Flat - a wall. Standard 4’ x 8’. That’s the size plywood boards come in.

• Good to know both metric and imperial.

Front elevation - what a sketch would look from the front.

Back elevation - “” “” “” “” back.

Back of a flat: top rail, bottom rail - brace on the top and bottom. We usually use 1x3s. Long side piece is a stile.

Page 247.

Production meeting thurs at 4.

Bar in the middle is a toggle. Supporting bars diagonal brace. Cornerblock in the corners. Keystone, strap.

Risers/platforms.

¾’’ plywood and 2x4.

211-213 for materials.

Stairs: rise and tread. Carriage. 7-8’’ rise. Stringers on top.

Pneumatic tools - powered by air. 222-224.

Screw: Standard: slot, phillips: X, robertson: square.

Side elevation.

Will be building a basic box.

½’’ plywood?

1. Exam: Saturday Dec 14th from 9-12.
2. Write technical review on a professional show: Costumes, makeup, props, set, lighting, sound.

Actsafe

• Actsafe represents two different sectors: theatre and television
• Training courses
• Workshops and seminars
• Website
• Documentation
• Onsite testing and advice
• Newsletter
• Two standing committees: performing arts and motion pictures
• Funded by but not part of worksafe bc

Etc

1. Know the relevant health and safety legislation (website)
2. Describe the functions of health and safety programs
3. Identify responsibilities

Safety things > Safety programs > Safety management systems

Workers have three basic rights:

1. Right to know about hazards etc
2. Right to participate (personal protective equip)

1. Right to refuse unsafe work

Websites

http://www.worksafebc.com
> Regulations > Rights and Responsibilities
> Regulations > Personal Protective Equipment
> Forms

http://www.actsafe.ca
> Membership
> Courses & Certifications > Workplace Hazardous Material Information System
> Bulletins > Performing Arts
> Library
> Resources > Risk Assessments

Performing Arts Industry Other Safety Resources

• Primers: Performing Arts, Working at Heights, Dancer and Muscular/Skeletal Injuries, Musicians and Muscular/Skeletal Injuries
• Actsafe safety bulletins for performing arts
• Actsafe risk assessment and factsheets
• New and young workers orientation

Commitment to Safety

• Senior management
• Supervisors
• All employees

Worker’s Responsibilities

• Know the rules and procedures
• Know your responsibilities
• Work safely
• Take part in training
• Use correct protective equipment
• Know about impairment
• Report personal injuries
• Correct or report all hazards

Hazard Assessment/Control

• Eliminate the hazard
• Substitute
• Use an engineered control
• Use an administrative control
• Use personal protective equipment

Protective equipment may be the only practicable answer.
Know what equipment is required and how to use it correctly.

Health and Safety Program

• Safety committees
• Safety inspections
• Training and safety information
• Testing and monitoring

Procedures

• Safe work procedures (e.g. working alone, traffic safety, needle disposal, ladder use)

Education and Training

• Requirement at all levels
• Specfic training is required by law for some work
• Very important part of the health and safety program
• Training tracked through actsafe safety passport system

How Safety Issues Are Addressed

• Communication
• Safety committees

Work Refusal

• If a worker refuses to carry out work that he/she believes is hazardous, they must immediately INFORM their supervisor or employer
• A supervisor/employer must investigate the matter to ensure any unsafe condition is corrected without delay
• Next step involve safety committee and union rep
• Actsafe may be involved to help provide guidance
• May involve a WorkSafeBC officer to resolve issue
• Cannot discriminate against the worker refusing the unsafe work

hang and focus 3:00-5:00 in thea

cueing tue 11:00-11:30 in studio w astrid

walking stage tue 9:30-11:00 in thea

walking stage tue 12:30-5:00 in thea

final set for dec 14 9-12

may be changed to dec 10 10-1

1. always check a light before hanging it
2. always make sure it has a safety clamp
3. finger tight the c clamp
4. tighten with wrench, does not have to be impossibly tight, just enough to hold it firmly
5. DO NOT DISCONNECT THE YOKE FROM THE C-CLAMP (top of yoke)
6. nut on side of c clamp to rotate
7. handle on side of light of casing to rotate
8. always tighten nuts and twisties again
9. focus light

FRESNEL

• C clamp - the clamp
• yoke - the handle/arch
• housing/barrel/casing
• lens
• safety clamp - cord
• basic u-ground plug
• ridge to house gels
• gels
• gel holder (CARDBOARD GOOD, but can catch fire)
• pin to open housing
• light bulb inside
• reflector inside
• pin to move reflector and bulb
• can use barn door shutters

LEKO

• C clamp - the clamp
• yoke - the handle/arch
• housing/barrel/casing
• lens
• safety clamp - cord
• basic u-ground plug
• ridge to house gels
• gels
• gel holder (CARDBOARD GOOD, but can catch fire)

• some lekos have elbows
• barrel can extend 
• shutters
• shutter handles
• gobo holder
• gobo

• light bulb inside end
• reflector inside end
• pin to open housing
• pin to hold lightbulb in place

BABY LEKOS

• baby lekos C:
• 3.5’’ as opposed to 6’’

ALWAYS REMEMBER WHEN HANGING:

• nothing in your pockets
• wrench on a wrist loop
• if it’s you or the light that falls, let the light go

• read thru age of arousal oct 16
• have to see professional theatre***
• (boeing boeing)

lighting

td&p ch 14-17

need to know the different components of a light nd what qualities that light will give you

need to have a plot for what you’re working with (like a ground plan only in the ceiling)

most common spaces are proscenium arches

• sometimes an orchestra pit

thrust

black box

alley

a lightning grid will have pipes across the room

• will be numbered and lettered
• lines horizontal and vertical
• walls will be very thick - filled in or filled diagonally (outer wall)

identified by Lx in cues

fresnel and leko

• fresnel is cheaper, shorter - pg 407
• has a bit of a reflector
• goes through the lens
• wide spill of light
• can’t get a hard edge
• for basic coverage
• don’t have a throw distance
• not that powerful
• alright for lower ceilings
• leko is more powerful, longer - pg 403
• ellipsoidal reflector spotlights
• have shutters to pull in and out to square in the light and focus it
• gives you the ability to have a hard OR soft edge
• much more powerful light
• better if you have a higher ceiling

lights are to see

representing outside light inside

lighting in general: have everything hung at a 45 degree angle for house lighting, hot lighting and cool lighting

red/hot, blue/cool

need to light actors

need to have people there to focus lighting

never touch the light bulb with your bare hands, you will ruin the bulb with the oils from your hands

minimum amount of wattage in a lighting instrument is 500

1. our studio lights are all 500 watt lights and fresnel
2. most of our lights in our theatre are 1000 watt lights (some 750 watts) and lekos

need minimum 2 lights on an actor, warm/cool, add lights as they turn (minimum 2 in arch, 3 with audience on 2 sides, 4 in thrust)

HOUSE HANG: lights hung just to light the space

lighting areas: pg 363

lighting has to overlap and be focused properly to keep consistent lighting

1. we have 6 lighting areas in the studio
2. we have 9 lighting areas in the theatre

proscenium arches often have pipes hung over the audience, called front of house pipes, labelled FOH

some theatres have booms, pipes on the outside perpendicular

SPECIALS: lights not involved in the house hang

PROMPT SCRIPT

• title page
• key
• legend
• cast list - name/character/name/address/phone number
• crew list - “” “” “” “” “”
• props list
• rehearsal schedule
• costume list
• set list
• NEAT AND ORGANIZED
• ground plan with definition of placements
• colour coding is awesome

stage management:

number the moves, not the lines on the ground plan

number each character’s movements individually

stage management

may or may not involve making the production calendar

is responsible for everybody backstage

first to arrive last to leave

role is to watch the rehearsal, mark down the blocking as accurately as possible with a pencil

at ufv we have 3 ASMs

props - works with props designer/manager to make sure actors have rehearsal props, tell hem what to pull
set - work with set designer so that they can pull things
costume - works with wardrobe manager/costume designer

have to be at all the rehearsals

have to be at all the cueings

• light: technicians, director, SM, operators required for cueing + someone to walk the stage
• sound: sound designer, operator, director, SM

^ have to write down when everything happens

dress/tech rehearsal

production meetings

the entire run of the performance

set strike

ASM sometimes has to stand in for an actor

may need to prompt lines

• noting any paraphrasing

learn to anticipate the director

listen to discussion and make notes, ask questions

• makes notes
• inform anyone this involves (managers/designers)
• never let an actor take it upon themselves to change something

ASMs take notes

not your job or place to direct

• you may not agree
• you may not like it
• that’s just the job
• it’s not your problem

keep track of what’s borrowed and what’s what

make sure you know all the technical details for the set

be prepared for all case scenarios

at some point in the process take your cast and crew on a safety tour

stage crew is trained for evac

backstage should always be safe and clean and tidy and organized and quiet

make a clean up list

process during auditions need a stack of scripts and audition forms and pencils etc be nice friendly

make sure the cast is aware of the times that they have to be available

may or may not have to call the cast/not cast

during the read through

• often invite crew
• tech students
• always make sure you have pencils and paper
• may have rehearsal schedules
• may be fitted/booked for fitting/measured

make notes on audition forms whether or not your appearance can be altered

spiking out the set

start prompt book

stage manager’s kit

a variety of things

• stopwatch
• reading light
• flashlights
• pliers
• hammer
• screwdriver
• tape measure
• exacto knife
• lighter
• string
• tape
• spike tape
• duct tape
• masking tape
• electrician tape
• scotch tape
• stapler
• staples
• glue stick
• pencils
• ruler
• sticky notes
• felt pens
• rubber bands
• toothsticks
• cough drops
• tums/rolaids
• bandaids
• ibuprofen
• kleenex
• safety pins
• sewing kit
• tensers
• hand sani
• paperclips

prompt script

• 3-ring binder

ground plan

• one for every page of the script
• opposite page from that page’s copy

should have a

• title page
• key
• cast list - emails addresses phone numbers
• crew list - “ ” “ ”
• prop list
• set list
• rehearsal schedule
• calendar
• costume list
• all typed out neat and organized
• the script
• number pages according to script page
• number lines

give warning cues

script will get busy