Theatre 241: Stagecraft - Instituto de Artes

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Instructor: Larry Wild, Assistant Professor of Theatre 2IILFH� JFAC 124A 3KRQH� 626-2513 2IILFH�+RXUV: 9:30 to 10:30am, Tuesday and Thursday, 11:00am to 12noon, Monday, Wednesday and Friday RU by appointment (�PDLO�DGGUHVV��[email protected] +RPH�3DJH��http://www.northern.edu/wild/index.htm

Course objective: To provide the student with a basic understanding of the technical aspects of theatre production: Scenery, Lights, Sound and Props.

Texts:

7KHDWULFDO�'HVLJQ�DQG�3URGXFWLRQ��$Q�,QWURGXFWLRQ�WR�6FHQH�'HVLJQ�DQG�&RQVWUXFWLRQ��/LJKWLQJ��6RXQG��&RVWXPH��DQG�0DNHXS (4th edition) by J. Michael Gillette. (Mountain View, CA: Mayfield Publishing Company. 2000).

$�'ROOV�+RXVH by Henrik Ibsen, Adapted by Frank McGuinness (Acting edition- New York: Dramatists Play Service. 1998)

Supplemental material: 6WXG\�*XLGH�IRU�7KHDWUH��6WDJH&UDIW by Larry Wild (Aberdeen, SD: NSU Bookstore. 2002)

Lecture Notes...

1. Production Organization

2. The Design Process 3. The Stage and Its Equipment 4. Style, Composition and Design 5. Color

)LUVW�/LWWOH�4XL] -- Production Organization to Color 6. Scene Design 7. Tools and Materials 8. Scenic Production Techniques 9. Assembling, Bracing, and Shifting the Set 10. Scene Painting

6HFRQG�/LWWOH�4XL] -- Scene Design to Scene Painting 11. Stage Properties 12. Lighting Design 13. Electrical Theory and Practice 14. Lighting Production 15. A Home Made Lighting System 16. Sound Design and Technology

7KLUG�/LWWOH�4XL] -- Properties, Lighting and Sound

Projects...

1. Building a Virtual Model 2. Designing a Set -- $�'ROOV�+RXVH 3. Creating a Lighting Composition 4. Developing a Light Plot (1HZ)

Expectations: In addition to attending class and completing the four projects, each student is expected to...

1. :RUN�WZR��KRXUV�D�ZHHN in the Scene Shop 25 on a running crew (sets, props, lights, or costumes) for ��,Q�7KH�6KDGH� Stage Management will satisfy the lab requirement of the course.

2. :RUN one of the 7HFK�'D\V for ��,Q�7KH�6KDGH: Saturday, October 18 or Saturday, October 25.

3. Attend a performance of ��,Q�7KH�6KDGH, October 30, 31 and November 1.

Attendance Policy: Attendance will be taken during class lectures. A student will earn one (1) point for each class meeting they attend, and one half (1/2) point for each excused absence. It is the student’s responsibility to notify me of all excused absences. Students will be held responsible for all materials covered during any missed lectures.

Grading: Grades will be determined through a point system. Points are earned on the three H[DPV, the

four SURMHFWV, DWWHQGDQFH and VKRS�KRXUV. *UDGLQJ�VFDOH� 90% of the highest score is an A; 80% is a B; 70% is a C; 60% is a D, and below 60% is failing.

Shop Work: The 1RUWKHUQ�6FHQH�6KRS (JFAC 124) is normally open Monday through Friday from 3 to 5pm. Each student is expected to work a PLQLPXP�RI��KRXUV. Regular attendance will be a factor in determining course grades. Hours worked during 7HFK�'D\V are counted as 6KRS�+RXUV. . Students working on a UXQQLQJ�FUHZ are expected to be at DOO technical and dress rehearsals (October 25 - 29), performances (October 30 - November 1), and strike (after the final performance, November 1). The running crew will normally work between 21 and 28 hours over 7 days. Any shop hours over 24 will be extra credit.

Disability Policy: If you have a physical, psychiatric/emotional, medical or learning disability that may impact on your ability to carry out assigned course work, I urge you to contact .DUHQ�*HUHW\, 'LUHFWRU�RI�'LVDELOLW\�6HUYLFHV at 626-2371or stop by 6WXGHQW�&HQWHU��. They will review your concerns and determine, with you, what accommodations are necessary and appropriate. All information and documentation of disability is confidential.

Theatrical Supply Houses 1RUFRVWFR and 6WDJH�7HFKQRORJ\ are our two local theatrical supply houses. From them we purchase scenic muslin, scene paint, gel, and theatrical lighting equipment -- instruments, lamps, dimmers, and control consoles.

1RUFRVWFR (Northwestern Costume) 3204 N. Highway 100 Minneapolis, MN 55422-2789 Phone: 612-533-2791 Toll Free: 800-220-6920 Fax: 612-533-3718 eMail: [email protected]

6WDJH�7HFKQRORJ\ 3110 Washington Avenue North, Suite 100 Minneapolis, MN 55411 Phone: 612-455-0210 Fax: 612-455-0224 Toll Free: 800-889-4081 Toll Free Fax: 800-898-4756 eMail: [email protected]

7RELQV�/DNH�6WXGLR A source of rental drops...

7030 Whitmore Lake Road Brighton, Michigan 48116-8570 Phone: 810-229-6666 Fax: 810-229-0221

Stagecraft Links

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x� 6WDJH&UDIW�)UHTXHQWO\�$VNHG�4XHVWLRQV��)$4� A FAQ developed through the UHF�DUWV�WKHDWUH�VWDJHFUDIW news group.

x� .HQ�0F&R\V�%ULHI�*XLGH�WR�,QWHUQHW�5HVRXUFHV�LQ�7KHDWUH�DQG�3HUIRUPDQFH�6WXGLHV� A good point to start in any theatre based web search.

x� /LJKWLQJ'HVLJQ6RXUFH An online resource from the University of Virginia.

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Stage Managers Do Make Coffee: A Handbook for Stage Managers by Carissa Dollar

x� 6FHQH�6KRS�6DIHW\�0DQXDO The University of Michigan’s Shop Manual for students and employees.

x� *ORVVDU\�RI�/LJKWLQJ�7HUPV A glossary of lighting terms organized by R. Lee Kennedy for USEM 170-12: History and Influence of Rock and Roll Lighting Design and Technology.

x� *ORVVDU\�RI�7HFKQLFDO�7KHDWUH�7HUPV��/LJKWLQJ A glossary of British Theatre Terms from the University of Exeter Drama Department.

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Entertainment Services and Technology Association: a non-profit trade association. x� ,$76(

The International Alliance of Theatrical Stage Employees: the "stagehands" union. x� 86$$

United Scenic Artists of America: Designers and Artists for the Entertainment Industry

x� 86,77 The United States Institute of Theatre Technology.

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x� $OWPDQ�6WDJH�/LJKWLQJ�&RPSDQ\ Lighting Instruments

x� /HYLWRQ��&RORUWUDQ�, a division of NSICorp Lighting Instruments, Control Consoles, Dimmers

x� 'RYH�6\VWHPV Control Consoles (Scenemaster, Controlmaster), Dimmers (Dimmermaster)

x� (7&��(OHFWURQLF�7KHDWUH�&RQWUROV� Control Consoles (Obsession, Expression, Impression, Idea, Acclaim) Dimmers (Sensor), Lighting Instruments (Source4)

x� *$03URGXFWV Color Media (GAM Color), GAM Patterns, the GAM Scene Machine (a scenic projector)

x� 0F.HUQRQ�6RIWZDUH The home of /LJKWZULJKW, %HDPZULJKW and John’s Pearls of Wisdom.

x� 5RVFR�/DERUDWRULHV� Color Media (Roscolux, Roscolene), Paint (supersaturated & off-broadway Roscopaint), Fog Machines

x� 6WUDQG�/LJKWLQJ Control Consoles (Lightpalette, Lightboard, GSX, Mantrix), Dimmers (CD80), Lighting Instruments (Lekolite)

x� 6WUDQG�$UFKLYH An unofficial journey through the history of Strand Stage Lighting.

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x� 6DSVLV�5LJJLQJ A full-service company for the arts and entertainment industry.

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J. Michael Gillette. 7KHDWULFDO�'HVLJQ�DQG�3URGXFWLRQ, 4th edition. Mountain View, CA: Mayfield Publishing Company. 1999. Chapter 1: Production Organization and Management.

O��2XWOLQH�WKH�RUJDQL]DWLRQ�RI�D�W\SLFDO�WKHDWUH�FRPSDQ\� See )LJXUH�� on page 6 and )LJXUH�� on page 13.

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��'LUHFWRU The 'LUHFWRU 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.

��6WDJH�0DQDJHU The 6WDJH�0DQDJHUV responsilities change during the four to six week rehearsal period. During the first few weeks he assists the director by maintaining the SURPSW�ERRN (See the 6LGH%DU��6WDJH�0DQDJHUV�3URPSW�%RRN� on page 12), distributing UHKHDUVDO�SURSV, VHWWLQJ�WKH�VWDJH before the actors arrive and SURPSWLQJ the actor when they "go up on lines." During WHFK�ZHHN he will move back stage (or perhaps to the light booth) to FDOO the show. After the show opens and the director’s job is complete, he is responsible for maintaining the LQWHJULW\ of the production.

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The 6FHQH�'HVLJQHU develops the drawings necessary to build, paint, and mount the set on stage. The 6FHQH�'HVLJQHUV�work is executed by the "set crew" under the leadership of the Master Carpenter.

��&RVWXPH�'HVLJQHU The &RVWXPH�'HVLJQHU develops the drawings necessary to build, rent, or borrow the character’s costumes.The &RVWXPH�'HVLJQHUV�work is executed by the "costume crew" under the leadership of the Wardrobe Master.

��/LJKWLQJ�'HVLJQHU The /LJKWLQJ�'HVLJQHU develops the drawings and charts necessary to hang, color, focus and Q the lights.The /LJKWLQJ�'HVLJQHUV�work is executed by the "light crew" under the leadership of the Master Electrician.

��6RXQG�'HVLJQHU The 6RXQG�'HVLJQHU 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. The VRXQG�ERDUG 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.

��0DVWHU�&DUSHQWHU The 0DVWHU�&DUSHQWHU is the head of the "set crew." He is responsible for taking the Scene Designer’s drawings and turning them into scenery on stage.

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The 6KLIW�&UHZ are the FDUSHQWHUV (members of the "set crew") who change the scenery in a multi-set show. They are part of the UXQQLQJ�FUHZ and fall under the jurisdiction of the Stage Manager.

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The 0DVWHU�(OHFWULFLDQ is the head of the "light crew." He is responsible for hanging, coloring and focusing the lights. He is usually the ERDUG�RSHUDWRU which makes him part of the UXQQLQJ�FUHZ under the jurisdiction of the Stage Manager.

��:DUGUREH�0DVWHU The :DUGUREH�0DVWHU is the head of the "costume crew." He is responsible for taking the Costume Designer’s drawings and turning them into the costumes worn by the actor.

��3URSHUW\�0DVWHU The 3URSHUW\�0DVWHU is the head of the "prop crew." He is responsible for finding or building the necessary furniture, hand props and set dressing. He is guided by the SURS�OLVW generated by the Director and/or Stage Manager and by the drawings developed by the Scene Designer.

��6FHQLF�$UWLVW The Scenic Artist is a member of the "set crew." Using the SDLQWHUV�HOHYDWLRQV developed by the Scene Designer as a guide, he paints the scenery in the scene shop before the set crew places it on stage.

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6FHQH Designer, &RVWXPH Designer, /LJKWLQJ Designer, and 6RXQG Designer

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&DUSHQWU\ (sets), 3URSV, :DUGUREH (costumes) and (OHFWULF (lights). Each department is headed by a "master" -- Master Carpenter, Master Electrician, Prop Master and Wardrobe Master. The electric crew is normally responsible for the setup and operation of the sound equipment. The IO\PHQ, who operate the fly system, are part of the carpentry crew.

There are two primary crews involved in mounting a production -- the VKRS�FUHZ which builds (or gathers) the set, props, costumes and lights and the VKRZ�FUHZ which mounts the production on stage. The show crews are divided into three groups -- the ORDG�LQ crew, the�UXQQLQJ crew and the ORDG�RXW crew. For example, it may take ten electricians to load a show in and out of the theatre, but only one to run the control board during the actual production.

��:KLFK�XQLRQ�UHSUHVHQWV�WKH�WKUHH�GHVLJQHUV"� The scene, costume and lighting designer are represented by the United Scenic Artists of America., Local 829 of the IATSE.

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The stagehand in the commercial American theatre is represented by the International Alliance of Theatrical Stage Employees (IATSE), a large organization which not only represents stage hands but also SURMHFWLRQLVWV, ILOP�HGLWRUV and other craft people employed in the ILOP�DQG�WHOHYLVLRQ�LQGXVWU\. There are three locals in South Dakota: one in Sioux Falls (Local 220), Rapid City (Local 731) and Mitchell / Huron (Local 503).

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A mixed local, such as those in Rapid City and Mitchell - Huron, includes both stagehands and projectionists.

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A "yellow card" show is a touring production which is staffed by an IA crew. The Master Carpenter sends a "yellow card" to the business agent of the IA local. This card established the size of the required crew for each department (carpentry, electric, props, and wardrove) for each call (in, show, and out). It is the responsibility of the union to provide the necessary stagehands.

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Before you can join the 8QLWHG�6FHQLF�$UWLVWV��86$$�, you must take an exam in the design area (sets, lights, costumes, scene painting) in which you wish to work.

Officially, you become a member of ,$76( through an apprenticeship program, but often you become a member become your father, and his father before him, were members. IA Local 470 in central Wisconsin gives each applicant a 6WXG\�*XLGH covering ten knowledge areas -- basic union information, carpentry, shop, electrics, properties, wardrobe, sound, video production, hardware identification, and practical application. An apprentice must score eighty percent or better on the entrance exam to earn a journey man’s card.

StageCraft Home Page

E-mail questions and comments to Larry Wild at [email protected]. Last updated: September 5, 2003 © 2001-2003 by Larry Wild, Northern State University, Aberdeen, SD 57401

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7H[W�� J. Michael Gillette. 7KHDWULFDO�'HVLJQ�DQG�3URGXFWLRQ, 4th edition. Mountain View, CA: Mayfield Publishing Company. 2000. Chapter 2: The Design Process

��/LVW�WKH�VHYHQ�GLVWLQFW�SKDVHV�LQ�WKH�GHVLJQ�SURFHVV� x� &RPPLWPHQW --

In order to create his best work the designer must seriously commit his WLPH and HQHUJ\ to the show. It must be his PRVW�LPSRUWDQW�SURMHFW.

x� $QDO\VLV -- The designer begins with an analysis of the VFULSW. The initial, or ILUVW, reading should introduce the designer to the story (SORW��FKDUDFWHUV��WKHPH). During the VHFRQG reading he should look for conceptual images and the dramatic mood (FRORU��OLQH��IRUP��WH[WXUH��YDOXH) and during the WKLUG reading he should develop lists of the specific design requirements of the show (SHULRG��ORFDWLRQ��GRRUV��ZLQGRZV��IXUQLWXUH��SRROV�RI�OLJKW).

x� 5HVHDUFK -- The designer needs to research both (1) SUHYLRXV�SURGXFWLRQV of the show and (2) the KLVWRULFDO�SHULRG (time) and the JHRJUDSKLFDO�ORFDWLRQ (setting) of the play.

x� ,QFXEDWLRQ -- The designer needs WLPH for his subconscious WR�SURFHVV�WKH�GDWD developed during the DQDO\VLV and UHVHDUFK phase. The incubation period can range from several hours to many months.

x� 6HOHFWLRQ -- During the selection phase, the designer develops PDQ\�SRVVLEOH�VROXWLRQV to the design problem. These solutions are generally in the form of small WKXPE�QDLO�VNHWFKHV. Many ideas are considered. Most are quickly discarded. Elements from these individual sketches eventually HYROYH�LQWR�WKH�ILQDO�GHVLJQ.

x� ,PSOHPHQWDWLRQ -- Once the final design has been determined, the designer will develop the necessary ZRUNLQJ�GUDZLQJV (IORRU�SODQ��GHVLJQHU�HOHYDWLRQV��SDLQWHUV�HOHYDWLRQ��OLJKW�SORW) needed to execute the project.

x� (YDOXDWLRQ -- Once the show has closed the designer will typically ask himself two questions.

1. Did I solve the problem? Was my solution HIIHFWLYH? Did the design ZRUN?

2. What did I OHDUQ from this project that I can apply to future productions? What techniques have I added to P\�EDJ�RI�WULFNV?


E-mail questions and comments to Larry Wild at [email protected]. Last updated: September 17, 2001 © 2001 by Larry Wild, Northern State University, Aberdeen, SD 57401

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7H[W�� J. Michael Gillette. 7KHDWULFDO�'HVLJQ�DQG�3URGXFWLRQ, 4th edition. Mountain View, CA: Mayfield Publishing Company. 2000. Chapter 4: The Stage and its Equipment.

2XWVLGH�UHDGLQJ�� Burris-Meyer, Harold and Edward C. Cole. 7KHDWUHV�DQG�$XGLWRULXPV� New York: Reinhold Publishing Corporation. 1964. Elder, Eldon. :LOO�,W�0DNH�D�7KHDWUH. New York: Drama Book Specialists, Publisher. 1979

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In an DUHQD theatre the actor is totally surrounded by the audience. See )LJXUH�� and )LJXUH�� on page 65-66.

In a WKUXVW�VWDJH theatre he is surrounded on three sides by the audience-- the fourth side contains the scenery. See )LJXUH�� and )LJXUH�� on page 64-65.

In a SURVFHQLXP house the the actor is on a raised platform in front of the audience. See )LJXUH��$ on page 34.

��*LYH�D�ORFDO�H[DPSOH�RI�D�SURVFHQLXP�WKHDWUH"� The 0DLQ6WDJH of the Johnson Fine Arts Center. The &DSLWRO�7KHDWUH (the home of the Aberdeen Comunity Theatre) and the &LYLF�7KHDWUH in downtown Aberdeen.

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The *XWKULH�7KHDWUH in Minneapolis. Gillette used the &DQDGLDQ�6KDNHVSHDUH�)HVWLYDO�7KHDWUH in Stratford, Ontario as his example in )LJXUH��% on page 34.

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Although it’s not local, the $UHQD�6WDJH in Washington, DC is probably the most logical example of an arena theatre. See )LJXUH�� on page 66 for a view of the $UHQD�6WDJH in action. Northern has used both the DUHQD and WKUXVW configuration for its 7KHDWUH�2Q�WKH�6WDJH presentations.

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The ILUH�FXUWDLQ is a flame resistance drop hung immediately behind the proscenium arch. In case of fire the curtain is be dropped to protect the audience.

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The DFW�FXUWDLQ (also known as the JUDQG�GUDSH) is generally hung directly behind the fire curtain. It is traditionally used to begin and end each act. See )LJXUH�� on page 59.

��7UDYHOHU A WUDYHOHU is a full-stage drape which is split in the center. When opened it travels to the side and is stored off-stage left and right. The 0DLQ6WDJH act curtain is a WUDYHOHU.

��7RUPHQWRU The WRUPHQWRUV are narrow (8’ wide x 24’ tall) curtains hung immediately behind the act curtain. They are used to establish the width of the setting (if it is narrower than the proscenium opening) and mask (hide) the off-stage space. On the 0DLQ6WDJH we use the act curtain to establish the width of the opening.

��7HDVHU The WHDVHU (or JUDQG�YDODQFH) is a short, full stage (48’ wide x 8’ deep) curtain hung immediately behind the act curtain. It is used to establish the height of the setting and to mask the lights and scenery hung above the acting area. Together the WRUPHQWRU and WHDVHU form an inner portal or IDOVH�SURVFHQLXP (See )LJXUH�� on page 60) which frames the action of the play.

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/HJV are the narrow curtains hung at the sides of the stage which mask the back stage space.

��%RUGHU %RUGHUV or short full stage curtains hung above the acting area which mask the lights and scenery hung in the fly loft. Typically the ERUGHUV are hung downstage (in front of) the set of OHJV. Gillette calls the ERUGHUV: teasers. See )LJXUH�� on page 61 for a plan (top) and sectional (side) view of a masking system using OHJV and ERUGHUV.

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6FULP is an open weave fabric which is often used for "magical" effects. When lit only from the front it appears solid; when lights behind the VFULP are turned on, the fabric becomes transparent revealing whatever is up stage.

��&\F The &\F, short for F\FORUDPD, is the light blue drop, or white plastered wall, at the rear of the stage. It is generally used to represent an endless, cloudless sky. See )LJXUH�� on page 63.

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The DSURQ is the stage space infront of the act curtain. See )LJXUH�� on page 47.

��:LQJV The ZLQJV are the backstage space on either side of the acting area. See )LJXUH�� on page 47.

��)O\�/RIW The IO\�ORIW is the backstage space above the acting area. See )LJXUH�� on page 53.

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The JULG is the I beams which form the "ceiling" of the stage house. The blocks (or pulleys) which hold the lines of the rigging system are clamped to these beams. See )LJXUH�� on page 53.

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The lines which control the rigging are secured (tied off or locked) to the SLQ�UDLO (or ORFN�UDLO). See )LJXUH�� and )LJXUH��on page 54-55.

��&HQWHU�/LQH The FHQWHU�OLQH marks the center of the stage. It is one of the two reference lines used when locating points on the stage.

��3ODVWHU�/LQH The SODVWHU�OLQH is the second reference line. It extends from the upstage corner of the stage left proscenium arch to the upstage corner of the stage right proscenium arch. Each point is located by its distance from the SODVWHU�OLQH and its distance left or right of the FHQWHU�OLQH.

��&RYH��RU�FHLOLQJ�EHDP� The FRYH, or FHLOLQJ�EHDP, is the front-of-house mounting position, usually cut into the ceiling of the auditorium, where lighting instruments are hung to light the front edge of the stage.

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The OLJKW�ERRWK is a small room in the rear of the auditorium where the lighting control console is located. From this room the master electrician should have a clear view of the stage.

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The VRXQG�ERRWK is generally located in the back of the auditorium but is typically not in a separate room. The operator should be in the same room as the audience and should have a clear view of each speaker.

��6WDJH�/HIW��6WDJH�5LJKW 6WDJH�OHIW and VWDJH�ULJKW are always from the actor’s point-of-view with the actor standing on stage, facing the audience.

��'RZQ�6WDJH��8S�6WDJH 'RZQ�VWDJH is towards the audience; XS�VWDJH is towards the back wall. See the sidebar: 6WDJH�'LUHFWLRQV on page 48.

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6L[W\ feet.

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)RUW\ feet from the plaster line to the back wall.

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2QH�KXQGUHG feet.

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7KLUW\�RQH feet. Because of the size of the counter weight-arbor, the maximum out trim of a lineset is either 24’ (for our four Electric Pipes) or 27 feet.

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(LJKW\�HLJKW feet from the curtain line to the back row.

Link to the *URXQG�3ODQ and &URVV�6HFWLRQ of the -RKQVRQ�)LQH�$UWV�&HQWHU formatted to print on 8.5x11 paper in landscape mode. You will need to download the free Adobe Acrobat Reader to view (or print) these files.

��:KDW�LV�WKH�GLIIHUHQFH�EHWZHHQ�D�� 5RSH�6HW��RU�+HPS��

A URSH�VHW is the oldest, simplest, most flexable, and most dangerous rigging system. A set of ropes run from the pipe (or EDWWHQ) up to the ORIW�EORFNV clamped to the grid, across to the KHDG�EORFN secured to the side wall of the fly loft and down to the SLQ�UDLO. A 400 pound load on the pipe (20 spotlights, for example) will require a 400 pound force (two or three large IO\PHQ) at the pinrail. See )LJXUH�� on page 54.

��&RXQWHUZHLJKW��DQG� A FRXQWHUZHLJKW system is easier and safer to use. A set of cables (wire-rope) run from the pipe (or EDWWHQ) up to the ORIW�EORFNV across

to the KHDG�EORFN and down to the top of the FRXQWHUZHLJKW�DUERU. A rope KDXO�OLQH runs from the top of the DUERU up to the loft block, down through the ORFN�UDLO, around the WHQVLRQ�SXOOH\ and up to the bottom of the DUERU. A 400 pound load on the pipe (20 spotlights, for example) is balanced with 10-- 40 pound lead weights (bricks) on the DUERU. To bring the pipe LQ (down), the flyman pulls the KDXO�OLQH down which raises the DUERU and lowers the pipe. Because the load is balanced only one operator is required. See )LJXUH�� on page 55.

��'HDG�KXQJ�V\VWHP�RI�ULJJLQJ"

In a GHDG�KXQJ system the pipe is permanently chained to the grid. If you need to hang a light you get out the ladder.

��:KLFK�ULJJLQJ�V\VWHP�GR�ZH�KDYH�LQ�WKH�-RKQVRQ�&HQWHU"

A wire-guide, single purchase, FRXQWHUZHLJKW system.

��+RZ�PDQ\�OLQH�VHWV�GR�ZH�KDYH"

)LIWHHQ -- 4 Electric pipes, 4 Borders, 3 sets of Legs, 3 sections of "Concert Shell Ceiling Units," and the Sky Drop (or Cyc). Notice there are QR�VSDUH�SLSHV. If we must hang a drop for a show, we either double up (hang two units on one pipe -- for example: border and legs on the same pipe) or we take down the "Concert Shell Ceiling Units."

��+RZ�PDQ\�OLQHV�VKRXOG�ZH�KDYH"

We should have between �� and �� pipes. The conventional practice is to evenly distribute the line sets on 8 or 12 inch centers.

��:KDW�RQ�RXU�VWDJH�LV�GHDG�KXQJ"

The DFW�FXUWDLQ, the mid-stage black WUDYHOHU, and the up-stage black WUDYHOHU.

��:KDW�W\SH�RI�IORRULQJ�VKRXOG�EH�XVHG�RQ�D�VWDJH"

The stage floor should be made of a soft ZRRG (perhaps plywood) covered with particle board and tempered Masonite (R). Typically the top layer of the stage floor will need to be replaced every two or three years. See the sidebar: 6WDJH�)ORRUV on page 49.

��:KDW�LV�D�WUDS"�+RZ�LV�LW�XVHG"

A WUDS is section of the stage floor which can be removed giving the actors and crew access to the basement. It is generally used for those plays which require an entrance from below. See )LJXUH�� on page 51.

��:KDW�VKRXOG�EH�WKH�FRORU�DQG�ILQLVK�RI�WKH�VWDJH�IORRU"

The floor should be painted a flat EODFN.

��7KH�PDVNLQJ�GUDSHV"

%ODFN.

��2XW�RI�ZKDW�W\SH�RI�PDWHULDO�VKRXOG�WKH\�EH�FXW"

9HORXU, or a similar light absorbing material such as commando cloth or duvetyn.

��:KDW�LV�D��FRQFHUW�GUDSH��RU��ROLR"�� A IXOO�VWDJH�WUDYHOHU hung HLJKW�WR�WZHOYH�IHHW�XSVWDJH of the act curtain.

��+RZ�LV�LW�XVHG"

It is traditionally the EDFNGURS�EHKLQG�D�VSHDNHU.


E-mail questions and comments to Larry Wild at [email protected]. Last updated: September 16, 2001 © 2001 by Larry Wild, Northern State University, Aberdeen, SD 57401

6W\OH��&RPSRVLWLRQ�DQG�'HVLJQ��5HVRXUFHV�

7H[W�� J. Michael Gillette. 7KHDWULFDO�'HVLJQ�DQG�3URGXFWLRQ, 4th edition. Mountain View, CA: Mayfield Publishing Company. 2000. Chapter 5: Style, Composition and Design

��:KDW�LV�WKH�GLIIHUHQFH�EHWZHHQ�UHSUHVHQWDWLRQDOLVP�DQG�SUHVHQWDWLRQDOLVP"

From the &DPEULGJH�*XLGH�WR�7KHDWUH: 5HSUHVHQWDWLRQDO theatre tries to create an illusion of reality. 3UHVHQWDWLRQDO theatre emphasizes theatricality and acknowledges the theatre as theatre--there is no illusion.

A UHSUHVHQWDWLRQDO set should give the LOOXVLRQ�RI�UHDOLW\. Generally it is a UHDOLVWLF representation -- a ER[�VHW with three walls and a ceiling -- of an architectual interior-- a living room, parlor or kitchen. A SUHVHQWDWLRQDO set is often a "painted backdrop" behind the performer. 3UHVHQWDWLRQDO designs are used in multi-set musicals, plays with an exterior location, and the classical dramas of Shakespeare and Sophocles.

��:KDW�DUH�WKH�VHYHQ�HOHPHQWV�RI�'HVLJQ"

1. /LQH-- The PDUN�WKDW�FRQQHFWV�WZR�SRLQWV. It has OHQJWK and ZLGWK and can be VWUDLJKW or FXUYHG -- MDJJHG or VHUSHQWLQH.

2. 6KDSH -- A VSDFH�HQFORVHG by a line.

3. 0DVV -- A WKUHH�GLPHQVLRQDO shape.

4. 0HDVXUH -- The VL]H of objects (VKDSHV or PDVVHV) and the relative VSDFH between them.

5. 3RVLWLRQ -- The relative ORFDWLRQ of objects.

6. &RORU -- Is probably the most noticable and, perhaps, the most dominant of the design elements. See &KDSWHU��&RORU and the the Web Page on &RORU.

7. 7H[WXUH -- The surface DSSHDUDQFH of an object.

��/LVW�WKH�VHYHQ�3ULQFLSOHV�RI�&RPSRVLWLRQ� 1. 8QLW\ --

Is created by a ORJLFDO�UHODWLRQVKLS between each element of the design. This logic is established by the SURGXFWLRQ�FRQFHSW��

2. +DUPRQ\ -- The elements of a design fit together creating an RUGHUO\, FRQJUXRXV whole. Too much harmony produces monotony.

3. &RQWUDVW -- The MX[WDSRVLWLRQ of GLVVLPLODU elements. Too much contrast produces visual chaos.

