DOCSLIB.ORG

Theatre Terms Stage Elements the Flat

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Theatre Terms Stage Elements the Flat 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.
Load more

Recommended publications
  • Lighting Lighting
    PHX CDM ELLIPSOIDAL ELLIPSOIDAL LIGHTING The PHX CDM 5°, 10°, 19°, 26°, 36° and 50° fxed focus Catalog Numbers ellipsoidals are truly state of the art luminaires in style, PHXC-5-* versatility of functions and efciency. Confgured with a PHXC-10-* 39W, 70W, or 150W ballast, these lighting fxtures with their PHXC-19-* respective Ceramic Discharge Metal Halide Lamps will direct PHXC-26-* bright,sharp or soft-edged illumination to their subject. PHXC-36-* PHXC-50-* Each unit has two accessory slots and two accessory holders on the lens barrel. The slot nearest to the lamp is specifcally sized to accept pattern holders for metal gobos with 25⁄8“ image diameters (“B”size). The second slot, which has a cover to eliminate light leaks when not in use, will accept either a glass pattern holder, drop-in iris, gobo rotator or a dual gobo rotator. Both the 5° and the 10° PHX CDM units have generous sized front accessory holders with self-closing and self-latching safety retainers. These accessory holders are large enough for color frames, glass color frames,donuts, snoots or color changers and combinations of accessories as required. The 19°, 26°, 36°, and 50° fxed focus units have accessory holders with two separate channels. The lens barrels are interchangeable without the use of tools. These low wattage, long lamp life units produce a cool light with a high color rendering index that will not seriously impact ambient temperatures. Ideally suited for projecting company logos, spot lighting and enhancing physical logos 39/70/150 WATT and signs or lighting trade show booths, products and PHX ELLIPSOIDAL goods.
    [Show full text]
  • 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]
  • Stockscenerypart 2.Pdf
    Other books published by Broadway Press: Backstage Forms, by Paul Carter Backstage Handbook: An Illustrated Almanac of Technical Information, by Paul Carter Lighting the Stage: Art and Practice, by Willard F. Bellman Photometrics Handbook, by Robert C. Mumm The Skeptical Scenographer, by Beeb Salzer Sound Designer’s Companion, by Bill Raoul More information: www.broadwaypress.com or 800-869-6372. STOCK SCENERY CONSTRUCTION HANDBOOK STOCK SCENERY CONSTRUCTION HANDBOOK THIRD EDITION BY BILL RAOUL AND MIKE MONSOS BROADWAY PRESS LOUISVILLE, KY 2015 Copyright © 2015 Mike Monsos. All rights reserved. No portion of this book may be reproduced or used in any form, or by any means, without prior written permission of the publisher. ISBN: 978-0-911747-43-0 First printing, August 2015. Manufactured in the United States of America. Broadway Press 3001 Springcrest Dr. Louisville, KY 40241 www.broadwaypress.com 502.426.1211 CONTENTS PREFACE .................................................ix PART 1 THE BASICS ....................................... 1 PART 2 FLATS . 23 PART 3 SOFT SCENERY ................................... 119 PART 4 PLATFORMS ..................................... 142 PART 5 STEPS AND STAIRS ................................ 196 PART 6 SHOP MATH ..................................... 224 PART 7 SHOP TALK, SHOP TRICKS, AND SHOP-MADE TOOLS ......... 248 PART 8 pAINT ...........................................257 APPENDIX ...............................................282 INDEX .............................................. 283 DRAWINGS 1-1 Grading of White Pine Lumber (Table). 11 2-24 Door Flat Frame – 3 . 57 1-2 Knots and Other Blemishes . 12 2-25 Door Casing . 58 1-3 Panel Boards . 13 2-26 Stock Door Unit . 59 1-4 Common Joints in Scenery Construction . 20 2-27 Folding Door Unit . 60 1-5 Less Common Joints . 21 2-28 Fireplace Flat . 62 2-29 Irregular Flats .
