Technical handbook · COSTUME1&1MAKE3UP costume9and9ake up9coordinator . costume9cutters...
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Technical handbook English version, last updated 2019-10-17
Transcript of Technical handbook · COSTUME1&1MAKE3UP costume9and9ake up9coordinator . costume9cutters...
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Technical handbookEnglish version, last updated 2019-10-17
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Welcome to the opera! With a unique combination of opera, contemporary dance, musicals and concerts, the Göteborg Opera has created a reputation for itself as a modern opera house with a fresh approach.
Classical works are interpreted in new ways and are fused with contemporary works. Different art forms meet and enrich each other.
Productions of the highest artistic quality created here attract attention even beyond Sweden’s borders.
This handbook is intended primarily for those of you working in our guest production teams.
It provides insight into our work procedures and organisation and will hopefully help you find the right people and locales.
We also hope to clarify the requirements placed on you, and to present the opportunities made available to you by our opera house.
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Contents
Drawings can be found at opera.se/teknik Stage, lighting and sound information for the Göteborg Opera’s
Main Stage and Small Stage
WELCOME TO THE OPERA! 3
CONTENTS 5
THE PROJECT DEPARTMENT 6
HOW PRODUCTIONS ARE STAFFED 8
THE ENVIRONMENT 9
STAGE MANAGEMENT, SOUND & WARDROBE 10
COSTUME & MAKE-UP 13
STAGE, LIGHTING & VIDEO 16
WORKSHOPS, CONSTRUCTION & PROPS 20
MODULE DIMENSIONS 22
STANDARD DRAPES 23
TECHNICAL DIRECTIVES FOR REGIONAL TOURS 24
FACILITY MANAGEMENT GROUP 26
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Project departmentOnce the repertoire has been determined by the CEO together with the artistic management team, each production is modelled into a project and a project manager is appointed.
The project manager is responsible for implementation, planning, management, budget, work environment and follow-up, and is required to report to the CEO.
Artistic responsibility lies with the production team.
Departmental line managers supply the project with resources in the form of personnel and venues. These resources, in conjunction with the funding provided to the project, are disbursed according to each project’s needs and the house’s total resources.
The project department’s main task is to lead and manage The Göteborg Opera’s productions. The department consists of about a dozen of people, a project manager, a planning manager and project supervisors.
We have a project-oriented approach at The Göteborg Opera. Essentially, this means that everyone employed and working at The Göteborg Opera is included in the line/base, but works on projects.
Projects run in parallel, so in order for them to be managed efficiently meetings are called at specified intervals. Refer to the schedule on the following page.
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Our department is on the 4th floor above the stage entrance
PROJECT DEPARTMENT
EVENT WHEN WHAT WHO
Project kick-off 18 months before premiere
Project manager (PM) appointed. The team meets the PM and GO’s management. Tour of the house, inspection of drawings, instructions, planning, etc.
Convened by PM
Concept meeting 12 months Presentation of the team’s production idea. Room for discussion should exist to reconcile the production idea with GO’s resources.
PMs, selected line managers, technical coordinators and artistic directors (ADs)
Intermediate meeting 10 months Comparison to ensure that the decisions made at the concept meeting are still applicable and functioning.
Line managers/technical coordinators
Technical collation 8 months The production team shall submit the information needed in full to set up the production.
PMs, line managers/technical coordinators, ADs, project supervisors & specialists
Collation & rehearsal start
2 months Presentation for cast, ensemble and the whole house
PMs, production supervisors, artists etc.
JESSICA FJELKEGÅRDProject and planning [email protected]
MIKAEL BERGGRENProject [email protected]
STINA BERGGRENProject [email protected]
JAN BRATTContract lawyer/Project [email protected]
ANNA CEDERBERGProject [email protected]
ANNA HALLGRENProject [email protected]
DANIEL ISAKSONProject [email protected]
EVA LINDBERGProject [email protected]
DAN OFFERLINDProject [email protected]
KRISTOFFER PÅLMANSystem manager and project administrator [email protected]
KATARINA QUIST System manager and planning [email protected]
MARTINA TENGMARKProject manager [email protected]
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COSTUME & MAKE-UP1 costume and make-up coordinator 2 costume cutters 1 painting/patination studio 1 headdress studio 1 leather/footwear studio 2 make-up artists
STAGE MANAGER, SOUND & DRESSERS1 stage manager1 sound technician1 dresser
LIGHTING1 lighting director
1 light board operator
1 lighting technician
ATTRIBUTES & PROPS1 prop/attribute maker
1 special effects technician
STAGE1 deputy stage manager
1–2 production supervisors
3–6 theatre technicians
WORKSHOPS & CONSTRUCTION1 painter
1 blacksmith
1 carpenter
1 upholsterer
3 constructors
How productions are staffed The season’s productions are staffed by the line departments during technical collation. Production supervisors are appointed from each department as shown below. They are your contacts and partners in the project.
