Glossary of Terms
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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. -
National Register of Historic Places Multiple Property Documentation Form Prepared for the Nebraska State Historical Society, 1988
NFS Form 10-900-b OMB No. 1024-0018 (June 1991) United States Department of the Interior National Park Service National Register of Historic Places BEGIStEB Multiple Property Documentation Form This form is used for documenting multiple property groups relating to onf or several historic contexts. See instructions in How ro Complete the Multiple Property Documentation Form (National Register Bulletin 168). Complete each item by entering the requested information. For additional space, use continuation sheets (Form 10-900-a). Use a typewriter, word processor, or computer to complete all items. X New Submission Amended Submission A. Name of Multiple Property Listing Footlights in Farm Country: Iowa Opera Houses, 1835-1940 B. Associated Historic Contexts (Name each associated historic context, identifying theme, geographical area, and chronological period for each.) Historical Development of Live Stage Entertainment in Iowa C. Form Prepared by name/title Tracy A. Cunning w/research by V.K. & W.L. Cunning organization Prepared for PHR Associates______ date 5 March 1993 street & number 1141 S. Farmer Ave., Apt. 1___ telephone 602/968-061 5 city or town ___Tempe__________ state Arizona zip code 85281-5551 O. Certification As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this documentation form meets the National Register documentation standards and sets forth requirements for the listing of related properties consistent with the National Register criteria. This submission meets the procedural and professional requirements set forth in 36 CFR Part 60 and the Secretary of the Interior's Standards and Guidelines for Archeology and Historic Preservation. -
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. -
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. -
E1.56-2018 Entertainment Technology – Rigging Support Points
E1.56-2018 Entertainment Technology – Rigging Support Points Approved by the ANSI Board of Standards Review on 06 November 2018 Rig/2015-2034r8 © 2018 The Entertainment Services and Technology Association (ESTA) E1.56-2018 Entertainment Technology – Rigging Support Points Notice and Disclaimer ESTA does not approve, inspect, or certify any installations, procedures, equipment or materials for compliance with codes, recommended practices or standards. Compliance with an ESTA standard or recommended practice is the sole and exclusive responsibility of the manufacturer or provider and is entirely within their control and discretion. Any markings, identification or other claims of compliance do not constitute certification or approval of any type or nature whatsoever by ESTA. ESTA neither guaranties nor warrants the accuracy or completeness of any information published herein and disclaim liability for any personal injury, property or other damage or injury of any nature whatsoever, whether special, indirect, consequential or compensatory, directly or indirectly resulting from the publication, use of, or reliance on this document. In issuing and distributing this document, ESTA does not either (a) undertake to render professional or other services for or on behalf of any person or entity, or (b) undertake any duty to any person or entity with respect to this document or its contents. Anyone using this document should rely on their own independent judgment or, as appropriate, seek the advice of a competent professional in determining the exercise -
LD, Historian, & Author Kathy A. Perkins April 29 Is Arbor Day And
USITT :: Sightlines :: April 2016 April 2016 Print this page › NEWS & NOTICES: Lead story › Member Spotlight USITT Member Spotlight: LD, Historian, & Author Kathy April 29 #RigSafe Day A. Perkins Three New Fellows! Q&A with Kathy Perkins, lighting designer, theatre historian, professor, cultivator of African women playwrights... more » USITT 2016 Highlights DAAs in Conversation April 29 is Arbor Day and #RigSafe Day! Wally Mentor Award For the second year, USITT is promoting safe stages on Arbor Day by Announcements inviting friends to share the hashtag #RigSafe on social media... more » 2016 Tech Olympics Last Word: Profiles + USITT Has Three New Fellows Rachel Keebler, David Will, and Stephanie Young were inducted as NEWS FROM: USITT’s newest fellows at USITT 2016 in Salt Lake City... more » Around the Institute Industry Members USITT 2016 Rocked the Salt Palace Transitions With 4,500 attendees, 274 exhibitors, and 250-plus inspiring sessions, USITT 2016 made some great moments and memories. more » USITT's President OISTAT 2016 