What is a scene? Stage and its main parts

Y, f. lat. scene German Szene, floor scene gr. skene tent, tent. 1. A special area where the performance takes place. BAS 1. Onegin With men on all sides He swore, then looked at the stage in great absent-mindedness, Turned away and... ... Historical Dictionary of Gallicisms of the Russian Language

SCENE, scenes, women. (Latin scena from Greek skene, lit. tent). 1. The place where the theatrical performance takes place. Stage equipment. The stage is separated from the auditorium by a curtain. || only units, transfer Theater, theatrical activities. Half a century for... ... Ushakov's Explanatory Dictionary

- (lat. scene). 1) an elevated place in a theater where a play is presented. 2) the same as a phenomenon, part of an act in an opera or other dramatic act. representation. 3) an incident in reality or its depiction in a picture. Dictionary of foreign... ... Dictionary of foreign words of the Russian language

See case, theater to make a stage... Dictionary of Russian synonyms and similar expressions. under. ed. N. Abramova, M.: Russian Dictionaries, 1999. scene, case, theater; stage area, sketch, pageant, stage, picture, explanation, spectacle,... ... Synonym dictionary

- (foreign) theater. Wed. He has a phenomenal voice... he also has an appearance suitable for the stage... It seems, what more?... Make a mistake and a ship will come out; took it, put on the suit, and act at least in the “Prophet.” P. Boborykin. On the damage... ... Michelson's Large Explanatory and Phraseological Dictionary (original spelling)

Female, French a phenomenon, an incident in persons, or its depiction in a picture; | part of a dramatic performance, exit, appearance; | a place where something happens, a field, with all the surroundings, esp. platform in the theater. Appear on stage, exit,... ... Dahl's Explanatory Dictionary

- (Latin scaena, from Greek skene), 1) a platform on which a performance takes place (theatrical, pop, concert, etc.). The oldest type of European stage is the ancient Greek orchestra. Type of theatrical stage area, close... ... Modern encyclopedia

- (Latin scaena from Greek skene), 1) the platform on which the performance takes place (theatrical, pop, concert, etc.). 2) In a play, performance, part of the action, act. 3) In a broad sense, the same as theater … Big Encyclopedic Dictionary

See: Act Appetite V.V. Vinogradov. History of words, 2010 ... History of words

scene- SCENE1, picture, obsolete. phenomenon SCENE2, platform, stage, stage... Dictionary-thesaurus of synonyms of Russian speech

Books

• Scene, Doroshevich V.M. , “In our new project you will find both books from the “golden fund” of classical Russian literature and rare, almost forgotten, works of authors who remained in the shadow of their greats... Category: Literary studies. Prose. Poetry. Drama Series: Publisher: T8RUGRAM,
• Scene between earth and sky. Theater diaries of the 21st century, Tokareva Marina Evgenievna, Marina Tokareva - famous theater critic, columnist for Novaya Gazeta, author of the book "Konstantin Raikin. A Romance with the Theater" "The Stage between Earth and Heaven" is dedicated to directing. Her books... Category: Theater Series: Contemporary Theater Publisher:

Stage space

If we had the opportunity to look at the theater building under construction, which they did not have time to cover with a roof, then, looking from top to bottom, we could see the individual components of the spectacular space in plan.

Proscenium. This section of the stage, facing the auditorium in front of the curtain, is used for actors to play in close proximity to the audience. The proscenium allows the director to use a “close-up”, create the effect of a “wall”, a living curtain, bring the actor into direct communication with the viewer, and take him out of the world of optical illusions. The proscenium also has its drawbacks: shallow depth, lack of mechanical elements both below and above, the presence of a background neutral in relation to the plot when the curtain is closed. Although these disadvantages can easily turn into advantages. Here are some tips: you should make two or three collapsible machines with removable flooring, with the help of which, if necessary, you can move into the auditorium to the required depth, by building small light platforms on rollers (furki), you can place elements of transforming scenery on them (small mechanization ).

The game part or the actual scene. This is the platform on which the action takes place and the scenery is mounted. It does not have exact boundaries, since the scenery can extend behind the scenes. Therefore, it is customary to consider the stage boundary to be the projection of the side working platforms, and the back part to be the line of contact between the stage board and the backdrop. The playing part of the stage is divided into plans, which are determined by the scenes or rows of spotlights. The boundary between the proscenium and the foreground of the stage is Red line- the line along which the curtain runs.

The playing part of the stage makes it possible to concentrate the main equipment for stage effects and tricks, lighting, lifting and lowering platforms, a turntable, riding equipment, booms, individual lifts, flight devices, etc. It can be used to create a variety of backstage effects. The disadvantages of the playing part of the stage include the distance from the viewer and the limited view of the portal wall.

Here are some useful tips. If the depth and width of the stage is small, several machines of different heights, steps or ramps (inclined machines) should be installed. They will not only visually, but also objectively enlarge the scene. You can diaphragm the space with hard or soft curtains, bringing them closer to the horizon, which will create the illusion of greater depth, and also illuminate the backdrop with diffused light, highlight the curtains. In the absence of stage mechanization, it is easy to create. In the conditions of an amateur home theater, furniture casters, ball bearings, wheels from children's cars and construction sets are suitable for this. Small overhead turntables, stepladders, steps, chairs, and screens mounted on rollers will completely replace the expensive and rarely used complex structures of large theaters.

