Course Syllabus Stagecraft 360 Fall, 2013 Instructor's Name, Office

Total Page:16

File Type:pdf, Size:1020Kb

Course Syllabus Stagecraft 360 Fall, 2013 Instructor's Name, Office Course Syllabus Stagecraft 360 Fall, 2013 Instructor's Name, Office Address, and Telephone Number, E-Mail: Timothy Barrington, 163 Fine Arts Building, 881-7091, [email protected] Classroom: Fine Arts 258, Fine Arts 165 Scene Shop, and Fine Arts 269 Computer Lab Course Hours: 4:00 PM to 5:15 PM Monday & Wednesday. Required outside class hours are noted below. Credit Hours: 3 hours Prerequisites: None Textbook: Theatrical Design and Production, 6th ed., by J. Michael Gillette (Required) Course Description: Welcome to Stagecraft! This is an introductory course designed to present you with an overview of the physical support systems and processes involved in technical production for live theatre. We're going to treat this as an introduction to physical theatre for actors and others who aren't professionally interested in the deep details of backstage support activities, but who need to know what's involved in those activities. Actors obviously need to understand how the technical areas work in order to collaborate well with those who provide the sets, lights, costumes, props, sound, and special effects that add to the environments in which they perform. Others may simply be people who either like to be involved in theatrical production, or who need to understand aspects of theatrical production as it applies to other media such as dance, film and television production. Here are the requirements for the course. First: Attend lecture! Attendance is required. Second: Buy the text, which is Mike Gillette's Theatrical Design and Production. Read the assigned chapters by the date given on the Course Schedule. Some of these are very long, I know. Absorb as much as you can in the time available. Third: Participate! In order to gain direct experience, you are required to put in practicum hours in the scene shop during production time. Your experiences during your practicum hours should give you a basis to ask questions. Course Objectives: The student will demonstrate: 1. The ability to interpret technical drawings for the construction of scenery and properties. 2. Proficiency in basic tools and equipment used in the scene shop. 3. Proficiency in basic scenery construction techniques. 4. A basic knowledge in rigging. 5. An understanding of stage painting. 6. An understanding of elemental electricity. Subject Matter/Content: a. Production staff b. The function of scenery c. Construction drawings. 1. Orthographic projection 2. Scale 3. Ground Plans 4. Elevations 5. Conventions d. Tools and Materials. e. The stage and its equipment f. Woodworking. g. Two-dimensional scenery h. Three-dimensional scenery I. Electricity j. Painting Course Activities: 1. Class Lecture on the above topics. 2. Reading in the assigned text related to the above material. 3. Practical application of the above through supervised projects. 4. Written assignments based on assigned readings. Evaluation: Attendance: Here is the attendance policy as it affects your grade. Attendance is required! Students are allowed two unexcused absences. Each subsequent unexcused absence will be penalized with a one point of your grade reduction in your final grade. Less than 75% attendance, the student will fail the course. Students should not be late for class; after 5 minutes they are marked absent. Three tardies will count as an unexcused absence. Grading: There are four examinations in the course and they will be the major basis of your grade. Your conscientious participation in your practicum hours will also affect your grade. Here's the breakdown: Your three major tests provide 45% of the grade. Your Final equals 25% and 30% will come from assigned projects and the technical paper. Recall that your attendance is also factored into your grade average. There will be opportunities throughout the semester where you will be able to do extra credit work for points to be added to your final grade. The grading scale is as follows: 90 - 100 = A 80 - 89 = B 70 - 79 = C 60 - 69 = D Below 60 = F Test Dates are as follows: Test No. 1 Wednesday September 18 Test No. 2 Wednesday October 28 Test No. 3 Monday November 13 Test No. 4 Final Thursday December 12 12:45 