog. PF illumination.

8764 8 750/T-20/9 Ellipsoidal spotlights as before. Dramatic pools Med. PF of light.

.- ...... 4. , .., 113281 Surface mounting pocket with single pin plug receptacle. Distribution of a circuit. 52

79031 1 PH IM/T-20/40 Projection unit with 4-way matting shutters, tilt lamp ad- Transfer of (DSB) justment blower, 12 ft. lead, and pin plug. image to PH 1500/T-20/39 panorama wall. (DTJ) Mog. PF

420 I Projection unit mounting assembly. For precise adjustment.

, 421 1 Image Frame Mounting Assembly. For variously sized frame. 20009-F 2 t Plugging strip 24 ft. long with (8) duplex pin plug recep- Distribution tacles, terminal block, and mounting brackets. of 7 circuits. 53-59

8360 12 500-PS40-IF 15" Scoop floodlight with ALZAK reflector, yoke, C-clamp, Color washes Mog. Screw color frame, 6 ft. lead, and pin plug. on panorama wall.

8768 4 750 Ellipsoidal spotlight with (2) 6" condenser lenses, framing Cross TI2/9 shutters, color frame, C-clamp, 6 ft. leads and pin plug. lighting. Med. PF 403 4 Adjustable hanger as before. As before.

,. . .

_... A.r.l.i.U....., . 20009-F 2 Plugging strip 20 ft. long with (4) duplex pin plug recep- Distribution tacles, terminal block, and mounting brackets. of (8) circuits. 60-67

8809 2 1000/G4OSP Oval beam fresnel spotlights as before. Directional Mog. PF Illumination. 8768 4 750TI2/9 Ellipsoidal spotlights as before. Separation of Med. PF actors from scenery.

Continued on next page. 3:

ogavattrews3,454511W ARCHITECTS A ENGINEERS LIGHTINGEQUIPMENTSCHEDULE LONGMONT SR. HIGH SCHOOL *Circuit Function No. Hub Lamp DESCRIPTION Qty. Spec. Cat No. last -Digtfilititioli 3-Gang type wiTh castiron-a-66r zuid73)t-aVex'iiiiii5liii 103 of (6) 2-7-t---receptacles. circuits. 68-73

with (12) reflectorsand color frames Occasional 6 150/A23/IF Striplight 8 ft. long circuits, castered cra- horizon glow. 21632 for gelatin orroundels, wired on 3 dies, (3) 6 ft. leadsand pin plugs. receptacles, hook, 6ft. Interior set 60/A19/IF Striplight 30 incheslong with (8) illumination. 20824 4 lead and pin plug.

female pin plugs. Extension cables, 25'long with male and 602K 10 fe-, '1-

(3) duplex pinThistri u ion , 3-Gang flush mountingtype with doors, of (6) 303 plug receptacles. circuits. 74-79

24" cast Support of Tree with 10 ft.vertical pipe, 3 sets cross-arms, units for 20110 2 plugging strip with(3) duplex pinplug iron base and plugs. platform side receptacles and (3) 6ft. leads with pin accent lighting.

Ellipsoidal spotlight with(2) 6" condenserlenses, framing 8768 6 500/TI2/9 "C"-clamp, 3 ft. leads andpin plugs. shutters, color frame, , Med. PF . ..- _ L ;POCKETS = uplex pin 2-Gang flush mountingtype withoors, 80-83 2 1 302 plug receptacles.

: As above. 84-87 Same as above. 302

General Flush mounted withMicro-Batfles and plasterring for 8583-F 20 Lighting on sloped panel. Dimmer A. 101-106

--1` ...... On Dimmer B. 107-110 Same as above. 8949-F 18 300 Watt R-40 "C"-clamp, 3-ft. leadsand parallel blade Angled lighting 6 500 Watt Par 64 Floodlight with for re-enforce- 8736 cap onCatwalk B. ment. an 111-112 Dimmer B.

_ .,,,,,,-- -, =.,-,-,.- UM: General lighting Flush mountedwith Micro-Batflesand plaster ring. C. 113-122 8943-F 500/R-57 on Dimmer Mog. Screw

General lighting cir14,1114.afit. I Same as before. D. I123-128 8909-F 300/R-40 on Dimmer 0 Med. Screw lighting controlledthrough cross- *Circuits 1-87 for stage neutral. (x) All receptaclesprovided with 20Amp. multi-finger connecting panel. Eachcircuit must have own positive electrical contact.Recep- general lightingcontrolled by four floating jacks for ground (add Circuits 101-128 for tacles are alsoavailable with 2-pole plus motor drivendimmer groups. suffix G to CatalogNo.) adjacent to each side6f image frame on 3 t6 receptacles individual AK 0 circuits for floodlights:other receptacles on Symbols are shown onplan-view drawing. circuits.

34 Lighting EquipmentSchedule For Caliper ForethrustOpen Stage La Junta (Colo.) Sr.High School

Theatre MANUAL FLEXIBLE CONTROL SWITCHBOARD Model WS-642-E-2 Auto-transformer type. Dimming Facilities: For Stage Lighting: 2 groups of 1-3600 watt master and 3-1200 watt minor dimmers. WALL POCKE 4 groups of 1-6600 watt master and 3--2500 watt minor dimmers. 1group of 4-2400 watt non-dim 61 control. For general lighting of stage and auditorium: 3-6000 watt and 1-2500 watt dimmers.

Control Facilities: WAL Manual dimming control of stage lighting: 6 proportional dimming groups, 11111XKLILLOSIIM each with one master and three minor 46,NIIIIMM =MM=111!: 6-30, 341 dimmers. Each master dimmer serves K A MISIIIIVZIE:71111MBIrldn a dual function, it can operateinde- IhAlq11/.411/ usulaanizyr pendently or as a proportional master. LIG INGCaITRO It has mechanical interlock handle ex- TCHBOAk 11T5 tending its control to master handle. mismaamanaagr_111.12/EIRM.1111111Z Each minor control unit is of the mod- 11111111111=11111 41100. ular plug-in type and has non-inter- locking handle. It can operate independently or under proportional control. t- -1 \ / t_ -4 \ Motor driven dimming control of gen- / \ // \ eral lighting: ( /) \\ / Dimmers for stage and auditorium on \ _i/ three motor drives. Switching Facilities:

H H r, H Hi Single cascade control of stage lighting with contactor for each master dimmer. Manual stage master. Master dimmer on independent or as PZIMUM-11 proportional master. 0000000 0 0 00000 0000 Minor dimmer on independent or CATWALKS A & B lIE 00 00 0 0000000 under proportional control. 00000 00 00 0 00 1111111EMENIMEMEMEZ11111100 000 House ON-OFF and transfer switches 00 0000000000 0 0 0 0 0 0 0 0 0 0 0 0 by contactors and relays. O 000 00 000 hri O 0000000 0 0 WiL POCKr D Extended Control Facilities: Ls- ON-OFF switching control of bank- master on stage. WALL POCKETS E General lighting-dimming control on stage. "la ARCHITECTS & INGINEEZ.5 ON-OFF switching ofgeneral lighting on stage andusher stations.

Cross ConnectingFacilities: Integral plugging panelwith 60-72 retractable cords andSAFETY-TYPE plugs for each stagebranch circuit. Six multi-fingerjacks for each6600 watt dimmer,four for each 3600 watt dimmer, three foreach 2500 watt dimmer andnon-dim control, and twofor

each 1200 wattdimmer. - Load-tester with meterand jack.

Physical Data: Baked gray-greenwrinkle enamel finish. Approximate overallsize: 100" x 35" 34" high. Model WS-642-E-2

ANN, LIGHTING EQUIPMENTSCHEDULE LA JUNTA SR. HIGHSCHOOL *Circuit Lamp Function No. Hub DESCRIPTION Cat. No. Qty. Spec. 1-. ,-% .17,-+.-4.. .Kuairyae. s-,1 SI=04.- w .0 i .0 ....F1., -+.-.-4.4..4 .....00....W 30 ' '-J...lila,...V., 0 410 ^iiu., . A. -.2 -.-.41.1. - Amp. duplex pin Distribution of Plugging strip 30 ft.long with (15) 20 1-30 20009-F 2 (x) multi-fingerfloating jacks, term- (32) circuits. plug receptacles with Provide (3) duplex inal block, and mountingbrackets. 110-111 parallel blade receptaclesfor 8736 floodlights. Visibility Fresnel spotlight with8" oval beamco-louvered fresnel 8809 8 1000/G40- C-clamp, 6' leads andpin plug. color fill. SP. Mog. PF lens, color frame, Directional Same as above with 8"round beam lens. 8811 6 1000/G40- illumination. SP. Mog. PF Dramatic pools Ellipsoidal spotlight with6" co-louvered steplenses, fram- 8764 15 750/T12/9 C-clamp, 6 ft. leads andpin plug. of light; high Med. PF ing shutters, color frame, lighting, side accent.

Maximum C-clamp with verticallyadjustable pipe andadjustable 403 8 flexible position- mounting brackets. ing of spots.

tf Oa ,..-X Cn . ft 3c 7.-. ...v.+ r _ ...,.._ ,,..,,... ) .r0,... ,{ ....Z.....,p -+N.m,--" .....p0.,,,yr,,,,.- .0.,{,. with (5) duplex pinplug recep-Distribution of 4 Plugging Strip 12 ft. long (20) circuits. 20009-F tacles, terminal block,and mounting brackets. Directional Round fresnel spotlights asbefore. 8811 16 illumination.

Side accent. Ellipsoidal spotlight with (2)6" condenser lenses,framing 8768 4 750/T12/9 C-clamp, 6 ft. leads andpin plug. Med. PF shutters, color frame, Adjustable hangers as before. 403 8

with door, (4) duplexpin plugDistribution of 2 4-Gang flush mounting type (8) circuits. 51-58 304 receptacles.

AIMAPPJ.VIIPRP/M.FRm,.... LIGHTING EQUIPMENTSCHEDULE LA JUNTA SR. HIGHSCHOOL *Circuit Hub Lamp Function No. DESCRIPTION Cat. No. Qty. Spec Transfer of Projection unit with 4-waymatting shutters, tilt lampad- 79032 PH500/T10/P and pin plug. image to Med. PF justment, blower, 12 ft. lead, arcade screens.

yoke, base prate, C-clamp,colorColor washes on 8365 1/200W. PS30 10" Scoop floodlight, arcade screens. IF. Med. Screw frame, 6 ft. leads, 20-amp.pin plug. (See Page 70 for set-upinstruction).

Extension cable, 25 ft. longwith male pin plug andparallel 602-K blade triplex receptacle. Interior Set Striplight 30" long with 8receptacles, hook, 6 ft. leads and 20824 illumination. pin plug.

Distribution of 2-Gang flush mounting typewith door, (2) duplex pinplug 302 1 (2) circuits. 59-60 receptacles.

._ . =427=111e)E47 - , _. - ' pociais LIZ Distribution of 3-Gang flush mounting typewith door, (3) duplex pinplug 303 (6) circuits. 61-66 receptacles.

Distribution of 303 (6) circuits. 67-72

Micro-Baffles and stem on swivelGeneral lighting 8578-S 16 300 W. Suspended type with on DimmerA.101-106 0 R-40 spots aligning plate. Micro-Baffles under Catwalk B. 107 2729 3 300 W. Surface mounted type with C) R40 Spot under stage gallery. General lighting 6136 13 150 W. Flush mounted lens unit on DimmerB. 108-109 CI A-21. IF. Angled lighting Floodlight with C-clamp,3-ft. leads and parallel blade capfor re-enforce- 110-111 6 500 W. Par 64 ment. 8736 on Catwalk A. on Dimmer A. Ocivatu General lighting 8578-S 25 on DimmerC. 112-117 0

2729 119 Flush mounted lens unitunder Caliper Galleries. 6131 150 W. a A-21. IF *Circuits 1-72 for stagelighting, controlled through cross- (x) All receptaclesprovided with 20 Amp.multi-finger connecting panel. Each circuitmust have ownneutral. floating jack for positiveelectrical contact. Recep- lighting, controlled by three 2-pole plus ground (add Circuits 101-119 for general tacles are also available with motor driven dimmer groups. suffix G to Catalog No.). 0 Cs 0 0 Symbols are shown onplan-view drawing.

-MW ARCHITECTS & ENGINEERS

Lighting Equipment Schedule For Forward Thrust Open Stage Western Springs (III.) Theatre

CATWALK C WALL POCKETS F MANUAL FLEXIBLE CONTROL SWITCHBOARD Model WS-642 - E-1 Auto-transformer Type Dimming Facilities: For stage lighting: 4 groups of 1-6600 watt master dimmer and 3-2500 watt minor dimmers. 2 groups of 1-6600 watt master dimmer and 6-1200 watt minor dimmers. 1 group of 4-2400 watt non-dim control. For general lighting of stage and auditorium: 3-6000 watt dimmers.

Control Facilifies: Manual dimming control of stage lighting: 6 proportional dimming groups, each with one master and minor dimmers. Each master dimmer serves a dual function; it can operate independently or as a proportional master. It has mechanical interlock handle extending its control to master handle. Each minor control unitisof the modular plug-in type and has non-in- terlocking handle. Motor driven dimming control of Gen- eral Lighting: 3 Dimmers for stage and

PROJECTION UNIT iMAGE auditorium on two motor drives.

