Hire Catalogue

Total Page:16

File Type:pdf, Size:1020Kb

Hire Catalogue Light, Stage, Sound & AV Solutions Hire Catalogue www.black-light.com | 0131 551 2337 | [email protected] Contents 13A,15A and16A 2 Control Cable 3 PowerCon and TrueCon Cable 4 Multicore Cable 5 Mains Cable 6 Mains Distribution 7 Mains Jumps 9 Dimming and DMX Accessories 10 Lighting Consoles 11 Fresnels and Profiles 12 Pars and Floods 13 Lantern Accessories 14 Followspots, Photography and Emergency 15 Exterior Lighting 16 Moving Lights and LED Lighting 18 Smoke and Haze 19 Effects 20 Pyrotechnics 22 Sound 23 Staging 25 Stands 27 Barrel and Clamps 28 Motors and Rigging 30 Curtain Track 32 Truss 33 13A, 15A and 16A 1 Day 3 Day 7 Day 13A 13A RCD (Residual Current Device) £2.00 13A Plug - 4 x 13A Gang £1.60 13A Plug - 6 x 13A Gang £1.80 13A TRS Extension 3m (Twin) £1.00 13A TRS Extension 5m (Twin) £1.00 13A TRS Extension 10m (Twin) £1.00 13A TRS Extension 15m (Twin) £1.50 13A TRS Extension 20m (Twin) £2.00 15A 15A TRS Extension 1m £0.75 15A TRS Extension 2m £0.75 15A TRS Extension 3m £0.75 15A TRS Extension 5m £1.00 15A TRS Extension 10m £1.00 15A TRS Extension 15m £1.20 15A TRS Extension 20m £1.40 15A 2 Way Grelco £0.75 16A 16A TRS Extension 3m £0.75 16A TRS Extension 5m £1.00 16A TRS Extension 10m £1.00 16A TRS Extension 15m £1.20 16A TRS Extension 20m £1.40 16A TRS Extension 30m £1.60 16A TRS Extension 50m £2.00 16A Cable Splitter £1.00 16A 2 Way ‘Raygun’ £1.00 16A 3 Way ‘Trelco’ £1.20 www.black-light.com | 0131 551 2337 | [email protected] Page 2 Control Cable 1 Day 3 Day 7 Day DMX XLR5 DMX Control Cable 3m £1.50 XLR5 DMX Control Cable 5m £1.50 XLR5 DMX Control Cable 10m £2.00 XLR5 DMX Control Cable 15m £2.50 XLR5 DMX Control Cable 20m £3.00 XLR5 DMX Control Cable 30m £3.50 XLR5 DMX Control Cable 50m £5.00 XLR5 (M) to XLR3 (F) Cable Jump £1.00 XLR5 (F) to XLR3 (M) Barrel Jump £1.00 XLR5 (M) to XLR3 (F) Cable Jump £1.00 XLR5 (F) to XLR3 (M) Barrel Jump £1.00 etherCON etherCON Control Cable 3m £3.00 etherCON Control Cable 5m £3.00 etherCON Control Cable 10m £4.00 etherCON Control Cable 20m £5.00 etherCON Control Cable 30m £6.00 50m Dual etherCON Drum £25.00 £35.00 100m Dual etherCON Drum £35.00 £50.00 Sneak Snake 4 Universe Kit £20.00 RJ45 etherCON Barrel Connector £1.00 RJ45 - XLR5 (F) Barrel Connector £2.50 RJ45 - XLR5 (M) Barrel Connector £2.50 FOH Multi 100m - 1x16A, 4x XLR5 DMX, 2x XLR3 Audio, 2x etherCON £120.00 Box inc. 1no 16A Thru - 6 x 13A Rubber Box www.black-light.com | 0131 551 2337 | [email protected] Page 3 PowerCon and TrueCon Cable 1 Day 3 Day 7 Day Powercon PowerCon Extension Cable 3m £1.00 PowerCon Extension Cable 5m £1.50 PowerCon Extension Cable 10m £2.00 PowerCon Extension Cable 20m £2.50 PowerCon In-Line Cable Coupler £0.50 Powercon Combi Cable DMX and PowerCon Combi Cable 1.5m £2.50 DMX and PowerCon Combi Cable 3m £2.50 DMX and PowerCon Combi Cable 5m £2.50 DMX and PowerCon Combi Cable 10m £3.00 True1 Combi Cable DMX and TrueCon Combi Cable 3m £2.50 DMX and TrueCon Combi Cable 5m £2.50 DMX and TrueCon Combi Cable 10m £3.00 Powercon and Truecon Inline Barrel £1.00 Powercon and Truecon Inline Barrel £1.00 Powercon and Truecon - True1 Inline Barrel £1.00 Powercon and Data Distribution Powercon and Data Distribution Rack £30.00 £40.00 2 Way Soca Input - 12 Powercon Out and 8 Way DMX Splitter Socapex - 6 Way Powercon Breakout Box £6.00 With Socapex Thru www.black-light.com | 0131 551 2337 | [email protected] Page 4 Multicore Cable 1 Day 3 Day 7 Day Socapex 1.5mm 6 circuit Socapex Multicore 5m £4.00 6 circuit Socapex Multicore 10m £6.00 6 circuit Socapex Multicore 15m £7.00 6 circuit Socapex Multicore 20m £8.00 6 circuit Socapex Multicore 30m £10.00 Socapex 2.5mm 6 circuit Socapex Multicore 5m 2.5mm £5.00 6 circuit Socapex Multicore 10m 2.5mm £7.00 6 circuit Socapex Multicore 20m 2.5mm £8.00 6 circuit Socapex Multicore 25m 2.5mm £12.00 6 circuit Socapex Multicore 30m 2.5mm £15.00 Accessories Socapex - 6 x 15A Plugs £4.00 Socapex - 6 x 15A Sockets £4.00 Socapex - 6 x 15A Output box £5.50 Socapex - 6 x 16A Plugs £5.00 Socapex - 6 x 16A Sockets £5.00 Feeder Looms 30m Feeder Loom £120.00 (5no. 2.5mm Soca/4no.etherCON) 50m Feeder Loom £150.00 (5no. 2.5mm Soca/4no.etherCON) www.black-light.com | 0131 551 2337 | [email protected] Page 5 Mains Cable 1 Day 3 Day 7 Day 32A SPNE 32A 1ph Extension 3m £4.00 32A 1ph Extension 5m £4.00 32A 1ph Extension 10m £5.00 32A 1ph Extension 20m £6.00 32A 1ph Extension 30m £7.00 32A 1ph Extension 50m £12.00 32A TPNE 32A 3ph Extension 3m £3.50 32A 3ph Extension 5m £3.50 32A 3ph Extension 10m £7.00 32A 3ph Extension 20m £14.00 32A 3ph Extension 30m £21.00 32A 3ph Extension 50m £35.00 63A SPNE 63A 1ph Extension 2m £4.00 63A 1ph Extension 5m £4.00 63A 1ph Extension 10m £6.00 63A 1ph Extension 20m £10.00 63A 1ph Extension 30m £14.00 63A TPNE 63A 3ph Extension 2m £5.00 63A 3ph Extension 3m £5.00 63A 3ph Extension 5m £6.50 63A 3ph Extension 10m £12.00 63A 3ph Extension 20m £20.00 63A 3ph Extension 30m £28.00 63A 3ph Extension 40m £36.00 125A TPNE 125A 3ph Extension 5m £10.00 125A 3ph Extension 10m £17.50 125A 3ph Extension 20m £30.00 Powerlock Powerlock 3m Set 400A £10.00 £15.00 SPNE - Single Phase Neutral Earth TPNE- Three Phase Neutral Earth www.black-light.com | 0131 551 2337 | [email protected] Page 6 Mains Distribution 1 Day 3 Day 7 Day 32amp SPNE 32A 1ph - 2 x 16A Cable Split £2.50 32A 1ph - 4 x 16A Rubber Box £15.00 32A 1ph - 1x 32A 1ph Thru & 4 x 16A RCBO Rubber Box £20.00 32A 1ph - 2 x 32A 1ph Cable Split £3.00 32A 1ph - 2 x 32A 1ph Rubber Box £4.00 32A 1ph Plug Tail £3.00 32A 1ph Socket Tail £3.00 32amp TPNE 32A 3ph - 3 x 32A 1ph Rubber Box £8.00 £10.00 32A 3ph - 6 x 16A Rubber Box £35.00 32A 3ph - 12 x 16A Rubber Box £35.00 32A 3ph Plug Tail £3.00 32A 3ph Socket Tail £3.00 63amp SPNE 63A 1ph - 6 x 16A 1ph Rubber Box £16.00 £24.00 63A 1ph - 12 x 16A 1ph Rubber Box £20.00 £30.00 63A 1ph - 2 x 32A 1ph Cable Split £3.00 63A 1ph - 2 x 32A 1ph Rubber Box £4.00 63A 1ph - 4 x 32A 1ph & 4 x 16a 1ph Rubber Box £20.00 £30.00 63A 1ph - 2 x 63A 1ph Cable Split £4.00 63A 1ph - 2 x 63A 1ph Rubber Box £5.00 63A 3ph to 4 x Soca,6 x 16A,1 x 32A 3ph £110.00 63A 1ph Plug Tail £4.00 63A 1ph Socket Tail £4.00 63amp TPNE 63A 3ph - 3 x 32A 1ph & 12 x 16A 1ph Rubber Box £20.00 £30.00 63A 3ph - 1 x 63a 1ph & 1 x 32A 1ph & 4 x 16A Rubber Box £20.00 £30.00 63A 3ph - 2 x 32A 3ph Cable Split £8.00 63A 3ph - 2 x 32A 3ph Rubber Box £12.00 63A 3ph - 1 x 32A 3ph & 3 x 32A 1ph & 12 x 16A Rubber Box £50.00 63A 3ph - 3 x 63A 1ph Rubber Box £17.25 £23.00 63A 3ph - 6 x 63A 1ph Rubber Box £22.50 £30.00 63A 3ph - 9 x 63A 1ph Rubber Box £28.00 £35.00 63A 3ph - 2 x 63A 3ph Cable Split £8.00 63A 3ph - 2 x 63A 3ph Rubber Box £20.00 63A 3ph Plug Tail £5.00 63A 3ph Socket Tail £5.00 www.black-light.com | 0131 551 2337 | [email protected] Page 7 Mains Distribution continued 1 Day 3 Day 7 Day 125amp TPNE 125A 3ph - 2 x 63A 3ph Rubber Box £15.00 £20.00 125A 3ph to 4 x Soca,6 x 16A,1 x 63A 3ph £120.00 125A 3ph Socket Tail £8.00 RCD Protection 32A 1ph Inline RCD 30mA £4.00 32A 3ph Inline RCD 30mA £4.00 32A 3ph Inline RCD 100mA £5.00 63A 1ph Inline RCD 30mA £8.00 63A 1ph Inline RCD 100mA £10.00 63A 3ph Inline RCD 30mA £10.00 63A 3ph Inline RCD 100mA £10.00 125A 3ph Inline RCD 100mA £15.00 www.black-light.com | 0131 551 2337 | [email protected] Page 8 Mains Jumps 1 Day 3 Day 7 Day 13amp 13A Plug - 15A Socket £1.00 13A Plug - 16A Socket £1.00 13A Plug - 32A 