PREFACE



PREFACE

This handbook, the first edition of what will likely be a great many, is designed to give stage crew members all they need to know about high school stagecraft. It is important to understand that safety is a paramount issue on the stage, and, as such, in the pages to follow, you shall find myriad ways to keep yourself healthy and alive. You will also find the technical details of many of the pieces of equipment with which you may come in contact. It is vitally important that you know how to operate any piece of equipment before using it, as this will keep you and those around you safe, as well as give you the chance to not just “use” the equipment, but to create with it.

A glossary of pertinent (and quasi-pertinent) items is included as well, so that all crew members will have a common language, and will be able to easily befuddle any non-crew members. As such, each crew member should be familiar with all the concepts and terms in this manual, and it should be kept within easy reach at all stage crew events.

It is important to remember that the stage crew should never be seen, but should be felt by every single member of the audience. When a particularly well-executed special effect or scene change is effected, a little bit of magic is created. You, by taking on the responsibility of joining the Groton High School Stage Crew, are committing yourself to become a keeper and guardian of this magic, and must share it with as many fellow humans as possible. While it is true that without a stage crew, no one would see or hear the performers, you are more than support for those who trod the boards. You are artists whose medium is light and sound, and it is my hope that this handbook helps you reach your greatest goals. Now go forth and make theater!

D.M.H. Syracuse

Groton, NY

February 2007

the

Groton High School Stage Crew

Constitution

Article 1. Nomenclature

The name of this organization shall be the Groton High School Stage Crew.

Article 2. Insignia

The official insignia of the Groton High School Stage Crew shall be the Seal of the Groton High School Stage Crew, with drama masks, GHS notation, and motto.

Article 3. Purpose

The purpose of this organization shall be to teach the skills needed to operate, maintain, and care for stage equipment, carefully, efficiently, and creatively. Further, this organization shall confer upon its members the knowledge necessary to carry out all tasks pertinent to musical theater, and any other general events that take place in the auditorium.

Article 4. Membership

Section I: Qualifications. This organization shall be open to all students, regardless of prior knowledge or experience. All students wishing to join must attend all training clinics and take the Stage Crew Entrance Examination, to assure advisors and officers that all pertinent safety details and whimsical items have been learned and understood.

Section II: Admissions. Only those members who have successfully completed the Entrance Examination shall be admitted to Stage Crew. Prospective members may take the Examination as many times as necessary in order to receive a passing grade. Section: III: Removal. The advisor of the Groton High School Stage Crew shall have the power and authority to remove from the Stage Crew any member whose academic performance is negatively affected by his or her membership on Stage Crew, or whose conduct while a member is deemed inappropriate.

Article 5. Training Clinics

Training clinics shall be given no fewer than two times per academic year, and shall be open to all high school students. Clinics shall be given by the Stage Crew advisor or any of his or her designees.

Article 6. Entrance Examination

Section I: Production of Examination. The Entrance Examination shall be produced each year by the officers and other senior members of Stage Crew. In the event that no officers or senior members are available, the advisor shall produce the exam. It may include some, all, or none of the previous year’s Exam.

Section II: Content of Examination. The Examination shall be one-hundred (100) questions in length, and cover the areas of backstage, sound, lighting, and general items. There shall also be a practical section of the Examination, in the amount of twenty (20) points, to test the prospective member’s hands-on knowledge. The total point value of the exam shall be one-hundred twenty (120) points. The passing grade shall be sixty-five (65) percent, or seventy-eight (78) points.

Section III: Administering Examination. The Exam shall be given after one cycle of training clinics has been completed, and not less than two times per year. Each new member is expected to attend all clinics, or make them up if they must be missed. The examination cannot be taken if all clinics are not completed.

Section IV: Bonus Section. A bonus section may be added to the Entrance Examination; however, the number of bonus questions may not exceed 50 questions. Further, no questions in the bonus section shall count in any way towards the prospective member’s final grade.

Article 7. Officers

Section I: Offices. The officers for this organization shall include one Crew Chief, one or more Assistant Crew Chiefs, and one Assistant Crew Chief of the Treasury.

Section II: Terms. The officers of the Stage Crew shall hold their offices for one academic year.

Section III: Placement. The officers of the Stage Crew shall be appointed by the advisor with approval by a 2/3 majority of the Stage Crew.

Section IV: Removal from office. Any officer may be removed from their office by the advisor at any time without question. In the event that an officer is removed, the advisor will recommend a replacement for approval by a 2/3 majority of the Stage Crew.

Article 8. Meetings

Meetings shall be called by the Crew Chief or the Advisor when needed. Meetings shall be held in order to assign members to a production, assembly, or other school functions. Meetings shall be announced on the morning announcements not less than one day in advance.

