Stage Scenery and Lighting: a Handbook for Non-Professionals
SELDEN, Samuel; SELLMAN, Hunton
1930
Autor(es): SELDEN, Samuel; SELLMAN, Hunton
Título: Stage Scenery and Lighting: a Handbook for Non-Professionals
Publicação: New York: F.S. Crofts, 1930
Assunto(s): Teatro -- Cenografia
Teatro -- Desenho de Luz
Índice | Table of Contents | Table des Matières
PART I SCENERY
CHAPTER I INTRODUCTION—THE DESIGN OF SCENERY
1. The Organic Theory of Play Presentation – 3
2. The Element of Action in the Presentation – 4
3. Scenery, the Environment of Action – 5
4. The Functions of the Environment: Placing the Action – 9
5. The Functions of the Environment: Reinforcing the Action – 12
6. The Functions of the Environment: Dressing the Action – 16
7. The Four Elements of the Stage Setting – 17
8. The Seven Requirements of the Stage Setting – 19
9. Making the Stage Setting Expressive – 20
10. Making the Stage Setting Attractive – 21
11. Making the Stage Setting Projectile – 23
12. Making the Stage Setting Simple – 24
13. Making the Stage Setting Utilitarian – 24
I4. Making the Stage Setting Practicable – 25
15. Making the Stage Setting Organic – 27
16. Style in Scenic Design – 28
17. A Summary – 30
CHAPTER II SOME COMMON FORMS IN SCENERY
1. Introduction – 31
2. The Topography of a Typical Stage – 31
3. Unit Scenery – 37
4. The Arrangement of Scenery – 41
5. Three Typical Interior Settings – 42
6. Two Typical Exterior Settings – 46
7. Cyclorama Settings – 49
8. Non-conventional Arrangements of Scenery – 51
9. The Unit Set – 52
10. The Problem of Sight Lines – 54
11. The Sky – 59
CHAPTER III THE PLANNING OF SCENERY
1. Introduction – 62
2. The Sketch – 63
3. The Floor Plan – 65
4. The Model – 67
5. The Working Drawings – 68
6. Some Terms and Methods Employed in Drafting Construction Drawings – 70
CHAPTER IV THE CONSTRUCTION OF SCENERY: GENERAL PRACTICE
1. Introduction – 76
2. The Practical Demands of Scenery Construction – 76
3. Work Shop Equipment – 78
4. Lumber Materials – 80
5. Covering Materials – 82
6. Hardware Materials – 83
7. The Procedure in Construction – 84
8. Jointing – 85
9. Covering – 89
10. Fastening the Units Together – 91
11. Flameproofing – 93
CHAPTER V THE CONSTRUCTION OF SCENERY: SPECIFIC PRACTICE
1. Introduction – 95
2. A Plain Flat – 95
3. A Paneled Flat – 98
4. A Jog, a Two-Fold and a Return – 99
5. Flats for a Door, a Window, and a Fireplace – 101
6. A Door Frame Unit – 102
7. A Window Frame Unit – 107
8. A Fireplace – 109
9. An Archway – 111
10. A Ceiling – 113
11. Drops, Borders and Tabs – 116
I2. Cycloramas – 119
13. A Platform Unit – 123
14. Steps and Stairs – 125
15. A Column – 128
16. Tree Trunks and Foliage – 130
17. Rocks and Built Up Ground – 131
18. Ground Rows and Silhouettes – 133
19. Walls and Fences – 134
20. Log Cabin Walls – 135
21. A Beam – 135
22.Irregular Three Dimensional Combinations – 135
23. The Use of Mouldings – 138
CHAPTER VI THE PAINTING OF SCENERY
1. Introduction – 140
2. The "Tricks" of Scene Painting – 140
3. Paint Materials – 141
4. Painting Implements – 143
5. The Paint Frame – 144
.6. The Elements of Color – 145
7. Color Harmony – 148
8. The Preparation of Paint – 150
9. Some Suggestions for Mixing Paints – 151
10. The "Prime Coat" – 152
11. The Following Coats – 152
12. Painting Over Old Surfaces – 153
13. Surface Textures – 153
14. Some Methods of Applying Paint – 154
15. Interior and Exterior Walls – 156
16. The Shading and "Toning" of Walls – 159
17. The Imitating of Woodwork – 160
18. Log Cabin Walls – 161
19. The Sky – 162
20. Landscape Pieces – 163
