Theatre Design & Technology - Winter 1980 - 13

Assembly Techniques
Using a specially-designed scaffold with a self-contained
boom pulley arrangement, a simple clove hitch sling is employed to erect the stanchions. It was found that turn-around
time could be reduced somewhat by trying to plan the shifts in
such a way as to require any individual stanchion to move no
more than four or five feet from its original position. Under
these conditions an operator can usually maneuver the stanchion from the scaffold without requiring the rope rig. The
rope, which is equipped with a snap hook on each end, is primarily used to lift the rails into position.
The trim of the rails is efficiently set by using a special
gauge stick consisting of a 20' length of 2/1 x 2/1 to which a
measuring tape has been fastened. Riding on the 2/1 x 2/1, but
clear of the tape is a clamp similar to that used on a stage
brace. The clamp is set so that its top corresponds to the rail
trim to the floor. Then, before tightening the Rota-Locks, the
rail is lowered until it rests on the gauging stick clamp.

Scenic Potential
Clearly the design options of such a system are considerable. Although we have had opportunity to use only a few of
the possible configurations since this system was put into operation, the inventive applications devised by several designers, as well as other variations investigated in model form,
suggest a wide variety of potential applications. There is no
reason, for instance, why rails could not be connected by %/1
ply lids (with minimal additional stiffening) to provide a wide
variety of platform configurations. There is, furthermore, no
particular reason why the basic rail end design could not be
adapted to longer rails up to, perhaps, 12' in length and be
made in any odd lengths required by special diagonals. It has
also been found possible to extend the design capabilities further without the expense of a full rail assembly by using
"dummy rails", i.e., rails that are of the same external size
and shape but which have no internal provision for locking to
stanchions with Rota-Locks. The end prongs of these dummy
rails are spaced for a tight slide fit on the stanchions and thus
provide a way of stabilizing the lower end of a panel without
the expense of a fully equipped rail. The weight of the rail is
borne exclusively by nailing it to a panel that is otherwise supported.

Cost and Performance
The system described involved a material cost of about
$3000.00 in the summer of 1978. It was constructed and installed for the first show by a mixed faculty-student crew of
five in about thirty working days. So far this investment seems
to have been worthwhile. Although comparisons are difficult, it
appears that labor and material costs have been reduced approximately 35-40% compared to that required to fill the same
space without the facade system. The only significant operational difficulty has been a slight increase in turnaround time.
This is to be anticipated since one is in essence building a
substantial part of the set onstage. Nonetheless, by using the
special scaffold and by carefully pre-planning the moves of
rails and stanchions, a basic crew of four can accomplish
complete facade changeover in six to eight hours depending
on complexity. Presumably this figure would be approximately
halved if a second special scaffold were constructed. It is also
possible that a few other tooling and design refinements might
improve the set up speed. For instance, an electric or pneumatic extractor/inserter for the rail sleeve assemblies would
probably be helpful if carefully designed. Also, it would probably have been wise to make the access holes in the rail facings slightly larger since they occasionally appear to obstruct
one or the other of the rail sleeve rings. Nonetheless, these
difficulties seem relatively minor so farn
Frank Silberstein is Associate Professor of design and technology in
the Department of Theatre and Drama at Indiana University.



Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 1980

Contents
Theatre Design & Technology - Winter 1980 - 1
Theatre Design & Technology - Winter 1980 - 2
Theatre Design & Technology - Winter 1980 - 3
Theatre Design & Technology - Winter 1980 - Contents
Theatre Design & Technology - Winter 1980 - 5
Theatre Design & Technology - Winter 1980 - 6
Theatre Design & Technology - Winter 1980 - 7
Theatre Design & Technology - Winter 1980 - 8
Theatre Design & Technology - Winter 1980 - 9
Theatre Design & Technology - Winter 1980 - 10
Theatre Design & Technology - Winter 1980 - 11
Theatre Design & Technology - Winter 1980 - 12
Theatre Design & Technology - Winter 1980 - 13
Theatre Design & Technology - Winter 1980 - 14
Theatre Design & Technology - Winter 1980 - 15
Theatre Design & Technology - Winter 1980 - 16
Theatre Design & Technology - Winter 1980 - 17
Theatre Design & Technology - Winter 1980 - 18
Theatre Design & Technology - Winter 1980 - 19
Theatre Design & Technology - Winter 1980 - 20
Theatre Design & Technology - Winter 1980 - 21
Theatre Design & Technology - Winter 1980 - 22
Theatre Design & Technology - Winter 1980 - 23
Theatre Design & Technology - Winter 1980 - 24
Theatre Design & Technology - Winter 1980 - 25
Theatre Design & Technology - Winter 1980 - 26
Theatre Design & Technology - Winter 1980 - 27
Theatre Design & Technology - Winter 1980 - 28
Theatre Design & Technology - Winter 1980 - 29
Theatre Design & Technology - Winter 1980 - 30
Theatre Design & Technology - Winter 1980 - 31
Theatre Design & Technology - Winter 1980 - 32
Theatre Design & Technology - Winter 1980 - 33
Theatre Design & Technology - Winter 1980 - 34
Theatre Design & Technology - Winter 1980 - 35
Theatre Design & Technology - Winter 1980 - 36
Theatre Design & Technology - Winter 1980 - 37
Theatre Design & Technology - Winter 1980 - 38
Theatre Design & Technology - Winter 1980 - 39
Theatre Design & Technology - Winter 1980 - 40
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Theatre Design & Technology - Winter 1980 - 44
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