4. 9DULDWLRQ -- 9DU\LQJ selected design (OLQH��VKDSH��FRORU) elements in a pattern.

5. %DODQFH -- Arranging the elements to create an HTXLOLEULXP, a VWDELOLW\, in the design. There are two basic types of balance -- V\PPHWULFDO and DV\PPHWULFDO. In a V\PPHWULFDO set, the left half of the stage is a mirror image of the right. See )LJXUHV�� and �� on pages 74 and 76. In an DV\PPHWULFDO design the equilibrium is produced by balancing a mass on one side of the stage with a mass on the other side. See )LJXUH�$ in the Sidebar: 7HUPLQDO�$FFHQWV on page 75. See also )LJXUHV�� and �� on pages 72 and 73.

6. 3URSRUWLRQ -- The UHODWLRQVKLS of the parts of an object to each other and to the total design.

7. (PSKDVLV -- )RFXVLQJ the audiences attention to a specific object.



&RORU��5HVRXUFHV�

7H[W�� J. Michael Gillette. 7KHDWULFDO�'HVLJQ�DQG�3URGXFWLRQ, 4th edition. Mountain View, CA: Mayfield Publishing Company. 2000. Chapter 6: Color

��:KDW�LV�WKH�GLIIHUHQFH�EHWZHHQ�+XH�� The QDPH of the color -- 5ed, 2range, <ellow, *reen, %lue, and 9iolet.

��9DOXH� and

The amount of EODFN or ZKLWH in the color.

��6DWXUDWLRQ, or Intensity?

The amount of JUH\ in the color.

��:KDW�DUH�WKH�WKUHH�SULPDU\�FRORUV�RI�SDLQW"

5ed, %lue and <ellow.

��7KH�WKUHH�VHFRQGDU\�FRORUV"

9iolet, *reen and 2range. The three secondary colors are produced by mixing two adjacent primary colors, for example...

x� 5ed + %lue =�9iolet, x� %lue + <ellow = *reen, and x� <ellow + 5ed = 2range.

��+RZ�DUH�WKH\�SRVLWLRQHG�DURXQG�WKH�FRORU�ZKHHO"

Starting at the top (12 o’clock) and moving counter-clockwise -- 5ed - 2range - <ellow - *reen - %lue - 9iolet. See )LJXUH��% on page 85.

��/LVW�WKH�WKUHH�SDLUV�RI�FRPSOLPHQWDU\�FRORUV"

Complimentary colors are RSSRVLWH each other on the color wheel. One of the colors is a SULPDU\ and the other is a VHFRQGDU\. The three color pairs are...

x� 5ed & *reen, x� %lue & 2range, and x� <ellow & 9iolet.

��+RZ�GR�\RX�FKDQJH�WKH�YDOXH�RI�D�FRORU"

By adding either EODFN or ZKLWH.

��7KH�VDWXUDWLRQ�RI�D�FRORU"

By adding the FRPSOLPHQW. You lower the LQWHQVLW\ of red by adding a little green.

��:KDW�LV�D�VKDGH"

You lower the YDOXH, creating a VKDGH, by DGGLQJ�EODFN.

��$�WLQW"

You raise the YDOXH, creating a WLQW, by DGGLQJ�ZKLWH.

��:KDW�LV�WKH�GLIIHUHQFH�EHWZHHQ�VXEWUDFWLYH�DQG�DGGLWLYH�FRORU�PL[LQJ"

In VXEWUDFWLYH color mixing, the color of the objective is determined by the hue FRPPRQ to each color in the mix. For example, when &yan and <ellow paint or mixed, the resultant color is *reen. :K\" Because *reen is the hue common to both &yan (%lue & *reen) and <ellow (5ed & *reen). See )LJXUH�� on page 89.

In DGGLWLYH mixing, the color of the objective is determined by the EUDLQV�LQWHUSUHWDWLRQ of the individual hues transmitted by the eye. For example, when 5ed and %lue light or focused on an object, the brain adds the two hues to produce 0agenta. See )LJXUH�� on page 88.

��:KLFK�FRORU�PL[LQJ�V\VWHP�LV�XVHG�ZKHQ�PL[LQJ�SLJPHQWV"� Subtractive

��:KHQ�PL[LQJ�EHDPV�RI�OLJKW"

Additive

/LJKW�3ULPDULHV

��:KDW�DUH�WKH�WKUHH�OLJKW�SULPDULHV"

The three light primaries are 5ed, %lue and *reen. When the three light primaries are mixed they produce :hite light.

��7KH�WKUHH�VHFRQGDULHV"

0agenta, &yan (BlueGreen), and <ellow. The three secondary colors are produced by mixing two adjacent primary colors, for example...

x� 5ed + %lue = 0agenta, x� %lue + *reen = &yan, and x� *reen + 5ed = <ellow.

��:KDW�LV�WKH�GLIIHUHQFH�EHWZHHQ�D�ZDUP��FRRO�DQG�QHXWUDO�FRORU"

The :DUP colors (which are associated with ILUH and the VXQ) are located on the 5ed, <ellow and 2range side of the color wheel, the &RRO colors (which are associated with the VN\ and VHD) are on the %lue and *reen side, and the 1HXWUDO�colors (which can appear either warm or cool) are 3urple and 9iolet.


E-mail questions and comments to Larry Wild at [email protected]. Last updated: August 21, 2002 © 2001-2002 by Larry Wild, Northern State University, Aberdeen, SD 57401

6FHQLF�'HVLJQ��5HVRXUFHV�

7H[W�� J. Michael Gillette. 7KHDWULFDO�'HVLJQ�DQG�3URGXFWLRQ, 4th edition. Mountain View, CA: Mayfield Publishing Company. 2000. Chapter 7: Scenic Design

��%ULHIO\�GLVFXVV�WKH��DFWLRQ�GRFXPHQWDWLRQ�PHWDSKRU��DSSURDFK�WR�VFHQH�GHVLJQ�

$FWLRQ� Provide those elements -- doors, windows, steps, furniture -- needed by the director and the actor to stage the show.

'RFXPHQWDWLRQ��Locate the action of the play in a specific place -- London, Berlin, New York -- and a specific time period -- 1890, 1936, 2000.

0HWDSKRU� The metaphor was the tool developed by New York designer Mordecai Gorelik (1900-1975) to help him create a specific tone, mood, style, or feel for each play. It is the poetic statement of the theme of the play through the scenery.

��:KR�LV�FRQVLGHUHG�WKH��IDWKHU��RI�$PHULFDQ�VFHQH�GHVLJQ"

5REHUW�(GPRQG�-RQHV��0DFEHWK The Banquet Scene - Act III, Scene iv

5REHUW�(GPRQG�-RQHV (1887-1954) graduated from Harvard in 1910, traveled to Europe to study the "New StageCraft" and returned to America at the beginning of World War I. He shocked the American theatre audience in 1915 with his simple presentational set for 7KH�0DQ�:KR�0DUULHG�D�'XPE�:LIH. He is primarily remembered for (1) his work with the Provincetown Players (1916-1929) and Theatre Guild (1919- ) and their staging of Eugene O’Neill’s early plays and (2) the vivid dramatic lighting

for 0DFEHWK, 5LFKDUG�,,,, and John Barrymore’s +DPOHW. Link to 5REHUW�(GPRQG�-RQHV’ production credits listed in the ,QWHUQHW�%URDGZD\�'DWDEDVH (www.ibdb.com)

��'UDZ�D�VNHWFK�RI�D��WK�FHQWXU\�LQWHULRU�ZDOO��DQG�ORFDWH�WKH��FKDLU�UDLO��SLFWXUH�UDLO��PRS�ERDUG��FRUQLFH��DQG��ZDLQVFRDWLQJ�

See )LJXUH�� on page 109.

��/LVW�ILYH�SUDFWLFDO�FRQVLGHUDWLRQV�D�GHVLJQHU�PXVW�IDFH�ZKHQ�GHVLJQLQJ�D�VHW�IRU�D�SOD\�RU�PXVLFDO�

x� The SOD\, x� The GLUHFWRU, x� The WKHDWUH and its physical IDFLOLWLHV, x� The EXGJHW (in both time and money), and x� The H[SHULHQFHV and DELOLWLHV of the crew.

��$FFRUGLQJ�WR�'DUZLQ�3D\QH��7KH�6FHQRJUDSKLF�,PDJLQDWLRQ��ZKDW�DUH�WKH�VFHQH�GHVLJQHUV��IRXU�DUHDV�RI�LQIOXHQFH"�

x� The stage IORRU -- ramps, steps, platforms... x� The general EDFNJURXQG -- walls, wings and borders, backdrops,... x� The VSHFLILF�XQLWV of scenery -- doors, windows, rocks, trees..., and x� The IXUQLWXUH and/or set props -- chairs, benches, beds, tables, shelves...

��:KHUH��LQ�D�WUDGLWLRQDO�ER[�VHW��ZRXOG�\RX�SODFH�D�GRRU�IRU�DQ�LPSRUWDQW�HQWUDQFH"

In the FHQWHU of the XS�VWDJH or back wall.

��:KHUH�ZRXOG�WKH�GRRU�EH�ORFDWHG�IRU�DQ�LPSRUWDQW�H[LW"�:K\"

Near the GRZQ�VWDJH corner of one of the VLGH walls. :K\" If the actor must make his dramatic exit through an upcenter door, he will be forced to turn his back on a major part of the audience.

��,I�D�FKDUDFWHU�EXUQV�D�PDQXVFULSW�LQ�WKH�ILUH�SODFH��ZK\�VKRXOG�WKLV�ILUH�SODFH�QRW�EH�ORFDWHG�RQ�WKH�EDFN�ZDOO"

Because it will require the actor to turn upstage, PDVNLQJ the character’s actions -- the burning of the manuscript -- from the audience.

��:KDW�LV�WKH�GLIIHUHQFH�EHWZHHQ�SUHVHQWDWLRQDO�PDWHULDO�DQG�WKH�ZRUNLQJ�GUDZLQJV"

3UHVHQWDWLRQDO�PDWHULDO, a UHQGHULQJ or VFDOH�PRGHO, is used by designer to present his ideas to the director, producer and cast. See )LJXUH�� on page 118.

&RPSXWHU�0RGHO

Designer Boyd Ostroff created the SUHVHQWDWLRQDO�PDWHULDO for this 2SHUD3KLOO\ production of /D�%RKHPH on a Macintosh using 6WUDWD�6WXGLR3UR��. Like the more traditional watercolor or pastel UHQGHULQJ, the computer generated 3d PRGHO can show how the set will appear under theatrical lights.

The ZRUNLQJ�GUDZLQJV are the "blue prints" -- IORRU�SODQ, IURQW�HOHYDWLRQ, UHDU�HOHYDWLRQ, GHWDLO�GUDZLQJV -- used by the production crews to build, paint, and assemble the set on stage. See )LJXUHV�� and �� on pages 119 and 120.

The 2SHUD�&RPSDQ\�RI�3KLODGHOSKLD has posted a nearly complete set of drawings (&RPSXWHU�0RGHOV��6FHQLF�3KRWRV��)ORRU�3ODQV��6HFWLRQ�9LHZV��'HVLJQHU�(OHYDWLRQV and 6KRS�'UDZLQJV) for a number of the operas they have produced. Go to their 7HFKQLFDO�3URGXFWLRQ Web Page. While there explore their shop (OCP Production Center) and the opera house (Philadelphia Academy of Music) in which they perform.

��:KDW�LV�D�UHQGHULQJ"

A UHQGHULQJ is a FRORUHG sketch of the finished set as it will appear, XQGHU�OLJKW, to an audience member seated in the center of the house.

��:KLFK��D�UHQGHULQJ�RU�D�VFDOH�PRGHO��EHWWHU�LOOXVWUDWHV�D�GHVLJQHUV�FRQFHSW�RI�KRZ�WKH�VHW�ZLOO�ORRN�XQGHU�OLJKW"

A rendering.

��:KLFK�ZLOO�EHVW�KHOS�WKH�GLUHFWRU�XQGHUVWDQG�WKH�VWDJH�VSDFH�ZLWK�ZKLFK�KH�KDV�WR�ZRUN"

A scale model.

��:KDW�LV�D�YLUWXDO�PRGHO"

Unlike pencil drafting where the designer is forced to work in only two dimensions, on a computer, the two dimensional world of the JURXQG�SODQ and HOHYDWLRQ can be extruded into a three dimensional world. The YLUWXDO�PRGHO can be viewed in perspective from the front, side, top, and back. Using )O\RYHU�)XQFWLRQ it is possible to view the YLUWXDO�PRGHO from any seat in the house.

Below is a view of the YLUWXDO�PRGHO I created in 9HFWRU:RUNV�� for one of the two major sets in Northern’s spring production of David Lindsay-Abaire’s )XGG\�0HHUV.

9LUWXDO�0RGHO��*HUWLHV�.LWFKHQ��)XGG\�0HHUV

The 10’x12’ kitchen wall plus the three 12’ tall masking units were created using the :DOO�7RRO. The 4x12 wagon plus the kitchen appliances (the stove, sink, counter, and refrigerator) began as simple 2D rectangles which were H[WUXGHG to give them height. The two figures were imported from another drawing and the table and chairs were V\PEROV included in the�9HFWRU:RUNV�$UFKLWHFWXDO�7RRO�.LW. Below is a photograph of the set as it appeared on stage.

3KRWR��*HUWLHV�.LWFKHQ��)XGG\�0HHUV

��:KDW�LV�D�IORRU�SODQ"

A WRS view of the set. The IORRU�SODQ is used by the crew to ORFDWH the set on the stage floor. See )LJXUH�� on page 120.

)ORRU�3ODQ��/D�%RKHPH The IORRU�SODQ shows not only the physical relationship of the scenic elements: platforms, door, chimney units, suspended skylight, table, stove, bed..., but also the set’s location on the 73’ x 90’ stage of Philadelphia’s Academy of Music. (Scale: 1/4" = 1’ 0")

��:KDW�LV�WKH�FRQYHQWLRQDO�SODQ�V\PEROV�IRU�D�GRRU��ZLQGRZV��IODW��VWHS�XQLW�DQG�SODWIRUP"

See )LJXUH��7HFKQLFDO�3URGXFWLRQ�6\PEROV on page 503.

��:KDW�LV�WKH�GLIIHUHQFH�EHWZHHQ�D�'HVLJQHUV��RU�IURQW��HOHYDWLRQ�� A 'HVLJQHUV�(OHYDWLRQ is a IURQW view of each individual piece of scenery. The designer’s elevations are used by the shop crew to determine the KHLJKW and DUFKLWHFWXDO�GHWDLO of each scenic unit. See )LJXUH�� on page 121.

'HVLJQHUV�(OHYDWLRQ��/D�%RKHPH This HOHYDWLRQ presents a detailed (large scale) IURQW, VLGH and WRS (or SODQ) view of the two 22’ tall chimney units which are major scenic elements in the first act. (Scale: 1/2" = 1’ 0")

��3DLQWHUV�HOHYDWLRQ��DQG� A 3DLQWHUV�(OHYDWLRQ is a copy of the IURQW elevation which has been rendered to indicate the FRORU and SDLQWLQJ�WHFKQLTXHV which are to be applied to the final set. See )LJXUH�� on page 126.

&RPSXWHU�PRGHO��7RVFD�$FW�,, To the left is designer Boyd Ostroff computer generated UHQGHULQJ for the Second Act of the 2SHUD3KLOO\ production of Puccini’s 7RVFD. Below is the SDLQWHUV�HOHYDWLRQ for the stage right wall.

3DLQWHUV�(OHYDWLRQ��7RVFD�$FW�,, Each wall in this massive set was 34’ wide by 30’ tall. Each unit was assembled from 8 luan covered flats-- 4 measured 8’6" x 11’ and 4 were 8’6" by 19’.

��5HDU�HOHYDWLRQ"

A 5HDU�(OHYDWLRQ is a scaled drawing of the EDFN of each individual piece of scenery. It is the guide used by the shop carpenters to build the setting. See the Sidebar: &RQVWUXFWLRQ�'UDZLQJV on page 192.


E-mail questions and comments to Larry Wild at [email protected]. Last updated: August 20, 2002 © 2001-2002 by Larry Wild, Northern State University, Aberdeen, SD 57401

7RROV�DQG�0DWHULDOV��5HVRXUFHV�

7H[W�� J. Michael Gillette. 7KHDWULFDO�'HVLJQ�DQG�3URGXFWLRQ, 4th edition. Mountain View, CA: Mayfield Publishing Company. 2000. Chapter 8: Tools and Materials

Tools | Materials | Hardware | Safety Equipment |

��7RROV��

��:KDW�DUH�WKH�IRXU�EDVLF�VWHSV�LQ�EXLOGLQJ�DQG�FRYHULQJ�D�IODW"

x� 0HDVXUH and PDUN the lumber, x� &XW the wood, x� $VVHPEOH the flat frame, and x� &RYHU.

��:KDW�WRROV�DUH�XVHG�LQ�IODW�FRQVWUXFWLRQ"

x� 0HDVXUH�DQG�PDUN o 16’ Steel measuring tape (VHH�)LJXUH��$�RQ�SDJH��), o Pencil, o Combination square (VHH�)LJXUH��'�RQ�SDJH��), Tri square or

Speed square. x� &XW

o Saw -- (Radial-arm, Portable Hand Circular, or Miter saw). x� $VVHPEOH

o Carpenter’s (or framing) square (VHH�)LJXUH��)�RQ�SDJH��), o 16oz Claw (VHH�)LJXUH��$�RQ�SDJH��) or Rip Hammer and Clinch

plate, or o Cordless screwdriver (VHH�)LJXUH��'�RQ�SDJH��) with a #2

Phillips Head bit. x� &RYHU

o Utility knife (VHH�)LJXUH��$�RQ�SDJH��), o Staple gun (VHH�)LJXUH��(�RQ�SDJH��).

x� 7RROV�XVHG�LQ�WKH�VHW�XS�DQG o 50’ Steel Tape (VHH�)LJXUH��%�RQ�SDJH��) to layout the ground

plan on the stage floor, o Framing Square to insure the set corners are square, o Hammer or o Power Screwdriver to assemble the flats on stage.

x� 6WULNH o Hammer to pull out double headed nails, o Power Screwdriver to "pull" drywall screws,

o Wrecking (or Crow) bar (VHH�)LJXUH��$�RQ�SDJH��) to pry apart the scenic units.

��:KLFK�VDZ��D�UDGLDO�DUP�RU�D�WDEOH�VDZ��LV�EHVW�IRU�ULSSLQJ�OXPEHU"

Table saw (VHH�)LJXUH��$�RQ�SDJH��)

��)RU�FURVV�FXWWLQJ"

Radial arm saw (VHH�)LJXUH��%�RQ�SDJH��)

��:KDW�LV�WKH�GLIIHUHQFH�EHWZHHQ�D�KDQG�FLUFXODU�VDZ�DQG�D

A hand circular saw (VHH�)LJXUH��$�RQ�SDJH��), also known as a Skill saw, is primarily used for making straight cuts in plywood.

��VDEHU��RU�MLJ�VDZ"

A saber saw (VHH�)LJXUH��%�RQ�SDJH��) is used to make curved cuts.

��:KDW�SRZHU�WRRO�LV�XVHG�WR��GULYH�LQ��D�GU\�ZDOO�VFUHZ"

A cordless screwdriver

��:KDW�LV�WKH�PDMRU�GLVDGYDQWDJH�ZLWK�D�FRUGOHVV�VFUHZGULYHU"

The battery goes dead and there is not nearly as much as power as with a corded drill.

��:KDW�DGGLWLRQDO�WRROV�DUH�XVHG�LQ�EXLOGLQJ��OHJJLQJ�DQG�DVVHPEOLQJ�D�SODWIRUP"

x� 3/8" Electric hand drill (VHH�)LJXUH��%�RQ�SDJH��) with 3/8" wood bit (VHH�)LJXUH��%�RQ�SDJH��) to drill holes for carriage bolts,

x� Socket set (VHH�)LJXUH��)�RQ�SDJH��) or x� Adjustable-end (Crescent) wrench (VHH�)LJXUH��&�RQ�SDJH��) to tighten

the nuts on the carriage bolts.

��:KDW�DUH�WKH�SULPDU\�WRROV�XVHG�E\�WKH�SURGXFWLRQ�HOHFWULFLDQ"

x� 6" (or 8") Adjustable-end (Crescent) wrench to hang and focus the lights, x� Screw driver (VHH�)LJXUH��$�RQ�SDJH��) to repair a plug, and a x� Utility knife (or paper cutter) to cut the gel (color media).

��:KLFK�KDQG�WRROV�KDYH�WKH�KLJKHVW�GLVDSSHDUDQFH�UDWH"

x� Adjustable-end (Crescent) wrench, x� Steel tape, x� Screwdriver .

��0DWHULDOV��

��:KDW�W\SH�RI�ZRRG�LV�QRUPDOO\�XVHG�LQ�IODW�FRQVWUXFWLRQ"

White pine or spruce.

��:KDW�LV�WKH�DFWXDO�ZLGWK�RI�D��[�"

3 1/2 inches.

��7KH�WKLFNQHVV"

3/4 inch.

��:KDW�LV�D�ERDUG�IRRW"

A piece of lumber which is 12" wide, 1’ long and 1" thick. By definition, a 1x12--1’ is one board foot. 1x stock is normally priced by the board foot so it becomes necessary to convert linear (or running) feet into board feet to determine how much your lumber order will cost.

��:KDW�LV�WKH�IRUPXOD�IRU�FRQYHUWLQJ�OLQHDU��RU�UXQQLQJ��IHHW�LQWR�ERDUG�IHHW"

(Linear_feet * Board_width_in_inches) / 12 = Board_feet.

��+RZ�PDQ\�ERDUG�IHHW�DUH�WKHUH�LQ��[��"

(16 feet * 12) / 12 = 16 board feet.

��LQ��[��"

(12 feet * 4) / 12 = 4 board feet.

��,I�ZKLWH�SLQH�LV��SHU�ERDUG�IRRW��KRZ�PXFK�ZRXOG�WKHVH�WZR�SLHFHV�RI�OXPEHU�FRVW"

1 piece of 1x12--16’ (16 board feet) would cost $ 65.44 1 piece of 1x4--12’ (4 board feet) would cost $ 16.36

��:KDW�VL]H�OXPEHU�LV�WUDGLWLRQDOO\�XVHG�IRU�IUDPLQJ�VWRFN�DQG�VXSSRUWLQJ�OHJV�LQ�SODWIRUP�FRQVWUXFWLRQ"�

2x4.

��+RZ�LV��[��VWRFN�SULFHG"� By the running foot.

��$W��D�IRRW��KRZ�PXFK�ZRXOG��SLHFHV�RI��[��FRVW"

20 pieces * 16 feet * $ .40 / foot = $ 128.00

��+RZ��DQG�ZKHUH��LV�SO\ZRRG�XVHG�LQ�WKH�WKHDWUH"� 3/4 inch, 5 ply, plywood is used as the flooring in theatrical platforms. 1/4 inch, 3 ply, plywood is used to "profile" a flat and as corner blocks and keystones in flat construction.

��:KDW�LV�/XDQ�DQG�KRZ�LV�LW�XVHG"

Luan, also known as Philippine mahogany, is an inexpensive, thin (1/4") flexible, 3 ply, plywood commonly used to cover hard flats.

��:KDW�LV�WKH�VWDQGDUG�VL]H�RI�D�VKHHW�RI�SO\ZRRG"

4x8 feet.

��'HILQH��SO\��,QW��$'

x� �� -- The sheet of plywood is 3/4 inch thick. x� ��SO\ -- It is composed of 5 layers (ply). 6HH�)LJXUH��RQ�SDJH��. x� ,QW -- The glue which holds the layers together is water soluble (designed for

interior use). x� $' -- One face of the sheet is excellent (A) and the other side is poor (D).

��:KDW�DUH�WKH�QRUPDO�ZLGWKV�RI�D�EROW�RI�PXVOLQ"

59" - 72" - 80" - 108" - 120" Since our widest flat is six feet, our scene shop stocks 80" wide muslin.

��+RZ�PDQ\�\DUGV�DUH�QRUPDOO\�IRXQG�RQ�D�EROW"

50 yards.

��:KHUH�FDQ�VFHQLF�PXVOLQ�EH�SXUFKDVHG"

Scenic muslin (or canvas) is purchased through a theatrical supply house such as Norcostco or SECOA.

��+RZ�LV�VFHQLF�PXVOLQ�SULFHG"

By the linear yard ( 3 feet).

��$W��SHU�\DUG��KRZ�PXFK�ZLOO�D�EROW�RI��ZLGH�PXVOLQ�FRVW"

50 yards * $ 3.90 / yard = $ 195.00.

��+DUGZDUH��

��:KDW�LV�WKH�VWDQGDUG�JOXH�XVHG�LQ�WKH�WKHDWUH"

White casein glue, better known as Elmer’s glue

��:KHUH�DUH�GU\ZDOO�VFUHZV�XVHG�LQ�WKH�WKHDWUH"� To a large extent, 1 1/2" and 2 1/2" drywall screws (6HH�)LJXUH��&�RQ�SDJH��) have replaced 6d and 8d common (6HH�)LJXUH��$�RQ�SDJH��) and scafolding (6HH�)LJXUH��$�RQ�SDJH��) nails in scenic construction.

��:KDW�LV�D�FDUULDJH�EROW"�:KHUH�LV�LW�QRUPDOO\�XVHG�LQ�VFHQLF�FRQVWUXFWLRQ"

3/8 inch carriage bolts (6HH�)LJXUH��$�RQ�SDJH��) are used to assemble platforms in to larger units and to secure the legs to the platforms rail.

��/LVW�WZR�FRPPRQ�SLHFHV�RI�KDUGZDUH�ZKLFK�FDQ�EH�XVHG�WR�DVVHPEOH�ULJLG�SODWIRUPV�LQWR�D�XQLW�

x� 3/8" x 4" carriage bolts x� 4" C clamps (6HH�)LJXUH��*�RQ�SDJH��)

��:KDW�W\SH�RI�FDVWHUV�DUH�QRUPDOO\�XVHG�RQ�D�SODWIRUP�ZDJRQ"

3" rubber wheeled swival casters (6HH�)LJXUH��$�RQ�SDJH��).

��+RZ�PDQ\�FDVWHUV�DUH�QHHGHG�IRU�RQH��[��ZDJRQ"

Six. The traditional spacing between casters is 4’.

��:KDW�W\SH�RI�GRRU�FDWFK�LV�QRUPDOO\�XVHG�RQ�VWDJH"

Magnetic cabinet latch or Friction catch.

��+RZ�ZHOO�GRHV�LW�ZRUN"

Not very well.

��6DIHW\�(TXLSPHQW��

:KDW�VDIHW\�HTXLSPHQW�VKRXOG�D�WKHDWULFDO�VKRS�VXSSO\"

x� (\H�SURWHFWLRQ� Safety goggles and "over the glasses" safety glasses. x� (DU�SURWHFWLRQ� Earmuff and/or soft foam ear plugs. x� /XQJ�SURWHFWLRQ� Dust (particle) masks and Half-mask respirators.

Unfortunately, respirators or expensive and must be fitted to each "employee." They are not interchangeable.

x� +DQG�SURWHFWLRQ� Work gloves and disposable latex gloves. x� +HDG�SURWHFWLRQ� Hard hats (ANSI Z89.1-1997).


E-mail questions and comments to Larry Wild at [email protected]. Last updated: October 22, 2001 © 2001 by Larry Wild, Northern State University, Aberdeen, SD 57401

6FHQLF�3URGXFWLRQ�7HFKQLTXHV�5HVRXUFHV�

7H[W�� J. Michael Gillette. 7KHDWULFDO�'HVLJQ�DQG�3URGXFWLRQ, 4th edition. Mountain View, CA: Mayfield Publishing Company. 1999. Chapter 9: Scenic Production Techniques

Drops | Flats | Door and Window Units | Joining Flats | Platform and Steps

:KDW�LV�WKH�GLIIHUHQFH�EHWZHHQ�D�)ODW� A IODW is a 1x3 (or 1x4) wood frame covered with muslin, canvas or 1/4 inch plywood. It is generally used to form the walls of a set.

��3ODWIRUP� A SODWIRUP is a 2x4 wood frame covered with 3/4 inch plywood. They are used to change the level (or elevation) of the acting area.

��DQG�'URS"

A GURS is a large unframed sheet of muslin hung from a pipe (or batten) suspended from the ceiling of the stage. It is generally used as a backdrop at the rear of the stage.

��'URSV��

��+RZ�VKRXOG�D�GURS�EH�FRQVWUXFWHG"� A drop is generally made by sewing together two or more strips of muslin. The top and bottom edge is usually sandwiched between two 1x3 battens or sewn to 4" wide jute webbing.

��,Q�ZKLFK�GLUHFWLRQ�VKRXOG�WKH�VHDPV�RI�D�GURS�UXQ"

Horizontal.

��:KDW�LV�D�VDQGZLFK�EDWWHQ"

A VDQGZLFK�EDWWHQ is used at the top and bottom of a shop built back drop. The muslin is sandwiched (hence the name) between two pieces of 1x3. A 40 foot wide drop requires a 40’ (or greater) batten.

For storage, the painted drop would be rolled on the top and bottom batten and would require 10 to 12 stagehands to carry it from the stage to the warehouse. Commercially made drops, which have a 4 inch webbing strip at the top and a pipe pocket at the bottom can be folded into a duffel bag size package for easy transport from the theatre to the warehouse. 6HH�)LJXUH��RQ�SDJH��

��:K\��DQG�KRZ��LV�WKH�FHQWHU�RI�D�GURS�PDUNHG"

The center of a back drop is usually marked with a colored tie line. :K\" A painted back drop is hung starting at the center and working towards the ends of the pipe. If the drop is longer than the pipe, the excess is looped back towards the center of the stage.