SPOTS FLOODS Switching Facilities: 3 11 r I Single cascade control of stage lighting , r ^ - - V. with contactor for each master dimmer and each group of minor dimmers. c TWALK A 8. C I D -FMK DOWNLI HTS Master dimmer on independent or as LIG ING CONT proportional master. -. RC; 1111.111J---11.111 Minor dimmers on independentor WALL POCKET E under proportional control.

H H -1 House ON-OFF and transfer switches by contactors and relays. Extended Control Facilities: ON-OFF switching control of stage master on stage.General lighting-dimming control on stage. ON-OFF switching controlsof general lighting on stage and usher'sstations.

Cross Connecting Facilities: Integral plugging panel with64-72 retractable cords and SAFETY-TYPE tit plugs for each stage branchcircuit. Six multi-finger jacks foreach 6600 watt dimmer, three foreach 2500 watt dimmer and non-dim control and two for each 1200 watt dimmer. Load-tester with meter andjack.

Physical Data: Baked gray-green wrinkle enamelqnish. Approximate overall size: 100"wide x 35" deep x34" high.

Model WS-642-E-1

LIGHTING EQUIPMENTSCHEDULE WESTERN SPRINGS THEATRE

*Circuit Hub Lamp Function No. DESCRIPTION Cat. No.I Qty.] Spec.

- "-.,.+ +,..,,, +" ,- ...,-,.---.."'^' 4.440.00taAgiNAWNLog.i..6..,W 16.14i*ng, Plugging strip 20 ft.fong with (8) 20 Amp. duplexpin Distribution of 20009-F 1 (16) Circuits. 1-16 plug receptacles with (x)multi-finger floating jacks, terminal block, and mountingbrackets. . with (4) duplex pin plug re- 20009-F 3 Plugging strips 10 ft. long ceptacles. Fresnel spotlight with 8"oval beam co-louveredfresnel Visibility 8809 8 I 000 /G4OSP 6' leads and pin plug. Color fill. Mog. PF lens, color frame, C-clamp, beam lens. Directional 8811 4 1000/G4OSP Same as 8809 with 8" round illumination. Mog. PF Ellipsoidal spotlight with 8"co-louvered step lens, framingDramatic pools 87604 1 2000/T-30/1 C-clamp, color frame, 6' of light Mog. PF shutters, iris, wooden handle, follow spot. leads and pin plug. Dramatic pools Ellipsoidal spotlight with 6"co-louvered step lenses, fram- 8764 6 750/T12/9 C-clamp, 6 ft. leads andpin plug. of light; high- Med. PF ing shutters, color frame, lighting Side accent. pipe and adjustable Maximum 403 8 C-clamp with vertically adjustable flexible position- mounting brackets. ing of spots.

male and female pin plugs. 6 Extension cables, 25 ft. long with 602-K A

Continued on next page. ARCHITECTS ENGINEERS LIGHTING EQUIPMENT SCHEDULE WESTERN SPRINGS THEATRE

Hub Lamp 'Circuit Function Cat. No.IQty.I Spec. DESCRIPTION No. I _

20009-F 1 Plugging Strip 24 ft. long with (12) duplex pin plug re- Distribution of , ceptacles, terminal block, and mounting brackets.Provide (I I) circuits. 21-29 (4) duplex parallel blade receptacles for 8736 floodlights. 103-104

20009-F 2 Plugging strips 8 ft. long with (4) duplex pin plug re-Distribution of 17-20 ceptacles. (8) circuits. 30-33

8811 4 Round fresnel spotlights as before.

8764 10 500/750 Ellipsoidal spotlight with 6" co-louvered step lens, framingDramatic pools T/12/9 shutters, color frame, C-clamp, 6 ft. leads, and pin plug. of light; high- Med. PF lighting and side accent.

8768 6 500/750 Ellipsoidal spotlight with (2) 6" condenser lenses, framing T12/9 shutters, color frame, C-clamp, 6 ft. leads and pin plug. Med. PF

403 12 Adjustable hanger as before.

. Surface mounting pocket with single pin plug receptacle.Distribution of 11328 1 _ a circuit. 34 Transfer of 79031 1 PH IM/T20/40 Projection unit with 4-way matting shutters, tilt lamp ad- (DSB) justment, blower, 12 ft. lead, and pin plug. image to PH1500/T20/39 panorama wall. (DTJ) Mog. PF For precise 420 1 Projection Unit mounting assembly. adjustment.

For variously 421 1 Image frame mounting assembly. sized frame.

203 4 3-Gang Surface mounting type pocket with door and (3) Distribution of duplex pin plug receptacles. (9) circuits. 35-43

8361 6 750 Watt 18" Scoop floodlight with ALZAK reflector yoke, C-clamp, Color washes PS52 IF color frame, 6 ft. leads, and pin plug. on panorama Mog. Screw wall.

8786 6 500 T20/48 Fresnel spotlight with 6" round beam, co-louvered lens,Directional and Med. PF color frame, C-clamp, 6 ft. leads, and pin plug. highlighting illumination.

20009-F 1 t Plugging strip 30 ft. long with (12) duplex pin plug re- Distribution of ceptacles, terminal block, and mounting brackets. (6) circuits. 44-49

8768 6 500T12/9 Ellipsoidal spotlight with (2) 6" condenser lenses, framing Separation Med. PF shutters, color frame, C-clamp, 6 ft. leads and pin plug. of actors from scenery.

, - 403 6 Adjustable hanger as before.

r , LIGHTING EQUIPMENT SCHEDULE WESTERN SPRINGS THEATRE

Hub Lamp Circuit Cat. No. Qty. Spec. DESCRIPTION Function No.

- ...Mr...... alawd4 1.....-..-..- -...ar-.4...... "...... mas '..-Ir.--..a- 304 -) 4-Gang flush mounting type with door, (4) duplex pin plug Occasional receptacles, horizon glow. 50-57

21632 4 150/A23/IF Striplight 8 ft. long with (12) reflectors with color frames Interior set Med. Screw (for gelatine or roundels) on 3 circuits, castered cradles, illumination. (3) 6 ft. leads, and pin plug.

20824 3 60/A19/IF Striplight 30 inches long with (8) receptacles, hook, 6 ft. Distribution of Med. Screw leads and pin plug. (8) circuits.

602-K 7 Extension cables, 25 ft. long with male and female pin plugs. ' 304 Same as before. Distribution of (8) circuits. 58-65

20110 2 Tree with 10 ft. vertical pipe, 3 sets cross-arms, 24" castSupport of units iron base, and plugging strip with (3) duplex pin plug for low side receptacles, and (3) 6 ft. leads with pin plug. accent lighting.

8766 6 500/T12/9 Ellipsoidal spotlight with (2) 6" condenser lenses, framing As above. Med. PF shutters, color frame, C-clamp, 3 ft. leads and pin plug.

..,...... _ .....ftnr-..e _. _ , _ , .,,_,......

. .., ,.. 8578-S 5 300 Watt Suspended with Micro-Baffles and stem. General lighting R-40 on DimmerA. 101-102 Med. Screw

8583 S Flush mounted with Micro-Baffles and plaster ring.

8736 4 500 Watt PAR-64 Floodlight with C-clamp, 3-ft. leads and parallel blade capAngled lighting on Catwalk B. for re-enforcement. on 103-104 Dimmer A.

;

- - ." ...... isaiLwi, W.a..,....14....r.,....1.44.8.1`-; 1.7.2.1,...... 1 8578-S 16 300W. R-40 Same as before. Med. Screw General lighting . on Dimmer B. 105-112 8583 15 Same as before. 0 , (x) All receptacles provided with 20 Amp. multi-finger *Circuits 1-65 for stagelighting, controlled through cross- floating jacks for positive electrical contact. Recep- connecting panel. Each circuit must have own neutral. tacles are also available with 2-pole plus ground (add Circuits 101-112 for general lighting; controlled by two suffix G to Catalog number). motor driven dimmer groups. t3 receptacles adjacent to each side of image frame on 3 0 circuits; other receptacles on individual circUits. Symbols are shown on plan-view drawing. ARCHITECTS & ENGINEERS MANUAL FLEXIBLE CONTROL LightingEquipment SWITCHBOARD Model WS-842-E Schedule Auto-transformer Type Curve Dimming Facilities: For Reverse For Stage Lighting: 8 groups of 1-6600 watt master dim- Open End Stage mer and 3-2500 watt minordimmers. 1 group of 4-2400 watt non-dim con- Of New Providence trol. For General Lighting of Stage and (N. J.) HighSchool Auditorium: 5-6000 watt dimmers. Control Facilities: Manual dimming control of stage lighting: 2 Banks of 4 proportional dimming groups, each group with one master and three minordimmers. zr"7"178771mmm-- LL POCKETS f r Each master dimmer serves a dual function, it can operate independently POTII(E:SD WALL or as a proportional master.It has mechanical interlock handle extending its 0-53 control to one of two bank master handles. OPENING Each minor control unit is of the modular plug-in type and has non-inter- locking handle. It can operate independently or under proportional control. Motor driven dimming control of general lighting: Dimmers for stage and auditorium on three motor drives.

Svitching Facilities: Single cascade control of stage lighting with contactor for each masterdimmer ,212.ind each group of minor dimmers. WALL POCKET G LIGHTING CONTROL 5-WICHAQAUL Master dimmers on independent or as 111111811@%1INIMIIIMMII i ------proportionalmaster. Minor dimmers on independentor under proportional control. House ON-OFF and transferswitches by contactors and relays.

Extended Control Facilities: ON-OFF Switching controls of stage master, and bank masters on stage. General lighting-dimming control on stage. ON-OFF Switching controls of general lighting on stage and at usher's stations.

Cross Connecting Facilities: Integral plugging panel with 64-84 retractable cords and SAFETY-TYPE plugs for each stage branch circuit. Six multi-finger jacks for each 6600 watt dimmer, and three for each 2500 watt dimmer and non-dim control. Load-tester with meter and jack.

Physical Data: Baked gray-green wrinkle enamel finish. ^. Approximate overall size: 115" x 35" x 34" high. Model WS-842-E LIGHTING EQUIPMENT SCHEDULE

DESCRIPTION

20009-F Plugging strip 32 ft. long with (16) 20 Amp. duplex pin Distribution of 1-16 plug receptacles with (x) multi-finger floating jacks, term- (18) twice re- inal block, and mounting brackets. Provide (3)parallel peated circuits.107-108 blade receptacles for 8736 floodlights.

8809 12 1000/040 Fresnel spotlight with 8" oval beam co-louve ed fresriel Visibility SP. Mog. PF lens, color frame, C-clamp, 6' leads and 20 Amn. pin plug. Color-fill 8760-I 2000/T30/1 Ellipsoidal spotlight with 8" co-louvered step lens, framingDramatic pools Mog. PF shutters,iris, wooden handle, C-clamp, color frame, 6' of light; leads and pin plug. follow spot. 8764 10 750/T12/9 Ellipsoidal spotlight with 6" co-louvered step lenses, fram- Dramatic pools Med. PF ing shutters, color frame, C-clamp, 6 ft. leads and pin plug. of light; high lighting side accent.

403 12 C-clamp with vertically adjustable pipe and adjustable Maximum mounting bracket. flexible positioning of spot. 601-K 12 Extension cables, 50 ft. long with male and female pin plugs.

04-4, 17-32 20009-F 2 Plugging strip as before. 8811 12 1000/040 Fresnel spotlight with 8" round beam, co-louvered lens, Directional SP. Mog. PF color frame, C-clamp, 6' leads and pin plug. illumination. 8764 20 750/T12/9 Ellipsoidal spotlight as before. Dramatic pools Med. PF of light, highlighting; side accent.

12 Adjustable hanger as before 403 j . ._

. .,,,;-,..4-.4.,,...-...... :,...... 4,

1 Surface mounting pocket with single pin plug receptacle. Distribution 11328 f - of a circuit. 33 Transfer of 79030 1 2100/T24/8 Projection unit with 4-way matting shutters. tilt lamp ad- 60 Volt justment, blower, 12 ft. lead, pin plug,and 120/60 Volt image to Mog. Bi-Post step-down transformer. panorama wall. For precise 420 1 Projection Unit mounting assembly. adjustment.

421 1 Image Frame mounting assembly. For variously sized frames.

20009-F 2 t Plugging Strip 20 ft. long with (9) duplex pin plug re- Distribution of ceptacles. (12) circuits. 34-45

8361 12 750-PS52IF 18" Scoop floodlight with ALZAK reflector, yoke, C-clamp, Color washes Mog. Screw color frame, 6 ft. leads, and pin plug. on panorama wall.

Continued on next page.

1 ARCHITECTS & ENGINEERS LIGHTING EQUIPMENTSCHEDULE NEW PROVIDENCE HIGH SCHOOL VW! Circuit Lamp Hub Function No. Cat. No.1Qty.I Spec. DESCRIPTION

4-Gang flush mounting type with door,(4) duplex pin plug Distribution of 304 2 46-53 receptacles. (8) circuits. 24" cast Support of 20110 2 Tree with 10 ft. vertical pipe, 3 sets cross-arms, iron base, and plugging strip with(3) duplex pin plug units for plat- receptacles, and (3) 6 ft. leads with pinplug. form side accent lighting.

lenses, framing 8768 6 500/T12/9 Ellipsoidal spotlight with (2) 6" condenser Med. PF shutters, color frame, C-clamp, 6 ft. leads andpin plug.