PM The fourth test is the final and is comprehensive. Makeup tests are permitted only with a legitimate and documented excuse and at the instructor's discretion. Technical Paper: Due November 18 A 5-page paper, with bib. on a designer. The paper must explore the creative process. You may explore the designers’ background, other designers that influenced your designer and other arts or productions that influenced your designer. You may use one of the designers’ works as an example or you may use several of the designers’ works. The designer can be for sound, sets or lights. The paper must be typed and double-spaced with a one-inch margin and a number 12 font. Play Paper: Due Nov. 18 You are required to attend the Vanguard Theatre Production of Fools and to write a typed two page double spaced paper with a one-inch margin and a number 12 font on the stage and technical aspects of the play. Production Hours: All students are required to log at least 20 hours working some technical aspect during the production time of the plays. They are Fools by Neil Simon and The Little Rose adapted by Leon Sciosca and Sheri Fink. No open toed shoes are allowed in the shop. These hours have to be completed by the last week of classes. All students are required to participate in the Show Load-In’s and Set Strikes. These will take place on Oct. 16 and December 2 after 4 pm that day. All students are required to participate in Set Strike. This will be after the final performance of the play production when all the scenery is dismantled and removed from the stage. The date for the first set strike is Sunday November 17 and the second is December 7 time TBA. If you do not complete your production hours, participate in the set load-in, attend the play and the set strikes your final grade will be dropped one full letter for each non-participation. This means you could lose up 6 letter grades even if you made an A in the regular class work you would still fail. Shop hours A. You may sign up for hours in advance. B. Extra hours need no advance warning. D. You must sign up for 20 hours and complete them by the Friday Nov. 20, unless you work on a running crew and will probably finish after the play. E. Running crews members will get all of their hours during the week of the show, but you must make all calls and work all hours that are needed. If you are taking Theatre Production or Theatre 150 those hours do not count No double dipping. F. Shop Hours (other hours may be added) Tuesday and Thursday from 9:00 to 12:00 am & from 1:00 p.m. to 4:00 pm. Additional hours will be posted. Late work will be accepted but will not receive full credit. This includes shop hours. If you are not more than half way through your hours by Nov. 4 you will lose credit. Please feel free to e-mail me or to come talk to me at any time. Course Schedule: Subject to Change DATE TOPIC READING ASSIGNMENT Aug. 26 Intro to Course & Safety Aug. 28 Safety & Production Organization Text: Chapter 1 Sept. 4 Theatre Architecture Text: Chapter 3 Sept. 9 The Stage & Its Equipment Text: Chapter 4 Sept. 11 The Stage & Its Equipment Sept. 16 Color Text Chapter 6 Sept. 18 Test No.1 Chapters 1, 3, 4 & 6 Sept. 23 Scene Shop - Tools, Materials, and Supplies Text: Chapter 10 Sept. 25 Scene Shop - Tools, Materials, and Supplies Sept. 30 Scenic Mounting and Rigging Oct. 2 Scenic Mounting and Rigging Oct. 7 Construction Drawings Text: Chapter 20 Oct. 9 Construction Drawings Oct. 14 HAVE A GREAT FALL BREAK!!! Oct. 16 Show Load IN Oct. 21 Construction Drawings Oct. 23 Orthographic Project Due Oct. 28 Test No. 2 Chapters 10 & 20 Oct. 30 Properties - Types and handling Text: Chapter 13 Nov. 4 Production Techniques Text: Chapter 11 Nov. 6 Production Techniques Nov. 11 Electricity in the Theatre Chapter 15 Nov. 13 Test # 3 Chapters 11, 13 & 15 Nov. 17 Set Strike Nov. 18 Flat Building Tech Paper Due Nov. 20 Flat Building Nov. 25 Scene Painting Dec. 4 Scene Painting Dec. 6 Scene Painting Flat Project Due Chapter 12 Dec. 12 12:45 pm FINAL EXAMINATION Questions? Send E-mail: [email protected] Disability Statement Any student eligible for and requesting academic accommodations due to a disability is required to provide a letter of accommodation from the Student Success Center Office of Disabilities Services within the first two weeks of the semester. .