1ph Socket £1.50 13A Plug - 63A 1ph Socket £2.00 15amp 15A Plug - 13A Socket £1.00 15A Plug - 13A Socket (Twin) £1.00 15A Plug - 16A Socket £1.00 16amp 16A - 2 x 13A Gang £1.00 16A - 4 x 13A Gang £1.00 16A In/Out - Twin 13A Box £1.00 16A Plug - 13a Socket £1.00 16A Plug - 15A Socket £1.00 16A Plug - 32A 1ph Socket £1.50 16A Plug to 63A 1ph Socket £2.00 32amp 32A 1ph Plug - 16A 1ph Socket £1.50 32A 1ph Plug - 63A 1ph Socket £2.50 32A 3ph Plug - 32A 1ph Socket £3.00 32A 3ph Plug - 63A 3ph Socket £4.50 32A 3ph Plug - 125A 3ph Socket £5.00 63amp 63A 1ph Plug - 16A 1ph Socket £2.00 63A 1ph Plug - 32A 1ph Socket £3.50 63A 1ph Plug - 32A 3ph Socket £3.50 63A 1ph Plug - 63A 3ph Socket £4.00 63A 3ph Plug - 32A 3ph Socket £4.50 63A 3ph Plug - 63A 1ph Socket £4.00 63A 3ph Plug - 125A 3ph Socket £5.50 125amp 125A 3ph - 63A 3ph Socket £5.50 Powerlock 63A 3ph Plug - Powerlock Socket £12.00 125A 3ph Plug - Powerlock Socket £12.00 Powerlock Plug - 63A 3ph Socket £12.00 Powerlock - 125A 3ph Socket Jump £12.00 www.black-light.com | 0131 551 2337 | [email protected] Page 9 Dimming and DMX Accessories 1 Day 3 Day 7 Day Dimming Zero 88 AlphaPack 2 - 3 Channel (DMX) £10.00 Zero 88 AlphaPack 3 - 3 Channel (DMX) £12.00 Zero 88 BetaPack II Dimmer 6x15A (DMX) £20.00 £25.00 *Avolites ART2000 T2 24 Ways of Dimming £120.00 £160.00 *Avolites ART2000 T4 48 Ways of Dimming £200.00 £300.00 Avolites ART2020 T4 48 Ways of Dimming £350.00 £500.00 Avolites 12 way Hard Power Module £30.00 £45.00 Avolites PowerCube £70.00 £115.00 Strand 3 Way 5k Dimmer - Rack Mounted £25.00 £30.00 ETC Smartpack Portable Twin Soca Dimmer £40.00 £60.00 72 Way Hard Power Distro Rack £250.00 £325.00 Switching 6 Way Switch Pack (DMX) £20.00 £25.00 Wireless DMX **Lumen Radio 2 way Kit (1 Receiver Per Universe) £100.00 £150.00 **Lumen Radio 4 way Kit (2 Receivers Per Universe) £200.00 £250.00 **Lumen Radio 2 way Slim Kit (1 Receiver Per Universe) £70.00 £100.00 Lumen Radio Single Receiver £40.00 Lumen Radio Aerial Kit £20.00 WDMX ProBox 2500 G4 Kit £55.00 £65.00 DMX Splitters Pulsar DMX Splitter 1 In 8 Out £20.00 Avolites DMX Splitter 1 In 4 Out Plus Thru £25.00 Avolites Truss DMX Splitter 1 In 4 Out Plus Thru £25.00 Beglec DMX Splitter/Merger 1 In 8 Out £15.00 DMX Accessories DMX to Strand D54 Converter £35.00 DMX Demux 48 Channels Out £20.00 DMX XLR5 Terminator £1.00 Networking Luminex GigaCore 16RFO £160.00 Fibre Optic Multimode Dual 250m £40.00 £60.00 *Racks can be configured to suit your requirements.