21. Foliage – 164
22. Mist and Distance Effects – 165
23. Painted; Shadows – 166
24. Reproducing from Sketches – 166
25. Gold and Silver Metallic Paints – 168
26. Oil Paints – 169
27. Shellac – 170
28. Dyes – 171
29. Pigments Under Stage Lights – 172
CHAPTER VII THE ASSEMBLING AND SHIFTING OF SCENERY
1. Introduction – 174
2. The Requirements of the Stage for the Efficient Handling of Scenery – 175
3. The Methods of Lashing and Bracing Scenery – 175
4. The Methods of Bolting and Hinging Scenery – 177
5. The Gridiron and the Fly Floor – 179
6. Some General Methods of Flying Scenery – 181
7. Some Specific Methods of Flying Scenery – 186
8. The Counterweight System – 188
9. Flying on Small Stages – 189
10. Some Special Shifting Devices – 194
11. The "Wagon" – 195
12. Other Split-Second Shifting Devices – 198
13. Setting the Scene – 199
PART II STAGE LIGHTING
CHAPTER I STAGE LIGHTING – IT’S DEVELOPMENT AND FUNCTIONS
1. Introduction – 205
2. Appia’s Classification – 206
3. Terms – 207
4. Classifications – 208
5. General Illumination – 209
6. Specific Illumination – 210
7. Conclusion – 212
CHAPTER II ELEMENTARY ELECTRICITY
1. Introduction – 214
2. Voltage – 214
3. Current – 215
4. Current and Voltage – 216
5. Resistance – 216
6. Ohm’s Law – 217
7. Series and Parallel Circuits – 218
8. Power – 222
9. Applications to the Stage – 223
CHAPTER III THE ELEMENTARY PHYSICS OF LIGHT—REFLECTORS AND LENSES
1. Introduction – 228
2. Kinds of Reflection – 229
3. Types of Reflectors – 230
4. Lenses and Prisms – 232
5. Application of Lenses to Spotlights – 232
6. Objective Lenses – 235
7. Conclusion – 236
CHAPTER IV LIGHTING APPARATUS
1. Introduction and Classification – 237
A. Apparatus for Producing General Illumination
2. Footlights – 239
3. Borderlights – 244
4. Striplights – 245
5. Cyclorama Lights – 246
6. Floodlights – 249
B. Apparatus for Producing Specific Illumination
7. Introduction – 250
8. Spot-Floods – 251
9. Spotlights – 252
C. Effects
10. Sciopticons – 259
11. Linnebach Projectors – 261
I2. Lightning, Rainbows, and Wind – 262
13. The Moon – 263
14. Fireplaces – 263
15. Conclusion – 264
D. Miscellaneous Equipment
16. Introduction – 265
17. Lamps – 265
18. Color Frames and Color Wheels – 266
19. Masks, Spill-Shields, and Funnels – 266
20. Soft-Edge Devices – 269
21. Stage Cable – 271
22. Plugs, Pockets and Plugging Boxes – 272
23. Stage Cable Connectors – 273
CHAPTER V LIGHTING CONTROL
1. National Electrical Code – 274
2. Kinds of Service – 274
3. Emergency Service – 275
4. General Service – 275
5. General Wiring Plan – 276
6. Th'ree-Wire System – 276
7. Requirements for Safety – 277
8. Wiring for the Future – 280
9. Switchboard Location – 281
10. Switchboards Classified – 283
11. Switchboards, Direct C0ntrol—Non-Interlocking Boards – 283
12. Switchboards, Direct Control—Interlocking Boards – 284
13. Remote Control Switchboards – 284
14. Modified Remote Control – 288
15. Panel Boards – 290
I6. Methods of Control—Permanent – 291
17. Methods of Contr0l—Flexible – 292
18. Advantages of Flexible Control – 294
19. A Typical Switchboard Design – 295
20. Portable Switchboards – 302
E. Dimmers
21. Introduction – 305
22. Resistance and Reactance – 306
23. Dimmer Construction – 308
24. Interlocking Dimmers – 308
25. The Flipper Switch – 310
26. Nonlnterlocking Dimmers – 310
27. Slide Dimmers – 311
28. Master Dimmers – 311
29. Dimmer Adaptations – 312
30. Flexible Dimmers – 313
31. Dimmer Connections – 314
32. Conclusion – 316
CHAPTER VI LIGHT AND SHADE
1. Introduction – 317
2. Nature – 317
