Theatre Design & Technology - Oct 1966 - 11

THEATRE ENGINEERING

(Moderator: Gary Gaiser)

Engineering Concepts in Stage Equipment
Olaf

Soot

I.R. CODE: equipment - safety

Today we find ourselves in the midst of an upsurge of
innovation and experimentation in the design of theatres
and in all that goes with it. We are attempting to establish a fresh and bold approach to the whole spectrum
of the performing arts. And we are making strides towards sophistication, perfection and excellence in the design of theatre environment and stage facilities.
We are trying to establish standards, draw guidelines and
define functions .and relationships for the architect, the
engineer, the consultant and the manufacturer. And we
are trying to bring order to the house where perhaps
some confusion exists.
In a word, we are
are trying to regain
and we are trying
pangs of pain that
all to see.

trying to make up for lost time. We
the forgotten experiences of the past
to do it in a hurry. The inevitable
accompany any rebirth are there for

While it should be always borne in mind that the ultimate
goal of any theatre is excellence of performance rather
than of mechanics, it cannot be denied that a certain
amount of flexibility and mechanization has become an
essential part of the modern theatre.
This increasing demand for flexibility has necessitated the
use of a wide variety of special equipment and heavy
movable structures. These may range from simple turntables to complex and integrated arrangements of walls,
floors and roofs, which are used either for space control
or for creating special eHects for a given performance.
These installations diHer from regular stage equipment in
that they are not standardized. Each one is designed individually to suit the requirements of a particular theatre
and each one is closely related to the basic structure of
the theatre.
Since building codes and standards are only indirectly
applicable to this type of installation there seems to exist
a wide variety of thought about how to handle the design
and construction of these facilities.
To add to the woes of the people involved there is, unfortunately, a correspondingly wide range of uncertainty
concerning the degree of success that a given approach
mayor may not bring.
There seems to be a favorite expression in the stage
equipment business that anything can be built. While
there may be some justified doubts about the necessity
of over-mechanizing a stage, one must still agree (especially in view of technological advances in other fields)
that everything technical is certainly possible.

OCTOBER 1966

Why is it then that often, when something special is
attempted in the design of heavy stage machinery, the
results may resemble the desired installation in appearance, but the installation may not fulfill its intended functions?
I believe that almost everybody who has been involved
in the construction of a theatre which has contained more
than an average amount of mechanization is famil iar with
the modifications and adjustments required to make som;
of the facilities usable. Many of us also have serious
doubts about the safety of some of these installations.
If one would compare the accepted methods used for
the design of buildings and industrial machinery with
those used for the design of stage equipment it becomes
quite clear that at least from the engineering point of
view there still remains much room for improvement.
The evolution of movable stage and theatre facilities has
had many interruptions. It is only recently that major
installations, consisting of rotating and lifted structures,
haveĀ· made a comeback and are considered part of good
stage construction.
At the same time, attempts are being made to mechanize
stage rigging and develop more flexible controls for stage
machinery. Therefore, while the rest of the industry has
had plenty of time to develop its standards and routine
practices, designers and manufacturers of heavy stage
equipment are suddenly faced with the problem of starting again where the activities stopped several years ago.
Fortunately, many technical advances in industry can be
borrowed and readily utilized for the construction of stage
machinery. While there seems to be little in common between industrial materials handling systems and a modern
stage, both may utilize lifts, hoists and turntables which,
while designed for diHerent functional requirements, still
employ the same principles of mechanics.
The major diHerence lies in their purpose. Stage machinery is created not to produce, but to act as an aid to the
advancement of the performing arts. Therefore, while it is
constantly in operation by providing flexible support for
the stage and audience, by moving scenery or by creating
other controlled motion, it still remains in the background
and its presence should not interfere with the performance.
While stage machinery is expected to perform accord ina
to a well-prepared script, it is too often forgotten that th~
same machinery still has to be designed, built and operated according to the laws of mechanics. And it is here,

11



Table of Contents for the Digital Edition of Theatre Design & Technology - Oct 1966

Contents
Theatre Design & Technology - Oct 1966 - 1
Theatre Design & Technology - Oct 1966 - 2
Theatre Design & Technology - Oct 1966 - 3
Theatre Design & Technology - Oct 1966 - Contents
Theatre Design & Technology - Oct 1966 - 5
Theatre Design & Technology - Oct 1966 - 6
Theatre Design & Technology - Oct 1966 - 7
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
https://www.nxtbookmedia.com