The three primary stage configurations

Theatrical Design and Production

Chapter 4: The Stage & Its Equipment

© 2006 The McGraw-Hill Companies, Inc. All Rights reserved.

The three primary stage configurations

Proscenium Thrust Arena




Proscenium stage

Also known as the “picture frame stage” because the spectators observe the action through the

proscenium arch




Proscenium stage

The proscenium arch is a direct descendent of the proskenium and skene of the Ancient Greek theatres

The arch separates the stage from the auditorium

The arch can vary in both height and width

The average theatre has an arch that is 18 to 22 feet high and 36 to 40 feet wide




Proscenium stage

The playing area behind, or upstage, of the arch is referred to as the “stage”

A stage floor needs to be firm, nonskid, paintable, resistant to splintering and gouging, and somewhat soundproof

While some productions utilize the space in front of the arch (known as the “apron”, the primary playing space is typically behind the arch




Proscenium stage

The spaces on either side of the stage are the wings

Wings are used for storage of scenic elements, props, and other equipment until they are needed onstage

The Wings




Proscenium stage

Also known as the forestage, the apron is an extension of the stage from the arch to the audience

It can vary in depth from a narrow 3 ft. to as much as 15 ft.

The apron also extends up to 15 ft. beyond either side of the arch

The Apron




Proscenium stage

Many proscenium theatres have an orchestra pit, which is almost always between the apron and the audience

It holds the pit band or orchestra during performances that need live music

Pits are generally the full width of the proscenium and can be 12 ft. wide

The pit needs to be deep enough so that the orchestra will not obstruct the audience’s view

Orchestra Pit




Proscenium stage

Most theatres have found a way to cover the pit when it is not in use; some use removable floor boards so that the apron space can be used for non-musical productions

Some theatres use hydraulic lifts to raise and lower the pit

Orchestra Pit




Proscenium stage equipment

Many theatres have “traps” cut into the stage floor

Traps are removable sections which provide access to the space beneath the stage

The holes can be filled with stairs, an elevator, a slide, or be left open

While traps are typically a feature of the proscenium stage, they can be found in thrust and arena stages as well

Traps




Proscenium stage equipment

Also called a turntable or revolving stage, the revolve provides a visually interesting and efficient manner of shifting scenery

Many theatres have revolves built in to the stage floor

Les Miserables is a famous example of a production that uses the revolve in order to simulate the characters “walking” longer distances

Revolve




Proscenium stage

The area directly over the stage is called the fly loft

Referred to as “the flies”, it is usually quite tall, at a minimum two and a half times the height of the arch

The height allows scenery to be raised out of sight of the audience

Fly Loft




Proscenium stage

Fly Systems:

Rope Set

Counterweight




Proscenium stage

Rope Set

Operates like a rope and pulley, except that it has three or more lines

The ropes support a batten

From the batten they run to the grid, where they pass over loft blocks, which lead them toward the side of the stage house

At the edge of the grid, the lines pass over the head block and then down to the fly gallery where they are tied off at the pin rail




Batten: a thick wooden dowel or metal pipe from which are suspended scenery and lighting instruments

Loft blocks: a grooved pulley, mounted on top of the grid, used to change the direction in which the rope or cable travels

Stage house: the physical structure enclosing the area above the stage and wings

Head block: a multisheave block with two or more pulley wheels, used to change the direction of all the ropes or cables that support the batten

Fly gallery: the elevated walkway where the pin rail is located, usually 15 to 20 ft. above the stage floor

Pin rail: a horizontal pipe or rail studded with belaying pins; the ropes of the rope-set system are wrapped around the belaying pins to hold the batten at a specific height




Proscenium stage

Counterweight SystemThe counterweight system works on the same principle as the rope-set system and is much safer

The support ropes and battens have been replaced with steel cables

Instead of the cables being tied off at the pin rail, they are secured to the top of a counterweight arbor, or carriage

When the batten is lowered to the stage level, the arbor raises to the level of the loading platform just below the grid—thus allowing the counterweights to be loaded safely




Loading platform: a walkway, suspended just below the grid, where counterweights are loaded onto the arbor

Counterweight arbor: a metal cradle that holds the counterbalancing weights used in a counterweight flying system




Proscenium stage

Motorized Flying Systems

Motorized rigging systems are generally used to fly heavy loads such as orchestra shells, light bridges, and so forth

There are three basic types of motorized flying systems: drum winches, line shaft systems, and counterweight-assisted systems




Proscenium stage


Drum winches

Drum winches are used to “dead lift” a load (lifting a load without counterbalancing)

They are usually located to one side of the stage

The cables are fed through a series of blocks up to the grid and down to the battens




