tech handbook
Scene shop safety: work area
Always keep work areas free from clutter. b) Work in the appropriate area for your project. Follow the posted signs. c) Always clean your area during the designated clean-up time. d) Always return tools & supplies to the designated storage areas e) Avoid stringing electrical cords across the shop. Find the electrical outlet closest to your work area.
General Theatre Safety
Always lift heavy objects with knees bent & pushing upward with the legs.
Scene shop safety: sanitation
Always wash hands & face thoroughly prior to leaving class. b) Take your work clothes home at the end of the week for cleaning.
lighting
Light Plot: A scaled drawing showing the placement of the lighting instruments relative to the physical structure of the theatre & the set. b.) Lighting Sectional: A side view, drawn in scale, of the set showing the hanging positions of the instruments relative to the physical structure of the theatre, set, and stage equipment. 33 33 c.) Instrument Schedule (Hook-up Sheet): A form used to record all of the technical data about each instrument used in the production. d.) Lighting Cue Sheet: A form which details the changes in lighting
tape measure
a length of tape or thin flexible metal, marked at intervals for measuring.
framing square
a metal tool used to lay out right angles
Class A fire
fire with paper, cloth, cardboard, wood
Class B fire
fire with petroleum paint, oil
COOL COLORS
green, blue,violet
FIRE & ELECTRICAL SAFETY
Always follow the instructor instructions during school fire drills. Do not deviate from the route or stay behind.
THE SCRIPT
A designer's first task is to become as familiar with the script as possible. This must be done prior to the first meeting with the director. 1 st Reading: For pleasure 2 nd Reading: The story line flow 3 rd Reading: For details 2.) Initial meeting with the director in order to understand his/her vision of the play.
chalk line
A line made by snapping a taut string or cord dusted with chalk. Used for alignment purposes.
speed square
A trianglular marking tool containing both 90 and 45 degree angles. It has a flange on one side so you can "square" it against the material.
FIRE & ELECTRICAL SAFETY
All paint, thinner, & spray paint cans must be stored in a secured area unless in use
Main Traveler:
Also called the main drape or grand drape. The front most visible curtain that parts in the middle. Color: Any color other than black
Scene shop safety: dress
Always wear closed toe shoes such as boots or tennis shoes. NEVER WEAR OPEN TOE SHOES WHEN WORKING WITH TOOLS OR CONSTRUCTION MATERIALS! b) Keep long hair tied back away from the face & shoulders. c) Do not wear scarves or long necklaces when operating tools of any kind. d) Bring appropriate work clothes (paint clothes, construction clothes) to the class & store them for future use. e) Each student is expected to supply a pair of safety goggles for their own personal use. Goggles will be stored in the scene shop for your convenience.
scene shop safety: tools
Always wear protective eye goggles when working with band saws, table saws, 11 11 scroll saws, radial arm saws, circular saws, jig saws, palm sanders, or a belt sander. b) Wear ear plugs when operating power tools. c) Do not use any defective or questionable electrical tool, machine, cord, connection, accessory or electrical outlet. Report any defects to the instructor as soon as possible. d) Use the appropriate tool for the job. Don't improvise. e) Keep the guards in place when operating the circular, radial, or table saw. f) Unplug all power tools prior to performing adjustments or maintenance. g) Keep hands & fingers clear of saw blades at all times. h) Use clamps or a vise to hold work in place when practical, freeing both hands to operate the tool (cutting wood). i) Do not use any tool with a frayed cord or broken connection or use any tool if sparks are visible. Report this to the instructor as soon as possible. j) Do not wear ear plugs or head phones to listen to music when operating tools, machinery or working on stage when tools are in use. k) Ground all power tools. If a tool is equipped with a three-prong plug, it should only be plugged into a three-hole electrical outlet. If one of the prongs breaks off or is missing, do not use and consult the instructor immediately. l) Remove adjusting keys and wrenches before turning on a tool or machine 12 12 m) Do not force tools, EVER! n) Do not over-reach. Maintain proper footing, balance, and a secure grip on the tool that you are using. o) Never brush away chips or sawdust while tool and machines are operating. p) Never leave tools or equipment running unattended. Disconnect equipment from the power source when not in use. q) Never surprise, touch, or talk to anyone operating a power tool or machinery. r) Do not cross directly behind anyone who is operating a power tool or machinery. s) Maintain six feet of distance between you and anyone who is operating power tools or machinery. t) Always return tools to their proper storage place in the tool closet.
Traditional Rules of theatre
Arrive at rehearsals/performances on time & sign in, 14 14 2. Check in with the director/instructor and stage manager upon arriving for rehearsal or performances. 3. Contact the instructor if you are unable to attend rehearsal or a performance prior to the missed rehearsal. 4. If backstage conflicts arise, speak to the instructor immediately. 5. Never create any offstage distractions such as talking or horseplay backstage during rehearsals & performances. 6. Keep backstage noise to a minimum during rehearsals & performances. 7. Use the ClearCom headset system for issues related to running the show. Focus on running the show, no unnecessary chatter on the headsets. You can be heard throughout the theatre spaces & in Toomer's Office! 8. Do not write on a piece of scenery, stage equipment, or walls of the scene shop. 9. Never speak or approach an actor who is waiting for an entrance. 10. Do not question the authority of the director or stage manager. 11. Do not enter the stage during a scene. Technicians enter the stage only during specific scene change moments. 12. Do not leave the backstage area during a rehearsal or performance unless it's an emergency. If you must leave, please let the stage manager know. 13. Turn in your cell phones to the stage manager before working backstage during rehearsals & performances. 15 15 14. Do not use your cell phone backstage during a rehearsal or performance. 15. Do not peek at the audience through the curtain or the wings. Remember if you see the audience, they can see you. 16. Do not use personal listening devices for music during rehearsal or show performances.
Special Lighting Instruments
Black Light: Various sizes ranging from single black light bulbs to a four feet strip. Produces an eerie effect that highlights anything white on stage and diffuses anything else. b. Pattern Projector: A static light source equipped with one or more patterns which can be projected on a screen or the floor. c. Strobe Lights: An intense lighting source which flickers on and off creating the effect of slowing movement. Notes must be clearly posted in the lobby when using strobe lights because of safety issues concerning epileptic seizures. 42 42 d. Automated Lighting Instruments: Is a motor-driven lighting instrument that allows the operator to pan, tilt, manipulate the shutters, and focus the lens of the ellipsoidal reflector spotlight with a remote control device. Very expensive and commonly used by professional theatres and for concert lighting. e. LED lighting instrument: are stage lighting instruments that use light emiting diodes as a light source. These instruments do not generate the same degree of heat as the standard lighting instruments. In addition, they are equipped with the ability to change the color of the light without using gels as with the standard lighting instruments. f. Mirror or Disco Ball: A motorized mirrored ball used in conjunction with a spotlight that produces hundreds of moving pinpoints of light.
