resume ed 028 609 a complete statement on the open stage ... · open stage, (3) acoustical design...
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DOCUMENT RESUME
ED 028 609 EF 002 695The Open Stage, Based on the Designs of James Hull Miller.Hub Electric Co., Inc., Chicago, Ill.Report No-BULL-109-AIA File-31-F-25Pub Date 65Note- 72p.Available from-Hub Electric Co., Inc., 2255 West Grand Avenue, Chicago, Illinois 60602 (S1.00)EDRS Price MF-SO.50 HC-S3.70Descriptcrs-Acoustical Environment, *Aucktoriums, besign, *Dramatics, Equipment, *Facility Case Studies,Lighting, Physical Design Needs, Planning, Projection Equipment, *Stages, *Theaters
A complete statement on "the open stage which will prove of value to architects,consulting erigineers and school administrators in the construction of college,community and school auditorium theaters. Directors and teachers of drama shouldfind this booklet a practical source of advanced technical knowledge in their field.The introduction deals with the language of vision in general while the remainingsections are directed specifically to architects, engineers, administrators, dramaticsand background projection. Specific areas dealt with indude--(1) six typical plans andsections with production sketches and brief project histories, (2) curtains and theopen stage, (3) acoustical design of auditoriums, (4) architectural and engineeringlayout factors, (5) lighting equipment and lighting control switchboards, (6) typicalquestions and answers regarding the application .of the open stage to school,college, and community groups, (7). direction for the open" stage, (8) approach to.Scene design, (9) lighting, (10) stagecraft, and (11). architectural planning to thepreparation of imagery. (00
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HUB REFERENCE MANUAL No. 109
The OpenStageINDEXINTRODUCTION
The Language of Vision Page 3
ARCHITECTS' AND
ENGINEERS' SECTION
Six Typical Plans andSections, with ProductionSketches and Brief ProjectHistories Page 4
Curtains and the Open Stage Page 15
Acoustical Design ofAuditoriums Page 17
Architectural and EngineeringLayout Factors Page 21
Lighting Equipment andLighting ControlSwitchboards Page 26
ADMINISTRATORS' SECTION
Typical Questions andAnswers Regarding theApplication of the OpenStage to School, Collegeand Community Groups Page
DRAMATICS SECTION
Direction for the Open Stage_Page
Approach to Scene Design Page
Lighting Page
Stagecraft Page
49
53
56
61
62
BACKGROUND PROJECTION SECTION
From Architectural Planningto the Preparation ofImagery Page 67
HUB ELECTRIC COMPANY, INC.
2255 West Grand AvenueChicago, Illinois 60602
Over 50 Years of Service to theEducational Theatre
2
A Message from HubFollowing a tradition of fifty years, the underlying philosophy of the Hub
Electric Company, continues to be directed towards engineered equipment based
on sound artistic principles, these ends cannot be accomplished without the
counsel of recognized professional designers. I sincerely believe that the Contribu-
tors of Bulletin No. 109 have made the publication one of the most complete
statements on "The Open Stage" existing anywhere in the world today. I hope
that this material wiii prove of value to Architects, Consulting Engineers and
School Administrators, in the construction of college, community and school
auditorium theatres. Directors and Teachers of Drama should find this booklet a
practical source of advanced technical knowledge in their field.
I. M. FixmanPresidentHub Electric Co., Inc.
ContributorsJames Hull Miller, one of the con-
temporary pioneers of the free-form openstage, has been consulting designer forsome forty theatre projects. His influenceon theatre architecture comes from hisexperiments with visual forms of stage-craft and a new dynamics of dramaticenvironment. His background is in tech-nical theatre but he has a keen apprecia-tion of modern architectural trends. Hisviews are summarized in the Summer1963 issue of the Tulane Drama Review.Mr. Miller lives in Shreveport, La.
Richard Leacroft, with professionalbackgrounds in both architecture andtheatre, is well known for his publishedresearch and illustrations. Recent worksinclude an outline history The Theatre(Roy Publications), The Building of An-cient Egypt (Young Scott Books) and hisstudies on "Actor and Audience" appear-ing in the April and May 1963 issues ofthe Royal Institute of British Architects'Journal. Professor Leacroft lives in Lei-cester, England, and is with the School ofArchitecture of the Leicester College ofArt.
Percy Corry has been closely associ-ated with theatre, both amateur and pro-fessional, for fifty years, as actor, direc-tor, technician, lecturer and administra-tor, and lastly, as theatre planner. He hasan equipment factory in Manchester,England, where he also lives. He is aformer president of England's first ama-teur little theatre, the Stockport Garrick.He has written several books and is aregular contributor to Tabs, the informa-tive quarterly published by the StrandElectric Company of London.
Irwin J. Atkins has been an EastCoast actor, has worked in many educa-
tional theatres and television programsand is currently at the University ofMinnesota. Professor Atkins is interestedin the different relationships of an audi-ence to radio, television, motion picturesand especially to the various forms oflive theatre. His article here reflects astudy of directoral notebooks for theStratford Festival Theatre in Ontario.
Russell Johnson, a member of thestaff of Bolt Beranek and Newman Inc.,Cambridge, Mass., has served as consult-ant on the acoustical design of numerouscampus and civic auditoriums includingLa Grande Salle at the Place des Arts inMontreal, Clowes Memorial Hall at But-ler University in Indianapolis, and War-ner Concert Hall at the Oberlin Conser-vatory of Music. He is a member of theAcoustical Society of America, the AudioEngineering Society, the United StatesInstitute for Theatre Technology, and hasauthored several articles on auditoriumdesign.
Albrt M. Koga has designed and de-veloped special lighting, stage lighting,and lighting control switchboards in col-laboration with architects and engineersthroughout the United States. A graduateof the College of Engineering of the Uni-versity of California, and a former col-lege instructor of mathematics and phys-ics, he has had wide experience in variousphases of lighting. For many years he hasbeen Chief Lighting Engineer of the HubElectric Company, Inc. and has workedas technical consultant to James HullMiller on numerous open stage projects.He has served on the Board of Managersof the Illuminating Engineers Society,Chicago Section, and in various Offices
of the Chicago Lighting Club.
U.S. DEPARTMENT Of HEALTH. EDUCATION & WELFARE
OFFICE Of EDUCATION
THIS DOCUMENT HAS BEEN REPRODUCEDEXACTLY IS RECEIVED FROM THE
PERSON OR ORGANIZATION ORIGINATINGIT. POINTS Of VIEW OR OPINIONS
STATED DO NOT NECESSARILYREPRESENT OffICIAl OffICE Of EDUCATION
POSITION OR POLICY.
Introduction:The Language
of VisionThe purpose of this bulletin is to orient
and encourage . . . by the example andexperience of others. The ideas expressedhere are so new that ten years ago thisbulletin could not have been written.
Who were those who went forward andbuilt without security of prior example?
Open Stage Pioneers
The three general forms of the openstage described on the following pages,the forward thrust platform, the reversecurve caliper and the arcade, were pio-neered, respectively, by Art Cole and theMidland Community Theatre, Ted Skin-ner and the Lamar College of Technol-ogy in Beaumont, Texas, and BarbaraLange of Swarthmore College in Penn-sylvania.
Behind these projects lie the influencesof Thomas Wilfred in lighting research,John Ashby Conway in production,George Kernodle in his penetrating writ-ings of the historical time-space equa-tions, and Eric Paw ley, architect and stu-dent of visual psychology.
Scene Design Defined
Scene design is the language of visionwhich communicates the meaning of thedramatic environment to the audience.And, in the last analysis, it is what the
audience remembers that is important.
In the theatre, it is not always neces-sary to display every single piece of theenvironment as it exists in real life in
order to make the proper impression.
With very elaborate equipment, someproscenium frame theatres are able totranscribe scenes taken from life itself.The open stage enthusiast, however, be-lieves that the nature of his theatre per-mitS him to cut right to the heart of anenvironment and select highly character-istic details which will trigger a chain ofimagery in the mind of the audience.This can provide much the same post-production recall as if the spectator hadseen the actual objects rendered in com-plete detail.
Advantage of the Open Stage
What, then, is the particular nature ofan open stage theatre which makes thispossible? The answer lies in the neutralenclosure of the playing area by archi-tectural decor. In this space there is
placed free-standing scenery in theamounts and sizes determined by thescenic artist.
It will be seen at once that this sort ofscenery dominates the heart of an actingarea, rather than defining its perimeter.
A typkal open stage set, free standing and, here, self-supporting.It consists primarily of folding arch screens angularly deployed.
"PERMISSION TO REPRODUCE MISCOPYPAHTED MATERIAL HAS BEEN GRANTED
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TO ERIC AND ORGANIZATIONS OPERATING
UNDER AGREEMENTS WITH ME U.S. OFFICE Of
EDUCATION. FURTHER REPRODUCTION OUTSIDE
ME ERIC SYSTEM REQUIRES PERMISSION Of
ME COPYRIGHT OWNER."
With scenery centrally developed, morethan one acting area is possible.
It is here that the proscenium frameand the open stage theatres differ mostsharply.
The open stage in all its traditionalforms has always been a free-form, multi-scene theatre, while the proscenium thea-tre was developed around the idea ofmaking one scene at a time within thespace defined by the picture frame.
An example of open stage scenery isillustrated below. It is a typical free-stand-ing set, here formed primarily of foldingarch screens and self-supporting by virtueof its angular deployment.
Obviously the size of the platform up-on which this set is placed is of no con-cern, for the same set could be placedwith equal success upon a dais at the endof a ballroom. Masked areas and coveredpassage to the vicinity of the island arecreated by folding screens of variouslysized panels.
Who is the Open Stage Client?
Resistance to the open stage is largelyresistance to new forms of scene design,and as such, is largely institutional incharacter, in much the same manner as"academy" painters discourage new artis-tic delineation and "conservatory" musi-cians frown on new tonalities and modu-lar systems.
The typical open stage client is onewhose resources are modest. He is alsoaware that the traditional methods oftheatre communication have becomecostly and, in many instances, of dubiousvalue from a practical standpoint. Beingknowledgeable in contemporary art andarchitecture, fields which have undergoneconsiderable changes in the last twentyyears, he acts upon new ideas which mayhelp him create a first class theatre alongopen stage lines.
JAMES HULL MILLER
3
ARCHITECTS a ENGINEERS
Open End Theatrefor
Senior High SchoolFindlay, Ohio
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ROBERT A. VAN AUKENSuperintendent of Schools
PERKINS & WILLArchitects and Engineers
Chicago, Illinois
The plan for this theatre chamber wasdeveloped by Robert L. Palmer of thearchitectural firm of Perkins 'and Will,and James Hull Miller, consulting design-er, for an educational assembly,, concertand modern drama center.
Later, the plan was reworked for com-munity theatre needs (see cover illustra-tion) and published as a project in theDecember 1962 Players Magazine.
Basic Design IntentIt was the intention of the designers
that the dramatic environments of thistheatre follow the open stage principle ofsettings which stand free in space andtherefore possess their own terminal lines.
Thus the auditorium itself becomes theinitial background to the playing area.
Five of the six walls and the baffle wallsare of masonry and are sandstone in col-or. The sixth wall, the panorama wall, isof sand-floated plaster and is wedgewoodin colora blue-gray tint suitable forrear projection from overhead.
Wing controls, that is, the creation ofsheltered areas offstage, including coveredaccess to selected scenic groupings, areby two sets of 3' x 12' four-fold panelscreens to each side.
These folding panel screens give thetheatre completely flexible service areasor, when struck, a free platform area aswide as the building.
The building itself forms an acousticalshell for large musical activities, whileacoustical shells for smaller musical pro-grams are fashioned from folding sereensof plywood similar in appearance to thewing controls described above.
Interior IlluminationInterior illumination for this theatre is
divided into two distinct phases:
1. Architectural Down lightingThis phase was achieved by baffle ringfixtures throughout the entire chamber,subdivided for purposes of control, byremote stations, into the seating, theforestage, and the upstage areas.
2. Theatrical LightingThis second phase was achieved chief-ly by spotlights and by the back-ground projection system, from over-head instrument-siting catwalks, withcontrol at the rear of the auditorium.
The theatrical lighting schedule (listedon page 27) includes 1000 watt fresnel
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spotlights, with round and oval beamlenses, 750 watt ellipsoidal spotlights, anda combination of 750 watt scoop flood-lights and the 2100 watt beam projectionunit for background projection (describedon page 67). Control, by reason of bud-get, is by 6000 watt autotrarisformer dim-ers, though the initial equipment schedulecalled for a silicon controlled rectifier ormagnetic amplifier dimming system.
Curtains, Floor and CeilingThere is one main curtain of rust ve-
lour, operated by hand purchase line, andtwo sets of adjustable curtain panels,slate and dark blue, on I-beam tracksjust ahead of the panorama.
The stage and all other flooring atstage level are of dark-stained maple. The
overhead ceiling panels are gunmetal grayin color.
The audience seating area accommo-dates 770.
This theatre was activated in the fall of1963 with a five-day workshop conduct-ed by Mr. Miller. As this chamber wasto be a civic facility, jointly used, repre-sentatives of nearby Findlay College andthe Fort Findlay Players, a communitygroup, attended the workshop as well asfaculty, students and administrators ofthe Findlay school system.
Presentations from the stage haveranged from a single performer to a com-bined chorus and orchestra of 300. Thefacility was reported in the December1963 issue of Nation's Schools.
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Dress rehearsal on the Findlay stage. Settings stand free in space with the background projected on the panorama wall from overhead. Note the wing
control which, by folding screens, creates sheltered areas offstage; when folding screens are struck the stage becomes a free platfrom as wide as the building.
6
ARCHITECTS & ENGINEERS
Caliper StageFor Senior
High SchoolLongmont, Colorado
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MERLE V. CHASESuperintendent of Schools
BUNTS & KELSEYArchitects, Colorado Springs, Colo.
EDUCATIONAL FACILITIESLABORATORY
New York, New York
This auditorium is an excellent ex-ample of open stage concepts applied toa conventional rectangular shape andseating arrangement.
It was the belief of the architects thatthe traditional proscenium stage does nothandle with efficiency the total highschool program imposed upon it.
They felt that the proscenium stagewas too broad for dramatics in conven-tional trappings, not intimate enough forlectures and forums, and acoustically badfor concerts unless a sound shell were to
be erected.
Open Stage Advantages
It was also felt that the newer stage-craft forms which serve the open 3tage
were more suitable for student participa-tion. Set pieces and projected backgroundsare more economical than full sets andpainted backdrops, and are also smallerin scale, changing the logistics of prepa-ration and storage.
Other advantages stressed by the archi-tects in their report to the EducationalFacilities Laboratory were:
I. The reduction in fire hazard by theelimination of the stagehouse loft.
2. The safety afforded by catwalks tothe lighting positions in lieu of port-able ladders.
3. A lower equipment installation cost.
The architects achieved the open stagedesign chiefly through a common ceiling,with breaks for lights and curtain tracks;by widening the proscenium opening; andby softening the proscenium line throughthe addition of calipei- stage extensionsand the actors' towers, two stories inheight, in place of the usual "frame".
Wing areas of this theatre are control-led by folding screens, and the entire"backstage" area, with the exception ofthe panorama wall, was decorated tomatch the auditorium walls.
A complete schedule of the auditoriumand theatrical lighting recommended forthis theatre is listed on page 31.
On the basis of its design, LongmontHigh School was the recipient of the"School of the Month" award by Na-tion's Schools magazine for December1963.
This theatre was activated in the fallof 1964 by a five-day workshop conduct-ed by Mr. Miller. The workshop was thefinal phase of a design grant program bythe Educational Facilities Laboratory ofNew York.
In his workshop, Mr. Miller concen-trated on the time-space quality of thewide acting area, developing a series ofscenes which carried pilgrims up the cali-per approach, across a projected vista, toa sanctuary pavilion of actual scenery,thus paralleling in contemporary theatri-cal form the "long shot," the "pan," andthe "close-up" techniques of the motionpictures.
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VIEW TOWARD PLATFORMView toward platform showing caliper stage extensions and actors' towers. The ceiling overthe auditorium and the stage area is common, with breaks for lights and curtain tracks.
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PHILIP RULESuperintendent of Schools
SHAVER AND COMPANYArchitects, Salina, Kansas
The basic plan of this theatre featuresan apron-type stage with caliper armswhich encircle the forward seating ter-races and form a connecting cross-aislethrough the center of the auditorium.
The forward stage shape possesses alarge focal area with a number of flank-ing areas for additional dramatic action.
An arcade encloses an inner actingarea at the stage level and forms a porticosupporting an acting area above. Gallerycalipers extend the upper level and leadto elevated plazas for light and soundcontrol.
Scenery for all of these acting areastakes the form of space sets as pavilionsor poly-folded screens.
Treatment of Arcade
The colonnade of the arcade formsembrasures into which both conventionalflats and translucent screen panels maybe locked. These translucent screen panelsserve as a composite backdrop and pano-rama, receiving color and imagery froma rear projection system as described onpage 67.
Trans lux screen panels or inserts mayalso be locked into place to serve televi-sion, motion picture and slide projectorslocated at the rear.
Curtain tracks are attached to the frontand rear of the arcade lintel.
Two Phases of Lighting
Illumination for this theatre is dividedinto two phases:
1. Architectural downlighting, by areas,throughout the chamber.
2. Theatrical lighting, the majority ofwhich is located on the open cat-walks suspended below the dome.
A complete lighting and lighting con-trol schedule is listed on page 35.
The possibilities for the scenes arenumerous, including the bi-level actingarea, space foe _numerous sets arrangedsimultaneously, lighting by zone, the tri-partite panorama, and the architecturallycomplete stage volume into which actors.properties and sets may be introducedat will.
This theatre was activated in the fallof 1964. During the preliminary work-shop considerable attention was given tothe use of the arcade, especially with thetranslucent screen panels which wereconstructed during the workshop.
Preliminary training in the use of thearcade-type theatre is particularly chal-lenging, since the stagecraft forms arehighly ideographic almost a kind ofvisual shorthand, and thus appropriate tothe new time-space concepts in playwrit-ing today.
The modern designer believes thatpolar perception is rapidly replacing themore familiar rectilinear perspective inour visual language and that the livingtheatre, in contrast to the framed mediaof television and motion pictures, holdsthe key to the understanding of humannature confronting the space age.
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The design of this stage permits several areas for additional dramafic The elevated plazas and catwalk contain the lighting and sound equipment.
action, both at the sides and on the portico and the upper gallery calipers.
9
RCNITECTS ag ENGINEERS
Fore-ThrustPlatform Stage For
Community TheatreWestern Springs, Illinois
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The operating group for this theatre iscommunity centered, with individualsfrom many professional walks of life.The group had been in operation 28years before undertaking the planning ofthis open stage, and it had produced playsin many locations and in all possiblemanners.
It was concluded that the prosceniumstyle was definitely not economical oftime, money or energy, all of which arelimited in community theatre operation.
On the other hand, it was felt thatarena production was too restrictive, ex-cluding a great part of vertical designand subtle illumination, as well as exclud-ing the participation of members in theseareas.
For these reasons the open stage wasselected as an ideal form.
Seating on Slope
The audience of 412 at Western Springsis seated about a stage whose front isapproximately a quarter circle. The steep(200) seating slope is good acousticallyand visually, and this is accomplished bya series of terraces each 12 inches highby 38 inches deep.
These terraces create a highly dimen-sional acting area since the audience looksdown upon it.
Stage Dimensions
The radius point from which the stageand seating arcs are struck lies 181/2 feetupstage, the plaster panorama wall forbackground projection (see page 67) liesanother 11 feet upstage, giving a totalstage depth of 291/2 feet, fairly normalfor this wide a seating plan. The total
stage width between the permanent archi-tectural screens is 52 feet.
The plaster panorama wall is 32 feetwide, and its entire surface is visible fromevery seat in the theatre.
This theatre is an excellent example ofa low rise building. Th& technical equip-ment overhead, including catwalks, iscontained within a 7 foot truss system.Clear distance to the stage floor is 15 feet.
To this open truss system are wired thecement-asbestos board acoustical panelswhich also shelter the majority of theinstrument-siting catwalks. A completelisting of the lighting equipment is shownon page 38.
Other Design Advantages
The forward edge of 1he stage is flexi-bly designed and can be converted tosteps or a small orchestra pit.
The near stadium slope of the audienceseating area creates a split-level spaceunder the lobby for rehearsal and storage.
The entire plant was built and equip-ped for approximately $250,000.
This theatre opened in 1961 to themembership with a production of MyThree Angels. This was followed by athree-day workshop by Mr. Miller illus-trated by actual scenery shipped from hisArts Laboratory in Shreveport. Follow-ing the workshop, the theatre made its
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public premiere with a production ofDark of the Moon.
This order of events is mentioned be-cause it is particularly important to livewith a new theatre for a number ofmonths and to learn its artistic potentialbefore opening to the general public.
Since its opening this theatre has at-tracted visitors from all over the worldand has been written up in numerouspublications, including Encore, Tabs(London), and the Journal of the Asso-ciation of British Architects. It was thesubject of a paper presented by Mr.Miller to the 1961 London Conference ofthe International Association of TheatreTechnic ians.
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ALLEN W. ROBERTSSuperintendent of Schools
KUHN & DRAKEArchitects, Summit, New Jersey
This high school auditorium fits withina square architectural shape of a higherrise than the surrounding classroom areas.
The ovaloid plan affords a wide seat-ing area that focuses on a platform 271/2feet deep (minimum) by 64 feet whichis encircled by offset caliper arms of theauditorium walls themselves and the plas-ter panorama wall.
This design avoids both the far cornerseats associated with a fan-shaped plan,and the seating in depth associated witha more rectangular plan.
The plan is an excellent example ofthe architectural envelope which forms acontainer for both the platform and theseating area, and becomes a background
for island-type set pieces used in drama-tic productions.
In this section, and also in the preced-ing Findlay section, the termination ofthe auditorium ceiling planes, the maincurtain track, and the image position ofthe background projection system alloccur at a common location.
This is not intentional from an artisticstandpoint, as the more these positionsare offset, the less separation there ap-pears to be between playing and audienceareas, but this situation may occur whenthe ceiling trim is from 20 to 24 feetabove the stage floor.
A complete equipment schedule usedin this auditorium will be found on page
42, and details of the background projec-tion system, on page 67.
This theatre was opened in the fall of1964. The acoustics are remarkable andthe architectural design suggests intimacydespite the high seating capacity.
In the spirit of true school cooperation,the workshop was attended by facultymembers and students of the shop, artcrafts and speech departments.
Since the seating capacity is large,special attention was given to the handl-ing of ceremonials, fashion shows andother presentational activities as well asthe usual instruction in the design ofspace-centered scenery.
Interior scene of the New Providence auditorium showing the platform typical open stage free-standing scenery and background scene projection.encircled by the offset caliper arms of the auditorium walls. Note the
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CHILDS & SMITHArchitects & Engineers, Chicago, Ill.
R. L. IGNELZIAssociate Architect
"Modified proscenium" here means theproscenium stage which incorporates thefeatures of the open stage overheadinplace of the stage loft that is convention-ally associated with a proscenium plan.
