Company Profile—资源

Total Page:16

File Type:pdf, Size:1020Kb

Company Profile—资源 Company Profile—资源 Stagecra is a private company owned and managed by its founder Rory Miller. Stagecra is an entertainment equipment supply company, engaged in the manufac‐ ture, hire, sales, distribuon and installaon of stage machinery, drapes, lighng grids, stage lighng, orchestra lis, portable staging, sound and audio‐visual equip‐ ment. Stage Machinery: For over thirty years Stagecra has built up a significant reputa‐ on for designing, manufacturing and installing automated and manually operated winches, counterweight flying systems, heavy duty drapes and track systems. The market for Stagecra’s products and experse extends naonally and throughout much of Asia. Stagecra has established clientele in Singapore, Malaysia, China, Bru‐ nei, Hong Kong, Thailand, Pakistan, India and Indonesia. Stagecra operates from its new, purposed built facility in Malaga, Perth Western Australia. This 1925m² floor area facility houses administraon offices, design office, showroom, hire department, and fabricaon, electronics and paint workshops all under one roof. Addionally its large loading bay has the capacity for four semi‐ trailers and is serviced by a fork‐li. Stage Lighng AV & Audio: Stagecra is a distributor for many internaonal elec‐ tronic /digital entertainment equipment manufacturers and has an expanding mar‐ ket in cinemas, theatres, educaon, clubs, concert and convenon venues, places of worship and television studios. Stagecra has a growing involvement in a consultancy/designer capacity by clients and/or their architects to assist in venue and fit‐out design from concept to comple‐ on STAGECRAFT PTY LTD, ABN 11 009 040 144 11 INVERNESSS STREET MALAGA, WESTERN AUSTRALIA PHONE +61 8 9249 2700 FAX +61 8 9249 2709 www.stagecra.com.au 1 19‐Jan‐16 Resources—资源 PREMESIS Stagecra’s new purpose built factory commenced operaon in August 2008. With over 800m² of floor area dedicated to fabricaon, plus a large loading bay, paint‐shop and material storage areas, this facility is capa‐ ble of a high through‐put of custom built theatre machinery. To compliment this capability Stagecra’s de‐ sign division employs the latest engineering design soware to develop and refine its products. PERSONNEL Key Personnel General Manager: Rory Miller Rory’s career spans 40 years in performing arts presentaon and equipment design, manufacture and supply. As the founder and owner of Stagecra Rory has supervised all of the counterweight and elec‐ tric hoist rigging system installaons in many significant naonal and off‐shore venues. (see page 4) Design consultant: Ken Rayner Ken has spent forty years in performing arts as a designer, technician and producon manager. He has a Master of Creave Arts (Theatre) degree from Wollongong University NSW. For five years Ken has been a staff member of Stagecra in charge of design and draing across the product range. Project Manager: Michael Gaff Has accumulaon a formidable record of achievements in entertainment technology and project man‐ agement during his nearly forty years of service in the industry. Manufacturing and Installaon Personnel Stagecra has a number of key long‐term employees across a range of trades from welding to electron‐ ics who between them have accrued a wealth of experse in this specialized field. 2 19‐Jan‐16 Projects—及物动词 Selected completed and current projects demonstrang Stagecra’s experience and experse: St Hilda’s Anglican School for Girls John Paul College, Kalgoorlie Perth Arena Kamaroi Steiner School—Sydney Woodvale Bapst Church Hamer Hall—Victorian Arts Centre Melbourne Khalsa Heritage Centre—India Albany Entertainment Centre Genng Highland Resort Casino—Malaysia Indoor Sport Stadium—Brunei Tamaseel Theatre—Lahore Pakistan Perth Convenon and Exhibion Centre Adelaide Entertainment Centre Australian Broadcasng Corporaon television studios— Sydney Melbourne Perth Foxtel—Television Studio Sydney Fox Sports Television