54-61 Same as above.

150/A23/IF Striplight 8 ft. long with (12) reflectorswith color frames Occasional 21632 for gelatines or roundels, wired on 3circuits, castered horizon glow. cradles, (3) 6 ft. leads, and pin plug.

Striplight 30 inches long with (8) receptacles,hook, 6 ft. Interior set 60/A19/IF illumination. Med. Screw leads and pin plug. .111Mia Extension cables, 25 ft. long with male andfemale pin plugs.

410,-,.-.-;-.. I2-Gang flush mounting type with door and(2) duplex pin IDistribution of plug receptacles. (2) circuits. 62-63 r. , 2-Gang flush mounting type with door and(2) duplex pin Distribution of plug receptacles. (2) circuits. 64-65

Condenser lens spotlight with color changer,shutters, iris Follow-spot for 2100/T24/8 floor operation. 60 Volt focusing system, blower, 120/60 volt step-downtransform- Mog. Bi-Post er, caster stand, leads andpin plug. 1

Flush mounted with Micro-Baffles andplaster rine forGeneral lighting 101-102 sloped ceiling. on Dimmer A.

500 PS40 103-104 IF. Mog. Screw

Flush mounted with Micro-Bafflesand plaster ring forGeneral lighting on Dimmer B. 105-106 sloped ceiling. Angled lighting 8736 500W. PAR-64 Floodlight with C-clamp, 3-ft. leads andparallel blade receptacles on Catwalk A. for re-enforcement.107-108 on Dimmer A. a).

' Same as before. Generallighting] 8583-F 42 300 R-40 109-118 Med. Screw on Dimmer C. 0 11111111111111 through cross- (x)All receptacles provided with 20 Amp.multi-finger *Circuits 1-65, for stage lighting, controlled Recep- connecting panel. Each circuit must have ownneutral. floating jacks for positive electrical contact. by motor tacles are also available with 2 pole plus ground(add Circuits 101-118 for general lighting controlled suffix "G" to Catalog number). driven dimmers. t6 receptacles adjacent to each sideof image frame on 6 00 circuitsfor floodlights: other receptacles onindividual Symbols are shown on plan-viewdrawing. circuits. 111... SWITCHIIOARD ....0 CONTROL LIGHTING POCKETS WALL

\ I r FRAMr, IMAGE /0 I i I OVES LAMP THOD C COLD I d \hOODS

SPOTS

HTS SUSPENDED

POCKETS E CKETS WALL

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0 I t \ vs IS is ss is si 0 51 ss II 11 11 11 II 11 11 11 11 II 11 II IL 11 11 .1 11 II 11 11 11 IS iii II NI 11 III 11 I 0 II II 11 II II 11 11 II II 11 I II 11 11 11 11 11 11 11 II 11 II II 60 FRAME II 11 11 id 11 ml 11 11 11 11 11 II il 11 IMAGE1 , risorri rosier:w a !IA walson II i IT 7 0 FININft___i mg! 11 II salu a 1 is ra PROJECTIO I I i I NM* till* 11111 1111111111111sr

33-41 .12.1 t47 4 52-55 60-63

II III I III School High Trinity Of Stage Proscenium Modified For Schedule Equipment Lighting ARCHITECTS IA ENGINEERS Cross Connecting Facilities: MANUAL FLEXIBLE CONTROL proportional master. Minor dimmer on Integral plugging panel with 60-75 re- SWITCHBOARD independent or under proportional control. tractable cords and SAFETY-TYPE Model WS-642-E switches Auto-transformer type. House ON-OFF and transfer plugs for each stage branch circuit. by contactors and relays. Six multi-finger jacks for each 6600 watt dimmer, three for each 2500 watt Dimming Facilities: Extended Control Facilities: dimmer and non-dim control. For stage lighting: ON-OFF switching control ofBank- Load tester with meter and jack. 6 groups of 1-6600 watt masterand master at Auditorium rear. 3-2500 watt minor dimmers. control Physical Data: 1 group of 4-2400 wattnon-dim General lighting and dimming Baked gray-green wrinkle enamel finish. control. at auditorium rear. For general lighting of stage andaudi- ON-OFF switching of generallighting Approximate Overall Size: 106" x 53" torium: 4-6000 watt dimmers. at auditorium rear andusher's stations. x 36" deep.

Control Facilities: Manual dimming control of stagelighting: 6 proportional dimming groups, each with one master and minordimmers. Each master dimmer serves adual function; it can operate independently or as a proportional master.Ithas mechanical interlock handle extending

its control to master handle. 'Cr Each minor control unit is of themod- ular plug-in type and has non-inter- locking handle. It can operate independently or under proportionalcontrol. Motor driven dimming control of general lighting: Dimmers for stage,auditorium and coves on separate motor drives. Switching Facilities: Single cascade control of stage lightingModel WS-642-E with contactor for each master dimmer. Stage Master. Master dimmer on independent or as LIGHTING EQUIPMENT SCHEDULE TRINITY HIGH SCHOOL ...... m...p...... *Circuit tamp Hub Function No. Cot. No. Qty. Spec. DESCRIPTION

. 20 Amp. duplex pin Distribution of 20009-F Plugging strip 52 ft. long with (18) plug receptacles with (x) multi-fingerfloating jacks, term- (16) circuits. 1-16 inal block, and mounting brackets.

co-louvered fresnel Visibility 8809 6 1000/G40-SP Fresnel spotlight with 8" oval beam Mog. PF lens, color frame, C-clamp, 6' leads and 20 Amp.pin plug. color-fill

framingDramatic pools 8764 18 500/750/T12/9 Ellipsoidal spotlight with 6" co-louvered step lens, Med. PF shutters, color frame, C-clamp, 6 ft. leads andpin plug. of light; side accent.

Maximum 403 12 C-clamp with vertically adjustablepipe and adjustable mounting brackets. flexible positioning of spots. female pin plugs. 601-K 12 Extension cables, 50 ft. long with male and LIGHTING EQUIPMENT SCHEDULE

TRINITY HIGH SCHOOL ...... m. Hub Lamp 'Circuit Cat. No. Qty. Spec. DESCRIPTION Function No.

_...... - ______

20009-F 1 Plugging strip 52 ft. (21) duplex pin plug receptacles. Distribution of (15) circuits. 17-31

8811 12 1000/G40/SP Fresnel spotlight with 8" round beam co-louvered lens, Directional Mog. PF color frame, C-clamp, 6' leads and pin plug. illumination.

8360 9 500PS40-IF 15" Scoop floodlights with ALZAK reflector, yoke, C-clamp, Visibility Mog. PF color frame, 6' leads and pin plug. Color-fill

403 6 Same as before.

11328 1 Surface mounting pocket with single pin plug receptacle. Distribution of a circuit. 32

79031 1 PH-1000/T20/40 Projection unit with 4-way matting shutters, tilt lamp ad- Transfer of (DSB) jusment, blower, 12 ft. lead, and pin plug. image to PH-1500/T20/39 panorama wall. (DTJ) Mog. PF

420 1 Projection unit mounting assembly. For precise adjustment.

421 1 Image Frame mounting assembly. For various sized frames.

20009-F 2 t Plugging strip 22 ft. long with (6) duplex pin plug re-Distribution of ceptacles. (9) circuits. 3341

8360 12 500-13540 I.F. Same as before. Color washes on Mog. Screw panorama wall.

ii....1...... Y....1.. Iii...il ...... =-

20009-F 1 Plugging strip 54 ft. long with (12) duplex pin plug re-Distribution of ceptacles. (6) circuits. 42-47

8768 6 750/T12/9 Ellipsoidal spotlight with (2) 6" condenser ienses, framing Separation Med. PF shutters, color frame, C-clamp, 6 ft. leads and pin plug. of actors from scenery.

A r.-,..-r 0* *0* *0° 0. , -- - 0...... -*...... -q.. .^..* .

44.44.4 304 2 4-gang type with door, and (4) duplex pin plug receptacles.Distribution of (8) circuits 48-55

20110 2 Tree with 10 ft. vertical pipe, 3 sets cross-arms, 24" castSupport of units iron base, and plugging strip with (3) duplex pin plug for low side. receptacles and (3) 6 ft. leads with pin plug.

Continued on next page. ARCHITECTS & ENGINEEitS LIGHTING EQUIPMENT SCHEDULE TRINITY HIGH SCHOOL

Hub Lamp *Circuit Cat. No. Qty. Spec. DESCRIPTION Function No.

8768 6 500/T12/9 Ellipsoidal spotlights as before. Accent Med. PF lighting.

304 / Same as before.

21632 6 150/A23/1.F. Strip light 8 ft. long with (12) reflectors with color frames Occasional for gelatine or roundels, wired on 3 circuits, castered horizon glow. S6-63 cradles, (3) 6 ft. leads with pin plugs.

20824 3 60/A19/IF Strip light 30 inches song with (8) receptacles, hook, 6 ft. Interior set Med. Screw leads and pin plug. illumination.

602-K 7 Extension cables, 25 ft. long with male and female pin plugs.

3540-5 6 500PS40-IF Suspended reflector unit with stem and swivel outlet boxGeneral lighting 0 Mog. Screw cover. on Dimmer A. 101-104

8583-F 10 300-R40 Flush mounted with Micro-Baffles and plaster ring for 0 Med. Screw sloped ceiling. :

8956 9 300 PAR-56 Flush mounted with gimbal adjustable rings, louvered, andGeneral lighting Flood color roundel (optional). on Dimmer B. 105-106

- ' v , '

' tr. -

8583-F 6 300 R-40 Same as before. General lighting 6 Med. Screw on Dimmer C. 107

8908-F 77 300 R-40 Same as above for flat ceiling. 108-125 Med. Screw

7899 Special Cold Light Strips with two rows of staggered lamps, custom-built. Effect lighting Cathode on Dimmer D. 126-129

(x) All receptacles provided with 20 amp. multi-finger *Circuits 1-63 for stage lighting, controlled through cross- floating jacks for positive electrical contact. Recep- connecting panel. Each circuit must have own neutral. tacles are also available with 2-pole plus ground (add Circuits 101-129 for general lighting, controlled by motor suffix "G" to Catalog number). driven dimmers. so e t3 receptacles adjacent to each side of image frame on 3 circuits: other receptacles on individual circuits. Symbols are shown on plan-view drawing.