Article 9. Inventory

Section I: Census of Items. No less than one time per academic year, an inventory shall be taken of all items currently in the storage areas of Stage Crew. Each item shall be counted and duly recorded. The totals of all items shall be presented, by the Crew Chief, to the Advisor no more than seven (7) days after they have been collected.

Section II: Any items noted to be deficient in number or in need of repairs must be noted, and reported along with the census, to the Advisor by the Crew Chief.

Article 10. Amendments

At any meeting this constitution may be amended by a majority vote, taken of the members present at that meeting. In order to have an amendment considered, the member proposing it must present it at least one meeting in advance of the vote.

Article 11. Responsibility of Members

Section I. Absence from school. Absence from school on the day of, or, in the case of a weekend event, on the day directly preceding the weekend, shall preclude members from participating in the event.

Section II. Failure to arrive or tardiness. Any member shall be summarily dismissed from crew if he or she is tardy or fails to arrive to perform his or her appointed duties.

Section III. Conflict. Any member who has a conflict of any nature with any other member or the advisor must talk to that member or the advisor at the soonest possible opportunity.

CREW ETIQUETTE

It is important that crew members, at all times, conduct themselves in a respectful and professional manner. Not only will this give to the performers and audience (should they chance to see you) a sense of “wow, these guys know what they’re doing,” but it will enable you to do a better job as well. Also, remember all the crew members that have come and gone before you, and the tremendous legacy of top-notch work, and amazing effects that they have produced over the years. Your task, among other things it to honor this tradition, and continue to provide the best service possible to whatever group is in the auditorium.

The first way in which you may make an impression on someone is by your clothing. Therefore, at all performances, both school-related and non-school-related, you should be properly dressed. Proper attire consists of the following: (1) for booth crew: A crew shirt or dress shirt with tie, khaki pants, and appropriate dress shoes and socks. (2) for backstage crew: A black shirt, long, black pants (they need not be dress pants, but must be entirely black), black socks, and black shoes. Anything that could attract attention should be avoided, i.e. shiny jewelry, rings, watches, etc. A professional appearance is desired, and necessary. It is, however, not possible to be properly dressed for all performances, i.e. in-school assemblies, etc., and it is therefore not necessary in these circumstances, but is encouraged. However, for occasions such as the musical, talent show, etc., proper dress is required.

Another way in which a crew member may be judged is by his or her personality. Let us take into consideration the case of a chorus concert. The concert is set to begin at 7:30 p.m. The crew should arrive at least one half-hour in advance. It would be advisable to arrive even earlier for such a concert, as more set-up might be needed. However, most of the set-up should be completed far before the performers are due to arrive. When you arrive, you should unlock the areas necessary, and only the areas necessary. After that, begin setting up. Do what you’ve been told is needed when you signed up to work the show, and anything else that you see needs doing. If the conductor of the chorus is not there yet, and all the necessary tasks have been performed, you may retire to the booth for a quiet repose. But, before you go reposing all over the place, see if there is anything that needs to be cleaned. Chances are that there is, and this is the perfect opportunity to take care of it. However, when the conductor of the group does indeed arrive, do not linger in the booth, or hide and see if he/she will not notice you, but go down and introduce yourself! It is important to talk to the conductor to see if there are any special requests that she or he has. Now, you’ve established a personal connection to the person, and he/she will trust you to provide the quality service that Groton has come to be known for.

However, one particular aspect of etiquette is particularly important, as it directly affects the very first impression that the audience will likely get of you: the house. The house is the seating area of the aud, and should be kept clean at all times. This is Crew’s house. We take care of it, and keep it spotless regardless of the shameful condition of your room at home. Before each performance, the house must be “policed,” or checked for garbage/refuse. The most efficient way of completing this task, is to assign one member to each section of the house. The member should walk up and down every isle in their section, looking under and behind each seat, to check for anything left there from the last audience. Also, when making your rounds, make sure that all the seat are in the full, upright, position. This gives the aud an extra-special look, and lets people know that you care.

Lastly, be professional throughout the performance whenever you can. If the houselights are to fade down, do it gracefully, not as if you were turning off the lights in your room. Think before you do anything that might disturb the audience or performers, or put yourself in the audience (virtually, of course)! Would you like screeching feedback in the middle of a slow, sad, song? Probably not. This policy of grace and smoothness applies to other areas as well. Generally, if a curtain is to close, it should not race across the stage, sweeping music stands and small children with it, but should close at an even pace. Also, when using the pin rail, unless it is a particularly fast scene change, make sure that you evenly lower or raise that batten that you’re using, to create a professional effect.

This section is not often thought of by crew members, but it is just as essential, if not more so, than any others. By following the very simple guidelines set forth in this section, you can be assured that you will be a productive, fun, and courteous member of the greatest, most professional, and most whimsical crew around: the Groton High School Stage Crew.

LIGHTING

Lighting is one of the most visual parts of stage crew, as without lights, the audience cannot see the stage, which, one may argue, is an integral part of any performance. There are many different procedures and many different instruments that are used at Groton, and they will all be discussed in this section.

