No description available.

This book breaks down complex entertainment rigging (theatre and arena) calculations and makes them easy to understand. It also provides hints for remembering many rigging formulas. It is a great resource for anyone studying for either ETCP rigging exam, and includes an explanation of the equations found on the ETCP Certified Rigger - Formula Table. The third edition has a greatly expanded section on arena rigging, as well as more material and appendices for theatrical rigging. Also, this edition has links to even more free downloads of Excel workbooks for arena rigging. Beginning riggers will find this an excellent textbook and experience riggers will find it as a great reference book. / https://dc.etsu.edu/etsu_books/1051/thumbnail.jpg

Script analysis for designers -- The objectives of theatrical design -- Researching the design -- Collaboration -- Design elements -- Design principles and visual composition -- Scenic design -- Costume design -- Lighting design -- Building a career in theater design. With clear and concise examples and hands-on exercises, Fundamentals of Theatrical Design illustrates the way in which the three major areas of theatrical design--scenery, costumes, and lighting--are intrinsically linked. Veteran theater designers Karen Brewster and Melissa Shafer have consulted with a broad range of seasoned theater industry professionals--playwrights, actors, directors, producers, stage managers--to provide an exhaustive guide full of sound advice and insightful approaches to design. Form beginning designers just starting out to experienced directors looking to gain exposure and advance their careers, anyone with an interest in theatrical design is sure to appreciate this book's unique approach. / https://dc.etsu.edu/etsu_books/1005/thumbnail.jpg

This book breaks down complex entertainment rigging (theatre and arena) calculations and makes them easy to understand. It also provides hints for remembering many rigging formulas. It is a great resource for anyone studying for either ETCP rigging exam. The second edition has a greatly expanded section on arena rigging, as well as more material and appendices for theatrical rigging. Also, this edition has links to free downloads of Excel workbooks for arena rigging. Beginning riggers will find this an excellent textbook and experience riggers will find it as a great reference book. / https://dc.etsu.edu/etsu_books/1074/thumbnail.jpg

Scenic construction requires a strong understanding of a range of principles related to construction including: materials strength properties, mechanical components, electrical motor systems, fluid power systems, and finishing techniques. A manager of scenic construction, or a Technical Director (TD), is required to take artistic designs and ideas and create magical elements on stage that are safe for performers, installers, operators, and audiences. In order to create these onstage spectacles, a great deal of planning, engineering, and careful fabrication must take place. There are several ways for a Technical Director to gain the knowledge required to effectively work at any level of entertainment production. This mixed-methods research study asks: what are the ethical standards that guide how a TD’s work is completed? The thesis begins with a review of the job of the Technical Director in Live Entertainment and data from a survey conducted of professionals in scenic technology. Results from the survey were analyzed to provide both quantitative data, in the form of statistics, and qualitative response data. Additional discussion addresses a sample of the resources for structural design support available currently to the field, as well as challenges that some professionals confront in their typical practice. The thesis concludes a review of literature around engineering ethics and liability in engineering practice and recommendations for the incorporation of new ethical standards in live entertainment scenic production. / text

The job of an entertainment rigger is to safely suspend objects (scenery, lights, sound equipment, platforms, and even performers) at very specific locations above the ground. The type, size and location of the structural members from which these objects must be suspended vary greatly from venue to venue. Additionally, the size, weight, and location of each object varies from object to object. To ensure that each object is safely suspended at the proper location, math is essential. Sometimes this math is very simple, and sometimes it can be complex. One reason catastrophic failures occur is because the load placed on a structural member or a piece of hardware exceeds the breaking strength of the structural member or piece of hardware. While a structural engineer must determine the strength of the structural members, and the manufacturers determine the strength of the hardware, the rigger is responsible for knowing the forces that will be exerted on each rigging point and piece of hardware. Because the forces placed on each rigging point and piece of hardware are determined not only by the weight of the object (its static load) but also HOW the rigging is done, entertainment riggers must be able to calculate these loads/forces. There are plenty of entertainment riggers who do not know how to do much math - but these are the people doing exactly what they are told to do, and not the ones figuring out what to do and doing the telling. If you want to be a top-notch rigger, you have to know math. / https://dc.etsu.edu/etsu_books/1046/thumbnail.jpg