48 Why the Open Stageis Economical, Practical and up to dateArtistically

By James Hull Miller UTILITIES SERVICE Significant reduction EQUIPMENT tow production First class installation in current consumption sevice demands more economical than I with proscenium form Today, Space Stagecraftisthe one r positive answer to the many challenges facing the dramatics instructor. With the overall background controlled flexibly by the lighting system, only set pieces are needed to complete the illusion of environment. OPEN STAGE AUDITORIUM These set pieces can be as spectacular as desired with a fraction of the effort 1 which goes into the full picture-frame set. Since the scale of the settings no longer SHOP depends upon the happenstance of the Compact Unit Set Pieces proscenium width, the result is that economy of materials, preparation areas,and STORAGE ART ROOM Maximum labor go hand-in-hand with the most com- Ease l size image con- Space Economy plex productions. With scene changes less struction for scene projection system burdensome on the open stage, the dramatic pace is quickened. The background r projection system and acoustically efficient stage wall replace the cyclorama PROGRAMI cloth, cloth backdrops and rigging neces- I sary to raise and lower them. I I 1 1 LECTURE ASSEMBLY CONCERT DRAMA Single room, Maximum platform Single acoustical chamber; Set-piece compacts in ARTISTICALLY, the new control over dynamic for space, good platform space architectural environment the scale of the setting and the freedom speaker circulation for large orchestras replace costly to design compact units of scenery within picture frame scenery the architecturally finished space of the open stage, permit a range of styles from ARCHITECTURALLY, the open stageA Dramatic Revolution the most realistic to the most abstract. It is a chamber both visually and acousti- also opens up additional sources of sup- cally complete, with ample space for a DRAMATICALLY, a major revolu-ply such as the artist's studio and smaller variety of activities. Aside from curtainstion has occurred in both the nature ofcraft shops. for effect or closure, the usual comple-decor for theatricals and the logistics of ment of teasers, tormentors, wing andconstruction,shiftingandstoringof cyclorama draperies are not required. scenic items for the open stage. This has ADMINISTRATORS' become known as SPACE STAGING. The ENGINEERING phase of the High School Section open stage includes a dual lighting sys- Space Staging may be defined as the For many years the school auditorium tem, one portion for the lecture-assembly-practice of dressing and using separatehas resembled a conventional theatre with concert program, by means of architec-areas of the stage withouthaving to con-the mechanical equipment missing, and tural downlights in dimmer groups by area tinue the dramatic environments to thethe proper off-on stage space relationship (such as auditorium, forestage, stage) ;proscenium frame. Set pieces standingsacrificed. The solution is not to restore the other portion, for the dramatic pro-free in space replace settings which spanthese, but to create the sort of space gram, by means of specialized theatricalthe stage from side to side. One can rep-which meets the special challenges of a lighting equipment and its lighting con-resent many scenes simultaneously in-high school program. Below are some trol board. stead of moving one large set after anothertypical questions asked by administrators, into position. Set pieces never need be aswith answers based on experience with This dual system is more economical in the open stage form. both installation cost and current con-large as one continuous set, so the variety .... . sumption than the older proscenium-typeand spectacle of the scenery can be in- installations. Furthermore, controlforcreased. Also, for space staging, the larger QUESTION:The dramatic staff requests a general illumination may be accessiblethe stage the better, and with a larger30 foot proscenium opening; ihe concert while the specialized theatrical lightingstage other school activities can be ac-groups, an opening 50 feet wide. How control board may be remotely located. commodated properly. should I resolve this situation? 49 ADMINISTRATORS ANSWER:The open stage design elimi-a very old tradition, solves many space-the beginning, from a study of the audi- nates compromise since the prosceniumtime requirements of environment in a torium program as a whole. And in this is not an aesthetic requirement for openmanner highly ideographic. bulletin, we consider the open stage form stage dramatic productions. If a prosce- as a unified or integrated solution to QUESTION:It is not so much the design problems presented by a varied program. nium wall is required for building codeof the auditorium as the provision of reasons, the width of the openingshouldspace for the fabrication and storage of be set for the largest activity. QUESTION:Some educators favor the re- sets which is a problem. Does the openmoval of dramatics from the program QUESTION:Dramatics play a minor rolestage auditorium plan help with this prob- requirements of the auditorium and the in our school. Will not specifications forlem? creation of a modest but more specialized dramatic equipment add a great deal to ANSWER:Definitely. Open stage sceneryfacility such as a "double-classroom". the cost of the auditoritun? is unit scenery placed at the heart of each Does this solution have merit? ANSWER:Equipping the open stage com-playing area and its form is naturally ANSWER:This solution has serious limi- pletely is not any more expensive thancompact. The logistics of preparation andtations. There are many valuable dramatic the majority of the older arrangementsstorage of open stage sets make sense in experiences such as concert, dance, oper- which incidentally did little for the dra-the high school. etta, and musical comedy which cannot arrange- matic program. Architectural QUESTION:Our auditorium must servebe programmed into the classroom thements of the open stage auditorium itselfalso as a community center. Would not a atre. Proponents of this theory are gen- replaces most of the curtain equipment.proscenium design be essential for com-erally proscenium-oriented and are un- And, the newer, more compact, two sys-mercial bookings? comfortable on a larger platform. "Open tem lighting layout (one for dramatics, staging" is at home on these larger spaces the other for concert-assembly programs)ANSWER:The economy of the theatre is provided they are properly designed. It is effects economies in both equipment andshifting; thus touring companies which re-an administrative responsibility to see that in current consumption, quire the rigged stagehouse and prosce-philosophies of production are evaluated nium frame arrangement seldom contractwith objectivity. QUESTION:What savings,specifically,for auditoriums seating under 2000, and can be effected? companies which can afford to play to QUESTION:How are acoustics for the open stage? ANSWER:Up to 25% in equipment; andsmaller houses already have a more ver- from 40% to 55% in electrical currentsatile stagecraft. Exclusive of the booking ANSWER:The extension of the audito- consumption, from theatricals to concertsphase, the open stage is the more prac-rium ceiling over the platform and the and lectures respectively. tical space for a general community pro- presence of the firm plaster wall for back- gram of lectures, concerts and amateur ground projection reinforce the acoustical QUESTION:How is this possible? theatricals. qualities desirable for the "sending" end What aboutconflictsofof the auditorium. The open stage ap- ANSWER:The extension of the auditor-QUESTION: proach to auditorium design might be ium ceiling plane over the forward stageschedule between a strong dramatic program and other auditorium activities? described as the enclosure of the audience area eliminates the practice ofsandwich- and the performance platform in one ing solid borderlight strips between clothANSWER:There are three considerationsarchitectural (and therefore acoustical) masking pieces, and permits a continua-that minimize such conflicts: envelope. tion of the more efficient auditorium the dual lighting system: downlighting.Border lightsconsume a1. There is great amount of current with relatively downlighting for all general activities and special theatrical lighting for dra- low illuminating output, and by eliminat- each system with its own ing them, it is passible to reduce sharply matics... the capacity of the stage lighting control controls. board. Furthermore, the ideal placement2. Settings for open stage are "compacts", easily maneuvered. of open stage dramatic lighting instru- IIN. ments encourages an economy of equip-3. Overall backgrounds beyond the prac- _i_IJJ ment. tical set pieces are created by illumination rather than by paint and cloth. OPEN STAGE QUESTION:We have an extensive dra-QUESTION:What are some specific draw- matic program. Should I not include stagebacks to the majority of conventional facilities of the proscenium form in theauditoriums in our schools today? new auditorium? ANSWER:Most stages are badly over- ANSWER:Should a secondary school edu-draped, leading to excessive sound ab- cation be one of learning principles or ofsorption and poor acoustics. The rows of acquiring specific techniques? If an ap-overhead teaser cloths serve no useful prentice-type education is not involved, itpurpose where no fly loft is present. Be- would appear that the open stage form,tween these teasers are the borderlight with the lower production cost factor,strips, more than required because of the would be the most ideal for the secondarylimited lighting angles. PROSCENIUM STAGE school. The multiplicityof tormentor and Proscenium and open stage art formsteaser curtains emphasize the "picture- Comparison of the proscenium and open stage are quite different in themethods theyframe" quality of the stage and this in forms demonstrate that all sound is projected from use to organize the dramaticenviron-turn requires the maximum of scenic de- the open stage while a large proportion of sound ments. A stage which serves both forms is lost in the "stagehouse" with its conventional cor for dramatic environment. curtains whkh form a stage enclosure thatis well is complex and expensive. The pro- acoustkally negative. scenium was developed in order to per- These drawbacks can not be dealt with fect the more pictorial aspects of "change-singly. They are so completely interrelated able scenery", while the open stage, withthat to correct any,one had best start from ADMINISTRATORS' concerts and meetings of a civic nature The spectator may be aware of this re- College Section ...all activities ill-housed behind a pro-lationship but subconsciously he sorts out scenium frame. I would be less inclined tothe dramatic form from the architectural The small college theatre may be: recommend it here because I do not thinkbackground. I have yet to see a photo- I. A dramatic club, a really good open stage experience re-graph which does justice to the open 2. A departmental educational unit, or sults from this arrangement, unless thestage. Actual models are more interesting, 3. A combination lecture room andproscenium frame is architecturally de-and, of course, good sketches help. theatre chamber. emphasized to the point where its presence is not felt when the two stages are These facilities differ from the high used in conjunction. school auditorium chiefly through a less QUESTION:How much equipment should centralized administration, with more re- It must be remembered that such athe college theatre have for student train- sponsibility for the program vested in the hydraulic device used as an orchestra piting for later-in-life situations? operating staff. Consequently, administra- subtracts area from the playing space atANSWER:Of course, dependence on tive questions will be related to specific that very time when the maximum play-equipment may weaken the art of im- situations. As in the preceding section the ing space is needed for operas, operettas,provisation, while ignorance of equip- questions are those more frequently asked, and musical comedies. ment may lessen technical achievement. rather than those- representing a complete The real danger from equipment systems, coverage of this phase of theatre design. however, come from the rigid procedures Answers are based on experience with the which any highly mechanical method sets open stage form. QUESTION:Can the open stage be faith-up. Students should be told that there ful to the intentions of a script written fornever has been any proportional relation- the proscenium theatre? ship between good theatre and the amount QUESTION:In a small college depart- ANSWER:A playwright creates what heof equipment in its service. No blanket ment, with funds for only one building, hopes is a marketable commodity. Hisrecommendation can be made in answer what sort of a theatre should be con-style of scene arrangement is influencedto this question. Each college program structed? by whatever production methods aremust be evaluated individually. Opinion is divided here, ranging from the "theatre ANSWER:Educators have said that a stu- available. And I certainly do not believe dent familiar with open stage design tech- specific production methods affecttheof limitations" to a "machine for theatre". nique can adapt very quickly to prosce- genesis of his material. Thus, the fidelity nium, but that students trained first in to the literary style of the original script proscenium have a more difficult time is not in jeopardy; rather, there isin- QUESTION:What is your definition of a adapting themselves to the open stage. volved only the technical transposition of scenes from the one physical discipline to"theatre of limitations"? This is because scene design concepts the other. ANSWER:A "theatre of limitations" is a for the proscenium stage are fairly close negative term for a space whose definition to those for television and the motion pic- suggests specific lines of scenic develop- tures while a great deal more imagination ment.Brilliant technology withinthis is required to design easily on the open form is the rule rather than the exception. stage. QUESTION:Does not an educational in- stitution have an obligation to its students ci in the presenting of the great dramas in a manner faithful to the periods to which Reports of so-called "uncom- QUESTION:Would not a theatre adapt- they belong? QUESTION: able to various styles be the best solution? mitted spaces" continue to appear in many ANSWER:Ideally a number of theatres oftheatrical and architectural periodicals. ANSWER:An adaptable theatre is very various types should be built, but thisWhat is your opinion of theatres whose useful. However, it is only fair to warn would be more possible at the universityforms are created by each production? the administrator that he is undertaking a level. However, itis well to remember fairly complex problem, one to which no that the open stage spans the greater part ANSWER:It is easily understandable why really artistic or economical solution has of western tradition and represents theenthusiasm for the uncommitted space is been found. In the first place, proscenium majority of oriental theatre styles. at an all-time high. Until the formula for and open stage forms have quite different a really popular theatre subject-matter seating plans and adaptability requires and style is discovered, no one knows some sort of audience rearrangement. what contemporary form will be our Second, much of the "style" of a theatre heritage. Therefore, experimentation is a is lost to the anonymous look of an adapt- QUESTION:These program arguments forvital and necessary phase. able system. Third, the more mechan- the open stage are most convincing, but ically efficient adaptability becomes, the do you have production photographs In creating such a space, however, the more frozen are its patterns for the future. which show a variety of sets on the openclient must not only be an adventurer but stage? must be willing to undertake the greater costs of experimentation in time and ma- ANSWER:Frankly, I do not have photo-terials, production by production. Unfor- graphs that are particularly meaningful. QUESTION:Does not a proscenium-ori- tunately, much touting of the uncommit- iented forestage-pit hydraulic lift combi-The impression an audience receives fromted space serves only as a camouflage for nation help solve this problem of adapt-an open stage experience is difficult, if notlack of decision. impossible to capture on film. The pro- ability? duction environment is not organized in ANSWER:This is a very difficult questiona pictorial fashion; rather, the dramatic to answer. In the Community Theatreenvironment consists of visual ideas setQUESTION:All the stagecraft of which section that follows I recommend such ain the one space of the theatre, the spaceyou speak would appear to be perfectly type of lift because it will help expandwhich contains both seating and playingvalid for the large proscenium stage, the scheduling of the theatre for lectures, areas. would it not? 51 ADMINISTRATORS

1. It is a low rise building, and ANSWER: Itis perfectly true that space QUESTION:Do you think that the open stagecraft has often been the salvation ofstage offers more artisticpossibilities for2. The logistics of settings aredifferent artists faced with the large proscenium the future? than proscenium, with a morefavor- able ratio of service to playing area. frame stage, though one has to dress the ANSWER:Artistically, I prefer the open overall proscenium stage with something stage, but I believe that themajority of in the way of curtains or cyclorama units my theatres were builtbecause they met QUESTION:Does active civic use of the before the set pieces can be used. Theeconomic and practical challengeswith-theatre in addition to the regulardramatic by an ex- open stage is dressed already out diminishing artisticpossibilities. productions influence the planning of the tension of the auditorium walls and other architectural toward one form over an- neutral devices creating a singlearchitec- QUESTION:Do you mean tlu.t financialother? tural envelope of the seating andplayinglimitations have caused some theatre areas. groups to take a second look attheir production philosophy? ANSWER:In my own experience I have found that the open stage is moresuitable ANSWER:Exactly so. The natural desirefor a variety of activities than the prosce- ADMINISTRATORS' to create a first-rate experiencefor annium stage. Lectures, concerts, and meet- Community Theatre Section audience has caused these theatre groupsings are best staged on a platform rather to search for techniques closelyalliedthan conducted from within the framed The greatest QUESTION:Our audience enjoys seeing to their production potential. stage. An adequateforestage solves this the latest shows from New Yorkwith thing about the open stage is that it is ain part, but each foot of forestage depth copies of the real Broadway settings.Can unique space experience. makes the picture frame stage more re- production the open stage simplify our QUESTION:Then would it not follow thatmote. problems? the open stage is not the stage for the ma- ANSWER:Definitely not. In fact, the openjority of different styles? QUESTION:Does not a forestage-pit hy- problems. How- stage may increase your ANSWER:No single stage is, not even thedraulic lift combination solve this prob- ever, if you are willing toredesign these proscenium. I think you can create justlem of staging in both platform and pro- shows, using open stage concepts, you as good a room set on the open stage,forscenium forms in one building? will be able to put them on with consider-instance, as you can on the proscenium ably less expenditure of materials and visual stage, but you must work with the ANSWER:It certainly offers some flexi- human effort. idiom of the open stage and not transportbility, especially where audience seating the proscenium box set to the open stage.can be accomplished whenthe lift is not QUESTION:You have stated that the openin use as pit or forestage. However, a build,lift adequate for this sort of program may QUESTION:At present the majority ofstage theatre is more economical to community theatre productions requireyet are not the audience and playing areasrun as much as $20,000.In a $250,000 indoor settings. Does not the open stageabout the same for open and proscenium?building this is a large expenditure; in a make this sort of setting more difficult to $500,000 building, it would appear more ANSWER:There are two main reasonsreasonable. design? why open stage is more economical to ANSWER:This is one of the questionsbuild: most frequently asked. Somespecific so- lutions are given in the DRAMATICS section of this bulletin. irI-1-v The most important factor of designis to learn to consider the permanentarchi- tectural environment of the playing area as somethingdistinct from the environment of the play. Pretend that there is an imaginary proscenium frame around each set piece. For instance, if you have a screen representing three walls of a room, assume that the space around this screenis masked from the audience. Now, imagine thatthis Shown here is a direct comparison between theproscenium and open stage forms in terms of frame is removed to a position upstageof usab/e space, with a viewable working area 21/2times larger for the opr- stage in the same size building. In the case of the proscenium stagethe service wings shown t...e even smallerthan the screen, and, in reality, that this frame dictated by the accepted formula of wing width equal to1/2 the proscenium width. The open stage is just a part of the general architecture shown is based on the Longmont, Colo, planwith strong calipers. The open stage need not of the theatre. The transition from pro- depend on wing service areas to implement itsdramatic expression. Personnel circulation is solved scenium to open stage is complete. by the splayed acting towers and portablefolding screens. Direction for the OpenStage