The repertoire concept means that the productions will be performed and produced in parallel throughout the year. This means the house’s resources and spaces are always shared by several productions.
The Göteborg Opera employs a production-bound working method. To ensure good coordination and management during a production’s rehearsal and performance period, we have developed SM*. It consists of an assistant director, deputy stage manager and stage manager who all have work environment responsibilities delegated to them. In dance productions the assistant director is replaced by a rehearsal manager who works with choreographers and with artistic concerns. These three are jointly responsible for the practical implementation of a production with a 2nd unit as back-up. The group’s members belong to their respective line departments but work as a group with the project manager in ”their” production.
*Stage Management Group
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Environment The Göteborg Opera works actively with environmental issues and has been doing so for several years. Everything we do makes a difference for future generations, so it’s important for us to act carefully. This means that you, over the course of your project, shall adhere to our environmental policy as a natural part of the process.
In practice this means that all departments endeavour to choose the best alternatives from an environmental perspective. We want to be able to reuse materials to the greatest extent possible, and therefore use recyclable and/or organic materials in all stage scenery, costumes and anything else we make or purchase. Adhesives, paints and other chemicals should be the best in the market from an environmental perspective and suppliers are selected based on the environmental suitability of their products and services, among other factors.
ENVIRONMENTAL POLICYWe shall be economical with finite as well as renewable resources in our business.
We shall comply with laws and other requirements and provide our employees with environmental knowledge.
In our aspiration for sustainable development our work shall be characterised by continuous improvements.
Therefore, we at The Göteborg Opera shall:
• always maintain the environmental impact question as a high priority during planning, purchasing and with regard to decisions within the business.
• always pursue methods and material choices which
• allow for the reuse or recycling of products and material in all manufacturing.
• have a good selection of ecological ingredients in our restaurant kitchen and actively reduce the amount of waste.
• make use of the best paints, adhesives and other chemicals on the market from environmental and work environment perspectives.
• plan trips and transport in such a way that the use of fossil fuels is kept to a minimum.• work consciously to minimise energy consumption.• regularly and openly communicate and follow-up the environmental work.
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Stage management, Sound and Wardrobe
Stage managers and sound technicians are located on the 5th floor.
Sound department locations:
The recording studio is on the 3rd floor just inside the entrance. The stage manager’s cubicle is located in the right proscenium tower (stage left).
TOVE MOLINStage managerTEL. 031-10 81 [email protected]
ARVE SANDBERGStage managerTEL. 031-10 81 [email protected]
JOHAN SÖDERBERGStage managerTEL. 031-10 81 [email protected]
DENNIS AF WÅHLBERGStage managerTEL. 031- 10 81 [email protected]
JONATHAN ASSARSSONSound technicianTEL. 031-10 80 [email protected]
DENNIS BARKEVALLSound technicianTEL. 031- 10 81 [email protected]
JOACHIM BOHÄLLSound technicianTEL. 031-10 81 73joachim [email protected]
LINN VIDARSSONSound technicianTEL. 031-10 81 [email protected]
CAMILLA BÖRJESSONWardrobe ManagerTEL. 031-10 82 [email protected]
HELENA AVANDERDresserTEL. 031-10 82 [email protected]
JANE DOTEVALLDresserTEL. 031-10 82 [email protected]
SIMON LUNDMARKDresserTEL. 031-10 82 [email protected]
AMI NORDADresserTEL. 031 – 10 82 [email protected]
SARA STÅHLDresserTEL. 031-10 82 [email protected]
IRENE TUREGÅRDDresserTEL: 031-10 34 [email protected]
PER HANSSONDepartment headTEL. 031-10 81 [email protected]
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STAGE MANAGERSA stage manager is assigned to each production, and oversees it from technical collation to the final performance.
They supervise the stage rehearsals and ”run” all the performances.
They are also responsible for the on-stage work environment during rehearsals and performances when they are led by a director or conductor.
Working hoursWorking hours are individually planned to suit each production in accordance with established working hours agreements.
What we expect from youThat the entire production team actively cooperates.
What you can expect from usA professional and results-based team whose task, according to prevailing constraints, is to do its utmost to fulfil the production team’s objectives.
SOUND TECHNICIANSSound technicians are production-bound.
