Theatre 1101 ??

March 4th 2025

  • Sound is made up of FIT

  •  Frequency: the rate at which an object vibrates, measured in cycles per seconds (Hz)

    • Age, sex affect

  • Intensity: loudness, changes in amplitude of the wavelength — doesn’t affect pitch. 

    • Measured in decibels (loud talking - 50/60, subway - 95 decibels, sustained 90/95 decibels can cause hearing loss, pain – 125 db)

  • Timbre (tambre): the distinctive quality of sound that makes one voice, instrument different than another

    • Pure sounds occur very rarely, in nature and usually created electronically

    • Most sounds consist of complex mixtures of frequencies at different intensities

    • Sounds produced by musical instruments consist of the basis of fundamental note, and small amount of integral multiple or frequency or harmonics (in musical tones, overtones)

Basic Acoustics: studies the absorption and reflection of sound

  • Curtains absorb sound, 

  • Flat surfaces bounce sound

  • Offusion - scatters sound depending on desired effect (i.e proscenium arch)

Factors affecting acoustic

  • Shape of room: if walls are parallel, the sound will reverberate and bounce - why theatres have slightly curved auditorium walls, so no wall is exactly parallel

  • The materials used to finish the walls, ceiling, floor have to have good impact on the reflection of the sound. Hard surfaces reflect, soft/open surfaces absorb

SOUND DESIGN

The sound designer doesn’t have a lot of technicians or assistants (unless there's a band)

  • Music

    • can be used for pre-show, intermission and post-show, Used to get the audience in the right mood for th play ~ during the play it can be used to create a particular atmosphere or to intensify the audience’s feelings. Musical themes for particular characters or themes (Jaws) 

  • Effects

    • Specific sound effects such as phones, bells, thunder

      • Auditory effects to create an environment (whistling wind, waves, jungle howls etc.) — locale, time of day, weather etc. 

      • Motivate actions within a scene

    • Note: sound effects are created by the actor onstage are not sound effects (clapping, whistling, footsteps

  • Reinofrcements: it may be necessary to increase the level of the volume of an actor’s voice, for example in a musical to be able to hear a singer over the orchestra


MICROPHONES

  • Wireless mics: lavaliers(lapel) mics, headset, wig microphone

PLANNING TOOLS

  • Cue list: a list of all music cues and sound effects for each act and or scene. 

    • Incidcates where in the text the cue is happening, the page number, when the cue stanrts and es, the equipment that will produce it 

  • sound cue sheet: similar to cue list, but used by technician operating sound during the show

  • Playback sound effects: anything not generated live is playback ( these tracks are either sourced or created from the sound designer or digital audio compose (bbc sounds, soundbible, bensound)

SOUND FILE TYPES

  • WAV/AIFF/RIFF - Audio files only, non-compressed/lossless, HUGE files, but all sound is there

  • MP3 or MIME - Compressed files, removes the higher/lower frequencies

    • Use for sound project



QLAB

  • Only for mac :( going to have to go to studio


Jan 14th 2025

  • Sound wave - Acoustic energy

  • Microphone: transformation of acoustic energy into electrical energy

  • Console: pre samplification and various treatments

  • Amplification: increased power

  • Sound control 


Inputs and Outputs

  • Inputs

    • Anything that goes into a sound chain

  • Outputs

    • The way the audience hears sound effects/ and or music

    • It is important to choose the right equipment and use it properly to reproduce convincing sound effects

    • Includes: speaker placement, effects, recording devices when applicable

Connectors

  • Cables are mostly th same, except for the end

    • XLR: pin end and plug end (equal sizes), used for microphones and speakers typically. Latch to connect, press down to disconnect. Most popular

    • ¼ jack. Used for musical instruments( piano headphones), and some speakers 

    • ⅛ th jack (3.5mm). Used for computers and phones, SMALLER than ¼ often called aux, which it is not.

    • RCA,, used for CD and DVD players (some older video game consoles/TVs)

    • Speakon: used for sending audio signal to passive speakers (big, professional audio speakers).very difficult to disconnect. Interchangeable ends

Digital Consules: more functions, with less buttons

Sound mixing consoles




PROPS

  • PROPS stand for properties ~~~ all articles on stage that actors interact with

  • There are 4 categories of proofs

    • Set Props

      • Anything on the scene not nailed down is a set prof (furniture, painting etc.)