Recommended publications
  • Stagehand Course Curriculum
    Alaska Center for the Performing Arts Stagehand Training Effective July 1, 2010 1 Table of Contents Grip 3 Lead Audio 4 Audio 6 Audio Boards Operator 7 Lead Carpenter 9 Carpenter 11 Lead Fly person 13 Fly person 15 Lead Rigger 16 Rigger 18 Lead Electrician 19 Electrician 21 Follow Spot operator 23 Light Console Programmer and Operator 24 Lead Prop Person 26 Prop Person 28 Lead Wardrobe 30 Wardrobe 32 Dresser 34 Wig and Makeup Person 36 Alaska Center for the Performing Arts 2 Alaska Center for the Performing Arts Stagecraft Class (Grip) Outline A: Theatrical Terminology 1) Stage Directions 2) Common theatrical descriptions 3) Common theatrical terms B: Safety Course 1) Definition of Safety 2) MSDS sheets description and review 3) Proper lifting techniques C: Instruction of the standard operational methods and chain of responsibility 1) Review the standard operational methods 2) Review chain of responsibility 3) Review the chain of command 4) ACPA storage of equipment D: Basic safe operations of hand and power tools E: Ladder usage 1) How to set up a ladder 2) Ladder safety Stagecraft Class Exam (Grip) Written exam 1) Stage directions 2) Common theatrical terminology 3) Chain of responsibility 4) Chain of command Practical exam 1) Demonstration of proper lifting techniques 2) Demonstration of basic safe operations of hand and power tools 3) Demonstration of proper ladder usage 3 Alaska Center for the Performing Arts Lead Audio Technician Class Outline A: ACPA patching system Atwood, Discovery, and Sydney 1) Knowledge of patch system 2) Training on patch bays and input signal routing schemes for each theater 3) Patch system options and risk 4) Signal to Voth 5) Do’s and Don’ts B: ACPA audio equipment knowledge and mastery 1) Audio system power activation 2) Installation and operation of a mixing consoles 3) Operation of the FOH PA system 4) Operation of the backstage audio monitors 5) Operation of Center auxiliary audio systems a.
    [Show full text]
  • Technical Theatre Class
    Technical Theatre Class Instructor: Mrs. Tabitha Peck Classroom: Theatre Email: [email protected] Telephone: 850‐617‐5700 x.2390 website: www.leonperformingarts.org click on “Theatre Tech” Dear Student and Parent: I would like to take this time to welcome you to the 2012‐2013 Technical Theatre class. I am excited about this year, and look forward to working with each of you. As you read over this syllabus with your student; please make note of any questions that you have concerning this information. I hope that when you have completed studying the syllabus, you will have a strong understanding of what will be required from the student, as well as what the student can expect from me. I want to personally invite each parent to take an active role in helping the student, and myself, have a productive and successful experience in class this year. The last page of the syllabus is the individual student contract, which must be returned to me, signed by both the parent, and student. This gives me a written confirmation that both the parent and student have read the syllabus, understand procedures, rules, consequences, and will abide by them. So please read each page of the syllabus carefully before signing the contract. This contract will be kept in the student’s personal information file. Once again let me welcome you to the class, it’s going to be an exciting year! Technical Theatre ‐ 0400410 Syllabus Objective: Students focus on developing the basic tools and procedures for creating elements of technical theatre as listed below.
    [Show full text]
  • Event Sound & Light Hire Price List
    tel: 01245 863 863 email: [email protected] web: www.eventsoundandlight.com Hire prices 2018 sound : lighting : staging : video : effects : power hire : sales : install : events : service Event Sound & Light Ltd Unit 2, The Warren Estate, Lordship Road, Writtle, Chelmsford, Essex. CM1 3WT Event Sound & Light Ltd. Index Page 2 - Company information Page 16 - Architectural lighting Lighting control Page 3 - Amplifiers Mixing desks Page 17 - DJ/club lighting Special effects equipment Page 4 - Speakers Pyrotechnics Page 5 - Speaker rigging Page 18 - Smoke, Haze, Snow machines Tourguide systems Stands & Chairs Playback Page 19 - Truss Page 6 - Processing Motors & Rigging Noise monitoring Page 20 - Rigging continued Page 7 - Microphones Page 21 - Staging Page 8 - Radio microphones & IEM Systems Drapes & Tab Track Page 9 - Radio Microphones – CatchBox Page 22 - Pit Barrier Mic accessories Safety equipment Consumables Page 10 - Public address Portable sound Page 23 - Staff Induction loop systems Comms Page 24 - Audio cables Page 11 - DJ sound equipment Page 25 - Audio cables (cont …) Karaoke equipment Lighting cables AV cables Page 12 - PA packages Page 26 - Mains distribution Page 13 - AV equipment Page 27 - Mains distribution (cont …) Page 14 - AV equipment continued Socapex cabling Cable accessories Page 15 - Lighting equipment Theatrical lighting Page 28 - Terms & Conditions of Hire Intelligent lighting Page 29 - Contact details Hire Price List 2018 (V42) Page 1 of 29 T: 01245 863 863 email: [email protected] All prices shown are exclusive of VAT - E & O E Event Sound & Light Ltd. The Company: Event Sound & Light Ltd was formed in July 2003 following the merger of two established companies bringing together over 25 years of experience.