    [Show full text]
  • 52927614.Pdf
    STAGE LIGHTING AND ITS INFLUENCE ON ARCHITECTURAL LIGHTING A TH E S IS SUBMITTED TO THE DEPARTMENT OF INTERIOR ARCHITECTURE AND ENVIRONMENTAL DESIGN AND THE INSTITUTE OF FINE ARTS OF BILKENT UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF AAASTER OF FINE ARTS By Hüsnü Aydın Ozatilgan June, 1 9 9 4 PN 209{ .tu оъг \щ Б.023425 I certify that I have read this thesis and that in my opinion it is full adequate, in scope and in quality, as a thesis for the degree of Master of Fine Arts. Assoc. Prof. Dr.)Ceng/z Yener (Advisor) I certify that I have read this thesis and that in my opinion it is full adequate, in scope and in quality, as a thesis for the degree of Master of Fine Arts. I certify that I have read this thesis and that in my opinion it is full adequate, in scope and in quality, as a thesis for the degree of Master of Fine Arts. Assoc. Prof. D r^ ld irim Ygvuz Approved by the Institute of Fine Arts Prof. Dr. Bülent Özgüç Director of the Institute of Fine Arts ABSTRACT STAGE UGHTrNG AND ITS INFLUENCE ON ARCHITECTURAL LIGHTING Aydın Özatılgan M .F.A . in Interior Architecture and Environmental Design Supen/isor: Assoc. Prof. Dr. Cengiz Yener May 1 9 9 4 In this work, fundamentals of stage lighting are analyzed along with their historical and technological background. It is stated that there is an influence of stage lighting on architectural lighting. Consequently it is stated that stage lighting is the basis of architectural lighting and there is an important interaction between them.
    [Show full text]
  • Technical Theatre Guidelines for Virginia Public Schools
    Technical Theatre Guidelines for Virginia Public Schools Commonwealth of Virginia Department of Education Richmond, Virginia Copyright © 2016 by the Virginia Department of Education P.O. Box 2120 Richmond, Virginia 23218-2120 www.doe.virginia.gov All rights reserved. Reproduction of these materials for instructional purposes in public school classrooms in Virginia is permitted. Superintendent of Public Instruction Dr. Steven R. Staples Chief Academic Officer/Assistant Superintendent for Instruction Dr. John W. Haun Office of Humanities & Early Childhood Dr. Christine A. Harris, Director Cheryle C. Gardner, Principal Specialist of Fine Arts Edited, designed, and produced by the CTE Resource Center Kevin P. Reilly, Administrative Coordinator Robin A. Jedlicka, Writer/Editor Richmond Business and Medical Center Phone: 804-673-3778 2002 Bremo Road, Lower Level Fax: 804-673-3798 Henrico, Virginia 23226 Website: www.cteresource.org The CTE Resource Center is a Virginia Department of Education grant project administered by Henrico County Public Schools. NOTICE The Virginia Department of Education does not discriminate on the basis of race, sex, color, national origin, religion, sexual orientation, gender identity, age, political affiliation, or against otherwise qualified persons with disabilities. The policy permits appropriate employment preferences for veterans and specifically prohibits discrimination against veterans. The following position has been designated to handle inquiries regarding the Department’s non-discrimination policies: Deputy Superintendent – Finance and Operations Virginia Department of Education P. O. Box 2120 Richmond, Virginia 23218-2120 Telephone: 804-225-2025 For further information on Federal non-discrimination regulations, contact the Office for Civil Rights at [email protected] or call 1-800-421-3481.
