Theatre Design & Technology - Spring 1981 - 14

cotton string throughout. Where there were eight cords in the
model, three times that many had to be used in the actual tapestry. Doing this out of cotton sash cord would have made the
tapestry much too heavy for us to be able to control it as we
wanted to in performance. After several false starts we found
that if we split the rolls of gauze in half lengthwise, each piece
could then be used in place of a piece of rope. The light
weight of the gauze combined with its rough texture made it
possible for a section to be executed as designed without
adding unnecessary weight.
Upon completion of the tapestry, we begin to weave the
three fiber panels used during specific scenes. The "dagger
panel," used for the scenes at Inverness, measured 8' x 12';
the "blood knot," used for the sleepwalking scene, measured
3/ x 17'; and the "banquet panel," used for the banquet
scene, measured 12' x 16'. Each of these panels was backed
by a finger-woven panel of black webbing and the surface of
each was textured with macrame techniques in white cotton
sash cord, huge wrapped pieces, weaving techniques, paint,
mylar strips, etc. Finishing touches on the tapestry and the
panels was a final spraying of black dye. With all the white
surfaces and white light that was planned for the production,
the black spray provided needed contours and contrast.
With the end of the construction period the difficult task of
rigging and setting the cues began. The rigging of the tapestry
posed the largest problem since we could not afford the variable speed electric winches that would logically have been required. The rigging involved two battens held rigid 16' apart
and 27' in the air. Each batten had seven pulleys attached to
it. Individual 1/2" cotton ropes ran over these pulleys to head
blocks mounted on the fly gallery and then down to portable
pinrails on the stage floor. These fourteen spot lines provided
the shaping and mobility of the fiber sculpture. A third batten,
located in the middle of the tapestry, had five fixed length
lines permanently attached to the tapestry. This batten, which
was added when the tapestry was finished, helped to take the
weight off the spot lines when the tapestry was raised from its
initial position on the floor. It also served as a storage batten
since Macbeth was playing in repertory with three other productions.
When the rigging system was complete we began to set the
cues. Thirty-six cues were necessary to take tapestry from its
original position on the floor, up through its various movements, and then back down to the floor in its final position.
Within each cue the spotlines were manipulated separately to
form different configurations. We calculate that the tapestry
moved about one hundred and fifty times throughout the two
hour performance. The versatility of the tapestry proved to be
as dynamic as we had originally envisioned. As it changed position it shaped and orchestrated the stage space. Combined
with the light and sound the effect was mystifying and overwhelming.
Never before had either of us been involved in a design
which was so unpredictable and improvisational from the beginning of construction through performance. New relationships and techniques of fiber sculpture were discovered each
day during construction. During rehearsals and performances
the tapestry seemed to have a life of its own. It never conformed to the exact same shape twice. Depending upon the
configuration, the lighting, and the staging, it floated above
the stage as a luminous entity or enclosed the stage space as
an all too tangible and menacing presence. The mobile fiber
sculpture gave us the movement and the visual metaphor that
we felt were essential to the play. It also allowed us an opportunity to use one of the most ancient handcrafts in a new way
to support and illuminate Macbeth.D

Special
Effects
*

In

Barnum

by Brooke Allen
Barnum, by Cy Coleman, Michael Stewart, and Mark
Bramble, is a show in which the biographical material of P. T.
Barnum's life yields to the special effects. Trapezes, acrobats,
tightropes, and clowns, commonplace in the circus, become
miraculous in a theatre, and the method of transposing these

Rabbi Morgan on flying trapeze.

Macbeth: Produced by Southwest Repertory Theatre: Directed by Nat Eek; Settings by lone and Delberf Unruh;
Costumes by Mike Buchwald; Lighting by Delbert Unruh.

12

Theatre Design & Technology

USITT /Spring, 1981



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

Contents
Theatre Design & Technology - Spring 1981 - 1
Theatre Design & Technology - Spring 1981 - 2
Theatre Design & Technology - Spring 1981 - 3
Theatre Design & Technology - Spring 1981 - Contents
Theatre Design & Technology - Spring 1981 - 5
Theatre Design & Technology - Spring 1981 - 6
Theatre Design & Technology - Spring 1981 - 7
Theatre Design & Technology - Spring 1981 - 8
Theatre Design & Technology - Spring 1981 - 9
Theatre Design & Technology - Spring 1981 - 10
Theatre Design & Technology - Spring 1981 - 11
Theatre Design & Technology - Spring 1981 - 12
Theatre Design & Technology - Spring 1981 - 13
Theatre Design & Technology - Spring 1981 - 14
Theatre Design & Technology - Spring 1981 - 15
Theatre Design & Technology - Spring 1981 - 16
Theatre Design & Technology - Spring 1981 - 17
Theatre Design & Technology - Spring 1981 - 18
Theatre Design & Technology - Spring 1981 - 19
Theatre Design & Technology - Spring 1981 - 20
Theatre Design & Technology - Spring 1981 - 21
Theatre Design & Technology - Spring 1981 - 22
Theatre Design & Technology - Spring 1981 - 23
Theatre Design & Technology - Spring 1981 - 24
Theatre Design & Technology - Spring 1981 - 25
Theatre Design & Technology - Spring 1981 - 26
Theatre Design & Technology - Spring 1981 - 27
Theatre Design & Technology - Spring 1981 - 28
Theatre Design & Technology - Spring 1981 - 29
Theatre Design & Technology - Spring 1981 - 30
Theatre Design & Technology - Spring 1981 - 31
Theatre Design & Technology - Spring 1981 - 32
Theatre Design & Technology - Spring 1981 - 33
Theatre Design & Technology - Spring 1981 - 34
Theatre Design & Technology - Spring 1981 - 35
Theatre Design & Technology - Spring 1981 - 36
Theatre Design & Technology - Spring 1981 - 37
Theatre Design & Technology - Spring 1981 - 38
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Theatre Design & Technology - Spring 1981 - 48
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Theatre Design & Technology - Spring 1981 - 50
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