Studio Sydney Channel 7 Television Studio Sydney Stagecra’s contribuon to these projects ranges in value up to $AUD 2,500,000 and includes: Counterweight rigging systems Theatre Communicaon Systems Electric hoist rigging systems Design Advice/ Consultancy Curtains, curtain tracks and accessories Custom designed rigging systems Complete Stage Lighng Systems Forestage / orchestra pit lis Complete Stage Audio Systems Stagecra AirFlo flooring systems 3 19‐Jan‐16 P R O D U C T S H E E T S CONTENTS SECTION PAGE Masking 1 Rostra (Portable Staging) 4 Rostrum Dolly 5 AirFlo Floor 6 Auto Poles 7 SLX by Stagecra—Lighng Bar 8 Winched Lighng Bars 9 Pile Wind Winch 10 Wardrobe Rack 11 Exhibion Barriers 12 Exhibion Barriers—3.0m 13 Fixed Grid 15 Capstan Drive Curtain Motor 16 Choir Rostra 21 Clamps 22 Counterweight Rigging System 23 Cyclorama Floor Tensioner 25 Cyclorama Side Tensioner 26 Media Studio 27 Patch Panel (lighng) 28 Plug Strip—fixed lighng bar 30 Stage Boxes 31 CONTINUED SECTION PAGE Swivel Arm Side Masking Device 32 Curtain Hand Winch 33 Track—Series 100 (Theatre Track) 34 Track—Series 200 (Studio Track) 36 Track Juncon Switch 39 Track—Series 300 (Compact Track) 40 Track Crossover Switch 41 Scenery Masking Flats 42 Modular Stage System 43 Drapes & Masking P R O D U C T S H E E T STAGECRAFT provides advice based on extensive industry experience to assist the planning and installation of the most effective sight lines and mask- ing. Elements used for masking include: Curtains, Cycloramas, Scrims, Rigid masking flats Accessories, and Rigging The illustration below shows the basic elements of the masking system for a typical medium size stage AUDITORIUM STAGE Top masking BORDERS Side masking LEGS set Cyclorama (cut away) Set parallel at appropriate behind each BORDER Seamless cloth OR white heights and intervals suspended in pairs from Full width mid-stage plastic, suspended from pipe battens. curtains (pair) sus- pipe batten with bottom pended from manually pocket and “tail bat- HOUSE CURTAIN – a pair of gathered operated tracks— ten” (steel pipe) to keep velour or wool drapes rigged on heavy Typical stage lighting shown open and act- taught. duty tracks for bi-part opening and/or fixtures suspended on ing as side masking Side stage galleries or on winched or counterweighted batten winched OR counter- Fly Floors for accessing for vertical operation weighted wired battens rigging Optional counterweight flying system for raising and lowering battens with ease and safety. STAGECRAFT PTY LTD, ABN 11 009 040 144 11 INVERNESS STREET, MALAGA, WESTERN AUSTRALIA 6090 PHONE +61 8 9249 2700 FAX +61 8 9249 2709 www.stagecraft.com.au 1 SC/KR 000 -11/14 All specifications may be changed without prior notice. While due diligence is used in compiling the data herein, Stagecraft Pty Ltd does not accept liability for losses ensuing from any errors or omissions. P R O D U C T S H E E T Plan view showing a typical masking set up of a stage. The extreme lines of sight indicate that the masking of sides of the stage is adequate, whilst the setout of the side masking legs provides reasonable wing entry space. STAGECRAFT’s services include expert advice on the correct set out drapes and other element needed for adequate masking with flexible options. and Cyclorama Full Width Blacks (Open) Lighting Batten Black Legs Black Border Lighting Batten STAGE Black Legs Black Border Lighting Batten Entries from wings Entries from Black Legs Black Border Lighting Batten House Curtain Valance AUDITORIUM STAGECRAFT PTY LTD, ABN 11 009 040 144 11 INVERNESS STREET, MALAGA, WESTERN AUSTRALIA 6090 PHONE +61 8 9249 2700 FAX +61 8 9249 2709 www.stagecraft.com.au 2 SC/KR 000 -11/14 All specifications may be changed without prior notice. While due diligence is used in compiling the data herein, Stagecraft Pty Ltd does not accept liability for losses ensuing from any errors or omissions. P R O D U C T S H E E T Section drawing showing the side view of typical masking set up of a