    [Show full text]
  • Unit Set Drawings
    1 UIL APPROVED UNIT SET THE UNIT SET Construction and Materials WPA Stagehands, Lafayette Theatre, New York City Drawings by Shane K. Smith UIL-Drama, PO BOX 8028, Austin, Tx 78713 - 512/471-9996 2 3 UIL APPROVED UNIT SET UIL APPROVED UNIT SET Approved Unit Set Construction and Materials Every competing play company is allowed the use of one, and only one, complete Approved Unit Set, which must be constructed to conform to the basic structures drawn in the HANDBOOK. All unit set elements must be painted a medium gray inside and out. No other color is permissible. Substitutions of similar materials and alternative construction techniques are permissible so long as no additional weight factor or diminished strength is involved, and elements basically appear as other unit set elements might appear at other contest sites. UNIT SET ELEMENTS: 4 – Three-fold flat units, 8’-0” high 4 – Two-fold flat units, 8’-0” high 2 – 4’-0” wide step units (6” risers and 12” treads) 2 – 2’-0” wide step units (6” risers and 12” treads) 2 – 4’-0” high pylon units (1’-0” square) 2 – 6’-0” high pylon units (1’-0” square) 2 – 8’-0” high pylon units (1’-0” square) 2 – 4’ x 4’ ramps (rises to 1’-0”) 2 – 4’ x 4’ platforms, 1’-0” high 2 – 4’ x 8’ platforms, 1’-0” high 4 – 1’ x 1’ platforms, 1’-0” high MATERIALS: Lumber: 1. 1x1, 1x2, 1x3, 1x4, 1x6 and 2x4 nominal lumber is required, 2. the 1x1, 1x2 and 1x3 can be ripped down from 1x6 or 1x12, 3.
    [Show full text]
  • Drama—Theatre Arts 11 March 23-27 Student Name
    Drama—Theatre Arts 11 March 23-27 Time Allotment: 20 minutes per day For use during at-home instruction, Spring 2020 only Student Name: ________________________________ Teacher Name: Mr. Andrew Ward Drama—Theatre Arts 11 March 23-27 For use during at-home instruction, Spring 2020 only Packet Overview Date Objective(s) Page Number Monday, March 23 1. Describe unframed or “soft” elements of two- 2 dimensional scenery such as drapes, drops, and cycs Tuesday, March 24 1. Describe framed or “hard” elements of two- 6 dimensional scenery including wood frame constructions and trim Wednesday, March 25 1. Identify elements of three-dimensional scenery 10 including platforms, steps, and abstract stage units Thursday, March 26 1. Apply basic painting procedures including coats, 14 methods of painting, types of brushes, and brush cleaning to She Stoops to Conquer set. 2. Prepare for vocabulary quiz. Friday, March 27 1. Minor Assessment: Vocabulary quiz, Set 16 Building: Lessons 1-3 Additional Notes: For now, GHNO is still producing She Stoops to Conquer. While more details will be forthcoming to determine the steps we will need to take in order to make up for lost time, please know that I am doing everything possible to make sure that our production stays on track. I am still meeting with professionals to talk about your costumes, audience seating, lighting rentals, etc. You will learn about the techniques and practices required in building a set, putting together costumes, and hanging lights; that way, when you return, you will ideally know what you’re doing. NOTE FOR ACTORS: All your lines must be memorized by April 6.
    [Show full text]
  • Photometrics Means “Those the Core of Photometrics As Used in a Things Pertaining to the Measuring of Modern Lighting Instrument
    HOTOMETRICS shaft of light rather than a simple wash P going in all directions. Lenses completed the triad of mechanical parts that make up Technically, photometrics means “those the core of photometrics as used in a things pertaining to the measuring of modern lighting instrument. These are; light.” In common usage though, the light source or lamp, the reflector, and photometrics is used to describe how the lens. Most all modern fixtures contain lighting instruments, or fixtures, are all three of these elements, though some of defined as to their sizes, light output, and them place two or more within the lamp uses. One of the most exciting itself. As an anomaly, most border lights developments in lighting over the past two do not have a lens per se, although they decades has been in the area of intelligent may have glass filters that look like one. lighting; specifically that is moving fixture lights and accessories such as color changers and gobo rotators. What sets these innovations apart is their ability to be controlled digitally. The computer control of lighting has made all sorts of effects possible, and the devices that do this have revolutionized the business. They are so important, that they will be covered in a separate section. This chapter is devoted to more traditional theatre lights, which are the backbone of lighting practice. In his 1936 work, “A Syllabus for Stage In any sort of electrical lighting fixture, Lighting”, Stanley McCandless coined the the lamp is used to create light, the word instrument, which he used in reflector helps to gather the part of that referring to lights used for the stage.