Three Great Advantages
The modified proscenium installationoffers three important advantages:
1. The hard overhead panels which re-place the cloth masking system pro-vide excellent acoustical reflection,and acoustical reflection is also ob-tained from the flexible architecturalscreens to the sides of the stage andfrom the plaster panorama to therear. Each flexible wing screen issuspended from a central pivot, thepivot device in turn riding on an up-and down-stage track system.
2. A finer quality of lighting is achievedthrough better equipment locations,reached in safety by catwalks.
3. Background projection replaces paint-ed drops. Refer to page 67. for a fulldiscussion of this system.
Fits in Wasted Space
One observes that the acoustical ceilingfor the stage, the spotlighting illumina-tion system serviced by catwalks, efficientdownlighting, and the background projec-tion device can be inserted into mostconventional school auditoriums withoutchanging the basic architectural design. . . and in a space now wasted withacoustically absorptive cloth masking sys-tems which, in turn, encourage the instal-lation of more lighting equipment thanrequired.
Economic Advantages
When we are talking proscenium "plan"in conjunction with these new "elevations"some direct comparisons in costs may bedrawn from experience with recent in-stallations.
One can expect a 25% reduction inequipment costs, even including the archi-tectural downlighting fixtures over thestage area, for the illumination of non-dramatic programs; a 40% reduction inmaximum current consumption for theat-ricals; and there can be a reduction of55% in current consumption with theuse of the downlighting fixtures in place
Savings in the initial equipment willoffset cost of catwalks and the more cus-tomized electrical circuitry of the openstage. A complete listing of the lighting
equipment specified for this installationis shown on page 45.
Those interested in further pursuingthe advantages of a "modified prosceni-um" installation can find an additionaldiscussion in Hub Bulletin No. 105, avail-able on request, at no charge.
CURTAINS and theOpen Stage
Curtains for the open stage are option-al. The chief reason for the inclusion ofa major curtain occurs where the theatrechamber has a strong multi-purpose pro-gram of lecture, forum, assembly, musicand drama.
The selection and arrangement of thecurtains for the open stage involve theearly consideration of the architect, forsuch installations will affect the design ofthe highly specialized architectural ceilingplanes over the platform area; whereascurtains for the proscenium theatre are inthe nature of accessories applied to theuncommitted volume of the stagehouse.Two Curtains Useful
The open stage, with its space setpieces and modular folding screen sets,eliminates such traditional curtain itemsas wing or tormentor pieces, teaser orborder cloths and, of course, the clothbackdrop and cyclorama pieces.
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However, two sets of curtains remainuseful to the open stage:
1. A major curtain downstage for pur-poses of "show", concealment, orforestage background.
2. Curtains upstage to conceal or re-shape the plaster panorama.
These must be provided for in the "re-flected ceiling plan", with the exceptionof arcade theatres like La Junta andSwarthmore (illustrated on pages 8 and71 respectively) where there are no majorcurtains, but lesser curtains associated withthe arcade portals.
Choice is LimitedDue to the low-rise feature of the open
stage buildings, the architect will bedenied the mechanics of the "drop" cur-tain to conceal scene changes, and thewidth of the open stage precludes thetableau curtain, so choice is limited to the
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Plattorm of the Olathe (Kansas) High School Auditorium, showing the curtains closing on the "scenic area"
while a new scene commences on the forestage. Illumination from the overhead projection system passesthrough a trapezoidal cut in the stage canopy and onto the 12' by 14' blaster panorama standing freeat the rear of the platform area. Here a curtain of semitransparent material is used. Two curtain panels
are mounted on a single I-beam track and the amount of transparency is controlled manually by arrang-
ing the fullness.
16
ARCHITECTS & ENGINEEkS
French valance or contour, or the simpledraw or traveller curtain, the latter madecomplex through the preference and oftennecessity for serpentine track runs.
The rear curtains associated with thepanorama wall should consist of a num-ber of separate panels attached to I-beamtracks and should be maneuvered intoposition by hand, using batons attachedto the lead carriers of a panel, so that avariety of arrangements are possible.
The forward curtain track, if one is tobe used, is generally purchase-line oper-ated from off-stage or by remote controlvia a motor unit.
Is Forward Curtain Necessary?
The discussion of this forward curtaintrack, its plan, its method of operation,even its inclusion, will elicit a wide rangeof opinion.
This is understandable when one real-izes that the curtain as we know it todaywas not used as a device for maskingscene changes until the middle of thenineteenth century, but was primarilydecorative and employed to mark the be-ginning and end of a performance. Con-cealed scene changes were not the custom.
The curtain was unknown in the medi-eval and classical theatres, save in pavil-ions, arcades and other embrasures suchas the Elizabethan inner stage.
Curtain Track Placement
In the modified proscenium plan thereis no problem, and the track is placed inthe usual position. On reverse-curve cali-per stages such as Longmont, the curtain,slightly upstage, may still ride on a straighttrack, packing behind the actors' towers.
With fore-thrust plans such as WesternSprings, a serpentine track is required,and it is in this situation that negativefactors may often outweigh the benefitsof such a major curtain track:
1. Noise of carriers.
2. Necessity of motor drive, with me-chanical rhythm.
3 Excessive length of track.
In the larger auditoriums with majorcurtains, some musical directors prefer tohave the orchestra set-up entirely behindthe curtains. This means that the curtainwill have to be placed well downstage.
On the other hand, the curtain shouldbe far enough upstage to permit the per-forming of small scenes before it.
Olathe Solution
A rather unusual application of thecurtain is found in the 365 seat high
school auditorium at Olathe, Kansas,Wayne Fick, Superintendent of Schools,and Shaver & Co., of Salina, Kansas,Architects.
The auditorium is designed in such amanner that the major curtain track en-closes only that area of the stage plat-form on which would be located thelarger scenic pieces for dramatic use, dueto extreme sightlines.
Visibility to the forward area and freecirculation to all areas of the stage plat-form are unaffected by the closing of thiscurtain, and a peninsular space about 15
feet deep remains for dramatic scenes orother activity.
Scene Design Needs Study
There is no doubt that surprise is oneof the dramatic elements of theatre, butone wonders whether the heavy use of amajor curtain in an open stage theatre forthe concealment of changeable scenery is
not a anachronistic today as is thechangeable scenery itself, which requiressuch concealment.
The architect is referred to the SceneDesign chapter in the DRAMATICS Sec-tion for further study.
Fire CurtainsMost codes and ordinances dealing
with the subject of stage and audienceseparation for purposes of fire controlwere written during a period when theproscenium frame theatre was in theascendancy. Scenery for the prosceniumtheatre is generally associated with theperimeter of the acting area, and, subse-quently, is considerable in size, a greatdeal being attached to the theatre itselfthrough rigging. Actually the prosceniumstagehouse is a combination warehouseand performance area, with its high risestage tower and sheltered wings.
As staging concepts move from thelinear to the polar, from backdrops andflat, rigged settings to multi-dimensionalset pieces and projected backgrounds,many codes reflect this change by dis-tinguishing between theatres with operat-ing lofts and those without them. Now,as the proscenium frame itself melts away
and the audience encircles the playingarea to a greater degree, architects seekinterpi e,ations to existing codes by hav-ing then preliminary plans reviewed by
the authorities responsible for publicsafety.
Since national, state and local codesare involved either simultaneously or inpart, it would be imprudent to lay outguidelines for future projects based onspecific experiences in the past. The read-er may rest assured that all the theatresin Bulletin 109 were cleared by the re-quired authorities in each case.
Some of the essential points whichshould be emphasized are the lack ofstorage areas within the theatre chamber,the extremely compact nature of openstage scenery, the proper security of shopand other service areas from the chamberand the effectiveness of sprinkler systemsunder low rise building conditions.
Floors and the Open StageBoth the positioning of the actor and
his scenery in the architectural space ofthe theatre and the steeply pitched audi-ence resulting from a considerable degreeof encirclement bring the stage floor intoplay as a vital part of the background.Consequently, a surface of some beautyand permanence is required.
The proximity of the audience de-mands a density of structure for quiet-ness. The surface should be mat in finishto prevent the reflection of directionalillumination onto the panorama or arcadepanels. The proscenium solution of acanvas floor covering cannot be adaptedto the open stage, for the cloth itselfneeds to be framed by masking elementsnot found here, such as the footlight cut,wing pieces and the settings themselves.
One of the requirements of open stagescenery is that it be designed to be inher-
ently self-supporting. The application ofan accessory system of support such asthe stage brace and screw familiar inproscenium technique would be mostlimited in view of the broadened audienceperspective, especially on peninsular plat-forms where set pieces are surroundedby space.
Therefore a dark-stained hardwoodsuch as maple or a heavy linoleum suchas Armstrong 1/4" heavy gauge (brownor black), are found on the stage floors ofthe majority of theatres shown in thisbulletin. Sub-flooring in turn should restupon sleepers mounted upon concrete viaspring clips or mastic pads. It is impor-tant that traps, where used, are sufficient-ly solid in construction to present thesame appearance and sound reflection asthe floor surrounding them. Dual trapclosures are required for sound isolationwhere areas below the stage are used forother activities.
Acoustical Design Forthe OpenStage
By RUSSELL JOHNSON
Bolt Beranek and Newman Inc.Consultants in Acoustics
Auditoriums can be categorized intotwo broad groups:
1. Multi-purpose auditoriums.
2. Specialized auditoriums.
Specialized auditoriums include recitalhalls, playhouses, cinemas, concert halls,lecture halls, etc.
The traditional forms of these special-ized types, as realized in completed build-ings, usually are peculiarly adapted to the.primary activity for which they wereintended.
As a natural consequence these build-ings do not lend themselves comfortably,functionally or acoustically, to most othertypes of activity. For example, it is diffi-cult to stage operas or plays using con-ventional stagecraft in a conventionalrecital hall. Similarly, conventional play-houses usually are acoustically inhospi-table to concert activities.
Evolution of Specialized Halls
The basic forms of contemporary spe-cialized auditoriums have evolved fromearlier building types. Opera productionand public concerts became a part of theculture of the Western world in the 16thand 17th centuries, and as the institutionsof concert music and opera grew, operahouses and concert halls evolved simul-taneously, developing from other buildingtypes, including churches, refectories, cor-tiles, courtyards, inn yards, tennis courts;banqueting, reception, and audience halls.
Halls originally used for the occasionalproduction of speech plays and operas,and for the presentation of recitals andconcerts, were usually long, narrow, rec-tangular, high-ceilinged rooms, often withshallow side galleries and a makeshiftplatform at one end. (Later, the portableplatform evolved into a permanent plat-form.)
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Figure 1. An open stage, the Blackfriars Theatre in London, circa 1590, as recon-structed by G. Topham Forrest. One hundred eighty years later, this basic form wasagain in use in the Schouwburg in Amsterdam, including the open platform and thetriple tiers of audience seating along the sides of the hall.
Figure 2. Plan of a theatre designed by Amandi (Paris,1660). Note the resemblances to Figure 3.
ARCHITECTS & ENGINEERS
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Figure 3. This plan and section,published by Fabricio Carini Mattain 1676, shows close relationshipswith the theatres of 1630 and1660 in the PalaisRoyal, Paris,and the later Bibiena Markgra-flische Opern haus in Bayreuth(1748), and the Dresden Opern-haus (1719). Structural technologyof the time limited the length ofthe roof trusses, encouraging longnarrow rooms such as this. Otherinfluences on plan shape and sizewere the value of land in theheart of a city, and that availablesites were often based on rec-
tangular surveys and plats.
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Figure 4. Symphony Hall, Boston, 1900. One ofthe best known concert rooms in the United States.In its predecessor, the Boston Music Hall, the con-cert platform was completely open to the roomand flanked on the sides by audience seating.
The Rectangular Shape
These halls, of course, had been de-signed and built for other purposes. Mostof them were of rectangular shape be-cause this form was, for reasons of struc-ture, site shape, and habit, the most prev-alent for roofed spaces.
Many of these spaces, designed asbanquet-halls, or audience halls, andsometimes used for masques, revels, plays,or ballet, had one or two encircling opengalleries. These shallow galleries provid-ed space for the largest audience thatcould be accommodated within the con-fines of the building.
These 16th and early 17th centuryhalls, both those with demountable stagesand those with permanent stage plat-forms, were all quite small compared withcontemporary auditoriums, and the actor,the singer, the instrumental ensemblewere in the same "acoustical enclosure"as the audience.
Such concert halls as New York's Car-negie Recital Hall, the Salle Gaveau inParis, Vienna's Musikvereins3aal, Boston'sSymphony Hall, and, also, a hall pro-posed for one of the major Americanorchestras clearly exhibit descent fromthe 16th century prototypes . . . long,narrow high halls with encircling gal-leries.
The Opera House
However, the opera house (or theatre)developed from the same origins into a"machine" for spectacle. This evolutionmoved in pace with the vogue of elabo-rate scenery for court masques and opera.
18
The portable platform at one end of aballroom was gradually transformed intoa cavernous stagehouse which dwarfs theaudience chamber in practically all of the"Italian" opera houses on the continent.
This heritage is with us today . . . inopera houses, and in many communityand college playhouses and multi-purposeauditoriums . . . in the form of largestagehouses that communicate with theaudience chamber through a prosceniumopening.
In auditorium buildings of the "operahouse" or multi-purpose type, which musthouse both the paraphernalia of "pictureframe" theatrical illusion and the per-formance of concert music and recitals,it is essential to be able to transform thestagehouse into at least a rudimentaryform of the "sending end" of the pureconcert hall.
The Concert Shell Solution
This is done by temporarily erecting a"room," or enclosure, within the stage-house which walls off the fly loft, the sidestages, and their cloth cycloramas, teas-ers, legs, and traveller curtains.
At Detroit's Ford Auditorium and inthe new Clowes Memorial Hall in Indian-apolis, this concert shell is flown. InNorthrop Auditorium, the MinneapolisSymphony uses a steel shell which foldsinto a space at the upstage wall of thestagehouse.
The enclosure proposed for a new au-ditorium in Michigan incorporates largecastered towers to handle the walls, and
only the ceiling is flown. In La GrandeSalle. in Montreal, the walls of the con-cert shell telescope into the stage floor.Another project in the planning stage in-cludes a full shell on casters, completewith orchestra risers, chairs, music stands,and lighting, to ease the scheduling prob-lem of interleaved symphony, opera, bal-let, and other theatrical rehearsals andperformances.
These conversion procedures, and vari-ations of them, are used in many multi-purpose halls and will continue to be; forthe goal of most building committees is
to design and build multiple-purpose au-ditoriums that will satisfactorily house afull range of performances, from playproductions through concerts and convo-cations.
However, many colleges and universi-ties do not use the concert shells theyown because of the labor costs involvedin erecting and striking them. In fact,there are many multi-purpose auditoriumsthat operate without the acoustical ad-vantages of a demountable concert-recitalenclosure.
In particular, many high school anduniversity auditoriums suffer acousticallybecause no concert shell is available; orbecause the rigging of their shell requirestoo many man-hours, or because theyown a poorly designed shell.
The Open Stage Solution
Low or moderate budget operationssuch as these can derive considerablebenefit from the use of a stage that issimultaneously a concert shell and an act-ing area ready to accommodate a prac-
tical system of scenic investiture. Theopen stage is such a stage. It eliminatesthe need for a cumbersome, demountablemusic shell, and at the same time avoidsthe other acoustical problems inherent inthe proscenium theatre.
The teasers, borders, cloth cycloramas,and other paraphernalia of the prosceni-um theatre absorb sound . . . particularlydetrimental to music performance. Thisacoustical problem is compounded by theproscenium wall with its relatively smallproscenium opening. This wall has a tend-ency to contain the sound in the stage-house, and gives the sound-absorbing ma-terials in the stagehouse more opportunityto "kill" the sound of the music, produc-ing the effect usually referred to as "dry"acoustics.
The open stage, however, avoids theacoustical problems of the prosceniumstage . . . the acres of sound-absorbingmaterial, the difficult-to-handle m us icshell, the obstruction of the prosceniumwall, and the loss of sound energy in thecubage of the stagehouse.
The basic concept of the open stage,as described in this bulletin, grew fromthe economic need in this country forless expensive methods of mounting the-atrical productions. The open stage, in re-turning to simpler procedures of theatri-cal productions has returned to an earlier,but still valid form which is simultaneous-ly an auditorium for the presentation ofplays as well as concert music, withoutthe need for a demountable music shell.
It should be noted that a building ownerplanning an auditorium which must housetouring shows with a full investiture ofconventional scenery must plan for botha conventional stagehouse and a de-mountable concert shell.
An Open Stage Prototype
Figures 5 and 6 show some typical as-pects of the acoustical design of an openstage, multi-purpose auditorium. Theschedule of activities includes pageants,convocations, drama, band concerts,choral concerts, recitals, chamber music,lyric theatre, film exhibition, revues, in-frequent symphony concerts, and opera(modestly mounted).
This design was developed from thebasic dimensions of the stage platform,which incorporates a large hydraulic lift.The lift services a complex of large stor-age rooms below the stage and below theaudience area.
The platform, when the lift is posi-tioned at stage level, is approximately 37feet deep, and is about 44 feet wide up-stage and 55 feet wide downstage.
These dimensions can accommodate alarge symphony orchestra accompanied
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Figure 5. Plan of a multi-purpose, open-stage auditorium for a hypotheticalcampus showing partial height sound-diffusing panels.
LIGHTING CATWALK
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PLASTER CEILING
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Figure 6. Longitudinal section showing cubage above visual ceilingto develop reverberation for concert use.
by a sizeable choral group. With the liftlowered for additional audience seating,or to serve as an orchestra pit, the size ofthe platform remaining is about 22 feetdeep by 44 feet wide.
Given these platform dimensions, notethe narrow front portion of the audiencechamber. The average width does not ex-ceed 62 feet. This promotes clarity formusic and intelligibility for speech. Be-yond the eighth or tenth permanent rowof audience seating, the house widensconsiderably.
The polycylindrical sound-diffusing sur-faces along the front side walls, whichvary in height from 10 to 18 feet, are
used
concealed by a sound-transparent screen.This screen might be constructed ofsmall, widely-spaced wood strips; or ofperforated or expanded metal (approxi-mately 60% open), or open-weave plas-tic cloth such as Lumite.
Design of the Ceiling . . .
The visual ceiling is constructed in asimilar manner. The purpose of the cu-bage above this lower, visual ceiling is todevelop sufficient reverberation fornausicactivities. Note that the upper ceiling isapproximately fifty feet above the levelof the stage platform. (A rough rule ofthumb is to provide 40 to 44 cubic feet
20
ARCHITECTS & ENGINEERS
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solution suggested here consists of threerows of these double-curved sound re-flectors, five panels in each row.
. And the Curtains
Three-layer cloth curtains on traveller
ORGANtracks, which can be retracted into dry-wall storage pockets, should be providedfor adjustment of the reverberation timefor various types of stage activities.
Part of these curtains should be locatedin the open lofts above the tops of thepolycylindrical panels, and the rest in thespace above the sound-transparent ceiling.
Generally speaking, lengthy reverbera-tion is hospitable for choral concerts,chamber orchestra, violin, cello, or voice
recitals, organ, symphony, and opera.The reverberation should be reduced bydrawing the acoustical-adjustment cur-tains out of their dry-wall houses for con-vocations, film exhibition, plays, musicalcomedies, revues, band concerts, pag-eants, dance bands, jazz combos, etc.
Figure 7. Stage set up for large orchestra with chorus and organ.
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Figure 8. Use of folding hardboard screens to form an acoustical shell forsmall instrumental ensembles. Forestage lift used for extra audience seating.
or room volume for each square foot ofbalcony floor, main floor, and stage plat-
form.The height of the lower, visual ceiling
can be established only after consideringall aspects of the problem . .. the estheticscale of the space, acoustical require-ments, needs for concealing the loud-speaker cluster and theatrical lighting,and positioning of the projection machinefor the panorama wall. If a large sym-
phony orchestra is to be accommodated,the height of the ceiling just below theloudspeaker cluster should be at least 22feet.
Concealed just above the sound-trans-parent ceiling, in the front of the room,are sound-diffusing acoustical reflectors.These should have curvature in twoplanes, and for this reason should prob-ably be made of plaster or plastic. The
Other Features
There is not sufficient space availablehere to discuss all aspects of the designof this prototype. Note, however, thesteep ramp of the main floor. The steeperthis slope the better, both for sight linesand for hearing.
Balcony cantilevers should be limitedto three or four rows of overhang. Thesightlines into the offstage space are w-ronged for masking "back-stage" areasfrom the corner seats. The sound-trans-parent screen can be used on the upstagemasking walls partly to camouflage thefour entryways.
Small chamber ensembles, string quar-tets and recitalists should use portable,vertical sound reflectors. Folding screenscan be used for this purpose. The core ofeach leaf should be 1/8 inch hard fiber-board. Burlap (for visual texture) maybe glued directly to the face of the hard-board. These screens should be 10 feethigh. Enough of them should be providedto surround an area of approximately 14feet by 26 feet as illustrated in Figure 8.
Russell Johnson is a staff member of Bolt Beranek and Newman Inc.50 Moulton St., Cambridge, Mass.
Architecturaland Engineering
Layout Factors
PLAN TYPE 1
CrossoverPanorama Wall 30 ft. to 50 ft. (must be flat)
Angle ofChamber Wall
to be dramaticallyeffective.
(cf. Findlay)Proscenium Width
30 ft. to 40 ft.
Minor Curtain TrackPanorama to Stage Front
27 ft. o 35 ft.Wing Control by Folding Screens,Pivotal, Tracked or, preferably.Self-supporting through Angular
Deployment.
(50 ft. with Strong Towerand Shallow Depth)
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CONSERVATIVE
5 ft. to 8 ft.
CONTEMPORARY
TOWER
(Actors' Vestibule)5 ft. to 8 ft.
Major Curtain Track
8 ft. radius
MODIFIED PROSCENIUM (REVERSE CURVE & CALIPER)
to 750 Seating Capacity
Building Width 50 ft..:o 80 ft.
PLAN TYPE 2
CrossoverPanorama Wall 30 ft. to 40 ft.
Panorama to Stage Front 24 ft. to 31 ft.
\ For Space Stagecraft45 ft. to 55 ft.
Major Curtain Track
ANGULAR
21 ft. Radius (Quadrant)
Minor .Curtain Track
CURVED
Arc
Slab
Minimum 4 ft.
Auditorium\ WciJJ
Minimum 3'.6" (Aisle)
Seating Pla; To Coincide
CONSERVATIVE OPEN STAGE (FORE4HRUST WITH CALIPER)
PLAN TYPE 3
Angle ofChamber Wall
to be dramaticallyeffective.
(cf. La Junta)
CrossoverFalse Wall
6 ft. minimum depth requiredfor Rear Projection Units
3 to 4 - 8 ft. x 8 ft. Openings 1(Should not be higher than wide)
vSet Piece Entrance
(When Arcade Portals Closed)
Platform Area Downstage of ArcadeShould be Resolved by Auditorium Walls Arcade to Stage Front 12 ft. to 18 ft.