Rear stage or back stage. This is a separate enclosed space adjacent to the back of the stage. Serves for mounting decorations, installing lighting and projection equipment that operates through transmission.

The rear stage can serve as an additional play area when a particularly large depth of stage space is required. Can be used to create a “camera swipe” technique. For this, the actor, surrounded by scenery or without it, is placed on a furka and taken to the foreground. The backstage can be used to create expressive means of shadow theater.

The disadvantages of the rear stage include: deterioration of visual and acoustic characteristics at a great distance from the audience.

It is advisable to fix the stage backdrop, leaving 80-100 cm between it and the back wall, or to make a backdrop of several separate strips, which will provide greater maneuverability to the spectacle with a slight smell for actors to exit in the middle and on the sides. You can use the doors, openings, and niches in the back wall as a rear stage. For rear projection (shadow theater), you can use a box covered on one side with translucent fabric with lamps installed in it. It is easily diaphragmed by opaque material, creating bizarre light silhouettes.

Pockets. These are additional platforms on the sides of the stage, used to prepare scenery assembled on rolling platforms - furkas, which, as a rule, are located in the area of ​​the first plans of the stage.

Pockets significantly expand mounting capabilities when changing scenery during a performance. It is very bad if the pockets, like the rear stage, are used as storage for various rubbish. We advise you to use pockets for their intended purpose, thereby multiplying the palette of expressive means of space. The lack of pockets is compensated by the existing doors and passages. Do not forget to first cover them with thick curtains from random noise, light, and drafts. Make folding platforms (similar to solar panels).

Now, after a brief analysis of the structure of the stage, according to the plan, we will mentally remove one of the side walls of the entertainment structure and see what parts the stage box consists of vertically.

Hold. This is the space under the stage that corresponds to the size of the stage board. The hold is a universal space for creating various kinds of effects using the equipment located in it (lifting and lowering platforms, hatches, a mechanism for turning a rotating stage board, a rotating ring). The hold makes it possible, unnoticed by the audience, to supply water to the fountains on the stage, to illuminate the scenery from below, to make the unexpected appearance or disappearance of actors and scenery through the hatches. At the same time, the hold is an unnecessary resonator, amplifying the sounds of footsteps on the stage and the creaking of flooring boards. In order to dampen the acoustic effect of the hold, you should use a rug, which also aestheticizes the unpainted stage plank. If there is no special device for descending into the hold, it is necessary to make steps or place bags filled with foam rubber on the floor in the hold. You can jump onto them through a hatch during the performance.

Upper stage or grate. This is the space that is located above the arches and ends with the ceiling of the stage. As a rule, the top of the stage ends in a grate made of wooden beams, on which various blocks and transmission mechanisms are mounted. The upper stage has several galleries. The first is the lighting room, on which lighting devices are located, the second and third are the workers, which are used for attaching various decorations and other works.

On the back wall there is a working platform for attaching the backdrop, horizon, and panorama. Grate bars significantly increase the possibilities of forming space by means of decoration, both vertically and horizontally, both in depth and in width.

Unfortunately, all the rod equipment is oriented parallel to the stage mirror, which impairs the angle of the suspended design elements. If there is no upper stage (grid-iron) and the height of the entertainment space is low, the ceiling should be painted with black velvety paint, and a suspended structure made of chain-link mesh stretched over the frame should be secured, which will make it possible to do without a rod for placing suspended decoration elements, including clothes, on the stage scenes. Make portable blocks that can be mounted on a suspended structure and use them as custom stage lifts.

If you need effects such as falling snow, spilling water, crumbling leaves, falling “clouds” of balloons, then you can independently make all kinds of tippers filled with crushed foil, polyethylene, polystyrene foam or balloons of various sizes. Boxes with a shifted center of gravity, umbrellas, tubes, nets, etc. can be used as such tipping devices.

Continuing our journey through the theatrical world, today we will find ourselves in the world of backstage and learn the meaning of words such as ramp, proscenium, scenery, and also get acquainted with their role in the play.

So, upon entering the hall, each spectator immediately turns his gaze to the stage.

Scene– this is: 1) the place where the theatrical performance takes place; 2) the synonym for the word “phenomenon” is a separate part of the action, the act of a theatrical play, when the composition of the characters on stage remains unchanged.

Scene- from Greek. skene – booth, stage. In the early days of Greek theater, the skene was a cage or tent built behind the orchestra.

Skene, orchectra, theatron constitute the three fundamental scenographic elements of ancient Greek performance. The orchestra or playing area connected the stage and the audience. The skene developed in height to include the theologeon, or playground of gods and heroes, and on the surface along with the proscenium, the architectural façade, a precursor to the wall decorum that would later create the proscenium space. Throughout history, the meaning of the term “stage” has constantly expanded: scenery, playground, place of action, time period during an act, and, finally, in a metaphorical sense, a sudden and bright spectacular event (“to make a scene for someone”). But not all of us know that the stage is divided into several parts. It is customary to distinguish between the proscenium, rear stage, upper and lower stages. Let's try to understand these concepts.

