Integrationintegration Is…

Total Page:16

File Type:pdf, Size:1020Kb

Integrationintegration Is… IntegrationINTEGRATION Is… The Start of a Great Performance Theatre Equipment | Systems | Integration Integration is essential to inspiration. We make ideas reality. SCENE ONE (A construction site for the performing arts venue. The project is underway but, at this point, it is little more than a hole in the ground. SECOA enters.) SECOA “ We know this business from the ground up.” The real drama begins long before opening night. Every scene—from concept to punch list—can be full of surprises, pitfalls and risk. Performing arts facilities are considered second only to hospitals in the extraordinary and often underestimated demands placed on the buildings’ systems and structures. Heavy scenery moved in an eye-blink or a stage layout transformed under darkness appears as if by magic to an audience. Behind the scenes, however, a production team crafts the illusion using highly specialized and meticulously coordinated systems. Unique knowledge is required to successfully design, construct and integrate these hidden elements into the facility architecture. Enter SECOA. We’re experts in creating performing arts spaces. A national integrator of theatre equipment and systems with more than 87 years of experience, SECOA both manufactures components and provides services ranging from budgeting to engineering 1 and installation. We make the systems that make the magic. In addition to requiring unique building parameters, proper integration of theatre equipment presents another challenge. These equipment systems are installed during the final time-constrained phases of construction, when budgets, deadlines and physics can conspire to rein in the original vision for the project. Unintended and unwanted compromises can result. While SECOA can step into the process at any time, our value is greatest at the outset. In the early phases of planning and design, we can spot and maneuver through the plot twists—minimizing project risk and keeping the inspiration intact. We’ve seen it all. We’ve done it all. We know our lines. So let’s raise the curtain. The clock is ticking. Tick, Tock OPENING NIGHT IS OPENING NIGHT. THERE ARE NO SECOND CHANCES. THE SCHEDULE IS THE MOST IMPORTANT THING WE BUILD. AND IT NEEDS TO BE ACCURATE, REALISTIC AND ADAPTABLE. BECAUSE THE SHOW MUST GO ON. Integration is versatile. We play many roles. The Dee and Charles Wyly Theatre, Dallas, TX Unlike a typical theatre, where support spaces wrap around the stage house, the Wyly is designed so that the support spaces are either above or below the auditorium to enable maximum interaction and flexibility. The advanced mechanized “superfly” system moves both scenery and seating so that artistic directors can rapidly change the configuration from proscenium to thrust, flat floor, and more. This project required SECOA to engineer on a massive scale. Our contributions included a 130,000-lb. flying seating tower, 60,000-lb. hoists with tracking systems, automated rigging, and audience lift systems with motorized turntables. As a full-service integrator, SECOA brings together budgeting, project management, engineering, manufacturing, sourcing and installation management capabilities. This combination allows us to deliver custom solutions for any budget. That’s why owners and construction teams across the country choose us time and time again. Our equipment lines include rigging, orchestra shells, pits and lifts, drapery, lighting and seating—all engineered and installed to work together seamlessly. As integrators, rather than dealers or suppliers, our expertise goes beyond the parts and pieces. We understand the entire performing arts space and how the myriad of specialized components and systems, including those of other trades, are interconnected. SECOA differs from equipment-only providers with centralized capabilities 3 that remove risk from both the project schedule and budget. • Our estimates, built by costing and design experts who envision the entire project, are more reliable. • Our schedules, fortified by in-house manufacturing and industry-leading IT investments, are more flexible. • Our quality control program includes an independent field audit department that assures we execute all field activities to the highest standard. • Our broader market reach allows us to mobilize resources more efficiently. • Our shared experience covers a larger scope of work, enabling us to funnel creative problem-solving through one clear and direct communication channel. An integrated approach means two things. On the front end, risk is reduced. On the back end, budgets and schedules are preserved. Rise and Fall BEHIND THE SCENES, EVERY PRODUCTION DEFIES GRAVITY. SETS, LIGHTS AND DRAPERY MUST BE RAISED, LOWERED AND SUSPENDED IN MIDAIR. RIGGING MAKES THE WORKINGS FLy— SWIFTLY, QUIETLY, AND SAFELY. Integration is