    [Show full text]
  • The Teresa Lozano and Joe R
    The Teresa Lozano and Joe R. Long Center for the Performing Arts Michael and Susan Dell Hall Technical Specifications For Questions concerning Technical Specifications, please contact: Director of Production & Operations – Jim Larkin (512) 457.5130 or [email protected] Seating and House Capacity: Orchestra: 530 Seats Orchestra Pit: 112 Seats Parterre: 499 Seats Mezzanine: 620 Seats Balcony: 681 Seats Total: 2442 Seats All levels are wheelchair and handicap accessible. Assistive listening devices are available upon request. Stage Dimensions Proscenium Opening: 54’-0” wide x 31’-0” high Adjustable (Width & Height of proscenium is flexible down to 38’ wide, using the hard portal legs and hard portal border on linesets 1 & 2 as a false proscenium). Stage Depth: 52’-6” deep Hard Portal Border: 60’-0” wide x 20’-0” high Hard Portal Legs: 14’-0” wide x 35’-6” high House Curtain: 60’-0” wide x 20’-0” high Orchestra Pit Depth: 17’-0” deep (U.S. Lift @ 10’-3” deep; D.S. Lift @ 7’-10” deep) Stage Height from Orchestra Floor: 3’-11” Stage Floor to Gridiron: 84’-4” Stage Floor to Fly Gallery: 28’-0” Stage Floor to SR Pin Rail Gallery: 40’-0” Stage Floor to SL Pin Rail Gallery: 48’-0” Stage Floor to Lower-Loading Rail: 70’-0” Stage Floor to Upper-Loading Rail: 78’-0” Updated Friday September 9, 2016 Page 1 Counterweight Fly System: The Meredith Stage in Dell Hall is equipped with a double purchase counterweight fly system. The operating rail and loading rails are located stage left. The operating locking rail is equipped with a three color rope-light cue system.
    [Show full text]
  • Examining Flux in Choreographic Practice
    THE UNIVERSITY OF WINCHESTER Faculty of Arts Evolving Motion: Examining Flux in Choreographic Practice Catherine Rachael Wendy Seago Doctor of Philosophy by Works in the Public Domain October 2014 This Thesis has been completed as a requirement for a postgraduate research degree of the University of Winchester 2 THE UNIVERSITY OF WINCHESTER ABSTRACT FOR THESIS Evolving Motion: Examining Flux in Choreographic Practice Catherine Rachael Wendy Seago Faculty of Arts Doctor of Philosophy by Works in the Public Domain October 2014 The research which is embedded in this thesis through the dances and the context statement is about my experience of dancing and dance-making. During the process of making dances there is a sense of messiness in not knowing what is emerging. In the process of writing this document I have had to shift my experience in order to perceive the messiness and to reflect on how I work with it. The reflection on dance-making has enabled me to notice that the messiness arises from the tensions between the somatic, aesthetic, interpretive and inseparable experiences in performing, creating and receiving dance. This context statement tries to negotiate the messiness by examining my modes of engagement and the intensity of my focus through them over time. As a result the context statement reflects on the flow of change within these aspects of my practice and its impact on the aesthetic of the emergent work. A diagram has been designed to illustrate how unexpected occurrences happen through the continuously flowing change. This is referred to as flux. It happens through a moment of action, attention or connection.
