Theatre Design & Technology - Fall 1981 - 28

Moliere's play "The Learned Ladies" calls for a single setting-a 17th
century drawing room in Paris inhabited by the welHo-do bourgeois
Chrysale, his pretentious and strong-willed wife, and their daughters. I
first imagined a spacious French Baroque paneled room filled with
handsome furniture, with mirrored walls, a fireplace, marble floor, and
draperied windows overlooking a beautifully trimmed formal garden. But
the thrust stage of the Phoenix Community College Theatre and its
extreme sightline conditions made simplification of scenery mandatory,
and these same restrictions also made for a more suitable setting.
Only suggestions are really required to establish the locale. A pair of
bookcases and a window set the architectural style. A few pieces of
furniture and rug fixed the acting boundaries. But something more was
necessary to tie every1hing together. A solution was found in an
engraving of the Theatre in the Rue Guenegaud-actually used by the
Moliere-Marais Troupe. There were chandeliers over the stage and
house as well as in the boxes to right and left. By adapting these the
entire theatre became a part of the setting, and an environment in which
the audience could become physically and emotionally involved in the
action of the play. The only major problem remaining was construction of
these chandeliers with the limited funds available to us.
For the brackets and main stems of the fixture 'Ii' PVC (polyvinylchloride) tubing comonly used for lawn sprinkler system and some interior
plumbing provide quite inexpensive, simple to form, and would hold its
shape under the weight of the plywood, polystyrene, and electrical parts
which were used. The drawing shows each of the components, their
shapes, and the materials from which they were formed. We believe we
achieved elegance with simplicity, and entirely appropriate fixture well
within our budget.
First, pack wet sand firmly in the pre-cut PVC tubing. The sand
increases the density which makes for easy shaping without kinking.
The desired shape is formed by placing the heat tubing in a jig. A cold
water bath sets the PVC to its original rigidity. By heating the sand-filled
tubes in an infra-red oven the PVC tubing becomes pliable.

The infra-red oven was built to specifications prescribed in Bowman's
Cookbook with modifications that allowed placing eight pieces in the
oven without over heating. Temperatures in the oven were maintained
around 250 0 F. By placing unheated pieces of PVC on the outside of
heated pieces already in the oven, preheating was accomplished. The
center pieces being in the most intense heat, would be pUlled and
formed, thus allowing the outside pieces to roll toward the center. This
preheat and rolling action allowed an even heating and greatly reduced
the amount of time the pieces remained in the oven-an average of about
six minutes. As with all thermoplastic materials, PVC is highly toxic when
heated. Proper ventilation is mandatory in this set up.
The chandeliers were built in an assembly line process. Starting with
the central stem or core, consisting of a piece of PVC cut to the length
required, an eye bolt was fastened to a piece of dowel. The coupler was
then attached using a dowel peg through the central core. The main
power line was run through the core and brought out just above the
coupler and supplied current to each of the eight arms of the chandelier. 0

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William C. Molyneux has been a deisgner for Broadway, film, and television since 1950. He is currently at Phoenix College.

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Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1981

Contents
Theatre Design & Technology - Fall 1981 - 1
Theatre Design & Technology - Fall 1981 - 2
Theatre Design & Technology - Fall 1981 - 3
Theatre Design & Technology - Fall 1981 - Contents
Theatre Design & Technology - Fall 1981 - 5
Theatre Design & Technology - Fall 1981 - 6
Theatre Design & Technology - Fall 1981 - 7
Theatre Design & Technology - Fall 1981 - 8
Theatre Design & Technology - Fall 1981 - 9
Theatre Design & Technology - Fall 1981 - 10
Theatre Design & Technology - Fall 1981 - 11
Theatre Design & Technology - Fall 1981 - 12
Theatre Design & Technology - Fall 1981 - 13
Theatre Design & Technology - Fall 1981 - 14
Theatre Design & Technology - Fall 1981 - 15
Theatre Design & Technology - Fall 1981 - 16
Theatre Design & Technology - Fall 1981 - 17
Theatre Design & Technology - Fall 1981 - 18
Theatre Design & Technology - Fall 1981 - 19
Theatre Design & Technology - Fall 1981 - 20
Theatre Design & Technology - Fall 1981 - 21
Theatre Design & Technology - Fall 1981 - 22
Theatre Design & Technology - Fall 1981 - 23
Theatre Design & Technology - Fall 1981 - 24
Theatre Design & Technology - Fall 1981 - 25
Theatre Design & Technology - Fall 1981 - 26
Theatre Design & Technology - Fall 1981 - 27
Theatre Design & Technology - Fall 1981 - 28
Theatre Design & Technology - Fall 1981 - 29
Theatre Design & Technology - Fall 1981 - 30
Theatre Design & Technology - Fall 1981 - 31
Theatre Design & Technology - Fall 1981 - 32
Theatre Design & Technology - Fall 1981 - 33
Theatre Design & Technology - Fall 1981 - 34
Theatre Design & Technology - Fall 1981 - 35
Theatre Design & Technology - Fall 1981 - 36
Theatre Design & Technology - Fall 1981 - 37
Theatre Design & Technology - Fall 1981 - 38
Theatre Design & Technology - Fall 1981 - 39
Theatre Design & Technology - Fall 1981 - 40
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