=1 f===Curtain Tracks both sides Arcade
Cf. Illus. 9, 11, 60.
FREE FORM(STRAIGHT WITH CALIPER)
ARCADE IN THEATRE CHAMBER
Both the architect and the engineer arevitally involved in every aspect of theopen stage theatre chamber, and bothmust be fully aware of the principles ofdramatic production to be used.
In the immediate past, the stagecraftof a theatre was largely contained in astagehouse separate from the auditoriumand the majority of this stagecraft con-sisted of floating equipment which couldbe jobbed into a relatively simple build-ing volume.
The size of the proscenium frame de-termined scenic and sightline require-ments, and the production elements to beserviced were determined in many casesby a commercial shuttle system, the roadshow. Essential was standardization ofshape, equipment and stagecraft.
Open Stage Standards Differ
The open stage has developed nostandards equivalent to the above partlybecause its development has been associ-ated either with individual festival pro-grams or with smaller (300 to 500)capacity theatres removed from commer-cial pressures, and partly because of thenature of its stagecraft: floor-based "is-land" compacts arranged on a free-formplatform space.
Indeed, freedoM to diversify in archi-tectural design may well be a character-istic of the open stage and one of itsmain attractions.
In order to demonstrate the degree ofinvolvement of the architect and engi-neer, the balance of this section will beused to analyze a typical theatre project... from programming to stage operation.
Phase One
The client decides on open stage as thedesign approach to his future theatre andworks with a theatre consultant concern-ing his prcigram, the philosophy of pro-duction, and stagecraft requirements.
When the audience capacity and thenature of the stage space have been de-termined, the architect then proposes thebuilding envelope. In, open stage design,the architectural agiects of the envelopeor theatre chamber are extremely impor-tant, for the same structural elementswhich form a weather shelter may alsobe part of the dramatic experience asarchitectural decor which surrounds actorand audience alike. Furthermore, the en-gineering is inserted into the custom de-sign of structure and decor rather thanapplied to it.
Both the artistic and practical successof open staging depends on how well ex-pressed is the idea of a chamber commonto actor and audience, for by this the
21
tri
S;t,
ARCHITECTS & ENGINEERS
AUDIENCE PERSPECTIVES
Constant Rise Terraces: 6" x 36" Modified Proscenium Stage (Standard Solution)
-V'
(Taken from Theatres Known for Good Sightllnes)
MARJORIE LYONS PLAYHOUSE, SHREVEPORT, LA.
IIt ROBERTS THEATRE, GRINNEL COLLEGE, IOWA
Adjusted Terraces: 4" (plus 4it" increment) x 42" Forethrun Stage (Custom Solution)
I-V-----i
,r____r---3
I
Constant Rise Terraces: 8" x 42" -- Forethrust Stage (Standard Solution)
11,---
I1
1 MIDLAND THEATRE CENTER, TEXAS
THEATRE OF WESTERN SPRINGS, ILLINOIS
Constant Rise Terraces: 12" x 38" Forethrust Stage (Superior Solution)
CEILING PLANE DETERMINANTS
Allow 14" per A ICurtain Track T i
i ....r4- :I I ......L.
I
ll
r5'-0".,1- Filament: 1500/2100 w. Beam Projection Unit
...4-'--2//j(No Higher)
,.....' :Image/.
(No LitwerBAFFLE CEILING''
PLANES /(To Minimize Spill fromProiection Complexor Dark ColoredSloping None)/
/./////
1 50"
Filament: 1000 w. Beam Projection Unit./zaimCATWALK-CEILING INTERCEPT LINES /
45"
ACTING ZONE for Plan Type 2
LONGITUDINAL SECTION LAYOUT DATA
Depending on Project Conditions Introduce BACKLIGHTING,
Read All Material on LIGHTING and PROJECTION, ind. DATA,
Eliminate Overhead Projection Where Using ARCADE, Plan Type 3.
Add Further Catwalk forCaliper Acting Zones/ and/ Forestage-Pit Area
Design of these ceiling planesby acoustician.
1---r-r-Cf. AUDIENCE PERSPECTIVES Diagram
for Terrace Layout
DEVELOPMENT OF BACKLIGHTING POSCTION 'Cf. ARCHITECTURAL LAYOUT Plan Type 1, Deep Stage.
Cf. BACKGROUND-PROJECTION Section,
1000-2000 w. 8" Oval Beam FresnelSpotlight (Hub 8809) .411500 w. Projection Lamp
Trackmaster 500)4
Black Zone- .......--+" . (Hub 79031) Acting Area Lighting
Acting Area Lighting
inadge-1; Major Curtain Track--
Minor 1
vesow,.....0011.1.11.1...-la
1 /catwalkI ..
Curtain Track 1
t / .1 //1 /1 / ..1 / ..1 ..
/ I ./ 1/ ../ 1
/ i/ I/ i
I/ ti1
%%
....\.,,....,4./ t
NItPanorama Wall to Stage Front - 35 ft. L
22
director can select playing areas from thegeneral platform space, yet the areas un-used will appear natural to the chamberrather than vacant.
The devices by which this is achievedinclude:
A. Extension of audience area wallsurfaces about the playing area.
B. Extension of the stage platform in-to the audience area.
C. Extension of the audience ceilingcanopy over the playing area.
D. Completion of the envelope by theplaster panorama wall at the plat-form rear.
E. Use of a dual lighting system: thedramatic illumination; and down-lighting of a uniform qualitythroughout, the audience and sev-eral platform areas being underselective control.
Examples of these devices can be not-ed in the six typical plans preceding thissection, and it is by the use of these samefeatures that the general programs of lec-ture, forum and concert are enhanced.
In this section are illustrated three plantypes, audience slopes, and ceiling deter-minants. Various combinations of theseare possible. However several considera-tions should be kept in mind:
I. The wider and more embracing theseating arc, the shallower will bethe stage, for the panorama wallmust be visible to all spectators andacting in depth in this case wouldappear unnatural.
2. The panorama wall should appearas a slab in space, quite unlike theconventional cyclorama which at-tempts a surround of the entireplaying area. Frequently the spaceabove the panorama is painted adark color.
3. The further the stage thrusts for-ward into the audience, the steepermust be the seating terraces.
4. The ceiling may hc as free form(floating clouds) ot. as closed (dou-ble-plated, with lighting slots) as isconsistent with the architectural andacoustical design, with the excep-tion that the background projection,operation must be screened fromthe view of the audience.
5. Since the insertion of an orchestrapit into the theatre (a) separatesthe audience from the playing areaor (b) takes valuable space fromthe playing area, pits require skill-ful design.
6. From an audience point of view,compactness in a theatre is a virtue.The sense of enjoyment is height-ened by the knowledge of popularattendance and every effort mustbe made to emphasize audiencepresence.
In the open stage theatre with itscontinuation of the auditoriumchamber into and about the stageplatform, a sense of compactnessmust be everywhere. The cavern-ous vacancy of the prosceniumstage is absent.
It must also be remembered thateach theatre will have its own stage-craft system so that the size of theservice areas will be determined bythe nature and scale of the theatrechamber and the demands of theparticular program.
Phase Two
Prior to the preparation of the finalplans, the architect,, engineer, and theatreconsultant should meet and review theoperation of the theatre in detail.
From this discussion the composition,textures, and colors important to thetheatre operation are learned, as well aslocations for equipment, requirements formounting, and wiring diagrams pertinentto stage lighting and communication.
In many cases it is impossible to sepa-rate architectural and engineering func-tions. A typical list of design specifica-tions follow:
a.
b.
c.
d.
Platform floor maple, stainedAntique Brown, with lusterless fin-ish (Brown or black Armstrong1/8" linoleum is also recommend-ed). In open staging, the floorforms an important part of thebackground; also, a dull surfaceprevents low angle illuminationfrom reflecting upon the panorama.
Panorama wallsand-floated plas-ter, applied with straight strokes,tinted or spray-painted a light gray-blue.
Auditorium wallswarm in tone,sand or darker, especially wherethey pass onto the platform area.
Overall ceiling dark gray; sus-pended panels (where used), slategray.
e. Walls to be kept clean, no ex-posed conduit, etc. especially aboutthe platform area, as walls mayform the visible outer envelope tothe playing space, with low screensforming temporary sheltered areas.
f. Curtainsone or two "walk-along"I-beam tracks, just forward of the
g-
h.
rear wall, to form a partial or com-plete panorama cover (frequentlythese curtains mask shop doors):medial and front curtains on tra-verse tracks optional (free formserpentine track for these curtainspossible but not recommended).(Folding screen-sets replace sidecurtains).
Orchestra .pitallow 12 square feetper player, adding 50 feet for tym-pani. For safety hydraulic or screwlifts must include the total pitarea; whereas a permanent pit maybe undercut below the stage to one-third its width.
Playing area bear in mind thatan area 25 by 35 feet will be ade-quate for a forward thrust stageand that an open end stage is suf-ficiently wide at 55 feet.
i. Illumination by two distinc.ttypes:
1. General lighting for both the seat-ing and stage areas is by architec-tural shadow-baffled downligh ts :from 15 to 30 foot-candles overthe seats and from 30 to 60 foot-candles over the stage, with seating,forestage, and stage areas controlledindependently by motor-driven dim-mers located in either the stage con-trol switchboard or in a separatecabinet, these dimmers being oper-ated from several remote controlstations.
2. Dramatic lighting is by spot-lights, floods and the shadow pro-jection system operated throughdimmers (autotransformer, mag-netic amplifier, or semi-conductortypes, in order of expense) via aninter-connecting (cross-connection)panel. Every stage branch circuitmust have two wires (no commonneutral wire). Light control shouldbe at the rear of the auditorium infull view of the stage.
The subject of artistic control oflighting is discussed in the DRA-MATICS Section. The stage light-ing schedules, a ceiling plan wiringdiagram, descriptions of controlboards, as well as equipment photo-graphs will be found in the LIGHT-ING AND LIGHTING CON-TROL Section. The lighting sched-ules cover the six previously men-tioned plans.
Passage of dramatic light prob-ably the most sensitive area of theceiling design, for the free passageof light through structural andarchitectural elements is not com-prehended by simple sectional
3
Auditorium Ceiling I
Lobby I
ARCHITECTS S ENGINEERS
drawings but should be studied I.
from full-scale mock-ups of cat-walks and ceiling slots using allinstrument types.
k. Signal and intercommunicationsee charts in this section.
STAGE MONITORwith Talk-back Switches
Control Room
Box Office
Directional MikePRODUCTION MONITOR
CostumeRoom
IStage ManagerMASTER STATION
GreenRoom
DressingRoom
Shop
DressingRoom
INTERCOMMUNICATION
Selective Ring Common Talk (Party Line)Telephone System
Box Office1
CONTROL ROOMLights Sound
2 3
-DIRECTOR REHEARSAL STATION4
(portable unit)
Offstage Left7
Costume Room9
I Offstage Right6
Green Room0
Shop8
Each phone equipped with selectorswitch for ring or light signal
Catwalks the development of an m.efficient catwalk system, with spot-welded expanded metal tread orsubway grating for quietness, andship's ladders or spiral stairs to fa-cilitate movement with equipmenin hand.
Custom itemsthe consultant des-ignates responsibility for design,procurement of materials, and/ormanufacture of essential items notcommercially available, such as thefolding screens for side maskingand entrance control, projectionimage supplies, etc.
SOUND
DRAMATIC BACKGROUNDVoice Reinforcement and Motion Pictures
Turntable, With Monaural& Stereo Arms
CONTROL ROOM
PROGRAM SOURCES
'Tape Recorder& Deck
Microphone, Sound Effects& Voice Reinforcement
PRE AmP MIXER EQUAL IZER UNIT
MotionPictures
Lobby
Auditorium Ceiling
HORN for Voice Reinforcementand Motion Picture Sound
Auditorium Ceiling
Downstage Left
Upstage Left
Pit
Auditorium Ceiling
Pit
Mike !nput ReceptaclesLecture & Discussion
Trap Trap
1\1ty
reproducers (with individual "L" pads)for dramatically placed musk-sound effects.
Polarized receptacles for high fideli
Downstage Right
IUpstage Right
OFFSTAGE LEFT 1
[ CONTROL ROOM!
n. Miscellaneousin addition to theelectrical requirements for drama-tic and general lighting, a theatricaloperation places certain demandsupon routine wiring of the build-ing, such as special equipment re-ceptacles as shown in accompany-ing chart.
o. If a compressed air system is in-cluded in the building, furnish an85 PSI outlet to the dramaticsworkshop for tackers and nailers.
Phase Three
During this phase the building is con-structed and equipped. The client assumesthe plans and the building will be alike,the architect and engineers rarely havethe proper funds for adequate supervi-
EXTRA UTILITY RECEPTACLES
1:1
a
sion, and the consultant can only waitand wonder.
What are the things which go wrongmost frequently?
I. Appearance of electrical conduitsacross clear mounting spaces forportable equipment. Excuse: elec-trician worked by a schematic dia-gram only.
II. Appearance of electrical receptaclesand junction boxes on wall de-signed to be clean, such as the sidewalls in the platform area of hexa-gonal chambers and along the baseof the panorama wall, except wherenoted. Excuses: assumption of con-ventional stagehouse situation, lack
(over routine requirements)
Parallel Blade, Grounded, 20-amp, 120 VoltCircuits (number of duplex receptacles vary)
in LOBBY
o
Commerdal Displays, Coffee UrnsSpecial Exhibits
m16 mm. Motion Picture Projector
Sound System, Repair Tools
o AUDITORIUM
Motion Picture, Slide & Opaque ProjectorsVacuum Cleaners
a ORCHESTRA PIT
Musk Stand Lights, OrganI
a
SpecialRequirements
OFFSTAGE RIGHT
I
Reading Lamps, Portable Tools, Effects MachinesCleaning Equipment, Organ, Demonstrations, Monitor
1
3-4
0in GREEN ROOM
Kitchen Unit:40 amp, 2 pole, 120/208 v.
COSTUME ROOM
Sewing MachinesIrons, Washer
o Dryer30 amp, 2 pole, 120/208 v.
a DRESSING ROOM
a SHOP
Power Tools: Table, Band and Jig Saws,Sander, Spray Gun, Drill
Stove Unit:20 amp, 2 pole, 120/208 v.
g DRESSING ROOM
Radios, Hair Dryers,Shaver, Iron
of coordination between mason andelectrician, floor poured before allconduits were laid down.
III. Improper levels on free-hangingdownlights between panorama walland the projection system; impro-per space allowance for same inrespect to curtain movement; poor-ly planned air-ducts, interferingwith catwalks, curtain installations,etc.; failure to analyze the opera-tion of the projection system, re-sulting in obstructions and impro-per mounting provisions.
IV. Careless mistakes such as wronglamps or a lack of lamps for light-ing instruments, misplaced recep-tacles, incorrect floor finish, im-proper illumination levels, and in-tolerable noise levels from machin-ery and ventilation equipment.
"Floating" Equipment Problems
In addition to the above, there is thematter of equipment bids, a most sensi-tive area, for there are the specifiedequipment, the "or equal".and "alternate"equipment, and the contractors' services,frequently so intertwined that it is nearlyimpossible to sort the elements and evalu-ate them separately.
Then there is the problem of reducingto purely verbal descriptions the perform-ance value of a lighting instrument ortrack or dependability of a control board,as well as the different values of guaran-tees from manufacturers.
Frequently, to bring a building downin cost, the architect and client will can-cel all "floating" equipment, such as cur-tains, tracks and spotlights, items that arenot "nailed down", unlike control boardsand wiring devices. This encourages sup-ply companies not in the original biddingto approach the client directly.
Often, representatives of such com-panies do not understand the operatingconcepts and attempt to sell equipmentthat is superfluous and even detrimentalto the theatre. Lamentably, such a salesapproach is often a combination of arro-gance and ignorance masked in the dis-guise of "the old pro", and the client'sconfidence in his project may be under-mined.
Other items which have proven trouble-some in the area of "floating" equipmentinclude substandard or misapplied ser-pentine traverse tracks, inadequately sup-ported I-beam tracks, and poor light fieldsfrom spotlights due to faulty reflector andlens design.
Thus it can be seen that full aware-ness, by the architect and engineer, ofthe dramatic principles associated withthe open stage theatre is important todesign and construction of such a theatre.
ARCHITECTS & ENGINEER'S
Lighting and LightingControl Equipment
While the general principles of illumi-nation remain the same for any free formor open stage space, the specific lightinglayouts will vary by project. As illustra-tion, circuitry, equipment schedules andspecifications for lighting control dimmerboards have been prepat ed for the sixarchitectural layouts previously discussedby Mr. Miller.
Various parts of the stage are intercon-nected to such a degree that centralizedsupervision of all installations is required.Engineers at the Hub Electric Co. reviewall plans submitted to them by their agentsand they make the necessary equipmentproposals. These field agents are trainedalso to observe projects during the con-struction phase in order to prevent errorsof judgment on the job site where visual-ization of the future operation on the partof all workers is obviously beyond normalexpectation.
It was in 1957 that Hub became inter-ested in the designs of Mr. Miller and in1959 I observed his techniques in one ofhis workshop programs in an open stagetheatre. It was immediately apparent thathis philosophy of physical production hadenabled him to simplify his stage spaceand equipment, yet it was equally evidentthat this simplicity in turn put a heavierburden on the "performance" values of
by ALBERT M. KOGA
Chief Lighting EngineerHub Electric Co., Inc.
both equipment and the precise shapesand decor of the architectural arrange-ments. Subsequently it became necessaryto review all of our equipment in relationto these open stage requirements. Allequipment in this bulletin has been testedby Mr. Miller in operation in his researchlaboratory in Shreveport and on many ofhis projects. Further improvements toour equipment line are constantly beingmade.
A very desirable by-product of Mr.Miller's theatre designs is the achievementof a fine "concert" stage of the platformtype with space suitable both visually andacoustically for assembly, ceremonials,musical programs and the like. This hasmade his stages useful for schools andcommunity centers. Special attention mustbe paid to the achievement of the properbrilliance of the general lighting thedownlights, concert directional floodlights,and optional wall washes which com-prise the motor driven control systemwith its remote stations placed at the con-venience of personnel not requiring dra-matic lighting. Frequently these lights,especially "over the stage," are mistakenfor "work lights" only. Actually, thesecombine both worklight and concert func-tions.
With the requirements of all non-dra-matic programs satisfied by the generallighting, the dramatic lighting equipmentmay be highly specialized, and its controlrestricted to trained operators. Such ar-rangements will be reflected in all of thefollowing layouts. Analyses of equipmentschedules have shown that this "dual"lighting system, made possible by the con-tinuation of the architectural ceiling can-opy over platform and auditorium spaces,is no more costly than the older singlesystem with centralized control and pro-scenium borderlights.
Lastly, special attention must be paidto such highly interrelated parts as angleof background projection to rear wall andclearances for the light paths of both theimage and floods from the projection cat-walk to the panorama; ceiling plane slotsas related to servicing catwalks and clearpathways for light to the stage, both for-ward and diagonal; and to the naturalarchitectural development of backlightingpositions and the concealment of thoseinstruments whose lenses face in the gen-eral direction of the spectators. Also, thereflective values of the wall and floorsurfaces will vary with each project andmust be individually considered.
Lighting Equipment ScheduleFor Open End Theatre forFindlay (Ohio) Sr. High School
Ni
58-61 \ IMAGE FRAME // 62-65, WALL/// e
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CROSS-CONNECTINGPANEL
MMER BANK
0
SUSPENDED
PROJECTION UNITIMAGE FRAME REFLECTOR UNITS
DO4LIGHTS
-==
SPO-S
CATWALK A
WALL POCKET
REMOTE* CONTROL
SWITCHBOARD
CR-2445-H Varitron(Silicon Controlled Rectifier) Type
Model MA-2445-G Mina-Mag(Magnetic Amplifier) Type or
Dimming FacilitiesFor Stage Lighting:2 groups of 6-6000 watt dimmers2 groups of 6-3000 watt dimmers1 group of 4-3000 watt Non-Dim.For general Lighting of Auditoriumand Stage:
3-6000 watt dimmers.
Control Facilities:For Stage Lighting:Two Scene Preset plus Rehearsal (In-dependent) with 4 groups sub-master,scene masters, and stage master con-trollers.
For General Lighting of Auditoriumand Stage: Independent controllers.
Switching Facilities:Cascade control through remote con-tactors and relays.
House ON-OFF and transfer switchesfor worklite (Panic) System.
Extended Control:One group of six dimmers for stagelighting and dimmer for general light-ing on portable extended control.
Switching control (Usher) stations.
Cross Connecting Facilities:64-96 retractable cords and SAFETY-TYPE plugs for each stage branchcircuit.
Eight Multi-finger jacks for each 6000watt dimmer and four for each 3000watt dimmer and non-dim control.
Load-tester with meter and jack.
ARCHITECTS & ENGINEERS
Physical Data (approx.)Pilot console 40" high x 48" wide x36" deep.Cross connect panel 78" high x 60"wide x 24" deep.Remote Dimmer Switchboard 78"high, 77" wide, 27" deep.Portable extended control 24" wide x18" deep.
ALTERNATE MANUAL FLEXIBLE
CONTROL SWITCHBOARD
Model OBB-2442-E
Dimming FacilitiesFor Stage Lighting:2 groups of 6-6000 watt dimmers2 groups of 6-2500 watt dimmers1 group of 4-2400 watt non-dimcontrol.
For general lighting of Stage and Au-ditorium: 3-6000 watt dimmers.
Control FacilitiesManual dimming control of stage light-ing: 4 dimming groups, each dimmerwith mechanical interlock handle ex-tending its control to group masterhandle.
Stage Auditorium General Lighting:Dimmers on separate motor drives.
Switching Facilities:Single cascade control of stage lighting.Contactor of each dimmer for inde-pendent, group, stage master and ex-tended switching controls.
House ON-OFF and transfer switchesby contactors and relays.
Extended Control Facilities:ON-OFF switching control of stagemaster on stage.
General lighting dimming control onstage.
ON-OFF switching of general lightingon stage and usher's stations.
Cross Connecting Facilities:Integral plugging panel with 64-96 re-tractable cords and SAFETY-TYPEplugs for each stage branch circuit.
Six multi-finger jacks for each 6000watt dimmer, three for each 2500 wattdimmer and non-dim control.
Load-tester with meter and jack.
Physical Data:Baked gray-green wrinkle enamel finish.
Overall size 128" wide x 35" deep x40" high.
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LIGHTING EQUIPMENT SCHEDULEFINDLAY SR. HIGH SCHOOL
Hub lamp *CircuitCat. No. Qty. Spec. DESCRIPTION Function No.
20009-F 3---
Plugging Strip 20 ft. long -Wi-th (6) 20 Amp. duplex (X)pin plug receptacles with multi-finger floating jacks, term-inal block and mounting brackets. Provide (2) duplexparallel blade receptacles for 8736 floodlights.
