Theatre Design & Technology - Winter 1976 - 37

said to be required by the performance. Senses and emotions must be energised: the customer must be sensitised
by his environment. He, too, has a vital part to play in the
performance. Theatre is unique. It is created for and depends upon the presence of a live audience, whose spirit
must be exalted by lively artists and technicians. It has a
purpose that is completely served only when it becomes
an organic whole. It must be positively and comprehensively theatrical.
'TULSA"

Continued from Page 24

wardrobe storage and laundry rooms, two first aid stations, follow spot booths, concession areas, a canteen,
two instrument storage rooms, a musicians' warm-up
room, piano storage and orchestra shell storage.
Perhaps the most important support space in the
TPAC is the holding and storage area located between
the loading dock and the stagehouse of the Music Hall.
This space, large enough to accommodate several wagon
sets in waiting, is located adjacent to a large freight
elevator servicing all theatres and the building's scene
shop.
The interrelationship of performance facilities and
support spaces will insure TPAC's place as a major regional arts center. Evolving the design was no easy task,
architecturally and technically, for the design team.
The limited site made it necessary for spaces to be simultaneously interlocked and also stacked vertically. This
posed great difficulties in reconciling building codes,
relationships, circulation and service requirements, good
planning practice and sound isolation of performance
spaces. Without adequate satisfaction of each of the
above separate needs the Center might suffer severe
problems, and especially without adequate sound isolation of each of the major chambers, TPAC could not
perform as a regional Center. However, if planning and
construction have been properly executed it will be possible for the Tulsa Philharmonic to rehearse in Studio II
while a ballet is being performed in the Music Hall with
simultaneous drama and teaching activities going on in

Studio I, the Playhouse and scene shop.
To achieve necessary isolation, the TPAC utilizes
plaster skins, acoustic ceilings, floated floors, double
wall construction and vestibule sound locks, sound
doors, cushioned floor materials, isolation joints, isolation mounts, carpeting and acoustic sprays in locations
where it is anticipated that noise and/or vibration are
potential problems. Furthermore, the building contains
an independently zoned heating, ventilating and airconditioning system, utilizing nine individual units.
Indeed, Tulsans should take great pride in the level of
competence with which all aspects of TPAC's design has
been executed. All potential problems and needs have
been exami ned and given solutions. If errors are discovered when it is in operation, they will not have been
because of a lack of anticipation but because the solutions found were inadquate. We look forward to facing
these tests of time.
A few years ago, erecting this building in Tulsa would
have been considered impossible and impractical. Many
people have wondered why the city needed four new
theatres to replace a single previous one. We believe the
answer is obvious - the demand is here.
Destroying an otherwise flawless economic theory, we
note that in the theatre business, as supply increases, so
does demand. The demands already identified for use of
the new building are sufficient to insure a very high
level of occupancy in the first seasons of operation. New
buildings are virtually guaranteed a certain grace period,
with full houses for a period of time.
The long-term success of any facility depends on management's ability to develop creative, worthwhile program
schedules and the performer's ability to meet the demands of his aud ience. We feel strongly that the success
of these two activities will be aided by a building designed
to solve problems, not create them, and we look forward
not just to opening night of the TPAC, but to many
successful seasons serving future generations of Tulsans.

Index - Theatre Design and Technology

-

Fall, 1975 - Winter 1976
Numbers 42,43 and Vol. XII. 14

1975 Articles and Technical Reports
"Czechoslovakian Stage Design and Scenography, 1914-38: A Survey - Part II." Jarka Burian. 42:23-32, Fall 1975.
"Donald M. Oenslager - Frank Carrington - In Memorian." Robert Brustein, Edward C. Cole, Bernard Grossman, William Warfel. 42 :9-10,
41. Fall 1975.
"New Theatres on the Niagara River: Artpark and the Shaw Festival Theatre." Tony Courtade. 42 :11-17, Fall 1975.
"A Physical Description of Booth's Theatre, 1869-1883." Loren Hufstetler. 43: 8-18,30. Winter 1975.
"Reflections of a Stage-Builder." Wolfgang Roth. 42 :18-22. Fall 1975
"Stage Floor Structure and Surfaces for Dance." (Technical Report) Lyn Caliva. 42:34-36. Fall 1975.
"Standards for Designer's Portfolios." Lawrence T. Graham. 43:22-26. Winter 1975.
"Supply, Demand and the Performing Arts ... A Critical Look at the Business of Supplying Show Business." James L. Davis, Ted W. Jones,
Joseph N. Tawil, Richard D. Thompson. 43:27-32. Winter 1975.

1976 Articles and Technical Reports
"Annual Report of the President." Edward F. Kook. Vol. X II. No.1: 9-11. Spring 1976.
"Are You Protected?" Brian P. Lago. Vol. XII. No.1: 24-25. Spring 1976.
"Art Versus Craft." Jo Mielziner. Vol. XII. No.2: 9. Summer 1976.
"The B. Iden Payne Theatre: University of Texas at Austin." John R. Rothgeb. Vol. XII. No.4: 9-14. Winter 1976.
"A Flexible Stock Platform System." (Technical Report) W. Joseph Stell. Vol. XII. No.4: 27-30. Winter 1976.
"The International Organization of Scenographers and Theatre Technicians: OISTT." Joel E. Rubin. Vol. XII. No.3: 9-12. Fall 1976.
"An Interview with Four Leading American Designers." Iva Drapalova. Vol. XII. No.3: 45-58. Fall 1976.
"A Method for Etching Gobos." (Technical Report) Keith W. Clark. Vol. XII. No.1: 29-30,38. Spring 1976.

I USITT I

THEATRE DESIGN AND TECHNOLOGY

WINTER,1976

37



Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 1976

Contents
Theatre Design & Technology - Winter 1976 - 1
Theatre Design & Technology - Winter 1976 - 2
Theatre Design & Technology - Winter 1976 - 3
Theatre Design & Technology - Winter 1976 - Contents
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
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
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