programs
COVER PAGE a. Sponsoring Organization b. Title of the Play c. Authors d. Art Work e. Dates & Times of all Performances f. Name of the Auditorium 2. INSIDE PAGE (1) a. List of Director (s): 1) Stage Director 2) Music or Orchestra Director (Musicals) 3) Choreographer b. Place & Time (Example: A country road, evening) c. Musical Numbers (Musicals) d. Information Regarding Intermission (s) (Example: Intermission will be fifteen minutes long) e. Cast Names & Characters (List either in order of appearance, or in an order that the audience will comprehend quickly.) **Note: Triple-check the spelling of names. f. Orchestra Names (Musicals) **Note: If space is an issue, begin back page (2) with the orchestra. 55 55 3. BACK PAGES (2-?) A. List of Designers (if applicable) 1) Setting 2) Lighting 3) Costume B. Production Staff: 1) Stage Manager & Assistant Stage Managers 2) Technical Director 3) Construction Manager & Running Crew 4) Lighting/Sound Manager\Hanging & Running Crew 5) Sound Manager 6) Prop Manager & Construction Crew 7) Costume Manager & Construction Crew 8) Hair/Make-up Manager C. Production Crew: 1) Sound Designer 2) Makeup Designer & Running Crews 3) Hair/Wig Designer & Running Crews 4) Special Effects Designer & Running Crews 5) Warm-Up Captains 6) Fight Choreographer (if applicable) 7) Assistant Designers (if applicable) 8) Light Board Operator/s 9) Sound Board Operator/s 10) Follow Spot Operator/s 11) Properties Master/Mistress & Running Crew 12) Costume Master/Mistress & Running Crew 13) House/Box Office Manager & Running Crew 14) Publicity Program Design & Layout Poster Design 56 56 15) Administrative Staff 16) Acknowledgements (Anyone who helped in any capacity) 17) Sponsors/Patrons 18) Special Arrangements (Example: "This play is presented through special arrangement with Samuel French, Inc.) 4. ADDITIONAL PROGRAM MATERIAL Additional material may be added to provide the audience with more production information. Some suggestions: a. Profiles (Brief biographies of actors, directors, and designers: "Who's Who?) b. Program Notes (Information about the play) c. Director's Notes (Information about the concept used) d. Author Notes e. Producing Organization Notes f. Upcoming Events
Clamping tools
Carpenter's Vise: Attached to the edge of a workbench and is designed to hold wood. b. Adjustable Wood Clamp: Used in furniture construction c. Bar Clamp: Used for clamping frames during construction and securing scenic elements. d. C-Clamp: Used for clamping during construction and securing scenic elements.
Bolts
Carriage Bolt: Upper face of the carriage bolt has a rounded surface, and the underside has a slightly tapered square collar a little wider than the bolt shaft. May be used to join wood to wood or wood to metal. Used with a washer and a nut. 2) Lag Bolts: Fastener used for making mechanical connections between two pieces of wood to ensure that they are held together securely. These bolts are often used to fasten large beams and posts used for decking, wooden bridges, and other wooden structures.
hand saws
Circular Saw: Portable circular saw is used for cutting straight-line cross cutting and 19 19 angle cutting stock lumber, plywood, and composition board. b. Jig-Saw/ Saber Saw: Used to make curvilinear cuts in light weight woods such as: plywood, composition board, plastics, and most stock lumber
Nails
Common Nail: large head and thick shank & used for heavy construction such as platforms and bracing 2) Box Nail: Similar in shape to the common nail, but the box nail has a narrower shaft which reduces the risk of splitting lumber. 3) Finishing Nail: Slender shaft & very narrow head. Designed so that the head can be driven below the surface of the wood. Used in props in scenery construction. 4) Double-Headed Nail: Also known as scaffolding nails. Driven into the wood until the lower head reaches the surface. Used in temporary structures for easy removal. 5) Tacks: Various types used for upholstery & decoration. 6) Corrugated Fastener: Corrugated strips of metal about 5/8" X 1 1/8" used to hold light weight frames together. 7) Staples: U-shaped staples are used to secure fencing, chicken wire, & screen with a hammer. Short-legged staples are used for staple guns (1⁄4" to 1⁄2").
cutting tools
Crosscut Saw: Used to cut across the grain of wood. b. Rip Saw: Used to cut parallel with the grain of wood. c. Keyhole Saw: Used for making curvilinear cuts in stock lumber or plywood. d. Coping Saw: Used for making fine, curvilinear cuts in thin plywood or Luann. e. Hack Saw: Used for cutting soft metals such as copper and aluminum. f. Foam Saw: Small, narrow & light weight saw used for cutting Styrofoam. g. Utility or Matte Knife: Has a retractable blade used to trim excess muslin from the edges of flats, cutting stencils, cardboard, Styrofoam, & cardboard. h. Tin Snips: Used to cut thin strap or sheet metals. Do not use to cut nails, wire or similar small objects because the object damage the cutting blades. i. Bolt Cutters: Use to cut chain, fencing, & grating. j. Scissors: Used for cutting paper or fabric.
border
Curtain running above the proscenium opening. Located in front of the main curtain. Color: Any color other than black.
LUMBER
DIMENSIONAL LUMBER, SHEET STOCK
MAKE-UP
Design Worksheet: A worksheet that includes a line drawing of a human face & listing of some of the basic make-up items to be completed by the designer. b.) Make-Up Morgue: A collection of photographs used for research by the make-up designer in order to design make-up.
LIGHTING CONTROLS & EQUIPMENT
Dimmer Rack: Major control element that regulates the intensity of instruments for stage lighting b. Lighting Board {Computer-Assisted Memory Control Console}: Located in the lighting/sound booth, allows the operator to control, set, and program the lighting instruments. 4. LIGHTING ACCESSORIES a. Color Frame: A light weight metal holder in various sizes for plastic colored media (gels) used in most theatrical lighting instruments. Color Frame GOBO b. Gels: Plastic sheets of colored media. c. Gel Sample Booklet: A sample booklet of plastic sheets of colored media d. Gobo: Also known as a patter, template, or cookie is a lightweight metal cutout used in the ERS which transforms the lighting instrument into a pattern projector. Must be used with a pattern holder 43 43 e. Pattern Holder: A metal frame used to hold gobos or templates. Pattern Holder Barn Door Funnel f. Barn Door: An accessory used in the Fresnel spotlight. The barn door fits over the color frame slot on the front of the instrument. It is comprised of four adjustable, metal "flippers" that can be swung into the beam of light, cutting off as much light as desired. g. Funnel or "Top Hat": Accessory used in the Fresnel spotlight. Fits over the color frame slot on the front of the instrument. The circular pattern of light that it creates is dependant on the diameter of the funnel's cone. h. Lighting Trees: A portable metal stand used to support lighting. i. Two-for: An electrical "Y" that has female receptacles at the top of the "Y" and a male plug at the bottom leg of the "Y"; used to connect two instruments to the same circuit. Two-For Extension Cables 44 44 i. Extension Cables: Available in various lengths & used much as an extension cord for stage lighting. k. Connectors (Lighting Instrument or Cable "Plug "): Specialized connectors are used for stage lighting. The most common connector is the twist-lock connectors. The locking action prevents most accidental disconnections of the circuit.
General Theatre Safety
Do not eat or drink backstage at any time.
