Theatre Design & Technology - Spring 1975 - 25

Readers familiar with dynamic programming will recognize this
as a cyclic network problem. By reverse induction, we find that
there are four alternate optimal shift sequences:

I
either
or
or
or

(a,b,e)
(a,b,e)
(a,b,e)
(a,b ,c)

~

~
~

(b,a,e)
(b,a,e)
(b,e,a)
(b,e,a)

~

~
~
~

(e,b,a)
(e,b ,a)
(e,b,a)
(e,b,a)

Each optimal shift sequence requires 14 set-moves per
performance. In order to ensure that an optimal shift sequence
is always executed, we must merely avoid shifting into either
arrangement (a,c,b) or arrangement (c,a,b).
This result could also be obtained, of course, by the explicit
enumeration of all possible cyclical shift sequences and the
selection of those requiring the fewest number of shifts per
performance.

Related Applications of Quantitative Analysis.
Problems in the five divisions described above all
derive from the special needs of theatrical production. Many engineering problems require for their
solution a knowledge of some other aspect of the
performing arts. The film, broadcast, and recording
industries provide examples, as they all depend upon
technologies engineered to meet their special needs.
Other illustrations can be found in the design and
research in long-term financial planning for theatre,
music, and dance. Someday, quantitative analysis
may help to explain the fundamental mechanisms of
human communication, including those essential to
the performing arts. No reader should take offense
that such endeavors are here excl uded from the field
of theatre engineering, for they belong already to
larger fields of their own, and relate only peripherally to theatrical production.
Other Aspects of Theatre Engineering. As the
preced ing ill ustrative exam pies demonstrate, theatre
engineering investigations often depend upon physical science and quantitative analysis. They should
also typically be characterized by the other properties
mentioned below.
The Use of Computers. Numerical methods are
needed to solve some problems in theatre engineering, and ease the solution of many others. Data
processing can also be of great value, since the
automation of certain clerical tasks in technical administration simplifies the collection of quantitative
information about inventories and about expenditures of money and effort.
The Use of Laboratory Facilities. Office space,
reference materials, and quiet isolation are essential
to any ongoing theatre engineering activity. Tools,
test equipment, and supplies are also needed if
equipment design is to be undertaken.
Application of Practical Problems. Only through a
vital interest in important topical problems can
theatre engineers hope to participate in the design

~

THEATRE DESIGN AND TECHNOLOGY

IV

III

II
~

~
~
~
~

(b, a,e)
(b,e,a)
(b,a,e)
(b, e, a)

~
~

~
~

(a,b,e)
(a,b,e)
(a,b,e)
(a,b,e) .

and use of theatres and their equipment. Involvement in real theatre architecture, real equipment
design, and real production activity are as important
to the genesis and testing of new ideas as quiet
isolation and unhurried thought are to their development.
Experimentation. Real problems are complicated
enough so that it is seldom obvious how to get to the
solution directly. Trial and error therefore initially
characterize most attempts at serious quantitative
analysis, and often, several trial solutions must be
tested and found in error before experience reveals a
sensi ble approach.
Generality of Approach. In addition to solving the
particular problem at hand, a. single theatre engineering investigation should also be expected to
illuminate many similar problems which might arise
in the future, by revealing methods suitable for
dealing with all of them. Thus, for example, all
worst-case sightline studies are solved in principle by
the single calculation of the first example offered
above, since only the numerical values change from
case to case.
The Study of Theatre Engineering. The world
does not need thousands of theatre engineers. Most
of the people who work at theatre architecture,
equipment design, and technical production are not
engineers, and of the few engineers who take a
professional interest in the theatre, many do not find
professional employment there. Some formal opportunities should nonetheless be provided for graduate
engineers to take their advanced training in this
field, because of the special contributions to the
developement of the theatre which only they can be
expected to make.

This training has traditionally been gleaned from
apprenticeship to a consultant or graduate study in
technical production and general engineering, but a
regular curriculum of courses particular to the unique
requ irements of the theatre eng ineering specialty
might better serve the needs of interested students
and of the profession.
Elementary theatre engineering courses should
also be made elective for those graduate students of
technical direction, stage management, and theatre
administration who might profit from them.

SPRING. 1975

25



Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 1975

Contents
Theatre Design & Technology - Spring 1975 - 1
Theatre Design & Technology - Spring 1975 - 2
Theatre Design & Technology - Spring 1975 - 3
Theatre Design & Technology - Spring 1975 - Contents
Theatre Design & Technology - Spring 1975 - 5
Theatre Design & Technology - Spring 1975 - 6
Theatre Design & Technology - Spring 1975 - 7
Theatre Design & Technology - Spring 1975 - 8
Theatre Design & Technology - Spring 1975 - 9
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
http://www.nxtbookMEDIA.com