Theatre Design & Technology - Spring 2004 - 70
world with no codified ways of doing things,
no oversight by government agencies, or even
employers. Those attracted to the job tended
to be ex-circus acrobats, rock climbers, ironworkers, fishermen and a few stagehands-
their main aptitude for the job being their
willingness to work at heights with little or no
fear, and no small amount of bravado. Most
had little prior rigging experience, traditional
technical theatre training, or the knowledge of
geometry required to calculate the forces acting on the rigging, lighting trusses and building structures. They guessed, learned from
close calls, and slowly developed rules of
thumb to keep themselves out of trouble.
The craft matured over the next twenty
years while at the same time the number of
hoists used in touring shows increased and the
gross tonnage suspended from the arenas'
ceilings grew exponentially. Riggers found
themselves working in many other venues, suspending show equipment in sound stages, convention centers, churches, night clubs,
airplane hangers, outdoor show roof, and even
in proscenium theatres with counterweight
rigging systems. During this period, training
depended largely on the guild system of jour-
neyman riggers passing their knowledge on to
apprentices.
In the early 1990s, rigging workshops
and "motor schools" appeared on the scene.
Workshop attendees received direct instruction from master riggers and they got piles of
handouts developed by the presenters. These
handouts were the beginnings of a circulating
public documentation of the craft.
Harry Donovan was (and continues to
be) one of those rigging workshop presenters.
An arena rigger with considerable touring experience as well as a background in engineering, Donovan was determined to share the best
techniques and rigging principles derived
from his practical experience in an attempt to
raise the skill and safety levels of all working
arena riggers. Entertainment Rigging, the
book, evolved over ten years teaching arena
rigging classes to a wide variety of groups.
Early drafts of various parts of the book served
as texts in those courses.
I mention the book's historical context to
underscore that this first (and currently only)
documentation of the craft of arena rigging is a
snapshot of one master rigger's view of how
things should be done. It is also a sincere attempt to bring order, safety and professionalism to the energetic, idiosyncratic, and
somewhat dangerous wild west of show rigging. Entertainment Rigging provides a very
valuable service to the industry by collecting,
for the first time, a huge amount of practical
and theoretical knowledge. The information is,
unfortunately, not very well organized and it
can be frustratingly difficult to find specific
pieces of information. It is logically ordered,
but not well stitched together.
TD & T
S P R I N G
2 0 0 4
69
Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2004
Contents
Theatre Design & Technology - Spring 2004 - 1
Theatre Design & Technology - Spring 2004 - 2
Theatre Design & Technology - Spring 2004 - 3
Theatre Design & Technology - Spring 2004 - Contents
Theatre Design & Technology - Spring 2004 - 5
Theatre Design & Technology - Spring 2004 - 6
Theatre Design & Technology - Spring 2004 - 7
Theatre Design & Technology - Spring 2004 - 8
Theatre Design & Technology - Spring 2004 - 9
Theatre Design & Technology - Spring 2004 - 10
Theatre Design & Technology - Spring 2004 - 11
Theatre Design & Technology - Spring 2004 - 12
Theatre Design & Technology - Spring 2004 - 13
Theatre Design & Technology - Spring 2004 - 14
Theatre Design & Technology - Spring 2004 - 15
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Theatre Design & Technology - Spring 2004 - 17
Theatre Design & Technology - Spring 2004 - 18
Theatre Design & Technology - Spring 2004 - 19
Theatre Design & Technology - Spring 2004 - 20
Theatre Design & Technology - Spring 2004 - 21
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Theatre Design & Technology - Spring 2004 - 29
Theatre Design & Technology - Spring 2004 - 30
Theatre Design & Technology - Spring 2004 - 31
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Theatre Design & Technology - Spring 2004 - 33
Theatre Design & Technology - Spring 2004 - 34
Theatre Design & Technology - Spring 2004 - 35
Theatre Design & Technology - Spring 2004 - 36
Theatre Design & Technology - Spring 2004 - 37
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Theatre Design & Technology - Spring 2004 - 40
Theatre Design & Technology - Spring 2004 - 41
Theatre Design & Technology - Spring 2004 - 42
Theatre Design & Technology - Spring 2004 - 43
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
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