��+RZ�PDQ\�\DUGV�RI��ZLGH�PXVOLQ�DUH�LQ�D��[��GURS"� The drop would require 4 (actually 3.6) -- 16 yard (48’) strips of muslin creating a total of 64 yards. 7KH�SURFHVV: Multiply the 24’ height by 12 (inches / foot) and divide by the width of the muslin (80") = 3.6 strips. Round up to 4. Each strip needs to be 48’ (16 yards) long. 16 yards * 4 strips = 64 yards.

��$W��SHU�\DUG��KRZ�PXFK�ZRXOG�WKH�PXVOLQ�IRU�WKH�GURS�FRVW"

64 yards * $ 3.95 / yard = ��.

��:KDW�ZRXOG�EH�WKH�FRVW�RI�D�SUH�PDGH��[��GURS"

A 26’x48’ seamed muslin (non-flame retardant) drop from Stage Technology costs $ 537.00 in the 2003-2004 catalogue.

��$SSUR[LPDWHO\�KRZ�PXFK�ZLOO�WKLV�GURS�ZHLJK"

At .05 pounds / square foot, this 1248 sqft (26’*48’) drop will weigh about ��SRXQGV.

��+RZ�PXFK�ZRXOG�D�SUH�PDGH��[��VFULP�FRVW"

A black 29’x48’ sharkstooth (flame retardant) scrim drop from Stage Technology costs $ 1,907.00 in the 2003-2004 catalogue.

��:KDW�VFHQLF�VWXGLR�ZLOO�UHQW�SDLQWHG�GURSV"� Tobins Lake Scene Studio

��:KHUH�LV�LW�ORFDWHG"

7030 Whitmore Lake Road Brighton, Michigan 48116-8570 Near Detroit.

��+RZ�PXFK�ZRXOG�LW�FRVW�SHU�ZHHN�WR�UHQW�D�VFHQLF�GURS�IRU�D�SURGXFWLRQ"� The rental charge for a back drop, or portal (2 legs and a border), is approximately $ 170 per week. In addition to the rental charge, each drop costs another $ 160 (again approximate) for the round trip air freight between Aberdeen to Detroit. A five drop show will cost about $ 1,650.

)ODWV

��:KDW�LV�VWRFN�VFHQHU\"

6WRFN�VFHQHU\ is standardized rectangular flats (including door, window and fireplace flats) which can be easily assembled into a set. Because they are standardized, they can be quickly repainted and used in another production. The use of stock scenery can reduce the set budget for a show to the cost of paint.

��:KDW�DUH�WKH�VWDQGDUG�KHLJKWV�RI�WKH�IODWV�LQ�D�VWRFN�VHW"

12, 14, and 16 feet. Units over 16’ in height are difficult to handle. Probably the most commonly used set height is 12 feet.

��:KDW�DUH�WKH�VWDQGDUG�ZLGWKV"

1, 2, 3, 4, 5, and 6 feet. Walls wider than 6 feet are assembled from two or more flats.

��:KDW�LV�WKH�VWDQGDUG�ZLGWK�RI�D�VWRFN�GRRU��ZLQGRZ��RU�ILUHSODFH�IODW"

5 or 6 feet.

��:KDW�LV�D�EDFNLQJ�IODW"� Two or more short flats representing the adjoining room, placed behind a door or arch unit. Backing flats are normally 8 feet tall.

��6NHWFK�WKH�UHDU�HOHYDWLRQ�RI�D�VWDQGDUG�IODW��D�GRRU�IODW��DQG�D�ZLQGRZ�IODW� x� 6WDQGDUG�IODW� 6HH�)LJXUH��RQ�SDJH��. x� 'RRU�IODW� 6HH�)LJXUH��RQ�SDJH��.

x� :LQGRZ�IODW� 6HH�)LJXUH��RQ�SDJH��.

��:KDW�LV�WKH�W\SLFDO�VL]H�RI�WKH��KROH��LQ�D�GRRU�IODW"� 3’ x 7 foot. The "hole" is normally centered in the flat.

��$�ZLQGRZ�IODW"� 3’ x 6 foot. The bottom of the window is usually 2’ above the stage floor.

��$�ILUHSODFH�IODW"

3’ x 3 foot.

��:KDW�W\SH�RI�MRLQW�LV�PRVW�FRPPRQO\�XVHG"

Reinforced (with the FRUQHU�EORFN or NH\VWRQH) butt joint. 6HH�)LJXUH��*�DQG�)LJXUH��+�RQ�SDJH��

��+RZ�PDQ\�WRJJOHV�VKRXOG�WKHUH�EH�LQ�D�WZHOYH�IRRW�WDOO�IODW"

Two. Toggles are typically placed on 4’ centers. An 8 foot backing flat would have one, a 16’ flat would have three. 6HH�)LJXUH��RQ�SDJH��

��+RZ�PDQ\�GLDJRQDO�EUDFHV�VKRXOG�EH�XVHG�LQ�D�ILYH�IRRW�ZLGH�IODW"

Two. Normally each diagonal is 3 foot long. 6HH�)LJXUH��RQ�SDJH��

��+RZ�ORQJ�VKRXOG�\RX�ZDLW�WR�SULPH�D�IODW�DIWHU�LW�KDV�EHHQ�FRYHUHG"�:K\"

24 hours. :K\" Because it takes about 24 hours for Elmer’s glue (which is holding the muslin on the flat frame) to set.

��+RZ�PDQ\�OLQHDU�IHHW�RI��[��DUH�QHHGHG�WR�EXLOG�D�VWDQGDUG��[��IODW"� 50 feet. (2 * 5’ rails) + (2 * 5’ toggles) + (2 * 12’ stiles) + (2 * 3’ diagonal braces) = 50 feet

��$W��SHU�ERDUG�IRRW��ZKDW�ZRXOG�EH�WKH�FRVW�RI�WKH�OXPEHU�QHHGHG�WR�FRQVWUXFW�WKLV�IODW"�

$ 20.00. 50’ of 1x4 = 16.6 board feet * $ 1.20 / bdft = $ 20.00

��+RZ�PDQ\�\DUGV�RI��ZLGH�PXVOLQ�ZLOO�EH�QHHGHG�WR�FRYHU�WKLV�IODW"� 4 yards. 12 feet / 3 yards per foot = 4 yards.

��$W��D�\DUG��ZKDW�ZLOO�EH�WKH�FRVW�RI�WKH�PXVOLQ"� $ 15.80 4 yards * $ 3.95 per yard = $ 15.80

��:KDW�ZLOO�EH�WKH�WRWDO�FRVW�RI�PDWHULDOV�WR�EXLOG�DQG�FRYHU�WKLV�IODW"

$ 35.80 (or $ .60/SqFt) $ 20.00 for lumber + $ 15.80 for muslin = $ 35.80. (1RWH� I would add an additional 10% ($ 3.58) to cover the cost of FRUQHU�EORFNV��NH\VWRQHV��GU\ZDOO�VFUHZV and (OPHUV glue.) It would probably take an experienced stage hand approximately 3 hours to cut, assemble, and cover this unit.

��+RZ�GRHV�D�+ROO\ZRRG�)ODW�GLIIHU�IURP�D�VWRFN�WKHDWULFDO�IODW"

A +ROO\ZRRG�)ODW (also known as a KDUG�IODW) is covered with 1/4 plywood or Luan (also known as 1/4" 0DKDJRQ\�8QGHUOD\PHQW) instead of muslin. A standard 4x12 KDUG�IODW would cost about $ 31.00 (or $ .64/SqFt)

'RRU�DQG�:LQGRZ�XQLWV��

��:KDW�LV�WKH�GLIIHUHQFH�EHWZHHQ�DQ�LQGHSHQGHQW�GRRU�XQLW�DQG

In an LQGHSHQGHQW�GRRU�XQLW, the shutter, facing and thickness are assembled into a single unit which is then slipped (and bolted) into the "hole" of a GRRU�IODW. See )LJXUH�� on page 212.

��$�GHSHQGHQW�GRRU�XQLW"

In a GHSHQGHQW�XQLW, the shutter, facing and thickness are attached to the GRRU�IODW� creating a single unit. 6HH�)LJXUH��RQ�SDJH��.

��:KDW�LV�WKH�VKXWWHU�� The door.

��7KH�IDFLQJ��DQG

The wood frame (often a 1x6) which surrounds the door and is attached to the face of the door flat.

��7KH�WKLFNQHVV�RI�D�GRRU�XQLW"

The WKLFNQHVV or door jamb (often a 1x6) represents the thickness of the wall. The shutter is hinged to the thickness.

��:K\�GR�GRRUV��RQ�D�FRQYHQWLRQDO�ER[�VHW��RSHQ�RII�VWDJH"� Because stage doors are traditionally hinged on the upstage side and open off stage, they become VHOI�PDVNLQJ-- blocking the audience’s view of back stage. Also, only one side of the door is seen by the audience. 6HH�)LJXUH��RQ�SDJH��

��'HVFULEH�D�ZD\�RI�DVVHPEOLQJ�D�GRXEOH�GRRU�IODW� The simplest way to assemble a GRXEOH�GRRU�IODW is to sandwich a header (or plug) between two flats. The flats would be part of the wall, and the header is placed above the double door unit. If the double door unit is 6’x7’ and the wall is 12’ tall, the plug would need to be 6’ wide by 5’ high. If the two flats are 2’ wide, the entire structure would be 10’ x 12’. 6HH�)LJXUH��RQ�SDJH��

��:KDW�LV�WKH�GLIIHUHQFH�EHWZHHQ�D�GRXEOH�KXQJ�VDVK�ZLQGRZ�� These three windows types refer to an architectual style. A GRXEOH�KXQJ�VDVK�ZLQGRZ is found is many homes built during the 19th and early 20th century. This style has two almost square sashs (top and bottom) which slide vertically in tracks attached to the sides of the window.

��&DVHPHQW�ZLQGRZ� A FDVHPHQW�ZLQGRZ has two long narrow rectangular sashes (left and right) which are hinged to the sides of the window and generally open out.

��)UHQFK�ZLQGRZ"

)UHQFK�ZLQGRZV are floor length casement windows which usually open onto a balcony or garden.

��:KDW�FDQ�EH�XVHG�WR�FUHDWH�WKH�HIIHFW�RI�JODVV�LQ�D�ZLQGRZ"

Traditionally the window sash is left open. If necessary, a glass effect can be created using plexiglass, acetate sheeting, or nylon netting. Because of safety issues, real glass should not be used on stage.

-RLQLQJ�IODWV��

��:KDW�LV�PHDQW�E\��EDWWHQ�DQG�GXWFKPDQ"�

When a wall area wider than six feet is required, it is necessary to assemble two or more flats. The units are held together by three or four 1x3 EDWWHQV nailed across the back of the flats. The "crack" between the units is covered by the GXWFKPDQ. 6HH�)LJXUH��RQ�SDJH��

��:KDW�LV�WKH��GXWFKPDQ"��+RZ�LV�LW�DSSOLHG"

The GXWFKPDQ is a 6" wide strip of muslin which is "glued" (with scene paint) over the joint between adjacent flats.

��:KDW�LV�D�D�ERRN�IODW"

A ERRN�IODW, or two-fold, is two flats which are hinged (and dutchmaned) on the face. They can be folded together like a book for easy storage. Opened to a 90 degree angle, they can create a stable scenic unit for a multi-set show.

��$��WKUHH�IROG"�

A WKUHH�IROG is three flats which are hinged (and dutchmaned) on the face for easy storage. When opened, they create a mini-box set. 6HH�)LJXUH��RQ�SDJH��

3ODWIRUP�DQG�6WHS�FRQVWUXFWLRQ��

��:KDW�DUH�WKH�VWDQGDUG�VL]HV�RI�VWRFN�WKHDWULFDO�SODWIRUP�ZDJRQV"

4x8, 4x4, 2x8, 2x4, 2x2, and the right triangles which can be created by cutting any of these stock platforms along the diagonal.

��+RZ�PDQ\�IHHW�RI��[��ZLOO�EH�QHHGHG�WR�IUDPH�D��[��SODWIRUP�ZDJRQ"

36 feet. 2-- 8’ stiles, 2-- 4’ rails, and 3-- 4’ toggles. The spacing between toggles is normally two feet. 6HH�)LJXUH��RQ�SDJH��

��:KDW�LV�D�FDVWHU�SODWH"

A 4’ long piece of 2x6. The FDVWHU�SODWH is sandwiched between the stiles and is placed parallel to the stage floor and platform deck. 6HH�)LJXUH��RQ�SDJH��

��:K\�LV�LW�QHHGHG"� The casters used to turn the platform into a wagon are lag bolted to the FDVWHU�SODWH. The 2x6 provides support and drops the caster so the bottom of the wheel clears the edge of the platform by 1/2 to 3/4 inches.

��:LWK��[��SULFHG�DW��SHU�IRRW��DQG��SO\ZRRG�SULFHG�DW��D�VKHHW��ZKDW�ZLOO�EH�WKH�DSSUR[LPDWH�FRVW�RI�D�VWRFN��[��SODWIRUP"

�� ($ 1.62 per square foot) 36’ of 2x4 @ $.44 / ft = $ 15.84; 1 sheet of plywood @ $36.10. If three caster plate (12’ of 2x6 @ $.66/ft = $7.92) are included, the total cost of the unit will be ��

The ZHLJKW of a 4x8 platform with 3 caster plates is approximately ��SRXQGV. 36’ of 2x4 @ 1.3 pounds/ft + 12’ of 2x6 @ 2 pounds/ft + 1 sheet of plywood @ 48 pounds = 120 pounds.

��+RZ�PDQ\�OHJV�GRHV�D��[��SODWIRUP�QHHG"

Six. Spacing between legs should not be more than 4 feet.

��+RZ�VKRXOG�WKH�OHJV�EH�DWWDFKHG�WR�WKH�SODWIRUP�IUDPH"

Legs are traditionally bolted to the platform stile with 3/8" carriage bolts. See the top illustration in )LJXUH�� on page 220.

��'HVFULEH�D�WHFKQLTXH�ZKLFK�FDQ�EH�XVHG�WR�EUDFH�WKH�OHJV�RI�D�SODWIRUP.

Legs are normally braced by running 1x3 (or 1x4) diagonals from the bottom of each leg to the platform rail and stile. Each leg requires two diagonal braces. The seperation between the braces should be 90 degrees. 6HH�)LJXUH��RQ�SDJH��

��+RZ�PDQ\�VWDQGDUG��[��SODWIRUPV�ZLOO�EH�QHHGHG�WR�DVVHPEOH�D��[��GHFN"�6NHWFK�D�GLDJUDP�RI�KRZ�WKHVH�SODWIRUPV�FRXOG�EH�DVVHPEOHG�

12 platforms. Three across (3 * 8’ = 24’) by four deep (4 * 4’ = 16’) These 12 platforms will weight over 1400 pounds and cost about $ 625 (in material) to build.

��+RZ�FDQ�\RX�GHDGHQ�WKH��HFKR��VRXQG�RI�D�SODWIRUP"

The usual technique is to cover the deck with a UXJ or sheets of fiberboard such as +RPDVRWH or &HORWH[. In order to control the amount of dust in the air it may be necessary to sheath the fiberboard with 1/4" plywood or hardboard (such as Masonite’s Duron),

��:KDW�LV�WKH�GLIIHUHQFH�EHWZHHQ�WKH�ULVH��WUHDG�DQG�FDUULDJH�RI�D�VWHS�XQLW"

5LVHU� The vertical face (or step height) of a stair unit... 7UHDG� The horizontal surface of a stair unit -- the part you walk on... &DUULDJH� The 2x12 which supports the WUHDG and ULVHU. Normally the spacing between carriages is no more than 2 feet. 6HH�)LJXUH��RQ�SDJH��

��:KDW�LV�WKH�VWDQGDUG�WUHDG�ZLGWK"� 12 inches. Stair treads are normally cut from either 3/4" plywood or a 1x12.

��5LVHU�KHLJKW"� 6 or 8 inches. The riser, which normally supports little or no weight, is usually cut from 1/4 ply.

��:KDW�DUH�HVFDSH�VWHSV"

The off stage step unit which lead up to (or down from) a platform.

��6NHWFK�KRZ�D��VWHS�XQLW�FDQ�VXJJHVW�D�IOLJKW�RI�VWDLUV�WR�WKH�VHFRQG�IORRU� Below is a front elevation illustrating how 2- 3-step units, a flat (representing a wall) and a couple of 4x8 platforms can be assembled to suggest a flight of stairs. The escape steps, which are not drawn, would extend off-stage.


E-mail questions and comments to Larry Wild at [email protected]. Last updated: October 27, 2003 © 2000-2003 by Larry Wild, Northern State University, Aberdeen, SD 57401

$VVHPEOLQJ��%UDFLQJ�DQG�6KLIWLQJ�WKH�6HW�5HVRXUFHV�

7H[W�� J. Michael Gillette. 7KHDWULFDO�'HVLJQ�DQG�3URGXFWLRQ, 4th edition. Mountain View, CA: Mayfield Publishing Company. 1999. Chapter 9: Scenic Production Techniques.

2XWVLGH�5HDGLQJ�� A. S. Gillette and J. Michael Gillette. 6WDJH�6FHQHU\��,WV�&RQVWUXFWLRQ�DQG�5LJJLQJ. New York: Harper and Row, Publishers. 1981.

Assembling and Bracing the Set | Shifting the Set

$VVHPEOLQJ�DQG�%UDFLQJ�WKH�6HW��2XWOLQH�WKH�SURFHVV�RI�DVVHPEOLQJ�D�VHW�RQ�VWDJH�

x� All IORZQ�XQLWV (legs, electric pipes, drops, ceiling) load-in first, x� Followed by the SODWIRUPV x� )ODWV x� 'RRU and ZLQGRZ units, and finally, the x� Set GUHVVLQJ and IXUQLWXUH.

��+RZ�VKRXOG�IODWV�EH�PRYHG�DQG�VWRUHG"

0RYLQJ a flat -- "Lift the leading edge of the flat a few inches from the floor, and with the top of the flat leaning in slightly, the stage hand moves rapidly in the desired direction. The trailing corner of the flat skids along on the floor and serves as a partial stabilizer." (pg 284, A. S. Gillette, 6WDJH�6FHQHU\�,WV�&RQVWUXFWLRQ�DQG�5LJJLQJ, 1981)

Flats are normally VWRUHG vertically against the back wall. To protect the painted surface they are stacked "face-to-face" and "back-to-back."

��'HVFULEH�WKUHH�WHFKQLTXHV�ZKLFK�FDQ�EH�XVHG�WR�EUDFH�D�VHW� x� Design as many square corners into the set as possible (and logical). x� Brace the flats with a MDFN or VWDJH�EUDFH.

x� Run a tension line from the set piece to the grid. Most rigid portals are suspended from a line set.

��:KDW�LV�D�MDFN"� A MDFN is an uncovered three-cornered flat frame containing a stile which is at least two-thirds the height of the flat, a bottom rail (one fourth the height of the flat), and a diagonal brace.

��$�VWDJH�EUDFH"

A VWDJH�EUDFH, a standard piece of theatrical hardware, is two overlapping pieces of hardwood which can be adjusted in length. The top of the brace contains a "double pronged curved hook" that fits into the eye of a EUDFH�FOHDW. The bottom of the brace is attached to the stage floor with a VWDJH�VFUHZ. See )LJXUH�� on page 181 and )LJXUH�� on page 183.

��:KLFK��LQ�P\�RSLQLRQ��GRHV�WKH�EHWWHU�MRE�RI�EUDFLQJ�VFHQHU\"

The MDFN�

��%ULHIO\�RXWOLQH�WKH�SURFHVV�RI�VWULNLQJ�D�VHW�IURP�WKH�VWDJH� The order of strike is the reverse of the order of load-in.

x� Remove the IXUQLWXUH and set GUHVVLQJ first. x� Strike the GRRU and ZLQGRZ units, x� Followed by the the IODWV, x� 3ODWIRUPV and finally x� All IORZQ�XQLWV (legs, electric pipes, drops, ceiling).

��:KDW�LV�PHDQW�E\��IORDWLQJ��D�IODW"

The stagehand "foots" the bottom rail and permits the flat to fall forward, IORDWLQJ gently to the floor. The wind resistance of the unit keeps the structure from crashing.

6KLIWLQJ�WKH�6HW��:KDW�LV�WKH�GLIIHUHQFH�EHWZHHQ�D�VLPXOWDQHRXV�VHW�

In a VLPXOWDQHRXV�VHW all locations are on stage at the same time and the actors move from one location to the next. The audiences focus is shifted by moving the light from location to location.

��DQG�D�XQLW�VHW"

In a XQLW�VHW, the location is shifted by changing the decoration and\or props within a permanent scenic structure. Generally, Shakespeare’s plays are performed on a unit set.

��/LVW�WKH�WLWOH�RI�DW�OHDVW�RQH�PDMRU�SOD\�ZKLFK�ZDV�ZULWWHQ�IRU�D�VLPXOWDQHRXV�VHW�

Tennessee William’s 7KH�*ODVV�0HQDJHULH and 6WUHHWFDU�1DPHG�'HVLUH. 'HDWK�RI�D�6DOHVPDQ by Arthur Miller.

��:KDW�LV�D��VFHQH�LQ�RQH"�

A small, short scene, usually played down stage (in-one) in front of a drop or traveler.

��:KDW�LV�LWV�IXQFWLRQ�LQ�D�WUDGLWLRQDO�PXVLFDO"

To provide the stage crew time to shift from one full stage set to the next full stage set. In a traditional musical, the first scene is played full stage; scene two is performed in-one; the third scene is again full stage...

��:KDW�VFHQH�VKLIWLQJ�WHFKQLTXHV�FDQ�EH�HIIHFWLYHO\�XVHG�RQ�RXU�VWDJH"

x� We can break down a set into a number of small scenic units and UXQ those units to the back or stage left wall where they can be stacked.

x� We can run a drop across the stage as a RQH�ZD\�WUDYHOHU. x� We can :HVW�FRDVW a back drop. x� We can assemble a set (or part of a set) on a ZDJRQ and roll the wagon off

stage for storage. x� We can assemble the set on a WXUQWDEOH or a MDFN�NQLIH�VWDJH.

��:KDW�LV�D�RQH�ZD\�WUDYHOHU"

A RQH�ZD\�WUDYHOHU is normally a full stage (24x48’) "drop" which stores off stage and is pulled onstage on a single, full stage-width traveler track. Two "drops" can travel on one track. One stores stage left and the other stage right.

��:K\�LV�LW�XVHG"� Because there is not enough fly space (at least a minimum of 48’) to lift the drop out of sight.

��+RZ�GR�\RX��:HVW�FRDVW��D�GURS"

In :HVW�FRDVWLQJ, a drop is lowered to the floor, gathered and tied to the pipe, and then flown out to the grid. We typically "West coast" the VN\�F\F.

��:K\�DUH�ZH�IRUFHG�WR�XVH�WKHVH�WZR�DSSURDFKHV�RQ�RXU�VWDJH"

Because we have no fly loft.

��:KDW�LV�WKH�GLIIHUHQFH�EHWZHHQ�D�ZDJRQ�VWDJH�� A ZDJRQ�VWDJH stage is a large wagon used to move an entire setting as a single unit. Normally a two set play will use two wagons. One is stored off stage in the left wing and the other is stored off stage in the right wing. They are brought into service by rolling them to the center of the stage. In order to use two 16’ x 24’ wagon stages, the minimum dimensions of the stage house would need to be 72’ wide (3x the width of the wagon) by 16’ deep.

��$�MDFNNQLIH�VWDJH��DQG� The MDFNNQLIH stage is also a large wagon used to shift an entire setting as a single unit. Normally two jackknife stages are used. One on each side of the proscenium opening. In their offstage, or out, position each is stored at right angles to the arch with the corner nearest the arch anchored to a pivot pin. The stages are brought into service by revolving them a quarter turn, bringing them into a position parallel with the front edge of the stage. In order to use two 16’ x 24’ jackknife stages, the minimum dimensions of the stage house would need to be 56’ wide (wagon width + 2x wagon depth) by 24’ deep.

��$�UHYROYLQJ�VWDJH"

A UHYROYLQJ�VWDJH, also known as a WXUQWDEOH, is a large circular platform which pivits on its center axis. Traditionally the circular stage is divided into two, three, or four pie shaped segments. Each segment becomes a different set. See )LJXUH�� on page 232,

��:KDW�LV�WKH�ODUJHVW�VFHQLF�ZDJRQ�ZKLFK�FDQ�EH�HIILFLHQWO\�VKLIWHG�RQ�RXU�VWDJH"�:K\"

8’x16’. :K\" A wagon wider than 8’ would not fit between the masking legs, and a unit longer than 16’ could not be rolled far enough off stage to mask.

��:KDW�LV�WKH�PD[LPXP�QXPEHU�RI�ZDJRQV�ZH�FDQ�XVH�LQ�D�0DLQ6WDJH�PXVLFDO"�:K\

(LJKW, four on each side of the stage. :K\" We typically use three sets of masking legs creating four entrances on each side of the stage. One unit can be stored in each entrance.

Northern’s 1983 production of Lerner and Lowe’s 0\�)DLU�/DG\, which was staged in eight sets (4 full stage and 4 in-one scenes) used 6 ZDJRQV, 4 scenic IODWV (which were run in from the wings) and 2 GURSV-- a backdrop representing 1914 London and a black one way traveler to back the four in-one scenes. Below is the scenic break-down.

x� )XOO�6WDJH�6FHQHV o &RYHQW�*DUGHQ - 1- 4x16 wagon o 7KH�7HQDPHQW - 1- 4x16 wagon o +LJJLQV�6WXG\ - 2- 8x16 wagons o 7KH�%DOOURRP - 1- 4x8 wagon and 1- 3 fold flat

(opened: 12’ x12’) x� ,Q�2QH�6FHQHV

o $VFRW - 1- 3 fold flat (opened: 15’ x 10’) o 2XWVLGH�+LJJLQV�+RXVH - 1- 4x8 wagon o +DOO�LQ�+LJJLQV�+RXVH - 1- 8’ tall x12’ wide flat o 0UV�+LJJLQV�&RQVHUYDWRU\ - 1- 3 fold flat (opened: 12’

x 8’)

��+RZ�ORQJ�VKRXOG�LW�WDNH�WR�VKLIW�D�VHW�GXULQJ�D�PXVLFDO"

A scene shift should not take more than 10 to 15 seconds.


E-mail questions and comments to Larry Wild at [email protected]. Created: November 5, 2001 © 1998 - 2001 by Larry Wild, Northern State University , Aberdeen, SD

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7H[W�� J. Michael Gillette. 7KHDWULFDO�'HVLJQ�DQG�3URGXFWLRQ, 4th edition. Mountain View, CA: Mayfield Publishing Company. 2000. Chapter 10: Scene Painting.

2XWVLGH�UHDGLQJ�� Burris-Meyer, Harold and Edward C. Cole.�6FHQHU\�IRU�WKH�7KHDWUH, revised edition. Boston: Little Brown and Company. 1971. Chapter 10: "Scene painting," pg. 219-254. This chapter is probably the best unit on the art of scene painting . Crabtree, Susan and Peter Beudert. 6FHQLF�$UW�IRU�WKH�7KHDWUH. Boston: Focal Press. 1998.

Outline of a Technique to create... Brick | Wood Paneling | Striped Wall Paper

��:KDW�DUH�WKH�WKUHH�EDVLF�FRPSRQHQWV�RI�VFHQH�SDLQW"

1. 3LJPHQW -- which gives the paint color 2. %LQGHU -- which holds the pigment on the surface 3. 9HKLFOH (or medium) -- the suspension which holds both the binder and the

pigment

��:KDW�W\SH�RI�VFHQH�SDLQW�GR�ZH�XVH�LQ�RXU�VKRS"

We use a combination of 5RVFR�6XSHUVDWXUDWHG: a water-based (vehicle) paint which uses an acrylic co-polymer binder and "cheap, interior, ODWH[" (mostly flat white) from WalMart or Menards.

��:KDW�EDVLF�FRORUV�RI�VFHQH�SDLQW�VKRXOG�D�VFHQH�VKRS�VWRFN"

I divide the paint inventory into three groups: (1) The six basic hues: the three primary and the three secondary colors, (2) black and white, and (3) the relatively inexpensive earth colors. The 2002 list price for a quart of Rosco Supersaturated Paint is between $11.50 and $19.00.

7KH�6L[�%DVLF�+XHV�

Color Rosco SuperSat # Amount Stocked

5HG 5965 6 quarts

0RO\�2UDQJH 5984 4 quarts

/HPPRQ�<HOORZ 5988 4 quarts

&KURPH�*UHHQ 5971 6 quarts

8OWUDPDLQH�%OXH 5969 6 quarts

3XUSOH 5979 4 quarts

%ODFN�DQG�:KLWH�


9HORXU�%ODFN 6003 3 gallons

:KLWH 6001 5 gallons

7KH�(DUWK�&RORUV�


<HOORZ�2FKUH 5982 6 quarts

5DZ�6LHQQD 5983 6 quarts

%XUQW�6LHQQD 5987 6 quarts

All scene paint (with the possible exception of Rosco’s Off Broadway) is designed to be diluted. The standard dilution for "full strength" is one part water to one part paste, so a quart of SuperSaturated color will produce a half gallon (two quarts) of paint and should cover approximately 200 square feet.

��+RZ�PXFK�ZKLWH�SDLQW�VKRXOG�EH�SXUFKDVHG"

The standard practice is to purchase as much white paint as all colored paint combined. For example, if you are going to order 12 gallons of color (red, blue, green, yellow orchre...) then you should order 12 gallons of white. I tend to order 4 gallons of white paint per show. If we are going to present three productions per season, I requisition 12 gallons of paint, 6 gallons if I am ordering Rosco SuperSaturated. If one of the three shows is a musical, I would probably add an additional 4 gallons.

��+RZ�PXFK�EODFN"

The black paint order is typically half the white paint order. If you are going to purchase 12 gallons of white, you should order 6 gallons of black paint.

��+RZ�PDQ\�JDOORQV�RI�VFHQH�SDLQW�LV�UHTXLUHG�WR�EDVH�SDLQW�WKH�DYHUDJH�ER[�VHW"

I figure 4 gallons of paint per set. A 12 foot tall box set for a 32 x 16 foot stage will contain approximately 800 square feet of wall surface.

