TheatrE TermS

h Arena stage a stage with seating on all four sides h Box set a set that consists of two or three walls and a ceiling h Curtain set a set that uses a wall or drapery at the back of the set h Cyclorama a curtain that covers the back wall and sides of the stage h Drops decorated canvas or muslin curtains that for part of the scenery h Flats canvas stretched over wooden frames, painted and used for scenery h Minimal set a set made of two or three fold flats that create walls h Permanent set a set that remains in place throughout the production h Prism set a set made of triangles of flats mounted on wheels h Proscenium stage a stage in which the audience looks through the “fourth wall” to see a play h Scrim a gauzelike curtain used as a drop h Set pieces furniture and other three dimensional objects h Teaser a heavy curtain or frame that adjusts the height of the proscenium h Thrust stage a low platform stage that juts out into the audience h Unit set a set made of pieces that can be rearranged

StagE ElementS

h Act curtain curtain that masks the acting area from the audience. Sometimes called the front or grand curtain, it is opened at the beginning of the play and closed between acts or scenes. It usually parts in the middle. h Apron acting area between the front edge of the stage and the front curtain. h Back wall opposite the proscenium opening; it can be used as a background for exterior sets h Battens long pipes or poles from which curtains, lights or flats are hung. h Cyclorama or Cyc background curtain covering stage back and sides h Flies area above the stage where scenery is hung out of view h Fly gallery narrow platform about halfway up the backstage side wall from which the lines for flying scenery are worked h Gridiron or grid framework of beams above the stage that supports riggings for flying scenery h Ground cloth canvas that covers the floor of the acting area which may be painted to resemble bricks, stones, carpet and so forth h Leg one of a pair of drapes hung stage right and left behind the tormentors to mask the backstage h Pin rail rail on the fly gallery or backstage wall to which lines are pulled and tied off h Proscenium arch frame or opening of a proscenium stage through which the audience views the play h Tormentors curtain or flat at each side of the proscenium opening used to regulate the width of the opening h Trap opening in the stage floor h Wings the offstage area to the left and right of the stage

ThE FlaT

Note the top and bottom rail are cut the true width of the flat. The length of the stile and toggles are reduced by twice the width of the lumber. For example: the 2 rails of a 5x12 flat built with 1x4 lumber (which is 3 1/2" wide) would be cut excatly 5'0"; the 2 stiles would be cut 11'-5" and the 2 toggles would be cut 4-5"

What type of joint is most commonly used? Reinforced (with the corner block or keystone) butt joint. Note the corner block and keystone is set back approximately 3/4" (the thickness of a flat) from the edge of the stile and rail

How many toggles should there be in a twelve foot tall flat? Two. Toggles are typically placed on 4' centers. An 8 foot backing flat would have one, a 16' flat would have three.

How many diagonal braces should be used in a five foot wide flat? Typically flats wider than 3 feet have two diagonal braces. Each brace is normally about 3 foot long. Note in the drawing above that both diagonals are placed on the same side of the flat.

ThE ProcesS in CoverinG a StandarD TheatricaL FlaT

Note: Covering a flat with muslin is a two person operation. h Spread the muslin over the flat. The cover should extend about two inches beyond the edge of the frame. h Turn back the edge of the muslin exposing one of the stiles h Using a throw away brush, "paint" the stile with Elmer's® glue. h Starting at the center of the stile and working towards the outside corners, glue the muslin to the edge of the frame. You will need to use your hand to work the fabric into the glue. h Repeat the process on the other side. The muslin should not be pulled too tight, there should be a slight sag. h Glue the cover to the top and bottom rail. Again, start in the center and work to the corner. h Trim the excess muslin with a utility knife.

Notes: (1) do not staple the muslin to the flat. (2) Glue the muslin only to the outside frame, not to the toggles or diagonal braces.

How long should you wait to prime a flat after it has been covered? Why? 24 hours.

Why? Because it takes about 24 hours for Elmer's® glue (which is holding the muslin on the flat frame) to set.

How does a Hollywood Flat differ from a stock theatrical flat? A Hollywood Flat (also known as a hard flat) is covered with 1/4 plywood or Luan (also known as 1/4" Mahagony Underlayment) instead of muslin.

ShoP SafetY RuleS

The following rules have been written for your safety and must be followed at all times. If you have any questions regarding the safe operation of any tool please ask the teacher. It is your responsibility to know and understand the following...

h All persons working in the shops must be properly attired. This includes long pants and close-toe shoes. Hard-sole shoes should be worn if possible since "gym" shoes do not afford sufficient protection. Long hair is to be tied back or tucked under a hat to avoid any chance of it getting caught in the machinery. h Dangling necklaces, large rings, loose scarves or long sleeves should not be worn in the Shop as they may become entangled in the machinery. h Eye protection must be worn when operating any of the power tools. Ear protection is available. It is up to the student to determine when hearing protection is necessary. h Keep your work area clean and organized. Periodically sweep up excessive waste and return unnecessary tools to the tool cabinets. h Before operating any power tools be sure all foreign materials are clear of the work area. h Make sure that all power tools are turned off and unplug before leaving the machine. Never leave an unattended machine running. h Unplug portable power tools when they are not being used. h Unplug all power tools before changing blades, bits, or making adjustments.