Recommended publications
  • Scene Shop Foreman/Instructor
    Scene Shop Foreman/Instructor Department: School of Creative and Performing Arts Type: Full-time, 10 months Reports To: Director of Production This 10-month position serves as shop foreman/stage supervisor for all SCAPA productions. Manages scene shop including the construction and installation of all scenic elements, manages inventory and student crews. Working knowledge of VectorWorks. Responsible for following and promoting all safety procedures and practices along with problem solving technical issues that may arise in the scene shop or stage areas. Teach introductory stagecraft and in other areas of expertise (eg: sound, scenic, projections) Responsibilities: Essential duties and responsibilities include the following. Other duties may be assigned. 1. Manage the daily operation of scene shop 2. Leads or assists construction, load-in and strike of all theatre productions (6 mainstage and 4 student productions annually) 3. Order and maintain supplies at required levels 4. Responsible for general and basic maintenance of scene shop 5. Works in concert with the Director of Production on all scene shop assignments and scheduling 6. Manage scene shop, coordinate construction schedules to meet production deadlines; organize and supervise student workers and scene shop techs to meet deadlines set by Director of Production. develop construction drawings; procures supplies for set construction; coordinates with outside vendors and other duties as assigned by the Director of Production 7. Collaborate with design team to plan, install and ensure proper operation of scenery and stage equipment, manage and train student crews, adhere to safety standards in the mounting, operation and strike for each production. 8. Teach 7-8 credit hours per academic year including stagecraft and scenic design 9.
    [Show full text]
  • Technical Rider
    TECHNICAL RIDER I. AXIS DANCE COMPANY CONTACT LIST: 1428 Alice St., #200, Oakland, CA 94612 510.625.0110 (Office) 510.625.0321 (Fax) Marc Brew, Artistic Director 510-625-0110 [email protected] Robin Anderson, Engagement Director 510-625-0110 [email protected] II. STAGE REQUIREMENTS • Wheelchair accessibility to stage is required. • Optimum stage size: 40’ opening by 36’ deep; Minimum stage Size: 36’ opening by 28’ deep • Sprung dance floor with smooth, clean dancing surface. Most of the time it will be necessary to lay a Marley floor. • Minimum electric high trim 20’. Preferred high trim 24’. • 3-4 evenly spaced wings on each side of the stage with a minimum of 6 feet between each wing. • Black borders to mask overhead lighting are preferred. • Full stage width Black Velour Drop which must either fly or be on a traveler track • Full stage width Black Sharkstooth scrim. • Full stage width White Cyclorama with a white bounce, or a white plastic (rear projection cyc). • Wheelchair accessible crossover behind stage will be required. • Wheelchair accessible dressing room, make-up area and bathroom for 6-8 artists. • Quick change areas with prop tables, chairs and running lights stage left and / or stage right for costume changes. • Temperature of all areas must be a minimum of 68 degrees. • Stage, wings, and crossover must be reasonably clear of house equipment and must be swept and mopped prior to each rehearsal and performance. • Stage shall be available to AXIS Dance Company from beginning of load-in until final performance and strike are complete. No other use of the stage or dressing rooms during this time is permitted without prior approval from the AXIS Production Manager.
    [Show full text]
  • Drama Department Open House
    Drama Department Open House Stagecraft 1-2 Stagecraft for Show Productions Stagecraft 3-4 Stagecraft for Musical Productions Instructor: Jason Fallis Email: [email protected] What Is Our Department? EVERYTHING THEATRE! Not interested in being onstage but love the technical aspect? We have you covered! Want to be onstage? We have you covered! Need a fine arts credit? We have you covered! Stagecraft 1-2 - No experience required. This is an introductory course on stagecraft (behind the scenes). Some of the areas you will learn about include: lighting, sound, costuming, props, set design and construction, painting and special effects make-up & much more. Where do we go from here? Stagecraft 1-2 Stagecraft 3-4 Stagecraft 3-4 What do you do when you have completed Stagecraft 1-2? TIme to work the shows! In stagecraft 3-4 we take it a step further as you, the student move on to work actual productions behind the scenes operating lights, sound, microphones and backstage. Again...it is impossible to list the advanced offerings in this course. The best part though is the family bond the department has! Stagecraft 3-4 making sure the actors and the stage look great! SO, YOU WANT TO BE AN ACTOR? If your family or friends have told you that you are too dramatic, Acting 1-2 may be for you! No experience is required to take Acting 1-2, an introduction to acting. In this class you will learn the broad techniques of acting from voice control to improvisation. Have I mentioned it is a blast! Where do I go after Acting 1-2? Look no further than Stagecraft for Show Productions.