A sound technician is assigned to each production from the start of technical collation
There are no defined rules regarding procurement of equipment – except for permanent rigging. Purchases are contingent on budget and are handled by the respective project managers. We are a repertoire theatre, which means that some technical possibilities are limited.
All sound solutions must be clearly communicated in the production team.
Sound is the ultimate means of expression in our business, so sound requirements and issues must be raised early in the process in order to meet our audience’s demands.
Additional personnel can be employed for productions which place a high demand on sound if needed.
Working hoursWorking hours are individually planned to suit each production in accordance with established working hours agreements.
To considerFor budgetary reasons it is important for the ”sound idea” to be communicated during the idea presentation.
Sound designers are included in the production team.
What you can expect from usA professional and results-based team whose task, according to prevailing constraints, is to do its utmost to fulfil the production team’s objectives.
STAGE MANAGEMENT, SOUND AND WARDROBE
12 FLOOR 4 & 5
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Costume & Make-up
SARA DI BENEDETTOCostume & Make-up department managerTEL. 031-10 82 45
MONICA ANDERSSONCostume cutter, menTEL. 031-10 82 48
ILONA ANDREASSONMake-up artist & wig-makerTEL: 031-10 82 07
TATIANA BJARNEDye, print, patinationTEL. 031-10 82 52
GUNILLA BJERTINMake-up artist & wig-makerTEL: 031-10 82 09
MARIANNE BRYDEWALLCostume cutter, menTEL. 031-10 80 10
ANNA CARLBERGMake-up artist & wig-makerTEL: 031-10 82 25
KERSTIN CARLSSONCostume cutter, womenTEL. 031-10 82 53
LILL DAHLGRENMake-up artist & wig-makerTEL 031-10 82 27
VIKTORIA ERLANDSSONLeatherworkerTEL: 031-10 80 13
BRITTA HEDBERGAdministratorTEL. 031-10 82 47
MARLÈNE JAHNKECostume cutter, menTEL. 031-10 82 57
KARIN JOHANSSONLeatherworkerTEL. 031-10 82 50
MALIN JONSONLeatherworkerTEL. 031-10 80 13
ANNIKA KÅSEMake-up artist & wig-makerTEL. 031-10 82 17
annika.kå[email protected]
EMMA LINDQVISTCostume & Maske-up manager’s assistant.TEL. 031-10 81 66
DESIREE NILSSONCostume cutter, womenTEL. 031-10 82 86
MONICA NORDINCostume cutter assistant. menTEL. 031-10 82 84
KERSTIN OLSENMake-up artist & wig-makerTEL: 031-10 82 27
MIA PERSSONDye, print, patinationTEL. 031-10 82 59
HELÉNE RANDBYMake-up artist & wig-makerTEL: 031-10 82 19
MARIE RÖDSTRÖMCostume cutter, womenTEL. 031-10 82 58
THERESE SCHIMMELSOHNMillinerTEL. 031-10 82 51
therese.schimmelsohn@ opera.se
PERNILLA SWEDBERGMake-up artist & wig-makerTEL: 031-10 82 28
MALIN SVEDESTEDTTechnical production managerTEL. 031-10 82 39
SOFIA YVELLDye, print, patination TEL: 031-10 82 76
LISE-LOTTE WENDTMake-up artist & wig-makerTEL: 031-10 82 76
Our department is on the 6th floor
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GeneralEach production has a coordinator who, after technical collation, coordinates the production. The coordinator also has contact with the costume designer (make-up designer) with regard to departmental visits and internal schedules.
Costume and make-up sketches can be found in the costume studio after technical collation. Any major changes, updates, etc. must first be communicated to the studio manager/coordinator.
Located in the costume studio are costume cutters, tailors, dyers/painters/patinators, people responsible for leather and footwear, as well as those responsible for headdress and jewellery.
In the wardrobe department are dressers and persons responsible for laundry. For productions in which children participate there are dressers responsible for children.
Working hoursThe studios are usually staffed Mon–Thurs from 07:30 to 17:30. Fridays from 07:30 to 14:00. We have flexible hours between 07:00–09:00 in the morning, and 16:00–18:00 in the afternoons.
What we expect from youThat matters regarding costumes, make-up, wigs and wardrobe are discussed in the production team.
That full delivery of all costume sketches including footwear, headdress, etc. is provided at technical collation.
That we, together with costume and make-up designers, decide on fabrics, materials, footwear, headdress, wigs and make-up after technical collation.
