Recently-opened performance spaces
Users' opinions on the design and facilities provided by some recent projects. These may include Curve, Leicester; Grove theatre, Dunstable; RSC Courtyard; Wexford Opera; Hull Truck Theatre; Alleyns School; and others from overseas – suggestions, with reasons, appreciated.
Design and specification
Stage engineering standards – CWA25, BS 6701, EN61508 and others; what needs to be in a professional specification? Control systems operator concerns and objectives, instinctual reactive control. Engineering acoustics - how do you set, specify and measure realistic equipment noise levels?
Practical sustainability
Away from the hype - what can be done in practice in a typical theatre to reduce the use of energy, water, waste and unsustainable materials; planning sustainability into the design; paperwork and certificates; compliance with UK and European regulations; examples from elsewhere.
Basic theatre technical planning
An introduction to theatre technical systems; what is necessary in the small and mid-scale venue; how to go about planning and procuring the infrastructure and equipment; important does and don'ts from experienced consultants and technical personnel.
The principles of stage engineering
An introduction to load, mass, speed, acceleration,inertia, friction, stopping; available forms of overstage suspensions and elevator mechanisms; the safety of mechanised installations: steel bands, hand-winches using electric drills, multi-purchased hemp installations, chain hoists with clews hauling wire-ropes, etc
The front door
Audiences are changing and front of house areas will need to adjust and update; the demise of the traditional box office, the emergence of technology and marketing in lobby areas; customer orientation, services, food, bars, loos and views.
'Black box' design
Why this unfortunate term is disliked in the performing arts industry; some good and bad examples and some practical advice as to how an experimental or flexible performance space can be created.
The future in stage lighting
The future of lighting instruments and controls – colour, intensity, position; LED souces; the latest forms of GUI; lighting designers' wish lists; forms of control, visualisation studios, etc. Is a lap-top the
future lighting control?
The back door
Planning of backstage, fitting out of dressing rooms, green rooms, circulation, the specialist areas: wardrobe, laundry, rehearsal rooms, workshops, compliance with COSH, get-in, truck dock, etc
The procurement process
Why do many performing arts projects get into difficulties during the construction process; is it bad planning, poor project management, weak contracts, sloppy specifications, money, the lack of a project champion - or is the process itself wrong? Co-operative design teams versus architect- or project manager-led? PFI, PPP, borrowing or direct funding?
Theatre and performance safety
What we should all be aware of; safety of the building, the equipment, the control systems, the production, the audience; training and responsibilities; the rule of one (personal responsibility) and of one+one (working together to watch for hazards); extreme dangers - those that must be protected against and those which have to remain and for which the risk is reduced to acceptable levels by rehearsal.
Cultural overview
The role of theatre in a multi-platform performance world; subsidy, patronage, commercial and voluntary activities; more theatres = local availability: fewer = higher attainment? Community service – ancillary services to the locality; educational roles – cultural enlargement, confidence building, and training. The future of digital relays of major performances.
Essential features of receiving houses
Theatres into which a variety of shows and events have to tour require special provisions and often don't need extravagent facilities; some examples and a review of their typical needs.
Audio-visual installations
Digital versus analogue – what should the infrastructure include; what does it have to accommodate? Practical backstage facilities; use of radio mics and future frequency allocations; archive video recording and external transmission of theatre productions; projection and display screen systems; how do they work in practice? |
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Putting sound into the auditorium
What sort of sound system would be appropriate? What is required in small and medium-scale theatres; the acoustics appropriate for different types of performance; why hidden loudspeakers are often replaced by flown arrays; what will the sound designer want to find; are sound cockpits good value for money? And, if so, where should they be positioned and what facilities should they include?
Room acoustics in performance spaces
There is a history of poor acoustics in a many theatre spaces, particularly the smaller rooms used for drama and many which are intended for a range of performances. What are the basic acoustic principles that must be understood in order to achieve rooms in which the audience can hear with clarity? Where rooms are to be used for many activities, what economic means exist for modifying the acoustics to suit?
The future of scenery
What facilities are necessary for modern scenery; to what extent can it become digital, projected, virtual; what equipment to use; how must stage equipment and theatre infrastructures develop to accommodate these developments?
An update on powered flying
What should power flying systems offer the users? Who leads on this - the manufacturers, the operators or the scene designers? Are there national preferences – a look at the different approaches from around the world; years after Europe had powered systems, the US is moving fast with motorized rigging.
The total cost of ownership
Understanding the capital and revenue implications of equipment installations; the level of ongoing expenditure on maintenance, servicing and staff; how this can be minimised with reliable installations; the benefits of long term leasing arrangements.
Seating and sightlines
Stararchitects or their juniors often make mistakes in auditorium design; review the setting out of seats, side seats, row centres, curvature, selection
of seats, back angles, upholstery, retractable and moving units, ventilation, etc.
Modern stage lighting installations
Power to lighting systems overstage; remote and distributed dimming; sine wave versus conventional; discharge efficiency; safe access to lighting fixtures – overstage and on balcony fronts; remotely control lighting fixtures – greater cost but increased safety. Achieving great lighting at lower levels.
Textiles in theatres
Theatre curtains, materials, lining, hanging, decoration; house tabs - swag, fly, draw, drop: what to use and why; banners; acoustic curtains; tracks; masking; film screens; winding onto rollers; quick-erect screens, etc.
Flexible stage floors
The Royal Shakespeare Company's approach, Hampstead, Crucible and Curve – practical benefits, loading and costs; if you can’t afford to
mechanise, then do exciting things with rostra.
The role of consultants
What should a professional consultant bring to performing arts project? Preparing a scope of works; relationship to other members of the design team; understanding the risks involved.
Stage management & backstage systems
As communications systems become more available and extensive, what do technicians, stage and company managers really want; what form of infrastructure will provide for modern facilities now and in the future? LED based cue lights and other advanced facilities.
The RIBA work plan
This and similar processes are used in many countries; are they appropriate to today's design and funding processes; do project management pressures put the design team at risk; what steps need to be taken to ensure successful implementation of the construction process?
Noise at work in theatres
Coping with the restrictions of the Noise at Work regulations in the workshop, in the pit, on stage and with the sound operator; practical measures, including making and interpreting appropriate measurements.
Horizontal movements on stage
Truck and wagon movements have progressed from manual effort and wire ropes to rigid chain, rack and pinion and induction drives, free motion with radio and laser control providing almost any motion wanted on stage; a review of the latest systems. |