    [Show full text]
  • Backstage Lighting Terminology
    Break-out: Adapter consisting of multiple receptacles (FM) wired to a single multipin (M) connector; may be a box or a cable assembly. Synonym: Break-out Box, Fan-out Burn Out: Failed lamp or color media that is burned through Channel: Specific control parameter encompassing single or multiple device attributes (lighting dimmers, audio signals, etc.) controlled as a unit Lighting and Electrics Terminology (A-Le) Channel Hookup: Paperwork designating the connection of Adapter: Electrical accessory that transitions between dimmer circuits to channels of control dissimilar connectors; may be a molded unit, box or cable assembly Circuit: Path for electricity to flow from the source, through a conductor, to a device(s) Amperes: Unit of measure for the quantity of electricity flowing in a conductor. Synonym: A, Amp, Current Circuit Breaker: Mechanical/Electrical device that is designed to automatically open (trip) if the current exceeds the rated Automated Luminaire: Lighting instrument with attributes level protecting the circuit; may be operated manually that are remotely controlled. Synonym: Automated Fixture, Synonym: Breaker, CB, OCPD, Overcurrent Protective Device Automated Light, Computerized Light, Intelligent Light, Motorized Light, Mover, Moving Light Color Extender: Top hat with color media holder. Synonym: Gel Extender Backlight: A lighting source that is behind the talent or subject from the viewers perspective. Synonym: Backs, Back Color Frame: Metal or heat resistant device that holds the Wash, Bx, Hair Light, Rim Light color media in front of a luminaire. Synonym: Gel Frame Balcony Rail: Lighting position mounted in front of or on the Color Media: Translucent material used to color light face of the balcony.
    [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]
  • Stage Lighting Technician Handbook
    The Stage Lighting Technician’s Handbook A compilation of general knowledge and tricks of the lighting trade Compiled by Freelancers in the entertainment lighting industry The Stage Lighting Technician's Handbook Stage Terminology: Learning Objectives/Outcomes. Understanding directions given in context as to where a job or piece of equipment is to be located. Applying these terms in conjunction with other disciplines to perform the work as directed. Lighting Terms: Learning Objectives/Outcome Learning the descriptive terms used in the use and handling of different types of lighting equipment. Applying these terms, as to the location and types of equipment a stagehand is expected to handle. Electrical Safety: Learning Objectives/Outcomes. Learning about the hazards, when one works with electricity. Applying basic safety ideas, to mitigate ones exposure to them in the field. Electricity: Learning Objectives/Outcomes. Learning the basic concepts of what electricity is and its components. To facilitate ones ability to perform the mathematics to compute loads, wattages and the like in order to safely assemble, determine electrical needs and solve problems. Lighting Equipment Learning Objectives/Outcomes. Recognize the different types of lighting equipment, use’s and proper handling. Gain basic trouble shooting skills to successfully complete a task. Build a basic understanding of applying these skills in the different venues that we work in to competently complete assigned tasks. On-sight Lighting Techniques Learning Objectives/Outcomes. Combing the technical knowledge previously gained to execute lighting request while on site, whether in a ballroom or theatre. Approaches, to lighting a presentation to aspects of theatrical lighting to meet a client’s expectations.
    [Show full text]
  • Theatre Student Handbook
    Theatre Department Student Handbook 13th Edition, August 1, 2019 MISSION STATEMENT The mission of the Midwestern State University Theatre is to advance the study and presentation of live theatre, with an emphasis on creative process. In the classroom, on the stage, or behind the scenes, we will do our best to bring credit to our art form and to enlighten ourselves and those we entertain. To succeed, we must reject the gratification of ego and embrace unselfish cooperation, for ours is a collaborative art form. We must also take risks by allowing theatre to open our minds or disturb our audiences when such risks can promote a more tolerant, inclusive society. TABLE OF CONTENTS Theatrician’s Code of Ethics 2 Duties of the: Production Company 4 Actor 5 Stage Manager 6 Assistant Stage Manager 8 House Manager 9 Publicity Manager 10 Box Office Manager 11 Scenic Designer/Assistant 12 Technical Director 13 Master Carpenter/Assistant TD 14 Paint Charge 15 Properties Designer/Manager 16 Lighting Designer/Assistant 17 Master Electrician/Electrician 18 Sound Designer 19 Costume Designer/Assistant 20 Costume Construction Crew 21 Wardrobe Supervisor 22 Makeup 23 Hair Designer 24 Scholarship Recipients 25 Design Meetings and Production Meetings 27 Alpha Psi Omega 28 Safety Manual 30 1 Theatre Department Student Handbook 13th Edition, August 1, 2019 THEATRICIAN'S CODE OF ETHICS In response to the “aesthetic sensibility, cultural awareness, and social responsibility” components of the mission statement, the following Code of Ethics is reviewed annually in theatre classes and in connection with the productions being mounted as part of the MSU Theatre offerings: 1.
