Technical Info & Policy Handbook
Total Page:16
File Type:pdf, Size:1020Kb
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. -
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. -
Scene Shop Foreman/Instructor
Scene Shop Foreman/Instructor Department: School of Creative and Performing Arts Type: Full-time, 10 months Reports To: Director of Production This 10-month position serves as shop foreman/stage supervisor for all SCAPA productions. Manages scene shop including the construction and installation of all scenic elements, manages inventory and student crews. Working knowledge of VectorWorks. Responsible for following and promoting all safety procedures and practices along with problem solving technical issues that may arise in the scene shop or stage areas. Teach introductory stagecraft and in other areas of expertise (eg: sound, scenic, projections) Responsibilities: Essential duties and responsibilities include the following. Other duties may be assigned. 1. Manage the daily operation of scene shop 2. Leads or assists construction, load-in and strike of all theatre productions (6 mainstage and 4 student productions annually) 3. Order and maintain supplies at required levels 4. Responsible for general and basic maintenance of scene shop 5. Works in concert with the Director of Production on all scene shop assignments and scheduling 6. Manage scene shop, coordinate construction schedules to meet production deadlines; organize and supervise student workers and scene shop techs to meet deadlines set by Director of Production. develop construction drawings; procures supplies for set construction; coordinates with outside vendors and other duties as assigned by the Director of Production 7. Collaborate with design team to plan, install and ensure proper operation of scenery and stage equipment, manage and train student crews, adhere to safety standards in the mounting, operation and strike for each production. 8. Teach 7-8 credit hours per academic year including stagecraft and scenic design 9. -
LED Lighting in a Performing Arts Building at the University of Florida
LED Lighting in a Performing Arts Building Host Site: University of Florida, Gainesville, Florida July 2014 Prepared for: Solid-State Lighting Program Building Technologies Office Office of Energy Efficiency and Renewable Energy U.S. Department of Energy Prepared by: Pacific Northwest National Laboratory PNNL-23514 LED Lighting in a Performing Arts Building at the University of Florida Final report prepared in support of the U.S. DOE Solid-State Lighting Technology Demonstration GATEWAY Program Study Participants: Pacific Northwest National Laboratory University of Florida NJ Miller SM Kaye1 PM Coleman2 AM Wilkerson TE Perrin GP Sullivan3 July 2014 Prepared for the U.S. Department of Energy under Contract DE-AC05-76RL01830 Pacific Northwest National Laboratory 1 Professor of Lighting Design, Head of the Graduate Lighting Design Program, University of Florida, Gainesville FL. 2 Graduate Assistant, Lighting Design, University of Florida, Gainesville FL. 3 Principal, Efficiency Solutions, Inc., Richland WA Preface This document is a report of observations and results obtained from a lighting demonstration project conducted under the U.S. Department of Energy (DOE) GATEWAY Demonstration Program. The program supports demonstrations of high-performance solid-state lighting (SSL) products in order to develop empirical data and experience with in-the-field applications of this advanced lighting technology. The DOE GATEWAY Demonstration Program focuses on providing a source of independent, third-party data for use in decision-making by lighting users and professionals; this data should be considered in combination with other information relevant to the particular site and application under examination. Each GATEWAY Demonstration compares SSL products against the incumbent technologies used in that location. -
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. -
PH-PAC Technical Specs