Proscenium– the space of the stage between the curtain and the auditorium.

The proscenium is widely used as a playing area in opera and ballet performances. In dramatic theaters, the proscenium serves as the main setting for small scenes in front of a closed curtain that link the scenes of the play. Some directors bring the main action to the forefront, expanding the stage area.

A low barrier separating the proscenium from the auditorium is called ramp. In addition, the ramp covers stage lighting devices from the auditorium side. This word is often used to describe the system of theatrical lighting equipment itself, which is placed behind this barrier and serves to illuminate the stage space from the front and below. To illuminate the stage from the front and above, spotlights are used - a row of lamps located on the sides of the stage.

backstage– the space behind the main stage area. The rear stage is a continuation of the main stage, used to create the illusion of great depth of space, and serves as a backup room for setting up scenery. On the back stage there are furkas or a rotating rolling circle with pre-installed decorations. The top of the rear stage is equipped with grates with decorative lifts and lighting equipment. Under the floor of the rear stage there are warehouses for hanging decorations.

Upper stage- part of the stage box located above the stage mirror and limited at the top by a grate. It is equipped with working galleries and transition bridges, and is used to accommodate hanging decorations, overhead lighting devices, and various stage mechanisms.

Lower stage- part of the stage box below the tablet, where stage mechanisms, prompter and light control booths, lifting and lowering devices, and devices for stage effects are located.

And it turns out that the stage has a pocket! Side stage pocket– a room for a dynamic change of scenery using special rolling platforms. Side pockets are located on both sides of the stage. Their dimensions make it possible to completely fit the decoration on the furka, which occupies the entire playing area of ​​the stage. Typically, decorative storage areas are adjacent to the side pockets.

The “furka” called in the previous definition, along with “grid bars” and “bars”, is included in the technical equipment of the stage. Furka– part of stage equipment; a mobile platform on rollers, used to move parts of the decoration on the stage. The movement of the furnace is carried out by an electric motor, manually or using a cable, one end of which is located behind the scenes, and the other is attached to the side wall of the furka.

– lattice (wooden) flooring located above the stage area. It is used for installing blocks of stage mechanisms and is used for work related to the suspension of performance design elements. The grate is connected to the working galleries and the stage by stationary stairs.

Barbell– a metal pipe on cables in which the scenes and scenery parts are attached.

In academic theaters, all technical elements of the stage are hidden from the audience by a decorative frame, which includes a curtain, wings, backdrop and curtain.

Entering the hall before the start of the performance, the spectator sees a curtain– a sheet of fabric suspended in the stage portal area and covering the stage from the auditorium. It is also called an “intermission-sliding” or “intermission” curtain.

Intermission-sliding (intermission) curtain is a permanent piece of stage equipment that covers its mirror. It opens before the start of the performance, closes and opens between acts.

Curtains are made of thick, dyed fabric with a thick lining, decorated with the theater emblem or wide fringe hemmed to the bottom of the curtain. The curtain allows you to make the process of changing the environment invisible, creating a feeling of time between actions. The intermission sliding curtain can be of several types. The most commonly used are Wagnerian and Italian.

Consists of two halves fixed at the top with overlays. Both wings of this curtain open using a mechanism that pulls the lower inner corners toward the edges of the stage, often leaving the bottom of the curtain visible to the audience.

Both parts Italian curtain move apart synchronously with the help of cables attached to them at a height of 2-3 meters and pulling the curtain to the upper corners of the proscenium. Above, above the stage, is located holly- a horizontal strip of fabric (sometimes acting as decoration), suspended on a rod and limiting the height of the stage, hiding the upper stage mechanisms, lighting fixtures, grate bars and upper spans above the scenery.

When the curtain opens, the viewer sees the side frame of the stage, made of strips of fabric arranged vertically - this is backstage.

The backstage is closed from the audience backdrop– a painted or smooth background made of soft fabric, suspended at the back of the stage.

The scenery of the performance is located on the stage.

Decoration(Latin for “decoration”) – artistic decoration of an action on a theater stage. Creates a visual image of action using painting and architecture.

Decoration should be useful, effective, functional. Among the main functions of scenery are the illustration and representation of elements supposed to exist in the dramatic universe, the free construction and modification of the scene, considered as a play mechanism.

Creating scenery and decorative design of a performance is an entire art called scenography. The meaning of this word has changed over time.

Scenography among the ancient Greeks was the art of theater design and picturesque decoration stemming from this technique. In the Renaissance, scenography was the name given to the technique of painting a backdrop on a canvas. In modern theatrical art, this word represents the science and art of organizing the stage and theatrical space. The set itself is the result of the work of the set designer.

This term is increasingly replacing the word “decoration” if there is a need to go beyond the concept of decoration. Scenography marks the desire to be writing in a three-plane space (to which we should also add a time dimension), and not just the art of decorating a canvas, which the theater was content with up to naturalism.

In the heyday of modern scenography, set designers were able to breathe life into space, revive time and the actor’s play in the total creative act, when it is difficult to isolate the director, lighting designer, actor or musician.

