Les Enfants Terribles
| Les Enfants Terribles | |
|---|---|
| Summary | |
| Filming 10th - 12th November 2021
| |
| Location AGOS
| |
| Creative Team | |
| Director Lynne Taylor
| |
| Designer Anna Orton
| |
| Lighting Designer David Cunningham
| |
| Production Team | |
| Production Manager Elle Taylor
| |
| Filming company Urban Croft Films
| |
| Stage Manager Avalon Hernandez
| |
| Deputy Stage Manager | |
| Assistant Stage Managers | |
| Stage Supervisor | |
| Lighting Programmer and Operator | |
| Production Electrician | |
| Lighting Technician | |
| Costume Supervisor | |
Stage Management
Technical Stage Department
The Gauze
The main element of the set in this production was a white sharks tooth gauze(8x12). The gauze was hung beneath the catwalk, directly above the balcony, and draped halfway down the stage. The gauze was custom ordered from JD Mcdougall. The gauze was hauled out by hand between scenes and rested on the balcony floor. The bar it was hung from was intended to be a flying bar, per the directors request. This allowed for adjustment in the gauze down the depth of the stage. The 8 meter wide bar was made of 2 4 meter staff bars connected in the centre, then connected to 4 black 11 mm climbing lined through barrel clamps and shackles. Each line ran through a pulleys and diverted to the USL balcony where I had set a cleat to hold the bar. The SR line used 4 pulleys, the CSR used 3,CSL used 2 and the SL used 1. However this meant that the pulleys were hung in groups in places, the SL rigging point became too crowded and the pulleys could not function properly, so the decision was made during the fit up to add a rigging plate. To evenly space the pulleys out and allow them all to hang in the correct orientation and function properly.
Masking
As the opera was being filmed in place of hosting an audience the seating bank was kept retracted in the venue. It was requested that the seating bank be covered for filming purposes. The seating bank is 6 meters tall and 9 meters wide. The 9 meter bar (1 x 4 meter and 1 x 5 meter) was connected through barrel clamps, shackled directly to slings which are wrapped around the square upright structural supports of the DS catwalk. As the seating bank is 9m wide I hung one half tab (8mX8m) centred on the bar and framed it either side with a pair of soft legs (4mx8m). As rehearsals progressed it was decided that the DSM would call the show from the Booth on the 3rd floor, the window of which was covered by the masking, to combat this, I added 2m drifts between the barrel clamps and strops effectively lowering the black masking.
Camera Platforms
With Urban Croft coming in to film the production it was requested by the camera director that there be platforms for the cameras and operators to be set on for the duration of filming. I used 2 square (4 x 4) pieces of deck for the SL and SR positions, each also had 2 handrails to support the operators. In the CS position was a 8x4 piece of deck used for one manned and one unmanned camera, the manned positions was backed with a handrail. Each piece of deck was on 400mm deck legs with end caps.
Floor
The design for the floor had it split into 3 sections, the SL section being the AGOS floor itself. The CS section, was 3 pieces of dance floor (12 x 2) and the SR section was large format tiles, The vinyl Lino flooring that was found and ordered for this could not be delivered in time and so a second flooring choice was made for a grey marble effect floor instead.