DOCSLIB.ORG

The Wellmont Regional Center for the Performing Arts Specifications

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Wellmont Regional Center for the Performing Arts Specifications The Wellmont Regional Center for the Performing Arts Specifications The Wellmont Regional Center for the Performing Arts opened in the fall of 2008. The seating capacity is 500, and the facility has access and seating for the disabled. Free parking is available on campus grounds. Technical Specifications Audio System Specifications Main Console - Digico D1 Live 40 with 40 Inputs and 96 surface channels with LCR outputs - The D1 Live 40 is supplied with full input EQ, dynamics processing and onboard effects, 38x8 matrix, 16 VCA control groups and a full effects system, eliminating the need for most external processing. - The full digital effects system’s six independent effect processors include everything from high quality reverbs, delays and pitch change to multiband compressors and 28-band graphic equalizers. - The 40 output busses can be used for up to 28 mono/stereo auxiliary channels or up to 36 mono/stereo/LCR (S)/5.1 surround busses, each with a limiter and insert point. It also provides a user configurable 38x8 matrix, all with insert points. Inputs, Send/Returns, and Monitor Receptacles - Backstage o Stage Level . 12 XLR Microphone . 8 Send/Return . 4 Monitor o 2nd Level Stage Right . 4 XLR Microphone o 2nd Level Stage Left . 4 XLR Microphone - Front of Stage . 4 Monitor . 8 XLR Microphone - Cove (Catwalk) . 6 XLR Microphone . 2 Monitor - Balcony Left . 1 Monitor - Balcony Right . 1 Monitor - Control Booth o Audio . 8 Send/Return . Madi Rack Patch Bay ( 24 In/Out) - Speaker Area Left . 1 Monitor - Speaker Area Right . 1 Monitor - Downstairs . 6 XLR Microphone - House Near Center . 2 XLR Microphone . 1 Monitor Signal Routing (Handled primarily through the Main Console) - All 16 IPC’s (insertable processing channels) include 6-band, fully parametric EQ, compressor and up to 510mS of delay. They can be inserted across any input or output, or used as individual output processors, making the D1 a powerful system controller. With 16 VCA style control/mute groups able to control inputs and outputs, D1 is ready for any kind of application. - A Switchcraft 2x12 speaker patch panel is also available. Amplification and House Speakers - Amplification is handled by 11 Crown CTs 1200 LITE, 5 Crown CTs 600 LITE, 2 Crown IT4000, and 1 Crown CTS 8200 amplifiers - The house speaker system consists of three groups of EAW speakers in an LCR arrangement Control Room Monitors & Stage Monitors - 2 Genelec 8050A monitors are independently controlled through the main console - 4 fifteen inch EAW monitors and 4 twelve inch EAW monitors are available for use on stage Microphone Inventory - 3 Shure WCE6T Countryman omnidirectional condenser earset microphones - 3 Shure WL50T Microflex omnidirectional subminiature lavalier microphones - 3 Shure Beta58 Handheld wireless microphones Audio Source Equipment Inventory - 1 Denon dual well auto-reverse cassette deck - 1 Denon DJ dual CD/MP3 player - 1 Denon dual well CD player / CD-R/RW recorder - 1 Tascam combination minidisc CD player and recorder Miscellaneous Audio Equipment - 1 Yamaha SPX2000 multi-effect processor - 1 Eventide Eclipse 3.0 multi-effect processor Communication System Specifications Clearcom System - MS-704 main station - 54 connections for wired Clearcom belt packs located throughout the theater, including installations in backstage area, control booth, amplifier room, and throughout the lighting grid - 5 push to talk wall-mounted speaker/microphone stations - 10 CC-26 low profile headsets - 8 wired belt packs for use with CC-26 headsets - 2 wireless belt packs for use with CC-26 headsets - 2 handsets with full-duplex link to intercom system Paging System - 36 ceiling-mounted Atlas Sound speakers are located throughout the Performing Arts Center. Assistive Listening System - A FM Stereo transmitter is located in the control booth, and can be used to broadcast assistive listening material - 25 portable FM receivers