    [Show full text]
  • LED Lighting in a Performing Arts Building at the University of Florida
    LED Lighting in a Performing Arts Building Host Site: University of Florida, Gainesville, Florida July 2014 Prepared for: Solid-State Lighting Program Building Technologies Office Office of Energy Efficiency and Renewable Energy U.S. Department of Energy Prepared by: Pacific Northwest National Laboratory PNNL-23514 LED Lighting in a Performing Arts Building at the University of Florida Final report prepared in support of the U.S. DOE Solid-State Lighting Technology Demonstration GATEWAY Program Study Participants: Pacific Northwest National Laboratory University of Florida NJ Miller SM Kaye1 PM Coleman2 AM Wilkerson TE Perrin GP Sullivan3 July 2014 Prepared for the U.S. Department of Energy under Contract DE-AC05-76RL01830 Pacific Northwest National Laboratory 1 Professor of Lighting Design, Head of the Graduate Lighting Design Program, University of Florida, Gainesville FL. 2 Graduate Assistant, Lighting Design, University of Florida, Gainesville FL. 3 Principal, Efficiency Solutions, Inc., Richland WA Preface This document is a report of observations and results obtained from a lighting demonstration project conducted under the U.S. Department of Energy (DOE) GATEWAY Demonstration Program. The program supports demonstrations of high-performance solid-state lighting (SSL) products in order to develop empirical data and experience with in-the-field applications of this advanced lighting technology. The DOE GATEWAY Demonstration Program focuses on providing a source of independent, third-party data for use in decision-making by lighting users and professionals; this data should be considered in combination with other information relevant to the particular site and application under examination. Each GATEWAY Demonstration compares SSL products against the incumbent technologies used in that location.
    [Show full text]
  • Summer Information Packet
    S U M M E R 2 0 1 5 The nationally recognized, Award-Winning BRAVO! Performing Arts Academy an intensive theatrical experience for kids entering grades 4 - 9 PROUDLY PRESENTS ITS 13TH SUMMER SEASON! Bravo Performing Arts Academy: an intense musical theater experience designed to hone the vocal, acting, and dance skills of students who have the desire, discipline and passion for musical theater. Full book musicals are taught and performed in only 20 days! BPAA is open to students in 4-9 grades. Junior Bravo Academy: designed for students that may be new to the stage and have the desire to learn more about musical theater. Offers intimate training for students who don’t have as much experience or knowledge in music, dance and acting. Junior shows are taught and performed in only 15 days ! JBA is open to students in 4-7 grades. After only a few weeks of intensive afternoon rehearsals, we will present up to three spectacular, professional-quality musicals featuring dozens of memorable songs, originally directed scenes, stunning makeup, impressive choreography, dazzling costumes and amazing sets. Academy Dates and Times Bravo Performing Arts Academy, 2015 Auditions - May 30 & 31, 2015 June 8 - July 12 - Monday to Friday, 9am – 3:30pm No camp July 4 BPAA mandatory Tech rehearsal: Sunday, July 5 BPAA Tech Rehearsals: 5-8pm, week of show Shows considering: Rock of Ages, Seussical, Wizard of Oz, Godspell, (Play - TBD) Junior Bravo Academy, 2015 Auditions - May 30 & 31, 2015 June 8 – July 3 - Monday to Friday, 9am – 3:30pm Final camp day is July 3 Show: 101 Dalmations A Typical Day at Bravo Academy 9AM-12PM (Monday-Thursday) JBA: Rehearsals BPAA: Classes BPAA choose from specialties such as: Dance Improvisation Acting Film Props & Costumes Voice Scenic Design Theatrical Makeup Stagecraft Lunch: 12PM-12:25 PM 12:30 PM-3:30 PM (and all day Friday) Production rehearsals, Stagecraft, Film & Junior Bravo classes Audition Information Students register for a Thursday or Friday slot (4pm-6pm or 6pm-8pm).