Distribution of(21) circuits.
1-18
113-115
8809 12 1000/G40/SPMog. PF
Fresnel spotlight with 8" oval beam co-louvered fresnellens, color frame, C-clamp, 6' leads and 20 Amp. pin plug.
Visibilitycolor fill.
8760-1,
2 2000/T30/1Mog. PF
Ellipsoidal spotlight with 8" co-louvered step-lens, framingshutters, iris, wooden handle, C-clamp, color frame, 6'leads and pin plug.
Dramatic poolsof light;
follow spot.
8764 15 750/T12/9Med. PF
Ellipsoidal spotlight with 6" co-louvered step-lens, framingshutters, color frame, C-clamp, 6 ft. leads and pin plug.
Dramatic poolsof light; high-lighting; Side
accent.
403 12 C-clamp with vertically adjustable pipe and adjustablemounting bracket.
Maximumflexible position-
ing of spots.
601K 9 Extension cables, 50' long with male and female pin plugs.
20009-F 3 Plugging Strip 20 ft. long with (6) duplex pin plug re-ceptacles.
Distribution of(18) circuits. 19-36
8811 12 1000/G40/SPMog. PF
Fresnel Spotlight with 8" round beam co-louvered fresnellens, color frame, C-clamp, 6' leads and pin plug.
Directionalillumination.
8764 15 750/T12/9Med. PF
Ellipsoidal spotlights as before.
8768 6 500/750/T12/9Med. PF
Ellipsoidal Spotlight with (2) 6" condenser lenses, framingshutters, color frame, C-clamp, 6 ft. leads and pin plug.
Dramatic Poolsof light; high-lighting; Side
Accent.
403 12 Adjustable hanger as before.
601K 9 Extension cables as before.
11328 1
....1144Surface mounting pocket with single pin plug receptacle. Distribution
..A...,
of a circuit. 37
79030 1 2100/T24/860 VoltMog. Bi-Post
Projection Unit with 4-way matting shutters, tilt lamp ad-justment, blower, 12 ft. lead, pin plug, and 120/60 voltstep-down transformer.
Transfer ofImage to
Panorama Wall.
420 1 Projection Unit Mounting Assembly. For Preciseadjustment.
421 1
.Image Frame Mounting Assembly. For variously
sized frames.A1
20009-F 2 t Plugging Strip 20 ft. long with (9) duplex pin plug re- Distribution ofceptacles. (12) Circuits. 38-49
8361 12 750/13552/IFMog. Screw
18" Scoop floodlight with ALZAK reflector, yoke, C-clamp,color frame, 6 ft. leads, and pin plug.
Color washes onPanorama Wall.
Continued on next page.
ARCHITECTS & ENGINEERS
LIGHTING EQUIPMENT SCHEDULEFINDLAY SR. HIGH SCHOOL
HubCat. No. I Qty.
LampI Spec.
IDESCRIPTION
*irCcuit1 Function 1 No.
irl.b........1.....
304
.....maikarei.
2 4-Gang flush mounting type with doors, (4) duplex pinplug receptacles.
iadMalM.e.Y.rdwal......".
Distribution of(8) circuits. 50-57
20110 / Tree with 10 ft. vertical pipe, 3 sets cross-arms, 24" castiron base and plugging strip with (3) duplex pin plugreceptacles and (3) 6 ft. leads with pin plug.
Support of unitsfor low side
accent lighting.
8768
_
6 500/T12/9Med. PF
Ellipsoidal spotlight with (2) 6" condenser lenses, framingshutters, color frame, "C"-clamp, 3 ft. leads and pin plugs.
.j".1.... S-. , ..-g.1161.ataie.A.A1:61Zr-as.
104 2 4-Gang type with cast iron door and (4) duplex pin plug Distribution ofreceptacles. (8) circuits. 58-65
21632 4 150/A23/IF Strip-light 8 ft. long with (12) reflectors and color frames,for gelatine or roundels, wired on 3 circuits, castered cra-dles, (3) 6 ft. leads and pin plugs.
Occasionalhorizon glow.
20824 4 60/A19/IF Strip-light 30 inches long with (8) receptacles, hook, 6 ft.lead and pin plug.
Interior setillumination.
. ,
.
3540-S 500-13540 Suspended reflector unit with stem and swivel outlet box General0 IF Mog. Screw covers. Lighting on
Dimmer A. 101-104
8584-F 4 750 R-57 Flush mounted with Micro-Baffles and plaster ring forCO Mog. Screw sloped ceiling. 105-108
7.4.0.--f.DOWNLIGHTS
_
8584-F 14 750 R-57 Same as above. GeneralMog. Screw Lighting on
Dimmer B. 109-112
8736 6 500.Watt PAR-64 Floodlight with C-clamp, 3-ft. leads and parallel blade re-ceptacles on Catwalk A.
Angled lightingfor re-enforce-
ment. onDimmer B. 113-115
- - -- ,
8579-F 23
0
,:ZDOWINIOGHTS:.-* -k
500 R-57Mog. Screw
Flush mounted with Micro-Baffles and plaster ring for flatceiling.
GeneralLighting onDimmer C. 116
(X) All receptacles provided with 20 Amp. multi-fingerfloating jacks for positive electrical contact. Recep-tacles are also available with 2-pole plus ground (addsuffix G to Cat. No.).
0 0Symbols are shown on plan-view drawing.
*Circuits 1-65 for stage lighting controlled through Cross-connecting panel. Each circuit must have own neutral.Circuits 101-116 for general lighting controlled by SiliconControlled Rectifier or Magnetic Amplifier type dimmers.
t6 receptacles adjacent to each side of image frame on 6circuits for floodlights: other receptacles on individualcircuits.
LightingEquipment Schedule
For Caliper Stage ofLongmont Sr. High School
CATWALK F
FLOOR POCKETS G
POCK
FLUSHDOW
r--
68-70
PROJECTION UNIT
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IMAGE
64 67
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IMAGE PROJECTION UNITCATWALK A
(LI/rdFLCiODS SPOTS
1m.=
FLO POCKETS G ETS
/FLUSH MOUNTEDi
DOWNLIGHTS
MANUAL FLEXIBLE CONTROL
SWITCHBOARD
Model WS-742-E Auto-transformer Type
Dimming Facilities:For stage lighting6 groups of 1-6600 watt master dim-mer and 3-2500 watt minor dim-mers.1 group of 1-6600 watt master dim-mer and 6-1200 watt minor dim-mers.1 group of 4 2400 watt non-dimcontrol..For General lighting of Stage and Au-ditorium: 7-6000 watt dimmers.
Control Facilities:Manual dimming control of stage light-ing: 7proportional dimming groups,each with one master and minor dim-mers. Each master dimmer serves adual function, it can operate indepen-dently or as a proportional master.
It has mechanical interlock handle ex-tending its control to master handle.
Each minor control unit is of the mod-ular plug-in type and has non-inter-locking handle.
It can operate independently or underproportional control.
Motor driven dimming control of gen-eral lighting: Dimmers for stage andauditorium on four motor drives inseparate housing.
Switching Facilities:Single cascade control of stage lightingwith contactor for each master dimmerand each group of minor dimmers.
Master dimmer on independent or asproportional master.
Minor dimmer on independent orunder proportional control.
House ON-OFF and transfer switchesby contactors and relays.
ARCHITECTS & ENGINEERS
Extended Control Facilities:ON-OFF switching control of stagemaster on stage. General lighting-dim-ming control on stage.
ON-OFF switching control of generallighting on stage and usher's stations.
Cross Connecting Facilities:Integral plugging panel with 72-96 re-tractable cords and SAFETY-TYPEplugs for each stage branch circuit.
Six Multi-finger jacks for each 6600watt dimmer, three for each 2500 wattdimmer and non-dim control and twofor each 1200 watt dimmer.
Load-tester with meter and jack.
Physical Data:Baked gray-green wrinkle enamel finish.
Approximate overaall size 110" widex 35" deep x 34" high.
HubCat. No.
Model WS-742-E
LIGHTING EQUIPMENT SCHEDULELONGMONT SR. HIGH SCHOOL
.....*****-
ex.:. fTe
I
*CircuitNo.
32
...... _11328-2 7 Single gang surface mounting pocket with one 20 Amp.
duplex pin plug receptacle with (x) multi-finger floatingDistribution
of (7)jacks. circuits. 1-7
8764 16 750/T12/9Med. PF
Ellipsoidal spotlight with 6" step-lenses, framing shutters,color frame, C-clamp, 6 ft. leads, and pin plug.
Dramatic poolsof light;
high-lighting.
87604 2 2000/T30/1Mog. PF
Ellipsoidal spotlight with 8" co-louvered step-lens, framingshutters, iris, wood handle, C-clamp, color frame, 6' leadsand pin plug.
Dramatic poolof light;
follow spot.
I
20009-F 2 Plugging Strip 30 ft. long with (6) duplex pin plug recep-tacles, terminal block, and mounting brackets. Provide (3)duplex parallel blade receptacles for No. 8736 floodlights.
_
Distributionof (14)circuits.
.
8-19
111-112
8809 8 1000/G40/SPMog. PF
Fresnel spotlight with 8" oval beam co-louvered fresnellens, color frame, C-clamp, 6' leads, and pin plug.
Visibilitycolor fill.
8811 8 1000/G40/SPMog. PF
Same as 8809 with 8" round beam lens. Directionalillumination.
8764 8 750/T12/9Med. PF
Ellipsoidal spotlights as before. Dramatic poolof light.
403 16 C-clamp with vertically adjustable pipe and adjustablemounting bracket.
Maximumflexible
positioningof spots.
601K 12 Extension cables, 50' long with male and female pin plug.
LIGHTING EQUIPMENT SCHEDULELONGMONT SR. HIGH SCHOOL
HubCat. No. Qty.
LampSpec.---.....
I
DESCRIPTION . ,Ars
Function*Circuit
No.
20009-F 2 Plugging strip 28 ft. long with (8) duplex pin plug recep-tacles, terminal block, and mounting brackets.
Distributionof (16)circuits. 20-35
8809 10 1000/G4OSPMog. PF
Oval beam fresnel spotlight as before. Directionalillumination.
8764 6 750/T12/9Med. PF
Ellipsoidal spotlight as before . Dramatic poolof light.
403 10 Adjustable hanger as before._ ,
20009-F 2 Plugging strip 28 ft. long with (8) duplex pin plug recep-tacles, terminal block, and mounting brackets.
Distributionof (16)circuits. 36-51
8811 10 1000/G4OSPMog. PF
Round fresnel spotlights as before. Directionalillumination.
8764 8 750/T-20/9Med. PF
Ellipsoidal spotlights as before. Dramatic poolsof light.
,
113281 . - .......4. ..,Surface mounting pocket with single pin plug receptacle. Distribution
of a circuit. 52
79031 1 PH IM/T-20/40(DSB)PH 1500/T-20/39(DTJ)Mog. PF
Projection unit with 4-way matting shutters, tilt lamp ad-justment blower, 12 ft. lead, and pin plug.
Transfer ofimage to
panorama wall.
420 I
,
Projection unit mounting assembly. For preciseadjustment.
421 1 Image Frame Mounting Assembly. For variouslysized frame.
20009-F 2 t Plugging strip 24 ft. long with (8) duplex pin plug recep-tacles, terminal block, and mounting brackets.
Distributionof 7 circuits. 53-59
8360 12 500-PS40-IFMog. Screw
15" Scoop floodlight with ALZAK reflector, yoke, C-clamp,color frame, 6 ft. lead, and pin plug.
Color washeson panorama
wall.
8768 4 750TI2/9Med. PF
Ellipsoidal spotlight with (2) 6" condenser lenses, framingshutters, color frame, C-clamp, 6 ft. leads and pin plug.
Crosslighting.
403 4 Adjustable hanger as before. As before.
,. . .
_... A.r.l.i.U....., .
20009-F 2 Plugging strip 20 ft. long with (4) duplex pin plug recep- Distributiontacles, terminal block, and mounting brackets. of (8) circuits. 60-67
8809 2 1000/G4OSP Oval beam fresnel spotlights as before. DirectionalMog. PF Illumination.
8768 4 750TI2/9Med. PF
Ellipsoidal spotlights as before. Separation ofactors from
scenery.
Continued on next page.
ogavattrews3,454511W
3:
ARCHITECTS A ENGINEERS
HubCat No. Qty.
LampSpec.
LIGHTING EQUIPMENT SCHEDULELONGMONT SR. HIGH SCHOOL
DESCRIPTIONFunction
*CircuitNo.
last
103 2-7-t--- 3-Gang type wiTh cast iron-a-66r zuid73) t-aVex'iiiiii5liii
receptacles.
-Digtfilititioliof (6)circuits. 68-73
21632 6 150/A23/IF Striplight 8 ft. long with (12) reflectors and color frames
for gelatin or roundels, wired on 3 circuits, castered cra-
dies, (3) 6 ft. leads and pin plugs.
Occasionalhorizon glow.
20824 4 60/A19/IF Striplight 30 inches long with (8) receptacles, hook, 6 ft.
lead and pin plug.
Interior setillumination.
602K 10Extension cables, 25' long with male and female pin plugs.
'1-fe-,
303 , 3-Gang flush mounting type with doors, (3) duplex pin
plug receptacles.
Thistri u ionof (6)circuits. 74-79
20110 2 Tree with 10 ft. vertical pipe, 3 sets cross-arms, 24" cast
iron base and plugging strip with (3) duplex pin plug
receptacles and (3) 6 ft. leads with pin plugs.
Support ofunits for
platform sideaccent lighting.
,8768 6 500/TI2/9
Med. PFEllipsoidal spotlight with (2) 6" condenser lenses, framing
shutters, color frame, "C"-clamp, 3 ft. leads and pin plugs...- _ .
L ;POCKETS=
302 2 12-Gang flush mounting type withplug receptacles.
oors, uplex pin80-83
:302
Same as above.As above. 84-87
8583-F 20 Flush mounted with Micro-Batfles and plaster ring for
sloped panel.
GeneralLighting onDimmer A. 101-106
--1`
8949-F 18 300 Watt R-40
........
Same as above.On Dimmer B. 107-110
8736
.,,,,,,
6
-- -,
500 Watt Par 64
=.,-,-,.- _
Floodlight with "C"-clamp, 3-ft. leads and parallel blade
cap on Catwalk B.
Angled lightingfor re-enforce-
ment. anDimmer B.
111-112
8943-F
UM:
500/R-57Mog. Screw
Flush mounted with Micro-Batfles and plaster ring. General lightingon Dimmer C. 113-122
34
cir14,1114.afit.
8909-F0
300/R-40 I Same as before.Med. Screw
(x) All receptacles provided with 20 Amp. multi-fingerfloating jacks for positive electrical contact. Recep-
tacles are also available with 2-pole plus ground (addsuffix G to Catalog No.)
AK 0Symbols are shown on plan-view drawing.
General lightingon Dimmer D. I 123-128
*Circuits 1-87 for stage lighting controlled through cross-
connecting panel. Each circuit must have own neutral.
Circuits 101-128 for general lighting controlled by four
motor driven dimmer groups.
t6 receptacles adjacent to each side 6f image frame on 3circuits for floodlights: other receptacles on individual
circuits.
LIG
Lighting Equipment ScheduleFor Caliper Forethrust Open Stage
La Junta (Colo.) Sr. High SchoolTheatre
WAL
WALL POCKE
61
MANUAL FLEXIBLE CONTROL
SWITCHBOARD
Model WS-642-E-2Auto-transformer type.
Dimming Facilities:For Stage Lighting:2 groups of 1-3600 watt master and3-1200 watt minor dimmers.4 groups of 1-6600 watt master and3--2500 watt minor dimmers.1group of 4-2400 watt non-dimcontrol.
For general lighting of stage and audi-torium: 3-6000 watt and 1-2500watt dimmers.
Control Facilities:Manual dimming control of stage light-ing: 6 proportional dimming groups,each with one master and three minordimmers. Each master dimmer servesa dual function, it can operate inde-pendently or as a proportional master.It has mechanical interlock handle ex-tending its control to master handle.
Each minor control unit is of the mod-ular plug-in type and has non-inter-locking handle. It can operate inde-pendently or under proportional con-trol.
ING CaITROTCHBOAk
11111XKLILLOSIIM46, NIIIIMM =MM=111!:
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usulaanizyr
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41100.
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CATWALKS A & B lIE
1111111EMENIMEMEMEZ111111
0000000 0 0 00000 000000 00 0 00 0000000000 000 0 0 0
00 0 000
Wi
00 0O 0O 0L POCKr D
WALL POCKETS E
00000000 00000000000 0 0 0 0 0 0 0 0 0 0 0 0000
0 0
Motor driven dimming control of gen-eral lighting:
Dimmers for stage and auditorium onthree motor drives.
Switching Facilities:Single cascade control of stage lightingwith contactor for each master dimmer.
Manual stage master.
Master dimmer on independent or asproportional master.
Minor dimmer on independent orunder proportional control.
House ON-OFF and transfer switchesby contactors and relays.
Extended Control Facilities:ON-OFF switching control of bank-master on stage.
General lighting-dimming control onstage.
ARCHITECTS & INGINEEZ.5
ON-OFF switching of general lightingon stage and usher stations.
Cross Connecting Facilities:
Integral plugging panel with 60-72 re-tractable cords and SAFETY-TYPEplugs for each stage branch circuit.
Six multi-finger jacks for each 6600
watt dimmer, four for each 3600 wattdimmer, three for each 2500 watt dim-
mer and non-dim control, and two for
each 1200 watt dimmer.
Load-tester with meter and jack.
Physical Data:Baked gray-green wrinkle enamel finish.
Approximate overall size: 100" x 35"34" high.
ANN,
-
"la
Model WS-642-E-2
LIGHTING EQUIPMENT SCHEDULELA JUNTA SR. HIGH SCHOOL
Hub LampCat. No. Qty. Spec.
1-.,-%
-
DESCRIPTIONFunction
*CircuitNo.
20009-F 2
.....00....W 30 ' '- J... lila,. ..V., 0 410 ^iiu., . A. -.2 -.-.41.1.
Plugging strip 30 ft. long with (15) 20 Amp. duplex pin
plug receptacles with (x) multi-finger floating jacks, term-
inal block, and mounting brackets. Provide (3) duplexparallel blade receptacles for 8736 floodlights.
SI=04.- w .0 i .0 ... .F1., -+.-.-4.4..4
Distribution of(32) circuits.
.17,-+.-4.. .Kuairyae. s-,1
1-30
110-111
8809 8 1000/G40-SP. Mog. PF
Fresnel spotlight with 8" oval beam co-louvered fresnel
lens, color frame, C-clamp, 6' leads and pin plug.Visibilitycolor fill.
8811 6 1000/G40-SP. Mog. PF
Same as above with 8" round beam lens. Directionalillumination.
8764 15 750/T12/9Med. PF
Ellipsoidal spotlight with 6" co-louvered step lenses, fram-
ing shutters, color frame, C-clamp, 6 ft. leads and pin plug.Dramatic poolsof light; highlighting, side
accent.
403 8 C-clamp with vertically adjustable pipe and adjustable
mounting brackets.
Maximumflexible position-
ing of spots.
,
20009-F 4
.....p0.,,,yr,,,,.- .0.,{,. ,,..,,... ) .r0,... ,{ . ...Z.....,p -+N.m,--" . ft 3c 7.-.
Plugging Strip 12 ft. long with (5) duplex pin plug recep-
tacles, terminal block, and mounting brackets.
...v.+tf Oa ,..-X Cn
Distribution of(20) circuits.
r _ ...,.._
8811 16 Round fresnel spotlights as before. Directionalillumination.
8768 4 750/T12/9Med. PF
Ellipsoidal spotlight with (2) 6" condenser lenses, framing
shutters, color frame, C-clamp, 6 ft. leads and pin plug.Side accent.
403 8Adjustable hangers as before.
304
36
2 4-Gang flush mounting type with door, (4) duplex pin plug
receptacles.
AIMAPPJ.VIIPRP/M.FRm,....
Distribution of(8) circuits. 51-58
LIGHTING EQUIPMENT SCHEDULELA JUNTA SR. HIGH SCHOOL
HubCat. No.
79032
8365
602-K
20824
Qty.
1/
LampSpec
PH500/T10/PMed. PF
200W. PS30IF. Med. Screw
DESCRIPTION
Projection unit with 4-way matting shutters, tilt lamp ad-justment, blower, 12 ft. lead, and pin plug.
10" Scoop floodlight, yoke, base prate, C-clamp, color
frame, 6 ft. leads, 20-amp. pin plug.(See Page 70 for set-up instruction).
Extension cable, 25 ft. long with male pin plug and parallel
blade triplex receptacle.
Striplight 30" long with 8 receptacles, hook, 6 ft. leads andpin plug.
Function
Transfer ofimage to
arcade screens.
Color washes onarcade screens.
Interior Setillumination.
*CircuitNo.
302 12-Gang flush mounting type with door, (2) duplex pin plug Distribution of
receptacles.(2) circuits. 59-60
- , _. -
._ . =427=111e)E47
LIZ303
' pociais
3-Gang flush mounting type with door, (3) duplex pin plug
receptacles.
Distribution of(6) circuits. 61-66
303Distribution of
(6) circuits. 67-72
8578-S0
16 300 W.R-40 spots
Suspended type with Micro-Baffles and stem on swivelaligning plate.
General lightingon Dimmer A. 101-106
2729C)
3 300 W.R40 Spot
Surface mounted type with Micro-Baffles under Catwalk B. 107
6136CI
13 150 W.A-21. IF.
Flush mounted lens unit under stage gallery. General lightingon Dimmer B. 108-109
8736 6 500 W. Par 64 Floodlight with C-clamp, 3-ft. leads and parallel blade capon Catwalk A.
Angled lightingfor re-enforce-
ment.on Dimmer A.
110-111
Ocivatu
8578-S0
2729
6131a
25General lightingon Dimmer C. 112-117
150 W.A-21. IF
Flush mounted lens unit under Caliper Galleries.
(x) All receptacles provided with 20 Amp. multi-fingerfloating jack for positive electrical contact. Recep-tacles are also available with 2-pole plus ground (addsuffix G to Catalog No.).
0 Cs 0 0Symbols are shown on plan-view drawing.
-MW
119
*Circuits 1-72 for stage lighting, controlled through cross-connecting panel. Each circuit must have own neutral.Circuits 101-119 for general lighting, controlled by threemotor driven dimmer groups.
ARCHITECTS & ENGINEERS
Lighting Equipment ScheduleFor Forward Thrust Open Stage
Western Springs (III.) Theatre
CATWALK C
WALL POCKETS F
PROJECTION UNIT iMAGE
^
SPOTS FLOODS
3 11 r I, r V.- -c TWALK A 8. C I D
-FMK DOWNLI HTS
RC; 1111. 111J---11.111LIG ING CONT
-.