The scenography (set design of the performance) includes props- objects of stage furniture that actors use or manipulate during the course of the play, and props– specially made objects (sculptures, furniture, dishes, jewelry, weapons, etc.) used in theatrical performances instead of real things. Prop items are distinguished by their low cost, durability, emphasized by the expressiveness of their external form. At the same time, prop makers usually refuse to reproduce details that are not visible to the viewer.

The production of props is a large branch of theatrical technology, including work with paper pulps, cardboard, metal, synthetic materials and polymers, fabrics, varnishes, paints, mastics, etc. The range of prop products is no less diverse, requiring special knowledge in the field of molding, cardboard , finishing and metalworking works, fabric painting, metal chasing.

Next time we will learn more about some theatrical professions, whose representatives not only create the performance itself, but also provide its technical support and work with the audience.

Definitions of the terms presented are taken from the websites.

Modern theater usually uses an enclosed stage, which is called stage-box. Its main feature is the presence of an enclosed space, separated from the auditorium by a wall. Communication between the stage and the hall is carried out through an opening in the front wall of the stage. The resulting architectural arch is called stage portal(from lat. porta- gate, entrance), and the space enclosed inside the arch is called stage mirror.

According to the horizontal section, the stage area consists, as a rule, of three parts: proscenium, stage and rear stage - respectively, the front, main and rear parts of the stage. The rear stage, as a rule, is adjacent to the main box, like an extension, and serves to store scenery and quickly change them using rolling platforms - furok, creating a variety of lighting and other effects. In addition, the stage is divided into game part- lying within sight of the hall, and side backstage spaces. There are also extensions on the sides called pockets, and also usually equipped with rolling platforms.

In case of fire, the stage should be separated from the hall by a fire curtain.

see also

• Turntable (theater)
• Rotary ring

Links

Wikimedia Foundation. 2010.

See what “Scene” is in other dictionaries:

scene- y, w. lat. scene German Szene, floor scene gr. skene tent, tent. 1. A special area where the performance takes place. BAS 1. Onegin With men on all sides He swore, then looked at the stage in great absent-mindedness, Turned away and... ... Historical Dictionary of Gallicisms of the Russian Language

SCENE, scenes, women. (Latin scena from Greek skene, lit. tent). 1. The place where the theatrical performance takes place. Stage equipment. The stage is separated from the auditorium by a curtain. || only units, transfer Theater, theatrical activities. Half a century for... ... Ushakov's Explanatory Dictionary

- (lat. scene). 1) an elevated place in a theater where a play is presented. 2) the same as a phenomenon, part of an act in an opera or other dramatic act. representation. 3) an incident in reality or its depiction in a picture. Dictionary of foreign... ... Dictionary of foreign words of the Russian language

See case, theater to make a stage... Dictionary of Russian synonyms and similar expressions. under. ed. N. Abramova, M.: Russian Dictionaries, 1999. scene, case, theater; stage area, sketch, pageant, stage, picture, explanation, spectacle,... ... Synonym dictionary

- (foreign) theater. Wed. He has a phenomenal voice... he also has an appearance suitable for the stage... It seems, what more?... Make a mistake and a ship will come out; took it, put on the suit, and act at least in the “Prophet.” P. Boborykin. On the damage... ... Michelson's Large Explanatory and Phraseological Dictionary (original spelling)

Female, French a phenomenon, an incident in persons, or its depiction in a picture; | part of a dramatic performance, exit, appearance; | a place where something happens, a field, with all the surroundings, esp. platform in the theater. Appear on stage, exit,... ... Dahl's Explanatory Dictionary

- (Latin scaena, from Greek skene), 1) a platform on which a performance takes place (theatrical, pop, concert, etc.). The oldest type of European stage is the ancient Greek orchestra. Type of theatrical stage area, close... ... Modern encyclopedia

- (Latin scaena from Greek skene), 1) the platform on which the performance takes place (theatrical, pop, concert, etc.). 2) In a play, performance, part of the action, act. 3) In a broad sense, the same as theater … Big Encyclopedic Dictionary

SCENE, s, women. 1. A special platform where the performance takes place (in 3 numbers). Rotating s. Stage lighting. 2. transfer Theater, theatrical activities. Stage personality. A life dedicated to the stage. Leave the stage (also translated: leave the field... ... Ozhegov's Explanatory Dictionary

See: Act Appetite V.V. Vinogradov. History of words, 2010 ... History of words

scene- SCENE1, picture, obsolete. phenomenon SCENE2, platform, stage, stage... Dictionary-thesaurus of synonyms of Russian speech

Books

• Scene, Doroshevich V.M. , “In our new project you will find both books from the “golden fund” of classical Russian literature and rare, almost forgotten, works of authors who remained in the shadow of their greats... Category: Literary studies. Prose. Poetry. Drama Series: Publisher: T8RUGRAM,
• Scene between earth and sky. Theater diaries of the 21st century, Tokareva Marina Evgenievna, Marina Tokareva - famous theater critic, columnist for Novaya Gazeta, author of the book "Konstantin Raikin. A Romance with the Theater" "The Stage between Earth and Heaven" is dedicated to directing. Her, books,... Category:

Main parts of the scene

The stage box along its vertical section falls into three main parts: the hold, the plank and the grate (Fig. 2). Hold- This is the room located under the stage, which is why it is also called the lower stage. The hold contains wheel drive mechanisms, lifting and lowering platforms and other equipment. The lower stage is used to install hatches from the stage and to implement various effects. The area of ​​the hold is usually equal to the area of ​​the main stage, minus the space reserved for the storage of soft decorations - the “safe”. The height of the hold depends on the mechanization of the stage plank - the design of the turntable and lifting and lowering platforms. However, under any conditions, the hold height cannot be less than 1.9 m, counting from the floor to the lower planes of the upper structures.

Tablet- called the stage floor, a wooden flooring that serves as a place for actors to play and set decorations to be installed.

Grate bars - lattice ceiling of the stage. Blocks of decorative, individual, soffit lifts and other riding equipment are placed on the grate. At the tablet level, the stage is adjacent to the stage from the auditorium side - the proscenium, at the back - the rear stage room, and on the sides - the so-called pockets.

Proscenium- this is the section of the stage that extends into the auditorium beyond the curtain line. In modern theaters, the proscenium is often included in the volume of the stage box and is supplied with all the necessary set of mechanical equipment for changing scenery. The front stage is used as a place for actors to play in front of the curtain in close proximity to the audience.

The boundary between the main stage and its front part is Red line- the line along which the intermission curtain runs. Sometimes the red line is called a part of the scene, on

¶which the fire-retardant curtain is lowered, but due to the fact that in modern buildings this curtain is often placed on the orchestra barrier, it is more correct to consider the active zone as the beginning of the stage, i.e. the zone located behind the main stage curtain. The entire stage area is divided into conditional sections running parallel to the ramp. These sections are called stage plans. The countdown of plans starts from the red line. First comes the zero shot, followed by the first, second, etc. to the back wall of the stage. Previously, the border separating one plan from another was the scenes and pads hanging in permanent places. The backstage is a soft or hard decoration suspended from the sides of the stage and covering its side parts. Padugas are, in essence, the same backstage, but suspended horizontally across the stage.

Fig 2. Stage-box structure:

1 - construction portal; 2 - lighting gallery; 3 - working gallery; - transition bridge; 5 - grate bars; 6 - portal tower; 7 - fire-resistant curtain

In the theater this concept was preserved, but received a broader meaning. Formally, the boundary of the stage plan is considered to be the line of soffit batteries. This is perhaps the only sign by which the stage space can be divided. The stage plan, equipped with a rotating circle or lifting and lowering platforms, has lost a clear designation of parallel sections, so in some theaters the plans are defined very conditionally and in different ways.

In addition, the stage area is divided into the playing part and the side backstage spaces. The playing part is the middle part of the stage, which lies within normal visibility from the auditorium. From the sides it is limited by the scenes, and from behind by some kind of background. This term is also used in a narrower sense; it denotes that part of the stage that is open to the audience in a given act or picture. In this case, it is more correct to talk about the playing area, and not about the playing part of the stage. Everything that is outside the playing stage belongs to auxiliary, utility spaces.

The stage communicates with the proscenium through a portal opening.

Special wings and bows located behind the portal arch can change the size of the stage opening, forming a so-called working stage mirror or working portal.

On the sides of the stage there are additional reserve areas called pockets. Unlike the side spaces of the stage, the pockets are located outside the stage box and therefore have a reduced height, approximately equal to the height of the portal. The pockets are used to prepare decorations assembled on rolling platforms. Since the most actively played area is the first plans of the stage, the pocket rooms are located in this area.

backstage, or otherwise the back stage, is, like the pockets, a separate enclosed space adjacent to the back of the main stage. It is separated from it by a main wall with a wide arched opening. The design and purpose of the rear stage is similar to pockets. Its space is often used to install projection equipment that operates on the principle of rear projection, i.e., “through-the-air” projection. In a number of cases, when a particularly large depth of stage space is required, the rear stage area is included in the playing part and scenery is installed on it.

¶That is why the back stage room is made high and equipped with lifting devices.

According to fire safety requirements, the rear stage arch is isolated from the side of the main stage with a fire-resistant curtain.

Determining the proportion between the main parts of the scene is a matter of utmost importance. The quality of the stage itself and its suitability for professional work depend on how correctly the relationships between the various parts of the stage space are defined. This data is developed centrally and serves as the main document for all designers. The published “Norms and Technical Specifications for the Design of Theater Buildings” regulate the basic initial data of the stage and the building as a whole.

The starting point in determining the main dimensions of the stage is the dimensions of the portal opening. All linear dimensions of the stage and pockets - width, depth, length - are closely related to the width of the portal arch, just as all their heights are directly dependent on the height of the portal opening (Fig. 3).

The width of the stage is twice the width of the portal, and the depth is from 1.5 to 1.8 of this value. The height from the tablet to the grate in relation to the height of the portal is especially important. The triple headroom ensures complete cleaning of suspended decorations, minimal use of hoops and sufficient opening of the stage space.