stage. The extreme sight lines from the front row seats demonstrates the complete masking of the lighting equipment and other element that need to be hidden from view. Valance Valance Curtain House Border Black Legs Black Batten Lighting Border Black Width Full Blacks Border Black Legs Black (Open) Width Full Blacks Cyclorama Lighting Batten Batten Lighting Batten Lighting Batten Lighting AUDITORIUM STAGE Sight lines from front row STAGECRAFT PTY LTD, ABN 11 009 040 144 11 INVERNESS STREET, MALAGA, WESTERN AUSTRALIA 6090 PHONE +61 8 9249 2700 FAX +61 8 9249 2709 www.stagecraft.com.au 3 SC/KR 000 -11/14 All specifications may be changed without prior notice. While due diligence is used in compiling the data herein, Stagecraft Pty Ltd does not accept liability for losses ensuing from any errors or omissions. Rostra (Staging) P R O D U C T S H E E T DESCRIPTION The STAGECRAFT Rostra System is ideal for when robust, neat, demountable / transportable staging is required. The STAGECRAFT Rostra System is comprised of: folding bases in three standard heights, carpeted plywood tops, side and end hand rails, skirting chair rails, access steps, and storage dollies. The simple but sturdy steel bases fold flat for compact storage and transport Standard rostra tops: 1200 mm x 1800 mm Standard heights: 300 mm, 600 mm, and 900 mm. 1200 mm wide access steps to suit each standard rostrum height The hand rails: 1000 mm high (above rostrum top) with a choice of 1200 mm or 1800 mm wide. FEATURES The STAGECRAFT Rostra System staging features: All steelwork finished - black painted. Rostrum tops finished with non-fray hard wearing carpet Quick and easy erection needing no tools Smart professional appearance Special sizes made to order Storage Dollies made to suit individual rostra set. Dolly Typical 300 mm high rostrum with carpeted top, hand- rails and chair rail. 900 mm Rostrum with access steps and hand rails STAGECRAFT PTY LTD, ABN 11 009 040 144 11 INVERNESS STREET, MALAGA, WESTERN AUSTRALIA 6090 PHONE +61 8 9249 2700 FAX +61 8 9249 2709 www.stagecraft.com.au 4 SC/KR 000 -11/14 All specifications may be changed without prior notice.
Recommended publications
  • A Level Drama and Theatre Glossary
    A level Drama and Theatre Glossary This glossary has been provided to support the teaching and learning of this qualifiction. You might find this helpful to support students in developing their knowledge and understanding of subject specific terminology. Performance Term Definition acting area that area within the performance space within which the actor may move in full view of the audience. Also known as the playing area acting style a particular manner of acting which reflects cultural and historical influences action the movement or development of the plot or story in a play; the sense of forward movement created by the sense of time and/or the physical and psychological motivations of characters. analysis in responding to dramatic art, the process of examining how the elements of drama—literary, technical, and performance—are used antagonist the opponent or adversary of the hero or main character of a drama; one who opposes and actively competes with another character in a play, most often with the protagonist apron the area between the front curtain and the edge of the stage. arena stage type of stage without a frame or arch separating the stage from the auditorium, in which the audience surrounds the stage area; see theatre-in-the-round. articulation the clarity or distinction of speech aside Lines spoken by an actor to the audience and not supposed to be overheard by other characters on-stage. black box a one-room theatre, without a proscenium arch; interior is painted black, including walls, floor, and ceiling, and any drapes are also black. blocking the path formed by the actor’s movement on stage, usually determined by the director with assistance from the actor and often written down in a script using commonly accepted theatrical symbols.