General Theatre Safety
Do not leave any electrical equipment plugged in unless it's in use. Unplug all cords prior to leaving the work area.
scene shop safety: paint and dyes
Do not mix latex & enamel paints. b) Do not paint latex over enamel paint. [The latex paint will peel from the surface of the object you are painting]. c) Do not spray paint without adequate ventilation. The use of a mask may be needed. Spray paint outside in grassy areas, NEVER ON THE CONCRETE. Always mask the area below the object to be painted when in the scene shop. d) Avoid skin contact with pigments, paints, solvents & dyes. Wear gloves whenever possible. If contact occurs, wash with waterless hand cleaners and/or soap and 13 13 water. e) Never use solvents to clean hands. f) Wipe paint cans prior to returning lid to the can. Make sure that the lid is secure. g) Keep all paints and solvents in a secure storage area. h) Clean paint brushes, paint trays, bucket & cans with soap and water i) Do not leave open containers of paint anywhere at any time when not in use. j) Always lay out drop cloths under objects to be painted. Clean up paint spills immediately.
FIRE & ELECTRICAL SAFETY
Do not overload electrical outlets or power strips
General Theatre Safety
Do not pull or hang on stage curtains.
General Theatre Safety
During production rehearsal or performances, keep the wings clear of all furniture, costumes and props.
drilling tools
Electric Hand Drill: Light weight hand-held drill used in conjunction with various drill bits to cut holes, drill holes, insert, & remove various screws.
Class C fire
Electric fire
Hardware
Eye Bolt: Used for attaching lines or ropes to an object. 2) Screw Eye: Similar to the eye bolt, but does not require a washer & nut. 3) Screw Hook: Similar to the eye bolt, but used to hand items from the hook for quick removal. 4) Strap Hinges: Composed of two tapering leaves that are joined by a loose or fixed pin. Used to hinge stage doors. 5) Butt Hinge: Composed of two rectangular leaves joined by a loose or fixed pin. Used to hand doors. 6) T-Strap Hinge: Combination of one leaf from a strap hinge and a rectangular leaf from a butt hinge. Used for hanging doors, gates, & box lids. 24 24 7) Corner Braces: A metal "L" shaped bracket available in different sizes commonly used to secure frames to platforms. Also used in furniture construction. 8) Corner Plate: A flat, metal, "L" shaped plate available in a variety of sizes. Used to reinforce the corners of doors, windows, door or window casings, and picture frames. 9) Tee Plate: A flat, metal, "T" shaped plate used as a substitute for keystones (flat construction). 10)Bar Plate: A flat, metal, rectangular plate used to secure two pieces of flat scenery together.
washers
Flat steel disks with a center hole cut for the bolt shaft. Place between the nut and the head of the bolt. The washer prevents the nut or bolt head from cutting into the surface of the project.
Screws
Flat-Head Wood Screw: Beveled on the underside to easily dig into wood. Countersinking allows the screw head to be flush with the surface of the wood. Common uses include: hinges, doorknobs, and joining various wooden elements together. Sizes range from 1⁄2 "to 3". 3) Round-Head Wood Screw: Has a head with a flat underside and rounded upper surface. Used when you do not want the screw head flush with the surface of the Screws are the most commonly used fastener because the auger-like thread digs into the interior of the wood providing the best grip. Screws are also easier to remove in order to re-use wood. 22 22 wood. Used to attach thin metal or fabric to a wooden frame. 4) Lag Screws: Very large wood screws with hexagonal or square heads. Used when access to both sides of the project prevents the use of bolts as when attaching something to the floor or wall. A washer should be used under the head of the lag screw to prevent the head from biting into the surface of the project. 5) Decking Screw: Similar to a Phillip's head screw, but made from a more durable metal. 6) Dry Wall Screws: Similar to a Phillip's head screw, but made from a softer metal. Use in securing dry wall to wall studs. Sometimes used in theater construction for some projects.
screwdrivers
Flathead/ Standard/ Slotted Screwdriver: Used for inserting & removing flathead screws. b. Phillips Screwdriver: Used for inserting & removing Phillips head screws. c. Nut Driver: Used for tightening small hex nuts on bolts.
Glues
Flexible Glue: An animal glue with glycerin added that is flexible when dried. Expensive at $55.00 per gallon and sold a theatrical supply companies. Due to its expense, it's only used for property construction--never flat construction. 2) White Glue: Also known as Elmer's glue is the cheapest glue to use for flat construction, papier Mache', and various craft projects. 3) Wood Glue: Sold at hardware stores and used to join wood together. 4) Hot Glue Sticks: Used with a hot-melt glue gun. 5) Decoupage: Is a clear, glossy paste used to affix and seal paper or fabric to the surface of an object
LIghting instruments
Fresnel Lighting Instrument: Produces a soft, diffused, luminescent light. When the instrument is focused on narrow beam, or spot, it produces a bean with a central hot spot that loses intensity toward the edge. When the instrument is focused on wide beam, or flood, it produces a smooth wash of light. Equipped with shutters and a color frame. Due to the beam range, most often used as close to the stage as possible. Fresnel ERS b. Ellipsoidal Reflector Spotlight {ERS}: Produces has a narrow beam width & capable of traveling long distances. The quality of light is hard edged with little diffusion. The shape of the beam is controlled by internally mounted shutters. Spill light is minimal. c. Parabolic Aluminized Reflector {PAR Can}: Uses a sealed-beam lamp similar to the headlight of an automobile. The instrument produces a variety of beam shapes & creates a powerful light with a soft edge. Equipped with a color frame but has not shuttering capabilities. 40 40 d. Ellipsoidal Reflector Floodlight {Scoop}: Used to light drops and cycloramas. It's a lenses instrument that produces a wide, smooth wash of light. It's equipped with a large color frame holder. e. Follow Spot: Used for high-intensity, hard-edged beam of light is required to follow a moving performer. Follow Spots are also equipped with a color boomerang which holds five or six color filters. Most often used for musicals & dance shows. f. Strip Lights or Cyclorama Lights: Are used to create a smooth wash of light over the area of the stage above which they are hung. A long trough with a series of lamps inside using the glass colored roundels. 41 41 g. Lenses The angle of the beam of light emitted by most stage lighting instruments is controlled by the optical properties of the lenses used in those instruments. Lighting instruments which contain lenses: ERS, Follow Spot, & the Fresnel. 1) Double Plano-Convex Lens Train: Consists of two Plano-convex lenses placed with their convex surfaces toward each other. 2) Step Lens or Fresnel Lens: Retains the optical characteristics and shape of the Plano-convex lens, but the glass on the flat side is cut away in steps. h. Lamps • The term LAMP refers to a special light bulb used in theatrical lighting instruments. • All stage lighting instruments use some type of lamp to produce light. • The two primary sources used for stage lighting are the standard incandescent lamp & the tungsten-halogen lamp. • It is imperative that you always wear gloves when handling lamps for lighting instruments
General Theatre Safety
Give proper calls and respond appropriately.