3. Importance of Shadow – 319
4. Light and Shade in Poetry – 320
5. Light and Shade in Music – 320
6. Light and Shade in Painting – 321
7. Light and Shade in Sculpture – 321
8. Applying Light and Shade to the Theatre – 324
9. The Actor – 324
10. The Environment – 325
11. Exteriors – 326
12. Flat Scenery – 326
13. Problems on Different Stages – 328
14. The Architectural Stage – 328
15. The Sculptural Stage – 329
1_6. The Space Stage – 330
17. Symbolism and the Emotional Effects of Shadows – 331
18. Shadow Decoration – 331
19. Multiple Shadows – 334
20. Conclusion – 335
CHAPTER VII LIGHT AND COLOR
1. Introduction – 337
2. The Spectrum – 337
3. Hue, Saturation, and Brightness – 338
4. Primary Colors—Mixture by Addition – 340
5. Light Secondaries – 341
6. Complementary Colors – 342
7. Applications in Stage Lighting – 342
8. Colored Light on the Stage – 344
9. Color Media – 344
10. Glass – 345
11. Silk – 346
12. Lamp Dips – 346
13. Gelatine – 347
14. Transolene – 347
15. Cellophane – 349
16. Comparison – 349
17. Color Media and Lighting Apparatus – 349
18. Illuminants and Color – 351
19. Costumes – 352
20. Scenery – 353
21. Make-up – 356
22. Color Symbolism – 357
23. Conclusion – 360
CHAPTER VIII LIGHTING FOR INTERIORS
1. Summary of Preceding Chapters – 361
2. Outline of the Problem – 361
3. General Suggestions for Interiors – 362
4. Divisions of the Problem – 363
5. The Setting – 364
6. General Illumination – 364
7. Specific Illumination – 366
8. Placement of Lighting Units – 367
9. Color for Various Units – 371
10. Direction – 372
11. Ceiling Beams and Substitutes – 373
12. Intensity – 374
13. Movement – 375
14. Footlights – 377
15. The Various Elements – 377
16. The Light Plot – 379
17. The Cue Sheet – 379
18. Conclusion – 380
Bibliography – 383
Dealers and Manufacturers of Stage Equipment – 388
Index – 391
Autor(es): SELDEN, Samuel; SELLMAN, Hunton
Título: Stage Scenery and Lighting: a Handbook for Non-Professionals
Publicação: New York: F.S. Crofts, 1930
Assunto(s): Teatro -- Cenografia
Teatro -- Desenho de Luz
Índice | Table of Contents | Table des Matières
PART I SCENERY
CHAPTER I INTRODUCTION—THE DESIGN OF SCENERY
1. The Organic Theory of Play Presentation – 3
2. The Element of Action in the Presentation – 4
3. Scenery, the Environment of Action – 5
4. The Functions of the Environment: Placing the Action – 9
5. The Functions of the Environment: Reinforcing the Action – 12
6. The Functions of the Environment: Dressing the Action – 16
7. The Four Elements of the Stage Setting – 17
8. The Seven Requirements of the Stage Setting – 19
9. Making the Stage Setting Expressive – 20
10. Making the Stage Setting Attractive – 21
11. Making the Stage Setting Projectile – 23
12. Making the Stage Setting Simple – 24
13. Making the Stage Setting Utilitarian – 24
I4. Making the Stage Setting Practicable – 25
15. Making the Stage Setting Organic – 27
16. Style in Scenic Design – 28
17. A Summary – 30
CHAPTER II SOME COMMON FORMS IN SCENERY
1. Introduction – 31
2. The Topography of a Typical Stage – 31
3. Unit Scenery – 37
4. The Arrangement of Scenery – 41
5. Three Typical Interior Settings – 42
6. Two Typical Exterior Settings – 46
7. Cyclorama Settings – 49
8. Non-conventional Arrangements of Scenery – 51
9. The Unit Set – 52
10. The Problem of Sight Lines – 54
11. The Sky – 59
CHAPTER III THE PLANNING OF SCENERY
1. Introduction – 62
2. The Sketch – 63
3. The Floor Plan – 65
4. The Model – 67
5. The Working Drawings – 68
6. Some Terms and Methods Employed in Drafting Construction Drawings – 70