    [Show full text]
  • Renaissance and Baroque Stage Technology and Its Meaning for Today's Theatre
    Edith Cowan University Research Online Theses: Doctorates and Masters Theses 1-1-2004 Renaissance and baroque stage technology and its meaning for today's theatre Stan Kubalcik Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Theatre and Performance Studies Commons Recommended Citation Kubalcik, S. (2004). Renaissance and baroque stage technology and its meaning for today's theatre. https://ro.ecu.edu.au/theses/792 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/792 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form.
    [Show full text]
  • Stage Lighting a Guide to the Planning of Theatres and Auditoriums This Is a Preview of "IES DG-20-09"
    This is a preview of "IES DG-20-09". Click here to purchase the full version from the ANSI store. IES DG-20-09 Stage Lighting A Guide to the Planning of Theatres and Auditoriums This is a preview of "IES DG-20-09". Click here to purchase the full version from the ANSI store. IES DG-20-09 Stage Lighting—A Guide to the Planning of Theatres and Auditoriums Publication of this Design Guide has been approved by the IES. Suggestions for revisions should be directed to the IES. Prepared by: The Theatre, Television and Film Lighting Committee of the Illuminating Engineering Society of North America This is a preview of "IES DG-20-09". Click here to purchase the full version from the ANSI store. IES DG-20-09 Copyright 2009 by the Illuminating Engineering Society of North America. Approved by the IES Board of Directors, January 31, 2009 as a Transaction of the Illuminating Engineering Society of North America. All rights reserved. No part of this publication may be reproduced in any form, in any electronic retrieval system or otherwise, without prior written permission of the IES. Published by the Illuminating Engineering Society of North America, 120 Wall Street, New York, New York 10005. IES Standards and Guides are developed through committee consensus and produced by the IES Office in New York. Careful attention is given to style and accuracy. If any errors are noted in this document, please for- ward them to Rita Harrold, Director Educational and Technical Development, at the above address for verifica- tion and correction.
    [Show full text]
  • Design & Production Courses
    Design & Production Courses DEP 1000: Production (4 credits) This is a practical laboratory class that is required for all Design and Production undergraduate students. Specific assignments vary according to each student's abilities and the production to which they are assigned. It is intended to serve as an opportunity to practice skills learned in the studio or laboratory classes. By applying these skills to actual productions that are performed for the public, students will experience a variety of situations that will prepare them for the professional workplace. DEP 1001: Introduction to Theatrical Production I (1 credit) A yearlong introduction to Theatrical Production which will familiarize the student with the various shops, shop procedures and shop safety to prepare them for DEP 1000: Production. In addition, the class will cover a wide variety of subjects to orient the student to the various disciplines in Design and Production, the hierarchy, the vocabulary, the operations and the paperwork involved in modern theatrical production. DEP 1002: Introduction to Theatrical Production II (1 credit) A yearlong introduction to Theatrical Production which will familiarize the student with the various shops, shop procedures and shop safety to prepare them for DEP 1000: Production. In addition, the class will cover a wide variety of subjects to orient the student to the various disciplines in Design and Production, the hierarchy, the vocabulary, the operations and the paperwork involved in modern theatrical production. DEP 1011: Technical Theatre for Drama (1 credit) A series of introductory lectures on the professions of theatrical production for Drama School students. Students learn the use of equipment and basic requirements for technically launching a theatrical production.