      • Set decorations: items that fill in the set ~~~ bookcase filled with books

    • Hand Props

      • Objects handled by an actor during the show (glasses, books, guns )

      • Anyhting can become a hand prop

    • Personal Props

      • Props carries on an actor’s person, such as watches, fans, pipes, jewelry, umbrellas

      • Often falls under costume

    • Consumables

      • Any prop that needs to be replace for each performance i.e.:

        • Food or drink, 

          • Fake food has no chance to go bad, make a mess and attract bugs, but food choice depends on the length of the show

          • Allergies

          • Food standins (i.e. mashed bananas instead of mashed potatoes)

        • cigarettes items that are broken on stage (breakaway bottles, plates)

        • Pyrotechnics, blanks and caps 

          • Must have a license to be able to fire firearms

      • I have to kill myself

      • YAY fake drink tutorials

        • Look bad, but look good under stage gels and lighting

  • Head of Props

    • Craftsperson who searches for, buys, manufactures or modifies the props necessary for the actor or the decor

    • works with the set designer and the director so that the objects fit into the overall design aesthetic of the show

    • the set designer is usually ultimately responsible for the look of the props

      • Sometimes responsible for organizing and setting props during the performances

      • Oftentimes, especially in smaller companies, the set designer is also in responsible for obtaining and or building props

    • Note: stage manager is responsible for obtaining rehearsal props (props that aren’t the real thing, but a close substitute to rehearse with)


  • Props list

    • The head of props or the set designer will start by reading the text

      • They will make note of all props mentioned in the stage directions

      • They will make note of all props mentionned in the stage directions

      • Make note of all props mentioned by a character in the dialogue

      • Make note of all props that are implied in the dialogue or action of the scene

      • They will then make a list of all these props

        • It’s very important to go over this list with the designer and director. Props are the first thing to chang

  • Things to consider

    • Rented our bought ~~~ dont bring things from home!

  • Props tables

    • Each item must have its owne spot, which is tapes out and labelled (usually with the name of the item and it’s scene, as well as character name)

    • r222


March 18th 2025

  • Lighting’s basic function is to illuminate the stage

  • Lighting can be used to:

    •  indicate time and locations (i.e. nighttime, early morning)

    • Put emphasis on one area of the stage (a certain character, a general area, a set piece)

    • Reinforce the style of the  production (haunted, futuristic)

    • Helps unify al the elements on stage

      • You can see how the costumes, set and lighting mix together for a clear style

  • The lighting designer starts by reading the text, noting the tye of lighting effects it requires for each scene

    • I.e. scene changes, time changes, place changes, a specific lighting effect (i.e. thunder)

  • The designer and director share their ideas on how light can be used to reinforce the production concept at their first meeting (design meeting)

  • The first meetings with the set designer are important because they have to collaborate the achieve the show’s ‘look’

  • Once blocking is determined, there is a scheduled rehearsal known as the run for lights (run for lx) to allow the lighting designer to see where the actor will be on stage, and can then decide which lighting instruments will be used, and where each will be located 


Planning tools : the designer does research and collects paintings and photos showing the mood they wish to portray

  • Lighting plot: a scale drawing of a bird’s eye view showing the intended layout of each lighting instrument to be used

  • Patch schedule/channel hookup: a table that lists each lighting instrument separately with details of its type, focus, colour, circuit and channel to which its connected

  • A magic sheet: a map of all channels sorted by colour ~~~ a visual representation of the lighting areas sectioned by function


Controllable qualities of light

  • Distribution 

    • The direction that the light is coming from 

    • The shape and size of the light (shuttering, gobos)

    • The quality (it’s diffusion or clarity)

  • Intensity: the level of brightness

  • Movement: the timed duration of the lighting cues (i.e. slow fade in or over, or a snap out 

    • The movement of lights either onstage (i.e. and actor walking with a lantern) or offstage (follow spot or moving light). Or an actor holding a lantern or sum shit

  • Colour: Tinted light using gels

    • NAAOOOo WHY WAS I CURSED WITH  A FEAR OF HEIGHTS


Lighting Instruments:

  • ERS (ellipsodial reflector spotlight ~~~ a leko)

    • The ETCsource4 is extremely popular. ETC is the monopolist.

    • Creates a clear sharp focused beam of light (can be diffused for a softer edge though)

      • It has internal shutters that can shape the beam of light to specific shapes

      • Also GOBOs can be used with lekos to cast a specific shape or image (i.e. jail cell, bat signal 

    • Primarily used as a front light to illuminate the acting areas or to olight specific areas of the stage


  • Fresnel: a light known as a wash or a flood light. 

    • It creates a soft diffused bream of light that is primarily used as a back or top light. 

