Counterweight Rigging Manual
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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. -
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. -
John's List of Tech Theater Terms
Department of THEATER & DANCE Office of the TECHNICAL DIRECTOR Tech Theater Terms file last updated: 7.29.2010 (JDE) All information contained in this document is original material copyright © 2005 by John D. Ervin and is intended for the use of my students. Please contact me at [email protected] for permission to use this material in any other way. This is a work-in-progress and will be occasionally appended. Apron – The portion of the stage or playing space that is downstage of the proscenium arch. In traditional proscenium-style theaters, acting on the apron was a big “no-no” because it violated the stage picture being created by the proscenium arch. Thus many older theaters have very shallow aprons. Nowadays though, Directors can’t get enough of having their actors as close to the audience as possible; despite how uncomfortable it makes some audience members. This is all done under the umbrella of ‘intimacy’ and we all know how much artists love that stuff. Sometimes the apron is referred to as the “Forestage”. (See Figure 1 and 2) Arbor – Part of a fly system. A device mounted in one of the wings, which is connected to the lift lines at the opposite end from the batten. Stage weights are stacked on the arbor to balance the load suspended from the batten. In the case of a counterweight fly system, a rope hand line is connected to the top of the arbor, passes sequentially through the head block and tension block, and is terminated to the bottom of the arbor, forming a loop. -
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. -
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. -
Facility Information
Revised August 17, 2016 Facility Information Temple Theatre 203 N. Washington Ave. Saginaw, MI 48607 Phone: (800) 754-SHOW Fax: (989) 754-9039 [email protected] Temple Theatre Staff Administrative Executive Director Stacey Gannon (989) 600-1231 Controller Sue Kuck (989) 754-7469 ext. 33 Event Coordinator Anne Schroeder (989) 754-7469 ext. 32 [email protected] Front-Of-House Manager Tom McGarrity (989) 754-7469 [email protected] Technical Staff Technical Director Rich Hazzard (989) 737-2733 Head Projectionist Paul Finn (989) 754-7469 ext. 27 Theatre Consultant Ken Weupper (989) 754-7469 1 Saved: F://Facilities Revised August 17, 2016 Temple Theatre – Past, Present, Future The Temple Theatre is Saginaw’s only remaining vaudeville and silent movie theatre and was reopened in November 2003 after an extensive restoration of both the exterior and interior of the building. During the six-month restoration period, the interior and exterior were refurbished, the power supply was increased, modern conveniences were added, and the connected banquet facilities were renovated. Since reopening, it has been used as a performance space for choral groups, symphony orchestras, dance and jazz performances, as well as parties and meetings. The Temple was built in 1927 in a Classic Revival style. Originally part of the Butterfield Theatre chain it was used as a vaudeville/silent movie house for several years and then as a first-run movie theatre until 1976. At that point it passed through the hands of several promoters and community arts organizations during which it served as a venue for live performances and movies. Dr. -
A Lighting Design Process for a Production of Stephen Schwartz’S Working
A LIGHTING DESIGN PROCESS FOR A PRODUCTION OF STEPHEN SCHWARTZ’S WORKING A Thesis Presented in Partial Fulfillment of the Requirements for The Degree Master of Fine Arts in the Graduate School of The Ohio State University By Matthew Dale McCarren, B.A. The Ohio State University 2008 Masters Examination Committee: Approved By Mary A. Tarantino, M.F.A., Advisor Daniel A.Gray, M.F.A. Advisor Graduate Program in Theatre Maureen Ryan, M.F.A. ABSTRACT Stephen Schwartz’s Working was produced at The Ohio State University Department of Theatre during the spring quarter of 2008. Included in this document is all of the documentation used for the implementation of the lighting design for this production. The need to work forces humans to interact with one another daily and requires us to deal with the added stressors that being in contact with other humans creates. This theme is central to the story of Working and is a major point of emphasis for our production of Working. Chris Roche in his Director’s Concept states, “The construction of Working at first glance seems isolated and solitary, so many different stories – but very little unifying factor. I believe the common thread is the workers themselves. Who do we meet on a daily basis, and how does each of those domino-like moments affect the greater whole of our lives?” In support of the director’s concept, the lighting design for Working aimed to create two separate lighting environments one of reality and the other of fantasy. The challenge was to then connect the separate environments into one seamless world where the line of reality and fantasy are blurred. -
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. -
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. -
LSA Template
SPECTACLE Copyright Lighting &Sound America December 2017 http://www.lightingandsoundamerica.com/LSA.html 62 • December 2017 • Lighting &Sound America T P%& !l La Perle is Franco Dragone’s most ambitious water show to date D"#By: Sharon Stancavage $ want to provide a little piece of eternity for the dards, and make them their own, so they don’t have re- region, a place of escape that any culture and invent the wheel. If something was good for the CE, it was ethnicity can understand and enjoy. I was so inspired good enough for us; we just had to supply the rules and by Dubai and it is an honor to introduce that vision to the show them that it was the consensus.” world,” explains Franco Dragone, founder and artistic The theatre has a mere 14 rows, but seats a total of director of Dragone Studio, when asked about La Perle , 1,250 patrons. “We wanted it to feel as if you were inside a his new water extravaganza in the United Arab Emirates. grotto or a cave, and we wanted to be able to change the Located in Al Habtoor city, La Perle takes place in the mood of the cave by using video projection,” Marcouiller only purpose-built theatre in the UAE. “In Dubai, there is reports. The lower levels of seating are irregular and based not a tradition of places where you go sit to see a live per - on the curves of the wet stage. “You have curves and lev - “Iformance; there are shows that are based on Arabic tradi - els, so the seating is made in that concept that people are tions and then you have rental spaces in convention cen - sitting on something like a grassy knoll where they sit ters. -
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. -
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.