Nuts
Hex Nuts: Applied to the threaded ends of the bolt to close and tighten this type of fastener. Nuts are tightened with square or hexagonally shaped ratchet. 2) Wing Nut: Designed to be tightened with your fingers.
color terms
Hue: The quality that differentiates one color from another, such as blue from green or red from yellow. 2. Saturation: Also known as Chroma, refers to the amount, or percentage, of a particular hue in a color mixture. Fire-engine red has a strong saturation because there's a lot of fully saturated color in the mixture. A pastel, such as dusty rose, has a weak saturation because there isn't a lot fully saturated color in the mixture; instead, the majority is white or gray. 3. Value: The relative lightness or darkness of a color. Pale blue has a high value, and dark brown has a low value. 25 25 a. Tint: A color with a high value is referred to as a tint. It is usually achieved by mixing a hue with either white pigment or white light. b. Shade: A color with low value. It is usually created by a mixture of one or more hues and black. c. Tone: A color of middle value. It is a mixture of a hue with black and white. 4. Primary Colors: Are those hues that cannot be derived or blended from any other hues. In light, the primary colors are closely related to the color sensitivity of the red, blue, and green cones in the eye. In pigment: red, blue, & yellow. 5. Secondary Colors: Are the result of mixing two primary colors. In the color wheel for light, the mixing of adjacent primaries creates secondary hues yellow, magenta, and cyan (blue-green). The primary colors in pigment are red, blue, and yellow. The secondary colors in pigment are purple, green, and orange. 6. Complementary Colors: Any two hues that, when combined, yield white in light or black in pigment. Colors found opposite each other on a color wheel. When two complementary colors are combined from the light color wheel they form white light. When two complementary colors are combined from the pigment color wheel they form black.
General Theatre Safety
If a blackout occurs in the auditorium or onstage, do not move until lighting has been restored.
General Theatre Safety
If you are working in an area, make sure to clean before leaving the work area.
Mid-Stage Traveler:
Located mid-stage and parts in the middle. Used to mask a set change. Color: Black
General Theatre Safety
Keep all construction, storage, rehearsal & performance areas clean & orderly.
FIRE & ELECTRICAL SAFETY
Keep liquids away from electrical equipment at all times.
FIRE & ELECTRICAL SAFETY
Know the location of the fire extinguisher closest to the backstage area.
FIRE & ELECTRICAL SAFETY
Know the location of the master electrical switch for the area where you are working.
Upstage (Rear) Traveler:
Located at the back wall and parts in the middle. Used to hide scenery or the upstage cyclorama. Color: Black
scenery
Models: A three-dimensional presentation of scenery constructed in scale (1⁄4" or 1⁄2"). Composition and sightlines are best checked using models. Models can also serve to check construction. b.) Sketches: May be rendered in color and perspective to show atmosphere that cannot be accomplished through a model. Multiple sketches can be made to show changes in lighting, scenery, and the placement of actors. Sketches are lightweight & easy to carry around. 30 30 c.) Scaled Drawings 1.) Floor Plans (Ground Plan): Scaled drawing that shows the outline of the set in position on the stage floor as if the roof had been removed from the stage. 31 31 2.) Front Elevations: Scaled drawings showing the appearance of the front of flats and other scenic elements 3.) Rear Elevations/ Working Drawings: Scaled drawings that include an indication of the materials and methods of construction to be used, dimensions, and directions for painting.
FIRE & ELECTRICAL SAFETY
Never block an exit door at any time
FIRE & ELECTRICAL SAFETY
Never cover electrical light bulbs with paper or fabric.
General Theatre Safety
Never operate tools without instructor supervision.
FIRE & ELECTRICAL SAFETY
Never use an electrical outlet or extension cord which shows signs of distress (broken or blackened edges).
Lighting safety
Only authorized and trained personnel are permitted to work with lighting circuitry, dimmers, and instruments. 2) The dimmer box must be cleaned at least once a semester. Vacuum the panels inside and under the box. 3) Use tools that are covered with plastic or rubber insulation when working with electricity (example: adjustable wrenches) 4) Disconnect any device (lighting instrument, motor, and amplifier) from the circuit before you work on it. 5) Unplug any lighting instrument before changing the lamp. 6) Use common sense. Don't touch bare wires. 7) Check cables and connectors for any cracking, chipping, or other deterioration. 8) Keep the cables and connectors clean. Remove any corrosion, paint, grease, or dust as soon as they appear. 9) When stage microphones are not in use, coil them and hang them up. 10) Always disconnect a plug by pulling on the body of the connecter, not the cable. 11) Never touch a lamp with bare fingers. Always use gloves or a clean dry cloth. A single smudge on a lamp will cause immediate damage. 12) Keep the dimmer box area clear of all clutter. 13) Do not work around electrical equipment barefooted. 14) Any electrical or mechanical defect or irregularity must be reported to the supervising teacher as soon as possible. 15) Always unplug any electrical equipment when making any repairs or adjustments. 16) Should an electrical shock occur, immediately shut the power source down and apply artificial respiration if the victim's breathing has been interrupted or stopped. 17) Any incidence of electrical shock, no matter how minor, must be reported to the instructor immediately. 18) Always tie your adjustable wrench to your waist, belt, or belt loop prior to scaling the ladder to make adjustment on lighting instruments. 19) If a lighting instrument is conducting excessive heat, report to the instructor immediately. The instrument must be removed from use, clearly marked until the instrument can be checked by a professional for repair or removal from service. 20) Electrical cords running along the stage floor should be taped or otherwise secured to prevent tripping during work periods, rehearsals, and performances. 21) Never use duct tape to cover exposed wiring (duct tape acts as a conduit). Use electrical tape only. 22) No food or beverages are allowed near lighting equipment at any time! 23) All lighting equipment must be stored in the lighting/prop closet when not in use. 24) Always use a wood or fiberglass ladder when hanging or adjusting any electrical equipment (lighting). 25) Never use an aluminum (any metal) ladder while working with electrical equipment of any kind. 26) The large ladder located in the auditorium must be set up & removed by at least four people. 27) Never use the large ladder in the auditorium without the instructor present. 28) Never use the large ladder in the auditorium without two people at the ladder's base.
FIRE & ELECTRICAL SAFETY
Open flames are never allowed on stage at any time.
wrenches
Open-End Wrench: Non-adjustable wrench with smooth jaws and used to fit nuts of 18 18 a specific standard or metric diameter. b. Box-End Wrench: Closed, toothed head that fits over a specific standard or metric sized nut. c. Adjustable-End Wrench (Crescent Wrench): Adjustable-end wrench has smooth jaws that adapt to fit most small to medium sized nuts. Available in 6", 8", & 10" sizes. Used in securing lighting instruments to pipes. d. Monkey Wrench: Heavy-weight, smooth-jawed, adjustable wrench used for large - nuts and work too large for adjustable-end wrenches. e. Socket Set & Ratchet Handle: Sockets are cylindrical wrenches used with a ratchet handle to tighten & loosen nuts without removing the socket from the nut. Used when working in confined spaces & attaching or removing platform legs bolted with three-eight-inch carriage bolts.