By IRVIN J. ATKINS

The proscenium stage presents a playOpen Stage Dynamics Not all non-proscenium stages are multi-perspective stages. For example, any- to the audience from behind theframe of Where the open stage takes the form of pictures of each one who has toured with ashow which a picture. On this stage, an end stage there islittle difficulty. Thewas blocked for theproscenium stage moment are designed by the director topictorial principles and dynamics of the transmit some sort of information to the knows that, regardless of the architectural proscenium hold. The caliper stageisshape of the room, he finds on arrival at audience. closely related to the medieval multiplean unknown destination,he must play his The setting and properties convey thestage form and can be said to be a seriesshow at one end, or side, with the audi- environment. Pictufization, composition,of end stages. ence before him. and movement concentrate on clarifying the drama. Transmission of direct infor- Problems start to arise, however, with This isthe arrangement which best mation of this sort is made possible bythe fore-thrust or peninsular form. Withsuits his presentation, and best solves his the fact that all of the audience are dis-this type of open stage we begin the pro-technical problems. The most important about the posed before the proscenium opening incess of ranging the audience component of the proscenium is impressed an arc C-D asillustrated below. Theaction (as with the half-circle A-B) andupon the available space the audience maximum angle of this arc allows eachpictorial principles break down, for hereseating directly in front of the stage area. spectator to view the same basicrelation-we find for the first time thechallenge of ship between objects in space. multiple perspective. As long as this matrix is maintained, an actual proscenium archis not a necessary feature; nor, for that matter,is a raised platform, though it may help sight lines. Our perceptual patterns have organized the space into a virtual proscenium.

The Multi-Perspective Stage A multi-perspective stage organizes the audience about the playing area, not before it. The actual arc subtended is relatively unimportant. The theatre illustrated below shows an audience seated about 180 degrees of a circle. It might easily be 200, 240 or even 360 degrees and the multi-perspective principle would still obtain. If we reduce the arc we find a lower limit. Once all of the audience is contained within the arc subtended by C-D, the relationshipis one of virtual proscenium. What is important is that the audience outside of this angle, on either side, see different relationships between the actors on stage and so interpretdifferently. The inability to perceive an intended relationship is the chief difficulty the director must overcome on themulti-perspective stage.

Scene would "read" pictorially if audience were withdrawn tothe area enclosed by the arc C.D. With audienceinghe holf.circle area of A-8, King and Suppliants must either be moved upstage, a weak solution, or the principle of dynamicfocus applied as described below. A system of geographical location for the open stage.Levels permit the focus ofattentionto be reinforced by the Knights in offset positions rctherthan in positions pictorially oriented about a single audience perspective.

axis at right angles to the proscenium Spatial Relationships garded as a virtual proscenium stage and has been used for scenes of static dia-arch. So long as the audience isdeployed The main problem on the multi-per-logue, tableaux, pageantry, and strictlybefore the actor, the terminology is ex- spective stage is the problem of spatialpictorial scenes. cellent; once the audience begins to sur- relationships. The auditory, cogni tive, round the actor, it breaks down. psychological, and interpretativeprob- The area below this line has been used It becomes much more expedientfor lems of the play can be solved adequately the director to give directions inthe sys- with the tools available through trainingfor scenes of action, dynamics, soliloquy, conflict, and other spatial scenes. Not all tem utilized by directorsin the round, for the proscenium stage. It is exclusively where directions are given according to in the sculptural, pictorial, and kineticopen stages today havesuch area divi- aisle number. aspects that difficulties areencountered.sions, and a system of scene placement must be evolved in terms of atruly peninsular stage. To utilize the system to greater ad- In this area, the stage director must vantage, the director can setpoints arbi- take his cue from the modern sculptor, trarily about a sort of compass rosette as rather than from the pictorial artist. illustrated above. Crosses are then de- Posifion scribed to the actor by referring tothe Stage geography on thefore-thrust number assignedtothe point toward Scene Placement stage becomes a rather confusingjumble which he is to move. Thus the actor at Generally speaking, with the audienceof terminology unless a new system isthe stage can be asked to crosstoward disposed in a semi-circle, the area of thedevised. Upstage and downstage refer in "8", "4", "12" or where you willwith- stage beyond the line A-Bhas been re-the proscenium situation to an imaginary out confusion. Area Strength extreme sight lines. In transferring to theplace them toward the Suppliants would peninsular or round, he finds himself fre-solve the problem of sight lines but alter The relative strength of "areas" on thequently doing the same thing from habit.the implied relationship. proscenium has been the subject of dis-He will build a scene from one part of cussion by authors of directing texts forthe house, then another and still another, The solution, then,iseither to put some time. On the open stage, the subject each time creating a straight-on scenethem into motion about the focal center, again takes on a new configuration. which has little validity for other locationsor to remove them to a place outside the While center still holds the key spot inin the audience. True, at some time, everysightlines along the circumference they regard to relative strength for the singlepart of the audience will have a scene ofnow occupy. The choice will depend up- actor, the upstage to downstage axis isits own, but the result is a choppy andon the qualities of the particular scene in not longer axiomatic. Once the actor hasunsatisfactory performance of the play. question:if the scene is fluid the first passed through the line A-B and moves suggestion may be acted upon; if static, the second. downstage, he becomes relatively weaker. A better result can be obtained through This phenomenon is due to another causea shift of directoral perspective fromthe which we might call "frontality", i.e., theobjective onlooker to the subjective center The principle to be grasped here is greater the portion of the audience ableof the particular grouping. The ability tosimply that the center of focus on this to see the full front of an actor,thesee the action from the center offocusstage becomes the nucleus about which stronger he appears. rather than from an audience viewpointeverything moves. Thus thefigureat is an invaluable asset to the multi-per-centeris more static than the figures Solution: Focus of Attention spective director. about him, who are viewed as "ground. The focus of audience attention on the proscenium stageisusually controlledPrinciple in Action Focus can then be shifted quite easily through movement, composition, and pic- The illustration below shows the prin-by selecting the figure about whom the turization. As used on the prosceniumciple in action. The two Suppliants in noground will move. It will soon become stage these terms refer to pictorialway diminish the power of theKing asapparent that the motion need not be cir- illustration might qualities. focal center since even the front row cancular,asthe single see over their heads to this actor.Theimply, or even symmetrical, to achieve its effect, but that even the slightest shift in The front-of-the-stage director blocksChorus block sight lines from a portion of the audience and will become a nui-the pattern of motion will reinforce focus, his show looking straight onto the stage shift focus, or even defocus. from center, then adjusting slightly forsance if allowed to remain static.To dis-

.1 fla

tsok,

t, ,95e4r,,,Ir

1:;,;:t Se -ttek *, 1. /;'. 0..4 k.O.,.

"1.1%

emphasizing This illustration shows the stage from the perspective of the King.His wards the left, thus continually clearing sightlines as well as elevation above the Suppliants clears his sightline to the audience while the fixed focus upon the King. the Choral Group maintains a series of dynamic positions by moving to- 55

a*Arkne. DRAMATICS Approach to Open Stage Scene Design

Prior to designing for the open stagegreen light passing through an arch, soft-Experiment 4.Change panorama scoops one must become familiar with some con-edged orange spotlight pool downstage ofto orange, pool of light downstage of vention§ of expressing environment in thearches. Scene: interior, late evening. archestolavender,soft-edged orange spotlight direct from projection catwalk free space and quasi-architectural sur-Experiment 2.Dark blue panorama from round of the playing area. to panorama. Scene: interior, on a hot, overhead scoops, soft-edged orange spot-dusty afternoon. light pool upon very low center of pano- To illustrate some of these conventionsrama, soft-edged blue-green spotlight pool In the light of the above experiments we present four experiments. These in-downstage of arches, oblique shaft of is possible to draw some conclusions orange light passing through arch. Scene: it volve an archway folding screenset, and make some general observations: accessory shutters, and a bench, whichexterior, late evening. Complete pictorial description is not are placed downstage of our panorama Add ellipsoidal spotlight I. Experiment 3. necessary on the open stage, but may wall as shown below. from projection catwalk direct to pano- exist in part, by degree, as desired. Experiment I.Dark blue panorama fromrama to above set-ups. Scene: as above, overhead scoops, oblique shaft of blue-with moon. 2.Scenery takes the form of set pieces which dominate the heart of a playing area rather than surround its perimeter. This gives meaning to the phrase "space stage", and frees the playing area for multiple and simultaneous scenes.

3.Dramatic environment may be motivated bylight upon highlyideo- graphic scenic shapes.

Itisfrequently necessary to cover actors' movement to and from, or form sheltered areas in the vicinity of island units. Here shown are flanking setsof opaque folding screen sets.Traditionally of lesser height and panel widththan the set pieces they serve,these screens are called "linking screens" and should over- lap to the upstage rather thantouch the leading edges of set pieces.

A scene design exercise illustrating some conventions of expressingenvir nment fortheopenstage.

56 Examples ofScene Design for theOpen Stage

Hull Miller for a 1962 production atthe form for the village and country scenes DESIGN PROBLEM: THE LOVERS, was backed by anarch arcade with trans- by Leslie Stevens. (Samuel French).AOrange Blossom Playhouse in Orlando, Florida, employed three basic architec- lucent panels for color and pattern,the bold Medieval melodrama of atangled projection apparatus being !ocated tothe romance. Scenes include acrossroads,tural parts; a large low platform sepa- rated from a smaller though moreele- rear. The many scenes werehandled fields, woods, doorways and thevillage through the use of propertiesand light- and variousvated platform by a tower. The tower square, a chapel and crypt, ing and the projection ofimages, without rooms in the castle. illustrates the open stage principle ofhigh point toward the center. The largeplat- recourse io a majorcurtain. THE SOLUTION, as designed by James

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THE SOLUTION, as designed byJames nese framework ofarchitectute and pan- DESIGN PROBLEM: MADAM BUT- Properties, lighting and some pro- (Ricor-Hull Miller for the repertoryof the els. TERFLY, by Giacomo Puccini. 1959 jected imagery are descriptive of thedra- di). This famous opera traditionallycallsShreveport Symphony Opera series, to date, organizes the stageinto public matic environments, and illuminationis for a Japanese house, terrace andgarden, regarded as dynamic rather thanstatic. house, all atand private areas through the useof levels and later, the interior of the unit, No physical set changes areinvolved. various times of day and evening. and a four-part translucent screen all set within and before atypical Japa- 5 DRAMATICS - -1 re'''. .7.4.- V: 7:+2 2.4 :44 5.1- .. ,;51 .77:4' 1;7 r7S"'" ;t4/?. -$.` -,_ `47 .; 're4 - <1. A :: - 11..:4V-.., 4.4-:;;41.4 " : - 41* S.": 11;>. :Z. ' 44 ff.' .-- T 'MO -t. a_.; ="0 - o:t 1 24 `. ;:".4:4 - -` ' ,i 4,..i.,01;'''. .1" _ -.....t_leilt.z.*L;4:4-"1-...... 4'4> '41 o-4, - 214, :' `sast -v;Are*Iner."3", f4A 4 '_---- -"..7.:-.7.r.:1-..N--,-7,":;..7,7.,::.:, r.t.,..ic.:,,,;;:,,:..-..