Inspiration sketches for the whole character i.e. costume, headdress, footwear, make-up, wigs as well as other details. That you consider whether the production entails the fire-proofing of materials, if flying harnesses are required, or other things that will affect costume models and fabric choices.
Requests for rehearsal clothing.
To considerBudgets are limited and frameworks must always be adhered to.
We request that costume and make-up designers come here to deliver their ideas approx. 1 year before the premiere. And if needed, must attend an intermediate meeting to resolve any issues before technical collation.
Submit sketches (technical collation) approx. 8 months before the premiere.
Participate in (usually) 2 fittings which cover all costumes/make-up (women, men, headdress, footwear) for choruses/musicals/dance ensembles except for solos and participate in costume/make-up stage rehearsals.
In connection with sketch delivery or at another appropriate occasion, a brief presentation of the sketches should be conducted for the studios.
What to expect from usProduction supervisors are assigned to each production. One costume cutter from the men’s studio, one from the women’s studio, one from the make-up studio, one from the painting and patination studio, one from the headdress studio and one from the leather studio.
They shall, in a professional manner, work in the production from the idea stage to the première, to ensure that the production team is satisfied and that the production is as good as possible. During technical collation, discussions are held between all production supervisors and costume designers regarding material, costume models and colours, footwear, headdress and make-up.
One of the production supervisors will also have a coordinating responsibility, which means an overall responsibility for the production insofar as to arrange with the costume designer as to when he/she should be available for fittings, etc.
Clarity and politeness.
COSTUME & MAKE-UP
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Stage, Lighting and Video
JOEL BJÖRBERGStage & Lighting department managerTEL. 031-10 81 [email protected]
MOLLE MOLINTechnical production manager, StageTEL. 031-10 81 [email protected]
KATARINA STARKGroup manager, stage techniciansTEL. 031-10 80 [email protected]
HANS ALGELIDFollow-spot operatorTEL. 031-10 81 [email protected]
NIKLAS ANKARHEMLighting technician/ Tour managerTEL. 031-10 81 [email protected]
DAWN ANTTILA Theatre [email protected]
JONAS ASKLUNDLighting technicianTEL. 031-10 81 [email protected]
JENS BERGQUIST Theatre [email protected]
MATHIAS BERNTSSON Follow-spot [email protected]
JOHAN BERG Stage handTEL. 031-10 82 [email protected]
FRITJOF BERGKWIST Theatre [email protected]
JOAKIM BRINKLighting designer/ Lighting technicianTEL. 031-10 81 [email protected]
BENGT BRYDEWALLTheatre [email protected]
SARAH CARLESONLighting technicianTEL. 031-10 82 [email protected]
FREDRIC CLEMBORN Theatre [email protected]
BERNAT COMELLAS ESTERUELASLighting technicianTEL. 031-10 81 [email protected]
LARS EHNEBUSKE Theatre [email protected]
DENNIS EKDAHLStage handTEL. 031-10 81 [email protected]
NIKLAS ELFVENGRENLighting technicianTEL. 031-10 81 [email protected]
FREDRIK ENGLERStage hand/Tour managerTEL. 031-10 81 [email protected]
NIKLAS ERICSSONTechnical co-ordinatorTEL. 031-10 82 [email protected]
Our offices are on the 5th floor
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MAGNUS FREDLERFollow-spot operatorTEL. 031-10 82 [email protected]
STEFAN FRIDESONStage handTEL. 031-10 82 [email protected]
FRIDA FRIDELL BREITENSTEINLighting technicianTEL. 0709-546 [email protected]
FRIDA GOODRICHLighting technicianTEL. 031-10 81 [email protected]
JUSTIN GOODRICHLighting technicianTEL. 031-10 81 [email protected]
PETER GÖTZLINGERLighting technicianTEL. 031-10 81 [email protected]
JOHAN HEBBELighting technicianTEL. 031-10 80 [email protected]
KENT HELLBERGLighting technicianTEL. 031-10 81 [email protected]
TOBIAS HELLSTRÖMLighting technicianTEL. 031-10 81 28tobias.hellströ[email protected]
LENNART HESSLETheatre [email protected]
GUNNAR ISAKSSONTheatre [email protected]
ELLEN JERNEHOLMFollow-spot operatorellen.jerneholm@ opera.se
PETER JOHANSSONStage handTEL. 0707-577 [email protected]
RAMZI JOHANSSONTheatre [email protected]
GÖRAN KROK Theatre [email protected]
GÖRAN KVISTFollow-spot operatorTEL. 031- 10 81 [email protected]
SONNY KOROSCHETZTheatre [email protected]
MATS LAGOPlaneringsansvarigTEL. 031-10 81 [email protected]
MALIN MARTINSSONTheatre [email protected]
JONAS MELANDERFollow-spot operatorTEL. 031-10 81 [email protected]
MICHAEL MENNELLFollow-spot operatorTEL. 031- 10 81 [email protected]
BO NÄTJEHALLTheatre [email protected]
RUNE PETERSSONTheatre [email protected]
KATRIN PETTERSSONTheatre [email protected]
MORGAN SKÖNVALLTheatre [email protected]
DAVID STOKHOLMLighting technician/ Tour managerTEL. 031-10 81 [email protected]
JOHAN WEICHTTheatre [email protected]
KARIN WIJKLighting technicianTEL. 031-10 81 [email protected]
STINA WINDMARK WESTLUNDStage handTEL. 031-10 82 [email protected]
JOHANNA ÖKVISTStage handTEL. 031-10 81 [email protected]
HANNA ÖSTERGRENTheatre [email protected]
STAGE, LIGHTING & VIDEO
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We work with all stage equipment, rigging, lighting and video. We program and conduct all set changes during a performance. We manage the logistics, assembly, adjustment, disassembly of stages and décor.