WALL POCKET E
H H -1
MANUAL FLEXIBLE CONTROL
SWITCHBOARD
Model WS-642 - E-1Auto-transformer Type
Dimming Facilities:For stage lighting:4 groups of 1-6600 watt master dim-mer and 3-2500 watt minor dimmers.2 groups of 1-6600 watt master dim-mer and 6-1200 watt minor dimmers.1 group of 4-2400 watt non-dimcontrol.
For general lighting of stage and audi-torium: 3-6000 watt dimmers.
Control Facilifies:Manual dimming control of stage light-ing: 6 proportional dimming groups,each with one master and minor dim-mers.
Each master dimmer serves a dualfunction; it can operate independentlyor as a proportional master. It hasmechanical interlock handle extendingits control to master handle.
Each minor control unit is of themodular plug-in type and has non-in-terlocking handle.
Motor driven dimming control of Gen-eral Lighting: 3 Dimmers for stage andauditorium on two motor drives.
Switching Facilities:Single cascade control of stage lightingwith contactor for each master dimmerand each group of minor dimmers.
Master dimmer on independent or asproportional master.
Minor dimmers on independent orunder proportional control.
House ON-OFF and transfer switchesby contactors and relays.
Extended Control Facilities:ON-OFF switching control of stagemaster on stage. General lighting-dim-ming control on stage.
ON-OFF switching controls of generallighting on stage and usher's stations.
Cross Connecting Facilities:Integral plugging panel with 64-72 re-tractable cords and SAFETY-TYPEplugs for each stage branch circuit.
Six multi-finger jacks for each 6600watt dimmer, three for each 2500 wattdimmer and non-dim control and twofor each 1200 watt dimmer.
Load-tester with meter and jack.
Physical Data:Baked gray-green wrinkle enamelqnish.
Approximate overall size: 100" wide
x 35" deep x 34" high.
tit
Model WS-642-E-1
LIGHTING EQUIPMENT SCHEDULEWESTERN SPRINGS THEATRE
HubCat. No. I Qty.]
LampSpec. DESCRIPTION
Function*Circuit
No.
20009-F 1
4.440.00taAgiNAWNLog.i..6..,W16.14i*ng, - "-.,.+ +
Plugging strip 20 ft. fong with (8) 20 Amp. duplex pinplug receptacles with (x) multi-finger floating jacks, term-inal block, and mounting brackets.
,..,,, +" ,- ...,-,.---.."' ^'
Distribution of(16) Circuits.
.
20009-F 3 Plugging strips 10 ft. long with (4) duplex pin plug re-ceptacles.
8809 8 I 000 /G4OSPMog. PF
Fresnel spotlight with 8" oval beam co-louvered fresnel
lens, color frame, C-clamp, 6' leads and pin plug.VisibilityColor fill.
8811 4 1000/G4OSPMog. PF
Same as 8809 with 8" round beam lens. Directionalillumination.
87604 1 2000/T-30/1Mog. PF
Ellipsoidal spotlight with 8" co-louvered step lens, framingshutters, iris, wooden handle, C-clamp, color frame, 6'leads and pin plug.
Dramatic poolsof light
follow spot.
8764 6 750/T12/9Med. PF
Ellipsoidal spotlight with 6" co-louvered step lenses, fram-ing shutters, color frame, C-clamp, 6 ft. leads and pin plug.
Dramatic poolsof light; high-
lightingSide accent.
403 8 C-clamp with vertically adjustable pipe and adjustablemounting brackets.
Maximumflexible position-
ing of spots.
602-K 6 Extension cables, 25 ft. long with male and female pin plugs.A
Continued on next page.
1-16
ARCHITECTS ENGINEERS LIGHTING EQUIPMENT SCHEDULEWESTERN SPRINGS THEATRE
HubCat. No. I Qty. I
LampSpec.
IDESCRIPTION Function
'CircuitNo.
20009-F,
1
_Plugging Strip 24 ft. long with (12) duplex pin plug re-ceptacles, terminal block, and mounting brackets. Provide(4) duplex parallel blade receptacles for 8736 floodlights.
Distribution of(I I) circuits. 21-29
103-104
20009-F 2 Plugging strips 8 ft. long with (4) duplex pin plug re-ceptacles.
Distribution of(8) circuits.
17-2030-33
8811 4 Round fresnel spotlights as before.
8764 10 500/750T/12/9Med. PF
Ellipsoidal spotlight with 6" co-louvered step lens, framingshutters, color frame, C-clamp, 6 ft. leads, and pin plug.
Dramatic poolsof light; high-lighting andside accent.
8768 6 500/750T12/9Med. PF
Ellipsoidal spotlight with (2) 6" condenser lenses, framingshutters, color frame, C-clamp, 6 ft. leads and pin plug.
403 12 Adjustable hanger as before.
11328 1
. _Surface mounting pocket with single pin plug receptacle. Distribution of
a circuit. 34
79031 1 PH IM/T20/40(DSB)PH1500/T20/39(DTJ)Mog. PF
Projection unit with 4-way matting shutters, tilt lamp ad-justment, blower, 12 ft. lead, and pin plug.
Transfer ofimage to
panorama wall.
420 1 Projection Unit mounting assembly. For preciseadjustment.
421 1 Image frame mounting assembly. For variouslysized frame.
203 4 3-Gang Surface mounting type pocket with door and (3)duplex pin plug receptacles.
Distribution of(9) circuits. 35-43
8361 6 750 WattPS52 IFMog. Screw
18" Scoop floodlight with ALZAK reflector yoke, C-clamp,color frame, 6 ft. leads, and pin plug.
Color washeson panorama
wall.
8786 6 500 T20/48Med. PF
Fresnel spotlight with 6" round beam, co-louvered lens,color frame, C-clamp, 6 ft. leads, and pin plug.
Directional andhighlightingillumination.
20009-F 1 t Plugging strip 30 ft. long with (12) duplex pin plug re-ceptacles, terminal block, and mounting brackets.
Distribution of(6) circuits. 44-49
8768 6 500T12/9Med. PF
Ellipsoidal spotlight with (2) 6" condenser lenses, framingshutters, color frame, C-clamp, 6 ft. leads and pin plug.
Separationof actors
from scenery.
r
403
,
,
6
-
Adjustable hanger as before.
LIGHTING EQUIPMENT SCHEDULEWESTERN SPRINGS THEATRE
Hub Lamp CircuitCat. No. Qty. Spec. DESCRIPTION Function No.
1.....-..-..- -...ar-.4. ........".. ....mas '..-Ir.--..a- - ...Mr........alawd4
304 -) 4-Gang flush mounting type with door, (4) duplex pin plug Occasionalreceptacles, horizon glow. 50-57
21632 4 150/A23/IFMed. Screw
Striplight 8 ft. long with (12) reflectors with color frames(for gelatine or roundels) on 3 circuits, castered cradles,(3) 6 ft. leads, and pin plug.
Interior setillumination.
20824 3 60/A19/IFMed. Screw
Striplight 30 inches long with (8) receptacles, hook, 6 ft.leads and pin plug.
Distribution of(8) circuits.
602-K 7 Extension cables, 25 ft. long with male and female pin plugs.
'304 Same as before. Distribution of
(8) circuits. 58-65
20110 2 Tree with 10 ft. vertical pipe, 3 sets cross-arms, 24" castiron base, and plugging strip with (3) duplex pin plugreceptacles, and (3) 6 ft. leads with pin plug.
Support of unitsfor low side
accent lighting.
.....ftnr-..e
8766 6 500/T12/9Med. PF
Ellipsoidal spotlight with (2) 6" condenser lenses, framingshutters, color frame, C-clamp, 3 ft. leads and pin plug._. _ , _ , .,, _ ,.......
As above.
..,........... . _
8578-S 5 300 WattR-40Med. Screw
.
Suspended with Micro-Baffles and stem.
.., ,..
General lightingon Dimmer A. 101-102
8583 S Flush mounted with Micro-Baffles and plaster ring.
8736 4 500 Watt PAR-64 Floodlight with C-clamp, 3-ft. leads and parallel blade capon Catwalk B.
Angled lightingfor re-enforce-
ment. onDimmer A.
103-104
;
`-; - - ."W.a..,....14....r.,....1.44.8.1
8578-S1.7.2.1,......1
16 300W. R-40Med. Screw
Same as before........isaiLwi,
General lightingon Dimmer B.
.
105-112
,
85830 15 Same as before.
(x) All receptacles provided with 20 Amp. multi-fingerfloating jacks for positive electrical contact. Recep-tacles are also available with 2-pole plus ground (addsuffix G to Catalog number).
0Symbols are shown on plan-view drawing.
*Circuits 1-65 for stagelighting, controlled through cross-connecting panel. Each circuit must have own neutral.Circuits 101-112 for general lighting; controlled by twomotor driven dimmer groups.
t3 receptacles adjacent to each side of image frame on 3circuits; other receptacles on individual circUits.
ARCHITECTS & ENGINEERS
Lighting EquipmentSchedule
For Reverse CurveOpen End Stage
Of New Providence(N. J.) High School
zr"7"178771mmm--LL POCKETS f r
WALL POTII(E:S D
0-53
MANUAL FLEXIBLE CONTROL
SWITCHBOARD
Model WS-842-EAuto-transformer Type
Dimming Facilities:For Stage Lighting:8 groups of 1-6600 watt master dim-mer and 3-2500 watt minor dimmers.1 group of 4-2400 watt non-dim con-trol.
For General Lighting of Stage andAuditorium: 5-6000 watt dimmers.
Control Facilities:Manual dimming control of stage light-ing: 2 Banks of 4 proportional dim-ming groups, each group with onemaster and three minor dimmers.
OPENING
WALL POCKET G LIGHTING CONTROL
Each master dimmer serves a dualfunction, it can operate independentlyor as a proportional master. It has me-chanical interlock handle extending itscontrol to one of two bank masterhandles.
Each minor control unit is of the mod-ular plug-in type and has non-inter-locking handle. It can operate indepen-dently or under proportional control.
Motor driven dimming control of gen-eral lighting: Dimmers for stage andauditorium on three motor drives.
Svitching Facilities:Single cascade control of stage lightingwith contactor for each master dimmer
,212.ind each group of minor dimmers.
111111811@%1INIMIIIMMII 5-WICHAQAUi
L Master dimmers on independent or as------ proportional master.
Minor dimmers on independent orunder proportional control.
House ON-OFF and transfer switchesby contactors and relays.
Extended Control Facilities:ON-OFF Switching controls of stagemaster, and bank masters on stage.
General lighting-dimming control onstage.
ON-OFF Switching controls of generallighting on stage and at usher's stations.
Cross Connecting Facilities:Integral plugging panel with 64-84 re-
tractable cords and SAFETY-TYPEplugs for each stage branch circuit.
Six multi-finger jacks for each 6600watt dimmer, and three for each 2500watt dimmer and non-dim control.
Load-tester with meter and jack.
Physical Data:
Baked gray-green wrinkle enamel finish.
Approximate overall size: 115" x 35"x 34" high.
LIGHTING EQUIPMENT SCHEDULE
DESCRIPTION
^.
Model WS-842-E
20009-F
8809 12 1000/040SP. Mog. PF
Plugging strip 32 ft. long with (16) 20 Amp. duplex pinplug receptacles with (x) multi-finger floating jacks, term-inal block, and mounting brackets. Provide (3) parallelblade receptacles for 8736 floodlights.
Fresnel spotlight with 8" oval beam co-louve ed fresriellens, color frame, C-clamp, 6' leads and 20 Amn. pin plug.
Distribution of(18) twice re-peated circuits.
VisibilityColor-fill
8760-I 2000/T30/1Mog. PF
Ellipsoidal spotlight with 8" co-louvered step lens, framingshutters, iris, wooden handle, C-clamp, color frame, 6'leads and pin plug.
Dramatic poolsof light;
follow spot.
8764 10 750/T12/9Med. PF
Ellipsoidal spotlight with 6" co-louvered step lenses, fram-ing shutters, color frame, C-clamp, 6 ft. leads and pin plug.
Dramatic poolsof light;
high lightingside accent.
403 12 C-clamp with vertically adjustable pipe and adjustablemounting bracket.
Maximumflexible position-
ing of spot.
601-K 12 Extension cables, 50 ft. long with male and female pin plugs.
04-4,
1-16
107-108
20009-F 2 Plugging strip as before. 17-32
8811 12 1000/040 Fresnel spotlight with 8" round beam, co-louvered lens,SP. Mog. PF color frame, C-clamp, 6' leads and pin plug.
Directionalillumination.
._
8764 20 750/T12/9 Ellipsoidal spotlight as before.Med. PF
Dramatic poolsof light,
highlighting;side accent.
403 12 j Adjustable hanger as before.
11328 1f
-
.
Surface mounting pocket with single pin plug receptacle..,,,;-,..4-.4.,,..
Distributionof a circuit.
.-......:,.......4,
33
79030 1 2100/T24/860 VoltMog. Bi-Post
Projection unit with 4-way matting shutters. tilt lamp ad-justment, blower, 12 ft. lead, pin plug, and 120/60 Voltstep-down transformer.
Transfer ofimage to
panorama wall.
420 1 Projection Unit mounting assembly. For preciseadjustment.
421 1 Image Frame mounting assembly. For variouslysized frames.
20009-F 2 t Plugging Strip 20 ft. long with (9) duplex pin plug re-ceptacles.
Distribution of(12) circuits. 34-45
8361 12 750-PS52IFMog. Screw
18" Scoop floodlight with ALZAK reflector, yoke, C-clamp,color frame, 6 ft. leads, and pin plug.
Color washeson panorama
wall.
Continued on next page.
1
ARCHITECTS & ENGINEERS
Cat. No. 1 Qty. IHub Lamp
Spec.
LIGHTING EQUIPMENT SCHEDULENEW PROVIDENCE HIGH SCHOOL
VW!
DESCRIPTION FunctionCircuit
No.
304 2 4-Gang flush mounting type with door, (4) duplex pin plugreceptacles.
Distribution of(8) circuits. 46-53
20110 2 Tree with 10 ft. vertical pipe, 3 sets cross-arms, 24" castiron base, and plugging strip with (3) duplex pin plugreceptacles, and (3) 6 ft. leads with pin plug.
Support ofunits for plat-
form side accentlighting.
8768 6 500/T12/9Med. PF
Ellipsoidal spotlight with (2) 6" condenser lenses, framingshutters, color frame, C-clamp, 6 ft. leads and pin plug.
21632 150/A23/IF
60/A19/IFMed. Screw
Same as above. 54-61
Striplight 8 ft. long with (12) reflectors with color framesfor gelatines or roundels, wired on 3 circuits, casteredcradles, (3) 6 ft. leads, and pin plug.
Striplight 30 inches long with (8) receptacles, hook, 6 ft.leads and pin plug.
Extension cables, 25 ft. long with male and female pin plugs.
410. .,-, -.-;-.
I2-Gang flush mounting type with door and (2) duplex pin I Distribution ofplug receptacles.
Occasionalhorizon glow.
Interior setillumination.
2100/T24/860 VoltMog. Bi-Post
r.
(2) circuits.
.111Mia
62-63
,2-Gang flush mounting type with door and (2) duplex pin Distribution ofplug receptacles. (2) circuits.
Condenser lens spotlight with color changer, shutters, iris
1
focusing system, blower, 120/60 volt step-down transform-er, caster stand, leads and pin plug.
,
Follow-spot forfloor operation.
64-65
Flush mounted with Micro-Baffles and plaster rine forsloped ceiling.
General lightingon Dimmer A.
500 PS40IF. Mog. Screw
101-102
103-104
8736 500W. PAR-64
a).
8583-F0
(x)
42 300 R-40Med. Screw
Flush mounted with Micro-Bafflessloped ceiling.
and plaster ring for General lightingon Dimmer B. 105-106
Floodlight with C-clamp, 3-ft. leads and parallel blade re-ceptacles on Catwalk A.
'
Same as before.
All receptacles provided with 20 Amp. multi-fingerfloating jacks for positive electrical contact. Recep-tacles are also available with 2 pole plus ground (addsuffix "G" to Catalog number).
0 0Symbols are shown on plan-view drawing.
Angled lightingfor
re-enforcement.on Dimmer A.
General lighting]on Dimmer C. 109-118
107-108
11111111111111
*Circuits 1-65, for stage lighting, controlled through cross-connecting panel. Each circuit must have own neutral.Circuits 101-118 for general lighting controlled by motordriven dimmers.
t6 receptacles adjacent to each side of image frame on 6circuits for floodlights: other receptacles on individual
circuits.
Lighting Equipment Schedule For Modified Proscenium Stage
Of Trinity High School III I III II
60-63 52-55
4 .12.1 33-41 t47
0
1111111111111s 11111 till* NM* I i I
ra is 1 a salu II I 11 r mg! FININft___ 7 IT w i II walson i !IA a
rosier: risorri ,
11 il II 11 60 11 11 11 11 ml 11 id 11 11 II
II II 11 II 11 11 11 11 11 11 11 II I
11 II II 11 11 II II 11 II II
11 III 11 NI II iii IS 11 11
11 II 11 .1 11 11 IL II 11 II
11 11 11 11 II 11 11 11 II
ss 51 0 si is ss is IS vs
PROJECTIO
0 IMAGE1
FRAME
0 I
\ I 0 t o ill
I I I
CKETS E
WALL POCKETS
SUSPENDED HTS
SPOTS
COLD C LAMP
THOD OVES
\hOODS d I
/ I i I 0 IMAGE FRAMr, r I \
....0 111...
WALL POCKETS
LIGHTING CONTROL SWITCHIIOARD
ARCHITECTS IA ENGINEERS
MANUAL FLEXIBLE CONTROL
SWITCHBOARD
Model WS-642-EAuto-transformer type.
Dimming Facilities:For stage lighting:6 groups of 1-6600 watt master and3-2500 watt minor dimmers.1 group of 4-2400 watt non-dimcontrol.
For general lighting of stage and audi-torium: 4-6000 watt dimmers.
Control Facilities:Manual dimming control of stage light-ing: 6 proportional dimming groups,each with one master and minor dim-mers.
Each master dimmer serves a dualfunction; it can operate independentlyor as a proportional master. It hasmechanical interlock handle extendingits control to master handle.
Each minor control unit is of the mod-ular plug-in type and has non-inter-locking handle. It can operate indepen-dently or under proportional control.
Motor driven dimming control of gen-eral lighting: Dimmers for stage, audi-torium and coves on separate motordrives.
Switching Facilities:Single cascade control of stage lightingwith contactor for each master dimmer.
proportional master. Minor dimmer onindependent or under proportionalcontrol.
House ON-OFF and transfer switchesby contactors and relays.
Extended Control Facilities:ON-OFF switching control of Bank-master at Auditorium rear.
General lighting and dimming controlat auditorium rear.
ON-OFF switching of general lightingat auditorium rear and usher's stations.
Model WS-642-E
Cross Connecting Facilities:Integral plugging panel with 60-75 re-tractable cords and SAFETY-TYPE
plugs for each stage branch circuit.Six multi-finger jacks for each 6600watt dimmer, three for each 2500 wattdimmer and non-dim control.
Load tester with meter and jack.
Physical Data:Baked gray-green wrinkle enamel finish.
Approximate Overall Size: 106" x 53"x 36" deep.
Stage Master.Master dimmer on independent or as
LIGHTING EQUIPMENT SCHEDULETRINITY HIGH SCHOOL
'Cr
...m...p......Hub tamp
...*Circuit
Cot. No. Qty. Spec. DESCRIPTION Function No.
20009-F. Plugging strip 52 ft. long with (18) 20 Amp. duplex pin
plug receptacles with (x) multi-finger floating jacks, term-inal block, and mounting brackets.
Distribution of(16) circuits. 1-16
8809 6 1000/G40-SPMog. PF
Fresnel spotlight with 8" oval beam co-louvered fresnellens, color frame, C-clamp, 6' leads and 20 Amp. pin plug.
Visibilitycolor-fill
8764 18 500/750/T12/9Med. PF
Ellipsoidal spotlight with 6" co-louvered step lens, framingshutters, color frame, C-clamp, 6 ft. leads and pin plug.
Dramatic poolsof light;
side accent.
403 12 C-clamp with vertically adjustable pipe and adjustablemounting brackets.
Maximumflexible position-
ing of spots.
601-K 12 Extension cables, 50 ft. long with male and female pin plugs.
LIGHTING EQUIPMENT SCHEDULE
TRINITY HIGH SCHOOL
........m.Hub Lamp 'Circuit
Cat. No. Qty. Spec. DESCRIPTION Function No.
_.......20009-F 1
- _ _ _____Plugging strip 52 ft. (21) duplex pin plug receptacles. Distribution of
(15) circuits. 17-31
8811 12 1000/G40/SPMog. PF
Fresnel spotlight with 8" round beam co-louvered lens,color frame, C-clamp, 6' leads and pin plug.
Directionalillumination.
8360 9 500PS40-IFMog. PF
15" Scoop floodlights with ALZAK reflector, yoke, C-clamp,color frame, 6' leads and pin plug.
VisibilityColor-fill
403 6 Same as before.
11328 1 Surface mounting pocket with single pin plug receptacle. Distribution ofa circuit. 32
79031 1 PH-1000/T20/40(DSB)PH-1500/T20/39(DTJ)Mog. PF
Projection unit with 4-way matting shutters, tilt lamp ad-jusment, blower, 12 ft. lead, and pin plug.
Transfer ofimage to
panorama wall.
420 1 Projection unit mounting assembly. For preciseadjustment.
421 1 Image Frame mounting assembly. For varioussized frames.
20009-F 2 t Plugging strip 22 ft. long with (6) duplex pin plug re-ceptacles.
Distribution of(9) circuits. 3341
8360 12 500-13540 I.F.Mog. Screw
Same as before. Color washes onpanorama wall.
ii....1......Y....1.. Iii...il ............=-
20009-F 1 Plugging strip 54 ft. long with (12) duplex pin plug re- Distribution ofceptacles. (6) circuits. 42-47
8768 6 750/T12/9 Ellipsoidal spotlight with (2) 6" condenser ienses, framing SeparationMed. PF shutters, color frame, C-clamp, 6 ft. leads and pin plug. of actors
from scenery.
A r.-, ..-r 0* *0* *0° 0. , -- - 0 ...... - *...... -q. . .^..* .
44.44.4
304 2 4-gang type with door, and (4) duplex pin plug receptacles. Distribution of(8) circuits 48-55
20110 2 Tree with 10 ft. vertical pipe, 3 sets cross-arms, 24" castiron base, and plugging strip with (3) duplex pin plugreceptacles and (3) 6 ft. leads with pin plug.
Support of unitsfor low side.
Continued on next page.
ARCHITECTS & ENGINEEitS
LIGHTING EQUIPMENT SCHEDULETRINITY HIGH SCHOOL
HubCat. No. Qty.
LampSpec. DESCRIPTION Function
*CircuitNo.
8768 6 500/T12/9Med. PF
Ellipsoidal spotlights as before. Accentlighting.
304 / Same as before.
21632 6 150/A23/1.F. Strip light 8 ft. long with (12) reflectors with color framesfor gelatine or roundels, wired on 3 circuits, casteredcradles, (3) 6 ft. leads with pin plugs.