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rounding it. The terminal lines of the set DESIGN PROBLEM: STRANGE BED-THE SOLUTION, as designed by Nancy Schauer for the 1962 production atthe resolve in space. Additional environmen- FELLOWS, by Ryerson and Clements. tal information such as the fence, tree, (Samuel French). This lusty comedyis Theatre of Western Springs, Illinois,illus- oftrates the principle of using a set as aand distant mountains (projected) are played against the colorful background clearly visible. an 1890 winterparlor in San Francisco'snucleus (here a reverse "L")dominating Nob Hill district. the core of an acting area instead of sur-

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the command the open stage possesses DESIGN PROBLEM: THE MALEANI-THE SOLUTION, as designed by Doro- over complete environmentaldescription. MAL, by Thurber and Nugent.(Samuelthy Hattendorf for the 1963 production comedy at the Theatre of WesternSprings, Illinois Using sections of the interior walls as French). This is a lively domestic space set piece units, oneviews the cam- revolving about a young collegeprofessor, (and here shown on the stage ofthe New of a for- Providence, New Jersey high school audi- pus itself (in this instancein projected his wife, a visitor in the person form). mer classmate ofthe professor, and antorium, by whim of the illustrator), shows idealistic student. It is played in aliving room scene.

58 CLAMPING DETAILS

agonal pavilion is a folding screen set AND Centenary College in Shreveport,Louisi- DESIGN PROBLEM.- BEAUTY such as is used for wing control. THE BEAST, by Nicholas StuartGray. ana, used changeable setpieces which in- (Samuel French). The famous tale retoldcluded the Wizard's pavilion andthe with many picturesque scenes, theWiz- tower units. Shown belowthe sketch is Note that the components of a set may ard's Garden, both before the Gateand the ground plan for the towerunits andextend beyond the panorama and yet ap- within the Beast's Castle, and a roomin detailS of the clamping which joined thepear quite natural.To attempt to encircle cyclorama Beauty's home. component parts together. In asimilarthe playing area entirely by a fashion, the gate posts, made from card-defeats the space-centeredprinciple of THE SOLUTION, as designed byJames board rug tubes, were clamped totheopen stage sceneryand returns the opera- Hull Miller for a summer 1962 presenta- flanking walls. Shown beyond the hex-tion to proscenium conditions. tion at the Marjorie LyonsPlayhouse of

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Illinois, is Dark Gentleman himself,inTheatre of Western Springs, DESIGN PROBLEM:ONBORROWED son, and the stage, but is a small townhouse and yard environ-not original with the open TIME, by Paul Osborn.(Dramatic Play an imaginativeversion and a more spa- Service). A whimsical fantasy onDeath,ment. cious arrangement of the samesetting fre- as developed by agrandfather, his grand-THE SOLUTION, asdesigned by Peggyquently used on the proscenium stage. Anderson for the 1962production at the

be over- displayed more forthrightexpressions of Much modern art that would Design interpretation those of thewhelming in the full pictorialextension of time-space relationships than entirely accept- successive scenes of the picture-frame. the proscenium frame is In conclusion, scene design involves the able as dramatic scenerywhen its scale is properly balanced to thehuman scale. interpretation of a dramatic environmentControl of Scenic Endeavor in the dual terms of its meaningand the of the de- major Shown here is an example physical characteristics of the theatre con- It is also very apparent that a sign approach where changeable scenery taining it. Thus one designs in separatedifference between the conventionalpic- of a of therequirements are redrafted in terms fashion for proscenium, open, or arena ture-frame theatre and the theatre with impermanent the control of the scenicpermanent structure theatres. open stage lies in it. endeavor. In the one the scaleis generallypieces maneuvered within Though the open stage is aform con-dictated by the dimensions of a proscen- Illustrated in process of assemblyis a entirely in siderably older than proscenium,the lat-ium, in the other, the scale is semi-architectural facade, in thisinstance Mozartian ter is more familiar tothe average artist,the hands of the designer. aportable frameworkfor and therefore he thinks moreeasily in it. operas designed byJames Hull Miller, for The open stage theatre is anarchitec-which all removable panels areof a mod- This is not to say, however,that the turallyfinished space into which areular system, 6 ft. 8 in. by 7ft. placedonlythoseobjects whichare language of vision for prosceniumis any With the La Junta auditoriumand the that for the open stage.deemed important ...in much the same more valid than picture or places aSwarthmore theatre, this designapproach In fact, it is quite the contrary,for openway as one hangs a piece.of sculpture in a room. is basic for the theatrearchitecture itself. stage dramaticenvironments have always _ ARCHITRAVES IN SEPARATE SECTIONS EACHj CLAMPED TO TOP OF PILLAR

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FASTENING DETAILS , The DramaticLighting remotely located dimmer ban.. ,,nere the electrical outputs are regulated by low A A voltage potentiometers.

4. Presently, there are three recognized systems, the magnetic amplifier,the re- actance and, the semi-conductor,listed in its (11 order of increasing cost, each with 501, peculiar but minor advantages and dis- .tell'- al. Y;41:14.% advantages. For the operator, however, " 7'41' the chief differences of remote overdirect control lie, positively, in a superior mastering system, and, negatively, in thedif- ficulties arising from the miniaturization of control dials and Ievers, and theiden- tification of individual circuits for manual adjustments. placement of illumination can be moved Lighting the open stage involves tech- Remote control dimmer banks are niques comparable to those used in studio with considerable subtlety. photography: fill. directional, and high- rarely custom designed since they use Overlapping and fractional cues are higher capacity units, a condition which lighting. the rule rather than the exception. An iutotransformer board in the hands of makes their application to smaller thea- Fill, primarily to achieve color wash makes tres economically infeasible. and general visibility of facts and ac- an artistically motivated operator a good control unit. Tips For Good Lighting tion,is by fresnel spotlights, usually equipped with the revolutionary oval Preferred are the arrangements where- Control equipment is equally as im- beam lenses. by 6000 watt dimmers are associated with portant as are lighting instruments. Directional illumination is by fresnel groups of 3000, 2000, and 1000 watt Shadows of actors are softened by the dimmers, for electrical series mastering, spotlights with round beam lenses. use of roughly texturedscenic covering with independent feed option per dimmer materials. Highlighting is by ellipsoidal spotlights. through individual selector switches. (present capacity ratings of autotrans- Multiple shadows of actors may be re- In the sketch above, the lighting beams former dimmers also include 6600, 3600, duced by using a minimum number of marked "A" represent both oval and 2500, and 1200 watts for reasons not per- frontal lighting units and a maximum round beam fresnel spotlights, providing tinent to this discussion.) number of accent units from the sides fill and directional lighting, and the beams and rear. marked "B" and "C" represent ellipsoidal With this equipment, the operator may spotlights from side and rear forming the "play" the lighting console as he would The fewer the sources of illumination, highlighting and furnishing the well-de-a musical instrument, as well as setin the more dramatic the scene will appear. fined pools of light upon floor and set. motion a limited number of prearranged boards, Lighting beams should be soft-edged, to Such pools of light must be kept to acues. HUB autotransformer avoid sharp cut-off lines. Architectural minimum to avoid distraction. Model WS series, are designed to meet the specific requirements of each open and scenic surfaces should be similar in texture for the same reason. On the other hand, the forward illu- stage theatre. See the Lighting Equipment mination frequently washes over the set section of this bulletin for typical auto- Light falling on dyed or rough material pieces and playing areas onto the archi-transformer control board specifications. appears more pleasant andrealistic than tecture itself, an effect desirable in itself Remote Versus Direct Control light falling on smooth, painted sur- in relating the theatre to the dramatic faces. environment, bui one which requires the Where mounting heights of lights are diffuseness of a fresnel lens. 22 feet or higher, wattages per instrument Scenery which possesses radiance in it- become greater and the combined loads self, through the use of translucent No attemptis made to provide themake the use of a manual autotrans- screens, windows, lanterns and con- complete crosslighting pattern found in former board impractical. Then, the most cealed floodlighting, reduces the amount much proscenium style lighting. Such a of light required for the actors. pattern was largely evolved to meet the practical method of light control is by a challenge of having to place equipment near the stage behind the teaser and bor- The Non-DramaticLighting der masking cloths. The greater distance of mounting positions from the open stage The open stage being an ideal spacedriven dimmers, with six second speed, affords a superior distribution of illumi- for lectures, meetings and concerts, it is offer the most economical solution. nation with fewer instruments. Border- essential that a uniform quality of basic lights are not required, their function illumination be provided throughout the However, if the control board for dra- being replaced by the oval beam fresnel theatre chamber, subject to dimming con-matics is of the remote control type, such spotlights which give a somewhat direc- trol by areas such as the auditorium seat-as the silicon controHedrectifier or mag- tional quality to the general illum;qation ing, forward stage and main stage. netic amplifier types, an additional bank which the borderlights did not. of these dimmers on extended controls would constitute a more useful system Proper lIghting Control These dimmer controls should be avail- for the general downlighting. Positions The open stage is a space where a able to all who use the chamber for non- for extended control stations should in- variety of scenes are grouped in a free dramatic programs. Since a number ofclude front-of-house, same side of stage form manner. The proper lighting control control points are desirable, some sort of as curtain control, lectern, and,of course, is one through which the source and remote controlismandatory. Motor- the dramatic lighting control hoard itself. DRAMATICS Stagecraft

F INAL COVER FABRIC This folding joint screen set hasseveral STAPLED Throughout this bulletin, emphasishas TO EDGE been placed on the conceptof self-sup-distinct applications to the open stage: porting scenic units. Withsuch units the A series of opaque panels,properly ar- overall stage space may becommitted to ranged, may create necessaryoff-stage several environmentaldevelopments si- areas. multaneously, or only that muchof the stage area may beemployed as would be Opaque panels, too, mayfurnish shel- required for a particular scene. tered access to the variousplaying areas. There are several methodsof joining Other opaque panels can formback- the easily made screensinto groupings grounds to playing areas (Illustration3, in the pre- of a self-supporting nature:folding joints, also the FINDLAY sketch clamped joints, and .the familiarloose-pin ceding section).

hinge. DETAIL OF TIMBER JOINT A combination of opaqueand open Folding Joint Screens screens may createtemporary arcades, room interiors,and building exteriors Illustration 2: The folding screen panelin- The most useful folding jointis created (Illustration 4). corporating "open" construction. These too, in the manner of a Japanese screen,with are hinged with clothflaps. cloth flap hinges of the samematerial as A series of screens witharched open- the overall scenic covering.This produces ings may form a pavilion, a mostuseful a flexible junctureof framed panels which three-dimensional unit of greatstability. is crack-free as well. (IllustrationI,2).

COVERING DETAILS I CONSTRUCTION DETAILS

OVERALL COVER FABRIC STAPLED DETAIL OF TO EDGE proGm,NoGy eSrn I P

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FRAME CONSTRUCTED OF 1" x 2" A o BATTENS 4" x 10" CLOTH HINGE STRIPS OF OVERALL COVER FABRIC ATTACHED TO EITHER SIDE OF FRAME

A = UNDERSIDE B = TOP

EDGING STRIPS (From overall cover fabric) 1

1 "DETAIL OF 1 HINGING i 1

series of light frames Illustration 1: How to construct the opaquefolding screen set. This sot consists of a the manner of the Japanese covered with textured fabric, and jointedwith cloth flaps of the same fabric in 62 folding screen. TRANSLUCENT PANELS The rear three arches of the hexagonal pavilion have been closed with framed cotton cloth to form translucent panels for rear projection. In illustration 3 the same type of cloth is used for an illumi- nated color background effect.

Translucent Panels The finest translucent projection is obtained by light passing into the fibers of a high quality cotton cloth such asBates "Disciplined" dress fabric, or, in cheaper grades, Fruit of the Loom or Cotton d'Oro. Ivories, very light tans or winter whites are suitable tints. By brushing the translucent cloths with lamp dips, lacquer, and other dyes itis possible to achieve some very beautiful backgrounds of a luminous quality. Avoid synthetic cloths for they rip under continued tension. Shower curtain material and the more expensive translucent plastic screens pos- OPAQUE sess a glazed quality that is not aseffective PANELS as the mat surface of the cottonfabrics, and are considerably more expensive. Illustration 3: Folding screens create necessary off-stage areas as well as sheltered access to the various playing areas. The opaque bottom panels shown in Illustrations 3 through 6 prevent "line of sight" to the flood lamps and the projec- Pavilions tion lamp filament placed to the rear at between the leading edges of the foldingfloorlevel. The translucentmaterials Illustration 5 shows a simple pavilion sets and the single arches that are insertedmentioned in the above paragraph pre- of five arch screens, flap-hinged, with between the folding sets. vent such lines of sight but, again, they both leading edges of the set joined to are not as effective as cotton fabrics. themselves by means of three loose-pin Suitable loose-pin hinges for the above hinges (not shown). Illustration 6 shows can be made by filing down and removing a more ambitious pavilion composed ofthe permanent pins from 3/4" by 2" nar- two sets of three flap-hinged screens each, row butt hinges and using nails of a and two separate arch screens. This pavil- slightly smaller diameter as the removable ion is assembled by loose-pin hinge joints pins.

Illustrations 5 and 6: A series of open screens Illustration 4: Combination of opaque, translucent and open screens may form a pavilion a most useful three create temporary arcades, room interiors and building exteriors. dimensional unit of great stability.