The lighting director, deputy stage manager and production supervisors are responsible for lighting and décor during the production. The lighting director/deputy stage manager can assist you with additional equipment, technical solutions, planning, etc.
A team will oversee the production from the idea presentation meeting to the final performance.
The same light board operator does all the programming for your production.
Productions (incl. additional equipment) must be built and handled by your assigned staff.
We strive to fulfil your vision.
Additional rigging and lighting equipment for the rigging is only permitted to be placed in their intended positions.
What we expect from youIn addition to the information supplied to the workshops we will also require:
• A synopsis of stage sets with times for set changes.
• Times for, and speeds of, stage machinery. Schematics for lighting installations in the décor.
• Information about ”extra” equipment not included in existing lighting rigging.
• Information about the number of follow spotlights.
• Show projections with angles, distances, etc if relevant.
What you can expect from usA professional, results-based team whose task is to do its utmost to fulfil the production team’s objectives, under prevailing resource constraints.
SOUND, LIGHTING AND VIDEO
Stage, Lighting and VideoConsisting of stage hands, lighting operators and technicians
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To considerScenograph,y including lighting, must fit on the stage (within the sound curtains) and may only be stored in one of the side stage areas.
In order for the décor to be stored in-house no component may exceed a height of 8.4 m, or 5.75 m for basement storage. The décor should consist of components with both dimensions.
The décor must be able to be separated during storage and the maximum dimensions should be 8.4 × 2.1 m. The scenography should be able to be built and operated by a maximum of eight technicians over two hours, and must be able to be disassembled in one hour.
All larger lighting installations, projections, video, etc. must be communicated at idea presentation for budgeting purposes. Light plot, the colour filter list and information about gobos must be submitted before the first lighting check takes place.
SOUND, LIGHTING AND VIDEOSOUND, LIGHTING AND VIDEO
Regular shiftsDay 8.00–16.00
Evening 15.00–23.00
Weekend 12.00–22.00
Usual stage times8:00 Stage and lighting technicians start the day by removing residual items from the previous day’s performance. The current day’s rehearsal décor is set up.
10.30–14.30 Rehearsal without lighting.
11.00–14.30 Rehearsal with lighting.
11.00–13.30 30 minute lunch break within these times to be planned individually.
14.30–17.30 Rehearsals end for the day and the evening’s performance is set up.
17.30–18.30 Lighting check.