Occasionalhorizon glow. S6-63
20824 3 60/A19/IFMed. Screw
Strip light 30 inches song with (8) receptacles, hook, 6 ft.leads and pin plug.
Interior setillumination.
602-K 7 Extension cables, 25 ft. long with male and female pin plugs.
3540-5 6 500PS40-IF Suspended reflector unit with stem and swivel outlet box General lighting0 Mog. Screw cover. on Dimmer A. 101-104
8583-F 10 300-R40 Flush mounted with Micro-Baffles and plaster ring for0 Med. Screw sloped ceiling.
8956 9 300 PAR-56Flood
:
Flush mounted with gimbal adjustable rings, louvered, andcolor roundel (optional).
General lightingon Dimmer B. 105-106
-v ,
''
' tr. -
8583-F 6 300 R-40 Same as before. General lighting
6 Med. Screw on Dimmer C. 107
8908-F 77 300 R-40 Same as above for flat ceiling. 108-125
Med. Screw
7899 Special ColdCathode
Light Strips with two rows of staggered lamps, custom-built. Effect lightingon Dimmer D.
(x) All receptacles provided with 20 amp. multi-fingerfloating jacks for positive electrical contact. Recep-tacles are also available with 2-pole plus ground (addsuffix "G" to Catalog number).
so eSymbols are shown on plan-view drawing.
48
126-129
*Circuits 1-63 for stage lighting, controlled through cross-connecting panel. Each circuit must have own neutral.Circuits 101-129 for general lighting, controlled by motordriven dimmers.
t3 receptacles adjacent to each side of image frame on 3circuits: other receptacles on individual circuits.
Why the Open Stage isEconomical, Practical
and up to date ArtisticallyUTILITIES
Significant reductionin current consumption
rEQUIPMENT
First class installationmore economical thanwith proscenium form
I
SERVICEtow productionsevice demands
OPEN STAGE AUDITORIUM
r ART ROOMEase l size image con-
struction for sceneprojection system
I ILECTURE ASSEMBLY
Single room, Maximum platformdynamic for space, good
speaker circulation
1
SHOPCompact Unit
Set Pieces
PROGRAM I
I
STORAGEMaximum
Space Economy
1
CONCERTSingle acoustical chamber;
platform spacefor large orchestras
ARCHITECTURALLY, the open stageis a chamber both visually and acousti-cally complete, with ample space for avariety of activities. Aside from curtainsfor effect or closure, the usual comple-ment of teasers, tormentors, wing andcyclorama draperies are not required.
The ENGINEERING phase of theopen stage includes a dual lighting sys-tem, one portion for the lecture-assembly-concert program, by means of architec-tural downlights in dimmer groups by area(such as auditorium, forestage, stage) ;the other portion, for the dramatic pro-gram, by means of specialized theatricallighting equipment and its lighting con-trol board.
This dual system is more economical inboth installation cost and current con-sumption than the older proscenium-typeinstallations. Furthermore, control forgeneral illumination may be accessiblewhile the specialized theatrical lightingcontrol board may be remotely located.
1
DRAMASet-piece compacts in
architectural environmentreplace costly
picture frame scenery
A Dramatic Revolution
DRAMATICALLY, a major revolu-tion has occurred in both the nature ofdecor for theatricals and the logistics ofconstruction, shifting and storing ofscenic items for the open stage. This hasbecome known as SPACE STAGING.
Space Staging may be defined as thepractice of dressing and using separateareas of the stage without having to con-tinue the dramatic environments to theproscenium frame. Set pieces standingfree in space replace settings which spanthe stage from side to side. One can rep-resent many scenes simultaneously in-stead of moving one large set after anotherinto position. Set pieces never need be aslarge as one continuous set, so the varietyand spectacle of the scenery can be in-creased. Also, for space staging, the largerthe stage the better, and with a largerstage other school activities can be ac-commodated properly.
By James Hull Miller
Today, Space Stagecraft is the onepositive answer to the many challengesfacing the dramatics instructor. With theoverall background controlled flexibly bythe lighting system, only set pieces areneeded to complete the illusion of en-vironment.
These set pieces can be as spectacularas desired with a fraction of the effortwhich goes into the full picture-frame set.Since the scale of the settings no longerdepends upon the happenstance of theproscenium width, the result is that econ-omy of materials, preparation areas, andlabor go hand-in-hand with the most com-plex productions. With scene changes lessburdensome on the open stage, the dra-matic pace is quickened. The backgroundprojection system and acoustically effi-cient stage wall replace the cycloramacloth, cloth backdrops and rigging neces-sary to raise and lower them.
ARTISTICALLY, the new control overthe scale of the setting and the freedomto design compact units of scenery withinthe architecturally finished space of theopen stage, permit a range of styles fromthe most realistic to the most abstract. Italso opens up additional sources of sup-ply such as the artist's studio and smallercraft shops.
ADMINISTRATORS'High School Section
For many years the school auditoriumhas resembled a conventional theatre withthe mechanical equipment missing, andthe proper off-on stage space relationshipsacrificed. The solution is not to restorethese, but to create the sort of spacewhich meets the special challenges of ahigh school program. Below are sometypical questions asked by administrators,with answers based on experience withthe open stage form.
. ... .
QUESTION: The dramatic staff requests a30 foot proscenium opening; ihe concertgroups, an opening 50 feet wide. Howshould I resolve this situation?
49
ADMINISTRATORS
ANSWER: The open stage design elimi-nates compromise since the prosceniumis not an aesthetic requirement for openstage dramatic productions. If a prosce-nium wall is required for building codereasons, the width of the opening shouldbe set for the largest activity.
QUESTION: Dramatics play a minor rolein our school. Will not specifications fordramatic equipment add a great deal tothe cost of the auditoritun?
ANSWER: Equipping the open stage com-pletely is not any more expensive thanthe majority of the older arrangementswhich incidentally did little for the dra-matic program. Architectural arrange-ments of the open stage auditorium itselfreplaces most of the curtain equipment.And, the newer, more compact, two sys-tem lighting layout (one for dramatics,the other for concert-assembly programs)effects economies in both equipment andin current consumption,
QUESTION: What savings, specifically,can be effected?
ANSWER: Up to 25% in equipment; andfrom 40% to 55% in electrical currentconsumption, from theatricals to concertsand lectures respectively.
QUESTION: How is this possible?
ANSWER: The extension of the auditor-ium ceiling plane over the forward stagearea eliminates the practice of sandwich-ing solid borderlight strips between clothmasking pieces, and permits a continua-tion of the more efficient auditoriumdownlighting. Border lights consume agreat amount of current with relativelylow illuminating output, and by eliminat-ing them, it is passible to reduce sharplythe capacity of the stage lighting controlboard. Furthermore, the ideal placementof open stage dramatic lighting instru-ments encourages an economy of equip-ment.
QUESTION: We have an extensive dra-matic program. Should I not include stagefacilities of the proscenium form in thenew auditorium?
ANSWER: Should a secondary school edu-cation be one of learning principles or ofacquiring specific techniques? If an ap-prentice-type education is not involved, itwould appear that the open stage form,with the lower production cost factor,would be the most ideal for the secondaryschool.
Proscenium and open stage art formsare quite different in the methods theyuse to organize the dramatic environ-ments. A stage which serves both formswell is complex and expensive. The pro-scenium was developed in order to per-fect the more pictorial aspects of "change-able scenery", while the open stage, with
a very old tradition, solves many space-time requirements of environment in amanner highly ideographic.
QUESTION: It is not so much the designof the auditorium as the provision ofspace for the fabrication and storage ofsets which is a problem. Does the openstage auditorium plan help with this prob-lem?
ANSWER: Definitely. Open stage sceneryis unit scenery placed at the heart of eachplaying area and its form is naturallycompact. The logistics of preparation andstorage of open stage sets make sense inthe high school.
QUESTION: Our auditorium must servealso as a community center. Would not aproscenium design be essential for com-mercial bookings?
ANSWER: The economy of the theatre isshifting; thus touring companies which re-quire the rigged stagehouse and prosce-nium frame arrangement seldom contractfor auditoriums seating under 2000, andcompanies which can afford to play tosmaller houses already have a more ver-satile stagecraft. Exclusive of the bookingphase, the open stage is the more prac-tical space for a general community pro-gram of lectures, concerts and amateurtheatricals.
QUESTION: What about conflicts ofschedule between a strong dramatic pro-gram and other auditorium activities?
ANSWER: There are three considerationsthat minimize such conflicts:1. There is the dual lighting system:
downlighting for all general activitiesand special theatrical lighting for dra-matics . . . each system with its owncontrols.
2. Settings for open stage are "compacts",easily maneuvered.
3. Overall backgrounds beyond the prac-tical set pieces are created by illumina-tion rather than by paint and cloth.
QUESTION: What are some specific draw-backs to the majority of conventionalauditoriums in our schools today?
ANSWER: Most stages are badly over-draped, leading to excessive sound ab-sorption and poor acoustics. The rows ofoverhead teaser cloths serve no usefulpurpose where no fly loft is present. Be-tween these teasers are the borderlightstrips, more than required because of thelimited lighting angles.
The multiplicity of tormentor andteaser curtains emphasize the "picture-frame" quality of the stage and this inturn requires the maximum of scenic de-cor for dramatic environment.
These drawbacks can not be dealt withsingly. They are so completely interrelatedthat to correct any,one had best start from
the beginning, from a study of the audi-torium program as a whole. And in thisbulletin, we consider the open stage formas a unified or integrated solution toproblems presented by a varied program.
QUESTION: Some educators favor the re-moval of dramatics from the programrequirements of the auditorium and thecreation of a modest but more specializedfacility such as a "double-classroom".Does this solution have merit?
ANSWER: This solution has serious limi-tations. There are many valuable dramaticexperiences such as concert, dance, oper-etta, and musical comedy which cannotbe programmed into the classroom the-atre. Proponents of this theory are gen-erally proscenium-oriented and are un-comfortable on a larger platform. "Openstaging" is at home on these larger spacesprovided they are properly designed. It isan administrative responsibility to see thatphilosophies of production are evaluatedwith objectivity.
QUESTION: How are acoustics for theopen stage?
ANSWER: The extension of the audito-rium ceiling over the platform and thepresence of the firm plaster wall for back-ground projection reinforce the acousticalqualities desirable for the "sending" endof the auditorium. The open stage ap-proach to auditorium design might bedescribed as the enclosure of the audienceand the performance platform in onearchitectural (and therefore acoustical)envelope.
IIN. _i_IJJ
OPEN STAGE
PROSCENIUM STAGE
Comparison of the proscenium and open stageforms demonstrate that all sound is projected fromthe open stage while a large proportion of soundis lost in the "stagehouse" with its conventionalcurtains whkh form a stage enclosure that is
acoustkally negative.
ADMINISTRATORS'
College Section
The small college theatre may be:I. A dramatic club,2. A departmental educational unit, or3. A combination lecture room and
theatre chamber.
These facilities differ from the highschool auditorium chiefly through a lesscentralized administration, with more re-sponsibility for the program vested in theoperating staff. Consequently, administra-tive questions will be related to specificsituations. As in the preceding section thequestions are those more frequently asked,rather than those- representing a completecoverage of this phase of theatre design.Answers are based on experience with theopen stage form.
QUESTION: In a small college depart-ment, with funds for only one building,what sort of a theatre should be con-structed?
ANSWER: Educators have said that a stu-dent familiar with open stage design tech-nique can adapt very quickly to prosce-nium, but that students trained first inproscenium have a more difficult timeadapting themselves to the open stage.
This is because scene design conceptsfor the proscenium stage are fairly closeto those for television and the motion pic-tures while a great deal more imaginationis required to design easily on the openstage.
ci
QUESTION: Would not a theatre adapt-able to various styles be the best solution?
ANSWER: An adaptable theatre is veryuseful. However, it is only fair to warnthe administrator that he is undertaking afairly complex problem, one to which noreally artistic or economical solution hasbeen found. In the first place, prosceniumand open stage forms have quite differentseating plans and adaptability requiressome sort of audience rearrangement.Second, much of the "style" of a theatreis lost to the anonymous look of an adapt-able system. Third, the more mechan-ically efficient adaptability becomes, themore frozen are its patterns for the future.
QUESTION: Does not a proscenium-ori-iented forestage-pit hydraulic lift combi-nation help solve this problem of adapt-ability?
ANSWER: This is a very difficult questionto answer. In the Community Theatresection that follows I recommend such atype of lift because it will help expandthe scheduling of the theatre for lectures,
concerts and meetings of a civic nature. . . all activities ill-housed behind a pro-scenium frame. I would be less inclined torecommend it here because I do not thinka really good open stage experience re-sults from this arrangement, unless theproscenium frame is architecturally de-emphasized to the point where its pres-ence is not felt when the two stages areused in conjunction.
It must be remembered that such ahydraulic device used as an orchestra pitsubtracts area from the playing space atthat very time when the maximum play-ing space is needed for operas, operettas,and musical comedies.
QUESTION: Can the open stage be faith-ful to the intentions of a script written forthe proscenium theatre?
ANSWER: A playwright creates what hehopes is a marketable commodity. Hisstyle of scene arrangement is influencedby whatever production methods areavailable. And I certainly do not believespecific production methods affect thegenesis of his material. Thus, the fidelityto the literary style of the original scriptis not in jeopardy; rather, there is in-volved only the technical transposition ofscenes from the one physical discipline tothe other.
QUESTION: Does not an educational in-stitution have an obligation to its studentsin the presenting of the great dramas in amanner faithful to the periods to whichthey belong?
ANSWER: Ideally a number of theatres ofvarious types should be built, but thiswould be more possible at the universitylevel. However, it is well to rememberthat the open stage spans the greater partof western tradition and represents themajority of oriental theatre styles.
QUESTION: These program arguments forthe open stage are most convincing, butdo you have production photographswhich show a variety of sets on the openstage?
ANSWER: Frankly, I do not have photo-graphs that are particularly meaningful.The impression an audience receives froman open stage experience is difficult, if notimpossible to capture on film. The pro-duction environment is not organized ina pictorial fashion; rather, the dramaticenvironment consists of visual ideas setin the one space of the theatre, the spacewhich contains both seating and playingareas.
The spectator may be aware of this re-lationship but subconsciously he sorts outthe dramatic form from the architecturalbackground. I have yet to see a photo-graph which does justice to the openstage. Actual models are more interesting,and, of course, good sketches help.
QUESTION: How much equipment shouldthe college theatre have for student train-ing for later-in-life situations?
ANSWER: Of course, dependence onequipment may weaken the art of im-provisation, while ignorance of equip-ment may lessen technical achievement.The real danger from equipment systems,however, come from the rigid procedureswhich any highly mechanical method setsup. Students should be told that therenever has been any proportional relation-ship between good theatre and the amountof equipment in its service. No blanketrecommendation can be made in answerto this question. Each college programmust be evaluated individually. Opinion isdivided here, ranging from the "theatreof limitations" to a "machine for theatre".
QUESTION: What is your definition of a"theatre of limitations"?
ANSWER: A "theatre of limitations" is anegative term for a space whose definitionsuggests specific lines of scenic develop-ment. Brilliant technology within thisform is the rule rather than the exception.
QUESTION: Reports of so-called "uncom-mitted spaces" continue to appear in manytheatrical and architectural periodicals.What is your opinion of theatres whoseforms are created by each production?
ANSWER: It is easily understandable whyenthusiasm for the uncommitted space isat an all-time high. Until the formula fora really popular theatre subject-matterand style is discovered, no one knowswhat contemporary form will be ourheritage. Therefore, experimentation is avital and necessary phase.
In creating such a space, however, theclient must not only be an adventurer butmust be willing to undertake the greatercosts of experimentation in time and ma-terials, production by production. Unfor-tunately, much touting of the uncommit-ted space serves only as a camouflage forlack of decision.
QUESTION: All the stagecraft of whichyou speak would appear to be perfectlyvalid for the large proscenium stage,would it not?
51
ADMINISTRATORS
ANSWER: It is perfectly true that spacestagecraft has often been the salvation ofartists faced with the large prosceniumframe stage, though one has to dress theoverall proscenium stage with somethingin the way of curtains or cyclorama unitsbefore the set pieces can be used. Theopen stage is dressed already by an ex-tension of the auditorium walls and otherneutral devices creating a single architec-tural envelope of the seating and playingareas.
ADMINISTRATORS'Community Theatre Section
QUESTION: Our audience enjoys seeingthe latest shows from New York withcopies of the real Broadway settings. Canthe open stage simplify our productionproblems?
ANSWER: Definitely not. In fact, the openstage may increase your problems. How-ever, if you are willing to redesign theseshows, using open stage concepts, youwill be able to put them on with consider-ably less expenditure of materials andhuman effort.
QUESTION: At present the majority ofcommunity theatre productions requireindoor settings. Does not the open stagemake this sort of setting more difficult todesign?
ANSWER: This is one of the questionsmost frequently asked. Some specific so-lutions are given in the DRAMATICSsection of this bulletin.
The most important factor of design is
to learn to consider the permanent archi-tectural environment of the playing areaas something distinct from the environ-ment of the play.
Pretend that there is an imaginary pro-scenium frame around each set piece. Forinstance, if you have a screen represent-ing three walls of a room, assume that thespace around this screen is masked fromthe audience. Now, imagine that thisframe is removed to a position upstage ofthe screen, and, in reality, that this frameis just a part of the general architectureof the theatre. The transition from pro-scenium to open stage is complete.
QUESTION: Do you think that the openstage offers more artistic possibilities forthe future?
ANSWER: Artistically, I prefer the openstage, but I believe that the majority ofmy theatres were built because they meteconomic and practical challenges with-out diminishing artistic possibilities.
QUESTION: Do you mean tlu.t financiallimitations have caused some theatregroups to take a second look at their pro-duction philosophy?
ANSWER: Exactly so. The natural desireto create a first-rate experience for anaudience has caused these theatre groupsto search for techniques closely alliedto their production potential. The greatestthing about the open stage is that it is aunique space experience.
QUESTION: Then would it not follow thatthe open stage is not the stage for the ma-jority of different styles?
ANSWER: No single stage is, not even theproscenium. I think you can create justas good a room set on the open stage, forinstance, as you can on the prosceniumstage, but you must work with the visualidiom of the open stage and not transportthe proscenium box set to the open stage.
QUESTION: You have stated that the openstage theatre is more economical to build,yet are not the audience and playing areasabout the same for open and proscenium?
ANSWER: There are two main reasonswhy open stage is more economical tobuild:
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1. It is a low rise building, and2. The logistics of settings are different
than proscenium, with a more favor-able ratio of service to playing area.
QUESTION: Does active civic use of thetheatre in addition to the regular dramaticproductions influence the planning of thearchitectural toward one form over an-other?
ANSWER: In my own experience I havefound that the open stage is more suitablefor a variety of activities than the prosce-nium stage. Lectures, concerts, and meet-ings are best staged on a platform ratherthan conducted from within the framedstage. An adequate forestage solves thisin part, but each foot of forestage depthmakes the picture frame stage more re-mote.
QUESTION: Does not a forestage-pit hy-draulic lift combination solve this prob-lem of staging in both platform and pro-scenium forms in one building?
ANSWER: It certainly offers some flexi-bility, especially where audience seatingcan be accomplished when the lift is notin use as pit or forestage. However, alift adequate for this sort of program mayrun as much as $20,000. In a $250,000building this is a large expenditure; in a$500,000 building, it would appear morereasonable.
Shown here is a direct comparison between the proscenium and open stage forms in terms ofusab/e space, with a viewable working area 21/2 times larger for the opr- stage in the samesize building. In the case of the proscenium stage the service wings shown t...e even smaller than
dictated by the accepted formula of wing width equal to 1/2 the proscenium width. The open stage
shown is based on the Longmont, Colo, plan with strong calipers. The open stage need notdepend on wing service areas to implement its dramatic expression. Personnel circulation is solved
by the splayed acting towers and portable folding screens.
Directionfor the Open Stage
By IRVIN J. ATKINS
The proscenium stage presents a playto the audience from behind the frame ofa picture. On this stage, pictures of eachmoment are designed by the director totransmit some sort of information to theaudience.
The setting and properties convey theenvironment. Pictufization, composition,and movement concentrate on clarifyingthe drama. Transmission of direct infor-mation of this sort is made possible bythe fact that all of the audience are dis-posed before the proscenium opening inan arc C-D as illustrated below. Themaximum angle of this arc allows eachspectator to view the same basic relation-ship between objects in space.
Open Stage Dynamics
Where the open stage takes the form ofan end stage there is little difficulty. Thepictorial principles and dynamics of theproscenium hold. The caliper stage isclosely related to the medieval multiplestage form and can be said to be a seriesof end stages.
Problems start to arise, however, withthe fore-thrust or peninsular form. Withthis type of open stage we begin the pro-cess of ranging the audience about theaction (as with the half-circle A-B) andpictorial principles break down, for herewe find for the first time the challenge ofmultiple perspective.
Scene would "read" pictorially if audience were withdrawn to the area enclosed by thearc C.D. With audience inghe holf.circle area of A-8, King and Suppliants must either bemoved upstage, a weak solution, or the principle of dynamic focus applied as described below.
Not all non-proscenium stages are mul-ti-perspective stages. For example, any-one who has toured with a show whichwas blocked for the proscenium stageknows that, regardless of the architecturalshape of the room, he finds on arrival atan unknown destination, he must play hisshow at one end, or side, with the audi-ence before him.
This is the arrangement which bestsuits his presentation, and best solves histechnical problems. The most importantcomponent of the proscenium is impressedupon the available space the audienceseating directly in front of the stage area.
As long as this matrix is maintained,an actual proscenium arch is not a neces-sary feature; nor, for that matter, is araised platform, though it may help sightlines. Our perceptual patterns have or-ganized the space into a virtual pro-scenium.
The Multi-Perspective Stage
A multi-perspective stage organizes theaudience about the playing area, not be-fore it. The actual arc subtended is rela-tively unimportant. The theatre illustratedbelow shows an audience seated about180 degrees of a circle. It might easily be200, 240 or even 360 degrees and themulti-perspective principle would still ob-tain.
If we reduce the arc we find a lowerlimit. Once all of the audience is con-tained within the arc subtended by C-D,the relationship is one of virtual pro-scenium.
What is important is that the audienceoutside of this angle, on either side, seedifferent relationships between the actorson stage and so interpret differently. Theinability to perceive an intended relation-ship is the chief difficulty the directormust overcome on the multi-perspectivestage.
A system of geographical location for the open stage. Levels permit the focus of attention to
be reinforced by the Knights in offset positions rcther than in positions pictorially orientedabout a single audience perspective.
Spatial Relationships
The main problem on the multi-per-spective stage is the problem of spatialrelationships. The auditory, cogni tive,psychological, and interpretative prob-lems of the play can be solved adequatelywith the tools available through trainingfor the proscenium stage. It is exclusivelyin the sculptural, pictorial, and kineticaspects that difficulties are encountered.
In this area, the stage director musttake his cue from the modern sculptor,rather than from the pictorial artist.