    [Show full text]
  • Introduction to Stagecraft - THEA 0842
    University of Pittsburgh Department of Theatre Arts Introduction to Stagecraft - THEA 0842 Instructor: Jon West Office Hours: Mondays, 9am – 5pm, By Appointment Only Office Location: Cathedral of Learning, B-24 Email: [email protected] Office Phone: 412-624-6747 Course Time: Tuesday and Thursday 9:30am – 10:45am Location: Cathedral of Learning, B-20 Course Description: A production-based course, Introduction to Stagecraft will introduce students to technical theatre areas as taught in the classroom, requisite lab hours, and hands on creative engineering. These areas include scenic construction techniques, scene shop materials and tools, scenic painting, properties, rigging, stage lighting and electrics. In lieu of recitation, the class requires out of class hours to be completed in the respective shops and on department productions. Course Goals: By the successful completion of this course, students will be able to: 1. Understand technical drawings 2. Perform basic scenery construction techniques 3. Hang, focus, and basic stage lighting techniques 4. Install scenery during a load-in 5. Implement lighting design during hang and focus 6. Utilize basic technical skills to create a well-rounded foundation in technical theatre 7. Employ creative collaborative engineering skills with colleagues and peers Attendance Policy: As this is a hands-on class using machinery, hand tools, safe construction techniques, and in person instruction; prompt attendance is mandatory for your safety and the successful completion of this course. Each unexcused absence will result in a 10 point penalty on your final grade. Verifiable emergencies or illnesses are exempt, doctor’s notes are accepted in applicable. 1 University of Pittsburgh | Department of Theatre Arts Class Materials Texts: Required: 1.
    [Show full text]
  • A Scheme for Arena Theatre Lighting Grid Design in Te R M S of Grid Spacing, Wa L K W a Y Space, and Masking by Louvres
    This dissertation has been microfilmed exactly as received 6 7-2415 B O C K n, Fred Clinton, 1932- A SCHEME FOR ARENA THEATRE LIGHTING GRID DESIGN IN TE R M S OF GRID SPACING, WA L K W A Y SPACE, AND MASKING BY LOUVRES. The Ohio State University, Ph.D., 1966 Speech-Theater University Microfilms, Inc., Ann Arbor, Michigan A SCHEME POE ARENA THEATRE LIGHTING GRID RESIGN IN TERMS OF GRID SPACING, WALKWAY SPACE, AND MASKING BY LOUVRES DISSERTATION Preseated la Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy ia the Graduate School of The Ohio State University By Fred Clinton Bock II, B.A., M.A ******* The Ohio State University 1966 Approved by Adviser Dei - _______ ACKNOWLEDGMENTS The writer wishes to express his sincere thanks and appreciation to Dr. Roy H. Bowen and Dr. Walter S. Dewey for their guidance during the writer's graduate pro- gram and their assistance in the preparation of this dissertation. In addition, the writer wishes to express an indebtedness for the experience he gained while a pro­ duction staff member at Ohio State University's Stadium Theatre. This experience stimulated the writer's interest in the problems of arena theatre grid design and provided a background which was valuable in the preparation of this dissertation. ii VITA October 5» 1932 Born, Akron, Ohio 1954 • • • B.A., University of Akron, Akron, Ohio 1954-1959 0 • • Navigator-Bombardier, U.S.A.F. 1960-1961 Director of Technical Theatre, Players Club Foundation, Columbus, Ohio 1961-1964 • 0 • Assistant, Department of Speech, The Ohio State University, Columbus, Ohio 1963 .
    [Show full text]