19.00 The performance commences.
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Workshops, Construction & Props
VICTORIA WALLENBERGDepartment headTEL. 031-10 81 [email protected]
LOTTI ALMQVISTProp maker TEL. 0500–44 34 [email protected]
ROGER ANTFOLKMetalworkTEL. 031-10 82 [email protected]
THOMAS ANTFOLKMetalworkTEL. 031-10 82 [email protected]
HILLEVI CARLSSONScenic paintingTEL. 031-10 82 [email protected]
ELIN EMRETSSONCarpenterTEL. 031-10 82 [email protected]
BEN GRIFFITHSScenic paintingTEL. 031-10 82 [email protected]
HANNES HANSSONConstructionTEL. 031-10 82 [email protected]
FREDERIC JOHANSSONTechnical production leader TEL. 031-10 81 [email protected]
LENNART HESSLESpecial effects & propsTEL. 031-10 81 [email protected]
ERIK JANSSONCarpenterTEL. 031-10 82 [email protected]
ANNA LA CARRUBBAProp maker TEL. 031-10 81 [email protected]
LARS-PEDER LINDSTRÖMProp maker TEL. 031-10 81 [email protected]
OLOF MARZELIUSConstructionTEL. 031-10 81 [email protected]
ELINOR OLSSONProp maker TEL. 031-10 81 [email protected]
PER OTTOSSONCarpenterTEL. 031-10 82 [email protected]
JONNA PEDEVILLAProp maker TEL. 031-10 81 [email protected]
MATTIAS PERSSONCarpenterTEL. 031-10 82 [email protected]
MARKUS REHNCarpenterTEL. 031-10 82 [email protected]
LEIF ROBERTSSONProp maker TEL. 031-10 81 [email protected]
BIRGITTA STRÖMQVISTProp maker TEL. 031-10 81 [email protected]
PER-ÅKE SVENSSONConstruction TEL. 031-10 80 [email protected]
YLVA THORÉNScenic paintingTEL. 031-10 82 [email protected]
MARK VON WERTHERCarpenterTEL. 031-10 82 [email protected]
JOHAN WIKSTRÖMMetalworkTEL. 031-10 82 [email protected]
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GeneralThe workshops are made up of several competencies: constructors, smiths, carpenters, set painters, upholsterers, special effects and props makers. Our flat structure means that you will have direct contact with production managers within each group, but major changes need to first be communicated to the technical production manager who administrates and handles all requests for production of décor, special effects, and props - including furniture.
Working hoursThe workshops are open weekdays during business hours.
What we expect from youWe expect a complete delivery which describes the artistic requirements in detail. The set designer is expected to leave sufficient time for discussion and questions throughout the production process. In those cases where props and décor need to interact with lighting, sound and costume, the set designer is expected to initiate the discussion with the artistic team and to keep the workshop department updated.
A COMPLETE DELIVERY INCLUDING THE FOLLOWING:
Emailed for appraisal 1 week prior to the technical collation:
• A list of all required décor elements, included specific numbers needed.
• A preliminary props list. • Requests for earlier delivery of certain décor
elements, e.g. by start of rehearsals. • Plans/drawings external dimensions and
description of function for all décor elements that are to be produced from scratch.
• Plan and elevation drawings for all tableaus with set designs drawn onto Göteborg Opera’s original blueprints.
A further delivery at the technical collation:
• Detailed set model at 1:25 scale, to be usable by set painters.
• Reference images of furniture, props, special set details and any inspiration images for set painters.
• If projection of still or moving images is required, a detailed description including: image/video artwork, projector positions, desired format and size of projection surfaces.
• If print is required, print artwork ready to be sent to the printers’.
To considerWe are a repertory theatre so our storage space is limited, and available production times are not negotiable.
What you can expect from usThat together with our technical production manager we will adapt to the artistic vision within available frameworks.
Set designs are modelled in 3D by the construction department. The model and other plan material will be available in the construction office after the technical collation.
That together with the team’s production managers - usually made up of a constructor, metalworker, carpenter, painer and props maker - work towards a common goal in constructing décor and props.
The décor will be complete by the first stage-build, which is usually 5 weeks prior to the premiere.
At the beginning of rehearsals in rehearsal rooms, we will provide rehearsal props according to the preliminary props list (see above). A finalised list will complete by first stage rehearsals.
During rehearsals in rehearsal rooms props staff will be available if necessary. When rehearsals move to the stage a prop maker will attend each rehearsal.
You can find us on floors 3 & 5
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Module dimensions
Example of natural dividing lines
Stage décor must be constructed in such way that it can be divided for transport and long-term storage.
For environmental reasons we request that you try to match the décor components to the dimensions in our standard directory system called ”Gröna Pricken”.
Wall frames are available in heights of 8.40m and 5.80m, with widths of 1m and 2m. Carriages are 1–4 m in length and are 0.167m in height. Once the décor is in-house it is handled in larger modules and is almost always built on wheels.
IMPORTANT DIMENSIONS:Max. height for storage at stage floor level: 8.40 mMax. height for basement storage: 5.80 m
Partition dimension 2m for width and depth.
Stage machinery measurements and limits OVERHEAD MACHINERY
Standard backdrop (soft) 10 × 18 m
Standard backdrop (framed) 8,4 × 10m
Max width batten 1-5 16 m (18)
Max width batten 6-55 18 m (20)
Max load 350 kg
Speed < 1,8 m/s
Specifications See sectional drawings
FLOOR MACHINERY
Stage podiums 4Outer measurements 15 × 3,5 m
Lowerable platform Speed < 0,7 m/s
Max load 1500 kg
Loopholes (trapdoors) 28 hydraulically operated, can be individually opened (even half trapdoors or in groups. 7 pairs per podium.