reliable. We are your supporting cast. SECOA’s partners include a nationwide network of time-tested subcontractors and key suppliers. Our industry- leading field audit team insures that performance in the field proceeds in the best way possible and that our partners have the tools and information they need. We use the trust that we have developed by nurturing these relationships over decades to build reliability into a business that depends on it. A performing arts space is a complicated place, a mayhem of moving scenery and dangling pipes. It looks precarious, but when properly designed and constructed, the chaos is really a choreography of highly calibrated systems. Building this kind of specialized space naturally requires a special kind of partnership. SECOA, the industry’s only national integrator, skillfully works with market-leading architects, theatre consultants and contractors as well as newcomers, each benefitting from different types and levels of support. Our backgrounds in actual theatre operations enable us to understand owners’ and users’ expectations—bringing a perspective to our partnerships that helps balance demands with reality. We are proud of our project teams, which include the following people: • estimators experienced in both design and technical production, enabling them to 5 construct sophisticated and accurate budgets as well as early eye-opening RFIs; • project managers—typically former technical directors and installers—who incorporate applied theatre knowledge to their problem-solving, coordination and communication responsibilities; • designers, drafters and engineers, with a combined experience of over 185 years, who enjoy an industry-wide reputation for producing the most complete and accurate submittals as well as creative solutions to our industry’s challenges; • manufacturing personnel who maintain schedules with maximum flexibility while ensuring the highest quality output and remaining in constant interaction with our PMs and engineers. With our cast in the wings, our partners, such as you, stay onstage, directing the scene and ending precisely on cue. Secoa’s engineering ability and ingenuity was key in making the “ Wyly Theatre a success. Their ability to think outside the box along with incorporating their broad theatre equipment knowledge base was paramount to the completion of such a difficult project—unlike any other in the world. Matt McMullan, Assistant Superintendent “ McCarthy Building Companies, Inc. Integration is all-encompassing. We are with you scene by scene. SECOA PARTNERS WITH YOU EVEN BEFORE WE WIN THE BID The timelime below illustrates the four basic phases of a construction project followed by a deadline special to performing arts facilities: Showtime. Included under each phase are sequential milestones for general construction as well as highlights of SECOA’s integration program. I. General Design & Planning II. Bidding III. Award IV. General Construction V. Showtime 3 Feasibility Studies p SECOA invitation p Correspondence 3 Pre-Construction to trades requiring to bid Specialized pre-construction integration with p 3 Pre-Planning meeting to educate trades on theatre systems p Generation of RFI theatre systems and integration 3 Planning material to project schedule and budget p Collaborative evaluation of p Review of trades submittals bid pipeline opportunities (Includes HVAC, electrical, p Scope review plumbing and structural steel.) p Educational sessions for key decision-makers on 3 Excavation and Foundation theatre systems, integration Owner Selection requirements and scope 3 p Curtains/drapes and shell 6 3Design Development finishes selections (18-week lead to Special Install.) p Concept and design or design support services 3 Framing depending on project scale and customization (Key p SECOA submittals approval considerations include load criteria, steel placement, p Specialized coordination equipment selection, size meeting (Verify steel onsite, and space requirements.) conduct obstructions audit, review MEP installation plan, p Spec writing services and/ verify SECOA install schedule.) or budgets 3 Exterior Penetrations 3 Construction Document p General equipment field Services check (8-week lead to General Install.) p SECOA listing in spec 3 Mechanical Rough-Ins p MEP coordination follow-up 3 General Design, Planning (Verify MEP install versus plan and & Construction Timeline SECOA install schedule.) p SECOA’s Project Role: Integrated for excellence 3 Drywall, Trim Carpentry, Painting p General install (8-week lead to Owner Turnover.) 3 Hard Surface Flooring p Orchestra pit systems field check (8-week lead to Special Install.) 3 Cabinets and Countertops, Finish Mechanicals and Appliances, Carpeting p Special
Recommended publications
  • Donald Crabs Papers LSC.1718