��:KDW�LV�WKH�GLIIHUHQFH�EHWZHHQ�D�OD\�LQ�EUXVK��DQG�D�OLQLQJ�EUXVK"

A OD\�LQ�EUXVK is wider (3" to 6" in width) than a OLQLQJ�EUXVK (1/4" to 2" in width). The OD\�LQ�EUXVK is used in priming, base painting, wet blending, and drybrushing as well as painting the architectural molding (chair rail, mop board...) in an interior box set. The OLQLQJ�EUXVK, also known as a "scenic fitch," is primarily used to line-in high light and shadow. Good quality OD\�LQ�EUXVKHV can be purchased at WalMart or Menard’s, but a set of OLQLQJ�EUXVKHV, costing about $ 90, must be ordered through a theatrical supply house.

��:KDW�RWKHU�PDWHULDOV�FDQ�EH�XVHG�WR�DSSO\�SDLQW�WR�VFHQHU\"

Rollers, sponges (both natural and synthetic), sponge brush, feather duster, sprayer...

��:KDW�DX[LOLDU\�WRROV�DQG�PDWHULDOV�ZLOO�D�VFHQH�SDLQWHU�QHHG"

Buckets, brush extender, straight edge, masking tape...

��:KDW�LV�WKH�GLIIHUHQFH�EHWZHHQ�WKH�6L]H�� The VL]H�FRDW is used to prepare unbleached muslin (or canvas) for the base coat. Originally sizing was a mixture of one part glue to sixteen parts water. Today flats are usually sized with paint mixed from the left overs from previous productions.

��3ULPH��DQG� The SULPH�FRDW is used to give pre-painted scenic units a common tonality. Many shops prime their sets with inexpensive white (or off-white) interior latex wall or ceiling paint available at WalMart.

��%DVH�FRDW"

The EDVH�FRDW is the first "show coat." It establishes the basic color of the set.

��'HVFULEH�WZR�WHFKQLTXHV�D�VFHQH�SDLQWHU�FDQ�XVH�WR��FDUWRRQ��D�GHVLJQ�RQWR�D�GURS��RU�IODW��

x� A slide (or overhead) SURMHFWRU can be used to project a copy of the scene designer’s elevation on the drop. In order to avoid keystoning the height of the projector’s lens should be one half the height of the set piece.

x� A JULG system (a 1/2" square on the elevation = a 1’ square on the drop) can also be used to transfer the drawing from the elevation to the drop. See )LJXUH��RQ�SDJH��.

��'HVFULEH�VFXPEOLQJ�RU�ZHW�EOHQGLQJ

6FXPEOLQJ -- which can be used as the base coat for plaster, wood, stone, and dirt -- is the ZHW�EOHQGLQJ of two (or more) similar colors on the surface of the scenic unit. See )LJXUH��RQ�SDJH��

��6SDWWHULQJ

6SDWWHULQJ, one of the most commonly used texturing techniques, is throwing small droplets of paint at the scenery. Usually at least two spatter coats are applied. One uses a tint of the base color and the second, the shade. See )LJXUH��RQ�SDJH�� 6SDWWHU�DQG�'UDJ.Immediately, before the spatter coat has a chance to dry, pull a dry brush or a push broom firmly over the spatter in the direction of the grain.

��6WLSSOLQJ

6WLSSOLQJ uses a sponge, brush or feather duster, to "dab" paint on the set. This texturing techniques is used to help create the illusion of stone, flocked wall paper, and foliage. See )LJXUH��RQ�SDJH��

��'U\�EUXVKLQJ

'U\�EUXVKLQJ is done by dragging the separated bristles of a charged lay-in brush across the scenic surface leaving a streaky, linear pattern. This technique is used to create a wood grain effect. See )LJXUH��RQ�SDJH��

��/LQLQJ

/LQLQJ uses a lining brush (often with a straight edge) to paint lines. It is the standard technique used to create the high light and shadow around architectural molding. See )LJXUH��RQ�SDJH��

��2XWOLQH�D�WHFKQLTXH�ZKLFK�FDQ�EH�XVHG�WR�FUHDWH�D��

x� %ULFN�ZDOO�� /LVW�RI�FRORUV�\RX�ZLOO�QHHG�WR�PL[��

1. Light base 2. Middle base 3. Dark base 4. Mortar 5. Tint of the light base 6. Shade of the dark base 7. High light 8. Shadow

7KH�EDVLF�VWHSV�� o %DVH paint the entire area with the middle brick color (color 2), o /LQH�LQ the mortar (color 4), o 6SDWWHU with the light base (color 1 ), o 6SDWWHU with the dark base (color 3), o Using a sponge, randomly 6WLSSOH (or 'U\�%UXVK) with a tint of the

light base (color 5), o Using a sponge, randomly 6WLSSOH (or 'U\�%UXVK) with a shade of

the dark base (color 6), o /LQH in high lights (color 7), o /LQH in shadow (color 8).

x� :RRG�3DQHOLQJ�� /LVW�RI�FRORUV�\RX�ZLOO�QHHG�WR�PL[��

0. Light base 1. Dark base 2. Tint of light base 3. Shade of dark base 4. Chair rail base 5. Tint of chair rail base 6. Shade of chair rail base 7. High light 8. Shadow

7KH�EDVLF�VWHSV�� o :HW�%OHQG a light base (color 1) and dark base (color 2) over the

entire area, o 'U\�%UXVK (wood grain) with a tint of the light base (color 3), o 'U\�%UXVK (wood grain) with a shade of the dark base (color 4), o 6SDWWHU��'UDJ a shade of the dark base (color 4), o /D\�,Q the chair rail and base board (color 5), o 'U\�%UXVK the chair rail and mop board with a tint of the chair rail

base (color 6),

o 'U\�%XVK the chair rail and mop board with a shade of the chair rail base (color 7),

o /LQH in high light on the chair rail and mop board (color 8), o /LQH in shadow on the chair rail and mop board (color 9), o /LQH in the cut lines with the shadow color (color 9).

x� 6WULSHG�:DOO�3DSHU /LVW�RI�FRORUV�\RX�ZLOO�QHHG�WR�PL[��

0. Light base 1. Middle base 2. Dark base 3. Shadow

7KH�EDVLF�VWHSV�� x� %DVH paint the entire area with the middle base color (color 2), x� Mark the edges of the stripes (usually 1’ wide) at the top and bottom of the

flat, x� Mask every other "stripe" with a 1’ board or flat, x� Heavily 6SDWWHU the unmasked (open) part of the flat with the dark base

(color 3), x� Move the mask to cover the stripes you just painted, x� Heavily 6SDWWHU the unmasked (open) part of the flat with the light base

(color 1), x� Lightly 6SDWWHU the whole unit with the light base (color 1), x� Lightly 6SDWWHU the whole unit with the dark base (color 3), x� /LQH in the edge between stripes with a shadow color (color 4).


E-mail questions and comments to Larry Wild at [email protected]. Last updated: August 21, 2002 © 1998 - 2002 by Larry Wild, Northern State University , Aberdeen, SD

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7H[W�� J. Michael Gillette. 7KHDWULFDO�'HVLJQ�DQG�3URGXFWLRQ, 4th edition. Mountain View, CA: Mayfield Publishing Company. 1999. Chapter 11: Stage Properties

��:KDW�LV�WKH�GLIIHUHQFH�EHWZHHQ�D�VHW�SURS�� A large movable object, often a piece of IXUQLWXUH, which is used by an actor -- a sofa, table, chair, floor lamp... In a union house, the floor lamp would be placed on the set by the SURS�FUHZ but would be plugged in by a member of the electric or OLJKW�FUHZ.

��D�KDQG�SURS�� A small object which is used by an actor -- a book, wine bottle, glass...

��DQG�VHW�GUHVVLQJ"

Any object which is mounted on the set but is not used by an actor -- the draperies over the window, the painting on the wall, the books in the bookcase... Go to )LJXUH��RQ�SDJH�� Notice how the SURSV, especially the VHW�GUHVVLQJ, gives the room character.

The SURSHUW\�FUHZ is also responsible for mechanically produced sound effects such as a door slam or thunder from a WKXQGHU�VKHHW.

��:KLFK�GHVLJQHU�LV�UHVSRQVLEOH�IRU�WKH�GHVLJQ�RU�VHOHFWLRQ�RI�WKH�SURSHUWLHV"

The Scene Designer.

��2XWOLQH�KRZ�D�SURS�OLVW�LV�GHYHORSHG� The SURS�PDVWHU, using the script as his primary source, develops a OLVW of all props used by the actor in the action of the play. Typically this list is organized by $FW and 6FHQH and lists not only the prop, but also which actor (or actors) use the prop. Later the SURS�OLVW will be reorganized to indicate which items are placed RQ�VWDJH and which are located off-stage on a SURS�WDEOH waiting to be picked up by an actor before his entrance. The SURS�PDVWHU will compare his SURS�OLVW�with the list published in the script and the list developed by the

director. As a final check, the SURS�PDVWHU may also ask the actors "what props do you need for the show?"

��:KDW�LV�WKH�GLIIHUHQFH�EHWZHHQ�D�UHKHDUVDO�SURS�DQG�D�VKRZ�SURS"

A UHKHDUVDO�SURS is a substitute used by the actors during the early weeks of rehearsal-- a plastic cup from the SURS�URRP instead of the borrowed silver tea set which will be used during the actual performances.

��/LVW�ILYH�WHFKQLTXHV�RI�DFTXLULQJ�VKRZ�SURSV� 1. 3XOO from the theatre’s SURS�URRP; 2. %RUURZ from

o an individual in the community, o a business (especially a furniture store or antique shop), or o another theatre company;

3. 5HQW from a commercial prop studio; 4. %X\, usually from a second-hand store; or 5. %XLOG in the Property Shop.

��:KDW�LV�WKH�SURS�WDEOH"�+RZ�PDQ\�DUH�QHHGHG"� A large (3’x8’) table on which KDQG�SURSV are located. Normally, a minimum of two tables will be needed.

��:KHUH�VKRXOG�WKH\�EH�ORFDWHG"

One stage left and one stage right. If the play requires a box set, normally a prop table will be placed at each entrance. Three doors -- three tables.

��+RZ�DQG�ZK\�VKRXOG�WKH�SURS�WDEOH�EH��PDSSHG"�

Using masking tape, the SURS�PDVWHU will divide (or "PDS") the table into a number of blocks -- one block per prop. Each prop is assigned a unique position on the table. The actor picks up the prop from the table, takes it on stage, and when the scene is over, places the prop back into its assigned square. At the beginning and end of each night, the SURS�PDVWHU can glance at the table and quickly tell exactly what props, if any, are missing.

��:KDW�VKRXOG�WKH�SURS�PDVWHU�SXW�LQ�WKH�ZLQH�ERWWOH�IRU�WKH�ELJ�GLQQHU�VFHQH"

First, wine, or any alcoholic beverage, should 1(9(5 be used on stage. The only thing worse than a drunk actor is a drunk stage hand.

Generally the wine bottle will be filled with water colored with Coke, tea, or food coloring.

��6KRXOG�WKH�SURS�WDEOHV�EH�FOHDUHG�HDFK�QLJKW�DIWHU�UHKHDUVDO�RU�SHUIRUPDQFH"

<HV� The typical practice in most theatres is to secure, in a lockable cabinet, all hand props each night. This is especially important if valuable antiques or lethal weapons (such as a gun) are used.

��+RZ�PDQ\�\DUGV�RI�IDEULF�ZLOO�\RX�QHHG�WR�EX\�WR�GUDSH�D��[��ZLQGRZ�LQ�D�ER[�VHW"

The bottom rail of a 3x6 window in a VWRFN�ZLQGRZ�IODW is typically two feet above the stage floor. There are normally three parts to a floor length drape. Two lHJV (each 8’ long) framing the window and a three foot YDODQFH at the top. You would need to purchase nineteen feet (8’ + 3’ + 8’) or �� yards of fabric.

��:KDW�NLQG�RI�IDEULF�ZRXOG�\RX�EX\"

Depending on budget and period of the show, I would purchase either YHORXU, YHOYHWHHQ, or perhaps FRUGXUR\. The fabric should have a KHDY\��ULFK look.

��:KDW�DUH�WKH�VWDQGDUG�ZDUQLQJ�JLYHQ�E\�WKH�SURS�PDVWHU"

x� Don’t play with the props. x� Don’t sit on the furniture. x� Don’t touch some one else’s prop. x� If it’s not yours, leave it alone. x� Put your prop back on the table when you’re done.


E-mail questions and comments to Larry Wild at [email protected]. Updated: November 10, 2003 © 2001 by Larry Wild, Northern State University , Aberdeen, SD

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7H[W�� J. Michael Gillette. 7KHDWULFDO�'HVLJQ�DQG�3URGXFWLRQ, 4th edition. Mountain View, CA: Mayfield Publishing Company. 1999. Chapter 12: Lighting Design

Functions and Qualities of Light | Direction | Color | Light Plot and Hook-up Chart |

An Approach to Lighting Design

)XQFWLRQV�DQG�4XDOLWLHV�RI�/LJKW��:KDW�DUH�WKH�IRXU�IXQFWLRQV��RU�SXUSRVHV��RI�OLJKW"

1. 9LVLELOLW\� to see; 2. )RFXV� to direct the audiences attention; 3. 0RGHOLQJ� to reveal the three dimensional form of the actor and... 4. 0RRG� to reflect the changing tone of the work.

��:KDW�DUH�WKH�ILYH�FRQWUROODEOH�SURSHUWLHV��RU�TXDOLWLHV��RI�OLJKW"

1. ,QWHQVLW\, 2. &RORU, 3. 'LUHFWLRQ, 4. 'LVWULEXWLRQ, which includes shape, size, and texure and... 5. 0RYHPHQW or change.

'LUHFWLRQ��:KDW�DUH�WKH�VWDQGDUG�GLUHFWLRQV�RI�OLJKW"�:KDW�HIIHFW�GRHV�HDFK�SURGXFH�RQ�WKH�DFWRU"

)URQW�OLJKW by itself, even when cross focused, gives a very flat quality to the figure, but it is JRRG�IRU�OLJKWLQJ�WKH�DFWRUV�H\HV.

6LGH�OLJKW UHYHDOV�WKH�GLPHQVLRQDOLW\�RI�WKH�DFWRU. 6LGH�OLJKW from both sides of the stage will produce adequate, although shadowy, visibility. A little IURQW�OLJKW will help the audience see the actor’s face.

%DFN�OLJKW highlights the actor’s head and shoulders and can be XVHG�WR�VHSDUDWH�KLP�IURP�WKH�EDFNJURXQG.

'RZQ�OLJKW is very GUDPDWLF but it is not very good for lighting an actor’s faces.

8S�OLJKW reverses the position of the shadows. It can be used to create a PRPHQW�RI�KRUURU�

Images created in 9LUWXDO�/LJKW�/DE.

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x� &HLOLQJ�&RYH (or Ceiling Beam): A slot in the ceiling of the theatre. x� Balcony 5DLO. x� %R[�%RRPV located in the ER[�VHDWV suspended from the side walls of the

auditorium. x� )2+�3LSH (or truss) hung over the first couple of rows of the orchestra. x� 3URMHFWLRQ�%RRWK in the rear of the balcony.

��:KLFK�SRVLWLRQV�GR�ZH�KDYH�LQ�-RKQVRQ�&HQWHU"

x� &HLOLQJ�&RYH. x� 6LGH�SLSHV (in the near %R[�%RRP position) over the two front exit doors. x� 3URMHFWLRQ�%RRWK. x� Four *XQ�5DFNV (short )2+�3LSHV) suspended below the ceiling above the

four transverse aisles .

��:KDW�PRXQWLQJ�SRVLWLRQV�DUH�DYDLODEOH�RQ�VWDJH"

x� (OHFWULF�3LSHV� Generally the spacing between HOHFWULF�SLSHV is 6 to 10 feet with the )LUVW�(OHFWULF hung 1 or 2 feet upstage of the Act Curtain. There are four HOHFWULF�SLSHV on the -)$&�0DLQ6WDJH.

x� %RRPV� The spacing between ERRPV is also generally between 6 and 10 feet. In a GDQFH show it is not unusual to locate a ERRP on each side of the stage directly under an HOHFWULF�SLSH.

x� )ORRU� )RRWOLJKWV and URYHUV-- a single light placed on a short stand --are considered IORRU mounted lamps.

x� 6HW� Backing lights and on stage practicals (such as a ZDOO�VFRQFH or ILUH�SODFH�HIIHFW) are often mounted directly to the VHW�

��:KDW�LV�D�ERRP�"

A ERRP is a 10 to 12 foot vertical (1" or 1 1/2" diameter) pipe screwed into a large heavy (50 pound) base. It is the standard mounting position for VLGH�OLJKWV in a GDQFH show. Booms are not permanent mounting positions. They are rigged and cabled for each production and struck when the show closes.

��:KHUH�GR�,�QRUPDOO\�KDQJ�VLGH�OLJKWV"�:K\"

I tend to mount VLGH�OLJKWV at the ends (starting approximately 20’ left and right of the center line) of the overhead electric pipes. These high angle VLGH�OLJKWV are generally referred to as 3LSH�(QGV (or simply (QGV) in the professional theatre.

��:K\"

Because it is fast and efficient. Hanging and powering 24 lamps on 6 ERRPV will take approximately 8 man hours. Hanging and powering 24 lamps on three electric pipes will usually take less than one man hour.

&RORU��:K\�LV�FRORU�PHGLD�XVXDOO\�UHIHUUHG�WR�DV��JHO"��

*HO, an organic product, was the original color media. Because it tended to fade under high wattage lamps, it was replaced by an acetate (plastic) based product (5RVFROHQH or &LQHPRLG) in the mid 1950s and a poly-carbonate (also plastic) based product (5RVFROX[) in the early 80s. *HO has remained the traditional, or generic, name for theatrical FRORU�PHGLD.

��:KDW�LV�WKH�FRVW�RI�D��[��VKHHW�RI�5RVFROX["

��, as quoted in the 2003-2004 Stage Technology Catalogue

��+RZ�PDQ\��LQVWUXPHQWV�FDQ�EH�JHOOHG�IURP�RQH�VKHHW"

6L[� The standard gell cut for a 6" Fresnel or Ellipsoidal is 7.5" x 7.5".

��+RZ�PDQ\��LQVWUXPHQWV"

)RXU� The standard gell cut for a 8" Fresnel or Ellipsoidal is 10"x10".

��/LVW�HOHYHQ�EDVLF�DFWLQJ�DUHD�FRORUV�\RX�ZRXOG�VWRFN� Specific gels using the 5RVFROX[ series of colors...

1. Two DPEHUV� a ZDUP��DOPRVW�QR�FRORU�EDVWDUG�DPEHU and a GDUNHU��KHDYLHU�%$;

o R01: /LJKW�%DVWDUG�$PEHU o R02: %DVWDUG�$PEHU

2. One pale \HOORZ for "realistic" sunlight o R08: 3DOH�*ROG

3. Two SLQNV� a VRIW��ZDUP��QR�FRORU�SLQN and a more intense, GDUNHU��SLQN\�SLQN;

o R33: 1R�&RORU�3LQN o R34: )OHVK�3LQN

4. Two ODYHQGHUV� a ZDUP�ODYHQGHU and a FRRO�ODYHQGHU o R51: 6XSULVH�3LQN o R55: /LODF

�� Four EOXHV evenly spaced between LF\��QR�FRORU�EOXH and YHU\�GDUN�EOXH��

o R63: 3DOH�%OXH o R67: /LJKW�6N\�%OXH o R69: %ULOOLDQW�%OXH o R80: 3ULPDU\�%OXH

Link to a 9LUWXDO�'HPRQVWUDWLRQ�RI�WKH�7KHDWULFDO�8VH�RI�&RORU� Although I do not limit myself to these basic eleven colors, I do tend to use them as a starting point when building a color scheme for a specific show. Seven of the ten colors used in the Fall 2003 production of ��LQ�WKH�6KDGH were drawn from the above list. The pallette for ��LQ�WKH�6KDGH included

1. Four colors of IURQW�OLJKW, 1. R02: %DVWDUG�$PEHU 2. R08: 3DOH�*ROG 3. R51: 6XSULVH�3LQN 4. R55: /LODF

2. Four colors of VLGH�OLJKW and 1. R01: /LJKW�%DVWDUG�$PEHU 2. R18: )ODPH 3. R65: 'D\OLJKW�%OXH 4. R69: %ULOOLDQW�%OXH

3. Two colors of EDFN�GRZQ�OLJKW 1. R21: *ROGHQ�$PEHU 2. R80: 3ULPDU\�%OXH

/LJKW�3ORW�DQG�+RRN�XS�&KDUW��:KDW�LQIRUPDWLRQ�QRUPDOO\�DSSHDUV�RQ�D��

��/LJKW�SORW��RU�OD\RXW�� The OLJKW�SORW is a plan view of the stage showing where each lighting instrument is hung. Each instrument type (Ellipsoidal, Fresnel, etc.) is represented by a VSHFLILF�V\PERO which is normally indicated on the SORW. (See the .H\ in the lower left corner of the ��LQ�WKH�6KDGH light plot.) Each light is identified by a XQLW�QXPEHU generally placed within the symbol. Depending on the designer, the FRORU, IRFXV, and FRQWURO�FKDQQHO for each light may also be listed on the plot.

Today most lighting designers create their OLJKW�SORWV on a computer using a CAD program such as 9HFWRU:RUNV. The LQVWUXPHQW�QXPEHU, FRORU, FRQWURO�FKDQQHO, etc. (called attributes in CADspeak) are entered into the computers memory and associated with each symbol plotted on the drawing. This information is then exported from the CAD program and imported into a data base or spread sheet program (such as Microsoft ([FHO) where it is sorted by FKDQQHO number generating a KRRN�XS�FKDUW or by SRVLWLRQ and iQVWUXPHQW�QXPEHU generating an LQVWUXPHQW�VFKHGXOH.

Light Plot: ��LQ�WKH�6KDGH

Link to a PDF file of the light plot for the show and a page of photographs from ��LQ�WKH�6KDGH

��+RRN�XS�FKDUW� The KRRN�XS�FKDUW indicates which FKDQQHO controls each light. In addition to the control FKDQQHO, the (1) PRXQWLQJ�SRVLWLRQ, (2) LQVWUXPHQW�QXPEHU, (3) GLPPHU, (4) FRORU, and (5) IRFXV for each

light is also listed. Link to the hook-up chart (a 3') file) for ��LQ�WKH�6KDGH.

��,QVWUXPHQW�6FKHGXOH� The LQVWUXPHQW�VFKHGXOH lists each unit by PRXQWLQJ�SRVLWLRQ and LQVWUXPHQW�QXPEHU. Also included in the schedule is the (1) control FKDQQHO, (2) GLPPHU, (3) FRORU, and (4) IRFXV. Link to the instrument schedule (a 3') file) for ��LQ�WKH�6KDGH.

��&XH�VKHHW"

The FXH�VKHHW is the light board operator’s VFULSW. It indicates what physical actions (for example: &URVV�IDGH from 6F�� to Sc.��) the operator must perform when the stage manager gives the JR. The FXH�VKHHW will include (1) the cue number (4��), (2) the count in seconds (��), and (3) and the action the operator must execute (6F��[�6F��). If the stage manager does not call the show, the FXH�VKHHW will also include (4) the "go" line or action (&KRUXV�H[LWV�86), and (5) a brief description of the effect (86�IDGHV�WR��).

The FXH�OLVW for ��LQ�WKH�6KDGH included (1) the VFHQH, (2) the FRXQW (in seconds), (3) the 4�QXPEHU and (4) a GHVFULSWLRQ of the action or effect. The scene was identified by Act and Scene number: for example: $FW�,��6FHQH�� was listed as 6F��. The FXH�QXPEHU was actually the memory location of the lighting cue in the control console, an (7&�([SUHVV��. Cue numbers were assigned in blocks. For example, the eight lighting cues in Act I, Scene 1 (6F��55�'HSRW) were assigned to memory locations 110 through 119. Cue 120 was the opening look for Act I, Scene 2. (6F��6WUHHW).

/LJKWLQJ�&XHV�IRU�$FW�,��6FHQH��55�'HSRW

&XH�1XPEHU &RXQW 'HVFULSWLRQ

100 3 Act 1 3UHVHW 110 30 X to 6F��55�6WDWLRQ

111 3 Into "Another Hot Day" (pg2) - 1 FS: File

112 3 Townspeople join

113 3 Restore to Q110 as townspeople exit

114 3 Into "Lizzie’s Coming Home" (pg3) -- 2 FS: Jim, Noah, HC

114.5 3 Restore to Q113

115 5 Into "Love Don’t Turn Away" (pg9) -- 1 FS: Lizzie

119 3 FSp out as Lizzie exits

120 16 X to 6F��6WUHHW (pg11)

Link to the cue list (a 3') file) for ��LQ�WKH�6KDGH.

A /LJKW�3ORW created in 9HFWRU:RUNV�

��8VLQJ�WKH�DERYH�SORW��ZKLFK�LQVWUXPHQWV�DUH��

��(OOLSVRLGDOV"

Lamps number 1, 2, 7, 12 and 13.

��)UHVQHOV"

Lamps number 4, 6, 8 and 10.

��3$5�&DQV"

Lamps number 3 and 11.

��6FRRSV"

Lamps number 5 and 9.

��:KLFK�LQVWUXPHQWV�DUH�SOXJJHG�LQWR�FKDQQHO��"

Lamps number 1 and 2, Moonlight from stage left.

��:KLFK�FKDQQHO�FRQWUROV�WKH�LQVWUXPHQW�V�IRFXVHG�LQWR�WKH�GRZQ�FHQWHU�DUHD"

Channel 2.

��:KLFK�LQVWUXPHQWV�DUH�LQGLYLGXDOO\�FRQWUROOHG"

Lamps number 4, 7 and 10.

��:KLFK�LQVWUXPHQWV�DUH��WZRIHUG��WRJHWKHU"

There are five groups of lamps which are ganged (twofer’d) together. They are units number 1 and 2, 3 and 11, 5 and 9, 6 and 8, and 12 and 13.

��:KLFK�FKDQQHO�V�FRQWUROV�WKH�LQVWUXPHQWV�JHOOHG�LQ�5��"

Channels 1, 2 and 3. The three channels which control the left, center and right areas.

��:KDW�LV�WKH�PLQLPXP�QXPEHU�RI�FLUFXLWV"

Eight. One per channel.

��7KH�PD[LPXP�QXPEHU�RI�FLUFXLWV"

Thirteen. One per light.

$Q�$SSURDFK�WR�/LJKWLQJ�'HVLJQ�/D\HU��$FWLQJ�DUHDV��

��:KDW�LV�DQ�DFWLQJ�DUHD"�$�OLJKWLQJ�DUHD"

According to Gillette, DFWLQJ�DUHDV are "those spaces on the stage where specific scenes are played." (page 301). The shape and size of the DFWLQJ�DUHD (or areas), is determined by the scene designer’s setting and the director’s blocking. The entire stage space may be one large DFWLQJ�DUHD (as in a Neil Simon comedy, for example) or divided into numerous small DFWLQJ�DUHDV (as in Tennessee William’s 6WUHHWFDU�1DPHG�'HVLUH, Arthur Miller’s 'HDWK�RI�D�6DOHVPDQ or any of Shakespeare’s tragedies).

A OLJKWLQJ�DUHD is a small section or portion of the total acting space. Each OLJKWLQJ�DUHD is "a cylindrical space approximately eight to twelve feet in diameter and seven feet tall." (page 301) See )LJXUH�� on page 301.

Although there is a clear distinction between a OLJKWLQJ�DUHD and an DFWLQJ�DUHD, I, like many teachers and designers, use the terms interchangeably.

��:KDW�LV�WKH�IXQFWLRQ�RI�WKH�DFWLQJ�DUHD�OLJKWV"

$FWLQJ�DUHD lights LOOXPLQDWH (make YLVLEOH) the performers face and, by varying the intensity between the areas, helps IRFXV the audience’s attention.

��+RZ�PDQ\�DFWLQJ�DUHDV�DUH�QRUPDOO\�XVHG�IRU�D�VPDOO�SURGXFWLRQ"� The number of lighting areas depends on the size of the stage. Small productions on a small stage (24’ wide x12’ deep) generally use VL[ areas. Larger works on larger stages (36’ x24’) use up to ILIWHHQ. The total acting space for 3OD\ER\�RI�WKH�:HVWHUQ�:RUOG has been divided by teacher / designer J. Michael Gillette into 14 lighting areas. See )LJXUH�� on page 305.

I used six areas for Northern’s production of ��LQ�WKH�6KDGH. ��:KHUH�DUH�WKH\�XVXDOO\�ORFDWHG"

With a VL[�DUHD�V\VWHP, three are down stage and three are up stage.

Generally the total acting space is divided into two (DS and US) or three (DS, CS and US) full stage plains. Each plain is then divided into an odd (usually 3 or 5) number of lighting areas. Gillette’s design for 3OD\ER\ is based on a 5 (across) by 3 (deep) grid.

��+RZ�PDQ\�LQVWUXPHQWV�VKRXOG�EH�XVHG�WR�OLJKW�HDFK�DFWLQJ�DUHD"

7ZR (or more). Stanley McCandless’ original system (<DOH�8QLYHUVLW\��) used only two lights. I, like Gillette, generally use four or five units per area. Boyd Ostroff, the resident scenic and lighting designer for 7KH�2SHUD�&RPSDQ\�RI�3KLODGHOSKLD, used 9 lights per area (9 areas) in his 1998 OLJKW�SORW for Puccinni’s /D�%RKHPH. Link to the /D�%RKHPH SORW.

��:KHUH�VKRXOG�WKH\�EH�SODFHG"

Following McCandless’ theory, both lights should be mounted DERYH, in IURQt of, and to the OHIW�DQG�ULJKW of the performer. The three down stage areas are usually lit by six lamps ( Ellipsoidals ) hung in the &HLOLQJ�&RYH; the three up stage areas are lit by six units ( Fresnels ) hung on the )LUVW�(OHFWULF. A total of 12 lights for six areas.