section 9
PRODUCTION STAFF & DUTIES STAGE MANAGER Is accountable to the director Supervises all assistant stage managers, actors, & stage crews Maintains order backstage during rehearsals & performances 1.Production Preparation: a) Meets with the director to establish responsibilities for the production. b) Reviews & posts the production calendar. c) Reads the script, multiple times, and highlight entrances & exits. d) Completes research & completes a play analysis & research board for the play. e) Prepares a prompt book that contains the following: The production script Attendance Roster for cast (add crew when needed) Cast & crew audition forms Rehearsal calendars Costume, prop, & scenery notes (example: quick changes) Floor plan/s Play research & analysis Blocking notes 2. Rehearsal Responsibilities: a) Records daily attendance for actors and crews during warm-ups. 61 61 b) Holds theatre keys during rehearsals. d) Ensures stage work lights are on or off when needed. e) Prepares rehearsal area for each rehearsal: Ensures stage work lights are on or off when needed Sweeps stage & opens back curtain to expose scrim (if needed) Directs the clearing of stage right & left wings of all band equipment & chairs Unlocks the property cabinet f) Responsible for making notes regarding upcoming actor schedule conflicts. g) Coordinates with all technical managers in order to establish rehearsal needs (example: rehearsal skirts, props, or scenery needs). h) Verifies with technical manager's backstage crew assignment. i) Prompts actors when needed. j) Records all blocking notes in the production book k) Maintains lists and rehearsal notes for the director. l) Demonstrates & maintains rehearsal etiquette. m) Notes any problems in rehearsal & records those issues. 4. Performance Responsibilities: a) Verifies actor & crew have signed in for the performance. b) Calls actors to the little theatre for the warm-up circle 35 minutes prior to curtain. c) Calls places ten minutes prior to curtain. d) Verifies that all actors have pre-set props & costumes. e) Verifies that all crew managers have pre-set for the performance & checked all production elements. f) Practices backstage etiquette (examples: clearing wings, no eating or drinking backstage, no excessive talking, etc.). g) Calls lighting and sound cues on the headset to the booth during the performance. 62 62 h) Maintains order backstage during performances. i) Assists actors and crew during performances when needed. j) Checks with crew heads for maintenance notes. k) Verifies that all crew managers & crews have properly stored all props & costumes pieces until the next performance. l) Reports to the director/instructor when any problems occur backstage. TECHNICAL DIRECTOR Accountable to the director Supervises all technical managers & crews during construction, rehearsal & performances. Plans & supervises all technical meetings scheduled at least once a week in the morning or after school. 1. Production Preparation a) Reads the script, multiple times, and makes notes if needed. b) Attends an initial meeting with the director in order to determine the specific technical needs for the production scheduled during week one of the production. Prop List Sound Cue List (if available) Scenery List Rehearsal Costume List Special Effect List Lighting List (lighting areas, instruments, & color) Hair & Make-up List Publicity & House Management c) Attends an initial meeting with the director, stage manager, & technical managers in order to distribute notes for the production during week two of production (see above). d) Creates a specific work call (Saturdays) & technical rehearsal calendar for the Note to Assistant Stage Managers: All assistant stage managers should review the aforementioned notes. In the absence of the stage manager for the production, the assistant stage manager will assume all stage manager responsibilities as described above. Stage managers may assign specific duties to the assistant stage managers for rehearsals & performances. 63 63 production. e) Conducts research & completes play analysis & a research board for the production. f) Establishes a list of running crews for the production in conjunction with theatre instructors and technical managers. g) Prepares a production book that contains the following: A script with notations Technical notes for each area Work call & technical rehearsal calendar Production calendar Floor plans Play research & analysis Cast & crew contact sheet Production check list h) Checks scene shop tools & supplies to determine construction needs. i) Checks storage areas once weekly for order and cleanliness. Report any issues to the instructor. 2. Rehearsal Responsibilities a) Conducts technical meetings at least once a week. In the event that a technical manager cannot make a meeting, the technical director will distribute all notes the following day. b) Posts a weekly bulletin regarding any technical notes for the production on the call board. c) Communicates with the director & stage manager regarding technical additions or delays. d) Attends all rehearsals throughout the production & takes notes for the technical managers & crews. e) Attends all work calls and technical rehearsals. f) Notes any damage to scenery & lists all repairs needed for scenery. g) Supervises technical managers during the technical rehearsals. 3. Performance Responsibilities 64 64 a) Signs in for the performance date attended. b) Checks in with all technical managers regarding damage in need of repair. c) Maintains a record of all technical managers & crew hours. d) Creates a strike plan for the production & relays all strike information to technical managers. SCENERY MANAGER Accountable to the instructors, stage manager & technical director Oversees all scenery construction crew manager & crew Ensures that the scenery construction list is reviewed & posted in the technical theatre class. 1. Production Preparation a) Reads the script b) Attends a full run-through rehearsal in order to understand the flow of the play and develop knowledge of any scenery shift challenges. c) Attends technical meetings when called by the technical director 2. Rehearsal Responsibilities a) Obtains ground plan from director and a scenery list from the technical director. b) Attends a full run-through rehearsal in order to understand the flow of the show & any scenery shift challenges. c) Collects/ constructs set pieces needed in conjunction with the technical theatre class. d) Mounts & rigs scenery and masking according to safety procedures. e) Compiles pre-set & shift charts and cue script with the technical director. f) Spikes scenery positions g) Establishes running assignments & rehearse during technical rehearsals in conjunction with the technical director h) Attends all technical rehearsals. i) Listens to director notes and make necessary changes 65 65 3. Performance Responsibilities a) Signs-in for each performance. b) Checks equipment & scenery. c) Directs scenery shifts backstage during performances. In the event that the scenery manager is unable to attend performances, he/she must choose a backstage crew manager to fulfill this position. g) Checks in with stage manager regarding production notes from the director. h) Returns the stage to pre-performance set after each performance, prior to leaving for the night. i)Follows strike plan as presented by the technical director. j) Supervises the storage of all scenic and stage property items at the end of the production run. SCENERY CONSTRUCTION CREW Accountable to the instructor, backstage crew manager & scenery manager Completes all scheduled scenery construction. Completes all scheduled scenery set-ups and strikes 1. Construction Responsibilities a) Maintains a folder of all handouts presented by the instructor & the scenery manager. b) Develops and constructs assignment/s for each production in order to meet the Dead-line as set by the instructor & scenery manager. c) Communicates with the instructor & scenery manager once the project is completed. d) Attends at least one Saturday work call for each production. 2. Technical Rehearsal Responsibilities a) Repairs any damaged scenery as indicated by the scenery manager. b) Attends at least one technical rehearsal per production in order to understand the technical rehearsal process. 3. Strike Responsibilities 66 66 a) Aids in clearing the auditorium upon completion of the production b) Safely dismantles any scenery as directed by the instructor & scenery manager. c) Stores all scenery in a safe and organized manner. SCENERY RUNNING CREW Accountable to the instructor & scenery manager Rehearses and implements all scenery shifts for an assigned production. Aids in all strike procedures 1. Technical Rehearsal Responsibilities a) Attends at least one rehearsal prior to the first technical rehearsal. b) Attends all technical rehearsals. c) Signs in upon arrival for each technical rehearsal. d) Rehearses scenery shift assignments & reports any problems to the scenery manager. 2. Performance Responsibilities a) Attends all performances b) Signs in upon arrival for each performance. c) Completes all scenery shift assignments for each performance. d) Returns the stage to pre-performance set after each performance, prior to leaving for the night. LIGHTING MANAGER Works under the supervision of the theatre instructors, stage manager, & technical director Maintains lighting equipment & accessory storage Communicates all lighting needs to the technical theatre classes Supervises all lighting hangs 1. Production Preparation 67 67 a) Reads the script b) Attends at least two full run-through rehearsals in order to understand the flow of the play and develop an understanding of the lighting needs for the show. c) Attends technical meetings when called by the technical director. d) Develops an inventory list of all equipment. Label any equipment that is broken & reports to the instructor. e) Conducts equipment maintenance at the beginning of each production. 