    http://oac.cdlib.org/findaid/ark:/13030/c8hq45rv No online items Finding Aid for the Donald Crabs papers LSC.1718 Finding aid by Krystell Jimenez, 2018. UCLA Library Special Collections Online finding aid last updated 2019 February 2. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections Finding Aid for the Donald Crabs LSC.1718 1 papers LSC.1718 Language of Material: English Contributing Institution: UCLA Library Special Collections Title: Donald Crabs papers Creator: Crabs, Donald Identifier/Call Number: LSC.1718 Physical Description: 24.4 Linear Feet(53 boxes, 5 shoe boxes, 3 flat boxes, 1 oversize flat box) Date (inclusive): 1945-2005 Abstract: Donald Crabs was a UCLA professor who specialized in theater design. He studied scenery and lighting design, as well as set design for television and film. Starting in 1965 he taught set and stage design in the UCLA Department of Theater Arts, now the UCLA School of Theater, Film, and Television, and continued to be involved as a professor emeritus until his death. This collection is comprised of his papers, including research and reference materials, correspondence, notes, teaching materials, slides and photographs, theater floor plans and architectural data, lighting placement charts, and data from Crabs' survey of Californian theater facilities. Additional materials include notebooks with plans for lighting placement and staging and fabric samples for acoustic design. The collection also includes materials related to his research trip to China and reference materials on Chinese theater and performance, and the original survey data Crabs used to compile a database of California theaters.
    [Show full text]
  • It's All About the LIGHT! - Introduction to Stage Lighting
    4/16/13 It's all about the LIGHT! - Introduction to Stage Lighting It's all about the LIGHT! Introduction to Stage Lighting Instruments, Electricity & Welcome to the Introduction to Stage Lighting online website. This site is to Cables/Connectors be used as an additional source of information for the Introduction to Stage Entertainment Industry Lighting course held at Valencia Community College, East Campus taught by Creative Design for Theatre Sonia Pasqual. Lighting History & Intensity Control The course syllabus and calendar for the current semester is available via Lighting Design the course homepage or you can download the file from below. Basic Stagecraft If you choose to download it from your atlas account go to the course Additional Information homepage for the Introduction to Stage Lighting section which you are in now, TPA 2220. You can download it at anytime to view, there will be a hard copy of the lighting syllabus outside my office door for anyone needing to view it if they are on campus and can not access atlas. The information gathered on this site is produced by Sonia Pasqual. All other information has been credited to its source and is only used as a visual aid for my students. Sonia has been involved in the art of theatre and entertainment since 1992. Her knowledge and information comes from her experience and growing up in the theatre world. She has worked in theatres across the Greater Central Florida, North Florida, and New York City. Her work and experience also extends into the theme parks such as Universal Studios 97-99, and Walt Disney World 04-Present, while at Disney she has played several roles.
    [Show full text]
  • A Lively Theatre There's a Revolution Afoot in Theatre Design, Believes
    A LIVELY THEatRE There’s a revolution afoot in theatre design, believes architectural consultant RICHARD PILBROW, that takes its cue from the three-dimensional spaces of centuries past The 20th century has not been a good time for theatre architecture. In the years from the 1920s to the 1970s, the world became littered with overlarge, often fan-shaped auditoriums that are barren in feeling and lacking in intimacy--places that are seldom conducive to that interplay between actor and audience that lies at the heart of the theatre experience. Why do theatres of the 19th century feel so much more “theatrical”? And why do so many actors and audiences prefer the old to the new? More generally, does theatre architecture really matter? There are some that believe that as soon as the house lights dim, the audience only needs to see and hear what happens on the stage. Perhaps audiences don’t hiss, boo and shout during a performance any more, but most actors and directors know that an audience’s reaction critically affects the performance. The nature of the theatre space, the configuration of the audience and the intimacy engendered by the form of the auditorium can powerfully assist in the formation of that reaction. A theatre auditorium may be a dead space or a lively one. Theatres designed like cinemas or lecture halls can lay a dead hand on the theatre experience. Happily, the past 20 years have seen a revolution in attitude to theatre design. No longer is a theatre only a place for listening or viewing.
