The Burial at Thebes: Difference between revisions
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===Technical Stage Management=== | ===Technical Stage Management=== | ||
There was a 5K Fresnel suspended behind the stage right flat. This sat at 6.5 meters high and was 7 meters in length. This was made up of 7 meters of truss (two 3 meter lengths and a 1 meter length) with 7 meters of triple e-track attached to the underside with doughty clamps. The 5K Fresnel was able to track along the triple e-track. This was suspended on two automated lines (Axis 2, down stage, and Axis 4, up stage) from the grid meaning that the trim height could be easily adjusted. There was a third automation line (Axis 1) controlling the horizontal position of the 5K Fresnel along the e-track. This third line went from the grid to a pulley coach bolted to the ground, down stage of the truss. The line then went back up to a pulley, bolted to the down stage end of the triple e-track, and to the 5K Fresnel. There was another line from the up stage side of the 5K Fresnel going to another pulley, bolted to the up stage end of the triple e-track, and to another pulley that was also coach bolted to the stage. This line then went up to an empty counterweight bar (Bar | There was a 5K Fresnel suspended behind the stage right flat. This sat at 6.5 meters high and was 7 meters in length. This was made up of 7 meters of truss (two 3 meter lengths and a 1 meter length) with 7 meters of triple e-track attached to the underside with doughty clamps. The 5K Fresnel was able to track along the triple e-track. This was suspended on two automated lines (Axis 2, down stage, and Axis 4, up stage) from the grid meaning that the trim height could be easily adjusted. There was a third automation line (Axis 1) controlling the horizontal position of the 5K Fresnel along the e-track. This third line went from the grid to a pulley coach bolted to the ground, down stage of the truss. The line then went back up to a pulley, bolted to the down stage end of the triple e-track, and to the 5K Fresnel. There was another line from the up stage side of the 5K Fresnel going to another pulley, bolted to the up stage end of the triple e-track, and to another pulley that was also coach bolted to the stage. This line then went up to an empty counterweight bar (Bar 22), which had 2 flyweights in the cradle (totaling 24kg). This provided tension meaning that when Axis 1 was lowered in the 5K Fresnel would track up stage and when Axis 1 was taken out the 5K Fresnel would track down stage. | ||
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===Sound=== | ===Sound=== | ||
===Audio Visual=== | ===Audio Visual=== | ||
Revision as of 14:45, 6 February 2017
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The Burial at Thebes
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Summary
The Burial at Thebes was performed by 3rd Year actors.
Creative Team
Director Gareth Nicholls
Designer Gillian Slater
Lighting Designer Benjamin Goodman
Sound Designer Jamie Ford
Production Team
Stage Manager Chariya Glasse-Davies
Deputy Stage Manager Miranda Stewart
Assistant Stage Managers Rebecca Bell and Steven Selby
TSM Ben Leach
DTSM Emma Campbell and Amy Dawson
Head Electrician Gary Ashbridge
Lighting Programmer and operator Euan Odd
Electricians Reece Flynn and Stephen Keenan
Sound operator Laurie Sutton
Production Manager Stephen Roe
Technical requirements
Stage Management
All the chairs available in the Props Store: File:Available Chairs - RCS Props .pdf
Props/ furniture borrowed from Dundee rep Theatre
File:Dundee Props List.pdf
Water Cooler and 2 water bottles borrowed from:
Watercoolers Scotland Email: glasgow@watercoolersscotland.co.uk
2 drawer filing cabinets from RCS
Edible and non-edible blood as well as non-edible wine had to be made for this show. The file below is the recipes that were used.
Lighting
Lighting was designed by Benjamin Goodman. The Production Electrician was Gary Ashbridge. Board Operator (GrandMA1) Euan Odd. LX Crew Stephen Keenan and Reece Flynn
The design was of a small nature and consisted of approximately 60-70 fixtures. See plan below.
There was 8 Fluorescent Tube light fittings. These were loaned from the Citizen Theatre via the Technical Manager - Stuart Jenkins. The units were standard fluorescent light houses with LED tape in plastic tubing to represent the fluorescent tube. These were on a 16-bit LED driver which mean we had very smooth dimming control of each unit.
There was a 5Kw Fresnel on a tracking system designed in collaboration with the PLX and TSM. See TSM plans for a detailed description but the idea was to have the 5Kw lamp to represent time passing - the sun setting. This was behind gaps in the set which represented windows. The effect worked really well.
Below is the Master Patch for the production.
Technical Stage Management
There was a 5K Fresnel suspended behind the stage right flat. This sat at 6.5 meters high and was 7 meters in length. This was made up of 7 meters of truss (two 3 meter lengths and a 1 meter length) with 7 meters of triple e-track attached to the underside with doughty clamps. The 5K Fresnel was able to track along the triple e-track. This was suspended on two automated lines (Axis 2, down stage, and Axis 4, up stage) from the grid meaning that the trim height could be easily adjusted. There was a third automation line (Axis 1) controlling the horizontal position of the 5K Fresnel along the e-track. This third line went from the grid to a pulley coach bolted to the ground, down stage of the truss. The line then went back up to a pulley, bolted to the down stage end of the triple e-track, and to the 5K Fresnel. There was another line from the up stage side of the 5K Fresnel going to another pulley, bolted to the up stage end of the triple e-track, and to another pulley that was also coach bolted to the stage. This line then went up to an empty counterweight bar (Bar 22), which had 2 flyweights in the cradle (totaling 24kg). This provided tension meaning that when Axis 1 was lowered in the 5K Fresnel would track up stage and when Axis 1 was taken out the 5K Fresnel would track down stage.
