Theatre Design & Technology - Feb 1969 - 13

The next step was to mock-up cardboard housings, including
color filter holders, framing shutters and yokes. Surprisingly
few changes were made between the mock-ups and the
finished instruments. Design consideration was given to beam
spread variability (where appropriate), adjustment of framing
shutters for ell ipsoidal spotlights, soft-edge effects, relamping and ventilation.

they could also be used to simulate Fresnel lens spotlights.
Beam spread variability for the Fresnel spotlights was
achieved by telescoping the tube containing the lens inside
the sl ightly larger tube carrying the socket and lamp, thus
allowing a variability from narrow to flood focus. This idea
also worked out as an expedient way of changing lamps,

Black phenolic dilecto tubing was used for the instrument
housings. Epoxy resin adhesive was ideal as an agent for
binding housing parts together. Aluminum was used on the
instruments for color filter holders, framing shutters and
yokes.

Thirty-five mm plano-convex lenses were chosen for their
nominal cost and versatility. They were used "as is" for
the ellipsoidal spotlights, and, when used in conjunction with
a light frost plastic (No. 31 Cinemoid) to act as a slight
diffusing agent for the soft edge characteristic required,
they could also be used to simulate Fresnel lens spotlights.
Beam spread variability for the Fresnel spotlights was
achieved by telescoping the tube containing the lens inside
the slightly larger tube carrying the socket and lamp, thus
allowing a variability from narrow to flood focus. This idea
also worked out as an expedient way of changing lamps,
both on the Fresnel and the ellipsoidal spotlights and the
beam projectors.

Backstage View

Perhaps the most elaborate construction went into the framing shutter assembly for the ellipsoidal spotlights. Miniature
springs gave the necessary tension to the individual shutters
(just as they do in some full-size instruments). The front
plate covering the shutter assembly also acts as a holder
for the color filter. 1
Framework for the structure employed slotted angle steel,
for a maximum of rigidity and strength. The framework was
then covered with 'I,' plywood, with ' " x 3" white pine
used for the proscenium and other thicknesses. A concave,
plaster covered cyclorama was faithfully reproduced in the
model. For this feature, 1/8" plywood was employed, with
a covering of muslin to give a slight texture and to conceal
the wood grain. Even though the acting area portion of the
stage floor would always be covered by simulated floor
clothes (made from large sheets of colored construction
paper), the entire stage floor was stained a dark walnut.
The exterior and interior surfaces were finished with medium
blue latex paint, and the grill panels and some moulding
were given relief with gold paint.
Mounting positions on the model stage simulate the standard
positions of the Little Theatre; beam, four pipes parallel to
the proscenium wall, and two auxiliary light pipes perpendicular to these, near the off-stage walls. Aluminum rods were
used for the light pipes, suspended by jack chain from
small slotted angle at the gridiron. While the light pipes are
usually trimmed at a standard height, they can be raised
by adjusting the chain on hooks at the top of the stage.

A Stage Setting Lit in Miniature

While the phenolic tubing was satisfactory for the majority
of the instruments, it was not suitable for the floodlights.
An attempt was made to locate something that would approximate the shape of an ellipsoidal floodlight in the proper
scale, and still remain within a reasonable cost. Fortunately,
a humble kitchen tea strainer met our needs. The shape
and size proved ideal, along with the material; and the price
(at 19ยข each) irresistible.
Thirty-five mm plano-convex
nominal cost and versatility.
the ellipsoidal spotlights, and,
a light frost plastic (No. 31
diffusing agent for the soft

lenses were chosen for their
They were used "as is" for
when used in conjunction with
Cinemoid) to act as a slight
edge characteristic required,

rnITCJ THEATRE DESIGN AND TECHNOLOGY

FEBRUARY, 1969

The problem of the simulated beam position requi red some
careful planning. It was vital that this important position be
at the same 45 degree angle as the actual Little Theatre,
yet it must be variable for transporting the model through
the door of the lighting classroom. The solution was a pair
of ball-bearing tracks used to transport phonograph turntables in consoles. A track of appropriate length was attached to each side of the stage to support the aluminum
angle on which was mounted the wireway and beam spotlights (ellipsoidals). When the model is removed from the
classroom, the beam complement telescopes towards the
facade of the stage, thus permitting transportation of the
unit.
Wireways for the light pipes were fabricated from Masonite,
and were mounted at the top of the stage in tandem with
the light pipes. While all of the connectors and receptacles
are a uniform size, each circuit is identified by number and
color-coded according to voltage with embossed vinyl tape.
Standard No. 18 gauge black "rip cord" was used for all
instrument leads and wireway installations.

1. While plastic filters (Cinemoid. Dynamold. Roscolene. et al) are Ideal
for use 111 these small lflstrumenrs. conventional gelatin can also be used.

13



Table of Contents for the Digital Edition of Theatre Design & Technology - Feb 1969

Contents
Theatre Design & Technology - Feb 1969 - 1
Theatre Design & Technology - Feb 1969 - 2
Theatre Design & Technology - Feb 1969 - 3
Theatre Design & Technology - Feb 1969 - Contents
Theatre Design & Technology - Feb 1969 - 5
Theatre Design & Technology - Feb 1969 - 6
Theatre Design & Technology - Feb 1969 - 7
Theatre Design & Technology - Feb 1969 - 8
Theatre Design & Technology - Feb 1969 - 9
Theatre Design & Technology - Feb 1969 - 10
Theatre Design & Technology - Feb 1969 - 11
Theatre Design & Technology - Feb 1969 - 12
Theatre Design & Technology - Feb 1969 - 13
Theatre Design & Technology - Feb 1969 - 14
Theatre Design & Technology - Feb 1969 - 15
Theatre Design & Technology - Feb 1969 - 16
Theatre Design & Technology - Feb 1969 - 17
Theatre Design & Technology - Feb 1969 - 18
Theatre Design & Technology - Feb 1969 - 19
Theatre Design & Technology - Feb 1969 - 20
Theatre Design & Technology - Feb 1969 - 21
Theatre Design & Technology - Feb 1969 - 22
Theatre Design & Technology - Feb 1969 - 23
Theatre Design & Technology - Feb 1969 - 24
Theatre Design & Technology - Feb 1969 - 25
Theatre Design & Technology - Feb 1969 - 26
Theatre Design & Technology - Feb 1969 - 27
Theatre Design & Technology - Feb 1969 - 28
Theatre Design & Technology - Feb 1969 - 29
Theatre Design & Technology - Feb 1969 - 30
Theatre Design & Technology - Feb 1969 - 31
Theatre Design & Technology - Feb 1969 - 32
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