    [Show full text]
  • Virtual Reality in Theatre Spaces
    VIRTUAL REALITY IN THEATRE SPACES by Sherouk Mohamed Shehab El Din Saad Badr A Thesis submitted to the Faculty of Engineering at Cairo University in Partial Fulfillment of the Requirements for the Degree of MASTER OF SCIENCE in ARCHITECTURE ENGINEERING FACULTY OF ENGINEERING, CAIRO UNIVERSTIY GIZA, EGYPT 2012 VIRTUAL REALITY IN THEATRE SPACES by Sherouk Mohamed Shehab El Din Saad Badr A Thesis submitted to the Faculty of Engineering at Cairo University in Partial Fulfillment of the Requirements for the Degree of MASTER OF SCIENCE in ARCHITECTURE ENGINEERING Under the Supervision of: Prof. Dr. Mohamed Moemen Afifi Prof. Dr. Ayman Hassan Ahmed Professor of Architecture Professor of Architecture Cairo University Cairo University Faculty of Engineering Faculty of Engineering FACULTY OF ENGINEERING, CAIRO UNIVERSTIY GIZA, EGYPT 2012 VIRTUAL REALITY IN THEATRE SPACES by Sherouk Mohamed Shehab El Din Saad Badr A Thesis submitted to the Faculty of Engineering at Cairo University in Partial Fulfillment of the Requirements for the Degree of MASTER OF SCIENCE In ARCHITECTURE ENGINEERING Approved by the Examining Committee Prof. Dr. Mohamed Moemen Gamal el Din Afify, Thesis Main Advisor Prof. Dr. Ayman Hassan Ahmed Mahmoud, Thesis Advisor Prof. Dr. Khaled Mohamed Ragheb Dewidar, Member Prof. Dr. Mohamed Medhat Hasan Dorra, Member FACULTY OF ENGINEERING, CAIRO UNIVERSTIY GIZA, EGYPT 2012 ACKNOWLEDGMENTS First I would like to thank my dear grandfather, Dr Mohamed Mahmoud El Emam, for being so supportive and encouraging in this study and also for helping me in translating and analyzing highly specialized and complicated papers and theses. Also I would like to thank my supervisors, Dr Momen Afif and Dr Ayman Hassan for accepting the thesis subject and giving me such chance to study into two more fields rather than architecture; theater and technology.
    [Show full text]
  • Image Makers: Designers C;: H a I" T Ll R 12 LIGHTING and SOUND I Feel That Light Is Like Music
    " " Image Makers: Designers c;: H A I" T ll R 12 LIGHTING AND SOUND I feel that light is like music. In some abstract, emotlona~ cerebral, nonliterary way, it makes us feel, it makes us see, it makes us think, all without knowing exactly how and why. 1 \ • Jennifer Tipto1, lighting De~lgner THE LIGHTING DESIGNER In today's theatre, lighting, Stage lighting is a powerful theatrical tool to focus an audience's attention, sound, and computer enhance understanding, and give aesthetic pleasure. It is sometimes sur­ 'u technologies affect what we prising to learn that the "lighting" designer emerged in the theatre well tee, how we see, how we before the invention of electricity. hear, how we feel, and often what we understand. As Background areas oftheatrical design, lighting and sound, along The Greeks called their theatres "seeing places." These were outdoor the­ with the new "machines," atres, and performances took place chiefly during daylight hours, but not ',il,, are essential to the modem without some attention to lighting effects. Playwrights. who were also the I.''' ' stage's theatrical earliest directors, called for drama~c effects with torches, fires, and even effectiveness. sunlight. Aeschylus in Agamemnon, which tells the story of the King's re­ 'i'i turn at the close of the Trojan War, begins wtth a Watchman standing atop ! 'I the palace to watch for beacons shining from distant mountaintops that it i. I ·: will signal Agamemnon's returri to Argos. Most interpreters think that the ·'II' '' Watchman's speech begins virtually fn the early morning mist and that his '' recognition of the signal flames coincides with the actual sunrise over the Theatre of Dionysus.