Distinguished Achievers Drop Some Knowledge Spotlight on Giving We share inspiring quotes from the USITT 2016 Distinguished USITT's Executive Director Achievers in Conversation panel in Salt Lake ... more » Regional Sections Guy Bergquist Receives 2016 Wally Russell Mentor COMMISSIONS: Award Scene Design: The former Arena Stage producer gave a moving acceptance speech Compendium about why he loved working and mentoring... more » Costume Commission: 2016 Symposium 2016 Tech Olympics Tested Student Tech Skills CONFERENCE & STAGE And for the second year in a row, Emerson College cleaned up in the EXPO: annual competition for student teams across the country... more » 2016 BTS Raffle FOR THE RECORD: USITT’s President: Making Choices As USITT’s goals grow, it must make more choices on how to use Leadership resources to serve all members. -
USITT :: Sightlines :: May 2016
USITT :: Sightlines :: May 2016 May 2016 Print this page › NEWS & NOTICES: Lead story › Member Spotlight USITT Member Spotlight: Scenic Designer William Gateway Mentoring Bloodgood 2016 YD&T Awards Q&A with William Bloodgood, scene designer & educator, on his process & advice... more » eSET Certificates Glerum Masterclasses Gateway Mentors & Mentees Bond at USITT 2016 Announcements The third Gateway cohort brought new faces, ideas, and energy to Grad Book Bundles USITT 2016 and the Diversity Initiative... more » Last Word: When the Fire Fades YD&T Awards Left Memorable Impressions USITT’s 2016 Young Designers & Technicians received their awards NEWS FROM: with inspiration and gratitude... more » Around the Institute Industry Members eSET Presents First Certificates, Quiz Show Winners Transitions Ten people passed exams to receive the first eSET certificates; others aced the Quiz Bowl at USITT 2016... more » New Products USITT's President June Masterclasses on Rigging and Electrics OISTAT The first Jay O. Glerum Rigging Masterclasses – and an Electrical Workshop – come to Denver June 13-14... more » Spotlight on Giving USITT's Executive Director Gift Ideas From the USITT Bookstore Regional Sections USITT offers its Designs of books on famous artists bundled for graduation giving... COMMISSIONS: more » Scene Design: Blow It Up USITT’s President: Opening Soon – Act Three Costume Symposium Mark Shanda unveils plans to Act III of USITT, mapping a path to the Lighting Design: future... more » Compendium CONFERENCE & STAGE Spotlight On Giving: Ribbons for Rigging EXPO: Every little bit helps keep USITT programs going – in this case, $1 per Videos & Wrap-ups ribbon... more » FOR THE RECORD: Leadership Executive Director: Why We Took a Stand on Discriminatory Laws Contributing Members David Grindle on the rationale behind USITT’s statement on the anti- Sustaining Members LBGTQ laws in North Carolina and Mississippi.. -
Technical Information
Northshore Performing Arts Center TECHNICAL INFORMATION Information for Theatre Usage and Rentals Table Of Contents ● House Rules ● Technical Information of Theatrical Equipment ● Rental Questionnaire for Technical Requirements Season: 2011 –2012 Page 2 Welcome To The Northshore Performing Arts Center This booklet is designed to assist in your preparation for a successful and productive presentation at the new Northshore Performing Arts Center. The McAuliffe Green Room , NPAC lobby, necessary for any Seats in the main theatre wholly sponsored and furnished performing arts center. by the McAuliffe Family. Added Enhancements to the NPAC from the NPAC Foundation Attractive lobby to create the "theater experience," includ- ing ticket office and ample restroom facilities. Upgraded high-quality seats for greater comfort and ex- tended life. Premium theater lighting and acoustics for optimum audi- ence enjoyment of various program offerings. Expanded orchestra pit with automatic lift. Recording studio with capability for state of the art, pro- fessional-quality recordings. Modifications to the drama classroom for its use as a ver- satile "black box theater" to accommodate a variety of theatrical, educational events. (Not available for rent with the theater at this time.) Performers' green room, additional dressing rooms and additional storage. This year’s enhancement will be adding more lines sets to the rigging and further enhancements to the sound. Northshore Performing Arts Center Page 3 Table of Contents House Rules 4-5 Break Schedule 5 Theatre Safety 6-7 Stage Dimensions 8 Rigging System 8 Strike List 9 Soft Goods 10 Musical Instrument Inventory 10 Sound System 11-13 Electrics 13-16 Ground plan and Side Elevation 17-19 Production Requirements 20-23 Line Sets 24 Rental Questionnaire 25-36 From Your Technical Staff Dear Friends, We look forward in assisting you with your performance or presentation at our beautiful facility.