    [Show full text]
  • Lighting Lighting
    PHX CDM ELLIPSOIDAL ELLIPSOIDAL LIGHTING The PHX CDM 5°, 10°, 19°, 26°, 36° and 50° fxed focus Catalog Numbers ellipsoidals are truly state of the art luminaires in style, PHXC-5-* versatility of functions and efciency. Confgured with a PHXC-10-* 39W, 70W, or 150W ballast, these lighting fxtures with their PHXC-19-* respective Ceramic Discharge Metal Halide Lamps will direct PHXC-26-* bright,sharp or soft-edged illumination to their subject. PHXC-36-* PHXC-50-* Each unit has two accessory slots and two accessory holders on the lens barrel. The slot nearest to the lamp is specifcally sized to accept pattern holders for metal gobos with 25⁄8“ image diameters (“B”size). The second slot, which has a cover to eliminate light leaks when not in use, will accept either a glass pattern holder, drop-in iris, gobo rotator or a dual gobo rotator. Both the 5° and the 10° PHX CDM units have generous sized front accessory holders with self-closing and self-latching safety retainers. These accessory holders are large enough for color frames, glass color frames,donuts, snoots or color changers and combinations of accessories as required. The 19°, 26°, 36°, and 50° fxed focus units have accessory holders with two separate channels. The lens barrels are interchangeable without the use of tools. These low wattage, long lamp life units produce a cool light with a high color rendering index that will not seriously impact ambient temperatures. Ideally suited for projecting company logos, spot lighting and enhancing physical logos 39/70/150 WATT and signs or lighting trade show booths, products and PHX ELLIPSOIDAL goods.
    [Show full text]
  • Stagecraft I & II SYLLABUS
    DUKE ELLINGTON SCHOOL OF THE ARTS TECHNICAL DESIGN & PRODUCTION DEPARTMENT STAGECRAFT I & II Instructor: Robin Y. Harris COURSE CATALOG DESCRIPTION Stagecraft I (QT1) This is the first course in the Duke Ellington Technical Theater career pathway. This sequence of courses prepares students for a career in the technical theater industry. Students are introduced to the process by which scenery, lighting, and audio are planned, coordinated, and built to support the playwright's and director's visions and concepts. Students will create scenic design models. Stagecraft II (QT2) This is the second course in the Duke Ellington Technical Theater career pathway. This sequence of courses prepares students for a career in the technical theater industry. Students will expand their general understanding of basic stagecraft and practices. COURSE OUTCOMES and OBJECTIVES At the end of the school year, the student should be able to: • Converse in the vocabulary of the discipline. • Understand theatre history as it relates to the physical facility of the theater to include art and architecture. • Understand the principles of scenic elements, scenic units, construction/fabrication, and design. • Make connections among disciplines of study • Read critically • Recognize the differences among fact, opinions, and judgements • Express aesthetic critique and insight • Solicit feedback, evaluate and revise creative products METHOD OF INSTRUCTION Lecture and Discussion Demonstration and Illustration Printed Materials COURSE OUTLINE I. Brief Theatre History (Ancient, Greek, Roman and Renaissance) II. Performance Spaces and Functions (Arena, Proscenium, Thrust, and Black Box) III. Common Stage Elements IV. Scenic Units & Resources (Flats, Doors, Platforms, Drops, and Properties) V. Design A. The Role of the Designer B.