with displays are available to use with this system Lighting System Specifications Main Console - Express Lighting Console 144 o Controls up to 144 lights o Full DMX compatibility o Controls house lights Light Inventory - 202 total instruments o 24 - ETC S4-36, 36 Degree Ellipsoidal o 50 - ETC S4-26, 26 Degree Ellipsoidal o 50 - ETC S4-19, 19 Degree Ellipsoidal o 6 - ETC S4-10, 10 Degree Ellipsoidal o 30 - L&E PAR64, PAR64 Stage Unit o 36 - L&E Fresnel 8”, 8” Fresnel Stage Unit o 24 – L&E R40 Striplight, 12 Lamp Striplight o 10 – L&E 4 Circuit Far Cyc, Cyc light o 2 – 575W Followspot Lycian 1266, Metal Halide Follow Spot Video Presentation Specifications Projector - Panasonic PT-D5700UL DLP Projector o 6,000 ANSI Lumens o 1024 x 768 native resolution o 2000:1 contrast ratio o All video signals scaled to projector’s native resolution by Kramer VP-725DSA Screen - Draper Cineperm o 144” H x 192” W viewing area o Matte white finish Sources - Dell computer for Powerpoint, internet video, and other computer driven video applications - JVC DVD/VCR unit for playback - Open RGB connection for laptop display - Slide-to-Video conversion system available upon request Stage and Fly System Specifications Proscenium Opening – 24’H x 39’W Stage Depth – 34’ from proscenium opening to back wall Masking - 5 pair of legs with borders (black velvet) - Mid-stage traveler with border ([color] velvet) - Rear Scrim (black velvet) - Main Drape with Teaser ([color] velvet) - Cyclorama Fly System - 5 lines of electrics including 1 line of cyclorama electrics on PowerLift motorized rigging - Flyspace will accommodate flying up to 24’ scenery - 32 lines support all listed masking and electrics - 12 general purpose lines available Other Available Facilities Music Classroom is wired directly into the theater and can be used as an orchestra pit for performances. Two dressing rooms are available with restrooms Theater classroom can be used as a Green Room .
Load more

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]
  • 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.
    [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]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [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]
  • Technical Specifications
    Technical Specifications Rev D, Jan 2019 Table of Contents Introduction/ Postal Address/Key Contacts 1 Technical Specifications (both Spaces) Arrival and Load In/ Delivery Address/ Getting to the Bloomsbury 2 Loading and Parking/ Opening Hours /Dressing Rooms 3 Laundry/ Filming/ Security and Stage Door 4 Bloomsbury Theatre Configuration/ Stage dimensions 5 Stage lifts/ Theatre stage/ Stage management 6 Power/ Lighting equipment 7 Sound equipment/ Audio Visual/ Rigging 8 Access Equipment/ Orchestra seating and stands/ Piano 9 Bloomsbury Studio Configuration/ Stage Dimensions/ Studio Theatre Stage/ Stage Management/ Power 10 Lighting Equipment/ Sound Equipment/ Audio Visual/ Access Equipment/ Piano 11 Introduction The Bloomsbury Theatre and Studio are located on Gordon Street, Euston. The Bloomsbury Theatre is a 541 seat Proscenium arch theatre. Designed by Fello Atkinson, the Theatre opened in 1968 as the “Central Collegiate Building Auditorium, it was renamed the Bloomsbury Theatre in 1982. It was reseated in 1987 and 2014 to improve sightlines and extensively refurbished in 2018. The Studio was added in 2015 and is a flexible black box space seating up to 70. The Bloomsbury Theatre and Studio are part of UCL Culture, who manage theatres, museums and collections, public art and engagement at University College London. Postal Address The Bloomsbury Theatre and Studio 15 Gordon Street London WC1H 0AH Key Contacts General enquiries: [email protected] 02076792777 Technical enquiries: [email protected] 02076791361 Front of house enquiries: [email protected] Box Office enquiries: [email protected] 02031081000 Technical Specifications: Both spaces Arrival and Load In Access to the Bloomsbury Theatre is either via a goods lift from the Physics Yard vehicle bay or through the front doors of the building on Gordon Street.