The depth of the pockets, slightly greater than the width of the portal, allows you to mount decorations on the furnaces, which, when fed to the playing part, completely fill the working opening of the mirror. As for the width of the side stages, the usually used stage area does not exceed 5-6 m in depth, therefore

Rice. 3. Basic proportions of the scene:

A- stage plan; b - vertical longitudinal section of the scene

¶Wider forks don't make much sense. Accordingly, the width of the pocket is selected, which is usually one third of the entire depth of the stage. And the height, as we have already said, is approximately equal to the height of the portal.

The dimensions of the backstage are directly dependent on the type of rolling platform that is located in it. If this is a simple decorative van, then the width of the back stage is made 4-5 more than the width of the portal m, and the depth can be equal to the width of the pocket. The height of the rear stage exceeds the height of the portal by 2-3 m. If a turntable is inscribed in the furka, then the area of ​​the rear stage should be significantly increased.

All this data for determining the size of the stage is not strictly necessary. They fix the main starting points and can be changed in one direction or another during the design process. The given standards are designed for a conventional box stage. Consequently, when creating a special form of the scene, these relations undergo certain changes; only the fundamental foundations laid down in the norms are preserved.

The specified dimensions of the stage depend on many reasons: the type of mechanization of the stage, the specific design of the mechanisms, the decision of the stage horizon, etc., etc. For example, the width of the stage depends on the nature of the drive of the boom lifts, which serve to move the scenery vertically . If the boom lifts are equipped with an electric drive, then the working galleries on which the winches are installed have the same width. If the galleries are free from drive mechanisms, then their width is significantly reduced. And the larger the width of the gallery, the larger the width of the stage should be, since between the outer edge of the galleries and the edge of the circle there needs to be sufficient space for hanging the wings. There are many such unexpected dependencies. The theatrical stage is a complex knot of interconnected and often mutually exclusive elements, which are not easy to reconcile.

Stage auxiliary equipment includes: galleries, transition bridges, portal scenes and towers, grate bars. Galleries- these are original balconies running along the side and rear walls of the stage. The purpose and functions of galleries depend on their location. The first, lowest gallery is installed at a height of 1-1.5 m from the top edge of the portal. This gallery is called a lighting gallery because spotlights are usually mounted on its front railing, illuminating the stage with overhead light. The topmost gallery is located 2-2.5 below the grate m. The rest divide the distance between the first and last into equal parts. These are working galleries. The one with which the decoration is controlled -

¶tional lifts is called the main working gallery. And galleries on which electric drives for lifts and winches are installed for various stage needs are usually called machine galleries.

The rear galleries serve as a continuation of the side ones and are used to transition from one side of the stage to the other, as well as for installing radio-acoustic equipment, backlighting and various auxiliary works.

The supporting structures of the galleries are made of reinforced concrete or steel with a concrete coating. For small-capacity theaters, wooden flooring is possible, which is laid along the axis of the gallery. Free space is left between the stage wall and the gallery for installing guides and moving the counterweights of the boom lifts.

Each side gallery (Fig. 4) is fenced on both sides with strong steel railings, usually made from gas pipes. The external fence must have a height of at least 1 m. Manual lifting ropes, rigging ropes, cables, etc. are tied to it. Therefore, special attention is paid to the strength of the fences. The railings of the galleries are designed for a horizontal load of at least 100 kg/linear m with a load factor of 1.2. The internal fence (to the stage wall) is made with a height of 0.8 m. This fence not only prevents accidents, but also has purely operational functions. Firstly, the worker leans on it when working with a manual lift, and secondly, the leading lifting rope is attached to the fence handrail using hoses (short pieces of rope embedded on the handrail).

¶while loading or unloading the counterweight. The high height of the railing makes it difficult to balance the lift.

For safety reasons, all fences up to half their height are covered with metal mesh, and from below, to the flooring, side boards with a height of 15 to 20 are attached cm. These boards prevent tiles or other objects from falling from the gallery floor onto the stage board. Typically, counterweight tiles are laid along the inside of the gallery. In order to strengthen this part of the flooring (in wood) and to prevent accidentally falling tiles from breaking the floor, an additional thick board is laid along the entire gallery along its inner part.

The width of the working galleries depends on the type of drive of the boom lifts. For manual lifts, the width of the gallery is approximately 1.5 m, and with machine - from 2 to 2.5 m. The fact is that, according to safety regulations, the free passage in a straight line between the gallery fences and the extreme point of the equipment located on the gallery must be at least 0.8 m. And between the winch and the control panel is at least 0.5 m.

Decorations hanging above the stage and their movement in the space under the grate pose a certain danger for people working below. Therefore, the riding worker must be sure to see the place where he lowers the bar. Thus, when determining the width of the gallery, not only the size of the free passage along its flooring is taken into account, but also the size of the viewing area of ​​the stage board.

Lighting galleries differ from working galleries in that their external handrail is a road along the grooves of which lighting devices move on special carriages. On the outside of the gallery there is a metal mesh catcher that protects people working on stage from accidental falling of frames, light filters, lamp fragments, etc.