    [Show full text]
  • Insert Theatre Logo Hear
    Knoll Road, Camberley, Surrey, GU15 3SY Main Auditorium TECHNICAL INFORMATION Technical Contacts: Lee Dawson – Senior Technician (Production) [email protected] Tel: 01276 707571 Steve Cave – Senior Technician (Facilities) [email protected] Tel: 01276 707616 Fax: 01276 707644 Contents Quick reference guide 3 General Information 4 Stage Specifications 5 Stage Machinery 6 Staging Equipment/Accessories 7 Stage Lighting Facilities 8 Lighting Equipment 9 Sound and Audio Visual Facilities 10 Communications 12 Backstage Accommodation 13 Quick Reference Guide Pros Arch format: 404 seats (338 raked seating, 66 flat floor) Orchestra pit: 385 seats (338 raked seating, 47 flat floor) Flat Floor: 500 Stage Dimensions Proscenium Height 3.8m Proscenium Width 8.7m Apron Width 11.32m Apron to Setting Line 1.85m Setting Line to last Fly bar 6.15m Height above auditorium floor 1.15m Stage to grid 6.97m Get–In Door Width 1.5m Get-In Door Height 3.0m Get-In Height off Ground 1.8m Flying System 6 x Electric Winch sets – of which 4 are used for lighting bars (SWL – 250kg) 11 x 3 line Hemp sets (SWL – 150kg) 3 x Hand winch sets – 2 SR wing and 1 SL wing used on the US/DS Bars Each batten is approx 11m long Triple E track is available to make up to 4 cross stage tracks. Stage lighting facilities Control: ETC EOS controlling 142 ETC Sensor dimmers (2.4kw modules). All outputs are on 16A Connectors. Sound Facilities Yamaha LS9-32 Mixing Console 4 Stage monitor mixes and 4 sends to stage.
    [Show full text]
  • Technische Dokumentation
    MAXIM GORKI THEATER BERLIN Am Festungsgraben 2, 10117 Berlin Technische Direktion Tel. 030.20221-336, Fax 030.20221-333 [email protected] Technical Documentation – Main Stage Download: http://www.gorki.de/en/technical-information Table of contents 1 Contact list ....................................................................................................................................... 2 1.1 Technical departments ............................................................................................................ 2 1.2 Theatre workshops .................................................................................................................. 2 1.3 Rehearsal stages ...................................................................................................................... 2 2 Views ............................................................................................................................................... 3 3 Measurements and technical specification for the stage ............................................................... 7 3.1 Relevant dimensions for scenery parts ................................................................................... 7 3.2 Stage dimensions ..................................................................................................................... 7 3.3 Portal dimensions .................................................................................................................... 8 3.4 Fly galleries .............................................................................................................................
    [Show full text]
  • Magic in a Cathedral
    THE STORY OF KÀ , PART I Copyright Lighting &Sound America April 2005 MAGIC IN A CATHEDRAL The designers of KÀ discuss the concepts behind their work By Mike Falconer 32 • April 2005 • Lighting &Sound America (Editor’s note: Even by its extraordi - Of course, if you take a risk, you’re nary standards, the new Cirque du certain to be criticized. Some journal - Soleil production in Las Vegas, KÀ , ists have commented that KÀ ’s represents a rarely seen fusion of emphasis on a story has caused it to design ideas and sophisticated tech - sacrifice its soul. To quote the late nology. For that matter, it’s often diffi - Douglas Adams, this is “a load of cult to tell where the production’s fetid dingo’s kidneys.” Although it design ends and the theatre’s design may be more difficult to read some begins. For this reason, we are pre - kind of deep spiritual meaning into senting a trio of stories, examining the assembled craziness of KÀ — different aspects of KÀ .) compared to the assembled craziness of other Cirque productions such as Yes, it’s another Cirque du Soleil O or La Nouba —it’s only because the show in Las Vegas. This time, the audience member has a general idea venue is the MGM Grand, in the of what is going on and why. space vacated by the extravaganza The bottom line is that KÀ is sheer known as EFX . In case you haven’t entertainment and spectacle, rather been counting, KÀ is the fourth than entertainment and spectacle Cirque entry to open along the Vegas masquerading as something else.