Today most designers follow Gillette’s example and surround the performer with light. In ��LQ�WKH�6KDGH, the six DFWLQJ�DUHDV were lit from the IURQW-- 12 units for the three down stage areas and 6 lamps for the three upstage areas. In /D�%RKHPH, 6 of the 9 DUHD lights came from the IURQW and 3 from the�EDFN.

��:KDW�LV�WKH�GLIIHUHQFH�EHWZHHQ�D��.H\�OLJKW��DQG�D��)LOO�OLJKW"�

The .H\�/LJKW establishes the high lights; the )LOO�/LJKW controls the color and depth of the shadow area. The .H\��)LOO relationship can be established by either a difference in color or intensity. The .H\�/LJKW is the brighter or the warmer of the two units.

��:KDW�LV�WKH�/LJKWLQJ�.H\"

The OLJKWLQJ�NH\ is a drawing indicating the direction and color of each instrument lighting the DFWLQJ�DUHD. See )LJXUH�� on page 301 and )LJXUH�� on page 304. Campare the /LJKWLQJ�.H\ in )LJXUH�� with the partial /LJKW�3ORW in )LJXUH�� on page 306.

/D\HU��7RQLQJ�DQG�EOHQGLQJ��

��:KDW�LV�WKH�IXQFWLRQ�RI�WRQLQJ�DQG�EOHQGLQJ�OLJKWV"

To EOHQG the pools of DFWLQJ�DUHD light and to add a layer of more intense color to WRQH the costumes and setting. 7RQLQJ�DQG�EOHQGLQJ lights can be used to both UHYHDO the actor’s form and VHSDUDWH him from the background.

��:KDW��SDWWHUQV�RI�OLJKW��GR�,�XVH�WR�WRQH�DQG�EOHQG�WKH�VWDJH"

I, and most designers today, use combinations of IURQW, VLGH, EDFN, and GRZQ�ZDVKHV to WRQH�DQG�EOHQG the acting areas. In the 3OD\ER\ plot, Gillette added a 9 lamp IURQW�ZDVK in 5��%ULJKW�%OXH to add a night WRQH to the composition. See )LJXUH��$ on page 308.

In ��LQ�WKH�6KDGH, I used VLGH (6 lights stage left and right), EDFN (6 lights) and GRZQ (6 lights) ZDVKHV to tone and blend the stage.

��:KDW�LV�D�ZDVK"� According to Jean Rosenthal, the "mother" of lighting design, a ZDVK bathes a section of the stage with an "even field of light using a circuit of two or more lamps." (7KH�0DJLF�RI�/LJKW, page 178)

��+RZ�PDQ\�GLIIHUHQW�FRORUV�RI�WRQLQJ�DQG�EOHQGLQJ�OLJKWV�DUH�XVXDOO\�XVHG"

Usually WZR, a warm (pink, yellow or amber) and a cool (blue). Often a third color will be added.

I used VL[ colors in ��LQ�WKH�6KDGH-- Three warms (5��%DVWDUG�$PEHU, 5��)ODPH and 5��*ROGHQ�$PEHU) and three cools (5��'D\OLJKW�%OXH, 5��%ULOOLDQW�%OXH and 5��3ULPDU\�%OXH).

Three colors-- 5��%DVWDUG�$PEHU, 5��3DOH�$PEHU�*ROG, and 5��0LVW�%OXH-- were used in the $FWLQJ�$UHD�OD\HU of the 3OD\ER\ design. Each color was chosen to reflect a dramatic function. In addition to the three $FWLQJ�$UHD systems of VLGH and EDFN light, Gillette’s "night wash" added a rich blue WRQH to the stage.

Boyd Ostoff’s SORW used a 32 lamp, WZR color (5��/DYHQGHU and 5��/LJKW�6N\�%OXH), VLGH�ZDVK, to tone and blend the /D�%RKHPH set.

/D\HU��6SHFLDOV��

��:KDW�LV�D�VSHFLDO"

In a way, any instrument which is not an DFWLQJ�DUHD light, a WRQLQJ�DQG�EOHQGLQJ light, or a EDFNJURXQG light is a VSHFLDO. Generally a special is used to create a tight pool of light to isolate a specific moment in the play, emphasize an important entrance, or provide a shaft of sun light (or moon light) through a window.

The VSHFLDOV in ��LQ�WKH�6KDGH were the 4 lamps (2 in the Cove and 2 on the First Electric) focused on the 5DLQ�:DJRQ, and the two Third Electric units focused on the 3DYLOOLRQ.

��:KDW�LV�WKH�GLIIHUHQFH�EHWZHHQ�D�PRWLYDWLQJ�OLJKW��DQG�D�PRWLYDWHG�OLJKW"

The PRWLYDWLQJ light is the practical, or fixture, which is "illuminating" the scene. The PRWLYDWHG light is the theatrical unit (or units) which actually light the actor. The Ellipsoidal mounted outside a window to produce a beam of sunlight is a PRWLYDWHG light. The floor lamp, wall sconce, or chandelier is a PRWLYDWLQJ light. Both PRWLYDWLQJ and PRWLYDWHG lights are considered VSHFLDOV. See )LJXUH��% on page 308. The three 6" Fresnels (PRWLYDWHG�lights) on the second and third electric augment the light produced by the three oil lamps (PRWLYDWLQJ lights) sitting on the small tables. Like wise, the four ellipsoidals on the fourth electric provide PRWLYDWHG light through the up stage door and window. See )LJXUH��& on page 308.

The PRRQ and VXQ�ER[ hung behind the cyc in ��LQ�WKH�6KDGH were PRWLYDWLQJ lights.

��&DQ�D�PDMRU�GUDPDWLF�VFHQH�EH�SOD\HG�RQO\�XQGHU�WKH�PRWLYDWLQJ�RU�PRWLYDWHG�OLJKW"

1R, probably not. Both PRWLYDWLQJ and PRWLYDWHG light create interesting, and often revealing, compositions, but they tend not to provide enought light on the actor’s face to satisfy either the director or an audience. Generally the VSHFLDOV are reinforced with a little front light from the DFWLQJ�DUHD units.

��:KDW�LV�D�IL[WXUH��RU�SUDFWLFDO"

A fixture is the on-stage PRWLYDWLQJ light. It can be a floor lamp, desk lamp, wall sconce, or chandelier. It can also be an oil lamp or candle.

��:K\�VKRXOG�WKH\�EH�FRQWUROOHG�WKURXJK�WKH�VZLWFK�ERDUG"

Normally every fixture (PRWLYDWLQJ light) has at least one theatrical unit (PRWLYDWHG light) to create the dramatic effect. If the practical is turned on in a Light Q, at least three channels will move: (1) the fixture, (2) the VSHFLDO area, and (3) the associated front DUHD light.

/D\HU��%DFNJURXQG��

��:KDW�LV�D�EDFNLQJ�OLJKW"

A small light placed behind (or off-stage of) a door or window unit and used to light the scenic backing.

��:KDW�LQVWUXPHQW�LV�QRUPDOO\�XVHG�WR�OLJKW�D�EDFNLQJ"

In the academic and community theatres, the usual instrument is the ��3$5&DQ with a ��ZDWW�3$5��)O. I have also used FOLS�RQ�UHIOHFWRU�OLJKWV (with a 60 to 100 watt lamp) which I have purchased at Menards.

��%ULHIO\�GHVFULEH�KRZ�WR�OLJKW�D�ZLQGRZ�EDFNLQJ"

I would use two lights per window. (1) A IORRGOLJKW (Scoop) mounted near the top of the flat to light the 6N\�&\F and (2) a VSRWOLJKW (an Ellipsoidal or Fresnel) hung off stage and focused through the window to provide a shaft of sunlight. There are four windows in the back wall of Gillette’s design for 7KH�:LQVORZ�%R\. (See )LJXUH�� on page 72). To create both a day and night look I would need at least 8 IORRGOLJKWV (2 per window - day / nite) and 8 VSRWOLJKWV (2 per window - sun / moon).

��:KDW�OLJKWLQJ�LQVWUXPHQWV�DUH�XVHG�WR�OLJKW�WKH�VN\�F\F"

Either 6FRRSV (4 to 6 units per color), %RUGHU�OLJKWV (40 feet -- 5- 8’ strips), or &\F�OLJKWV (4 sections). See )LJXUH��& on page 308. Gillette used eleven "Cyc Lights" (probably 6FRRSV) to create a two color wash on the back drop.

Boyd Ostroff used 4 &\F�/LJKWV to wash the back drops in /D�%RKHPH. I used 8 6FRRSV on the #4 Electric and 2-- 6’ %RUGHU�OLJKWV on the floor to light the 6N\�F\F in ��LQ�WKH�6KDGH.

��:K\�VKRXOG�LW�EH�OLW�IURP�ERWK�WKH�WRS�DQG�WKH�ERWWRP"

If the drop is lit with 6FRRSV or %RUGHU�OLJKWV, and the designer wants an even wash across the sheet, it is necessary to light it from both the top and the bottom. Also, if the drop is lit from both the top and the bottom, it is possible to create a sunrise effect.

��+RZ�PDQ\�GLIIHUHQW�FRORUV�DUH�QRUPDOO\�XVHG�WR�OLJKW�WKH�VN\�F\F"

Three. :K\" Because VWULS�OLJKWV are traditionally wired with three circuits.

��:KDW�VSHFLILF�FRORUV�DUH�FRPPRQO\�XVHG"

For realistic productions of drama, opera, musicals and dance the 6N\�&\F is often lit with three different shades of blue-- A dark blue (5��3ULPDU\�%OXH), a middle blue (5��6N\�%OXH) and a no color blue (5��3DOH�%OXH). If the designer was forced to use only two circuits, I would gel one in Dark Blue (R80) and leave the other circuit White. Gillette’s two colors for the 3OD\ER\ design were 5�� and 5��/LJKW�6WHHO�%OXH. Boyd Ostroff gelled the four 3-color &\F�/LJKWV for /D�%RKHPH in 5��/LJKW�$PEHU, 5��/LJKW�6N\�%OXH and 5��*UHHQ�%OXH. I used two colors (5��%OXH�'LIIXVLRQ and 5��$PEHU�'LIIXVLRQ) from above and one (5��5HG�'LIIXVLRQ) from below to light the back drop in ��LQ�WKH�6KDGH. Abstract non-realistic productions, such as modern dance, often light the backdrop with the three light primaries: 5HG, %OXH and *UHHQ.


E-mail questions and comments to Larry Wild at [email protected]. Revised: November 11, 2003 Copyright © 2001-2003 by Larry Wild, Northern State University , Aberdeen, SD

(OHFWULFDO�7KHRU\�DQG�3UDFWLFH�5HVRXUFHV�

7H[W�� J. Michael Gillette. 7KHDWULFDO�'HVLJQ�DQG�3URGXFWLRQ, 4th edition. Mountain View, CA: Mayfield Publishing Company. 1999. Chapter 13: Electrical Theory and Practice

��:KDW�LV�WKH�VWDQGDUG�YROWDJH�LQ�WKH�8QLWHG�6WDWHV"

�� volts.

��:KDW�LV�WKH�UHODWLRQVKLS�EHWZHHQ�YROWV��DPSV��DQG�ZDWWV"

'HILQLWLRQV� x� 9ROWDJH is the force (or potential force) behind the electrons

as they move through the circuit, x� DPSHUDJH is the amount of electrical current flowing in the

circuit, and x� ZDWWDJH is the amount of power, or work, performed.

:DWWDJH is equal to YROWDJH times DPSHUDJH, or as a mathematical formula: :� �9� �$ -- the :HVW�9LUJLQLD�)RUPXOD.

$PSHUDJH is equal to ZDWWDJH divided by YROWDJH, as a mathematical formula: $� �:��9 or in North America, $� �:��.

��:KDW�LV�WKH�IXQFWLRQ�RI�WKH�FLUFXLW�EUHDNHU��RU�IXVH�"

The FLUFXLW�EUHDNHU (or fuse) protects the theatre’s wiring from an electrical overload which could cause a fire.

��:KDW�VKRXOG�GHWHUPLQH�WKH�UDWLQJ�RI�WKH�FLUFXLW�EUHDNHU"

The capacity of the EUHDNHU (or fuse) is determined by size of the theatre’s wiring. For example, a #12 AWG wire, which according to the 1DWLRQDO�(OHFWULFDO�&RGH can safely carry 20 amps, should be fused at 20 amps.

��:KDW�LV�WKH�FDSDFLW\��LQ�DPSV��RI��FDEOH"

20 amps, 2400 watts @ 120 volts

��2I��FDEOH"






��'HILQH��6-

x� �� 12 gauge wire, FDSDFLW\� ��DPSV x� �� Three conductors: +RW, 1HXWUDO (or Common) and *URXQG x� 6-�� Two or more VWUDQGHG�FRQGXFWRUV with a serving of cotton between the

copper and the insulation. Jute fibers, or other fillers, are twisted together with the conductors to make a round cord. The RXWHU�MDFNHW is of high quality rubber.

��+RZ�PDQ\��ZDWW�ODPSV�FDQ�EH�JDQJHG�RQ�RQH��FDEOH"

7ZR lights. #14 gauge cable has a rated capacity of 15 amps or 1800 watts (at 120 volts). 1800 watts divided by 750 watts per light = 2.4 instruments. Obviously you can not have a .4 lamp.

��+RZ�PDQ\��ZDWW�ODPSV�FDQ�EH�JDQJHG�WRJHWKHU�RQ�RQH��FDEOH"

Also WZR.

��:KDW�W\SH�RI�FRQQHFWRUV�DUH�FRPPRQO\�XVHG�LQ�WKH�WKHDWUH"

x� 20amp 6WDJH�3LQ (Cost: $ 10.00 / pair in the 2004 StageTechnology catalogue)

x� 20amp 7ZLVWORFN (Cost: $ 12.25 / pair) x� 15amp 8�*URXQG�3DUDOOHO�%ODGH (also known as a Household or Edison

plug) (Cost: $ 8.75 / pair)

See )LJXUH�� on page 368.

��:KLFK�W\SH�RI�FRQQHFWRU�GR�ZH�XVH�LQ�-RKQVRQ�&HQWHU"

Twenty amp WZLVWORFN. Broadway and most commercial road houses use pin connectors, college and university theatres generally use either pin or twistlock connectors and many community theatres use parallel blade (household) plugs.

��:KDW�LV�WKH�GLIIHUHQFH�EHWZHHQ�WKH�OLQH�FRQQHFWRU�DQG�WKH�ORDG�FRQQHFWRU"

The ORDG connector is the plug on the light and the OLQH connector is the outlet in the ZDOO�SRFNHW, FRQQHFWRU�VWULS or on the back of the GLPPHU�SDFN.

��:KDW�DUH�WKHLU�PRUH�FRPPRQ�QDPHV"

The load connector is the PDOH plug and the line connector is the IHPDOH plug.

��$FFRUGLQJ�WR�WUDGLWLRQDO�SUDFWLFH��ZKDW�VKRXOG�EH�WKH�FRORU�RI�WKH�LQVXODWLRQ�RI�WKH�KRW�ZLUH�

Black

��7KH�QHXWUDO�ZLUH��DQG

White

��7KH�JURXQG�ZLUH"

Green

��:KDW�LV�WKH�GLIIHUHQFH�EHWZHHQ�D�FDEOH��DQG�D�MXPSHU"� A FDEOH is generally long, at least 50 feet, and typically runs between the light and the dimmer rack. A MXPSHU is short, 10 to 50 feet and is used with a WZR�IHU to gang two instruments together.

��:KDW�LV�D�WZR�IHU"

A two-fer is a < connector with RQH�PDOH plug and WZR�IHPDOH plugs. It is used with a MXPSHU to JDQJ two lamps together on the same cable. See )LJXUH�� on page 369.

��:KDW�LV�WKH�GLIIHUHQFH�EHWZHHQ�D�WKUHH�ZLUH��VLQJOH�SKDVH�VHUYLFH��DQG�D

In a three-wire, single phase service the voltage between the two hot lines (black insulated wires) is 240 volts and the voltage between any hotline and the neutral (white insulated wires) is 120 volts.

��)RXU�ZLUH��WKUHH�SKDVH�VHUYLFH"

In a four-wire, three phase service the voltage between the three hot lines (black insulated wires) is 208 volts and the voltage between any hotline and the neutral (white insulated wires) is 120 volts. See the 6LGH�%DU��(OHFWULFDO�:LULQJ�on page 330.

��:KLFK�ZLOO�\RX�ILQG�LQ�PRVW�PRGHUQ�WKHDWUHV"

Four-wire, three-phase service


E-mail questions and comments to Larry Wild at [email protected]. Created: November 27, 2001; Last updated: November 24, 2003 © 2001- 2003 by Larry Wild, Northern State University , Aberdeen, SD

/LJKWLQJ�3URGXFWLRQ��5HVRXUFHV�

7H[W�� J. Michael Gillette. 7KHDWULFDO�'HVLJQ�DQG�3URGXFWLRQ, 4th edition. Mountain View, CA: Mayfield Publishing Company. 1999. Chapter 14: Lighting Production

Lighting Instruments | Control Systems

/LJKWLQJ�,QVWUXPHQWV��:KDW�LV�WKH�GLIIHUHQFH�EHWZHHQ�D�IORRGOLJKW�DQG�D�VSRWOLJKW"

A IORRGOLJKW produces a large, almost uncontrollable wash of light; a VSRWOLJKW, on the other hand, produces a small (8’ to 12’ diameter), highly controlled pool of light. )ORRGOLJKWV are generally used to light the backdrop while VSRWOLJKWV are used to light the actor.

��:KLFK�XQLWV�DUH�VSRWOLJKWV"

x� Ellipsoidal Reflector Spotlight x� Fresnel Lens Spotlight x� PARcan x� Follow Spot

��DQG�ZKLFK�DUH�IORRGOLJKWV"

x� Ellipsoidal Reflector Floodlight x� Border Light

(OOLSVRLGDO�5HIOHFWRU�6SRWOLJKW�

��(OOLSVRLGDO�5HIOHFWRU�6SRWOLJKW��/HNR� The six inch, 750 watt (OOLSVRLGDO�5HIOHFWRU�6SRWOLJKW, often referred to as an (OOLSVRLGDO, /HNR or (56, is the work horse of the commercial theatre. The instrument produces a hard edged, highly controlled pool of light. In academic and community theatres it is primarily found Front-Of-House in the Ceiling Cove, and on the Balcony Rail and Box Booms. Most commercial productions are lit almost entirely with (OOLSVRLGDOV. The size of the pool of light is determined by the throw distance and which of the five available lens chains the designer chooses. (Cost of an Altman 6" (6.5x4.5 through 6x22) (56 with a 750w lamp: $

229.50 at StageTechnology) $OWPDQ��4��(OOLSVRLGDO�5HIOHFWRU�6SRWOLJKW

/HQV��&KDLQ

)LHOG��$QJOH

'LDPHWHU�DW��WKURZ

0XOWLSOLFDWLRQ�)DFWRU��0)�

,QWHQVLW\��ZLWK��Z�(+*

��[�� 55 41’ 1 32 fc @ 40’ throw

�[� 37º 27' .67 55 fc @ 40' throw

�[�� 26º 19' .47 95 fc @ 40' throw

�[�� 19º 14' .35 115 fc @ 40' throw

�[�� 11º 8' .2 135 fc @ 40' throw

Multiplication Factor = Diameter of pool / Throw distance Diameter of pool = Throw distance * Multiplication Factor

��:KDW�W\SH�RI�OHQV�V\VWHP�LV�XVHG�LQ�DQ�(OOLSVRGDO�5HIOHFWRU�6SRWOLJKW"� Most (OOLSVRLGDOV use a lens chain composed of two six inch SODQR�FRQYH[�OHQVHV arranged in a belly-to-belly configuration. See )LJXUH�� on page 334. Lenses are specified by their diameter and focal length. A �[� lens is 6 inches in diameter and has a 9 inch focal length.

��:KDW�W\SH�RI�UHIOHFWRU"� An HOOLSVRLGDO shaped reflector. An HOOLSVH has two focal points. The filament of the ODPS is placed at one focal point and the VKXWWHUV or JRER is placed near the second. The second focal point is also the focal point of the lens chain. See )LJXUH�� and �� on page 342.

��:KLFK�LQVWUXPHQW��D��[��RU�D��[��VKRXOG�EH�XVHG�IRU�D�ORQJHU�WKURZ"� The �[��. The longer IRFXV�OHQJWK lens has a narrower beam angle.

��:KDW�UDQJH��ZDWWDJH��RI�ODPSV�DUH�XVHG�LQ�WKH��(OOLSVRLGDO"� The traditional Ellipsoidal was designed for the �� and �� watt lamp. The ETC 6RXUFH�)RXU and Altman 6KDNHVSHDUH ellipsoidals use a new highly efficient 575 watt lamp.

��+RZ�ODUJH�D�SRRO�RI�OLJKW�ZRXOG�EH�SURGXFHG�E\�D��[��(OOLSVRLGDO�ZLWK�D��WKURZ"�

The diameter would be ��. There are three ways to determine the size of a pool of light--

1. *UDSKLFDOO\ with a protractor, straight edge and scale, 2. 0DWKHPDWLFDO� Size of pool = multiplication factor * throw

distance, or with a 3. Computer VRIWZDUH�SURJUDP such as %HDP:ULJKW.

Using the PDWKHPDWLFDO�DSSURDFK� 20 foot throw * .47 multiplication factor (for a 6x12) = 9.4 feet

��+RZ�GR�\RX�VKDSH�WKH�SDWWHUQ�RI�OLJKW�IURP�DQ�(OOLSVRLGDO"� You can shape (actually frame or square-off) the pattern of light with the four VKXWWHUV.

��:KDW�LV�D��JRER��SDWWHUQ"� A pattern (or template) which can be dropped into the "gate" of an Ellipsoidal creating a crude slide projector. A JRER can be used to project either a realistic image, such as a OHDI�SDWWHUQ, or simply create a WH[WXUHG light. See )LJXUH�� and �� on page 345.

��,Q�ZKDW�PRXQWLQJ�SRVLWLRQ�DUH�(OOLSVRLGDOV�WUDGLWLRQDOO\�KXQJ"� )URQW�RI�KRXVH�� Balcony rail, Cove, Box Booms, FOH Pipe, Booth Pipe

)UHVQHO�/HQV�6SRWOLJKW�

��)UHVQHO�/HQV�6SRWOLJKW��)UHVQHO��The 6 inch, 750 watt )UHVQHO is a soft edged, variable beam instrument which is primarily used in the educational and community theatre. It is normally used on stage for DUHD�OLJKWV and JHQHUDO�ZDVKHV. The size of the pool of light is determined by the throw and the position of the IRFXV�NQRE: Spot to Flood. (Cost of an Altman 6" )UHVQHO with a 750w lamp: $ 131.50 at StageTechnology)

$OWPDQ��)UHVQHO�/HQV�6SRWOLJKW )RFXV 'LDPHWHU�DW�� ,QWHQVLW\�ZLWK��ZDWW�ODPS

6SRW� 6’ (MF=.3) 230 fc @ 20’ feet

)ORRG 28’ (MF=1.4) 22 fc @ 20’ feet

��)UHVQHO�/HQV�6SRWOLJKW��)UHVQHO��The 8 inch, 1000 to 2000 watt )UHVQHO is a soft edged, variable beam lamp which provides a greater punch than its 6 inch brother. It is primarily used on stage for strong washes of side and back light or when the throw is too long for a 6 inch unit. The size of the pool of light is determined by the throw and the position of the focus knob:

Spot to Flood. (Cost of an Altman 8" )UHVQHO with a 1000w lamp: $ 253 at StageTechnology)

$OWPDQ��)UHVQHO�/HQV�6SRWOLJKW )RFXV 'LDPHWHU�DW�� ,QWHQVLW\�ZLWK��ZDWW�ODPS

6SRW� 6’ (MF=.2) 189 fc @ 30’ feet

)ORRG 25’ (MF=.83) 22 fc @ 30’ feet

3$51HO�The 3$51HO is an (7&�6RXUFH��3$5 with a "patented wave lens system." It is a newly created fixture with the flexability of a 6" fresnel and the performance of a 6RXUFH��3$5. Like the fresnel, the 3$51HO has a soft edge and a variable (25° to 45°) beam angle. It is normally used on stage for DUHD�OLJKWV and JHQHUDO�ZDVKHV. The size of the pool of light is determined by the throw and the position of the focus knob: Spot to Flood. (Cost of an Source4 3$51HO with a 575w lamp: $ 235.00 at StageTechnology)

(7&�6RXUFH��3$5QHO )RFXV 'LDPHWHU�DW�� ,QWHQVLW\�ZLWK��ZDWW�ODPS

6SRW� 8.2' (MF=.41) 328 fc @ 20' feet

)ORRG 15.6' (MF=.78) 81 fc @ 20' feet

��:KDW�LV�D�)UHVQHO�OHQV"� The )UHVQHO�OHQV, developed in 1822 (for use in light houses) by $XJXVWLQ�)UHVQHO (1788-1827), is a less massive form of the more common SODQR�FRQYH[ lens.

��+RZ�GRHV�LW�GLIIHU�IURP�D�SODQR�FRQYH[�OHQV"� $XJXVWLQ�)UHVQHO reduced the mass of the plano-convex lens by converting the convex side of the lens into a series of FRQFHQWULF�SULVPDWLF�ULQJV. From the front, a )UHVQHO lens looks like a bulls-eye. See )LJXUH�� on page 334.

��:KDW�DUH�WKH�WZR�FRPPRQO\�DYDLODEOH�VL]HV�RI�WKHDWULFDO�)UHVQHOV"� � inch and � inch

��:KDW�UDQJH�RI�ODPSV��ZDWWDJH��GRHV�HDFK�XVH"� ��LQFK� 500 and 750 watt. ��LQFK� 1000, 1500, and 2000 watt.

��:KDW�LV�WKH�ILHOG�DQJOH�RI�D��)UHVQHO�DW�VSRW�IRFXV"�$W�IORRG�IRFXV"

6SRW�IRFXV� 16 ° )ORRG�IRFXV� 70 °.

��+RZ�GR�\RX�FKDQJH�D�)UHVQHO�IURP�D�VSRW�WR�IORRG�IRFXV"� By sliding the IRFXV�NQRE from the back (spot position) of the light to the front (flood position) of the light. See )LJXUH�� on page 347.

��+RZ�ODUJH�D�SRRO�RI�OLJKW�ZRXOG�EH�SURGXFHG�E\�D��)UHVQHO�DW�VSRW�IRFXV�ZLWK�D��WKURZ"�$W�IORRG�IRFXV"�

6SRW� 9 feet. )ORRG� 42 feet 0DWK�IRU�6SRW�)RFXV� 30 foot throw * .3 multiplication factor = 9 feet

��+RZ�GR�\RX�VKDSH�WKH�SDWWHUQ�RI�OLJKW�IURP�D�)UHVQHO"� The pattern of light from a )UHVQHO can be shaped with a EDUQ�GRRU. See )LJXUH�� on page 347.

��:KDW�GHYLFH�FDQ�EH�XVHG�WR�FXW�GRZQ�WKH�VSLOO�IURP�D�)UHVQHO"� The spill from a )UHVQHO can be reduced with a WRS�KDW or IXQQHO. See )LJXUH�� on page 348.

��,Q�ZKDW�PRXQWLQJ�SRVLWLRQV�DUH�)UHVQHOV�WUDGLWLRQDOO\�KXQJ"� )UHVQHOV are generally hung EDFN�VWDJH behind the proscenium arch .

3$5&DQV�

3$5&DQ�The 3$5�&DQ is designed as a holder and "top hat" for the 8 inch, 1000 watt PAR64 lamp. These rugged and efficient lamps, which gained popularity in the concert field, are typically used backstage for strong washes of down and back light. The size of the pool of light is determined by the throw and which of the four lamps the designer chooses. The 9163 (Very Narrow Spot) produces a strong visible shaft of light which can be used to simulate shafts of sun or moon light or create a )LQJHU�RI�*RG effect. (Cost of an Altman 3$5&DQ with a 1000w PAR64 lamp: $ 100.50 at StageTechnology)

$OWPDQ�3$5FDQ�ZLWK��Z�3$5��ODPSV /DPS %HDP�'HVFULSWLRQ 3RRO�DW�� ,QWHQVLW\

))1 9163�Very Narrow Spot 3 1/2’ x 8 1/2’ 1000 fc

))3 163� Narrow Spot 5’ x 9’ 825 fc

))5 0)/� Medium Flood 7 1/2’ x 16’ 313 fc

))6 :)/� Wide Flood 12’ x 18’ 100 fc

��:KDW�LV�D�3$5�ODPS"

3$5 stands for 3arabolic $luminized 5eflector. It is a self contained, sealed-beam lamp which includes a parabolic reflector, a filament, and a lens.

��:KDW�VL]HV��ZDWWDJHV��RI�3$5�ODPSV�DUH�XVHG�LQ�WKH�WKHDWUH"

x� ��ZDWW� PAR38. (Normally found in low budget community theatres.). x� ��ZDWW� PAR56. x� ��ZDWW� PAR56(Q) and PAR64. x� ��ZDWW� PAR64(Q).

(The PAR56(Q) and PAR64(Q) are WXQJVWHQ�KDORJHQ (or "quartz") lamps.)

��:KDW�LV�WKH�VKDSH�RI�WKH�SRRO�RI�OLJKW�IURP�D�3$5��"

The shape of both the PAR56 and PAR64 is RYDO. The long axis is approximately twice the length of the short axis.

��:KDW�LV�WKH�GLDPHWHU�RI�WKH��OHQV��RI�D�3$5��"

��LQFKHV. The diameter of the bulb of an American lamp is specified in 1/8s if an inch. A 3$5�� is 4 3/4" in diameter, a 3$5�� is 7" and a 7�� has a tube shaped bulb which is 2 1/2 inches across.