    [Show full text]
  • Fill in the Blank, Multiple Choice, Short Answer • Costume Design Usually Involves Researching, D
    Costume/Set Design notes – fill in the blank, multiple choice, short answer Costume design usually involves researching, designing and building the actual items from conception. Four types of costumes are used in theatrical design, Historical, fantastic, dance, and modern. Designs are first sketched out and approved In its earliest form, costumes consisted of theatrical prop masks The leading characters will have more detail and design to make them stand out Scenic design (also known as stage design, set design or production design) is the creation of theatrical scenery. Scenic designers are responsible for creating scale models of the scenery, renderings, and paint elevations as part of their communication with other production staff. Theatrical scenery is that which is used as a setting for a theatrical production. Flats, short for Scenery Flats, are flat pieces of theatrical scenery which are painted and positioned on stage so as to give the appearance of buildings or other backgrounds. Soft covered flats (covered with canvas or muslin) A fly system is a system of lines, counterweights, pulleys Improv Notes – short answer Describe what shapes the action of an Improv scene? Audience suggestions or unknown topics List two things that make Improv different from traditional theatre? The elements of spontaneity, unpredictability and risk of not knowing if the scene will work out Why do you think there is no guarantee that an Improv scene will work? You never know what the suggestions or topics will be ahead of time List at least three ways that an actor defines the reality of the scene? Giving someone a name, identifying a relationship, identifying a location, using space object work to define the physical environment Describe what “Blocking” means.
    [Show full text]
  • Lydia Mendelssohn Theatre Version Current As of September 2019
    Technical Information for Lydia Mendelssohn Theatre Version current as of September 2019 VENUE ADDRESS 911 N. University Ave. Ann Arbor, MI 48109-1265 MAILING ADDRESS University Productions 128 Michigan League 911 N. University Ave. Ann Arbor, MI 48109-1265 AUDITORIUM SEATING CAPACITY Orchestra 386 Orchestra wheelchair spaces 6 Orchestra companion seats 8 Balcony 220 Total capacity (including accessible seating) 620 Lydia Mendelssohn Theatre Tech Specs - 1/9 Updated January 2020 LOAD-IN ACCESS Fletcher Street between N. University and Washington Streets. (Google address for stage door is 234 Fletcher St.) Loading Dock Door 9’-8” x 5’ (Loading dock door is at street level) Note: the loading door leads into the trap room where all scenery must be lifted to stage level via a center stage elevator. After the set is onstage, the elevator is inoperable because the lift platform is part of the stage floor. ELEVATOR TRAP INFORMATION Trap dimensions: 7’-10” x 9’-2¼” Loading platform to stage: 15’-3” Basement floor to stage: 20’ STAGE SPECIFICATIONS Proscenium arch width 29’-11” Proscenium arch height 16’-10” Depth of stage 28’-3” ( plaster line to back wall) Depth of apron 4’-8” (front of stage to plaster line) Dimensions of orchestra pit 4’-2” x 21’-5” (50-⅝” below stage level) Note: Orchestra pit changes in width according to the curvature of the stage apron. Please reference the ground plan for more details. Stage floor - Masonite, painted black RIGGING Single purchase manual counterweight system Number of line sets 29 Height of grid from stage
    [Show full text]