The wallpaper is applied over the Kraft paper prior to the placing of the edging strips. Care must be taken with the edging strip; the raw edge must be turned under and a straight guide line followed. (Illus- tration 10). The hinges must be stapled down carefully, and the raw edges turned under and folded flush with the strip below.

The Mist Effect It frequently becomes necessary -to in- troduce mist, haze, and other atmospheric effects. Proscenium stagecraft uses full stage rigged cloths known as scrims for Illustration 8: The designer must arrange for groupings of panels using the maximum number of this purpose. With the open stage and "L" and "T" joints. island scenery, this method is, of course, impossible. However, the effect may be good paint is masonry paint, available in pieces. Detail brushwork on burlapis created by forming open panels carrying many rich earth colors. In the South, the also possible. sections of scrim, lightweight cheesecloth, reader may be familiar with MoPaCote, or, more substantially, window screen an acrylic paint product of the Mobile On Using Wallpaper wire. Paint Company. The paint dries very fast Now and then one may wish to use and equipment can be cleaned in warm wallpaper itself, and this is most success- Illustration 11 shows en arrangement water. ful where applied to folding screen sets.of "scrim" panels, self-supporting, 4' by 9' each, of screen wire sprayed flat black, Application of color by spray is par-A slightly different technique is required in preparing the frame and assembling with forest appliques. The sketch is taken ticularly useful when adding detail, for from a scene just before daybreak, from example, the berry bush shown in Illus-the screen. the children's play THE PUPPET tration 9. A trunk is cut into one stencil, Most wallpaper comes inrolls18 PRINCE, by Alan. Cullen (Children's several gnarled limbs intoanother,a inches wide, so assuming a total screenTheatre Press)-.-- cluster of leaves, another, and the berries width of 36 inches, additional framing themselves into yet another. With just pieces must be added down the center of Fireflies were created by inserting into these stencils a whole forest of berry the frame to receive the staples along thethe foliage circuits of the high-voltage, bushes can be applied to screens and set vertical mid-joint. intermittently firing type of Christmas tree lights. As the players entered upstage of

DETAIL BY SPRAY

WALLPAPER CLOTH HINGES

EDGING STRIP

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WALLPAPER

Illustration 10: Details tor applying wallpaper to screens. The wallpaper is applied over kraft paper Illustration 9: Application of color by spray is very prior to the placing of the edging strips. useful when adding detail. DRAMATICS

Axel lx.p "-eA".i 44-"t 4 v.t Withsceneryfranklydeployedin space, design and structure aretrans- parently superimposed. Inproscenium.

fre one tends to erect,with accessory sup- ports, a surface suitablefor the applica- " tion of a pictorial veneer. Themethod by which the scenery is constructedis of littleimportance aesthetically,andits structural form need not reflectthe nature 4 14.t... of theapplieddecor.Definitelythis scenery has its faceand rear sides. of screen wire Illustration 11: An arrangement ofself-supporting "scrim" panels. Panels are for the depth or "haze" effect. This is rarely true with scenery sprayed black, with forest appliques to create a open stage. It standsforth in space, usually deployed in angularfashion for self- support and oftenviewed from the many the panels, an inediblybeautiful effect New Skills Required perspectives of a forward-thrustplatform. of early morning mist wascreated; yet the is apparent that new skills are re-Therefore its structural forms areevident It their conception. panels were easily foldedand removed,quired for the design andconstruction ofand must be pleasing in when the scene was completed. dramatic environment for the open stage.Two dimensional structuresof the latter is the ability totype are called"screens" in contrast to Chief among these skills commonly Open Stage Platforms conceive simultaneouslythestructuralthe former type which are design element.called "flats". Platforms have interest to producers on form and the significant the open stage, especially wherethe audience line of sight is at aconsiderably vertical angle to the playing area.In a very real sense,the stage floor itself becomes a background,and the platform may be considered araised extension of the floor. This would beparticularly true where the platforms remainrather low because of a partial audienceencircle- ment of the playing areaand the necessity to avoid obstacles to crosssightlines. Obviously, the scenic designerhas to make a decision regarding the commence- ment of his naturalisticdecor for each play, and the inclusion orexclusion of platforms in this treatment. Needless to say, lumpily paddedplat- form tops, crudely joinedfacings, creak- ing construction and otherfaults, hope- fully invisible and inaudibleunder the more remote prosceniumconditions, must be avoided. Platform surfacesshould be sheer and clean, preferably withtextured fabrics cemented on. Scrapsof carpet of 3/8" PLY cushions stapled to the undersides PANEL INSERT walking surfaces help absorbthe sound of footsteps. 318"PLY The most practical andeconomical sur- 1" x 3/4" SEATING 3/4 inch PANEL INSERT face materials in the long run are PIECE plywood or5/3inch plycord for the tops and 3/inch ply for the sides.Illustra- tion 12 shows a 16 inchplatform with permanently installed legsdesigned for FLUSHING PIECE production panel inserts. Theflush construction permits the clampingtogether of several such platformsfor stability. the The permanent structurepermits illustration 12: Construction detail of anarchitectural platform for the open stage. fashioning of sockets for the supportof The flush construction permits the clamptngtogether of several such platforms. scenery.

66 BackgroundProjection

Why It Is Needed . . . an Introduction mounted on movable platforms, and the Simultaneously with the emphasis on loft rigging was required only generally,three-dimensional scenery comes an in- With the development of changeable for the suspension of the large cycloramacreasing enthusiasm for a playing area scenery, especially duringthe eighteenthcloth and backdrops, curtains and mask-both larger and more freely formed than and nineteenth centuries, there wasing pieces, lighting equipment and thethat of the proscenium. The shapeand evolved a system of hanjiing stage decor ceiling portion of musical concert shells.mechanics of the proscenium theatre of a simplicity akin to the shuffling of a evolved from the practice of setting one deck of cards. Areas to the sides and With the open stage, these loft require- scene at a time. Now manyplaywrights above the stage were reserved for thements are met in the following manner.demand a stage across whichuninter- wings rupted dramatic action may flowfrom storage of the flat pieces such as I.Substitution of a plaster panorama and backdrops, and from these areas the wall with projection system for thescene to scene. flat pieces were easily maneuvered onto cloth cyclorama. the visible portion of the stage. Along with the new requirements in -).Use of lateral tracks for curtainsscene design comes thenecessityfor By the twentieth century, the modern of closure. backgrounds that are capable of changing flyloft was perfected7with a variety of form and color while the play continues. 3.Continuation of auditorium ceilingIt is obvious that the conventional back- equipment such as sets of ropes and steel breaks lines operated both manually and me- over stage, with functional drop consisting of paint on cloth and for curtains and lights. chanically. controlled by rigging must be replaced by backgrounds conceived in terms of light 4.Mounting of lights on catwalks and controlled by dimmers. However, on the stage below, emphasis above ceiling. had shifted to the more three-dimensional 5.Replacement of a portable concert arrangement of scenic units, frequently ceiling by the permanent ceiling.

SPOTLIGHT PLATFORMS

PANORAMA 4' minimum separation of 1000 W. lamp and image

Projection ; Larnphouse'i (Hub No. 79030 Series) Platforms and ___\Baffles cut on center line to Spare show auditorium Images Scoop Floods (Hub No. 8360 Series IV Projection Platform

Pipe Batten

-7 AUDITORIUM Plugging Strip

Ceiling Baffle \ \ 67 -

BACKGROUND PROJECTION Itis entirely possible to fabricate the The Parts of the System scene in a mannerentirely opposite in Item Funclion Source technique. The image might consist of a framework containing silhouettes of trop- Panorama to receive color architect ical foliage. In this case, the lamphouse walf and imagery gate color will be dark green, thefloods, architect, electrical yellow green. For the transition fromday Projection for the mounting and lamp and the servicing of the projection and structural engineers. to night, the projection platform yellow-green floods are dimmed down, system the blue-green floods dimmed up. to wash panorama wall Hub No. 8360 The scoop However, working with these particu- with color blends series floods lar colors, the former method, theappli- The to furnish the light which Hub No. 79030 cation of light upon light, rather than the lamphouse applies the imagery to the series application of light upon silhouette, will panorama wall give better results. The image the artistic scene designer There are other very distinct advan- background pattern tages to the first method. The image,for example, need not be as large as the pan- Auditorium- for the proper position architect and the structural engineer orama, only as large as required for stage ceil- and masking of the pattern area that is superimposed on the ing design projection platform full area of color wash. Secondly, instead of a color medium at the lamphouse gate for the entire pattern, one may overlay Note: In many theatres of the pavilion In the example of the bamboo rain for-upon the cuts in the Kraft pattern many detail is multi- typeitis not possible to develop theest, below, the plant and tree separate colors, thus achieving a space arrangements necessaryfor back-removed from a large sheet of heavycolor image that is then projected upon ground projection from overhead. InKraft paper. The remaining pattern isthe color wash of the floods. transferred to the panorama wali by the these theatres an arcade may be devel- Other Methods . ..and Materials oped as an important architecturalfeature,light rays from the projection filament in the arcade forming the support for tem-the lamphouse passing through the open- Below are listed some other materials porary translucent panelswhich receiveings in the Kraft paper' image. and methods of image construction: their color and imagery from the rear in The panorama wall is already illumi-1. On clear acetate sheets, useartist's a manner identical to thatabove. In thisnated by the scoop floodlights. The pat- felt pen transparent the image brushing lacquer, case, the lamphollse, floods and tern, at a greater intensity,replaces the inks such as Flomaster (Esterbrook) and consist of portable units, floor-based, asbackground color wash. lamp dip for transparencies, or flat -black shown in detail at the end of this Section. enamel for silhouettes. If vertical ribbing Let us suppose the pattern colofis lines appear on panorama, the acetate The Operation of the System yellow-green, the color "wash, dark green. The dynamics of the system are apparent has been poorly milled and should be The HUB background projection sys- discarded. These techniques on acetate when we move the time of the scene the images created tem involves the use of a compoundfrom day to night. The pattern is slowlyare not as clear as are image, that is, pattern, in terms of lightdimmed out. At the same time, scoops by stencil knife cuts in Kraft paper. or shadow, superimposed uponcolorwith the dark green color medium are 2.Join plastic color media, mosaic style, wash. as determined by the color mediadimmed down as scoops with a blue-with narrow (1/4 inch) strips of trans- and dimmer settings of the scoop flood-green are dimmed up. parent Scotch tape, keeping the tape run- lights. ning parallel with the joints. 3.Use 1/8 inch mesh, metal hardware cloth to give effect of gray, with areas removed for white (such as a"moon" disc) and attach cutouts such asbranches and leaves for silhouettes. 4. Use the frame to supportnatural objects, such as twigs for aforest, and transparent cutouts of plasticcolor media for leaves, perhaps in montagewith fine threads for support.

The Case Against Lenses The Hub projection system does not involve lenses. Apparent sharpness of de- tailis relative, and is achieved by the proper distance of the imagefrom the projection lamp filament. For example, at the maximum recommended distance of five feet, even a-No. Background projection image for bamboo rain forest. Plant and treedetail is removed from a large sheet of heavy kraft paper. The pattern is transferred tothe panorama wall by light rays from the 50 thread will be discernible, though only projection lamphouse passing through the openings. to those eyes searching for it.