Proscenium stage


Line Shaft

Line shaft rigging is another type of dead lift system

Mounted on the grid, these systems use a motor to drive a rotating shaft equipped with multiple drums

Depending on the length of the batten, the shaft will normally have between four and eight drums

Steel cable runs from each drum to support the batten

When the shaft is rotated, all the drums move simultaneously to raise or lower the batten

Counterweight-assisted

These motorized rigging systems replace the operating line of a hand-operated counterweight system with a cable that is driven by a drum winch




Proscenium stage

Stage Drapes

The proscenium stage uses more drapery than the thrust and arena

Although they have specific functions, all stage drapes are designed to hide or “mask” backstage areas from the spectators

Stage drapes are usually made of black, light-absorbing material such as heavyweight velour




Proscenium stage

Stage Drapes

Grand Drape

The purpose of the grand drape (also known as the main curtain or grand rag) is to cover the opening of the proscenium. In theatres with a fly loft, this drape can usually be flown (vertically) or traveled (horizontally)




Proscenium stage

Stage Drapes

Grand Valance

Normally located just downstage of the grand drape, the grand valance is made of the same material as the main curtain. It is much shorter, however, usually only 8 to 12 ft. high. It is used to mask the equipment and scenery that are flown immediately upstage of the proscenium




Proscenium stage

Stage Drapes

False Proscenium

The false proscenium is located immediately upstage of the grand drape and valance. It is normally mounted on a rigid frameword.

The “flat” structures of both the hard teaser and tormentors are covered with thin plywood, which is then covered with a velour-type fabric. The primary purpose of the false “pro” is to mask

Hard teaser

the horizontal element of the false proscenium; usually hung from a counterweight batten so that its height can be adjusted

Tormentor

the vertical flats that form the side elements of the false proscenium




Show Portal

a false proscenium that visually supports the style and color palette of a particular production




Proscenium stage

Stage Drapes

Legs and Borders

Legs are narrow, vertical stage drapes that are used to mask the sides of the stage upstage of the arch. They are made of the same material as the other stage drapes. Borders, also called teasers, are short, wide, horizontal draperies used to mask flies




Proscenium stage

Stage Drapes

Sky Drop

Also known as the “sky tab”, the sky drop is used to simulate the sky. It is a large, flat curtain usually made of muslin or canvas. It is usually hung on a batten as far upstage as possible. After the 1960s, it became the lighting designers job to make the off-white muslin look like the sky (rather than paint it blue)




Proscenium stage

Stage Drapes

Cyclorama

Also known as the “cyc”

The cyclorama is an expansion of the concept of the sky drop. Sky drops cannot surround the set with the illusion of vast expanses of open sky.

The “fly cyc” is made from one unbroken expanse of cloth. Sometimes scrims are used in conjunction with cycs and skydrops

A scrim is a drop made form translucent or transparent material.

When light is shone from the back onto the scrim, the scrim becomes transparent.

When light is shone on the front of the scrim, it appears to be opaque




Thrust stage

The thrust stage is not a new development.

From the Greeks through the Renaissance, audiences gathered on three sides of the playing stage to watch theatrical productions




Thrust stage

The stage of the thrust theatre projects into and is surround by the audience, so tall flats, drops, and vertical masking cannot be used




Thrust stage

The lighting grid in a thrust theatre is usually suspended over the entire stage.

Depending on the design, the lighting grid and instruments can be hidden from or in full view of the audience.




Thrust stage

Access to simpler grids is usually from a rolling ladder or scaffold placed on the stage.

More complex grids frequently have access from above to a series of catwalks and walkways




Thrust stage

Some thrust stages retain a vestigial proscenium arch on the upstage wall as well as a small backstage area.

Although battens are frequently “dead hung” and unable to be raised or lowered, some theatres have installed ratchet winches, rope sets, or counterweight sets to move the battens

Ratchet Winch

A device used for hoisting with a crank attached to a drum




Arena stage

The arena stage is an even more intimate actor-audience theatre than the thrust.

With the audience surrounding all sides of the stage, they are much closer to the action




Arena stage

The scenery used on an arena stage is extremely minimal so as not to block the sightlines of the audience.

Any design element must be carefully and accurately constructed because the audience is close enough to notice




Arena stage

As in the thrust stage, the space above the arena stage has a lighting grid that frequently covers not only the stage, but also the auditorium




Black Box Theatres

Black box theatres allow for flexible staging.

Literally a blank, black box, this space can be transformed into a proscenium, thrust, or arena stage

Stage

Stage

Stage




“Found” Spaces

Found theatre spaces are housed in structures that were originally designed for some other purpose.

Almost any and every conceivable space can be and has been converted into a theatre space

Supermarket

Lumberyard

Office building

Library

Restaurant

Just to name a few…

The three primary stage configurations

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