��:KDW�IRXU�EHDP�DQJOHV�DUH�DYDLODEOH�LQ��Z�3$5��ODPSV"

x� 9163� Very Narrow Spot. (MF= .17 x .42) x� 163� Narrow Spot. (MF= .25 x .45) x� 0)/� Medium Flood. (MF= .375 x .8) x� :)/� Wide Flood. (MF= .6 x .9)

��:KLFK�RI�WKHVH�ODPSV�GR�ZH�XVH�DW�-)$&"�:K\"

:)/� Wide Flood. :K\" Because the :ide )/ood will produce a pool large enough to cover the width (approximately 10 feet) between two on-stage electric pipes.

��+RZ�ODUJH�D�SRRO�RI�OLJKW�ZRXOG�EH�SURGXFHG�E\�D�3$5��:)/�ZLWK�D��WKURZ"�

14’ -5" x 21’ -7". 0DWK� 24’ throw * .6 multiplication factor = 14.4’ = 14’ -5" . 24’ throw * .9 multiplication factor = 21.6’ = 21’ -7"

��,Q�ZKDW�SDUW�RI�WKH�HQWHUWDLQPHQW�LQGXVWU\�DUH�3$5&DQV�WKH�SULPDU\�OLJKW�VRXUFH"

The 3$5&DQ was first used in the 1970’s to light the large scale 5RFN�&RQFHUWV staged in hockey arenas.

��:KHUH��DQG�KRZ��DUH�3$5&DQV�XVHG�LQ�WKH�WKHDWUH"

3$5&DQV are normally used back stage to create strong washes of EDFN and GRZQ�OLJKW.

��:KDW�LV�D�6WDU3DU�RU�6RXUFH��3$5"

6WDU3DU

Both $OWPDQ (6WDU3DU� and (7& (6RXUFH��3DU) have developed a 575 watt unit using a parabolic reflector to gather and focus the light. Like the 3$5��, these instruments come with four interchangeable lenses -- VNSP (MF=.25), NSP (MF=.3), MFL (MF=.35x.5) and WFL (MF=.55x1). (Cost of an ETC 6RXUFH��3DU with a 575w lamp: $ 178 at StageTechnology)

$XWRPDWHG�)L[WXUHV��:KDW�LV�DQ�DXWRPDWHG�IL[WXUH"

An DXWRPDWHG�IL[WXUH -- also known as a PRYLQJ�OLJKW, LQWHOOLJHQW�OLJKW or �ZLJJOH��OLJKW -- can be remotely focused (or refocused, colored, shaped...) from the control console.

��:KDW�ZDV�WKH�ILUVW��SUDFWLFDO��PRYLQJ�OLJKW"�:KHQ�ZDV�LW�LQWURGXFHG"

Although Century Lighting (now part of Strand Lighting) included a "Remote Control Spotlight" in their 1960 catalogue, the first practical moving light, the 9DUL /LWH’s 9/� was introduced by the English band: *HQVLV at their $EDFDE�&RQFHUW in September ��. Even though only 44 units were used at that first performance, the 9DUL /LWH soon became a standard feature in the light plots for the major touring artists of the ’80 -- David Bowie, Linda Rondstadt, The Who, Diana Ross, Barry Manilow...

��:KHQ�GLG�WKH\�PRYH�IURP�WKH�WRXULQJ�FRQFHUW�ILHOG�WR�WKH�WKHDWUH�VWDJH"

Eight years later (September ��) English designer David Hersey introduced PRYLQJ�OLJKWV to the London West End when he used 19 9DUL /LWHV-- a combination of 9- 9/� (Spot) and 10- 9/� (Wash) fixtures -- on producer Cameron Mackintosh’s 0LVV�6DLJRQ at the Theatre Royal Drury Lane. This production arrived at New York’s Broadway Theatre in ��.

Today most large Broadway musicals use automated fixtures. The +DLUVSUD\ (August 2002) plot, for example, includes 496 conventional units (120 with :\EURQ &RORUDP�,, scrollers) and 56 moving lights from 0DUWLQ�3URIHVVLRQDO, 9DUL /LWH and +LJK�(QG�6\VWHPV. Thirteen of these 56 units are hung front-of-house. Three on the )DU�)2+�7UXVV, 6 on the 1HDU�)2+�7UXVV, and 2 on each 1HDU�%R[�%RRP.

��:KDW�LV�WKH�GLIIHUHQFH�EHWZHHQ�D�VSRW�IL[WXUH�DQG�D�ZDVK�IL[WXUH"

A VSRW fixture, such as the 9/� (or 6WXGLR6SRW), generally includes a gobo wheel and produces a hard edged pool of light -- much like an HOOLSVRLGDO. A ZDVK unit, such as a the 9/� (or 6WXGLR&RORU), produces a soft edged pool of light -- much like a 3$5 lamp or IUHVQHO.

6WXGLR6SRW�

The 6WXGLR6SRW is the hard-edged companion to the 6WXGLR&RORU® wash light. It projects a clean crisp image which will cut through a color wash. The unit features (1) 10 gobos (which are installed into the two gobo wheels), (2) 35 colors (through subtractive color mixing using two color wheels), (3) an 18º fixed beam angle lens system, (4) a variable speed iris, (5) mechanical-optical dimming and (6) precision focusing. With the normal 18º lens and a 30' throw, the 6WXGLR6SRW produces a 270 foot candle, 9.5' pool of light .The unit weighs 59 lbs, uses a 575 watt (9000 lumen) discharge lamp and requires 24 DMX control channels plus a 110v power supply. (Cost of a 6WXGLR6SRW��: $ 7, 176 at Norcostco)

6WXGLR&RORU�

Using the Cyan-Magenta-Yellow subtractive color mixing system, the +LJK�(QG�6\VWHP 6WXGLR&RORU�� wash light provides the designer with (1) a virtually unlimited choice of colors, (2) mechanical-optical dimming, (3) an 8º to 22º selectable beam angle lens system and (4) precision focusing. The unit weighs 57 lbs, uses a 575 watt (9000 lumen) discharge lamp and requires 16 DMX control

channels plus a 110v power supply. (Cost of a 6WXGLR&RORU��: $ 5, 831 at StageTechnology)

��+RZ�DUH�PRYLQJ�OLJKWV�W\SLFDOO\�XVHG�LQ�D�WKHDWULFDO�SURGXFWLRQ"

In the theatre, moving lights are typically used as UHIRFXVDEOH and UHJHOODEOH�VSHFLDOV. One automated fixture replacing perhaps as many as ten conventional lights. Designer Steven Haworth estimated that renting 8- 6WXGLR&RORU��s saved him approximately 80 ellipsoidals, 60 circuits and 60 dimmers on his production of the =LRQ�3DVVLRQ�3OD\. He used 4 9DUL /LWH�9/�s (a wash fixture) on a 1996 high school production of 7KH�0XVLF�0DQ saving him between 20 and 30 ellipsoidals plus related circuits and dimmers. Link to +DZRUWK�$VVRFLDWHV web page on the Zion Passion Play

��:KDW�DUH�VRPH�RI�WKH�SUREOHPV�DVVRFLDWHG�ZLWK�DXWRPDWHG�IL[WXUHV"

They are expensive, heavy, require a huge amount of time to program and need a console capable of handling a large number of control channels. For example, adding 6- 6WXGLR&RORU��s to our inventory would cost close to $ 35,000, require an additional 98 control channels (not possible with our present console: 6WUDQG�0DQWUL[�0[��) and another 342 pounds of counter-weight.

��$UH�WKHUH�OHVV�H[SHQVLYH�DOWHUQDWLYHV�WR�D�9DUL /LWH�RU�6WXGLR&RORU"

<HV�

$XWR<RNH��

Z��&RORU6FUROOHU

City Theatrical has developed the $XWR<RNH which will convert a conventional ETC 6RXUFH�- 19º to 50º ellipsoidal into a moving light. It requires only 7 DMX channels and costs (with the 6RXUFH� fixture) $ 2,429. City Theatrical accessories include the�$XWR,ULV ($ 420) and $XWR)RFXV ($ 580). A :\EURQ 16 color )RUHUXQQHU scroller would add an additional $ 600 (plus :\EURQ power supply -- $ 812 for 16 units). Total cost (with $XWR,ULV, $XWR)RFXV�and &RORU6FUROOHU): $ 4,029.

An $XWR<RNH with a 6RXUFH��3$51HO (including :\EURQ )RUHUXQQHU scroller) would cost approximately $ 3,000 and also require 7 DMX channels. Total number of DMX channels needed per light: 9 -- 7 for the $XWR<RNH, 1 for the )RUHUXQQHU color scroller and 1 for the dimmer controlling the lamp.

,�&XH

Rosco has developed the ,�&XH�,QWHOOLJHQW�0LUURU which allows the designer to focus (or refocus) the beam of light from a 6RXUFH� ellipsoidal from the control console. Only 4 DMX channels are required to position the mirror. (Cost of the ,�&XH: $ 560 (plus power supply - $ 112 for two fixtures) from Norcostco) As with the $XWR<RNH, a :\EURQ 16 color )RUHUXQQHU scroller would add an additional $ 600 (plus :\EURQ power supply -- $ 812 for 16 units) Total number of DMX channels needed per light: 6 -- 4 for the ,�&XH, 1 for the )RUHUXQQHU color scroller and 1 for the dimmer controlling the lamp.

(OOLSVRLGDO�5HIOHFWRU�)ORRGOLJKW�

(OOLSVRLGDO�5HIOHFWRU�)ORRGOLJKW��or 6FRRS��The 1000 watt, 16 inch Ellipsoidal Reflector Floodlight (or Scoop) is generally used to light the backdrop (or cyc) and/or provide a general wash of light over the entire stage. (Cost of an Altman 16" 6FRRS with a 1000w lamp: $ 202 at StageTechnology)

$OWPDQ��LQFK��(OOLSVRLGDO�5HIOHFWRU�)ORRGOLJKW�ZLWK��ZDWW�ODPS

7KURZ�GLVWDQFH 5’ 20’

3RRO�GLDPHWHU 10’ 40’

,QWHQVLW\ 1120fc 70fc

��:KDW�DUH�WKH�WZR�FRPPRQO\�DYDLODEOH�VL]HV�RI�WKHDWULFDO�(OOLSVRLGDO�5HIOHFWRU�)ORRGOLJKWV��RU�6FRRSV�"

7ZHOYH and VL[WHHQ inch.

��:KDW�ZDWWDJH�ODPSV�DUH�XVHG�LQ�HDFK"

x� ��LQFK� 500 watt x� ��LQFK� 1000 watt

��:KHUH��DQG�KRZ��DUH�6FRRSV�WUDGLWLRQDOO\�XVHG�LQ�WKH�WKHDWUH"

6FRRSV are generally used to OLJKW�WKH�EDFN�GURS (or cyc), provide a ZDVK�RI�GRZQ�OLJKW over the entire stage or ZRUN�OLJKWV for the load-in and load-out.

%RUGHU�/LJKWV�

%RUGHU (or 6WULS) /LJKW Four to six sections of 6’ or 8’ Border (or Strip) Lights, using 150 R40 or PAR38 lamps, are generally used to light the backdrop (or cyc) and/or provide a general wash of light over the entire stage. (Cost of an Altman 6’, 12 lamp 6WULSOLJKW w/ 12- 150w PAR-38 lamps: $ 424 at StageTechnology) $OWPDQ�%RUGHU�/LJKWV�ZLWK�D��IRRW�WKURZ�

��%RUGHU�/LJKW ��%RUGHU�/LJKW ,QWHQVLW\�Z��Z�ODPS

3$5��)/ 17’ x 25’ 17’ x 18’ 64fc / circuit

3$5��63 7’ x 15’ 7’ x 11’ 280fc / circuit

��:KDW�DUH�WKH�WZR�VWDQGDUG�OHQJWKV�RI�D�%RUGHU�6WULS"

6L[ foot, 12 lamp and HLJKW foot, 16 lamp.

��:KDW�W\SH�RI�ODPSV�DUH�XVHG�LQ�6WULS�OLJKWV�WRGD\"

Either 5HIOHFWRU�ODPSV (such as the 150watt R-40FL) or 3$5�ODPSV.

��+RZ�PDQ\�FLUFXLWV�DUH�LQ�WKH�WUDGLWLRQDO�%RUGHU�OLJKW"

Three.

��+RZ��DQG�ZKHUH��DUH�6WULS�OLJKWV�XVHG�LQ�WKH�WKHDWUH"

Like scoops, 6WULS�OLJKWV are generally used to OLJKW�WKH�EDFN�GURS (or cyc), provide a ZDVK�RI�GRZQ�OLJKW over the entire stage or ZRUN�OLJKW for the load-in and load-out.

)ROORZ�6SRW�

)ROORZ�6SRW The follow spot, a large, heavy, and expensive high intensity variable beam angle (]RRP) spot light, is traditionally used to high light (VSRW) the lead performer, or performers, in a musical or dance production. The light should have an internal iris, a color-changer, a douser, and should be able to produce a sharp edged, head spot, from the back of the auditorium. Most musicals require a minimum of two lamps. (Cost of an Altman 1000Q )ROORZ6SRW with a 1000w lamp: $ 1100 at StageTechnology)

$OWPDQ�)ROORZ�6SRWV Altman ��4 with 1000watt FEL lamp 64fc @ 80’

Altman &RPHW with 360watt FLE lamp 125fc @ 80’

Altman 6DWHOOLWH�� with 575watt HMI (Metal Halide) lamp 375fc @ 80’

Each unit is set at the tightest beam angle.

��:KDW�LV�WKH�IXQFWLRQ�RI�D�)ROORZ�6SRW"

,VRODWH the major performer (star) in a pool of light. There are two basic approaches to the use of a Follow Spot. In a Broadway Show the star (or stars) is spotted from the moment he makes his entrance to the moment he leaves the stage. In an academic or community production, the star (or soloist) is usually only spot lighted during the musical numbers.

��:KDW�OLJKW�VRXUFH�LV�XVHG�LQ�WKH�0DLQ6WDJH�IROORZ�VSRW"

A 1000 watt "quartz" lamp. Our unit is similar to the $OWPDQ��4.

��:KDW�LQWHUQDO�GHYLFHV�DUH�XVHG�WR�VKDSH�WKH�OLJKW�EHDP"

An LULV and a VKXWWHU. The iris, which can change the size of the pool of light from a KHDG�VSRW to IXOO�ERG\ is used more frequently than the shutter.

��+RZ�PDQ\�FRORUV�DUH�FRPPRQO\�KHOG�LQ�WKH�FRORU�ERRPHUDQJ"

6L[. For a musical or ballet I would include (1) a "no color pink," (2) a "warm lavender," (3) a "very pale blue" and (4) a "light frost." The frost can be used to soft edge the pool of light, giving it a more subtle and less theatrical look.

��+RZ�DUH�WKHVH�FRORUV�LGHQWLILHG"

By their location, slot number, in the color boomerang. Both lamp and color are assigned numbers. A follow spot cue might sound like "Warning: Lamp 1 in color 2 on Dolly -- Go."

��:KDW�LV�WKH�PLQLPXP�QXPEHU�RI�)ROORZ�6SRWV�QHFHVVDU\�WR�OLJKW�D�PXVLFDO"� 7ZR. Because the plot of a typical American musical is a love story there will undoubtly be a duet ("Tonight") between the pair of young lovers (Tony and Maria in :HVW�6LGH�6WRU\).

��:KDW�DUH�WKH�VWDQGDUG�ZDUQLQJV�JLYHQ�WR�D�QHZ�RSHUDWRU"

x� Keep the light off the front of the stage.

x� Keep the light off the act curtain. x� Learn to "site" the lamp so you can "open" on the performer. x� Know where the edge of \RXU beam falls. x� Don’t let the performer slip out of the light. x� Include the entire body. Remember sometime they move unexpectedly. x� Don’t let the beam get too big. The light should be a OLWWOH larger than the

performer. x� Don’t jiggle.

Link to ,QVWUXPHQW�6HOHFWLRQ�3UREOHP

Illustrations and photometric data are from the manufacturer’s web pages.

&RQWURO�6\VWHP�

(7&�([SUHVV��&RQWURO�&RQVROH

with monitor )HDWXUHV

x� 24 Channel two-scene operation

x� 48 Channel single-scene operation

x� 96 Channel preset memory operation

x� 600 Cue memory x� 240 Submasters in 10

pages x� Can control up to 1,024

dimmers

��:KHUH�VKRXOG�WKH�OLJKWLQJ�FRQVROH�EH�ORFDWHG"

In the back of the auditorium. :K\" So the board operator has the same view of the stage as the audience.

��:KDW�LV�WKH�GLIIHUHQFH�EHWZHHQ�D��OLYH��DQG�D� In a OLYH�FRQVROH, such as a�WZR�VFHQH�SUHVHW, the channel levels for each lighting cue are set manually by the board operator at each rehearsal and performance.

��SOD\EDFN��FRQVROH"

With a SOD\EDFN�FRQVROH, each lighting cue is saved to the board’s memory. During the rehearsals and performances the operator pulls the look from PHPRU\ and sends it to the GLPPHU�UDFN for playback.

��%ULHIO\�GHVFULEH�KRZ�D�WZR�VFHQH�SUHVHW�FDQ�EH�XVHG�WR�FRQWURO�WKH�OLJKWV�IRU�D�VPDOO�VFDOH�PXVLFDO�RU�GUDPD"

In a WZR�VFHQH�SUHVHW each channel is controlled by two sliders (or SRWV). The board operator uses the FURVV�IDGHU to shift control from one set of sliders (6FHQH�$) to the other set of sliders (6FHQH�%). While 6FHQH�$ is in the active (or live) mode (with Q1), the board operator sets the levels for the next cue (Q2) in 6FHQH�%. When that cue (Q2) is called the board operator will execute the shift from 6FHQH�$ to % with the FURVV�IDGHU. Once the cue (Q2) is executed the board operator will clear the 6FHQH�$ preset panel and set the levels for the following cue (Q3).

��:KDW�LV�D�VSOLW�FURVV�IDGHU"

Today most WZR�VFHQH�SUHVHW consoles use a VSOLW�FURVV�IDGHU to fade from 6FHQH�$ to 6FHQH�%. A VSOLW�FURVV�IDGHU uses two masters. One controls 6FHQH�$; the other-- 6FHQH�%. When both masters are moved together one scene fades in while the other fades out. Because there are two controls, 6FHQH�$ can fade to black before 6FHQH�% is brought to full or 6FHQH�$ can lag behind in the fade as 6FHQH�% is being brought up.

��:KDW�LV�WKH�PDMRU�DGYDQWDJH�RI�EHLQJ�DEOH�WR�VWRUH�WKH�OLJKWLQJ�4V�LQ�WKH�FRQVROHV�PHPRU\"

Obviously, it is IDVWHU, HDVLHU, and certainly more DFFXUDWH, to load the cues from the computer’s memory than it is to have the board operator manually set the level of each channel for every cue.

��:KDW�LV�WKH�PDMRU�GLVDGYDQWDJH"

It takes a considerable amount of WLPH, between four and six hours, to write (or program) the cues into the console’s memory. For all practical purposes, it is impossible to create a show "on the fly." Most of the cues must be written before the first technical rehearsal.

In my opinion the most flexible control console has the option of being run as ...

x� a live WZR�VFHQH�SUHVHW, x� a live manual board with programmable VXEPDVWHUV and

x� a playback PHPRU\�FRQVROH with sequential cues.

��:KDW�LV�DQ�2II�OLQH�(GLWRU"

An RII�OLQH�HGLWRU (2/() is a computer program which will permit the designer to create, or edit, the "show" file from his laptop or the office computer. The file can then be exported from the computer onto a 3.5 inch floopy and imported into the console. There is an off-line editor for the (7&�([SUHVV; there is no editor for the 6WUDQG�0DQWUL[.

��:KDW�DUH��6XE0DVWHUV"��+RZ�FDQ�WKH\�EH�XVHG�WR�EXLOG�WKH�OLJKWLQJ�FRPSRVLWLRQV"

A 6XE0DVWHU is a slider which electronically controls a group of channels. For example, 6XE0DVWHU�� can be a SLQN�IXOO�VWDJH�ZDVK and 6XE0DVWHU��: a EOXH�ZDVK. A look can be created by manipulating these two 6XE0DVWHUV and then saved into memory as a cue.

��:KDW�LV�WKH�PLQLPXP�QXPEHU�RI�FRQWURO�FKDQQHOV�QHHGHG�WR�OLJKW�D�VPDOO�SURGXFWLRQ�RI�D�SOD\�RU�PXVLFDO"

Twenty Four

��+RZ�PDQ\�FRQWURO�FKDQQHOV�DUH�DYDLODEOH�RQ�WKH�0DLQ6WDJH�FRQVROH"

The 6WUDQG�0DQWUL[�0;�� contains �� control channels.

��+RZ�PDQ\��6XE0DVWHUV"�� There are four pages of 6XE0DVWHUV and each channel can become a 6XE0DVWHU so a total of �� (4 * 48) looks can be saved.

��+RZ�PDQ\�GLIIHUHQW�OLJKWLQJ�FXHV�FDQ�EH�VWRUHG�LQ�WKH�V\VWHPV�PHPRU\"

��. Each lighting look can become a cue.

��%ULHIO\�GHVFULEH�KRZ�D�GLPPHU�SHU�FLUFXLW�V\VWHP�ZRUNV. In a modern theatre, every permanently installed outlet (VWDJH�FLUFXLW) is hard wired to a 2400 watt GLPPHU. 300 circuits equals 300 dimmers.

��:KDW�LV�WKH�GLIIHUHQFH�EHWZHHQ��VRIW�SDWFK��DQG��KDUG�SDWFK"��

In VRIW�SDWFK�the board operator uses the control console’s numerical key pad to assign (or SDWFK) a GLPPHU, or group of GLPPHUV, to a FRQWURO�FKDQQHO. In an older theatre, each permanently installed outlet (or VWDJH�FLUFXLW) terminated in a plug and each dimmer terminated in one or more outlets in the SDWFK�SDQHO. +DUG�SDWFK was physically plugging each circuit’s plug into a dimmer’s outlet.

��:KLFK�GR�ZH�KDYH�RQ�WKH�0DLQ6WDJH"

Soft patch.

��:KDW�LV�D�SDWFK�SDQHO"

The SDWFK�SDQHO was typically a large, very expensive, metal box, often placed off stage in the wings, which contained one plug for every permanently installed VWDJH�FLUFXLW and one or more outlets for every GLPPHU. Generally a GLPPHU had one outlet for every 1000 watts. A SDWFK�SDQHO was installed when the lighting system contained a large number of 20 amp VWDJH�FLUFXLWV but only a few high wattage GLPPHUV. The SDWFK�SDQHO in the original layout of the -)$&�0DLQ6WDJH contained 245 plugs and 216 outlets (for 36 dimmers) in a 5x5x7’ metal box located down stage right. See )LJXUH�� on page 371.

��:KDW�LV�LWV�IXQFWLRQ"

To make it possible to plug any VWDJH�FLUFXLW (or light) into any GLPPHU. It is the SDWFK system that makes modern flexible lighting possible.

��/LVW�WKUHH�WHFKQLTXHV�ZKLFK�FDQ�EH�XVHG�WR�GLVWULEXWH�WKH�HOHFWULFDO�SRZHU�IURP�WKH�GLPPHU�UDFN�WR�WKH�OLJKWLQJ�LQVWUXPHQW"

x� Run a FDEOH from each light (VWDJH�FLUFXLW) to the GLPPHU. This is the Broadway approach.

x� Hard wire the VWDJH�FLUFXLW to the GLPPHU through the SDWFK�SDQHO. See )LJXUH�� on page 372.

x� Hard wire the VWDJH�FLUFXLW directly to the GLPPHU. A GLPPHU�SHU�FLUFXLW system

��+RZ�PDQ\�GLPPHUV�DUH�QRUPDOO\�DYDLODEOH�LQ�DQ�RII�WKH�VKHOI�GLPPHU�SDFN"

Six, twelve or twenty four.

��:KDW�DUH�WKH�DYDLODEOH�FDSDFLWLHV"

�� watt, �� watt and �� watt.

��'HYHORS�DQ�HTXLSPHQW�OLVW�IRU�D�VPDOO�OLJKWLQJ�FRQWURO�V\VWHP�FRQWDLQLQJ��ZDWW�GLPPHUV�FRQWUROOHG�WKURXJK�D�VLPSOH�WZR�VFHQH�SUHVHQW�FRQVROH�

1- (7&�([SUHVV��, 2 scene, 24 channel, memory control FRQVROH

$ 4,191

2- (7&�6HQVRU (12x2.4Kw) GLPPHU�SDFNV w/ U-Ground outlets @ $ 3,621 each

$ 7,242

1- 100’ '0;��FRQWURO�FDEOH� $ 69

��$SSUR[LPDWHO\��KRZ�PXFK�ZRXOG�VXFK�D�V\VWHP�FRVW�LQ�WKH�0LQQHDSROLV�PDUNHW"

7RWDO�FRVW for this 24 channel control system: ��. The average cost per dimmer is $ 480. This system could control 72-- 750 watt lights or 96-- 575 (or 500w) watt lamps.


E-mail questions and comments to Larry Wild at [email protected]. Revised: December 5, 2003 Copyright © 2001-2003 by Larry Wild, Northern State University , Aberdeen, SD

$�+RPH�0DGH�/LJKWLQJ�6\VWHP�

��'HVFULEH�D�VPDOO�OLJKWLQJ�V\VWHP�ZKLFK�FDQ�EH�DVVHPEOHG�IURP�UHDGLO\�DYDLODEOH�SDUWV��:KDW�W\SH�RI�ODPS��RU�ODPSV��ZRXOG�\RX�XVH"

100 to 150 watt 3$5�� Flood and/or Spotlight. A reflector lamp, such as the 150 watt 5�� flood would also work, but the PAR lamp gives a brighter and more controlled beam.

��:KDW�W\SH�RI�GLPPHUV"� 600 watt, single pole GLPPHU�VZLWFK. These inexpensive units ($ 4 to $ 6 each) are available at most WalMart, KMart or Menard’s stores.

��+RZ�ZRXOG�\RX�GLVWULEXWH�WKH�SRZHU�IURP�WKH�FRQWURO�ERDUG�WR�WKH�OLJKWLQJ�LQVWUXPHQW"

I would run a FDEOH (also known as an extension cord) from the lighting instrument to the dimmer board.

��:KDW�GHYLFH�FDQ�EH�XVHG�WR�JDQJ�WZR�RU�WKUHH�ODPSV�WRJHWKHU"

A FXEH�WDS or SOXJ�LQ�VWULS.

��'HVFULEH�KRZ�WR�EXLOG�D��VSRWOLJKW��RXW�RI�D�FRIIHH�FDQ"

A simple and inexpensive 3$5&DQ can be assembled from a ��WLQ�FDQ (coffee can), a SRUFHODLQ�ODPS�VRFNHW, a 24" length of 1x1/8" VWUDS�LURQ folded into a 8 shaped yoke and a SLSH�KDQJHU (or theatrical C-clamp). Mount the socket on the back of the can and secure the can to the yoke with two ��[��VWRYH�EROWV and�ZLQJ�QXWV. To create a balanced fixture, place the yoke approximately 3" from the back of the can. Punch several vent holes in the back of the fixture. For long throws which need a deeper top hat to decrease the amount of spill, two cans may be duct-taped together creating a 14" (long) unit. To color the beam, a sheet of gel can be taped to the front of the light.

A commercially made, UL approved, 3$5&DQ for a 150 watt PAR38 lamp costs between $ 20 and $ 50. A 6" WRS�KDW is an additional $ 20.

��+RZ�PDQ\�KRPH�PDGH��VSRWOLJKWV��FDQ�EH�JDQJHG�RQ�RQH��ZDWW�KRPH�PDGH��GLPPHU"�

Four. 0DWK� (600 watts dimmer) / (150 watt / spotlight) = 4 spotlights

��+RZ�PDQ\�KRPH�PDGH��GLPPHUV��FDQ�EH�UXQ�RQ�RQH��DPS�FLUFXLW"

Four. 0DWK� 20 amps * 120 volts = 2400 watts. (2400 watts) / (600 watt / dimmer) = 4 dimmers

��:KDW�LV�WKH�PD[LPXP�QXPEHU�RI��WLQ�FDQ�VSRWOLJKWV��WKDW�FDQ�EH�SRZHUHG�IURP�RQH��DPS�FLUFXLW"

Sixteen. 0DWK� (4 lamps / dimmer) * (4 dimmers) = 16 lamps

Often the power available in the venues used by the local community theatre is not adequate for even a small theatrical lighting system. Twenty-four 750 watt spotlights requires a 150 amp (@ 120 volt) power supply. The same number of 150 watt 3$5 lamps needs only two 20 amp circuits.

��'HVFULEH�KRZ�\RX�FRXOG�OLJKW�D�VPDOO�SURGXFWLRQ�ZLWK�WKLV�KRPH�PDGH�V\VWHP�� I have ��OLJKWV. I would hang half of the equipment, � lamps, in the house to IURQW�OLJKW the stage. I would mount the remaining � units on stage to VHSDUDWH the actor from the background and give him GLPHQVLRQ.

The eight IURQW�OLJKWV would be hung either...

x� on a pair of 10 to 12’ tall %R[�%RRPV, 4 lamps per boom, located six to eight feet in front of the stage and 16 to 20 feet left and right of the center line, or

x� on a )2+�3LSH suspended from the ceiling of the theatre.

The eight RQ�VWDJH�ODPSV should be divided between...

x� the )LUVW�(OHFWULF (the pipe just upstage of the front curtain) and... x� %DFNLQJ and 0RWLYDWLQJ lights placed off stage behind window and

door units.

/LJKW�3ORW of small +RPH�0DGH�6\VWHP in use.