2. Rehearsal Responsibilities a) Obtains a ground plan from the technical director. b) Develops a list of lighting needs with the director and specific lighting areas needed. c) Develops a list of any special affects (example: fog) needed for the production with the director. d) Communicates all information to the technical theatre class (lighting) e) Supervises all lighting hangs. f) Attends any lighting work calls as needed. g) Trains at least three lighting board operators per show. Although a single board operator is preferred, emergencies may occur so back up operators are ideal. h) Establishes running crew assignments & rehearse during technical rehearsals i) Signs in for each rehearsal or technical rehearsal attended. J) Listens to director notes and make necessary changes. 3. Performance Responsibilities a) Signs in for each performance b) Checks equipment prior to each performance c) Directs any lighting/ special effects needs backstage (use of black lights or fog machines) 68 68 d) Checks with the stage manager regarding production notes from the director. e) Directs the return of all pre-performances lighting/ special effects sets after each performance, prior to leaving for the night. f) Follows the strike plan as presented by the technical director. Ensures all lighting equipment is properly removed from the stage & stored in the lighting storage area. LIGHTING CREW (HANGING) Accountable to the instructors, technical director, & lighting manager. Aids in the maintenance & storage of lighting equipment and accessories. Aids in the implementation of lighting hangs for each production. 1. Production Preparation a) Maintains a folder of all handouts presented by the instructor and the lighting manager. b) Follows the directions as issued by the instructor for the maintenance, hanging, and operation of all lighting equipment for each production. c) Communicates with the instructor & lighting manager once a project has been completed. d) Attends at least one Saturday work call for each production. 2. Technical Rehearsals a) Repairs lamps, replaces gels, re-tapes floor cords, & refills fog machines as needed. b) Adjust lighting equipment as instructed by the instructor & lighting manager c) Tests equipment prior to the technical rehearsals d) Attends at least one technical rehearsal for each production. 3. Strike Responsibilities a) Removes all lighting equipment & accessories from the floor level upon the completion of the production. b) Stores all lighting equipment & accessories in the storage closet as directed by the lighting manager. 69 69 Remove fog liquid from all fog machines and rinse containers prior to storage. Remove all gels & frames from all lighting equipment. Untangle and neatly wrap all extension cords. c) Reports any damaged equipment to the lighting manager A. S. A. P. LIGHTING CREW (RUNNING) Accountable to the instructors, technical director, & lighting manager. Responsible for running all lighting & special effect equipment for the assigned production. Aids in the strike process for each production. 1. Technical Rehearsal Responsibilities a) Sign in for each rehearsal or technical rehearsal attended. b) Attend all technical rehearsals c) Check all equipment prior to each rehearsal d) Rehearses lighting crew assignments as directed by the lighting manager. 2. Performance Responsibilities a) Sign in for each performance b) Attend all assigned performances c) Check all equipment prior to each rehearsal d) Fulfill crew running assignments as directed by the lighting manager & reports any problems A. S. A. P. e) Returns the stage to pre-performance set after each performance, prior to leaving for the night. 70 70 SOUND MANAGER Works under the supervision of the theatre instructors, stage manager, & technical director Maintains & inventories all sound equipment Communicates all sound needs to the technical theatre classes Implements all sound needs for each production 1. Production Preparation a) Reads the script b) Attends at least two full run-through rehearsals in order to understand the flow of the play and develop an understanding of the sound needs for the show. c) Attends technical meetings when called by the technical director. d) Develops an inventory list of all equipment. Label any equipment that is broken & report to the instructor. e) Conducts equipment maintenance at the beginning of each production. 2. Rehearsal Responsibilities a) Creates a basic list of sound needs based on script review. b) Develops a complete list of sound needs in conjunction with the director. c) Communicates all information to the technical theatre class. d) Implements the recording of all sound affects to one or two CD's and lists the sounds/music found on the C.D. along with the show title and date of production. e) Review the C.D. with the director in order to determine if changes are needed. f) Trains at least two sound board operators per show. Although a single board operator is preferred, emergencies may occur so back up operators are ideal. g) Establishes running crew assignments & rehearse during technical rehearsals h) Signs in for each rehearsal or technical rehearsal attended. j) Listens to director notes and make necessary changes. 3. Performance Responsibilities 71 71 a) Signs in for each performance b) Checks equipment prior to each performance c) Directs any sound effects needs backstage. d) Checks with the stage manager regarding production notes from the director. e) Follows the strike plan as presented by the technical director. PROPERTY MANAGER Accountable to the instructors, stage manager, & technical director Responsible for the acquisition and construction of all properties for each production. Aids in the strike process for each production. 1. Production Preparation a) Reads the script for each production & creates a basic property list for the show. b) Attends initial meeting with the technical director in order to obtain a list of property items required for each production. c) Attends technical meetings when called by the technical director 2. Rehearsal Responsibilities a) Obtains a rehearsal property list from the technical director for each production & supervises the collection of all props needed for the production. b) Attend at least one full run-through rehearsal in order to understand the flow of the show and to access any property issues. c) Supervise the collection/construction of all properties needed for the production. d) Ensures all rehearsal properties are placed and secured in the stage right property closet. e) Supervises and trains a property running crew for the production. f) Attends all technical rehearsals. g) Confers with the director regarding any property notes for the production. h) Creates property tables for the production with clearly taped and labeled areas for all properties. 72 72 i)Creates a property running list for the show to be used by the property running crew for the production. 3. Performance Responsibilities a) Signs in for each performance. b) Supervises the property running crew to ensure proper check-in procedures for properties are followed. c) Confers with stage manager (daily) regarding any property issues encountered during the show. d) Follows the strike plan, as presented by the technical director. Ensures that all property items are removed from the auditorium and properly stored in the prop closet PROPERTY CONSTRUCTION CREW Accountable to the instructor & property manager Rehearses and implements all property construction for an assigned production. Aids in all strike procedures 1. Technical Rehearsal Responsibilities a) Maintains a folder of all handouts presented by the instructor and the property manager. b) Develops and constructs any properties needed for the production in order to meet the deadline set by the property manager. c) Communicates with the instructor and property manager once the project is completed. d) Attends at least one work call for each production. 2. Rehearsal Responsibilities a) Repairs any damaged properties as indicated by the property manager. b) Attends at least one technical rehearsal per production in order to understand the technical rehearsal process. 3. Strike Responsibilities 73 73 a) Clears the auditorium of all properties for each production. b) Stores all property items in the prop closet in a neat and organized manner. PROPERTY RUNNING CREW Accountable to the instructor & property manager Rehearses and implements all property shifts for an assigned production. Aids in all strike procedures 1. Technical Rehearsal Responsibilities a) Attends at least one rehearsal prior to the first technical rehearsal. b) Attends all technical rehearsals. c) Signs in upon arrival for each technical rehearsal. d) Rehearses property shift assignments & reports any problems to the property manager. 2. Performance Responsibilities a) Attends all performances b) Signs in upon arrival for each performance. c) Completes all property shift assignments for each performance. d) Returns properties to the prop closet & locks the closet prior to leaving for the night. COSTUME MANAGER Accountable to the instructors, stage manager, & technical director Responsible for costume storage organization Confers with the director and fulfills costume needs for each production Measures actors for each production. Aids in the strike process for each production 1. Production Preparation a) Reads the script for each production b) Attends initial meeting with the technical director in order to obtain a list of costume items required for each production. 