Port Huron High School Performing Arts Center 1 Technical Information Contact info…………………………………………..………….. 3 General………………………………………………..…………. 3 Stage…………………………………………………....………… 3 Dressing rooms/green rooms……………………..…………….. 4 Scene shop……………………………………………………….. 4 Load in………………………………………………...…………. 4 Rigging………………………………………………...…………. 4 Line set schedule……………………………………...…………. 5 Sound…………………………………………………...….…….. 6 AC power………………………………………………...……… 7 Lighting…………………………………………………....…….. 7 Video……………………………………………………….…….. 11 2 SpecialSpecial effects effects……………………………………………………………………………………………………………………………………………………………………….……………..……………… 11 MMiscMisc………isc……………….......…………………………………………………….…………………………………………………………………………………………………………………..…………………………………………….. 1111 StaStagege diagrams....diagdiagrams....………………………………………………rams....……………………………………………………………………………………………………………………………..………………….. 1212 CoContaContactntactct infooinf PortPort HuronHuron HighHigh SchoolSchool PerformingPerforming ArtsArts CenterCenter 2215 Court Street, Port Huron, Michigan, 48060 Phone: (810) 984-2611 x281 PortPort HuronHuron AreaArea SchoolsSchools AdministrationAdministration Jamie Cain – Superintendent Web: www.phasd.us 2720 Riverside Drive, Port Huron, Michigan, 48060 Phone: (810) 984-3101 Dee nnii ssee SSeeell b y,y, P A C GGeeennneeerr alal M anananageageagerr E-Mail: [email protected] Brandon Kovatch, PAC Technical Manager E-Mail: [email protected] General The Performing Arts Center is a conventional proscenium auditorium built in 2005, with a capacity of 640 seats in two sections. The -
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. -
(Purple Masque) Scenic Design Checklist
SECOND STAGE (PURPLE MASQUE) SCENIC DESIGN CHECKLIST MANDATORY ATTENDANCE AT: All director/designer meetings Minimum of two meetings with Faculty Scenic Designer: one prior to preliminary deadline, and one prior to final deadline. All production meetings Minimum of one run-through rehearsal prior to crew watch Crew watch All technical and dress rehearsals Strike Any conflicts with attending the above meetings/rehearsals must be cleared ahead of time with the faculty designer and the director. IMPORTANT INFORMATION There is a very limited time frame for installation and painting of scenery in the masque. Therefore, it is extremely important for you to be organized prior to your load in date. Some things to consider: You will be working late nights/weekends during load in and tech, so plan ahead to have papers/homework/studying done ahead of time. “I had to write a paper so the set didn’t get done until opening night” is not a valid excuse. EVERYTHING needs to be built prior to load in. It is best if you can paint pieces beforehand, also. If you are building a large unit, make sure it will fit through all doors. Large units in pieces should be “dry fit” in the scene shop to make sure they assemble as planned. Make sure you arrange for help ahead of time. People will be more willing to assist you if they know a week or two beforehand. This is not just your show. Having the scenery unfinished not only affects the actors, but the lighting and costume designs as well. ROUGH DESIGNS Rough designs will include research image boards of conceptual, architectural and detail inspirations for the set. -
Jigs and Fixtures for the Scene Shop
Jigs and Fixtures for the Scene Shop By: John McCullough A Thesis Submitted to the faculty Of the Yale School of Drama Department of Technical Design and Production In Partial Fulfillment of the Requirements For the Degree of Master of Fine Arts in Drama From Yale University May 2009 ©2009 by John McCullough. All rights reserved. Contents Introduction 1 Jigs and Fixtures for the Scene Shop 2 What are Jigs and Fixtures? 2 Adding Jigs to a Manufacturing Process 3 How to use this Book 9 Jig and Fixture Construction 11 Safety 15 Fences and Guards 17 Featherboards 20 Push Sticks 22 Table Saw 23 Zero Clearance Plate 25 Dado Blade Width Guage 26 Template Jig 27 Multi-Angle Miter Guage 29 Tenon Jig 30 Cross-cut Sled 32 Radial Arm Saw 37 45° Miter Jig 39 Stop Block 40 Band Saw 41 Band Saw 42 Band Saw Template Jig 43 V-Block Splitter 45 V-Block Cross-cut Sled 46 Band Saw Circle Jig 47 Routers and Router Tables 49 Circle Edging Safety Board 51 Circle Jig 52 Fractionating Baseplate 53 Routing Guide 54 Circular Saw 55 Rip Fence 57 Belt-Disc Sander 59 Dowel Pointing Guide 61 Chamfer Sanding Guide 62 Jigs Around the Shop 63 Pocket Miter Box 65 Jig Blocks 66 90° Stop Block 67 Board Bender 68 Story Stick 69 The Next Step 71 Appendix A 73 Bibliography 75 INTRODUCTION 2 Jigs and Fixtures for the Scene Shop Jigs and Fixtures for the Scene Shop This thesis seeks to promote safety and effi ciency in the scene shop by presenting commonly used and popular jigs and fi xtures for the scene shop.