    [Show full text]
  • Cheers! À Votre Santé!
    July/Juillet 2007 volume 4 N° 07 Stageworks The monthly electronic newsletter for members of the Canadian Institute for Theatre Technology / Institut canadien des technologies scénographiques. In this month’s issue: INDEX ce mois-ci: p.1-4 News from the National Office / Nouvelles du bureau national p.5 ETCP News / Nouvelles de ETCP p.6-7 Membres CITT / ICTS 2006-2007 Membership p.8-11 RENDEZ-VOUS 2007 conference CHEERS! À VOTRE SANTÉ! programme details The art of communicating with your soundman, Atlantic style! L’art de communiquer avec son sonorisateur, à la mode atlantique ! p.12 New Members and Participants raise a pint of Get Well wishes to Brad Fox who was ill and Les participants lèvent leur verre à la santé de Brad Fox qui, pour des Upcoming Events / couldn’t come out to host his session on digital sound consoles during raisons de santé justement, n’a pas pu se rendre à la conférence APA à Nouveaux membres et Événements à the APA mini conference retreat in Wolfville, NS. From left to right: Nigel Wolfville, N.É. pour offrir son atelier sur les consoles de son numériques. venir Kearns (Membertou Trade and Convention Centre, NS), Jeffery Fevens De gauche à droite : Nigel Kearns (Membertou Trade and Convention (Fredericton Playhouse, NB), Mike Gohier (JD International, QC) and Centre, N.-É.), Jeffery Fevens (Fredericton Playhouse, N.-B.), Mike Gohier Karl Simmons (Arts and Culture Centre, NL). (JD International, QC) et Karl Simmons (Arts and Culture Centre, T.-N.). PS: Brad was finally able to make it the next day to give his session.
    [Show full text]
  • Community Arts Theatre at Stelly's
    RFP TITLE Community Arts Theatre at Stelly’s Feasibility Study, Phase 1 November 2016 HCMA Architecture + Design Terence Williams, Architect Hamilton McClymont, Arts and Entertainment Management Consulting Ron Broda President – The Society for the Community Arts Theatre at Stelly’s 1348 Mills Road, North Saanich, B.C. V8L 5T2 November 2, 2016 RE: Community Arts Theatre at Stelly’s – Feasibility Study Phase 1 In collaboration with Terence Williams, Architect and Hamilton McClymont, Arts and Entertainment Management Consultant, HCMA Architecture + Design is pleased to present this report to summarize the first phase of the feasibility study for a new Community Arts Theatre at Stelly’s Secondary School. The Society for the Community Arts Theatre at Stelly’s engaged the above consultant team to review the feasibility of developing a new performing arts theatre attached to Stelly’s Secondary School. In addition to serving as a pedagogical venue for students, the proposed theatre is intended to be a community performance venue. The first phase of this process included a preliminary needs assessment based on an engagement process undertaken with various stakeholders, test for fit analysis on the existing school site and the production of preliminary architectural visualizations of the proposed theatre for marketing and fundraising. The primary objective of this process was to determine what is realistic and possible, both from the standpoint of the physical constraints of the existing school site and an analysis of the market environment within which the proposed theatre would have to operate. This report includes details regarding the process undertaken, test for fit analysis on the existing school property, stakeholder engagement process undertaken, benchmarking of various relevant facilities in British Columbia and our analysis of the type and size of facility that would serve the intended users into the future.