74 74 c) Attends technical meetings when called by the technical director 2. Rehearsal Responsibilities a) Obtains a rehearsal costume list from the technical director for each production & supervises the collection of all costumes needed for the production. b) Attend at least one full run-through rehearsal in order to understand the flow of the show and to access any costume issues. c) Supervise the collection/construction of all costumes needed for the production. d) Ensures all rehearsal costumes are placed on a rehearsal rack & properly secured after each rehearsal. e) Supervises and trains a costume running crew for the production. f) Prepares costume racks to include: 1) Assign & label accessory bags 2) Stitch name tags inside of garments (if needed) 3) Label wooden dividers with the actors' name & production title 4) Label all shoes g) Attends all technical rehearsals. h) Confers with the director regarding any costume notes for the production. i) Aids in the construction/repair of costumes as needed j) Creates a costume folder for each production to include: Costume plots (for each actor) Check in & check out sheets (for each actor) Quick change notations & costume repair forms g) Attends all technical rehearsals. h) Confers with the director regarding any costume notes for the production. i) Aids in the construction/repair of costumes as needed 75 75 j) Creates a costume folder for each production to include: Costume plots (for each actor) Check in & check out sheets (for each actor) Quick change notations & costume repair forms COSTUME RUNNING CREW Accountable to the instructor & costume manager Rehearses and implements all costume changes Organizes all costume racks for each performance Aids in all strike procedures 1. Technical Rehearsal Responsibilities a) Attends at least one rehearsal prior to the first technical rehearsal. b) Attends all technical rehearsals & signs in upon arrival for each technical rehearsal. c) Checks in all costumes for the production. d) Rehearses costume changes & reports any problems to the costume manager. 2. Performance Responsibilities a) Attends all performances & signs in upon arrival for each performance. b) Completes all costume preparations, check-ins, dressing, & quick change assignments for each performance. d) Returns costumes to assigned storage are & secures all items prior to leaving for the night. 76 76 HAIR & MAKE-UP MANAGER Accountable to the instructors, stage manager, & technical director Responsible for hair & make-up storage Confers with the director and fulfills hair & make-up needs for each production Completes make-up charts for each actor in each production Aids in the strike process for each production 1. Production Preparation a) Reads the script for each production b) Attends initial meeting with the technical director in order to determine hair & make- up needs for each production. c) Attends technical meetings when called by the technical director 2. Rehearsal Responsibilities a) Creates a list of all hair and make-up supplies needed for each production b) Attend at least one full run-through rehearsal in order to understand the flow of the show and to access any make-up issues (necessary changes in hair or make-up). c) Supervise the collection & organization of all make-up & hair supplies needed for each production. d) Washes & styles any wigs needed for the production. e) Supervises and trains a make-up/ hair running crew for the production. f) Attends all technical rehearsals. g) Confers with the director regarding any hair & make-up notes for the production h) Creates a make-up/hair folder for each production to include: Make-up charts (for each actor) Quick change make-up & hair notations. i) Attends all technical rehearsals. j) Confers with the director regarding any make-up/ hair notes for the production. 77 77 HAIR & MAKE-UP CREW Accountable to the instructor, stage manager, & hair & make-up manager Rehearses and implements all hair and make-up for the production Organizes all hair and make-up for the production Aids in all strike procedures 1. Technical Rehearsal Responsibilities a) Attends at least one rehearsal prior to the first technical rehearsal. b) Attends all technical rehearsals & signs in upon arrival for each technical rehearsal. c) Ensures all hair and make-up needs are carried out as instructed by the hair & make- up manager d) Rehearses all make-up & hair changes (if needed) & reports any problems to the costume manager. 2. Performance Responsibilities a) Attends all performances & signs in upon arrival for each performance. b) Completes all make-up & hair applications for all actors in the production. c) Cleans all make-up brushes and sponges prior to the next performance. d) Cleans & organizes the hair and make-up area after each night of the performance prior to leaving. 78 78 PUBLICITY MANAGER Accountable to the instructors, stage manager, & technical director Responsible for the design and implementation of all publicity items required for each production Aids in the strike process for each production. 1. Production Preparation a) Reads the script for each production b) Attends initial meeting with the technical director in order to determine the publicity needs for each production. c) Attends technical meetings when called by the technical director. d) Collects all information & designs the program, poster, & t-shirt design for each production. e) Organizes & implements ad selling campaign to local vendors in order to generate additional publicity & funds for the production 2. Rehearsal Responsibilities a) Checks the spelling of all names to be printed in the program prior to sending to the printer. b) Arranges a picture/ article for the school newspaper. c) Checks t-shirt & poster copy prior to sending to the printer. d) Arrange date and time for a photo call for the show (preferably during a technical rehearsal) e) Establishes a plan for using school resources in order to publicize the production. f) Plans lobby display for the production in order to showcase the efforts of all those involved in the production. g) Sets t-shirt prices based on total print cost plus tax & collects money from cast & crew for t-shirts. h) Arranges for the show to be advertised on the school marquee four days prior to the show opening. i) Creates & submits announcements forms for school announcements. 79 79 j) Supervises the house manager as far as organization of front of the house. HOUSE MANAGER Accountable to the instructors, stage manager, & publicity manager Organizes and plans the lobby set up for each production Trains & supervises the house crew for each production Aids in the strike process for each production. Performance Responsibilities: a) Attends meetings with the technical director as called. b) Schedules time for lobby decoration (afternoon before opening night) c) Organizes programs, tickets, and concessions prior to each performance. d) Creates & posts signs for tickets and concessions. e) Supervises the house crew during each performance. f) Secures funds in the lock box & turns over to the instructor after intermission. g) Strikes items on the concession table, clears all lobby tables after each performance & secures all items. HOUSE CREW Accountable to the instructors & house manager Responsible for implementing all front of the house procedures Dresses appropriately for each evening (business) Aids in the strike process for each production. Performance Responsibilities: a) Aid in the creation of the lobby display to be implemented the day prior to opening night as scheduled by the house manager. b) Arrive at the auditorium and sign in no later than 6:00 p.m. in order to organize the ticket area and concession for the evening. c) Fulfill house assignment as given by the house manager. Assignments include: Ticket Sales Set up & strike of concession stand Usher Duties: Programs & Seating Aide.
posters
PULL the item from property storage. If a particular item cannot be found, ask the instructor. 2) BORROW the item from a friend, relative, or a theatre student. When borrowing items, the theatre department will be responsible for any damage. Treat all properties with the greatest care. 3) PURCHASE the item. In order to purchase any item with school funds, a tax exempt form must be used. 4) CONSTRUCT the property. Submit a list to the property manager who will give the list to the scene shop in order to build the prop in technical theatre I. Sometimes the rehearsal must be used in rehearsals A.S.A.P., if this is the case, try to find a substitute prop for rehearsals.
property acquisition
PULL the item from property storage. If a particular item cannot be found, ask the instructor. 2) BORROW the item from a friend, relative, or a theatre student. When borrowing items, the theatre department will be responsible for any damage. Treat all properties with the greatest care. 3) PURCHASE the item. In order to purchase any item with school funds, a tax exempt form must be used. 4) CONSTRUCT the property. Submit a list to the property manager who will give the list to the scene shop in order to build the prop in technical theatre I. Sometimes the rehearsal must be used in rehearsals A.S.A.P., if this is the case, try to find a substitute prop for rehearsals.
stationary power tools
Radial-Arm Saw: Used for cross cutting, angle cutting, & ripping stock lumber & plywood. b. Table Saw: Used for cutting and ripping stock lumber & plywood.
costumes
Rendering: A colored drawing of the garment with swatches of fabric attached. b.) Costume Plot: A list of each character and the costumes worn for each scene of the play.