Scene Placement
Generally speaking, with the audiencedisposed in a semi-circle, the area of thestage beyond the line A-B has been re-
garded as a virtual proscenium stage andhas been used for scenes of static dia-logue, tableaux, pageantry, and strictlypictorial scenes.
The area below this line has been usedfor scenes of action, dynamics, soliloquy,conflict, and other spatial scenes. Not allopen stages today have such area divi-sions, and a system of scene placementmust be evolved in terms of a truly pen-insular stage.
Posifion
Stage geography on the fore-thruststage becomes a rather confusing jumbleof terminology unless a new system isdevised. Upstage and downstage refer inthe proscenium situation to an imaginary
axis at right angles to the prosceniumarch. So long as the audience is deployedbefore the actor, the terminology is ex-cellent; once the audience begins to sur-round the actor, it breaks down.
It becomes much more expedient forthe director to give directions in the sys-tem utilized by directors in the round,where directions are given according toaisle number.
To utilize the system to greater ad-vantage, the director can set points arbi-trarily about a sort of compass rosette asillustrated above. Crosses are then de-scribed to the actor by referring to thenumber assigned to the point towardwhich he is to move. Thus the actor atthe stage can be asked to cross toward"8", "4", "12" or where you will with-out confusion.
Area Strength
The relative strength of "areas" on theproscenium has been the subject of dis-cussion by authors of directing texts forsome time. On the open stage, the subjectagain takes on a new configuration.
While center still holds the key spot inregard to relative strength for the singleactor, the upstage to downstage axis isnot longer axiomatic. Once the actor haspassed through the line A-B and movesdownstage, he becomes relatively weaker.This phenomenon is due to another causewhich we might call "frontality", i.e., thegreater the portion of the audience ableto see the full front of an actor, thestronger he appears.
Solution: Focus of Attention
The focus of audience attention on theproscenium stage is usually controlledthrough movement, composition, and pic-turization. As used on the prosceniumstage these terms refer to pictorialqualities.
The front-of-the-stage director blockshis show looking straight onto the stagefrom center, then adjusting slightly for
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extreme sight lines. In transferring to thepeninsular or round, he finds himself fre-quently doing the same thing from habit.He will build a scene from one part ofthe house, then another and still another,each time creating a straight-on scenewhich has little validity for other locationsin the audience. True, at some time, everypart of the audience will have a scene ofits own, but the result is a choppy andunsatisfactory performance of the play.
A better result can be obtained througha shift of directoral perspective from theobjective onlooker to the subjective centerof the particular grouping. The ability tosee the action from the center of focusrather than from an audience viewpointis an invaluable asset to the multi-per-spective director.
Principle in Action
The illustration below shows the prin-ciple in action. The two Suppliants in noway diminish the power of the King asfocal center since even the front row cansee over their heads to this actor. TheChorus block sight lines from a portionof the audience and will become a nui-sance if allowed to remain static. To dis-
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place them toward the Suppliants wouldsolve the problem of sight lines but alterthe implied relationship.
The solution, then, is either to putthem into motion about the focal center,or to remove them to a place outside thesightlines along the circumference theynow occupy. The choice will depend up-on the qualities of the particular scene inquestion: if the scene is fluid the firstsuggestion may be acted upon; if static,the second.
The principle to be grasped here issimply that the center of focus on thisstage becomes the nucleus about whicheverything moves. Thus the figure atcenter is more static than the figuresabout him, who are viewed as "ground.
Focus can then be shifted quite easilyby selecting the figure about whom theground will move. It will soon becomeapparent that the motion need not be cir-cular, as the single illustration mightimply, or even symmetrical, to achieve itseffect, but that even the slightest shift inthe pattern of motion will reinforce focus,shift focus, or even defocus.
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This illustration shows the stage from the perspective of the King. His
elevation above the Suppliants clears his sightline to the audience whilethe Choral Group maintains a series of dynamic positions by moving to-
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the fixed focus upon the King.
55
DRAMATICS
Approach toOpen Stage
Scene Design
Prior to designing for the open stageone must become familiar with some con-vention§ of expressing environment in thefree space and quasi-architectural sur-round of the playing area.
To illustrate some of these conventionswe present four experiments. These in-volve an archway folding screen set,accessory shutters, and a bench, whichare placed downstage of our panoramawall as shown below.
Experiment I. Dark blue panorama fromoverhead scoops, oblique shaft of blue-
green light passing through an arch, soft-edged orange spotlight pool downstage ofarches. Scene: interior, late evening.
Experiment 2. Dark blue panorama fromoverhead scoops, soft-edged orange spot-light pool upon very low center of pano-rama, soft-edged blue-green spotlight pooldownstage of arches, oblique shaft oforange light passing through arch. Scene:exterior, late evening.
Experiment 3. Add ellipsoidal spotlightfrom projection catwalk direct to pano-rama to above set-ups. Scene: as above,with moon.
56
A scene design exercise illustrating some conventionsof expressing envir nment for the open stage.
Experiment 4. Change panorama scoopsto orange, pool of light downstage ofarches to lavender, soft-edged orangespotlight direct from projection catwalkto panorama. Scene: interior, on a hot,dusty afternoon.
In the light of the above experimentsit is possible to draw some conclusionsand make some general observations:
I. Complete pictorial description is notnecessary on the open stage, but mayexist in part, by degree, as desired.
2. Scenery takes the form of set pieceswhich dominate the heart of a play-ing area rather than surround its per-imeter. This gives meaning to thephrase "space stage", and frees theplaying area for multiple and simul-taneous scenes.
3. Dramatic environment may be moti-vated by light upon highly ideo-graphic scenic shapes.
It is frequently necessary to coveractors' movement to and from, or formsheltered areas in the vicinity of islandunits. Here shown are flanking sets ofopaque folding screen sets. Traditionallyof lesser height and panel width than theset pieces they serve, these screens arecalled "linking screens" and should over-lap to the upstage rather than touch theleading edges of set pieces.
Examples of Scene Designfor the Open Stage
DESIGN PROBLEM: THE LOVERS,by Leslie Stevens. (Samuel French). Abold Medieval melodrama of a tangledromance. Scenes include a crossroads,fields, woods, doorways and the villagesquare, a chapel and crypt, and variousrooms in the castle.
THE SOLUTION, as designed by James
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Hull Miller for a 1962 production at theOrange Blossom Playhouse in Orlando,Florida, employed three basic architec-tural parts; a large low platform sepa-rated from a smaller though more ele-vated platform by a tower. The towerillustrates the open stage principle of highpoint toward the center. The large plat-
DESIGN PROBLEM: MADAM BUT-TERFLY, by Giacomo Puccini. (Ricor-di). This famous opera traditionally callsfor a Japanese house, terrace and garden,and later, the interior of the house, all atvarious times of day and evening.
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form for the village and country sceneswas backed by an arch arcade with trans-lucent panels for color and pattern, theprojection apparatus being !ocated to therear. The many scenes were handledthrough the use of properties and light-ing and the projection of images, withoutrecourse io a major curtain.
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THE SOLUTION, as designed by JamesHull Miller for the repertory of theShreveport Symphony Opera series, 1959to date, organizes the stage into publicand private areas through the use of levelsand a four-part translucent screen unit,all set within and before a typical Japa-
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nese framework of architectute and pan-els. Properties, lighting and some pro-jected imagery are descriptive of the dra-matic environments, and illumination is
regarded as dynamic rather than static.No physical set changes are involved.
5
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DESIGN PROBLEM: STRANGE BED-FELLOWS, by Ryerson and Clements.(Samuel French). This lusty comedy is
played against the colorful background ofan 1890 winter parlor in San Francisco'sNob Hill district.
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THE SOLUTION, as designed by NancySchauer for the 1962 production at theTheatre of Western Springs, Illinois, illus-trates the principle of using a set as anucleus (here a reverse "L") dominatingthe core of an acting area instead of sur-
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DESIGN PROBLEM: THE MALE ANI-MAL, by Thurber and Nugent. (SamuelFrench). This is a lively domestic comedyrevolving about a young college professor,his wife, a visitor in the person of a for-mer classmate of the professor, and anidealistic student. It is played in a living
room scene.
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THE SOLUTION, as designed by Doro-thy Hattendorf for the 1963 productionat the Theatre of Western Springs, Illinois(and here shown on the stage of the NewProvidence, New Jersey high school audi-torium, by whim of the illustrator), shows
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the command the open stage possessesover complete environmental description.Using sections of the interior walls asspace set piece units, one views the cam-pus itself (in this instance in projectedform).
CLAMPING DETAILS
DESIGN PROBLEM.- BEAUTY ANDTHE BEAST, by Nicholas Stuart Gray.(Samuel French). The famous tale retoldwith many picturesque scenes, the Wiz-ard's Garden, both before the Gate andwithin the Beast's Castle, and a room in
Beauty's home.
THE SOLUTION, as designed by JamesHull Miller for a summer 1962 presenta-tion at the Marjorie Lyons Playhouse of
Centenary College in Shreveport, Louisi-ana, used changeable set pieces which in-cluded the Wizard's pavilion and thetower units. Shown below the sketch isthe ground plan for the tower units anddetailS of the clamping which joined thecomponent parts together. In a similarfashion, the gate posts, made from card-board rug tubes, were clamped to theflanking walls. Shown beyond the hex-
agonal pavilion is a folding screen setsuch as is used for wing control.
Note that the components of a set mayextend beyond the panorama and yet ap-pear quite natural. To attempt to encirclethe playing area entirely by a cycloramadefeats the space-centered principle ofopen stage scenery and returns the opera-tion to proscenium conditions.
59
DRAMATICSli.....
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DESIGN PROBLEM:ON BORROWEDTIME, by Paul Osborn. (Dramatic PlayService). A whimsical fantasy on Death,as developed by a grandfather, his grand-
Design interpretation
In conclusion, scene design involves theinterpretation of a dramatic environmentin the dual terms of its meaning and thephysical characteristics of the theatre con-taining it. Thus one designs in separatefashion for proscenium, open, or arenatheatres.
Though the open stage is a form con-siderably older than proscenium, the lat-ter is more familiar to the average artist,and therefore he thinks more easily in it.
This is not to say, however, that thelanguage of vision for proscenium is anymore valid than that for the open stage.In fact, it is quite the contrary, for openstage dramatic environments have always
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a small town house and yard environ-ment.
THE SOLUTION, as designed by PeggyAnderson for the 1962 production at the
displayed more forthright expressions oftime-space relationships than those of thesuccessive scenes of the picture-frame.
Control of Scenic Endeavor
It is also very apparent that a majordifference between the conventional pic-ture-frame theatre and the theatre of theopen stage lies in the control of the scenicendeavor. In the one the scale is generallydictated by the dimensions of a proscen-ium, in the other, the scale is entirely inthe hands of the designer.
The open stage theatre is an architec-turally finished space into which areplaced only those objects which aredeemed important . . . in much the sameway as one hangs a picture or places apiece.of sculpture in a room._
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Theatre of Western Springs, Illinois, isnot original with the open stage, but isan imaginative version and a more spa-cious arrangement of the same setting fre-quently used on the proscenium stage.
Much modern art that would be over-whelming in the full pictorial extension ofthe proscenium frame is entirely accept-able as dramatic scenery when its scaleis properly balanced to the human scale.
Shown here is an example of the de-sign approach where changeable sceneryrequirements are redrafted in terms of apermanent structure with impermanentpieces maneuvered within it.
Illustrated in process of assembly is asemi-architectural facade, in this instance
a portable framework for Mozartianoperas designed by James Hull Miller, forwhich all removable panels are of a mod-ular system, 6 ft. 8 in. by 7 ft.
With the La Junta auditorium and theSwarthmore theatre, this design approachis basic for the theatre architecture itself.
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Lighting the open stage involves tech-niques comparable to those used in studiophotography: fill. directional, and high-lighting.
Fill, primarily to achieve color washand general visibility of facts and ac-tion, is by fresnel spotlights, usuallyequipped with the revolutionary ovalbeam lenses.
Directional illumination is by fresnelspotlights with round beam lenses.
Highlighting is by ellipsoidal spotlights.
In the sketch above, the lighting beamsmarked "A" represent both oval andround beam fresnel spotlights, providingfill and directional lighting, and the beamsmarked "B" and "C" represent ellipsoidalspotlights from side and rear forming thehighlighting and furnishing the well-de-fined pools of light upon floor and set.Such pools of light must be kept to aminimum to avoid distraction.
On the other hand, the forward illu-mination frequently washes over the setpieces and playing areas onto the archi-tecture itself, an effect desirable in itselfin relating the theatre to the dramaticenvironment, bui one which requires thediffuseness of a fresnel lens.
No attempt is made to provide thecomplete crosslighting pattern found inmuch proscenium style lighting. Such apattern was largely evolved to meet thechallenge of having to place equipmentnear the stage behind the teaser and bor-der masking cloths. The greater distanceof mounting positions from the open stageaffords a superior distribution of illumi-nation with fewer instruments. Border-lights are not required, their functionbeing replaced by the oval beam fresnelspotlights which give a somewhat direc-tional quality to the general illum;qationwhich the borderlights did not.
Proper lIghting Control
The open stage is a space where avariety of scenes are grouped in a freeform manner. The proper lighting controlis one through which the source and
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placement of illumination can be movedwith considerable subtlety.
Overlapping and fractional cues arethe rule rather than the exception. Aniutotransformer board in the hands ofan artistically motivated operator makesa good control unit.
Preferred are the arrangements where-by 6000 watt dimmers are associated withgroups of 3000, 2000, and 1000 wattdimmers, for electrical series mastering,with independent feed option per dimmerthrough individual selector switches.(present capacity ratings of autotrans-former dimmers also include 6600, 3600,2500, and 1200 watts for reasons not per-tinent to this discussion.)
With this equipment, the operator may"play" the lighting console as he woulda musical instrument, as well as set inmotion a limited number of prearrangedcues. HUB autotransformer boards,Model WS series, are designed to meetthe specific requirements of each openstage theatre. See the Lighting Equipmentsection of this bulletin for typical auto-transformer control board specifications.
Remote Versus Direct ControlWhere mounting heights of lights are
22 feet or higher, wattages per instrumentbecome greater and the combined loadsmake the use of a manual autotrans-former board impractical. Then, the mostpractical method of light control is by a
remotely located dimmer ban.. ,,nere theelectrical outputs are regulated by lowvoltage potentiometers.
Presently, there are three recognizedsystems, the magnetic amplifier, the re-actance and, the semi-conductor, listed inorder of increasing cost, each with itspeculiar but minor advantages and dis-advantages. For the operator, however,the chief differences of remote over directcontrol lie, positively, in a superior mas-tering system, and, negatively, in the dif-ficulties arising from the miniaturizationof control dials and Ievers, and the iden-tification of individual circuits for manualadjustments.
Remote control dimmer banks arerarely custom designed since they usehigher capacity units, a condition whichmakes their application to smaller thea-tres economically infeasible.
Tips For Good LightingControl equipment is equally as im-portant as are lighting instruments.
Shadows of actors are softened by theuse of roughly textured scenic coveringmaterials.
Multiple shadows of actors may be re-duced by using a minimum number offrontal lighting units and a maximumnumber of accent units from the sidesand rear.
The fewer the sources of illumination,the more dramatic the scene will appear.
Lighting beams should be soft-edged, toavoid sharp cut-off lines. Architecturaland scenic surfaces should be similarin texture for the same reason.
Light falling on dyed or rough materialappears more pleasant and realistic thanlight falling on smooth, painted sur-faces.
Scenery which possesses radiance in it-self, through the use of translucentscreens, windows, lanterns and con-cealed floodlighting, reduces the amountof light required for the actors.
The Non-Dramatic LightingThe open stage being an ideal space
for lectures, meetings and concerts, it isessential that a uniform quality of basicillumination be provided throughout thetheatre chamber, subject to dimming con-trol by areas such as the auditorium seat-ing, forward stage and main stage.
These dimmer controls should be avail-able to all who use the chamber for non-dramatic programs. Since a number ofcontrol points are desirable, some sort ofremote control is mandatory. Motor-
driven dimmers, with six second speed,offer the most economical solution.
However, if the control board for dra-matics is of the remote control type, suchas the silicon controHed rectifier or mag-netic amplifier types, an additional bankof these dimmers on extended controlswould constitute a more useful systemfor the general downlighting. Positionsfor extended control stations should in-clude front-of-house, same side of stageas curtain control, lectern, and, of course,the dramatic lighting control hoard itself.
COVERING DETAILS I
62
DRAMATICS
Throughout this bulletin, emphasis hasbeen placed on the concept of self-sup-porting scenic units. With such units theoverall stage space may be committed toseveral environmental developments si-multaneously, or only that much of thestage area may be employed as would berequired for a particular scene.
There are several methods of joiningthe easily made screens into groupingsof a self-supporting nature: folding joints,clamped joints, and .the familiar loose-pin
hinge.
Folding Joint Screens
The most useful folding joint is createdin the manner of a Japanese screen, withcloth flap hinges of the same material asthe overall scenic covering. This producesa flexible juncture of framed panels whichis crack-free as well. (Illustration I , 2).
StagecraftThis folding joint screen set has several
distinct applications to the open stage:
A series of opaque panels, properly ar-ranged, may create necessary off-stage
areas.
Opaque panels, too, may furnish shel-tered access to the various playing areas.
Other opaque panels can form back-grounds to playing areas (Illustration 3,
also the FINDLAY sketch in the pre-ceding section).
A combination of opaque and openscreens may create temporary arcades,room interiors, and building exteriors(Illustration 4).
A series of screens with arched open-ings may form a pavilion, a most usefulthree-dimensional unit of great stability.
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Illustration 2: The folding screen panel in-corporating "open" construction. These too,are hinged with cloth flaps.
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OF FRAME
A = UNDERSIDEB = TOP
EDGING STRIPS(From overallcover fabric)
"DETAIL OFHINGING
Illustration 1: How to construct the opaque folding screen set. This sot consists of a series of light frames
covered with textured fabric, and jointed with cloth flaps of the same fabric in the manner of the Japanese
folding screen.
1
1
1
i
1
TRANSLUCENT PANELS
OPAQUEPANELS
Illustration 3: Folding screens create necessary off-stage areas as well as sheltered accessto the various playing areas.
Pavilions
Illustration 5 shows a simple pavilionof five arch screens, flap-hinged, withboth leading edges of the set joined tothemselves by means of three loose-pinhinges (not shown). Illustration 6 showsa more ambitious pavilion composed oftwo sets of three flap-hinged screens each,and two separate arch screens. This pavil-ion is assembled by loose-pin hinge joints
between the leading edges of the foldingsets and the single arches that are insertedbetween the folding sets.
Suitable loose-pin hinges for the abovecan be made by filing down and removingthe permanent pins from 3/4" by 2" nar-row butt hinges and using nails of aslightly smaller diameter as the removablepins.
Illustration 4: Combination of opaque, translucent and open screenscreate temporary arcades, room interiors and building exteriors.
The rear three arches of the hexagonalpavilion have been closed with framedcotton cloth to form translucent panelsfor rear projection. In illustration 3 thesame type of cloth is used for an illumi-nated color background effect.
Translucent Panels
The finest translucent projection is ob-tained by light passing into the fibers ofa high quality cotton cloth such as Bates"Disciplined" dress fabric, or, in cheapergrades, Fruit of the Loom or Cottond'Oro. Ivories, very light tans or winterwhites are suitable tints.
By brushing the translucent cloths withlamp dips, lacquer, and other dyes it is
possible to achieve some very beautifulbackgrounds of a luminous quality. Avoidsynthetic cloths for they rip under con-tinued tension.
Shower curtain material and the moreexpensive translucent plastic screens pos-sess a glazed quality that is not as effectiveas the mat surface of the cotton fabrics,and are considerably more expensive.
The opaque bottom panels shown inIllustrations 3 through 6 prevent "line ofsight" to the flood lamps and the projec-tion lamp filament placed to the rear atfloor level. The translucent materialsmentioned in the above paragraph pre-vent such lines of sight but, again, theyare not as effective as cotton fabrics.
Illustrations 5 and 6: A series of open screensmay form a pavilion a most useful threedimensional unit of great stability.
Illustration 8: The designer must arrange for groupings of panels using the maximum number of"L" and "T" joints.
good paint is masonry paint, available inmany rich earth colors. In the South, thereader may be familiar with MoPaCote,an acrylic paint product of the MobilePaint Company. The paint dries very fastand equipment can be cleaned in warmwater.
Application of color by spray is par-ticularly useful when adding detail, forexample, the berry bush shown in Illus-tration 9. A trunk is cut into one stencil,several gnarled limbs into another, acluster of leaves, another, and the berriesthemselves into yet another. With justthese stencils a whole forest of berrybushes can be applied to screens and set
WALLPAPER
pieces. Detail brushwork on burlap isalso possible.
On Using WallpaperNow and then one may wish to use
wallpaper itself, and this is most success-ful where applied to folding screen sets.A slightly different technique is requiredin preparing the frame and assemblingthe screen.
Most wallpaper comes in rolls 18inches wide, so assuming a total screenwidth of 36 inches, additional framingpieces must be added down the center ofthe frame to receive the staples along thevertical mid-joint.
it\tA\\P\
F
\\**C: tXTL \\\*RAMINGPIECE
KRAFT PAPER'
CLOTHHINGES
EDGINGSTRIP
WALLPAPER
4/
EDGINGSTRIP
TURNEDUNDER
AT EDGE
KRAFT PAPER
The wallpaper is applied over the Kraftpaper prior to the placing of the edgingstrips. Care must be taken with the edgingstrip; the raw edge must be turned underand a straight guide line followed. (Illus-tration 10). The hinges must be stapleddown carefully, and the raw edges turnedunder and folded flush with the stripbelow.
The Mist Effect
It frequently becomes necessary -to in-troduce mist, haze, and other atmosphericeffects. Proscenium stagecraft uses fullstage rigged cloths known as scrims forthis purpose. With the open stage andisland scenery, this method is, of course,impossible. However, the effect may becreated by forming open panels carryingsections of scrim, lightweight cheesecloth,or, more substantially, window screenwire.
Illustration 11 shows en arrangementof "scrim" panels, self-supporting, 4' by9' each, of screen wire sprayed flat black,with forest appliques. The sketch is takenfrom a scene just before daybreak, fromthe children's play THE PUPPETPRINCE, by Alan. Cullen (Children'sTheatre Press)-.--
Fireflies were created by inserting intothe foliage circuits of the high-voltage,intermittently firing type of Christmas treelights. As the players entered upstage of
DETAIL BY SPRAY
Illustration 10: Details tor applying wallpaper to screens. The wallpaper is applied over kraft paper Illustration 9: Application of color by spray is veryprior to the placing of the edging strips. useful when adding detail.
DRAMATICS
Axellx.p"-eA".i 4 4 -"t
4 v.t
fre
4 14.t...
"
Illustration 11: An arrangement of self-supporting "scrim" panels. Panels are of screen wire
sprayed black, with forest appliques to create a depth or "haze" effect.
the panels, an inedibly beautiful effectof early morning mist was created; yet thepanels were easily folded and removedwhen the scene was completed.
