Theatre Design & Technology - Winter 1991 - 54

because it has always been this way and we
have become complacent about it. For
direcrors who have complained, the answer
that it is impossible ro fix has always been
grudgingly accepred.
But why is ir impossible? Of course, the
reason for the delay is obvious: The srage
manager must see the action, call GO,
then the electrician must execute the cue.
But what if the actor could make the cue
go by simply doing the business? There
would be no delay. Neither would there be
anything for the stage manager or the
electtician ro do, at least for this cue.
But isn't this exactly what theatre is all
about-giving the actor the power to
perfectly control responses ro their actions
in an environment without compromises
and stumbling blocks? In reality, is it not
the acrors who make the play and the crew
merely puppets whose strings are pulled on
command?
This is a question with which we who
work under the moniker of Theatre
Technology must soon come ro grips, for
this power is here now and we must decide
what to do with it. Actor- and musiccontrolled cuing is used by productions at
theme parks such as Disney World and
Universal Studios and in Las Vegas.
Sofnvare is being developed which triggers

cues by simply performing rehearsed
physical motions in front of a video
camera.
So now we face the prospect of calling
and controlling a live show auromatically
with an intelligent system connected ro a
video camera and various acror-operated
switches. 0 stage manager, no crew. Is
this a practical alternative and, if so, is it
preferable ro the way it's done now' Is this
the direction we should be going, or
should we be perfecting better rools for a
live stage manager? Certainly we will use
more of this technology, but I cannot
believe that live performances can ever do
without live technical supervision and
expertise.
When talking with an associate recently,
he asked, "Surely you're not proposing that
all technical elements be controlled by one
central controller?" Then he suggested it
might now be time for him ro produce
that show he'd always wanted to do:
"Cantara for Woodwinds, Fresnels and Air
Casrors." JUSt like the stage manager will
never want---or be able-ro replace a good
sound mixer, neither will the stage
manager's control system be able ro directly
control the myriad technical systems found
in the theatre.
Each of these systems will normally

have a controller dedicated ro the job of
running that particular rype of system.
Real, live, trained operarors will continue
ro manipulate these controllers directly so
that they can retain immediate control of
any element within their realm.
Simultaneously, however, the stage
manager's system will be designed to
electronically communicate the stage
manager's--Dr the acror's-wishes ro each
of the system controllers.
Response ro this communication will
be immediate and unambiguous since
there is a new industry standard
communication protocol developed by
USITT called MIDI Show Control
(MSC). Resultant controller action may
range from:
1. Immediate response without operaror
intervention; through
2. Cue execution dependent upon an
operator pressing a confirmation or
safety burton; ro simply
3. Turning on a cue light or sending a
message to a mimic panel or video
monItor.
Operators will be able to override or
selectively accept electronically initiated
cues plus create live variations. In short,

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52

1991

WINTER

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Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 1991