    [Show full text]
  • Little Theatre Lighting Handbook
    Little Theatre Lighting Handbook Written by: Patrick Crowe Lauren Ferrechio Christopher Kingsley Table of Contents Introduction………………………………………………………………………. .. 23 Design Basics………………………………………………………………………. 24 Positions Related to Lighting………………………………………………… 24 Basic Skills…………………………………………………………………... 27 The Lighting Board………………………………………………………….. 50 Lighting Board Explained………………………………………….... 55 What is a Submaster?.......................................................................... 59 Cues………………………………………………………………….. 61 Etiquette & Safety…………………………………………………… 66 Fog and Haze……………………………………………………………….... 69 Design Theory……………………………………………………………………... 80 Directions of Light……………………………………………………………80 Photometrics…………………………………………………………………. 84 Color-Mixing………………………………………………………………… 87 No Right Answer……………………………………………………………………90 Design Considerations……………………………………………………………... 91 Design Implementation……………………………………………………………. 92 Creating a Light Plot…………………………………………………………. 92 Paper or Digital?............................................................................................... 92 Plots and Charts……………………………………………………………… 94 Area Plots……………………………………………………………………. 95 Cabling……………………………………………………………………….. 95 Little Theatre Considerations and Protocols……………………………………… 98 The Base Plot………………………………………………………………… 98 Rules of Using Fog Effects……………………………………………………100 Ten Commandments…………………………………………………………..101 Fire Alarm Bypass Switch Protocol…………………………………………. 102 Bibliography…………………………………………………………………………103 Appendices…………………………………………………………………………..105
    [Show full text]
  • Technical Direction of Little Women, the Musical
    Minnesota State University, Mankato Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato All Graduate Theses, Dissertations, and Other Graduate Theses, Dissertations, and Other Capstone Projects Capstone Projects 2018 Technical Direction of Little Women, The Musical Matt Gilbertson Minnesota State University, Mankato Follow this and additional works at: https://cornerstone.lib.mnsu.edu/etds Part of the Other Theatre and Performance Studies Commons, and the Theatre History Commons Recommended Citation Gilbertson, M. (2018). Technical Direction of Little Women, The Musical [Master’s thesis, Minnesota State University, Mankato]. Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. https://cornerstone.lib.mnsu.edu/etds/782/ This Thesis is brought to you for free and open access by the Graduate Theses, Dissertations, and Other Capstone Projects at Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in All Graduate Theses, Dissertations, and Other Capstone Projects by an authorized administrator of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. TECHNICAL DIRECTION OF LITTLE WOMEN, THE MUSICAL by MATTHEW A. GILBERTSON A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF FINE ARTS IN THEATRE ARTS MINNESOTA STATE UNIVERSITY, MANKATO MANKATO, MINNESOTA MARCH 2018 DATE: April 5, 2018 This thesis has been examined and approved. Examining Committee: ______________________________ George E. Grubb, Chairperson ______________________________ Dr. Jane Earley, Dean Emeritus ______________________________ Melissa Rosenberger, Director ______________________________ Steven Smith, Lighting Designer ______________________________ David McCarl, Costume Designer ii ABSTRACT Gilbertson, Matthew A., M.F.A.
    [Show full text]
  • British Theatre Scenography the Reification of Spectacle Christine A
    British Theatre Scenography The Reification of Spectacle Christine A. White Goldsmiths College London University Phd. 1 Abstract Over the last twenty years, the nature of theatre has changed due to the economic system of production which has led to the use of scenography to advertise the theatre product. Theatre has tried to make itself more attractive in the market place, using whatever techniques available. The technological developments of recent years have enabled the repackaging and sale of theatre productions both nationally and internationally. As a result theatre has become more 'designed' in an attempt to make it an attractive commodity. Scenography has become more prominent and this has changed the authorship of the theatre production, the dramatic text; the experts required by the new technologies have had a different involvement with the product, as they have actively contributed to the scenic image presented. Commercial values may have improved the integrity of theatre design and raised its profile within the profession, with theatre critics and with the academic world but it has proved unable to sell a production, which is ultimately lacking in theatricality and true spectacle. On particular occasions the gratuitous use of technology has been criticised, and as such, has been referred to as 'spectacle'. However, spectacle theatre does not simply mean theatre which uses technology, and so it has become imperative for the word spectacle to be more specifically applied, when used as a critical term to describe a form of theatre production. In this thesis, I intend to look at the significant factors that have led to the types of theatre presented in the last twenty years; to discuss these types of theatre in terms of their means of production and delivery to an audience, and to relate the change in scenographic values with a change in economic values; a change which has particularly affected the means of production, and as such is a vital beginning for any discussion of the scenography of the late twentieth century.
    [Show full text]