Open Stage Platforms
Platforms have interest to producers onthe open stage, especially where the aud-ience line of sight is at a considerablyvertical angle to the playing area. In avery real sense, the stage floor itself be-comes a background, and the platformmay be considered a raised extension ofthe floor. This would be particularly truewhere the platforms remain rather lowbecause of a partial audience encircle-ment of the playing area and the necessityto avoid obstacles to cross sightlines.
Obviously, the scenic designer has tomake a decision regarding the commence-ment of his naturalistic decor for eachplay, and the inclusion or exclusion ofplatforms in this treatment.
Needless to say, lumpily padded plat-form tops, crudely joined facings, creak-ing construction and other faults, hope-fully invisible and inaudible under themore remote proscenium conditions, mustbe avoided. Platform surfaces should besheer and clean, preferably with texturedfabrics cemented on. Scraps of carpetcushions stapled to the undersides ofwalking surfaces help absorb the soundof footsteps.
The most practical and economical sur-face materials in the long run are 3/4 inch
plywood or 5/3 inch plycord for the topsand 3/ inch ply for the sides. Illustra-tion 12 shows a 16 inch platform withpermanently installed legs designed forproduction panel inserts. The flush con-struction permits the clamping togetherof several such platforms for stability.The permanent structure permits thefashioning of sockets for the support ofscenery.
66
New Skills Required
It is apparent that new skills are re-,quired for the design and construction ofdramatic environment for the open stage.Chief among these skillsconceive simultaneouslyform and the significant
is the ability tothe structural
design element.
With scenery frankly deployed in
space, design and structure are trans-parently superimposed. In proscenium.one tends to erect, with accessory sup-ports, a surface suitable for the applica-tion of a pictorial veneer. The method bywhich the scenery is constructed is oflittle importance aesthetically, and its
structural form need not reflect the natureof the applied decor. Definitely thisscenery has its face and rear sides.
This is rarely true with scenery for theopen stage. It stands forth in space, usu-ally deployed in angular fashion for self-support and often viewed from the manyperspectives of a forward-thrust platform.Therefore its structural forms are evidentand must be pleasing in their conception.Two dimensional structures of the lattertype are called "screens" in contrast tothe former type which are commonlycalled "flats".
318" PLY
PANEL INSERT
FLUSHING PIECE
3/8" PLYPANEL INSERT
1" x 3/4" SEATINGPIECE
illustration 12: Construction detail of an architectural platform for the open stage.
The flush construction permits the clamptng together of several such platforms.
Background Projection
Why It Is Needed . . . an Introduction
With the development of changeablescenery, especially during the eighteenthand nineteenth centuries, there wasevolved a system of hanjiing stage decorof a simplicity akin to the shuffling of adeck of cards. Areas to the sides andabove the stage were reserved for thestorage of the flat pieces such as wingsand backdrops, and from these areas theflat pieces were easily maneuvered ontothe visible portion of the stage.
By the twentieth century, the modernflyloft was perfected7with a variety ofequipment such as sets of ropes and steellines operated both manually and me-chanically.
However, on the stage below, emphasishad shifted to the more three-dimensionalarrangement of scenic units, frequently
SPOTLIGHT PLATFORMS
mounted on movable platforms, and theloft rigging was required only generally,for the suspension of the large cycloramacloth and backdrops, curtains and mask-ing pieces, lighting equipment and theceiling portion of musical concert shells.
With the open stage, these loft require-ments are met in the following manner.
I. Substitution of a plaster panoramawall with projection system for thecloth cyclorama.
-). Use of lateral tracks for curtainsof closure.
3. Continuation of auditorium ceilingover stage, with functional breaksfor curtains and lights.
4. Mounting of lights on catwalksabove ceiling.
5. Replacement of a portable concertceiling by the permanent ceiling.
PANORAMA
Simultaneously with the emphasis onthree-dimensional scenery comes an in-creasing enthusiasm for a playing areaboth larger and more freely formed thanthat of the proscenium. The shape andmechanics of the proscenium theatreevolved from the practice of setting onescene at a time. Now many playwrightsdemand a stage across which uninter-rupted dramatic action may flow fromscene to scene.
Along with the new requirements inscene design comes the necessity forbackgrounds that are capable of changingform and color while the play continues.It is obvious that the conventional back-drop consisting of paint on cloth andcontrolled by rigging must be replaced bybackgrounds conceived in terms of lightand controlled by dimmers.
4' minimumseparation of1000 W. lamp
and image
Projection ;Larnphouse'i(Hub No.
79030 Series)
Platforms and___\Baffles cut on
center line toshow auditorium
SpareImages
ScoopFloods
(Hub No. 8360 Series
ProjectionPlatform
Pipe Batten
AUDITORIUM
\ \-7
Plugging Strip
CeilingBaffle
67
IV
-
BACKGROUND PROJECTION
The Parts of the System
Item Funclion Source
Panoramawalf
to receive colorand imagery
architect
Projectionplatform
for the mounting andservicing of the projectionsystem
architect, electricaland structural engineers.
The scoopfloods
to wash panorama wallwith color blends
Hub No. 8360series
Thelamphouse
to furnish the light whichapplies the imagery to thepanorama wall
Hub No. 79030series
The image the artisticbackground pattern
scene designer
Auditorium-stage ceil-ing design
for the proper positionand masking of theprojection platform
architect andstructural engineer
Note: In many theatres of the paviliontype it is not possible to develop thespace arrangements necessary for back-ground projection from overhead. Inthese theatres an arcade may be devel-oped as an important architectural feature,the arcade forming the support for tem-porary translucent panels which receivetheir color and imagery from the rear ina manner identical to that above. In thiscase, the lamphollse, floods and the imageconsist of portable units, floor-based, asshown in detail at the end of this Section.
The Operation of the System
The HUB background projection sys-tem involves the use of a compoundimage, that is, pattern, in terms of lightor shadow, superimposed upon colorwash. as determined by the color mediaand dimmer settings of the scoop flood-lights.
In the example of the bamboo rain for-est, below, the plant and tree detail isremoved from a large sheet of heavyKraft paper. The remaining pattern istransferred to the panorama wali by thelight rays from the projection filament inthe lamphouse passing through the open-ings in the Kraft paper' image.
The panorama wall is already illumi-nated by the scoop floodlights. The pat-tern, at a greater intensity, replaces thebackground color wash.
Let us suppose the pattern colof is
yellow-green, the color "wash, dark green.The dynamics of the system are apparentwhen we move the time of the scenefrom day to night. The pattern is slowlydimmed out. At the same time, scoopswith the dark green color medium aredimmed down as scoops with a blue-green are dimmed up.
Background projection image for bamboo rain forest. Plant and tree detail is removed from a largesheet of heavy kraft paper. The pattern is transferred to the panorama wall by light rays from theprojection lamphouse passing through the openings.
68
It is entirely possible to fabricate thescene in a manner entirely opposite intechnique. The image might consist of aframework containing silhouettes of trop-ical foliage. In this case, the lamphousegate color will be dark green, the floods,yellow green. For the transition from dayto night, the projection lamp and theyellow-green floods are dimmed down,the blue-green floods dimmed up.
However, working with these particu-lar colors, the former method, the appli-cation of light upon light, rather than theapplication of light upon silhouette, willgive better results.
There are other very distinct advan-tages to the first method. The image, forexample, need not be as large as the pan-orama, only as large as required for thepattern area that is superimposed on thefull area of color wash. Secondly, insteadof a color medium at the lamphouse gatefor the entire pattern, one may overlayupon the cuts in the Kraft pattern manyseparate colors, thus achieving a multi-color image that is then projected uponthe color wash of the floods.
Other Methods . . . and Materials
Below are listed some other materialsand methods of image construction:
1. On clear acetate sheets, use artist'sbrushing lacquer, felt pen transparentinks such as Flomaster (Esterbrook) andlamp dip for transparencies, or flat -blackenamel for silhouettes. If vertical ribbinglines appear on panorama, the acetatehas been poorly milled and should bediscarded. These techniques on acetateare not as clear as are the images createdby stencil knife cuts in Kraft paper.
2. Join plastic color media, mosaic style,with narrow (1/4 inch) strips of trans-parent Scotch tape, keeping the tape run-ning parallel with the joints.
3. Use 1/8 inch mesh, metal hardwarecloth to give effect of gray, with areasremoved for white (such as a "moon"disc) and attach cutouts such as branchesand leaves for silhouettes.
4. Use the frame to support natural ob-jects, such as twigs for a forest, andtransparent cutouts of plastic color mediafor leaves, perhaps in montage with finethreads for support.
The Case Against Lenses
The Hub projection system does notinvolve lenses. Apparent sharpness of de-tail is relative, and is achieved by theproper distance of the image from theprojection lamp filament.
For example, at the maximum recom-mended distance of five feet, even a-No.50 thread will be discernible, though onlyto those eyes searching for it.
On the other hand, moving the imagecloser to the projection lamp introducesan effect of haze. Frequently an image isbroken up into planes that are placed atdifferent distances to achieve both clarityand haziness, such as a foreground ofpalm trees framing a distant isle acrossa body of water.
Despite the true sharpness of detailpossible with lens projection, there arecertain disadvantages to a lens system:
1. The maximum of one foot spreadfor each foot of throw would re-quire two units for the same pan-orama area as serviced by thesingle Hub system.
Tilting a lens instrument introducesa distortion factor which must becorrected in each image, whereasthe Hub system is inherently dis-tortion-free.
3. There is a definite time element in-volved in preparing photo-repro-ductions or sketches or in workingon miniature imagery.
4. There is a far higher cost of equip-ment and materials for imagery.
While it is artistically impossible topass hard and fast judgement on any sys-tern of projection, it should be remem-bered that background projection systemsare functional replacements rather thanliteral substitutes for the painted back-drop. Even the reflection of colored lightitself from an off-white plaster wall, re-gardless of source, provides a sensationquite different from that furnished by theillumination of pigment colors applied tothe surface of a backdrop.
Planning the Installation
From the examples in the ARCHI-TECTS' and ENGINEERS' Section, it isobvious that there are two constants tobe considered for installation of the Hubbackground projection system:
1. The angle of the projection throwto the base of the panorama.
2. The distance of the image from theprojection lamp filament.
Ideally the angle is 50 degrees betweenthe stage floor and the lower projectionline, and it should never drop below 45nor exceed 55 degrees. The 45 degreelimit has reference to such practical mat-ters as actor movement and sceneryplacement, while the 55 degree limit hasreference to a noticeable intensity imbal-ance in the overall illumination.
For the greatest degree of projectedimage clarity consistent with such prac-tical matters as the ceiling trim and thesize of the image itself, a 4' to 5' fila-
ment-to-image distance is recommendedfor the 1000 watt (Hub. No. 79031) andthe 2100 watt (Hub No. 79030) projec-tion lamps, respectively. Certainly fourfeet would be considered the workableminimum.
Somewhere along the 50 degree linefrom the panorama wall base, the lowerside of the image frame will rest, and inthis vicinity the auditorium ceiling can-opy will terminate. The distance fromfloor level at this intersection may varyaccording to the depth of the stage andto the ceiling trim height desired. But, inview of the capabilities of the system,this distance should not be less than 15'or more than 22'.
A line drawn from the projection fila-ment to the top of .the panorama wallwill establish the minimum clearance forupstage ceiling pieces, tracks, downlights,and the backlighting walkway.
Hub No. 79032 Lamphouse forbackground projection
Mounting the Projection System
The Hub No. 79030 series lamphousesmust be mounted sturdily to the structureof the theatre itself rather than to thecatwalk hanger system. Obviously, vibra-tion of the lamphouse will cause theimage to "dance" on the panorama wall.Suggested details for the mounting ofboth the lamphouse and individual imagesare available on Drawings No. 420 andNo. 421 which may be obtained from theHub Electric Company, Inc.
The temptation to reduce image han-dling to a system such as an image maga-zine is great, yet here are some of theobstacles:
1. The large images (often 5' by 12'for exceptionally large panoramas)cannot be slid sideways, for thescoops which provide the panoramacolor washes will be blocked.
There is often insufficient roomoverhead to raise the larger imagesvertically.
3. Even if there is sufficient room overhead, racking the images in amagazine in conjunction with thewide projection angle prevents astandardization of image area used,not to mention the different degreesof clarity involved. For example, ina magazine 12" deep, sufficient fora six-pack rack with clearance forgelatin appliques, a forward imageof 4' by 8', when moved to therearward slot, projects only 2' 10"by 5' 8" of its total area, with a20% loss of apparent sharpnessover its previous position.
By planning the production properlythere will be ample time for manualimage removal from an image holder in
a standard position, together with the as-surance that nothing mechanical can gowrong. In reality, because the projectionis manually operated, in all probability agreater creative use will be made of it.
Distance of Throw andDegree of Spread
Possibly the most frequently askedquestions concern the distance of throw(distance between the lamp filament andthe background Surface receiving theimage . .. labeled "Operational Distance"in the chart below), the degree of spread(or size of the projection surface in rela-tion to the throw), and the sizes of images.
Rigid specifications are not requiredfor the Hub projection system but certaindimension limits which have been proventhrough experience are useful to know.
Generally speaking, one may anticipatefor the projection area an effective maxi-mum vertical dimension of 11/2 tirnes thedistance of throw and a horizontal di-mension of twice the throw. The actualwidth of the panorama or other back-ground projection surface need not beequated with these dimensions if theimage is conceived in terms of lightrather than silhouette (cf. page 70) forit may then be overlaid in part upon atotal field by color wash from the scoops.
BACKGROUND PROJECTION
By consulting the chart below, thereader may select the proper lamp inten-sity for the distance of throw. In the caseof overhead background projection, as-suming the 50 degree maximum projec-tion angle to the panorama base, this dis-tance of throw has been re-calculated interms of the projection platform height(or the distance from the stage floor tothe lower edge of the image).
Rear projection of scenery is accomplished by a combination of floodlights upon the panel cloth and
superimposed patterns of light created by cutouts. Cutouts can be made in heavy wrapping paper
which is framed and placed parallel to the cloth screens.
-:.'Unit ,- ,
a .,Larp,=(4000
:. . --C'
,Lailip,ilaie:
Min: :Distal*:ikialent,:toi!lryfiii#:
-. -906tiiii0104:60044-01-
,
79032 PH /500/T-10P CZX MediumPrefocus
2'-6 From 6' to 12' behind screenpanels
3'-6" For fine detail from overhead plat-form not above 15' from stage floor
PH / 1000 /T2OM P DRS 4'-0" 15' to 17' projection platformheight
Note: DSB lamp burns cooler andlasts longer than DRSsame fila-ment
79031 PH /1000/T20/40 DSB MogulPrefocus
PH / 1500/T20/39 DTJ 4'-6" 18' to 21' projection platformheight
79030 2100W 60 VoltT-24/8
MogulBipost
5,4y, 22' and above
Finding the Image Size
A maximum image size is determinedby the location of the projection platformand its relationship to the panorama andpanorama area. Smaller images are deter-mined by the amount of area to be cov-ered by projection for any given produc-tion design.
To find the image size for a particularsituation it is best to prepare a plan andsection to scale showing the relationshipof the projection lamp filament to thepanorama or translucent screens.
Draw lines between the edges of theprojection area and the filament. Thenmeasure the recommended filament-to-image distance and establish the imageplane parallel to the prbjection surface.By measuring this plane in plan and sec-tion, the image size is found.
For an example, refer to the illustra-tion of the set for The Lovers (DramaticSection). The arch arcade behind the lowplatform was 91/2' high by 16' wide andcontained screened archways whose totaleffective width was 14', and whose ex-posed archway height was from 2' to 9'from the floor.
70
Dividing the screen height of 9' by
I W(maximum vertical dimension = 11/2times the distance of throw) we get 6'.However, by dividing,the screen width of14' by 2 (maximum horizontal tlimension= twice the distance of throw) we get 7'so this latter figure, being greater, wouldapply. In other words, the lamphousewould be placed so that the filament-to-screen distance would be 7'.
Since there was ample space, aetuallya 9' distance was allowed to obtain amore uniform intensity. Checking withour chart, Hub No. 79032 with the CZXfilament is indicated.
By placing the image plane 21/2' fromthe filament an overall image size of 2'by 4' is called for (your plan and sectionscale drawings mentioned previously willgive this exact dimension). Again, sincespace was not at a premium, a 3' separa-tion with an image size of 21/2' by 5' wasused. 'Since the total screen area wasrather wide, each color was obtained bythree Hub No. 8365 floods Der color cir-cuit, laid out in the manner shown above.
The method of positioning and calcu-lating sizes of overhead images is similar,and some image planes are indicated inthe architectural and engineering sectiondrawings.
Production Tips
Always keep the image parallel to theprojection surface, thus avoiding distor-tion.
Always use correct projection unit withcorrect lamp. Note that spotlight servicefilaments are proportionally larger andare not applicable to this projectionsystem.
[If working with an unlisted filament,a proper image distance can be estab-lished by multiplying the filament widthby 100].
If ghost images or "flares" appear onthe panorama just above or below hori-zontal cuts or lines, tilt the projectionlamp slightly until the ghost image dis-appears. This is caused by reflection fromthe glass envelope directly behind thelamp filament. The Hub lamphouse has apivoting socket platform for this purpose.
The composite image, detail and colorwash, under separate dimmer controls,may continue without a break from oneimage pattern to another via intermediatecolor washes. Unlike the backdrop, theprojection system must always be regard-ed as a dynamic force. At the same time.the system must be manipulated withcaution and subtlety, for iiving color cre-ates a tremendous visual excitement.
The Projection Surface
It is not the purpose of backgroundprojection to replace scenery that has apractical relationship to the actor, suchas doorways, windows, and definingwalls; rather, it is descriptive of thebackground beyond a particular scenicisland. Where an interior scene may bedesignated by a folding screen surround-ed by furniture, the background projec-tion can add detail descriptive of theneighborhood or town in which the roomis located.
Those familiar with that prosceniumbackground control device known as thecyclorama will notice at once that all thepanorama walls shown in this bulletinterminate in space and do not attempt theencirclement of the visible stage area.
Now. one of the great visual experi-ences of the proscenium theatre is theunusual illusion of depth where sceneryor pictorial fidelity is placed before acurving cyclorama which surrounds thescenery space. This relationship expressescompletely the basic objectives of the pro-scenium theatre, to stage a scene pictori-ally corrects one scene at a time, onescene to follow another. in the samestage area!
The operation of the open stage is
dedicated to principles precisely contraryto the above. On the open stage, onetranscribes, in part, essential environ-ments and places these on a stage that issuitable for various time-space combina-tions simultaneously apparent and usedin regular or irreguiar order. Open stageenvironment is, first of all, the archi-tectural environment of the theatre itself,to which the dements of the dramatic areadded only as or if needed.
It is obvious that the cyclorama of theproscenium theatre must be reduced to aform that exists in space rather than em-braces a space. Therefore, the more suc-cessful surfaces for background projec-tion range from a panorama wall as a
"slab in space" to the small translucentpanels built into portable screen units.such as shown on pages 57. 63 and 70.For simple distortion-free projection thereshould be no curves in the panoramasurface. Where a curve exists the imageframe must be curved accordingly.
Lying between the "slab-in-space" pan-orama and the portable translucent scenicpanels are the theatres which use back-ground arcades. This very ancient archi-tectural arrangement provides openingsfor entrances. embrasures for partiallyenclosed scenes, support for scenic panelinserts, and a framework for translucentscreens, as, for example, the La Juntaproject described on page 8 and theSwarthmore College stage as shown inillustration below and in Hub BulletinNo. 107.
In many ways the permanent arcade isa device far more useful than the fullpanorama, for it presents in a forthrightmanner slices of life, using architecturaljustification for the arrangement of frag-mentary patterns. On the larger pan-oramas, however, separate curtain panelson tracks immediately adjacent will assistwith the subdivision of the projectionsurface.
Swarthmore College TheatreSwarthmore, Pa.
The problems of planning the types ofstages best suited to the needs of contem-porary theatre are of international con-cern. Through constant debate solutionsare being sought, with varying degrees oftolerance and success. It is hoped thatthis publication will prove to be a signifi-cant contribution on the subject, both inits practical and in its theoretical aspects.
James Hull Miller has a lively mindand the courage of his controversial con-victions, which have developed logicallyfrom research and experiments during hislong experience of professional work andactual theatre production.
He has the practical ability to test thevalidity of those convictions. It is a meas-ure of his integrity that he is putting thisforeword into the mouth of one who hasdisputed with him, on occasion, with un-inhibited frankness. I am pleased to thinkthat the frankness has not impaired mu-tual respect.
His own restraint is, perhaps in tolerantdeference to my grey hairs which, to com-parative youth would certainly proclaimaddiction to orthodoxy. He will be irrita-ted, but possibly not surprised, if I de-plore, as I do, his fondness for the ratherhigh-falutin obscurities with which he and
In Conclusionso many of his fellow-reformers clutter uptheir soundest opinions.
It is part of a popular technique toerect phony Aunt Sallies, to obtain thesatisfaction of bashing them about withself-righteous vigour. It is not reallynecessary to establish vice in the old inorder to extol virtue in the new. Ourearnest reformers can best plead theirclaims by asserting that they are betterthan good. While deploring any inclina-tion to pretentious verbiage and specialpleading. I can applaud the conclusions.
During my recent visits to America,Australia and South Africa, it was quiteevident that the proscenium opening is
generally expanding under the pressure.The opet ing is spreading to the side wallsand to the ceiling of the auditorium. Thesight lines are good. The picture frame isno longer emphasized: the acting area be-comes virtually an open-end stage, withoff-stage space of varying adequacy.These large acting areas demand the kindof scenic treatment which James HullMiller describes in this bulletin.
His ideas should be studied by all scenedesigners whether they work on stagesthat are old or new, framed or unframed.Many designers have failed to realize the
play-pictorial possibilities of non-realistictechniques. although there are manyothers who do in fact adopt space-stagetechniques within the picture-frame. Eventhose who may regard the picture-frameas sacrosanct should study the. practicalguidance in these pages.
When my colleague7FFederick Ben-tham, and I visited America a few yearsago, we found at Western Springs, Illi-nois, the most interesting of the theatreswe examined. James Miller was closelyconcerned with its design. and I ampleased to note that the booklet givessome details of this delightful CommunityTheatre that had the additional merit, toa Britisher at any rate, of being modestin cost.
It is certain that this comprehensiveexamination of the planning and use ofthe open stage will be invaluable to allwho are interested in theatre techniques.The Hub Electric Company, Inc. is to becongratulated for its service to the theatrein this publication.
Manchester.England.January, 1964
HUB INSTALLATIONS Of OPEN STAGE THEATRES
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BristOl Valley Playhouie Naples, New York
CatOnsville Community College Baltimore, Marylan&
cPloracto-State UlliYgrSity _#9rt Collins, ColoTado
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GeOrge 'S.C,hool; Penn:Sylvania
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4 Petit Oeatre De Terrebconne"LeWis an&Clark Elementary School _
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