    [Show full text]
  • Types & Forms of Theatres
    THEATRE PROJECTS 1 Credit: Scott Frances Scott Credit: Types & Forms of Theatres THEATRE PROJECTS 2 Contents Types and forms of theatres 3 Spaces for drama 4 Small drama theatres 4 Arena 4 Thrust 5 Endstage 5 Flexible theatres 6 Environmental theatre 6 Promenade theatre 6 Black box theatre 7 Studio theatre 7 Courtyard theatre 8 Large drama theatres 9 Proscenium theatre 9 Thrust and open stage 10 Spaces for acoustic music (unamplified) 11 Recital hall 11 Concert halls 12 Shoebox concert hall 12 Vineyard concert hall, surround hall 13 Spaces for opera and dance 14 Opera house 14 Dance theatre 15 Spaces for multiple uses 16 Multipurpose theatre 16 Multiform theatre 17 Spaces for entertainment 18 Multi-use commercial theatre 18 Showroom 19 Spaces for media interaction 20 Spaces for meeting and worship 21 Conference center 21 House of worship 21 Spaces for teaching 22 Single-purpose spaces 22 Instructional spaces 22 Stage technology 22 THEATRE PROJECTS 3 Credit: Anton Grassl on behalf of Wilson Architects At the very core of human nature is an instinct to musicals, ballet, modern dance, spoken word, circus, gather together with one another and share our or any activity where an artist communicates with an experiences and perspectives—to tell and hear stories. audience. How could any one kind of building work for And ever since the first humans huddled around a all these different types of performance? fire to share these stories, there has been theatre. As people evolved, so did the stories they told and There is no ideal theatre size. The scale of a theatre the settings where they told them.
    [Show full text]
  • Entertaining at Chicago Shakespeare Theater
    ENTERTAINING AT CHICAGO SHAKESPEARE THEATER Chicago Shakespeare Theater serves as the cultural anchor of historic Navy Pier on downtown Chicago’s lakefront. Our annual producing season features as many as 16 plays and 650 performances. CST’s current home contains two dynamic theater spaces that are designed to accommodate a wide variety of staging needs and concepts. Sir Peter Hall, Founder of Great Britain’s Royal Shakespeare Company, calls it “one of the best, if not the best, Shakespeare spaces in the world.” Jentes Family Courtyard Theater Carl and Marilynn Thoma Theater Upstairs The Jentes Family Courtyard Theater was inspired The Carl and Marilynn Thoma Theater Upstairs by the Royal Shakespeare Company’s Swan Theatre. at CST is a flexible, 200-seat venue, suiting the A 500-seat theater, it features a thrust stage. creative choices of an artistic team with practically This configuration fosters an intimate, immediate limitless versatility. relationship between the actors and their audience. Sat, Tue–Thu Fri Sun Mat Sun Eve ADULT Subscription Series Productions $47 $58 $66 $47 GROUP RATES Tristan & Yseult $55 $65 $65 $65 The Table $35 $35 $35 $35 Short Shakespeare! $15 A Midsummer Night’s Dream Shrek The Musical $22* $22* $22* Pricing above reflects 2013/14 schedule. Rates subject to change. *Free Adult Ticket for Every 10 children To discuss creating your perfect event at CST, please contact Samantha Decker, Institutional Relations Coordinator, at 312.667.4946 or [email protected] FIVE UNIQUE SPACES TO SUIT YOUR ENTERTAINING NEEDS Tailor your next high profile occasion around one of our award-winning productions.