StageCraft Web Page

E-mail questions and comments to Larry Wild at [email protected]. Last updated: December 12, 2001 © 2000 - 2001 by Larry Wild, Northern State University , Aberdeen, SD

6RXQG�'HVLJQ�DQG�7HFKQRORJ\��5HVRXUFHV�

7H[W�� J. Michael Gillette. 7KHDWULFDO�'HVLJQ�DQG�3URGXFWLRQ, 4th edition. Mountain View, CA: Mayfield Publishing Company. 1999. Chapter 19: Sound Design and Technology

��:KHQ�GLG�WKH�VRXQG�GHVLJQHU�MRLQ�WKH�SURGXFWLRQ�WHDP�"

The first person to receive a Broadway credit as 6RXQG�'HVLJQHU was Abe Jacob, president of the Theatrical Sound Designers Association (IA Local 922). The show was the �� Broadway production of Weber and Rice’s -HVXV�&KULVW�6XSHUVWDU. Three years earlier, Dan Dugan received 6RXQG�'HVLJQ credit in the �� Season Program for San Francisco’s American Conservatory Theatre (ACT). The title was invented by ACT stage manager Dorothy Fowler "to describe what Dan Dugan does."

Electrical sound UHLQIRUFHPHQW�and sound UHSURGXFWLRQ has been used in the theatre since the 1940s. A turntable would be plugged into the theatre’s PA (SXEOLF�DGGUHVV) system for pre-show music and a couple of microphones were set on the front of the stage to pickup the lead singer’s voice. Sound equipment was usually specified by the stage manager and set up by the electric (or light) crew. Most sound effects (JXQVKRWV��GRRU�VODPV��WKXQGHU) were produced manually by a member of the property department.

��:KDW�LV�WKH�GLIIHUHQFH�EHWZHHQ�VRXQG�UHLQIRUFHPHQW�DQG�VRXQG�UHSURGXFWLRQ"

6RXQG�UHLQIRUFHPHQW is the amplification of the performer’s voice, VRXQG�UHSURGXFWLRQ is the reproduction of recorded music and sound effects.

��:KDW�W\SH�RI�WKHDWULFDO�SURGXFWLRQV�WHQG�WR�XVH�VRXQG�UHLQIRUFHPHQW"

Large modern PXVLFDOV, especially those with a full pit orchestra.

��:K\"

Most singers need amplification to be heard over the orchestra.

��+RZ�LV�SUH�UHFRUGHG�VRXQG�XVHG�LQ�WKH�SURGXFWLRQ�RI�D�SOD\"

The 6RXQG�'HVLJQHU (or 'LUHFWRU) will typically select and record pre-show, scene change, intermission, and post-show PXVLF. Normally the music will reflect the period and mood of the play. Many dramas will also use recorded VRXQG�HIIHFWV: thunder, a passing train, waves breaking on the shore... These sounds are available from a commercial effects library or off the Internet.

��:KDW�LV�D�VRXQG�GHVLJQHUV�UHVSRQVLELOLWLHV"

1. Develop a Q list of sound effects and required music 2. Specify the type and amount of equipment to be used, 3. Determine the location of both microphones and speakers 4. Prepare the master tape or CD 5. Supervise the mounting and operation of the sound equipment

��:KDW�W\SHV�RI�PLFURSKRQHV�DUH�XVHG�WR��PLNH��D�PXVLFDO"� x� )RRW�PLNHV placed along the front edge of the stage, x� :LUHOHVV�ERG\�PLNHV for the major characters.

��:KHUH�LQ�WKH�WKHDWUH�DUH�VSHDNHUV�ORFDWHG�IRU�VRXQG�UHLQIRUFHPHQW"

In a large theatre with a permanent sound system, a speaker cluster is generally hung over the FHQWHU�RI�WKH�RUFKHVWUD�SLW. In a smaller house, speaker columns are placed on each VLGH�RI�WKH�SURVFHQLXP�RSHQLQJ. It is generally recommended that every member of the house be able to see at least one of these speakers.

��6RXQG�UHSURGXFWLRQ"

%DFN�VWDJH near the "source" of the sound. If a character reacts to gun shots being fired off stage right, the sound should come from a stage right speaker.

��:KHUH�VKRXOG�WKH�PL[LQJ�FRQVROH�EH�SODFHG"

In the EDFN�RI�WKH�DXGLWRULXP. Just like the light board operator should have a clear view of the stage, the sound board operator must be able to hear the same sound as the audience.

��:KDW�KDV�WUDGLWLRQDOO\�EHHQ�WKH�VRXUFH�RI�VRXQG�HIIHFW�FXHV"

A UHHO�WR�UHHO�WDSH�GHFN. Sound effects and music cues were recorded onto tape. White leader tape was cut in (edited) between

each sound Q making it possible to quickly locate a specific piece of music or effect. Because the entire show was recorded on tape, it was easy to add additional Qs or to rearrange the existing Qs.

��+RZ�KDYH�FRPSXWHUV�HIIHFWHG�VRXQG�UHSURGXFWLRQ"

Today, many sound designers record the music and sound effects on a computer’s hard drive. The individual cuts can then be manuplitiated and edited with available software, and cut to a CD, recorded onto a MiniDisc or played back in the theatre from the designer’s computer.



7KHDWUH��6FHQH�'HVLJQ�'UDIWLQJ�3UREOHP��

%XLOGLQJ�D�9LUWXDO��G�0RGHO��

7KH�3URMHFW Using 9HFWRU:RUNV��, EXLOG a virtual model of a simple box set. ,QFOXGH three doors, a window, sofa, chair, coffee table and an actor.

7KH�3URFHVV�� 1. Load the JURXQG�SODQ of the theatre 2. Layin the ZDOOV 3. Cut in the GRRUV and ZLQGRZV 4. Place the IXUQLWXUH 5. Add an DFWRU 6. 9LHZ your Virtual Model from several different locations 7. ([SRUW a three dimensional view (isometric or perspective) of your Virtual Model

as an image file

When you have completed the assignment, save the image file (as a JGP file) to your subdirectory (folder) on the lab computer.

7KH�3URMHFW�LV�'XH�RQ�7KXUVGD\��0DUFK��

7KH�3URFHVV�

6FUHHQ�6KRW�RI�9HFWRU:RUNV�� (�&OLFNLQJ�RQ�WKH�DERYH�LPDJH�ZLOO�RSHQ�WKH�VFUHHQ�VKRW��IXOO�VFDOH��LQ�LWV�RZQ�EURZVHU�

ZLQGRZ)

Above is a screen shot of a �G�9LUWXDO�0RGHO of a simple box set (OHIW�LVRPHWULF�YLHZ) being built in 9HFWRU:RUNV��. Four palettes are located on edges of the desk top. In the upper left corner is the :DOO�7RROV�3DOHWWH, below it is the �G�7RROV�3DOHWWH (with the �G�6HOHFWLRQ�7RRO active) and to its right is the��G�7RROV�3DOHWWH. On the right hand side of the screen is the 5HVRXUFHV�3DOHWWH with the )XUQLWXUH subdirectory (folder) loaded and the &KDLU� symbol selected.

$��2SHQ�WKH�*URXQG�3ODQ�DQG�6\PERO�ILOHV�1. *R�WR the 9UW0GO folder on the 'HVNWRS 2. 'RXEOH�&OLFN on 3URM7KHD�GBY��PFG, the ground plan of the 3URMHFW�7KHDWUH.

This file will open in 9HFWRU:RUNV�� (1RWH� The 3DSHU�2ULHQWDWLRQ [Landscape], 'RFXPHQW�6L]H [ASME C - 17"x22"], 6FDOH [1/4" = 1’0"], 6QDS�*ULG [1’] and 5HIHUHQFH�*ULG [4’] should all be set in this file)

3. 6DYH the file with a new name ()LOH�!�6DYH�$V��) in \RXU sub-directory (folder) in the 6'B:�� folder on the 'HVNWRS. Once you have saved the file in your folder, you can change any (or all) of the above attributes.

4. 2SHQ ()LOH�!�2SHQ) the the resource file: %R[6HW6\EROV�PFG which is in the 9HFWRU:RUNV�9UW0GO folder. (You should open directly into the VectorWorks / VrtMdl sub-folder).

The %R[6HW6\PEROV�PFG file contains

o Two doors ('RRU(1B�� and 'RRU)5B��)

o A Window (:LQB'+��) o A Sofa (6RID��) o Chair (&KDLU�) o Coffee table (&RIIB7DE) o End table ((QGB7DE) o Book shelf (6KHOI��) and a o Man (not a symbol)

Two additional resource files: ��B'RRUV:LQGRZV�PFG�and ��B)XUQLVKLQJV�PFG are also in this sub-folder.

%��/D\LQ�WKH�:DOOV�x� If you do QRW have a 3ODQ�9LHZ of your stage, &OLFN� 6WDQGDUG�9LHZV�!�7RS�3ODQ

or enter &WUO�� at the Keyboard x� If the 5HIHUHQFH�*ULG is QRW visible, &OLFN��3DJH�!�6HW�*ULG��!�6KRZ�*ULG

7R�EHJLQ�WKH�/D\RXW�RI�WKH�:DOOV�� 1. On the 7RRO�%DU, &OLFN� 3DOHWWHV�!�:DOOV� 2. &OLFN on the "Wall Tool" in the :DOOV�3DOHWWH 3. &OLFN anywhere on the drawing 4. (QWHU the Separation (2") in the :DOO�3UHIHUHQFHV dialogue box 5. &OLFN at the off stage end of the stage right returns 6. &OLFN at each corner of your set 7. 'RXEOH�&OLFN at the off stage end of the stage left return 8. 6HOHFW each wall of your set 9. &OLFN 3DOHWWHV�!�2EMHFW�,QIR 10. (QWHU the Height of the walls (12’) in the = box of the 2EMHFW�,QIR dialogue box, hit

(QWHU and FORVH the dialogue box.

&��&XW�LQ�WKH�'RRUV�DQG�:LQGRZV�'RRUV, :LQGRZV and )XUQLWXUH are all Symbols which were included in the 9HFWRU:RUNV��$UFKLWHFWXUDO�7RRO.LW.�6\PEROV can only be inserted into a drawing when the drawing is in the 3ODQ�9LHZ. To Return to the Plan View, on the 7RRO�%DU, &OLFN� 9LHZ�!�6WDQGDUG�9LHZV�!�7RS�3ODQ or enter &WUO�� at the KeyBoard

x� On the 7RRO�%DU, &OLFN� 3DOHWWHV�!��'�7RROV x� On the 7RRO�%DU, &OLFN� 3DOHWWHV�!�5HVRXUFHV (Leave both palettes open on the

desk top)

7R�SODFH�D�GRRU�V�LQ�\RXU�VHW 1. In the 5HVRXUFHV�3DOHWWH &OLFN on %R[6HW6\PEROV�PFG in the top left box

2. 'RXEOH�&OLFN on 'RRU(QB��+ 3. In the �'�7RROV�3DOHWWH, &OLFN on �'�6\PERO�,QVHUWLRQ�7RRO 4. On the Plan View of the drawing, &OLFN where in the wall you would like to insert a

door. Move the cursor to determine the direction of the door swing and FOLFN�again. 5. When you are finished inserting the doors, &OLFN on �'�6HOHFWLRQ�7RRO in the �'�

7RROV�3DOHWWH or +LW ; on the Keyboard

7R�SODFH�D�GRXEOH�KXQJ�ZLQGRZ�V�LQ�\RXU�VHW 6. In the 5HVRXUFHV�3DOHWWH &OLFN on %R[6HW6\PEROV�PFG in the top left box 7. 'RXEOH�&OLFN on :LQ'+B�� 8. In the �'�7RROV�3DOHWWH, FOLFN on �'�6\PERO�,QVHUWLRQ�7RRO 9. On the Plan View of the drawing, 'RXEOH�&OLFN where in the wall you would like to

insert a window. 10. When you are finished inserting the windows, &OLFN on �'�6HOHFWLRQ�7RRO in the �'�

7RROV�3DOHWWH or +LW ; on the Keyboard

1RWH� A large number of door and window V\PEROV are included in the file: ��B'RRUV:LQGRZV�PFG. The V\PEROV are grouped in sub-directories (folders) according to their architectural style. The V\PERO name indicates the style of door (or window). For example: )'��+ is a flush, 3’0" x 6’8" door (the H indicates that the V\PERO is a hybrid which can be used in both 2d and 2d drawings).

The following symbols reflect our standard stock door and window units.

o 6LQJOH�GRRU� 'RRUV��)OXVK��)'��+ o 'RXEOH�GRRU� 'RRUV��)OXVK��)'��+ o 6LQJOH�)UHQFK�ZLQGRZ� 'RRUV��)UHQFK��)��+ o 'RXEOH�)UHQFK�ZLQGRZ� 'RRUV��)UHQFK��)��+ o 'RXEOH�+XQJ�:LQGRZ� :LQGRZV��'EO+XQJ��'+��+ o &DVHPHQW�ZLQGRZ� :LQGRZV��&DVHPHQW��&��+

'��3ODFH�WKH�IXUQLWXUH�6\PEROV can only be inserted into a drawing when the drawing is in the 3ODQ�9LHZ. To Return to the Plan View, on the 7RRO�%DU, &OLFN� 9LHZ�!�6WDQGDUG�9LHZV�!�7RS�3ODQ or enter &WUO�� at the KeyBoard

7R�SODFH�D�6RID��&KDLU�DQG�&RIIHH�7DEOH�LQ�\RXU�VHW�� 1. In the 5HVRXUFHV�3DOHWWH &OLFN on %R[6HW6\PEROV�PFG in the top left box 2. 'RXEOH�&OLFN on 6RID�� 3. In the �'�7RROV�3DOHWWH, FOLFN on the �'�6\PERO�,QVHUWLRQ�7RRO

4. On the Plan View of the drawing, &OLFN where you would like to place the sofa, SXOO the cursor away from the V\PERO to adjust the direction the unit faces, and then FOLFN again.

5. In the �'�7RROV�3DOHWWH, FOLFN on �'�6HOHFWLRQ�7RRO (Keyboard: X)

5HSHDW steps 2 through 4 to place the...

x� &KDLU (&KDLU�) and x� &RIIHH�7DEOH (&RIIB7DE) in the set.

(��$GG�DQ�DFWRU�x� On the 7RRO�%DU, &OLFN: :LQGRZV�!�%R[6HW6\PEROV�PFG. In the %R[6HW6\PEROV�PFG

window... x� &OLFN (Select) on the acter x� &RS\ him to the &OLS�%RDUG��&WUO�&� x� &KDQJH the 9HFWRU:RUNV Window back to the 9LUWXDO�0RGHO of your Setting x� 3ODFH the curser on the 3ODQ�9LHZ (&WUO��) where you would like to insert the actor x� 3DVWH him into the drawing (&WUO�9)

)��9LHZ�\RXU��G�PRGHO�x� ,VRPHWULF

o On the 7RRO�%DU, &OLFN� 9LHZ�!�6WDQGDUG�9LHZV�!�5LJKW��RU�/HIW��,VRPHWULF o On the 7RRO�%DU, &OLFN� 9LHZ�!�5HQGHULQJ�!�6ROLG

x� 3HUVSHFWLYH o On the 7RRO�%DU, &OLFN� 9LHZ�!�6WDQGDUG�9LHZV�!�)URQW o On the 7RRO�%DU, &OLFN� 9LHZ�!�3URMHFWLRQ�!�3HUVSHFWLYH o On the 7RRO�%DU, &OLFN� 9LHZ�!�5HQGHULQJ�!�6ROLG

x� &UHDWLQJ�D�)O\RYHU o On the 7RRO�%DU, &OLFN� 3DOHWWHV�!��'�7RROV o On the �'�3DOHWWH, &OLFN the )O\�2YHU�7RRO o 0RYH the curser to change the view

x� To Return to the 3ODQ�9LHZ, on the 7RRO�%DU, &OLFN� 9LHZ�!�6WDQGDUG�9LHZV�!�7RS�3ODQ or enter &WUO�� at the Keyboard

*��([SRUW�\RXU�9LUWXDO�0RGHO�DV�DQ�,PDJH�)LOH�x� &KRRVH a �G�9LHZ (isometric or perspective) of your model x� On the 7RRO�%DU, &OLFN� )LOH�!�([SRUW�!�([SRUW�,PDJH�)LOH�� x� (QWHU (or accept the default) the desired Dimensions and Format (file type) In the

([SRUW�,PDJH�)LOH dialogue box x� &OLFN 6DYH

'RFXPHQW�6HW�8S�x� 3DSHU�2ULHQWDWLRQ��)LOH�!�3ULQW�6HWXS�� x� 'RFXPHQW�6L]H��3DJH�!�6HW�3ULQW�$UHD�� x� 6FDOH��3DJH�!�/D\HU�6FDOH x� 6QDS�*ULG�DQG�5HIHUHQFH�*ULG��3DJH�!�6HW�*ULG��

Scene Design Home Page

E-mail questions and comments to Larry Wild at [email protected]. Last updated: March 4, 2004 Copyright © 2002-2004 by Larry Wild, Northern State University, Aberdeen, SD

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Suggestions | Check List

7KH�3OD\�You are the director and GHVLJQHU of Henrik Ibsen’s $�'ROOV�+RXVH (1879) which is to be presented at the 3URMHFW�7KHDWUH. The VFHQH, as described by Ibsen...

$�ZDUP��ZHOO�IXUQLVKHG�URRP��UHIOHFWLQJ�PRUH�WDVWH�WKDQ�H[SHQVH��$W�VWDJH�ULJKW��D�GRRU�OHDGV�WR�D�KDOO��$QRWKHU�GRRU��VWDJH�OHIW��OHDGV�WR�+HOPHUV�VWXG\��7KHUH�LV�D�SLDQR�EHWZHHQ�WKHVH�WZR�GRRUV��7KHUH�LV�D�GRRU�LQ�WKH�PLGGOH�RI�WKH�ZDOO��VWDJH�OHIW��DQG�D�ZLQGRZ�IXUWKHU�GRZQVWDJH��7KHUH�LV�D�URXQG�WDEOH�QHDU�WKH�ZLQGRZ��ZLWK�DUPFKDLUV�DQG�D�VPDOO�VRID��6RPHZKDW�WRZDUGV�WKH�EDFN�LQ�WKH�VLGH�ZDOO�VWDJH�ULJKW��WKHUH�LV�D�GRRU��DQG�IXUWKHU�GRZQVWDJH�RQ�WKH�VDPH�ZDOO�D�VWRYH�FRYHUHG�LQ�ZKLWH�WLOH�ZLWK�D�FRXSOH�RI�DUPFKDLUV�DQG�D�URFNLQJ�FKDLU�LQ�IURQW�RI�LW��%HWZHHQ�WKH�VWRYH�DQG�WKH�VLGH�GRRU�WKHUH�LV�D�VPDOO�WDEOH��7KHUH�DUH�HQJUDYLQJV�RQ�WKH�ZDOOV��7KHUH�LV�D�ZKDW�QRW�ZLWK�FKLQD�SLHFHV�DQG�RWKHU�OLWWOH�NQLFN�NQDFNV�RQ�LW��7KHUH�LV�D�VPDOO�ERRNFDVH�ZLWK�H[SHQVLYHO\�ERXQG�ERRNV�LQ�LW��7KH�IORRU�LV�FDUSHWHG��DQG�WKHUH�LV�D�ILUH�EXUQLQJ�LQ�WKH�VWRYH��,W�LV�D�ZLQWHUV�GD\� Henrik Ibsen (1879) English adaption © 1996-1998 by Frank McGuinness

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x� Proscenium width: 32' x� Proscenium height: 16' x� Stage depth, plaster line to back wall: 32' x� Apron depth, plaster line to front edge of stage: 4' x� Wing space, left and right: 6' x� Total width of stage house: 44' x� Grid height: 24' x� Line sets are on 1' centers x� There is a hall behind the stage which can be used for cross overs.

The majority of your set should be designed using VWRFN�IODWV.

x� Width of flats: 1’ -2’ -3’ -4’ -5’ -6’ x� Width of door and window flats: 6’ x� Height of flats: 8’ -12’

'RFXPHQW your design of the setting with...

1. A )ORRU�3ODQ� Scale: 1/4" = 1’0" . 2. A )ODW�6FKHGXOH of the entire show including backing flats. Scale: 1/4" = 1’0". 3. A colored 'HVLJQHUV�(OHYDWLRQ of one wall of your set. You may use any color

media you wish. Select a wall which contains either a door or window. Scale: 1/2" = 1’0".

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You may GUDIW your design using...

x� The traditional 3HQFLO��7�6TXDUH��7ULDQJOH technique as described by Michael Gillette in &KDSWHU��0HFKDQLFDO�'UDIWLQJ (Drafting tools are available at 2IILFH�0D[),

x� *UDSK�SDSHU (Scale: 1 square = 1’) or x� A FRPSXWHU and a CAD software program (9HFWRU:RUNV is installed on the

machine in the class room).

5HVRXUFHV from 7KHDWULFDO�'HVLJQ�DQG�3URGXFWLRQ:.

x� )ORRU�SODQ� )LJXUH�� on page 120. x� )ODW�VFKHGXOH� )LJXUH�� on page 121. x� 'HVLJQHUV�HOHYDWLRQ� )LJXUH�� on page 126.

$�IHZ�VXJJHVWLRQV��x� 6WHS�� Develop a )ORRU�3ODQ.

o Draft the floor plan of your VWDJH o Use "the ground plan in the back of the book" to establish the placement of

doors, windows, and furniture. �� Layin the ZDOOV. �� Cut the openings for the GRRUV��ZLQGRZV and DUFK�ZD\V. �� Add the IXUQLWXUH.

o Draft your drawings in SHQFLO. o Use a VWUDLJKW�HGJH -- a plastic ruler, a triangle, even an envelope .

o If you are drafting your design on graph paper, make a "PHDVXULQJ�VWLFN" (or scale) from a narrow strip of graph paper.

x� 6WHS�� Layout the )ODW�6FKHGXOH using the flat widths established on the )ORRU�3ODQ.

x� 6WHS�� Develop and render your 'HVLJQHUV�(OHYDWLRQ. You may use any media with which you are comfortable. If you are not an art major, may I suggest magic marker, colored pencils are even crayons instead of the more traditional water color paints.

&KHFNOLVW�IRU�WKH�6FHQH�'HVLJQ�3UREOHP��On the )ORRU�3ODQ did you...

x� Show the SURVFHQLXP�DUFK, the front HGJH of the stage, the EDFN�ZDOO, and the DFW�FXUWDLQ?

x� Include the FHQWHU�OLQH and the SODVWHU�OLQH? x� Use FRQYHQWLRQDO�V\PEROV to represent flats, curtains, doors, windows (See )LJXUH�

�� on page 503)...? x� Locate EDFNLQJV behind each door and window unit? x� Include the IXUQLWXUH? x� /DEHO all major scenic areas (Front Hall, Study) and set props (Couch, Table)? x� 1XPEHU (or letter) each flat starting with the DS left tormentor (or return) ? x� Include a WLWOH�EORFN in the lower right hand corner of the drawing which includes...

o The WLWOH of the play, o The title of the GUDZLQJ, o The VFDOH, o The GDWH, and o Your VLJQDWXUH?

On the )ODW�6FKHGXOH did you...

x� Draft DOO of the flats including the backings? x� Layout the flats in the same RUGHU as they appear on the floor plan? x� Draft them to VFDOH? x� Include VXIILFLHQW�GLPHQVLRQV to make it possible to build the units from the

drawings? x� /DEHO each unit -- SL Wall, Hall Backing...? x� 1XPEHU (or letter) all of the flats as indicated on the floor plan? x� Include a 6’ ILJXUH, in scale? x� Include a WLWOH�EORFN?

On the 'HVLJQHUV�(OHYDWLRQV did you...

x� Draw the unit to VFDOH?

x� Include VHW�GUHVVLQJ. Does your elevation look complete? x� Include a 6’ ILJXUH, in scale? x� 5HQGHU (color) your elevation? x� /DEHO which unit you are drawing (Rear Wall)? x� Include a WLWOH�EORFN?


E-mail questions and comments to Larry Wild at [email protected]. Last updated: August 16, 2003 © 1998 - 2003 by Larry Wild, Northern State University, Aberdeen, SD

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7KH�'HVLJQ�3UREOHP�Choose "$�ZDUP�HYHQLQJ�XQGHU�D�URPDQWLF�PRRQ" from the Virtual Light Lab Project and develop a lighting layout (/LJKW�3ORW) which can be used to create this look in a 32’ wide x 24’ deep acting area.

Document your design with (�) a /LJKW�3ORW (D�9HFWRU:RUNV� �PFG�ILOH), (�) a +RRN�8S�&KDUW and (�) the 9LUWXDO�/LJKW�/DE�� YOO� file you developed for the 9LUWXDO�/LJKW�/DE�3URMHFW. You may rework the 9//�3URMHFW file if you wish.

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x� Subdivide the 32 foot by 24 foot acting area of the 3URMHFW�7KHDWUH into a number of lighting areas.

x� Using the instrument positions and color choices you made for the 9LUWXDO�/LJKW�/DE�3URMHFW as a guide, position the lighting instruments for each "lighting area" on the /LJKW�3ORW. Review the "Image of Light," page 297 to 307 in Michael Gillette’s 7KHDWULFDO�'HVLJQ�DQG�3URGXFWLRQ.

x� Assign the attributes (Color, Instrument number, Area of Focus, Channel number) for each instrument you plotted.

x� Convert the 9HFWRU:RUNV data base into a +RRN�8S�&KDUW

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x� A FOH &RYH (ceiling beam) 20 feet from the plaster line and 24 feet above the level of the deck and...

x� Three (OHFWULF�3LSHV on 10 foot centers. The out (or high) trim for the three electric pipes is 24 feet.

x� Stage circuits (outlets) at each position (Cove - 1 Electric - 2 Electric - 3 Electric) are on 2’ centers.

/LJKWLQJ�,QYHQWRU\��x� 12-- 6x12 (26°) (OOLSVRLGDOV x� 12-- 6x9 (37°) (OOLSVRLGDOV x� 12-- 6", )UHVQHOV x� 12-- 8", )UHVQHOV x� 12-- 1000watt WFL - 3$5&DQV x� 12-- 16" 1000watt 6FRRSV

&RQWURO��The 3URMHFW�7KHDWUH is equipped with 192-- 2.4 Kw dimmer in a dimmer per circuit layout. The control console is an (7&�([SUHVV�� with a maximum of 192 control channels (96 with sliders.)

'RFXPHQWDWLRQ�6RPH�,QVWUXFWLRQ�RQ�8VLQJ�9HFWRU:RUNV��DQG�$XWR3ORW9:��LQ�/LJKWLQJ�'HVLJQ

/LJKW�3ORW Using 9HFWRU:RUNV�� in JC 129, develop a /LJKW�3ORW indicating where each lamp would be mounted. Using standard symbols, indicate the W\SH�RI�OLJKW you will use and assign each instrument a FKDQQHO�QXPEHU, LQVWUXPHQW�QXPEHU, FRORU and DUHD�RI�IRFXV (6KRUW�SXUS) . Save the /LJKW�3ORW as an �PFG file to your subdirectory (folder) in the SC folder on the desk top

+RRN�8S�&KDUW Using 0LFUR6RIW�([FHO and the attributes from the "Fixture Data" data base associated with the 9HFWRU:RUN's drawing (/LJKW�3ORW) create a +RRN�8S�&KDUW which will indicate the logic of the control structure. Show which units (if any) will be ganged together, their type, mounting position, instrument number, control channel, focus (6KRUW�SXUS), and color. Save the +RRN�8S�&KDUW as a �[OV file to your sub directory (folder) in the SC folder on the desk top.

9//�9LVXDOL]DWLRQ Using 9LUWXDO�/LJKW�/DE develop a look for the moment ("$�ZDUP�HYHQLQJ�XQGHU�D�URPDQWLF�PRRQ") and save the *.vll file to your sub directory (folder) in the SC folder on the desk top.


E-mail questions and comments to Larry Wild at [email protected]. Updated: December 3, 2003 © 1999 - 2003 by Larry Wild, Northern State University , Aberdeen, SD

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Jean Rosenthal is considered one of the pioneers of theatrical lighting design. She emerged as a specialist at a time when a show’s lighting was usually handled by either the scene designer or the master electrician. It was during her thirty three year career that the Lighting Designer joined the Scene and Costume Designer as a member of the production team.

Eugenia (Jean) Rosenthal was born in New York City on March 16, 1912. She was the daughter of Drs. Pauline (a psychiatrist) and Maurice (an ear, nose and throat specialist) Rosenthal and attended Manumit School in Pawling, NY and the Friends Seminary in Manhattan. After briefly studying acting and dance at the Neighborhood Playhouse during the 1929-1930 academic year, she became a technical assistant to Martha Graham, a member of the school’s dance faculty. This was the beginning of a life long association with Martha Graham and her dance company. Between 1936 and her death in 1969, she designed the lighting for fifty three dances in the company’s repertory. She returned to the Neighborhood Playhouse as a lecturer and production advisor during the 1937-38 and 1940-41 seasons.

During her three (1930-1933) years at Yale University she studied theatre history with George Pierce Baker, scene design with Donald Oenslager, costume design with Frank Bevin, and lighting design with Stanley McCandless. In the spring of 1933 she left Yale for New York City where she joined one of the WPA Federal Theatres. By 1935 she had become a technical assistant in Federal Theatre Project 891. John Houseman was the producer, Orson Welles the director, Nat Carson the scene designer, and Abe Feder the lighting designer.

When Houseman took a leave of absence from the Federal Theatre in 1936 to produce Leslie Howard’s +DPOHW, he brought Rosenthal along as the second assistant stage manager in charge of lighting cues. When the man from the rental house, who was to install the lighting system became ill, Rosenthal became the electrical technical director as well as the second assistant stage manager. This is, perhaps, her earliest "lighting" credit.

In 1937 she joined John Houseman and Orson Welles as the production and lighting manager of the Mercury Theatre. Although only credited as "Production Manager," it is believed that she designed the lighting for the eight productions staged by the company. When the Mercury Theatre Players moved to Hollywood to produce &LWL]HQ�.DQH (1941) for RKO, Rosenthal remained in New York City and opened a theatrical supply house:

Theatre Production Service, Inc. (TPS) . Through TPS she offered a complete design and supply service.