The galleries running along the back wall of the stage have a simpler design. Since they are adjacent to the wall, internal fencing is not required. To save space, their width is reduced to 0.8 m.

The working galleries are connected to each other by hanging transition bridges, crossing the stage space in the transverse direction. They serve for the quick transition of mounted workers from one side of the stage to the other. In addition, bridges are necessary for a wide variety of auxiliary work (ropes are lowered from them to manually lift high decorations, chandeliers, lampshades), as well as for the implementation of some stage effects.

The first transition bridges are laid along the portal wall of the stage. Their number can be equal to the number of tiers of galleries. The next row is located near the center of the stage on

The height is not lower than the second gallery, and the next ones rise even higher to the level of the third tier. The further the bridge is from the portal, the higher it should be located. Otherwise, the bridges artificially cut the height of the stage visible from the hall, depriving it of air and space.

Despite the fact that the transition bridges have a small width (0.5 m clean), they all occupy a certain space of the stage, deadening the area underneath. In order to rationally use this space, soffit batteries are placed under the bridges. The total number of bridges on a medium-sized stage ranges from two to three, including portal ones.

Just like galleries, bridges are equipped with side boards and strong fences at least a meter high. Using metal rods, the supporting structures of the bridges are rigidly suspended from the lower chords of the stage floor trusses.

Grate bars made from wooden blocks with an approximate cross-section of 6X6 cm. The bars are attached with screws to the stage floor beams perpendicular to the portal and at a distance of no more than 5 cm from each other.

The grate is necessary for boom lifts, the cables of which pass through it. In addition, the lattice coating allows you to install temporary blocks of individual lifts at any point, both manually and mechanically.

Safety regulations impose special requirements for the operation of grate bars. This is understandable - any, even the smallest part, falling from a great height can lead to a serious accident. Therefore, persons who have undergone special instructions and received permission from the stage operator are allowed to work on the grate. A hand tool is tied to a belt, and for small parts a tarpaulin measuring at least 1.5X1.5 is spread on the grate m. Those on the stage are warned about the work being carried out, and particularly dangerous areas of the tablet are marked with a special fence.

Portal scenes are installed immediately after the intermission curtain. Unlike conventional stage curtains, they are mounted on a rigid frame. The portal scenes form a kind of frame for the performance, so they are made movable. The simplest type of portal curtain is a wooden or metal frame covered with fabric. The movement of the scenes is carried out in different ways. In some cases they move parallel to the ramp, in others they rotate around their axis, in others they extend out like screens. The nature of the movement and the appearance of the backstage itself are determined based on the specific conditions of the scene.

¶ Portal towers perform the functions of backstage: they diaphragm the stage mirror and form a movable frame framing the stage picture, and at the same time they are a movable light post. If the portal scenes are in many cases installed almost close to the intermission curtain, then the portal towers are moved back to a distance sufficient to exit along the zero plan and install two or three boom lifts. The amount of travel of the tower is calculated so that in the extreme position the tower reaches the edge of the turntable and even extends its cantilever part a little further. In this case, when using pavilion decoration, the tower covers the edge of the decorative walls.

In theatrical practice, there are two types of portal towers. The first type includes multi-story, tower structures with a thickness of 0.8-0.9 m. Lighting equipment is located on each floor. The second type, the most common, is more similar to a reinforced rocker (Fig. 5). The frame of this tower is only 140 mm. Lighting bridges located one above the other are attached to its inner side. The bridges occupy only the middle part of the tower, leaving space for vertical staircases running along both

¶sides of the frame. The small thickness of the frame is optically more favorable and better masks the ends of hard decorations. But the light power of such a tower is much less than that of the first type of tower.

The running gear of the portal towers consists of drive wheels and upper guide rollers. The driving wheels are located at the bottom of the tower. To accurately fix the movement, a guide rail is cut into the stage board, and the running wheels are equipped with flanges. The tower is moved manually or using a simple drive. The turret drive consists of a system of sprockets connected by an endless chain and a gear transmission with a handle. The drive sprockets are mounted on the road wheels, and the tension sprocket is attached to the tower frame. Since the distance between the wheels is quite large - from two to three meters - an additional supporting sprocket is installed below to prevent the chain from sagging. The movement of the tower or backstage is carried out by rotating the handle.

The stability of the tower is ensured by two horizontal rollers located in the upper part of the frame. The rollers slide along a box-shaped track attached to fixed parts of the stage structure, most often to the bottom of the transition portal bridge.

The portal transition bridge, located at the level of the first gallery, and the portal towers form a single frame, interpreted as the second portal of the stage. At the same time, this frame is also a light portal, since the transition bridge performs the same functions as the lighting galleries and the towers themselves. For greater maneuverability during the installation of the light, the middle part of the bridge is made up and down. Thus, a movable structure is placed between the towers, carrying diffused and directional light devices.

The outside of the tower and the wings are covered with thick fabric, the color and texture of which can be different. Some theaters cover the backstage with the fabric from which the intermission curtain is made, others prefer more neutral linings, such as black velvet, etc. In addition to the main, permanent covering, the backstage and towers are often covered with additional materials in accordance with the overall coloristic and visual design of the performance.