    [Show full text]
  • PH-PAC Technical Specs
    Port Huron High School Performing Arts Center 1 Technical Information Contact info…………………………………………..………….. 3 General………………………………………………..…………. 3 Stage…………………………………………………....………… 3 Dressing rooms/green rooms……………………..…………….. 4 Scene shop……………………………………………………….. 4 Load in………………………………………………...…………. 4 Rigging………………………………………………...…………. 4 Line set schedule……………………………………...…………. 5 Sound…………………………………………………...….…….. 6 AC power………………………………………………...……… 7 Lighting…………………………………………………....…….. 7 Video……………………………………………………….…….. 11 2 SpecialSpecial effects effects……………………………………………………………………………………………………………………………………………………………………….……………..……………… 11 MMiscMisc………isc……………….......…………………………………………………….…………………………………………………………………………………………………………………..…………………………………………….. 1111 StaStagege diagrams....diagdiagrams....………………………………………………rams....……………………………………………………………………………………………………………………………..………………….. 1212 CoContaContactntactct infooinf PortPort HuronHuron HighHigh SchoolSchool PerformingPerforming ArtsArts CenterCenter 2215 Court Street, Port Huron, Michigan, 48060 Phone: (810) 984-2611 x281 PortPort HuronHuron AreaArea SchoolsSchools AdministrationAdministration Jamie Cain – Superintendent Web: www.phasd.us 2720 Riverside Drive, Port Huron, Michigan, 48060 Phone: (810) 984-3101 Dee nnii ssee SSeeell b y,y, P A C GGeeennneeerr alal M anananageageagerr E-Mail: [email protected] Brandon Kovatch, PAC Technical Manager E-Mail: [email protected] General The Performing Arts Center is a conventional proscenium auditorium built in 2005, with a capacity of 640 seats in two sections. The
    [Show full text]
  • A GLOSSARY of THEATRE TERMS © Peter D
    A GLOSSARY OF THEATRE TERMS © Peter D. Lathan 1996-1999 http://www.schoolshows.demon.co.uk/resources/technical/gloss1.htm Above the title In advertisements, when the performer's name appears before the title of the show or play. Reserved for the big stars! Amplifier Sound term. A piece of equipment which ampilifies or increases the sound captured by a microphone or replayed from record, CD or tape. Each loudspeaker needs a separate amplifier. Apron In a traditional theatre, the part of the stage which projects in front of the curtain. In many theatres this can be extended, sometimes by building out over the pit (qv). Assistant Director Assists the Director (qv) by taking notes on all moves and other decisions and keeping them together in one copy of the script (the Prompt Copy (qv)). In some companies this is done by the Stage Manager (qv), because there is no assistant. Assistant Stage Manager (ASM) Another name for stage crew (usually, in the professional theatre, also an understudy for one of the minor roles who is, in turn, also understudying a major role). The lowest rung on the professional theatre ladder. Auditorium The part of the theatre in which the audience sits. Also known as the House. Backing Flat A flat (qv) which stands behind a window or door in the set (qv). Banjo Not the musical instrument! A rail along which a curtain runs. Bar An aluminium pipe suspended over the stage on which lanterns are hung. Also the place where you will find actors after the show - the stage crew will still be working! Barn Door An arrangement of four metal leaves placed in front of the lenses of certain kinds of spotlight to control the shape of the light beam.
    [Show full text]
  • Chapter 10: Stage Settings
    396-445 CH10-861627 12/4/03 11:11 PM Page 396 CHAPTER ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ 10 Stage Settings Stage settings establish a play’s atmosphere. In Andrew Lloyd Webber’s Sunset Boulevard, shown here, the charac- ters are dwarfed by the imposing paneled room that includes a sweep- ing staircase. he theater, for all its artifices, depicts life Tin a sense more truly than history. —GEORGE SANTAYANA, POET AND PHILOSOPHER 396 396-445 CH10-861627 12/4/03 11:12 PM Page 397 SETTING THE SCENE Focus Questions What are the purposes of scenery in a play? What are the effects of scenery in a play? How has scenic design developed from the Renaissance through modern times? What are some types of sets? What are some of the basic principles and considerations of set design? How do you construct and erect a set? How do you paint and build scenery? How do you shift and set scenery? What are some tips for backstage safety? Vocabulary box set curtain set value unit set unity tints permanent set emphasis shades screens proportion intensity profile set balance saturation prisms or periaktoi hue A thorough study of the theater must include developing appreciation of stage settings and knowledge of how they are designed and constructed. Through the years, audiences have come to expect scenery that not only presents a specific locale effectively but also adds an essential dimension to the production in terms of detail, mood, and atmosphere. Scenery and lighting definitely have become an integral part of contemporary play writ- ing and production.