In 1958 she created Jean Rosenthal Associates, a theatrical consulting firm which would become involved in at least thirty architectual projects, including the Guthrie Theatre in Minneapolis, the American Shakespeare Festival in Stratford, CN, the Juilliard School of Music in New York City, and the Los Angeles Music Center’s Dorothy B. Chandler Pavilion.

During her career she designed the lighting for over three hundred productions. Her Broadway credits include :HVW�6LGH�6WRU\ (1957), 7KH�6RXQG�RI�0XVLF (1959), %DUHIRRW�LQ�WKH�3DUN (1963), John Gielgud’s +DPOHW�(starring Richard Burton, 1964), +HOOR�'ROO\� (1964), )LGGOHU�RQ�WKH�5RRI�(1964), 7KH�2GG�&RXSOH�(1965), and &DEDUHW�(1966).

She believed her most artistic work was accomplished in the "institutional" theatre -- the dance, opera and drama repertory of the 1HZ�<RUN�&LW\�%DOOHW (1948-1957), the 0DUWKD�*UDKDP�'DQFH�&RPSDQ\ (1934-1969), the $PHULFDQ�%DOOHW�7KHDWUH (1960-1968), the 1HZ�<RUN�&LW\�2SHUD (1950-1954), the 'DOODV�&LYLF�2SHUD (1957-1969), and the $PHULFDQ�6KDNHVSHDUH�)HVWLYDO (1955-1959). These "institutional theatres" gave her more time for experimentation than was possible on the commercial Broadway stage. For example, the production schedule for the Broadway bound musical: %DNHU�6WUHHW (1965), called for only four days of technical and dress rehearsals before the first preview performance in Toronto.

A number of the designs she created forty years ago for the 1HZ�<RUN�&LW\�%DOOHW are still in the company’s repertory. Her plots have been adapted to changes in equipment and audiences expectation, but because the original concepts, specials, and cue placement have been retained, the program still carries the credit: "Lighting by Jean Rosenthal."

She died, after a long battle with cancer, at the age of 57 on May 1, 1969, ten days after attending the opening of her last creative work: Martha Graham’s $UFKDLF�+RXUV. The last Broadway show to close carrying a "Lighting by Jean Rosenthal" credit was )LGGOHU�RQ�WKH�5RRI which ended its 3,242 performance run on July 2, 1972, three years after her death.

Jean Rosenthal described Broadway lighting as an attempt to make the actor appear "jewel-like." She achieved this by surrounding the performer with light, often creating the impression of "light and shade on a stage that contain[d] no shadows." Instruments were mounted on the balcony rail, box booms, side torms (or booms), and overhead pipes. Her major contributions were the addition of deeply colored washes of back and side light to the designer’s vocabulary, and an organized approach to lighting dance.

In addition to her numerous lighting projects, she designed the sets for three Broadway shows: &RQTXHULQJ�+HUR (1961), 7KH�%HDVW�LQ�0H (1963), and 2Q�$Q�2SHQ�5RRI (1963) and wrote several articles on lighting and technical production for magazines like 7KHDWUH�$UWV, 2SHUD�1HZV, 0XVLFDO�$PHULFD and ,PSXOVH. In the late 1950s, Miss Rosenthal began developing plans for a book on lighting design. She would dictate the material when she had time. It would be edited and shaped by writer:

Lael Wertenbaker, and illustrated by her assistant, Marion Kinsella. During the early 60’s Jean was constantly in demand, so little work was done on the book. In 1968 she was diagonosed with cancer. During her long stays in the hospital she was finally able to dictate the essential material that would become the basis for her final legacy. 7KH�0DJLF�RI�/LJKW, which has long been out-of-print, was published in 1972.

She received the Henrietta Lord Memorial Award from the Yale School of Drama in 1932, and the Outer Critics Circle Award, during the 1968-1969 season, for her contribution to stage design.

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A collection of her lighting design documents, including light plots, hook-up charts, cue sheets, and production notes are on file in the Wisconsin Center for Film and Theatre Research, which is housed in the Archives of the Wisconsin Historical Society, on the campus of the University of Wisconsin in Madison.

Included, among the many shows, are the lighting designs for the Broadway productions of 7KH�6RXQG�RI�0XVLF (1959), $�)XQQ\�7KLQJ�+DSSHQHG�RQ�WKH�:D\�7R�7KH�)RUXP (1962), and +ROH�LQ�WKH�+HDG (1957); the New York City Center presentations of the New York City Opera (1950-1954), New York City Center Dance Theatre (1949), and City Center Light Opera Company (1954-1957). Shows from outside the New York City area include the Los Angles productions of 7KH�.LQJ�$QG�, (1958 and 1965); the Chicago Lyric Opera production of ,�3XULWDQL�(1955) and the $PHULFDQ�'DQFH�)HVWLYDO�at Connecticut College in New London.

The completeness of the files range from a few brief notes, a rough light plot sketched on graph paper and a scribbled hook-up chart to a nearly complete record of the development of a lighting design. For example, 7KH�6RXQG�2I�0XVLF file contain...

x� the correspondence between Miss Rosenthal and the producers, x� a copy of Lindsay and Crouse’s working script, x� Oliver Smith’s 1/4 inch scenic sketches, x� the 1/2 inch scaled floor plans and designer’s elevations of the set, x� fabric swatches from Lucinda Ballard’s costume designs, x� Miss Rosenthal’s rough sectional studies and preliminary layouts, x� final light plot, torm elevations, equipment list, hook-up chart, focus charts, magic

sheets, and cue sheets. x� and thank you cards and telegrams from numerous members of the production’s

staff and cast.

Several of the New York productions include not only the original Broadway design, but also the cut-downs used by the national company and the bus-and-truck tour. The lighting layouts for several shows, including %DNHU�6WUHHW�(1965) and $�)XQQ\�7KLQJ�+DSSHQHG�RQ�WKH�:D\�WR�WKH�)RUXP (1962) were also reduced when they were moved into a different Broadway house.

During the 1950s and 60s, most Broadway shows did a short, two or three stop, "try-out" tour before coming in to New York. The front of house hang was usually modified at each out-of-town theatre. Some times, as in %DNHU�6WUHHW, the changes were minor: the box boom units were 6x12 Lekos in Boston and Toronto instead of the 8x11s specified for New York. Other times the changes were more substantial. The original light plot for :LQHVEXUJ��2KLR (1957) called for 48 (all 6x12 Lekos) front-of-house units: 24 on the first balcony rail and 12 on each box boom. In Baltimore, 4 lamps were cut, and the remaining 44 units were divided between the second balcony (28) and the two box booms (9 each). In New York, according to notes in the file, the box booms were cut, and the lamps, now down to 38 (28- 6x12 Lekos and 10- 1500w 8" KliegLites) were divided between the balcony rail and the booth pipe.

The smallest show in the collection is the 1959 Neighborhood Playhouse’s production of 'HDU�/LDU, 20 lamps and 4 sections of foot lights controlled on two-- six channel Davis Dimmers. The production then went on the road before opening on Broadway. The road plot was very close to what was done at the Playhouse: 22 lamps and 4 sections of footlights controlled on one 14 plate road board. The two additional lamps, and dimmers, were for specials. When the show opened at the National Theatre on March 17, 1960 there were 58 lamps, 4 sections of foot lights, and 3 sections of border lights controlled on 48--500watt dimmers mastered through one 14 plate road board. At the Playhouse and on the road, each of the three acting areas were primarily lit by 4 lamps: 2 on the balcony and 2 on the first pipe. At the National Theatre, each area was lit by 12 lamps: 2 on the rail, 2 on each box boom, and 6 on the first electric. An interesting side light: according to the notes in the file, one of the students assigned to Miss Rosenthal’s light crew by the Neighbor Playhouse was Dabney Coleman.

The largest production in the collection is 7R�%URDGZD\�:LWK�/RYH. This extravaganza was presented in the Texas Pavillion during the 1964 New York World’s Fair. The deeply curved stage had a 74 feet wide proscenium opening. The 406 lamps and the 63 sections of 500 watt PAR strips were controlled on 10 road boards with a total of 140 dimmers.

The collection also includes the paper work (repertory light plot, rep hook-up chart, re-plug charts, cue sheets and notes ) for 32 of the works in the 1950-1954 repertory of the 1HZ�<RUN�&LW\�2SHUD�. Among the dance designs included in the collection are those for the $PHULFDQ�'DQFH�)HVWLYDO, Connecticut College, New London, CN (1949-1950), the 1HZ�<RUN�&LW\�'DQFH�7KHDWUH�(1949) which used the 1HZ�<RUN�&LW\�%DOOHW’s repertory plot, the 1950 performance of the %DOOHW�5XVVH�GH�0RQWH�&DUOR�at the Metropolitan Opera, the %DOOHW�,QWHUQDWLRQDO�(1944) and 5XWK�3DJH�DQG�-RVH�/LPRQ�LQ�3DULV�(1950).

In addition to lighting the traditional theatrical forms -- drama, musicals, opera, and dance -- she also lit -XG\�*DUODQG�DW�WKH�3DODFH�(1951), -XG\�*DUODQG�DW�WKH�0HW�(1959), the 1DWLRQDO�2UFKHVWUD�$VVRFLDWLRQV�&KULVWPDV�6KRZ�(1948-1950), the 7KH�/DPEV�&OXE�%HQHILW�IRU�WKH�&KLOGUHQV�&OLQLFV�3RVWJUDGXDWH�&HQWHU�IRU�3V\FKRWKHUDS\�(1961) and the 1DWLRQDO�&RQJUHVV�RI�$PHULFDQ�,QGXVWU\V�&RQYHQWLRQ�(1950) at the Waldorf-Astoria Hotel.

The earliest lighting design represented in the collection is the from the six show repertory of the 1HZ�2SHUD�&RPSDQ\�which opened its five week run at the Broadway Theatre in November 1942. The latest show represented is +DSSO\�(YHU�$IWHU which opened in March 1966.

The files for at least three Broadway shows, :HVW�6LGH�6WRU\ (1957), John Gielgud’s +DPOHW (starring Richard Burton, 1964), and 'DUN�$W�7KH�7RS�RI�WKH�6WDLUV (1957) are empty. A note in each folder, dated January 30, 1969, says that the documents were "Returned to JR." Although the paperwork for the Broadway production of 'DUN��6WDLUV�has been returned, the light plot, hook-up chart, and cue sheets for the bus and truck company are still in the collection.

There are also files for several Broadway shows which do not carry the "Lighting by Jean Rosenthal" credit. The ��,Q�7KH�6KDGH�(1963: Lighting by John Harvey) folder contains only the script and cue sheets. The 6KH�/RYHV�0H�(1962: Scenery and lighting by William and Jean Eckart) file contains a revised hook-up chart and cue sheets and numerous production notes. Miss Rosenthal was apparently brought in to re-hang and re-cue the show, but no reason is given as to why.

One of the "Broadway" shows in the collection does not appear in the listing of Miss Rosenthal’s design credits in 7KH�0DJLF�RI�/LJKW�. The show is +RW�6HSWHPEHU�(1965), a musical adaption of William Inge’s 3LFQLF�which closed out of town in Boston.

The collection does present a number of problems. Many of the papers are not dated, and there is often more than one hook-up chart or cue sheet making it difficult to determine which was the final design, and which was the preliminary sketch. The color media used in most of the early productions was Brigham gel, and when Rosco gel was chosen, it was identified by the old numbers, "No Color Pink" was #60, not #225. By the late 1950’s she began using both Cinemoid (where "Pale Salmon" was #553) and Roscolene (where "No Color Pink" was #9-60 instead of #825) Most of the shows were controlled on four to six road (or "piano") boards. The typical "Broadway Play" had 42- 3000 watt dimmers on three boards, and 12-6000 watt plates on the fourth. A "Broadway musical" was controlled on 70- 3000 watt dimmers, on five boards, and 12-6000 watt units on the sixth.

The collection, which is contained in 41 document boxes, does not contain all of Ms. Rosenthal’s work. The productions included were presented between 1942 and 1966. The most important works missing from the collection are her designs for the 0DUWKD�*UDKDP�'DQFH�&RPSDQ\ and the 1HZ�<RUN�&LW\�%DOOHW.

$�%LEOLRJUDSK\�RI�0DWHULDO�%\�DQG�$ERXW�-HDQ�5RVHQWKDO�

Boone, Mary Callahan. "Jean Rosenthal’s Light: Making Visible the Magician."�7KHDWUH�7RSLFV��, 1997, pp 77-92.

Goodman, Saul. "Meet Jean Rosenthal." 'DQFH�0DJD]LQH, February 1962, pp 19-23.

"Jean Rosenthal Dies Here at 57; Designer of Theatrical Lighting." 1HZ�<RUN�7LPHV, May 2, 1969, pg. 43.

Lewis, Jerry. $�'HVFULSWLRQ�DQG�$QDO\VLV�RI�6RPH�RI�WKH�/LJKWLQJ�'HVLJQV�RI�-HDQ�5RVHQWKDO� An unpublished MS thesis. University of Wisconsin-Madison. 1964.

Rosenthal, Jean. "Art and Language of Stage Lighting." 7KHDWUH�$UWV, August 1961, pp17-19.

Rosenthal, Jean. "Five Kings." 7KHDWUH�$UWV, June 1939, pp. 411-413.

Rosenthal, Jean. "General Technical Requirements for Summer Stock Operation," in Beckhard, Richard and John Effrat, %OXHSULQW�IRU�6XPPHU�7KHDWUHV��6XSSOHPHQW� New York: John-Richard Press. 1951.

Rosenthal, Jean."Light For The Stage." 2SHUD�1HZV, April 15, 1968, pp 8-11.

Includes black and white lighting sketches for Leslie Howard’s +DPOHW and Richard Burton’s +DPOHW, a small portion of the hook-up chart for &DEDUHW (1966), and the repertory light plot for the Metropolitan Opera.

Rosenthal, Jean. "Lighting for the Theatre." 0XVLFDO�$PHULFD, February 15, 1954, p 13.

Rosenthal, Jean and Lael Wertenbacker. 7KH�0DJLF�RI�/LJKW� Boston: Little, Brown and Company. 1972.

Includes essays on lighting the play, the musical, the dance and the opera; documentation for 3OD]D�6XLWH�(Light plot, Hook-up chart, and selected Cue sheets), +HOOR�'ROO\��(Light plot, Hook-up chart, and selected Focus charts), the 0DUWKD�*UDKDP�'DQFH�&RPSDQ\�(Light plot and Cross section); and the most complete listing of Miss Rosenthal’s design credits. "A Photo Essay on Light", which appears in the "Tools of the Trade" section (Illustrated and edited by Marion Kinsella), shows, through twenty-three photographs, how light coming from the standard theatrical lighting positions looks when focused on an actor standing on stage.

Rosenthal, Jean. "Native Son--Backstage." 7KHDWUH�$UWV, June 1941. pp. 467-470.

Rosenthal, Jean. "Patterns of Light." ,PSXOVH�� pp 11-12.

Rubin, Joel E. and Leland H. Watson. 7KHDWULFDO�/LJKWLQJ�3UDFWLFH. New York: Theatre Arts Books. 1954.

Contains Jean Rosenthal’s repertory light plots for 7KH�1HZ�<RUN�&LW\�%DOOHW�and 7KH�1HZ�<RUN�&LW\�2SHUD�seasons at the New York City Center.

Sargeant, Winthrop."Please, darling, bring three to seven...A Profile of Jean Rosenthal." 1HZ�<RUNHU, February 4, 1956, pp. 33-59.

Skelton, Thomas. "Jean Rosenthal’s Dance Lighting." 7KHDWUH�&UDIWV, September 1973, pg. 46.

Violett, Ellen. "Name in Lights." 7KHDWUH�$UWV, December 1950, pp. 24-27.

/DUU\�:LOG��'HVLJQHU�7'

Last updated: January 14, 2000 © 1996-2000 by Larry Wild, Northern State University, Aberdeen, SD

7KHDWUH��6WDJH&UDIW Sample Questions: First Little Quiz

1. Briefly discuss the GXWLHV and UHVSRQVLELOLWLHV of the... o Producer, o Director, o Stage manager, o Master carpenter, o Prop master, o Lighting Designer. o Scene painter.

2. What are the four departments of WHFKQLFDO�SURGXFWLRQ? 3. Under which department is the VRXQG�FUHZ? 4. Which designer is at the top of the �SHFNLQJ�RUGHU"� Why? 5. Which designer isn’t even in the "pecking order?" Why 6. Which XQLRQ represents the stage hand? The designer? How do you become a

PHPEHU of each organization? 7. Sketch the major difference in the DFWRU�DXGLHQFH�UHODWLRQVKLS between...

o A SURVFHQLXP stage theatre, o An DUHQD theatre and o A WKUXVW stage theatre.

8. What is a �EODFN�ER[� theatre? 9. A IRXQG�VSDFH? 10. Give a ORFDO�H[DPSOH of a proscenium theatre? A thrust stage theatre? 11. How can you DGDSW a proscenium theatre into a an arena or thrust stage space? 12. What is the IXQFWLRQ of the Act Curtain? 13. How ZLGH is the proscenium opening of the JFAC MainStage? 14. What is the auditorium’s VHDWLQJ�FDSDFLW\? 15. What W\SH�RI�ULJJLQJ�V\VWHP do we have on the MainStage of Johnson Center? 16. What W\SH�RI�IORRULQJ should be used on a stage? 17. What should be the FRORU and ILQLVK of the floor? 18. What is the difference between UHSUHVHQWDWLRQDOLVP and SUHVHQWDWLRQDOLVP? 19. What is a ER[�VHW? 20. List the HOHPHQWV and SULQFLSOHV�RI�GHVLJQ. 21. What is the difference between V\PPHWULFDO and DV\PPHWULFDO�EDODQFH? 22. What is the difference between a color’s KXH, YDOXH and LQWHQVLW\? 23. List the seven VSHFWUDO�FRORUV in order from longest to shortest wave length. 24. What are the three SULPDU\�FRORUV�of paint? Of light? 25. Discuss ZK\, in paint, Red + Green = Grey. 26. Briefly LGHQWLI\ each of the following:

o Prompt book o Yellow card show o Loft block o Head Block

o Stage Right o Cove o Sound booth o Lock rail o Plaster line o Center Line o Teaser o Tormentor o Return o Wings o Apron o Fly Loft o Scrim o Cyc o Olio


E-mail questions and comments to Larry Wild at [email protected]. Posted: September 25, 2002 © 2002 by Larry Wild, Northern State University

7KHDWUH��6WDJH&UDIW Sample Questions: Second Little Quiz

1. Briefly discuss the "DFWLRQ�GRFXPHQWDWLRQ�PHWDSKRU" approach to scene design. 2. List five SUDFWLFDO�FRQVLGHUDWLRQV a designer must face when designing a set for a

play or musical. 3. Who is considered the "IDWKHU" of American scene design? 4. List three of what Darwin Payne calls the designer’s "$UHDV�RI�,QIOXHQFH." 5. Where, in a traditional box set, would you place the GRRU�IRU�DQ�LPSRUWDQW�

HQWUDQFH? ([LW? 6. What is the difference between a IORRU�SODQ and a GHVLJQHUV�HOHYDWLRQ? 7. What is a UHQGHULQJ? 8. Which saw, a UDGLDO�DUP�VDZ or a WDEOH�VDZ, is best for cross cutting lumber? 9. What is the major disadvantage of a FRUGOHVV�VFUHZ�GULYHU? 10. Which hand tools have the KLJKHVW�GLVDSSHDUDQFH�UDWH? 11. List six tools used in IODW�FRQVWUXFWLRQ. 12. What W\SH�RI�ZRRG is normally used to frame a flat? 13. +RZ�PDQ\�ERDUG�IHHW are there in 24 pieces of 1x4-12’? 14. At $1.26 (for #2 Pine @ Town & Country) per board foot, how much would the

above lumber order FRVW? 15. Where, in scenic construction, would ��SO\ZRRG be used? 16. Define: ��SO\��,QW��$'. 17. What is ��&';? 18. At $ 3.90 per yard, how much would a bolt of 80" wide scenic muslin FRVW? 19. How many 6x12 flats would this bolt of muslin FRYHU? 20. What is the VWDQGDUG�JOXH used in the theatre? 21. List two common pieces of KDUGZDUH which can be used to assemble rigid

platforms into a unit. 22. What type of FDVWHUV are normally used on a platform-wagon? 23. List four pieces of VDIHW\�HTXLSPHQW which a theatrical shop should supply. 24. What is the difference between a GURS, a IODW, and a SODWIRUP? 25. What type of theatres use VWRFN�VFHQHU\? 26. What is the WDOOHVW�IODW which can be easily moved by a student stage hand? 27. What is the ZLGHVW�IODW which can be easily moved by a student stage hand? 28. What is the standard width of a VWRFN�GRRU�IODW? 29. How large is the KROH in a door flat? 30. Sketch the "IUDPLQJ�SDWWHUQ" for a stock 6x12 flat. On your sketch, indicate the (A)

VWLOH, (B) top and bottom UDLOV, (C) WRJJOH, and (D) GLDJRQDO�EUDFH. 31. +RZ�PDQ\�IHHW of 1x4 will be needed to build this flat? (Diagonal braces should be

3 feet long.) 32. If the price of #2 pine is $1.26 per board foot, how much will the lumber (1x4)

FRVW? 33. +RZ�PDQ\�\DUGV of 80" wide muslin will be needed to cover this (6x12) 12 foot

tall flat?

34. At $3.90 per yard, how much will the muslin FRVW? 35. What will be the WRWDO�FRVW of the 6x12 flat? 36. Why are stage doors typically hung so they RSHQ�RII�VWDJH? 37. What is the difference between a GHSHQGHQW and an LQGHSHQGHQW�GRRU unit? 38. Describe the difference between FDVHPHQW�ZLQGRZV and )UHQFK�ZLQGRZV. 39. Describe how you would "EDWWHQ�DQG�GXWFKPDQ" two 4x12 flats to create a 8x12

wall. 40. What is the difference between a ERRN�IODW and a WKUHH�IROG. 41. How many stock platforms will be needed to DVVHPEOH a 16’ x 16’ deck? 42. With 2x4 priced at $ .47 per foot, and 3/4 inch plywood priced at $ 29.00 a sheet,

what would be the OXPEHU�FRVW of this deck? Hint: Begin by determining the cost of one platform.

43. Describe one technique which can be used to EUDFH�WKH�OHJV of a platform. 44. What is the standard WUHDG�ZLGWK of a step unit? 45. List one of the two standard ULVHU�KHLJKWV. 46. Describe three techniques which can be used to EUDFH�D�IODW. 47. What is a MDFN? 48. What is the difference between a VLPXOWDQHRXV�VHW and a XQLW�VHW? 49. What is a "VFHQH�LQ�RQH?" 50. What is the difference between a ZDJRQ�VWDJH and a UHYROYLQJ�VWDJH? 51. +RZ�ORQJ should it take to shift a set during a musical? 52. What are the three basic FRPSRQHQWV�RI�VFHQH�SDLQW? 53. What is the difference between the VL]H, SULPH and EDVH�FRDW? 54. Describe two techniques a painter can use to FDUWRRQ a design onto a drop. 55. Briefly describe the following scene SDLQWLQJ�WHFKQLTXH:

o Stippling o Scumbling o Lining o Spattering

56. Describe a painting technique which could be used to create the illusion of ZRRG�SDQHOLQJ . A brick wall.


E-mail questions and comments to Larry Wild at [email protected]. Posted: October 30, 2002 © 2002 by Larry Wild, Northern State University

7KHDWUH��6WDJH&UDIW Sample Questions: Third Little Quiz

1. What is the difference between a VHW�SURS, a KDQG�SURS, and VHW�GUHVVLQJ? 2. Where back stage should the SURS�WDEOHV�EH�ORFDWHG? 3. How many \DUGV�RI�IDEULF will you need to drape a 3’x6’ stock window in a box

set? 4. List three (of the four) IXQFWLRQV and three (of the four) TXDOLWLHV (or properties) of

light. 5. List, by gel number, the three OLJKW�SULPDULHV and the three OLJKW�VHFRQGDULHV. 6. List the gel numbers for 2 SLQNV, 2 ODYHQGHUV and 4 EOXHV which you believe your

theatre should stock. 7. List, by gel number, what one color you would use for...

o _____a candle IODPH o _____daylight o _____a rising VXQ o _____an Arizona VXQ o _____a Minnesota VXQ o _____a warm, romantic PRRQ o _____an evil, sinister PRRQ o _____the dark of QLJKW

8. List three of the JFAC MainStage IURQW�RI�KRXVH�PRXQWLQJ�SRVLWLRQV. 9. How many HOHFWULF�SLSHV are on the Johnson MainStage? 10. List three of the five VWDQGDUG�GLUHFWLRQV�RI�OLJKW, and briefly GHVFULEH (or VNHWFK)

WKH�HIIHFW each produces. 11. List two positions where VLGH�OLJKWV can be mounted. 12. What is a ERRP? A light lDGGHU? 13. What is the difference in EHDP�DQJOH (fixed or variable) and HGJH�TXDOLW\ (soft or

hard) between an (OOLSVRLGDO, )UHVQHO and 3DU&DQ spotlight? 14. Where, in a proscenium theatre, are (OOLSVRLGDOV�WUDGLWLRQDOO\�PRXQWHG? )UHVQHOV? 15. If an Altman 6x9 produces a 27’ pool of light with a 40’ throw, what will be the VL]H�

RI�WKH�SRRO of light with a 20’ throw? 16. The multiplication factor of an Altman 6x12 is 0.47. What will be the VL]H�RI�SRRO

of light with a 40 foot throw? 17. Which Ellipsoidal has a ZLGHU�EHDP�DQJOH: a 6x9 or a 6x12? 18. If the intenstiy of this unit is 100 foot candles with a 40’ throw, what would be the

LQWHQVLW\�RI�WKH�OLJKW with a 20’ throw? 19. Indicate ZKLFK�OLJKWLQJ�LQVWUXPHQW--an (OOLSVRLGDO��)UHVQHO��3$5��:)/��6FRRS-

-you would use to... o _____create a strong VKDIW of sun light, o _____light the front edge of the stage from the FRYH, o _____light the VN\�F\F� o _____create moon light streaming WKURXJK�D�ZLQGRZ, o _____create a VRIW�HGJHG pool of light around the cafe table,

o _____project a FORXG�SDWWHUQ on the cyc, o _____provide a EURDG�ZDVK of color over the entire stage, o _____EDFN�OLJKW the center stage plane from the third electric, o _____create a KDUG�HGJHG box of light around the door?

20. Where should the lighting FRQWURO�FRQVROH be ORFDWHG? :K\? 21. Why should the VWDJH�PDQDJHU�FDOO the lighting cues? 22. What is the difference between a GLPPHU and a FKDQQHO? 23. What is the PLQLPXP�QXPEHU of control channels needed to light a small musical? 24. What is a VXEPDVWHU? A split FURVV�IDGHU? 25. What is the major DGYDQWDJH of computer assisted control board? The major

GLVDGYDQWDJH? 26. What is meant by "SURJUDPPLQJ�WKH�ERDUG?" 27. Briefly describe how a WZR�VFHQH�SUHVHW can be used to light a small production of a

play or musical. 28. What is the VWDQGDUG�YROWDJH in the United States? 29. What is the mathamatical relationship between ZDWWV, YROWV and DPSV? 30. What is the FDSDFLW\, in amps, of a �� stage cable? A �� cable? 31. What is the difference between a OLQH�FRQQHFWRU and a ORDG�FRQQHFWRU? 32. What is a "WZR�IHU?" 33. How many 575 watt ETC Source 4 Ellipsoidals can be JDQJHG�WRJHWKHU on one 20

amp circuit? 34. Who was 6WDQOH\�0F&DQGOHVV? With what XQLYHUVLW\ was he associated? 35. What are the IRXU��OD\HUV� in the McCandless method to stage lighting? 36. How many DFWLQJ��OLJKWLQJ��DUHDV are normally used to light a small (24’ x16’)

production? 37. Where are they (the acting areas) traditionally ORFDWHG? 38. What is the PLQLPXP�QXPEHU�RI�ODPSV needed to light each area? 39. Where should they be ORFDWHG? 40. Why are WRQLQJ�OLJKWV needed? 41. Why should a fixture, or SUDFWLFDO, be controlled through the lighting control board? 42. There are four 3x5 windows in the backwall of the set. +RZ�PDQ\��6XQ6SRWV�

will you need?

43. Using the above "light plot", KRZ�PDQ\ instruments are... o ________Fresnels? o ________PARCans? o ________Ellipsoidal ("Leko")? o ________Scoops?

44. What is the PLQLPXP�QXPEHU of electrical circuits you will need to feed this pipe? The PD[LPXP�QXPEHU?

45. Which instruments (XQLW�QXPEHUV) are FRQWUROOHG by channel 4? 46. List all the FRORUV you will need to pull for this pipe. 47. Develop an HTXLSPHQW�OLVW for the above plot. 48. What is the difference between a KRRN�XS�FKDUW and an LQVWUXPHQW�VFKHGXOH? 49. What information should be included on a FXH��4��VKHHW? 50. What are the WKUHH�EDVLF�W\SH of cues? 51. Describe a VPDOO�WKHDWULFDO�OLJKWLQJ�V\VWHP whch can be assembled from readily

available parts. o What type of ODPSV would you use? o What type of GLPPHUV? o How would you GLVWULEXWH�WKH�SRZHU from the dimmers to the instruments? o What device would you use to JDQJ two or three lamps together?

52. What is the difference between sound UHLQIRUFHPHQW and sound UHSURGXFWLRQ? 53. How is pre-recorded VRXQG�XVHG in the production of a SOD\? 54. Where in the theatre are VSHDNHUV�ORFDWHG for sound UHLQIRUFHPHQW? Sound

UHSURGXFWLRQ? 55. Where should the PL[LQJ�FRQVROH be SODFHG?


E-mail questions and comments to Larry Wild at [email protected]. Posted: December 6, 2002; Revised: December 12, 20003 Copyrighted © 2002-2003 by Larry Wild, Northern State University

Documents

Theatre 241: Stagecraft - Instituto de Artes