Identificação e reconstituição das preceptivas da prática cênica no século XVI italiano a partir da análise exegética do \"Tratado sobre as cenas\", pertencente à obra Da arquitetura e Perspectiva do arquiteto e preceptor bolonhês Sebastiano Serlio. O esquadrinhamento dos três gêneros de cenas antigos - tragédia, comédia e sátira -, normatizados por Serlio a partir do escrito vitruviano sobre arquitetura, tem em vista modificações e adequações consoantes à proposição da \"cena moderna\", cuja matéria baseia-se na pintura e na arquitetura, das quais se distingue ao compor assunto próprio às artes cênicas. A cena, perspectiva e tridimensional, ornada com relevos e materiais diversos, é caracterizada por volumes com os quais as personagens interagem, tornando-se espaço próprio à ação cênica, conveniente com o gênero e aparatos. Estendendo-se além da preceituação e confecção dos aparatos cênicos, amplia o ingenium arquitetônico, pela prescrição de ações corporais distintas na figura de personagens em movimento, qualificando matéria da representação cênica, mesmo que ainda não reconhecida como arte autônoma. / Identification and reconstitution of the precepts of stagecraft in the Italian sixteenth century, from the exegetical analysis of the \"Treaty on the scene\", belonging to the work Of architecture and perspective, of the bolognese architect and preceptor, Sebastiano Serlio. The scrutinizing of the three ancient genres of scenes - tragedy, comedy and satire - normalized by Serlio from Vitruvius writing about architecture, aim modifications and adaptations according to the proposition of the \'modern scene\', whose subject matter has its foundations in painting and architecture, from which it distinguishes itself by being proper subject to the performing arts. The scene, three-dimensional and perspective, adorned with reliefs and various materials, is characterized by volumes with which the characters interact, becoming appropriate space to stage action, convenient to the genre and apparatuses. Extending beyond the preception and confection of scenic devices, amplifies the architectural ingenium, by prescribing distinct corporal actions in the figure of characters in motion, qualifying it as matter of scenic representation, even if not yet recognized as autonomous art.

Identificação e reconstituição das preceptivas da prática cênica no século XVI italiano a partir da análise exegética do \"Tratado sobre as cenas\", pertencente à obra Da arquitetura e Perspectiva do arquiteto e preceptor bolonhês Sebastiano Serlio. O esquadrinhamento dos três gêneros de cenas antigos - tragédia, comédia e sátira -, normatizados por Serlio a partir do escrito vitruviano sobre arquitetura, tem em vista modificações e adequações consoantes à proposição da \"cena moderna\", cuja matéria baseia-se na pintura e na arquitetura, das quais se distingue ao compor assunto próprio às artes cênicas. A cena, perspectiva e tridimensional, ornada com relevos e materiais diversos, é caracterizada por volumes com os quais as personagens interagem, tornando-se espaço próprio à ação cênica, conveniente com o gênero e aparatos. Estendendo-se além da preceituação e confecção dos aparatos cênicos, amplia o ingenium arquitetônico, pela prescrição de ações corporais distintas na figura de personagens em movimento, qualificando matéria da representação cênica, mesmo que ainda não reconhecida como arte autônoma. / Identification and reconstitution of the precepts of stagecraft in the Italian sixteenth century, from the exegetical analysis of the \"Treaty on the scene\", belonging to the work Of architecture and perspective, of the bolognese architect and preceptor, Sebastiano Serlio. The scrutinizing of the three ancient genres of scenes - tragedy, comedy and satire - normalized by Serlio from Vitruvius writing about architecture, aim modifications and adaptations according to the proposition of the \'modern scene\', whose subject matter has its foundations in painting and architecture, from which it distinguishes itself by being proper subject to the performing arts. The scene, three-dimensional and perspective, adorned with reliefs and various materials, is characterized by volumes with which the characters interact, becoming appropriate space to stage action, convenient to the genre and apparatuses. Extending beyond the preception and confection of scenic devices, amplifies the architectural ingenium, by prescribing distinct corporal actions in the figure of characters in motion, qualifying it as matter of scenic representation, even if not yet recognized as autonomous art.