    • The beams of light is controlled by large metal flaps in front of the light called barn doors

    • Gobos cannot go into a fresnel, but gels CAN

    • Usually a backlight or a front light

  • PAR (or parcan)

    • A par is the most basic types of light:: it’s just Barfing light

      • A flood light in a can ~ other than pointing the lights to a specific location

      • There is no focus or control of the beam of light ~~ used primarily in nightclubs, highschools or theatre as a side light

  • Cyclorama lights (red blue and green are primary colours in light)

    • Cyc lights are used to illuminate the cyclorama. And produce various effects such as sky, fire, coloured washes

Colour 

  •  on a conventional light, colour is controlled by ading a gel ( a coloured filter) 

    • Gels can burn out and must be replaced

    • Three primary colours of light are RED GREEN AND BLUE (theoretically mix to white)

      • Red + blue = magenta

      • Red + green = Yellow 

      • Green + blue = Cyan 


Angles of light

  • By place the light and different angles, different shadows are made

    • Front light: 45 degree angle, flattens facial features and lacks definition

      • Emulates natural light

    • Back light

      • Creates a silhouette on stake

      • Facial features and invisible

    • Side lighting

      • Mid side: highly dramatic

      • Low: can light just the actor and not the floor

    • Floor lights

      • Very theatrical

      • Facial features seem unreal, unnatural shade and dark and drama tic appearance

    • Top light

      • Facial features semi obscured

      • Used to isolate a character, or punctuate a moment

  • Scrim 

    • A drop made of a special weave to be extremely thin and cheeseclothlike. 

      • When lit from the front, scrim looks like a solid wall, but when lit from the back, scrim is transparent

  • To show beams, the air must be pumped with haze ~~ a sugary thing


Lighting Control

  • Lighting console: each channel on the console controls a light (or sometimes a group of light)

  • -> Console computer : sending data about what colour, what light, through a -> DMX (digital multiplex) cable (data) - looks similar to an XLR but is not, a DMX has 5 pins

    • Information is sent to -> Dimmers and dimmer rack -> pigtails circuit -> twist lock extension cables -> conventional fixture

    • Sends data from dimmer to light

    • Main difference between dmx and XLR is that DMX sends data and XLR sends electrical signal. Also DMX has 5 pins

    • Powercon cable: used to send power to an LED light/moving light

      • Connects one LED light to another i wish i could just explode and be comatose for ilek a day with no other effects than sleeping btw


Lighting crew head

  • AKA the electronic crew head or head electrician

  • Is responsible for the technical aspects of lighting a production

  • Once the lighting plot has been designed ( usually approximately one week before the lighting hand is scheduled, ensure that all equipment is in stock and working, or can be borrowed or rented before the lighting is to be rigged)

  • Organize the lighting crew and ensure there are sufficient crew member available for each session ~~ finding enough people for the hang and focus, as well as an operator for the duration of tech week and crew for TWAN (tech work as needed)

  • Explains riggin procedure and safety rules to the crew before any rigging is started

  • The crew head is present for all level sessions, cueing sessions, tech run throughs, dress rehearsals and peroformances as well as TWAN notes

  • Conducts the dimmer and instrument check during the one-hour cal prior to each performance~ensure there is sufficient time to address and maintenance issues that may accur

  • Organizes and supervises the strike of the lighting equipment, ensure that all equipment and tools are properly stored, or if loaned, returned to owners in good condition



Technical Sessions

  • Lighting designer’s work doesn’t really kick off until tech week, about a week or two before opening night

  1. Lighting hang

  2. Lighting Focus

  3. Cueing and Levels

  4. Q2Q

  5. Tech runs

  6. TWAN


April 1st 2025


Production Manager

  • Responsible for coordinating the production schedule and the budget

  • Responsibe for managing some contracts

Production Schedule

  • Load-in/first day in the theatre

    • First day in the theatre

    • Begin to set up the set (install) and hang the light

      • Production manger, crew, set designer, construction head

  • LX Hang

  • LX Levels

  • Q2Q

  • Costume Parade

  • Technical run-throughs 


Budget 

Personnel

  • Actors: 3 weeks rehearsal (including tech) + 1 weeks of performances 

    • 5 745 4 = $14,900

  • Designers: 4 Designers, each on a $5000 contract

    • 4*4000 = $16000 ~ $ 4 823.25

  • Director & Stage Manager: Paid per week, 3 rehearsal weeks, i performance week, 1 prep week

Production

  • Production budgets can vary wildly, it all depends on the script and the scale of production