    [Show full text]
  • (Purple Masque) Scenic Design Checklist
    SECOND STAGE (PURPLE MASQUE) SCENIC DESIGN CHECKLIST MANDATORY ATTENDANCE AT: All director/designer meetings Minimum of two meetings with Faculty Scenic Designer: one prior to preliminary deadline, and one prior to final deadline. All production meetings Minimum of one run-through rehearsal prior to crew watch Crew watch All technical and dress rehearsals Strike Any conflicts with attending the above meetings/rehearsals must be cleared ahead of time with the faculty designer and the director. IMPORTANT INFORMATION There is a very limited time frame for installation and painting of scenery in the masque. Therefore, it is extremely important for you to be organized prior to your load in date. Some things to consider: You will be working late nights/weekends during load in and tech, so plan ahead to have papers/homework/studying done ahead of time. “I had to write a paper so the set didn’t get done until opening night” is not a valid excuse. EVERYTHING needs to be built prior to load in. It is best if you can paint pieces beforehand, also. If you are building a large unit, make sure it will fit through all doors. Large units in pieces should be “dry fit” in the scene shop to make sure they assemble as planned. Make sure you arrange for help ahead of time. People will be more willing to assist you if they know a week or two beforehand. This is not just your show. Having the scenery unfinished not only affects the actors, but the lighting and costume designs as well. ROUGH DESIGNS Rough designs will include research image boards of conceptual, architectural and detail inspirations for the set.
    [Show full text]
  • Jigs and Fixtures for the Scene Shop
    Jigs and Fixtures for the Scene Shop By: John McCullough A Thesis Submitted to the faculty Of the Yale School of Drama Department of Technical Design and Production In Partial Fulfillment of the Requirements For the Degree of Master of Fine Arts in Drama From Yale University May 2009 ©2009 by John McCullough. All rights reserved. Contents Introduction 1 Jigs and Fixtures for the Scene Shop 2 What are Jigs and Fixtures? 2 Adding Jigs to a Manufacturing Process 3 How to use this Book 9 Jig and Fixture Construction 11 Safety 15 Fences and Guards 17 Featherboards 20 Push Sticks 22 Table Saw 23 Zero Clearance Plate 25 Dado Blade Width Guage 26 Template Jig 27 Multi-Angle Miter Guage 29 Tenon Jig 30 Cross-cut Sled 32 Radial Arm Saw 37 45° Miter Jig 39 Stop Block 40 Band Saw 41 Band Saw 42 Band Saw Template Jig 43 V-Block Splitter 45 V-Block Cross-cut Sled 46 Band Saw Circle Jig 47 Routers and Router Tables 49 Circle Edging Safety Board 51 Circle Jig 52 Fractionating Baseplate 53 Routing Guide 54 Circular Saw 55 Rip Fence 57 Belt-Disc Sander 59 Dowel Pointing Guide 61 Chamfer Sanding Guide 62 Jigs Around the Shop 63 Pocket Miter Box 65 Jig Blocks 66 90° Stop Block 67 Board Bender 68 Story Stick 69 The Next Step 71 Appendix A 73 Bibliography 75 INTRODUCTION 2 Jigs and Fixtures for the Scene Shop Jigs and Fixtures for the Scene Shop This thesis seeks to promote safety and effi ciency in the scene shop by presenting commonly used and popular jigs and fi xtures for the scene shop.
    [Show full text]