CHAPTER IV THE CONSTRUCTION OF SCENERY: GENERAL PRACTICE
1. Introduction – 76
2. The Practical Demands of Scenery Construction – 76
3. Work Shop Equipment – 78
4. Lumber Materials – 80
5. Covering Materials – 82
6. Hardware Materials – 83
7. The Procedure in Construction – 84
8. Jointing – 85
9. Covering – 89
10. Fastening the Units Together – 91
11. Flameproofing – 93
CHAPTER V THE CONSTRUCTION OF SCENERY: SPECIFIC PRACTICE
1. Introduction – 95
2. A Plain Flat – 95
3. A Paneled Flat – 98
4. A Jog, a Two-Fold and a Return – 99
5. Flats for a Door, a Window, and a Fireplace – 101
6. A Door Frame Unit – 102
7. A Window Frame Unit – 107
8. A Fireplace – 109
9. An Archway – 111
10. A Ceiling – 113
11. Drops, Borders and Tabs – 116
I2. Cycloramas – 119
13. A Platform Unit – 123
14. Steps and Stairs – 125
15. A Column – 128
16. Tree Trunks and Foliage – 130
17. Rocks and Built Up Ground – 131
18. Ground Rows and Silhouettes – 133
19. Walls and Fences – 134
20. Log Cabin Walls – 135
21. A Beam – 135
22.Irregular Three Dimensional Combinations – 135
23. The Use of Mouldings – 138
CHAPTER VI THE PAINTING OF SCENERY
1. Introduction – 140
2. The "Tricks" of Scene Painting – 140
3. Paint Materials – 141
4. Painting Implements – 143
5. The Paint Frame – 144
.6. The Elements of Color – 145
7. Color Harmony – 148
8. The Preparation of Paint – 150
9. Some Suggestions for Mixing Paints – 151
10. The "Prime Coat" – 152
11. The Following Coats – 152
12. Painting Over Old Surfaces – 153
13. Surface Textures – 153
14. Some Methods of Applying Paint – 154
15. Interior and Exterior Walls – 156
16. The Shading and "Toning" of Walls – 159
17. The Imitating of Woodwork – 160
18. Log Cabin Walls – 161
19. The Sky – 162
20. Landscape Pieces – 163
21. Foliage – 164
22. Mist and Distance Effects – 165
23. Painted; Shadows – 166
24. Reproducing from Sketches – 166
25. Gold and Silver Metallic Paints – 168
26. Oil Paints – 169
27. Shellac – 170
28. Dyes – 171
29. Pigments Under Stage Lights – 172
CHAPTER VII THE ASSEMBLING AND SHIFTING OF SCENERY
1. Introduction – 174
2. The Requirements of the Stage for the Efficient Handling of Scenery – 175
3. The Methods of Lashing and Bracing Scenery – 175
4. The Methods of Bolting and Hinging Scenery – 177
5. The Gridiron and the Fly Floor – 179
6. Some General Methods of Flying Scenery – 181
7. Some Specific Methods of Flying Scenery – 186
8. The Counterweight System – 188
9. Flying on Small Stages – 189
10. Some Special Shifting Devices – 194
11. The "Wagon" – 195
12. Other Split-Second Shifting Devices – 198
13. Setting the Scene – 199
PART II STAGE LIGHTING
CHAPTER I STAGE LIGHTING – IT’S DEVELOPMENT AND FUNCTIONS
1. Introduction – 205
2. Appia’s Classification – 206
3. Terms – 207
4. Classifications – 208
5. General Illumination – 209
6. Specific Illumination – 210
7. Conclusion – 212
CHAPTER II ELEMENTARY ELECTRICITY
1. Introduction – 214
2. Voltage – 214
3. Current – 215
4. Current and Voltage – 216
5. Resistance – 216
6. Ohm’s Law – 217
7. Series and Parallel Circuits – 218
8. Power – 222
9. Applications to the Stage – 223
CHAPTER III THE ELEMENTARY PHYSICS OF LIGHT—REFLECTORS AND LENSES
1. Introduction – 228
2. Kinds of Reflection – 229
3. Types of Reflectors – 230
4. Lenses and Prisms – 232
5. Application of Lenses to Spotlights – 232
6. Objective Lenses – 235
7. Conclusion – 236
CHAPTER IV LIGHTING APPARATUS
1. Introduction and Classification – 237
A. Apparatus for Producing General Illumination
2. Footlights – 239
3. Borderlights – 244
4. Striplights – 245
5. Cyclorama Lights – 246