Specifications See sectional drawings
ROTATING STAGE
Diameter 13,8 m
Platform outer dimentions 15 × 14 m
Height 0,66 m
Specifications See sectional drawings
PROSCENIUM
Opening 12–16 m
Height max 9,3 m
Dance floor One per stage podium and partially integrated into the floor to the auditorium.
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Standard drapes, Main Stage
BLACK VELVET BORDERS
• 5 canopies 20 × 5 m
• 2 canopies 20 × 2 m
• 9 sets of leg drapes 13.4 × 3.5 m
• 5 sets of leg drapes 13.4 × 2.10 m
BORDERS UNDER STAGE BALCONIES
• Available in black
BLACK BOX BORDERS IN BLACK
SCRIM/GAUZE
• 1 white scrim 20 × 10 m
• 2 black scrims 18 × 10 m
• 1 grey scrim 18 × 10 m
PROJECTION SCREENS
• 1 white 18 × 10 m, Gerriets
• 1 grey 18 × 10 m, Gerriets
• 1 black/grey 18 × 10 m, Gerriets
BACKDROPS
• 2 black silk: circa 10 × 18 m
• 1 black silk (bisected): circa 10 × 18 m
• 1 black: circa 7 × 18 m
• 1 black pleated silk
GRAND DRAPES
• Red drop curtain (Standard)
• Black tableau (Sound dampening safety curtain)
BORDERS TO BE HUNG IF POSSIBLE:
• Drapes on batten 5, 10, 15, 22, 25, 35, 41, 49
• Canopies on batten 8, 21, 33, 40, 53
Standard drapes, Small Stage • 1 white 6 × 3 m
• 1 grey 8.3 × 5.7 m (with timber batten)
• 1 grey backdrop
• Regular black border
• White projection screen 6 × 7 m
Technical directives for tour-designated productionsSTAGEStage size W × D × H 18 × 18 × 14 mPerformance area W × D 15 × 15 m
(The performance area when touring should be able to be reduced to 13 × 13 m to fit onto smaller stages with different viewing angles.)
Trim height 10 mStage opening 12–15 m
Advanced fittings that require rehearsal must be able to be performed by max. 2 people.
DÉCORDécor must be adaptable to the sizes of different stages.The materials used for décor should be strong enough to handle being assembled, disassembled and transported several times.
The décor should be able to be divided into components measuring 6×2 m with a weight of approx. 60kg. The maximum weight for décor is 150 kg/m2. Hanging décor (curtains & backdrops) max. 16 × 9 m.
LIGHTINGGöteborg Opera’s tour rigging will be used during the production and will accompany the tour. Information regarding tour rigging must be communicated at the idea presentation meeting.
SOUNDThe Göteborg Opera has a regular PA system that will be used for the production. Cordless microphones, etc. are types of equipment that must be rented for touring. This needs to be included in the budget for the production and tour.
TRANSPORTWe use a truck for European tours. It needs to be able to accommodate décor, costumes, lighting, and sound equipment.
STAFFINGWe strive to minimise the amount of staff required for tours. The performance should be able to be run by 7 technicians (stage, lighting, sound, wardrobe). All equipment must be able to be unloaded, assembled and set up within 13 hours, and disassembled and loaded in 3 hours.
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Technical directives for toursMUSICAL & DANCE PRODUCTIONS IN THE VÄSTRA GÖTALAND REGION
THOMAS JOHANSSONTechnical Manager for regional operationsTEL. 0703-14 51 20 [email protected]
A-STAGES
Stage dimensions• Stage size 14 × 8 × 8 m (W × D × H)• Performance area 10 × 8 m (W × D)• Stage opening 10 m• Line shaft depth 8 m
Décor• Décor should be adaptable to various
stage designs.• The materials used should be able to be
assembled, disassembled and transported several times.
• Décor should be able to be divided into components measuring max. 6 × 2 m and approx. 60 kg.
• Max. weight for décor is 150 kg/m2.• Max. weight for hanging décor is 200 kg.• Max. dimensions for hanging décor are
12 × 8 m.
Electricity requirements• Lighting 2 × 63 A• Sound 1 × 16 A
Transport• The truck used must accommodate décor,
lighting, sound, costumes & make-up.• Truck’s inner dimensions:
9.5 × 2.4 × 2.4 m (55 m3)
Staff• We strive to limit the amount of staff to
5–6 technicians.• All fixtures must be able to be unloaded,
assembled and set up within 8 hours, and
disassembled and loaded in 3 hours.