68 On the other hand, moving the imagement-to-image distance is recommended 1. The large images (often 5' by 12' for the 1000 watt (Hub. No. 79031)and for exceptionally large panoramas) closer to the projection lamp introduces cannot be slid sideways, for the an effect of haze.Frequently an image isthe 2100 watt (Hub No. 79030)projec- broken up into planes that are placed attion lamps, respectively. Certainlyfour scoops which provide the panorama different distances to achieve both clarityfeet would be considered theworkable color washes will be blocked. and haziness, such as a foregroundofminimum. There isofteninsufficient room palm trees framing a distant isle across Somewhere along the 50 degree line overhead to raise the larger images a body of water. from the panorama wall base, the lower vertically. Despite the true sharpness of detailside of the image frame will rest, andin possible with lens projection, there arethis vicinity the auditorium ceiling can- 3.Even if there is sufficient room over racking the images ina certain disadvantages to a lens system: opy will terminate. Thedistance from head, floor level at this intersection may vary magazine in conjunction with the 1. The maximum of one foot spreadaccording to the depth of the stage and wide projection angle prevents a standardization of image area used, for each foot of throw would re-to the ceiling trim height desired.But, in quire two units for the same pan-view of the capabilities of the system, not to mention the different degrees orama areaasserviced by thethis distance should not be less than15' of clarity involved. For example, in sufficient for single Hub system. or more than 22'. a magazine 12" deep, a six-pack rack withclearance for Tilting a lens instrument introduces fila- gelatin appliques, a forward image which must be A line drawn from the projection a distortion factor ment to the top of .the panoramawall of 4' by 8', when moved to the corrected in each image, whereaswill establish the minimum clearancefor rearward slot, projects only 2' 10" the Hub system is inherently dis-upstage ceiling pieces, tracks,downlights, by 5' 8" of its total area, with a tortion-free. and the backlighting walkway. 20% loss of apparent sharpness 3. There is a definite time elementin- over its previous position. volved in preparing photo-repro- ductions or sketches or in working By planning the production properly on miniature imagery. there will be ample time for manual image removal from an image holderin 4. There is a far higher cost of equip- a standard position,together with the as- ment and materials for imagery. surance that nothing mechanical can go the projection While itisartistically impossible to wrong. In reality, because pass hard and fastjudgement on any sys- is manually operated, in all probability a tern of projection, it should be remem- greater creative use will be madeof it. bered that background projection systems are functionalreplacements rather than literal substitutes for the painted backdrop. Even the reflection of colored light itself from an off-white plaster wall, regardless of source, provides a sensation Distance of Throw and quite different from that furnished by the Degree of Spread illumination of pigment colors applied to Possibly the most frequently asked the surface of a backdrop. questions concern the distance of throw (distance between the lamp filament and the background Surface receiving the Hub No. 79032 Lamphouse for Planning the Installation background projection image. ..labeled "Operational Distance" in the chart below), the degree of spread From the examples in the ARCHI- (or size of the projection surface in rela- TECTS' and ENGINEERS' Section, it is tion to the throw), and the sizes of images. obvious that there are two constants to be considered for installation of the Hub background projection system: Mounting the Projection System Rigid specifications are not required for the Hub projection system but certain 1. The angle of the projection throw The Hub No. 79030 series lamphouses to the base of the panorama. dimension limits which have been proven must be mounted sturdily to the structurethrough experience are useful to know. 2. The distance of the image from the of the theatre itself rather than to the projection lamp filament. catwalk hanger system. Obviously, vibra- tion of the lamphouse will cause the Generally speaking, one may anticipate Ideally the angle is 50 degrees betweenimage to "dance" on the panorama wall.for the projection area an effective maxi- the stage floor and the lower projectionSuggested details for the mounting ofmum vertical dimensionof 11/2 tirnes the line, and it should never drop below 45 both the lamphouse and individual imagesdistance of throw and a horizontal di- nor exceed 55 degrees. The45 degreeare available on DrawingsNo. 420 andmension of twice the throw. The actual limit has reference to such practical mat-No. 421 which may be obtained from thewidth of the panorama or other back- tersasactor movement and sceneryHub Electric Company, Inc. ground projection surface need not be placement, while the 55 degree limit has equated with these dimensionsifthe reference to a noticeable intensity imbal- image isconceivedin terms of light ance in the overall illumination. The temptation to reduce image han- dling to a system such as an image maga-rather than silhouette (cf. page 70) for For the greatest degree of projectedzine is great, yet here are some oftheit may then be overlaid in part upon a image clarity consistent with such prac-obstacles: total field by color wash from the scoops. tical matters as the ceiling trim and the size of the image itself, a 4' to 5' fila- BACKGROUND PROJECTION

By consulting the chartbelow, the reader may select the proper lampinten- sity for the distance of throw.In the case of overhead backgroundprojection, assuming the 50 degree maximumprojec- tion angle to the panorama base,this distance of throw has beenre-calculated in terms of the projectionplatform height and accomplished by a combination offloodlights upon the panel cloth (or the distance from the stagefloor to Rear projection of scenery is made in heavy wrapping paper superimposed patterns of light createdby cutouts. Cutouts can be the lower edge of the image). which is framed and placed parallel tothe cloth screens.

- -:. ,Lailip, Min: :Distal*: , 'Unit ,- , ,Larp,= -C' ilaie: ikialent,:toi!lryfiii#: . -906tiiii0104:60044-01- a . :.(4000. - 2'-6 From 6' to 12' behind screen 79032 PH /500/T-10P CZX Medium Prefocus panels For fine detail from overheadplat- 3'-6" form not above 15' from stagefloor 4'-0" 15' to 17' projectionplatform PH / 1000 /T2OM P DRS height Note: DSB lamp burns coolerand 79031 PH /1000/T20/40 DSB Mogul fila- Prefocus lasts longer than DRSsame ment platform DTJ 4'-6" 18' to 21' projection PH / 1500/T20/39 height

5,4y, 22' and above 79030 2100W 60 Volt Mogul T-24/8 Bipost

Dividing the screen height of 9'by The method of positioning andcalcu- Finding the Image Size similar, I W(maximum verticaldimension = 11/2lating sizes of overhead images is A maximum image size isdetermined times the distance of throw) we get6'.and some image planes areindicated in section by the location of the projectionplatform However, by dividing,the screenwidth ofthe architectural and engineering and its relationship to the panoramaand 14' by 2 (maximum horizontaltlimensiondrawings. panorama area. Smallerimages are deter- = twicethe distance of throw) we get7' mined by the amount of area tobe cov-so this latterfigure, being greater, wouldProduction Tips ered by projection for any givenproduc- apply. In other words, thelamphouse Always keep the image parallel to the tion design. would be placed so that thefilament-to-projection surface, thus avoiding distor- would be 7'. To find the image size for aparticularscreen distance tion. situation it is best to prepare a planand Always use correct projection unit with section to scale showing therelationship Since there was ample space, aetually of the projection lamp filament tothe correct lamp. Note thatspotlight service a 9' distance wasallowed to obtain afilaments are proportionally larger and panorama or translucent screens. intensity. Checking with more uniform arenot applicable tothisprojection our chart, Hub No.79032 with the CZX Draw lines between the edgesof the system. projection area and the filament.Then filament is indicated. measure the recommendedfilament-to- [If working with an unlisted filament, image distance and establish theimage a proper imagedistance can be estab- By placing the image plane 21/2'fromlished by multiplying the filamentwidth plane parallel to theprbjection surface. size of 2' and sec- the filament an overall image by 100]. By measuring this plane in plan by 4' is called for (your plan andsection tion, the image size is found. scale drawings mentioned previouslywill If ghost images or "flares" appear on For an example, refer to theillustra- give this exact dimension). Again,sincethe panorama just above or belowhori- tion of the set for The Lovers(Dramatic space was not at apremium, a 3' separa-zontal cuts or lines,tilt the projection dis- Section). The arch arcade behindthe low tion with an image size of 21/2' by 5' waslamp slightly until the ghost image wide and used. 'Since the total screen area wasappears. This is causedby reflection from platform was 91/2' high by 16' behind the contained screened archways whosetotal rather wide, each color was obtainedbythe glass envelope directly effective width was 14', andwhose ex- three Hub No. 8365 floods Der colorcir-lamp filament. The Hublamphouse has a posed archway height was from2' to 9' cuit, laid out in the manner shownabove.pivoting socket platform for this purpose. from the floor.

70 The composite image, detail and color Now. one of the great visual experi-"slab in space" to the small translucent wash, under separate dimmer controls,ences of the proscenium theatre is thepanels builtinto portable screen units. may continue without a break from oneunusual illusion of depth where scenerysuch as shown on pages 57. 63 and 70. image pattern to another via intermediateor pictorialfidelityisplaced before aFor simple distortion-free projection there color washes. Unlike the backdrop, thecurving cyclorama which surrounds theshould be no curves in the panorama projection system must always be regard-scenery space. This relationship expressessurface. Where a curve exists the image ed as a dynamic force. At the same time.completely the basic objectives of the pro-frame must be curved accordingly. the system must be manipulated withscenium theatre, to stage a scene pictori- Lying between the "slab-in-space" pan- caution and subtlety, for iiving color cre-ally corrects one scene at a time, oneorama and the portable translucent scenic ates a tremendous visual excitement. scene to follow another.inthe samepanels are the theatres which use backstage area! ground arcades. This very ancient archi- The Projection Surface tectural arrangement provides openings The operation of the open stageis for entrances. embrasures for partially Itis not the purpose of backgrounddedicated to principles precisely contrary projection to replace scenery that has ato the above. On the open stage, oneenclosed scenes, support for scenic panel inserts, and a framework for translucent practical relationship to the actor, suchtranscribes,inpart,essentialenviron- as doorways, windows, and definingments and places these on a stage that isscreens, as, for example, the La Junta project described on page8 andthe walls;rather,itisdescriptive of thesuitable for various time-space combina- background beyond a particular scenictions simultaneously apparent and usedSwarthmore College stage as shown in island. Where an interior scene may bein regular or irreguiar order. Open stageillustration below and in Hub Bulletin designated by a folding screen surround-environment is,firstof all, the archi-No. 107. ed by furniture, the background projec-tectural environment of the theatre itself, In many ways the permanent arcade is tion can add detail descriptive of theto which the dements of the dramatic area device far more useful than thefull neighborhood or town in which the roomadded only as or if needed. panorama, for it presents in a forthright is located. manner slices of life, using architectural Those familiar with that proscenium It is obvious that the cyclorama of thejustification for the arrangement of frag- background control device known as theproscenium theatre must be reduced to amentary patterns. On thelarger pan- cyclorama will notice at once that all theform that exists in space rather than em-oramas, however, separate curtain panels panorama walls shown inthis bulletinbraces a space. Therefore, the more suc-on tracks immediately adjacent will assist terminate in space and do not attempt thecessful surfaces for background projec-with the subdivision of the projection encirclement of the visible stage area. tion range from a panorama wall as asurface.

Swarthmore College Theatre Swarthmore, Pa. In Conclusion

clutter upplay-pictorial possibilities of non-realistic The problems of planning the typesofso many of his fellow-reformers are many their soundest opinions. techniques.althoughthere stages best suited to theneeds of contem- others who do in fact adopt space-stage porary theatre are ofinternational con- Itis part of a popular technique totechniques within the picture-frame. Even cern. Through constantdebate solutionserect phony Aunt Sallies, toobtain thethose who may regard the picture-frame are being sought,with varying degrees ofsatisfaction of bashing them about with study the. practical that as sacrosanct should tolerance and success. It is hoped self-righteousvigour.Itisnotreallyguidance in these pages. this publication will prove to be asignifi-necessary to establish vicein the old in cant contribution on thesubject, both inorder to extol virtue in the new.Our When my colleague7FFederickBen- its practical and in itstheoretical aspects.earnest reformers can bestplead theirtham, and I visited America a few years ago, we found at WesternSprings, Illi- James Hull Miller has a livelymindclaims by asserting that they are better than good. While deploring any inclina-nois, the most interesting of the theatres and the courage of his controversial con- we examined. JamesMiller was closely victions, which have developed logicallytion to pretentious verbiage andspecial pleading. I can applaud the conclusions.concerned withitsdesign. and I am from research and experiments duringhis pleased to note that the booklet gives and long experience of professional work During my recent visits to America,some details of this delightfulCommunity actual theatre production. Australia and South Africa, it wasquiteTheatre that had the additional merit, to He has the practical ability to testtheevident that the proscenium openingis a Britisher at any rate,of being modest validity of those convictions. It is a meas-generally expanding under the pressure. in cost. ure of his integrity thathe is putting thisThe opet ing is spreading to the sidewalls The Itis certain that this comprehensive foreword into the mouth of one whohasand to the ceiling of the auditorium. of sight lines are good. The pictureframe isexamination of the planning and use disputed with him, on occasion, with un- the open stage will be invaluable toall inhibited frankness. I am pleased to thinkno longer emphasized:the acting area becomes virtually an open-endstage, withwho are interested in theatre techniques. that the frankness has not impaired mu- The Hub Electric Company, Inc. is tobe tual respect. off-stagespaceof varyingadequacy. These large acting areas demand thekind congratulated for its service to the theatre His own restraint is, perhaps in tolerantof scenic treatment which JamesHullin this publication. deference to my grey hairs which, to com-Miller describes in this bulletin. Percy Corry parative youth would certainly proclaim addiction to orthodoxy. He will beirrita- His ideas should be studied by all sceneManchester. designers whether they work on stages ted, but possibly not surprised, if Ide- England. that are old or new, framed orunframed. plore, as I do, his fondness for the rather January, 1964 high-falutin obscurities with which he andMany designers have failed torealize the

HUB INSTALLATIONSOf OPEN STAGETHEATRES

-4a4iInt*St:00..Sehoo1 YR. ,esS.eott College - peCatur, Gecirgia technology Beaumont, Tota's, et cone& NeWton, Kansas Lattiar College of BristOl Valley Playhouie Naples, New York 4 Petit Oeatre De Terrebconne" School_ CatOnsville Community College Baltimore, Marylan& LeWis an&Clark Elementary ngmont Sr High ,'Schoot cPloracto-State UlliYgrSity _#9rt Collins, ColoTado Hato:Ray, Puerto Rico Ncw MeXkotate.- bliiiter*y 4s10,100,-.0.2dUcatiOn 400::Ggos, S:Chool.-...,Powners 'Grove,Illinois New Providence High School 4ri ool-- Findlay, OhiO GeOrge 'S.C,hool; Penn:Sylvania NeW,Tiovideneei 'Ocean: TOWnShip,fligh '001 PalchutS isonTfaitiPcx, SchOol Kenosha, -Wisconsin Olathe Sr.,Nigh $chool- Playhouse Otlando, Flori 'G1and-148e*igiuScyool....: and Haven, Michigan Oange Blossom gifOth*Ore; Pennsylvania -11991 crolOra49 SwaithiPore- College River Forest ; Schçol Treeley, _Oz?lorado Trinity High School rinnelt llege Grinnell, Iowa Valley Wihcis Elementi Illinois Western,SPrinr Theatrelit alltgbei Michigan WycloWn Jr ifigh School

225 : West Grand,Avehue,

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