    [Show full text]
  • Glossary of Theatre Terms
    GLOSSARY OF THEATRE TERMS Excerpted from these books: High School Theatre Operations The High School Theatre Lighting Rep Plot High School Theatre Lighting for Architects Other books available: High School Theatre Safety Manual High School Theatre Signs and Documents You can find these books at: http://www.presett.org/helpful-books.html * indicates that the definition of this term can be found in the Glossary. Spelling: you will see hyphens and spaces and compound words used interchangeably. For example: off-stage, off stage, offstage or stage-right, stage right or stageright. APRON The part of the stage deck* that is downstage* of the proscenium*. APRON STRIP LIGHTS This is a band of lights – usually blue - that goes from one side of the stage to the other, just upstage of the stage deck that covers the pit, so that when the pit is open they warn a performer (who can be blinded by the production lights shining in their eyes) where the edge of the stage is. Some apron strip lights have a small red light in the middle, which dancers can use for spotting, and to let all performers know where the center stage line is. ARBOR The framework that holds the pig irons* that counter balance the weight of anything hung on the battens* in the counterweight system*. ARM The strip of stage deck* that protrudes out along the wall of the house* alongside the front part of the seating. BACKSTAGE The area of the stage deck* that is hidden from the audience’s view, either by drapes* or set pieces.
    [Show full text]
  • ROBERT S. WHITNEY HALL TECHNICAL SPECIFICATIONS Page 1
    ROBERT S. WHITNEY HALL TECHNICAL SPECIFICATIONS Page 1 THEATER LOCATION 501 West Main Street, Louisville, KY 40202 MAIN ADMINISTRATION Phone 502-566-5100 Fax 502-566-7205 CENTER STAFF President: Kim Baker 502-566-5112 Facility Rental: Rachel Cummings 502-566-5142 Facilites: Eric Spears 502-566-5220 Front of House: Chris Kaelin 502-566-5165 Ticketing Director: Curtis Schneider 502-566-5119 Access Services: Stacy Ridgway 502-566-5211 THEATER STAFF Production Services: Peter Bell 502-566-5131 Technical Director: David Doukas 502-566-5105 Master Electrician: Terry Schwartz 502-566-5135 Head Audio: Cory Lambert 502-566-5115 Production Department Fax 502-566-7131 UNION CONTACTS IATSE Local 17: Matthew Dicken, Business Agent 502-587-7936 TWU Local 897: Melissa Gagliardi, Business Agent 502-645-4682 Musicians: Nancy Harris 502-267-0148 SEATING CAPACITY Orchestra: 1331 Grand Tier: 475 Grand Tier Boxes: 72 Balcony: 447 Balcony Boxes: 52 Pit Rows (optional): 71 Total: 2377 ROBERT S. WHITNEY HALL TECHNICAL SPECIFICATIONS Page 2 Charges for technical equipment to be determined by lease agreement. Any costs incurred due to outside rentals are subject to a 10% administrative fee. STAGE HOUSE BACKSTAGE FLY SYSTEM: ORCHESTRA PIT House Curtain: * Pit lift is in two sections-see drawing for dimensions * Operates as guillotine only from SR fly floor * Adjustable to 12' below stage by mechanical lift * Requires two flyman * Apron overhangs US wall of pit 11' Rigging System: * 99 total line sets on 6" centers * 82 manual and 17 electric line shaft LOADING DOCK * 9 lift lines per pipe * Loading door: 12' 8" High x 15' 10" Wide * Trucks: 2 @ 53' will fit side by side, however Type: single purchase counterweight T-rail the second truck is hard to maneuver.
    [Show full text]
  • Counterweight Rigging Manual
    Manual Counterweight Rigging Systems Operation and Maintenance Manual P.O. Box 9327 South El Monte, CA 91733 626-575-0776 | 800-221-9995 www.hhspecialties.com © 2012 H & H Specialties Inc. TABLE OF CONTENTS Introduction ................................................................................................................. 1 Definitions .................................................................................................................... 2 Description of Counterweight Rigging System .......................................................... 4 Operating Instructions ................................................................................................ 6 General Safety Rules ................................................................................................... 7 Operation of a Theatrical Rigging System .................................................................. 8 Balancing a Line Set ............................................................................................... 10 Loading and Unloading of Counterweights Without Loading Bridge(s) ............. 11 Run-Away Line Set ................................................................................................. 13 Maintenance and Inspection of Rigging System ....................................................... 14 Maintenance Instructions .......................................................................................... 17 Manual Counterweight Rigging System Maintenance Schedule .............................. 18
    [Show full text]