Included in The Göteborg Opera’s mandate is to stage musical and dance productions on The Göteborg Opera Skövde Stage and on tours in Västra Götaland. In order to reach out to the entire region, and based on the substantial differences in performance venues, we have divided the productions into three categories. The following information can be considered preconditions for us being able to tour.
25TECHNICAL DIRECTIVES FOR TOURS
B-STAGES
Stage dimensions• Stage size 9.5 × 6 × 5 m (W × D × H)• Performance area 8 × 6 m (W × D)• Stage opening 8 m
• Line shaft depth 5 m
Décor• Décor should be adaptable to various stage
designs and viewing angles. Should also be able to be used on A stages.
• The materials used for décor should be able to be assembled, disassembled and transported several times.
• Décor should be able to be divided into components measuring max. 6 × 2 m and approx. 60 kg.
• The max. weight for décor is 150kg/m2.• The max. weight for hanging décor is
70 kg.• The max. dimensions for hanging décor are
9.5 × 5 m.
Electricity requirements• Lighting 1 × 63 A• Sound 1 × 16 A
Transport• A truck is used and it must accommodate
décor, lighting and sound equipment, costumes/make-up.
• Truck inner dimensions
9.5 × 2.4 × 2.4 m (55 m3)
Staff• We strive to limit the amount of staff to
4–5 technicians.• All fixtures must be able to be unloaded,
assembled and set up within 5 hours, and
disassembled and loaded in 2 hours.
C-STAGES / COMMUNITY CENTRES
Stage dimensions• Stage size 5 × 3.5 × 2.4 m (W × D × H)• Performance area 5 × 3 m (W × D)
• Stage opening 5 m
Décor• Décor should be adaptable to various stage
designs and viewing angles. Should also be able to be used on B stages.
• The materials used for décor should be able to be assembled, disassembled and transported several times.
• Décor should be able to be divided into components measuring max. 2 × 2 m and approx. 60 kg.
• The maximum weight for décor is
150kg/m2.
Electricity requirements• Lighting/sound 1 × 16 A.• Both lighting and sound (if applicable) should
be included.
Transport• A small truck is used and must accommodate
décor, lighting and sound equipment, costumes and make-up.
• Max. weight: 950 kg
• Truck inner dimensions 4 × 2 × 2 m (16 m3)
Staff• 2 multi-skilled technicians• All fixtures must be able to be unloaded,
assembled and set up within 3.5 hours.• Disassembled and loaded in 1.5 hours.
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Facility management
HÅKAN JÖNSSONManager FM GroupTEL. 031-10 82 [email protected]
KATARINA SIGVARDSSONGroup manager CleaningTEL. 031-10 82 [email protected]
ARNE SAHLSTEDT Assistant managerTEL. 031-10 82 [email protected]
JOHAN NILSSONGroup manager/Head of Security Inhouse serviceTEL. 031-10 81 [email protected]
OLA LINDSTEDT Group manager, Electricians & Stage machineryTEL. 031-10 82 [email protected]
PETER STRANDGroup manager LogisticsTEL. 0705-83 02 [email protected]
GeneralFM Group (Facility Management) is responsible for the services required for the operation to function properly. You will find us at our personnel entrance where we staff the entrance and reception.
We ensure that auditoriums, foyers and other venues are clean and in full working condition with regard to climate, electricity, fire safety and other technical installations.
We modify and adapt our building to a business in constant change.
It is our responsibility to transport and store decor and props.
It is our responsibility to ensure that stage machinery functions safely and correctly. We design, construct and build special solutions together with our construction department.
What we expect from youIn order to deliver service of the highest quality, we request that you submit the preconditions as early as possible, e.g.
• Order the items you need from the relevant group manager.
• Be clear about what, when and, if possible, how.
• Please use our internal portal, wherein you can order services and find information that will facilitate your residence here.
What you can expect from usA service organisation that will do its utmost to ensure your residence with The Göteborg Opera will be unforgettable and successful.
Working hoursCleaning: Mon-Fri 6.00–22.00 Sat-Sun 8.00–16.00Stage machinery: Mon-Fri 8.00–17.00
Maintenance: Mon-Fri 8.00–17.00
Logistics: Mon-Fri 8.00–17.00
Electrical dept: Mon-Fri 7.00–16.00
Fire safety Mon-Fri 7.00–16.00
Internal services Mon-Fri (excl. holidays): 6.30–23.00 Sat-Sun 8.00–23.00
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