General Theatre Safety
Report all accidents to the instructor so that first aid and/or medical attention can be administered without delay. The first aid kit is located in the SCENE SHOP.
General Theatre Safety
Report any problems with lighting, sound, or scenery as soon as possible.
MISCELLANEOUS POWER TOOLS
Router: Hand-held, motor-driven tool used for shaping wood. Used to shape & carve designs from the surface or edge of the wood. b. Drimmel Tool: Small hand-held, motor-driven tool used to cut & smooth metal & shape, smooth, and carve wood. c. Bench Sander: Typically consists of a belt and disc sander. Used to bevel or smooth the surface or edges of wood and some plastics. d. Palm/Hand Sander: Hand-held, motor driven tool used to sand wood. e. Hot Melt Glue Gun: Uses sticks of heat-activated adhesive for making rapid-hold glue bonds between wood, plastic, foam, paper, cloth, & metal.
General Theatre Safety
Running, practical jokes, throwing tools or materials is not permitted at any time.
miscellaneous hand tools
Sand Paper: Used for smoothing wood, plastic, Styrofoam, or metal prior to painting or varnishing. Available in three ratings: fine (220), medium (120), & course (80). b. Wrecking Bars/Crow Bars: Used to pry wood apart, dismantling platforms, and remove nails. c. Grommet Set: Consists of a hole punch, a small anvil, and a crimping tool. Used to set grommets in fabric and leather. d. Staple Gun: Used for attaching muslin to flat frames, fabric to furniture, and cardboard to platforms.
side legs
Side masking curtains located at the upstage right and left of the stage. Color: Black
General Theatre Safety
Seek assistance when lifting heavy objects.
property categories
Set Props: Large, movable items that are not built into the set and are used by the actor in some way. Examples: furniture, floor lamps, rugs, & appliances, etc. 48 48 2) Hand Props: Small props that are handled or carried by the actors. Examples: plates, cups, letters, books, fans, food props, weapons, walking canes, & lanterns. 3) Set Dressing (Decorative Properties): Items used to enhance the visual setting although these items are not specifically touched by the actors. Examples: plants, window curtains, pictures, doilies, table lamps, bric-a-brac & books in a bookcase.
Pliers
Slip-Joint Pliers: Used for clamping, gripping, bending, & cutting light wire. b. Long-Nose Pliers: Used for gripping & bending light wire. c. Adjustable Arc-Joint Pliers: Used to grip both square & round objects with leverage. Typically used for holding metal pipe and tubing for similar gripping jobs. d. Locking Pliers (Vise Grip): Used to grasp, lock, & hold almost any object. Jaws can be adjusted by the screw at the base of the handle. e. Diagonal/ Wire Cutters: Used to cut soft wire.
wood bits
Spade Bits: Paddle-shaped wood bits used for wood & some soft plastics to cut recessed circles for dowels. b. Auger Bits: Used for cutting holes in wood. c. Hole Saws: A saw-toothed cylinder used for cutting holes in wood. 17 17 d. Counter Sink Bit: Used to create a housing for the screw that allows the head to sit below the surface of the wood. e. Phillips Bit: Used for inserting Phillip's screws. f. Flat Head/ Standard /Slotted Bit: Used for inserting flat head screws. g. Decking Bits: Used for inserting decking screws.
The Origin of Fire Protection in U.S. Theatres
Special attention was placed on fire protection within the theatre as a direct result of two disasters that occurred in the United States in 1876 & 1903. The first major theatre fire tragedy occurred at the Brooklyn Theatre in New York on December 5, 1876, when open flames where used on stage. During the final act of "The Two Orphans," a canvas backdrop broke from its fastenings and dangled over an oil lamp along the apron of the stage. The canvas caught fire which spread rapidly when it was raised too fast and was further fanned by a roof ventilator. Lack of exits and the resulting panic lead to the deaths of 295 people. The second disaster occurred 25 years later in Chicago at the Iroquois Theatre & has been recorded as the worst fire in American theatre history. On December 30, 1903, the Iroquois Theatre, once billed as "Absolutely Fireproof," had been open five weeks prior to the fire. The fire started as a result of a combustible stage drape coming into close contact with a powerful stage spotlight. The fire engulfed drapes suddenly crashed to the stage, sending flames into the audience under the asbestos curtain which had been partially lowered. All of the lights failed in the theatre and the crowd was thrown into panic which resulted in the loss of 602 lives. This event led to the modern emphasis on emergency preparedness, automatic sprinkler protection, audience limits, exits and exit lighting, panic bars on outward opening doors, and firefighting equipment in theatre throughout America.
General Theatre Safety
Students may not wear head phones or ear plugs when using hand tools or operating power tools.
caster
Swivel Caster: A wheel mounted on a bearing plate that allows the wheel to pivot around a vertical axis. Commonly used on wagons. 2) Rigid Caster: Unlike the swivel caster, the rigid caster is permanently locked in position so they cannot pivot. Sometimes used for light weight scenery and furniture.
analysis
The designer must analyze the script in order to determine the world of the play.
research
The designer must research the play with the play analysis serving as the guiding force.
Proscenium:
The framed border of the proscenium box.
Valance
The valance is located above the grand drape (main curtain) and serves to mask lighting instruments and equipment. Color: Black
press release
Where and when to purchase tickets and the prices. 2. A brief description of the play & information about the production. 3. Show times & dates: When audience should arrive and what time the curtain goes up. 4. A publicity photo taken during rehearsals. 5. Include information about future productions of the theatre program.
meaning of color
Yellow: stimulating, cheerful, exciting, joyful, serene, unpleasant, aggressive, hostile Orange: warm, happy, merry, exciting, stimulating, hot, disturbed, distressed, & unpleasant Red: happy, affectionate, loving, exciting, striking, active, intense, defiant, powerful, 26 26 masterful, strong, aggressive, hostile Green: youthful, fresh, leisurely, secure, calm, peaceful, emotionally controlled, ill Blue: pleasant, cool, secure, comfortable, tender, soothing, social, dignified, sad, strong, full, great. Violet: dignified, stately, vigorous, disagreeable, sad, despondent, melancholy, unhappy, depressing Black: sad, melancholy, vague, unhappy, dignified, stately, strong, powerful, hostile, distressed, fearful, old White: pure, tender, soothing, solemn, empty Brown: secure, comfortable, full, sad, disagreeable
Proscenium Stage
a stage with a permanent framed opening through which the audience sees the play
Thrust Stage
a theater stage that extends out into the audience's part of a theater and has seats on three sides
rubber/wooden mallet
drive chisels or marking sheet metal
tacking hammer
inserting tacks
warm colors
red, orange, yellow, yellow gree
surform planes
to smooth edges
wood file
to smooth wood and plastic
cyclorama
the white backgroung to project images on
Arena Stage/Theatre in the Round
theater space where the audience sits on all four sides of the auditorium and watches the action in an area set in the middle of the room
scrim
thin, open-weave fabric which is nearly transparent when lit from behind and opaque when lit from the front
wooden/rawhide mallet
to cut holes
claw hammers
to hammer nails
wood rasp
used for rough shaping of wood
carpenters level
used to determine true horizontal and vertical angles