6. Floodlights – 249
B. Apparatus for Producing Specific Illumination
7. Introduction – 250
8. Spot-Floods – 251
9. Spotlights – 252
C. Effects
10. Sciopticons – 259
11. Linnebach Projectors – 261
I2. Lightning, Rainbows, and Wind – 262
13. The Moon – 263
14. Fireplaces – 263
15. Conclusion – 264
D. Miscellaneous Equipment
16. Introduction – 265
17. Lamps – 265
18. Color Frames and Color Wheels – 266
19. Masks, Spill-Shields, and Funnels – 266
20. Soft-Edge Devices – 269
21. Stage Cable – 271
22. Plugs, Pockets and Plugging Boxes – 272
23. Stage Cable Connectors – 273
CHAPTER V LIGHTING CONTROL
1. National Electrical Code – 274
2. Kinds of Service – 274
3. Emergency Service – 275
4. General Service – 275
5. General Wiring Plan – 276
6. Th'ree-Wire System – 276
7. Requirements for Safety – 277
8. Wiring for the Future – 280
9. Switchboard Location – 281
10. Switchboards Classified – 283
11. Switchboards, Direct C0ntrol—Non-Interlocking Boards – 283
12. Switchboards, Direct Control—Interlocking Boards – 284
13. Remote Control Switchboards – 284
14. Modified Remote Control – 288
15. Panel Boards – 290
I6. Methods of Control—Permanent – 291
17. Methods of Contr0l—Flexible – 292
18. Advantages of Flexible Control – 294
19. A Typical Switchboard Design – 295
20. Portable Switchboards – 302
E. Dimmers
21. Introduction – 305
22. Resistance and Reactance – 306
23. Dimmer Construction – 308
24. Interlocking Dimmers – 308
25. The Flipper Switch – 310
26. Nonlnterlocking Dimmers – 310
27. Slide Dimmers – 311
28. Master Dimmers – 311
29. Dimmer Adaptations – 312
30. Flexible Dimmers – 313
31. Dimmer Connections – 314
32. Conclusion – 316
CHAPTER VI LIGHT AND SHADE
1. Introduction – 317
2. Nature – 317
3. Importance of Shadow – 319
4. Light and Shade in Poetry – 320
5. Light and Shade in Music – 320
6. Light and Shade in Painting – 321
7. Light and Shade in Sculpture – 321
8. Applying Light and Shade to the Theatre – 324
9. The Actor – 324
10. The Environment – 325
11. Exteriors – 326
12. Flat Scenery – 326
13. Problems on Different Stages – 328
14. The Architectural Stage – 328
15. The Sculptural Stage – 329
1_6. The Space Stage – 330
17. Symbolism and the Emotional Effects of Shadows – 331
18. Shadow Decoration – 331
19. Multiple Shadows – 334
20. Conclusion – 335
CHAPTER VII LIGHT AND COLOR
1. Introduction – 337
2. The Spectrum – 337
3. Hue, Saturation, and Brightness – 338
4. Primary Colors—Mixture by Addition – 340
5. Light Secondaries – 341
6. Complementary Colors – 342
7. Applications in Stage Lighting – 342
8. Colored Light on the Stage – 344
9. Color Media – 344
10. Glass – 345
11. Silk – 346
12. Lamp Dips – 346
13. Gelatine – 347
14. Transolene – 347
15. Cellophane – 349
16. Comparison – 349
17. Color Media and Lighting Apparatus – 349
18. Illuminants and Color – 351
19. Costumes – 352
20. Scenery – 353
21. Make-up – 356
22. Color Symbolism – 357
23. Conclusion – 360
CHAPTER VIII LIGHTING FOR INTERIORS
1. Summary of Preceding Chapters – 361
2. Outline of the Problem – 361
3. General Suggestions for Interiors – 362
4. Divisions of the Problem – 363
5. The Setting – 364
6. General Illumination – 364
7. Specific Illumination – 366
8. Placement of Lighting Units – 367
9. Color for Various Units – 371
10. Direction – 372
11. Ceiling Beams and Substitutes – 373
12. Intensity – 374
13. Movement – 375
14. Footlights – 377
15. The Various Elements – 377
16. The Light Plot – 379
17. The Cue Sheet – 379
18. Conclusion – 380
Bibliography – 383
Dealers and Manufacturers of Stage Equipment – 388
Index – 391