Fireproof fire curtain mandatory for all theaters with a capacity of 800 seats or more. The main purpose of the curtain is to reliably protect the auditorium from fire and the penetration of toxic gases formed during combustion.

In addition to fire resistance and airtightness, the curtain must have increased strength, since during a fire, enormous pressure develops on the stage, which can squeeze it into the auditorium. According to existing standards, the opposite

¶The fire curtain is designed for horizontal pressure from the stage side equal to 40 kg/m2 at a frame temperature of at least 200° C. During a fire, the curtain is cooled by streams of water coming from a special pipe with spray heads located on the portal stage.

The curtain frame is made of steel beams and filled with fireproof materials: asbestos cement, concrete over a metal mesh and some others.

Fire-resistant curtains are usually made of the lift-and-fall type. An exception is for curtains in theaters built in seismic areas, in which the curtains may be retractable. The fact is that the lifting and lowering system not only ensures greater tightness of the stage ceiling, but also greatly facilitates the installation of an emergency non-motorized descent.

The curtain is suspended on two or more ropes going to the winch drum, and the same number of ropes to which counterweights are attached (Fig. 6). The curtain is always heavier than the counterweights. If the winch fails or the current supply to it stops, the curtain lowers by force of its own gravity. Braking of the curtain during non-motorized descent is carried out by a mechanical limit switch mounted on the winch.

The curtain movement is controlled from three points: the fire station, the stage board and the winch machine room. Under normal operating conditions, raising and lowering

Rice. 6. Fire curtain: a - curtain suspension diagram; b - the upper part of the curtain;

/ - a curtain; 2 - curtain blocks; 3 - grate blocks; 4 - counterweight; 5 - winch; 6 - stage portal wall; 7 - gutter; 8 - sand; 9 - visor; 10 - fender screen; 11 - pipe with water spray heads

¶Only allowed from the stage board to avoid accidents. The fire brigade must see the entire course of the curtain. Simultaneously with the start of the curtain movement, a sound and light alarm is activated, warning people working on the stage.

To seal the overlap of the portal opening of the stage, metal guides of a complex profile pass along the sides of the curtain and along the vertical walls of the portal, forming a labyrinth lock between themselves. The upper edge of the curtain ends with a steel beam. The vertical part of this beam protrudes beyond the frame towards the auditorium. When the curtain is lowered, it crashes into sand or other fireproof material that fills the gutter located at the top of the portal. An elastic, fire-resistant cushion is attached to the bottom of the curtain. Under the curtain, in the same plane as it, there is a major firewall wall. Between this wall, located in the hold, and the curtain, only the wooden flooring of the tablet is allowed.

Safety rules prohibit placing decorations, furniture, or anything under the curtain that could interfere with the immediate closure of the stage. The projection of the curtain is applied with indelible paint onto the stage board.

Decorative safes or, in other words, warehouses for soft decorations, according to a long-standing tradition, are located in the hold on

Rice. 7. Safe with pull-out shelves:

A- cross section; b- plan; 1 - swivel bracket; 2 - shelf; 3 - a shelf extended into the span; 4 - boom lift

¶background of the scene. The fireproof storage is connected to the stage by fireproof covers, embedded in the stage plank and covered with wooden flooring on top. The length of the safe is slightly longer than the length of the rod, so that soft picturesque decorations rolled into bars can be stored in it.

Transporting and laying rolls on shelves is a very labor-intensive and unsafe operation. Therefore, great importance is attached to the mechanization of loading and unloading safes. One of the interesting ways to mechanize safes is a system of movable shelves, designed and implemented for the first time at the Leningrad Academic Opera and Ballet Theater. S. M. Kirov in 1954 (Fig. 7).

The twenty-meter-long shelves are mounted on swivel brackets. The two outer brackets are leading, as they are connected to the shelf by vertical pins. When the shelf moves to the middle of the safe, it moves to the side, simultaneously moving along the longitudinal axis. The angles of rotation of the brackets and the hinge system are designed so that the effort of one person is sufficient to move a fully loaded shelf in a horizontal plane. The width of the shelf in relation to the overall width of the safe is designed so that when extended into the bay, it fills it entirely. “Self-enclosure” of the shelf occurs due to adjacent sections located on each floor and due to its own barriers. Laying of rolled up decorations is carried out using a special electric-powered lifting rod.

Mechanization of shelves does not eliminate the need to fence the open hatch of the safe. Installing a multi-meter rigid fence is quite a troublesome operation. Automatic

Rice. 8. Cassette safe:

1 - safe shaft; 2 - cassette; 3 - cover; 4 - scene tablet

Due to great technical difficulties, it has not yet been possible to create a system that reliably encloses the hole in the tablet that is formed when opening the lids of the safe. The most convenient and reliable system in all respects is the cassette safe system (Fig. 8).

A cassette safe is essentially a lift-and-fall warehouse. A number of shelves are placed in a single frame, which is raised to the desired height using spindle or squeezing devices. The closed design of the cassette does not require flatbed railings, which greatly simplifies the technique of loading and unloading shelves. Currently, cassette safes are becoming widespread.