Stage Manager

  1. Play analysis (aka production analysis)

  2. Scene Breakdown

Prepare a breakdown of the scenes to develop the rehearsal schedules  

  1. Props List (to find replacement props)

  2. Prompt Book: the back of the previous book records movements of actors, margins will record cues

  3. Spike the floor (tape out the ground plan on the rehearsal room floor

  4. Make sure that all production tema members and all actors have the latest version of the script

  5. Make sure all production team members and all actors have a copy of the rehearsal schedule


REHEARSALES

  •  Find and coordinate storageof all rehearsal props and costumes

  • During rehearsals, note all the actors’ movements in the prompt book (must be kept up to date)

  • Note all items that courl affect a department’s contribution to production

  • Prepare the rehearsal schedule ~ should include the scenes or segments of the play that will be repeated, the names of the peop;e involved in each rehearsal block, the location and the rehearsal hours and any other relevant information


Tech period

  1. Ensure the tech period is enough time to get all the necessary work done

  2. Is present at the installation of teh set and lighting hang if necessary

  3. In consultation with the director and the set designer, mark the positioning of furniture or elements of set

  4. Installs backstage props tables

  5. Determine which actor is in which dressing room and creates a make-up schedule 

  6. Ensure the backstage area is safe and secure for the actors

  • Sweeping stage

  • Glow tape 

  • Etc. 

  1. Stage manager is present for cues, takes note of each cue by indicating the number, the kind of effect, the duration of the effects and the method of oper ation, indicated in the promp book the right moment to call the cue

  2. Coordinate all the technical elements with a timing of the actors to ensure the show runs smoothly 

  3. Manage the cue to cue and all the technical run throughs

  4. Safety check of the backstage area, making sure hazards are identify


Stage Area

  • Playing space

  • wings&legs

  • Crossover

  • Dressing rooms

  • Fly gallery/tower

  • Traps & trap room

  • Apron

  • (Stage diagram) 


SOUND

  • Sound

    • Sound wave: acoustic energy

    • Microphon: transforms acoustic energy into electrical energy

    • Console: preamplification and various effects

    • Amplification: sound levels

  • How the audience hears the sound

    • A recorder can be plugged into an output

  • Connectors

    • XLR: microphones,speakers

    • Jack ¼ : instruments, speakers

    • Jack ⅛: laptops and phones

    • RCA: cd players, game consoles

    • Speakon: speakers

  • Console

    • One channel at a time 

      • Type, plug, input socket

      • trim/gain

      • Sound EQ (human ear can hear 20 - 20000 hz)

      • Pan 

      • Aux 

      • Faders~> U = unity

  • Sound Design

    • Ways sound is used in theatre

      • Music, effects, amplification

LIGHTING 

  • Planning Tool

    • Lighting plot

    • Magic sheets

    • channel/patch list

      • Channel, dimmer, instrument type, focus, gel/colour, location

    • Location

  • Lighting functions

    • Visibility 

    • Focus -

    • modelling/dimensioning: using light/shadow to separate actors from background

    • Mood: 

  • Controls

    • Distribution

      • Direction, size and shape, quality of light

    • Intensity

      • Brightness (level) 

    • Movement

      • Cue timings, source that moves from one spot to another 

      • Source from off stage

    • Colour

      • Gels/LEDs

  • Timeline

    • Run for LX

    • LX hang
      LX focus

    • LX levels

    • Q2Q

    • Technical run throughs

  • Equipment

    • ERS

      • Leko, source4, source 4 zoom

        • Used as front lighting

    • Fresnel

      • Named because the lens

        • top/backlights

        • Gobos don’t work in fresnels

    • Cyclorama 

      • Backdrop cloth

    • Scrim

      • Drop made of special weave, used to achieve a ghostly effect

      • When lit from front, it looks solid —-- when lit from back it looks transparent

  • Colour

    • Additive colours: add up to form white light

      • RED, BLUE, GREEN

  • Connectors

    • Twist lock

    • Two-fer

    • Power-con

    • DMX (5 pin)

  • Gobos


PRODUCTION MANAGEMENT

Production Manager in charge of:

  • Budget

  • Schedule 

Production Schedule:


Stage Manager

  • Before reheaersals begin

    • Prepare all paper work

  • During Rehearsals

    • Take blocking notes

    • Communicate changes to team

    • Prompts lines to actor

  • Dring tech period

    • Putting tech cues in prompt book

    • Calls the cues for Q2Q and all subsequent tech rehearsals 

    • Organizes the backstage area with an eye on safety

    • Organizes dressing roosm