    [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]
  • 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]
  • The Gateway Theater Logan Square
    Newsletter – January 2017 Number XXV A Gorgeous Garden of Dreams: The Gateway Theater Logan Square This past year, the Northwest Chicago Historical Society was proud that Jefferson Park and Portage Park were chosen to showcase venues in Open House Chicago, an annual architectural festi- val organized by the Chicago Architecture Foundation. Multiple establishments on the Northwest side opened their door for the very first time to host curious guests from all over the country. The venues included the Copernicus Center, Carl Schurz High School, the Jefferson Masonic Temple, the Rivoli Theater, Our Lady of Victory, Portage Arts Lofts, and the Portage Theater. Over 100,000 people partici- pated this year, making it one of the largest events of its kind in the world. We hope that we are able to continue to bring more people into the area to visit our historical and cultural heritage. In our most recent newsletter issues, members were most excited about the movie theater pic- tures, so this issue continues on that theme. This time, we feature the Kobelinski Theater, a theater inside the Copernicus Center that has been redeveloped into a cultural venue and multi-event complex. At one time, this was called the Gateway Theater, and it was the largest movie palaces on the Northwest Side. Since the Copernicus Center purchased the Gateway, they transformed the lobby and outside mar- quee to be more reflective of its current usage. However, the community is fortunate that they saved the theater from the wrecking ball and have beautifully preserved the historic, decorative interior. While the venue now is mostly used for live performances, the center also hosts many multi-cultural and neighbor- hood events.
    [Show full text]
  • We As Artists Who Have Performed on the Cabaret Stage Located on the Second Floor of Café Cleopatra's, Have Been Following Th
    We as artists who have performed on the cabaret stage located on the second floor of Café Cleopatra’s, have been following the OCPM meetings with a keen interest in the hope that the new revitalization plan for the lower main would bring a new life/vitality/ vigour to a much neglected historical entertainment district. Because of our involvement with Café Cleopatra’s, we have become aware of the eclectic historical life of this particular building and had greatly anticipated the beneficial effects that the Quartier des Spectacles project development would have in courting a wider interest in the upstairs cabaret show bar. Through the public consultation meetings we were further informed of the nature of the proposed plans put forth by the SDA. We were discouraged by the absence of consideration for the needs of those currently occupying the space slated for development. If the Quadilatere is to go forth with-out amendments necessary to ensure the right of Café Cleopatra’s to exist, the longstanding tradition of alternative entertainment that this venue has nurtured will be silenced. The forms of alternative entertainment performed at Café Cleopatra’s vary from drag impersonations, traditional travesties, and underground performance art. All of these have branched from the roots of Vaudeville theatre. 1. Vaudeville is defined as: a. Stage entertainment offering a variety of short acts such as slapstick turns, song-and-dance routines, and juggling performances. b. A theatrical performance of this kind; a variety show. 2. A light comic play that often includes songs, pantomime, and dances. 3. A popular, often satirical song.
    [Show full text]
  • Types of Theatre Stages
    Types of Theatre Stages We have previously looked at how effective use of a stage can enhance a performance, we have also looked at the history of theatre (Greek Theatre)and why different performances require different spaces. This is an opportunity for you to look at different performance spaces in greater detail. There are some activities to help your understanding. You will need ro make your own copy in your google drive so you can type on the sheet. L.O. ● To develop awareness of the different types of theatrical stages. ● To understand how a space can influence a performance. Tasks ● Study the Types of Stages attached so that you can identify their differences and similarities. ● Answer the questions on the spaces provided. ● Using the information that you have read and with reference to the Types of Stages discussed- invent your own ideal type of performance space. Think about the advantages and disadvantages of this space. What makes it different to the other spaces? Page 1 of 10 Types of Theatre Stages PROSCENIUM ARCH STAGE ● A stage where the audience sits on one side only is called a proscenium stage (you might know this as end-on staging). ● The audience faces one side of the stage directly making up the forth wall. ● A proscenium Arch is also like a picture frame because it is shaped in such a way that the audience watches the play as it would regard a picture ● While the stage is illuminated during the performance, the auditorium remains dark, which also turns the audience into an anonymous mass ● Since the audience is thus not disturbed from watching the play and can fully concentrate on the action on stage, it becomes easier to create an illusion of real life in plays.
    [Show full text]