Victory
| Victory - Choices in Reaction | ||||||||||||||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| ||||||||||||||||||||||||||||||||||
| ||||||||||||||||||||||||||||||||||
Technical Stage Management
Hanging Bodies
The bodies could have been considered as the most vital part of the set as they helped to set the atmosphere.
They were constructed by props using science skeletons and padded out to look like real corpses. During the construction period a small drift was attached to the skeleton and built into the body with around 400mm sticking out from the back of the neck. This was to be used as a safety when the bodies were hanging. Props finished the bodies by covering them in a shroud.
The bodies were hung using lines of manila. This was to look like the kind of rope the hangman would of used. The rope was all cut to the exact length specified on the ground plan with extra factored in for the noose. The nooses were tied round the necks and the safety was attached as close to the knot as possible and covered with a bit of fabric.
When we were in the venue, the bodies were attached to the bar using a simple clovehtch and flown out. Just before the house opened on every show we used a stage brace to gently swing the bodies to add to the creepy atmosphere.
Every body came with its own information sheet like the one shown below.
Falling Body
Glitter Drop
The glitter drop was an easy effect to produce. The brief was a column of glitter falling centre stage and in as small of a spot as possible. We achieved this effect by creating a normal kind of glitter drop, using carpet and sash, just as you normally would. We cut a small hole in one end of the bag, about 40mm square that the glitter was to fall through and lined this up with the centre line once in the venue. This made sure the glitter was going to fall exactly where it was intended to. A slight problem we had once we tried the glitter drop was that the end of the bag opposite the hole wasn’t heavy enough to keep the sash control line tight. To combat this we attached a thin piece of ply to the inside of the bag, this not only weighed it down more but gave the glitter a better surface to slide on.
Below is a basic diagram of how the glitter drop worked.
Stage Management
Props Table
Props
Electrics
Sound
Sound Design
•Dissonant Sub bass rumble to set the mood for scenes of 'Evil'. •'Blue bottle in a jar'to mix with sub bass at certain points. •Cliché summers day. •Fanfare, for kings entrance.(Choice of Hercules) •Bleek outdoor scape, With distant crow sound. •Second fanfare. (changed) •‘Grey’ Seaside. •Outdoor garden with bees/flys. •'La Bouree' (17th century music) for banquet scene. •Crow and bleek outdoors again. •Outdoor gentle rain and distant thunder.
Hugh expressed that he wished to draw upon the initial sounds, of a sub rumble and a fly buzz, throughout the show at various points, so to connote the ‘evil’ behind king Charles. Other sounds in the show are mainly to set the scene as there is no set changes through the show. This explains the very literal sounds included at points.
System design
Aims
•To achieve a clear and obvious stereo field. For panning of Fly cues and birds. As well as all other recordings being stereo.
•A prominent and spead low end. Necessary for the large amount of sub bass cues.
•The option to make sounds seem distant and nonspecific. For Fly cues, thunder, rain and crows.
Plans to achieve Aims
• Using the Existing Tron FOH system for Stereo L+R.
Provided excelent stereo field for all Stereo Cues
• 2x T&M 2x15" Subs booked, One on either side of the stage in the wings.
To provide the spread and prominant low end required.
• Rigging 2x T&M 112 On the Tension wire Grid, Pointing at the Trons Dome.
I believed this would create the non directionality i required for certain cues.
Additional Speaker Locations