ProductioN OrganizatioN

The organization of a typical theatre company

The responsibilities of each of the following production staff: h Director - is the artistic head of the production company. His (or her) primary responsibility is to develop an interpretation of the script. He spends most of his time at rehearsal working with the actor.

h Technical Director - is primarily responsible for the coordination of the technical aspects (scenery, lights, sound, props, rigging) of a production. He establishes the production calender, oversees the technical (scenery and lighting) budget, coordinates the scene shop and on-stage activities and oversees the load-in, load-out and running crews. In a small academic program he may also be both the scenic and lighting designer. h Scene Designer develops the drawings necessary to build, paint, and mountthe set on stage. The Scene Designer's work is executed by the "set crew" under the leadership of the Master Carpenter. h Costume Designer develops the drawings necessary to build, rent, or borrow the actor's costumes. The Costume Designer's work is executed by the "costume crew" under the leadership of the Wardrobe Master. h Lighting Designer develops the drawings and charts necessary to hang, color, focus and cue the lights.The Lighting Designer's work is executed by the "light crew" under the leadership of the Master Electrician. h Sound Designer selects the music and sound effects necessary to full fill the director's interpretation and develops the drawings and lists necessary to aquire the needed sound equipment (speakers, amplifiers, CD players, etc...) and to locate this equipment in the theatre. In the commercial theatre the sound board operator is generally a member of the electric (or "light") crew. Like the light board operator, he is a part of the running crew under the jurisdiction of the Stage Manager. h Stage Manager's responsibilities change during the four to six week rehearsal period. During the first few weeks he assists the director by maintaining the prompt book , distributing rehearsal props, setting the stage before the actors arrive and prompting the actor when they "go up on lines." During tech week he will move back stage (or perhaps to the light booth) to call the show. After the show opens and the director's job is finished, it is now the stage manager's responsibility to maintain the integrity of the production. During the production, the Stage Manager is the back stage boss. h Master Carpenter is the head of the "set crew." He is responsible for taking the Scene Designer's drawings and turning them into scenery on stage. h Shift Crew are the carpenters (members of the "set crew") who change the scenery in a multi-set show. They are part of the running crew and fall under the jurisdiction of the Stage Manager. In most Northern and ACT productions, scene shifts are handled by members of the cast. h Master Electrician is the head of the "light crew." He is responsible for hanging, coloring and focusing the lights. He is often the light board operator which makes him part of the running crew under the jurisdiction of the Stage Manager. Assistant electricians operate follow spots and handle lighting equipment on stage during a performance.

h Wardrobe Master is the head of the "costume crew." He is responsible fortaking the Costume Designer's drawings and turning them into the costumes worn by the actor. During the performance, members of the costume crew are typically backstage to assist the actors during quick-changes and to make minor repairs.

h Property Master is the head of the "prop crew." He is responsible for finding or building the necessary furniture, hand props and set dressing. He is guided by the prop list generated by the Director and/or Stage Manager and by the drawings developed by the Scene Designer.

h Scenic Artist is a member of the "set crew." Using the painter's elevations developed by the Scene Designer as a guide, he paints the scenery in the scene shop before the set crew places it on stage.

The four production designers? Scene Designer, Costume Designer, Lighting Designer, and Sound Designer

Of the three visual designers (Scene, Costumes and Lights) which is at the top of the "pecking order?" The Scene designer.

Why? Because it is easier and cheaper to re-dye a costume or re-gel a light than it is to repaint the set.

What are the five departments of technical production? Carpentry (sets), Props, Wardrobe (costumes), Electric (lights) and Hair/MakeUp.

h Each department is headed by a "master" -- Master Carpenter, Master Electrician, Prop Master and Wardrobe Master. h The electric crew is normally responsible for the setup and operation of the sound equipment. h The flymen, who operate the fly system (rigging), are part of the carpentry crew. h There are 2 primary crews involved in mounting a production -- the shop crew which builds (or gathers) the set, props, costumes and lights and the show crew which mounts the production on stage. The show crews are divided into three groups -- the load-in crew, the running crew and the load-out crew.

Which union represents the three visual designers? The scene, costume and lighting designer are represented by the United Scenic Artists of America.

The stagehands? The stagehand in the commercial American theatre is represented by the International Alliance of Theatrical Stage Employees (IATSE), a large organization which not only represents stage hands but also projectionists, film editors and other craft people employed in the film and television industry.

How do you become a member of these unions? Entrance into the United Scenic Artists (USAA), Local 829 (New York) is through an interview and portfolio review. As a scene designer you will be asked to provide for your "Main Project" a colored rendering, sketches of any additional sets, a ground plan, cross section, designer's elevations, and a fully painted physical model (or a "Xerox model" plus painter's elevations). The "Main Project" must contain at least two sets and be presented in a traditional manner in a legitimate theatre.

Officially, you become a member of IATSE through an apprenticeship program covering ten knowledge areas - - basic union information, carpentry, shop, electrics, properties, wardrobe, sound, video production, hardware identification, and practical application. An apprentice must score eighty percent or better on the entrance exam to earn a journey man's card.

DesigN RequirementS

The design and setting should: h Provide adequate space for movement, including several acting areas or levels to provide variety and interest and to motivate the actors into using the whole stage in the course of the play h Communicate the time and place in which the action occurs and the cultural, social and economic status of the characters h Provide the audience with the mood and style of the play h Be technically usable and safe. Doors and windows must open if they are to be used. Stairs, platforms and ramps must be built firmly if they are to bear the actor’s weight. I f t here are set changes, scenery must be planned for quick shifts carried out safely h Be pleasing to the eye. It should be unified, balanced, varied and it should allow for actors’ faces to be readily seen. Most of all, it should be unobtrusive—except in the rare case when the characters are in conflict with their environment. h Include set pieces that are functional and that contribute to the overall design of the set.

SettinG ThE MoodD

Certain colors arouse specific emotions. The set designer is always aware of the following as a guide: h White pure, truthful h Black tragic, deathly h Gray neutral, somber h Violet royal, mystic h Pink childlike, romantic, feminine h Red passionate, angry, aggressive h Orange lively, cheerful h Yellow happy, childlike, cowardly, ill h Green natural, youthful, jealous h Blue tranquil, spiritual, sad