The first thing that one must learn, is that lights are no longer called lights, but instruments. Further, light bulbs are no longer light bulbs, but lamps. These terms simplify things for Crew, and confuse the rest of the world. All the lamps that we use, with the exceptions of boarder lights, scoops, and a few others, are halogen lamps. These lamps get EXTREMELY HOT when in use, and take a LONG TIME to cool off. In fact, when the lamp is at its brightest and hottest and you touch it, your skin will stick to it, and you will be screaming, but unable to remove your hand. So, NEVER, EVER, EVER, EVER touch a lamp. EVER. If you do touch one, the oil from you fingers will cause a rupture in the glass, and the lamp will blow out. Further, there is no way to tell whether or not a lamp is hot or not, and the hot glass DOES NOT come off your hands, except when it takes several layers of dermis with it. So be careful. Should you touch a lamp by accident, clean it with a clean cloth, and a non-polar solvent such as isopropyl alcohol.

Next, safety. Yes, yes, safety. When hanging an instrument, it is ALWAYS, WITHOUT EXCEPTION necessary to use a safety cable. These are located on the yolk of all the instruments that Groton owns. If one is not there, put one there before it is hung. The cables are to be tied around the batten or pole upon which the instrument is to be hung. This way, if for some reason the clamp fails, the instrument does not fall, and subsequently, there are no deaths and no lawsuits filed.

All instruments are equipped with clear lamps. “Then how,” a non-crew person might ask “do you get all those colors??” Well, we use gels. A gel is a colored piece of plastic, not unlike thick plastic wrap, that fits in the front of an instrument, using a gel frame. We have instruments that require six, nine, and fourteen inch frames. The gel is cut to fit in the frame, and the frame is slipped into a gel holder, located at the light-emitting end of the instrument. However, the gel must be slit twice, down the middle, or else it will melt because of the extreme temperatures of the instrument. Gels may be reused, provided that they are not warped or faded. We here at Groton do promote the reusing of gels, as they are quite expensive. As such, when cutting them, try to waste as little as possible. Gels may be cut on a scrap piece of wood, using a sharp razor blade and a meter stick for straightness.

Another gadget that we use is called the barn door. The barn doors slip into the gel frame holder of the instrument, and have four “doors,” one on each side, to crop the beam of light. Because instruments like Fresnels are not focusable, these are very handy when a tight area is in need of lighting. Also, top hats, or snoots, which are pieces of sheet metal curved into a cylinder, may be inserted into the gel frame holder, to improve focus, or eliminate light leaks. Lastly, a donut, or a piece of sheet metal with a hole cut in it may be inserted into the gobo slot in a gobo holder, to decrease the diameter of the beam.

There is a unit of measure that is used to determine the goodness of a show, in respect to its lighting. The unit is the Dave, and it is equal to 12 lighting units, as defined by the formula below:

[pic]

So, to get the Dave value of any show, simply plug in the appropriate numbers to the above formula, and divide by twelve. An average show, that is, one with 1 minute of final applause, and no specials, standing ovations, chases, or encores, and with five errors, should yield 12 lighting units, which equals one Dave. A show with 90 seconds of final applause, 6 specials, 1 standing ovation, 4 chases, no encores, and 5 errors would have 1,260 lighting units, and a Dave value of 105. That is 105 Daves, or 105D, or 1.05 hectaDaves.

Now that the basics, or those things that are common to all instruments have been explained, we may move on to each different type of instrument, for what it is used, and how it is used.

FRESNEL

Fig. 1. Rolled-steel, six-inch Fresnel. Fig. 2. Die-cast, six-inch Fresnel.

The six-inch, rolled-steel Fresnel (figure 1) is the smaller and lighter of the two instruments. The body of it is made of sheets of steel rolled and bent into the correct shape. It weighs in at about nine pounds. It will accept only up to a 500 Watt lamp, and no more. Using a larger lamp, such as a 750 or 1,000 Watt lamp will melt the instrument because of its lighter construction. The instrument weighs about nine pounds.

The die-cast, six-inch Fresnel (figure 2) is a much more robust instrument. It weighs about thirteen pounds, and is constructed, as its name implies, from die-cast steel, which makes it much stronger, heavier, and able to accept a lamp with a higher Wattage. The die-cast Fresnel can accept a 1,000 Watt lamp, or anything lower.

The Fresnel is named after its lens, which, in turn, is named after its inventor, Frenchman Augustin Jean Fresnel, pictured in figure 3. Fresnel worked in the 1800’s, and originally developed the lens for use in lighthouses. The lens is essentially a series of concentric circles, each focusing a ring of light. The lens achieves the same thing that a conventional lens does, but with much less weight (see figure 4). This construction allows for a much thinner lens, which can transmit more light more accurately.

Both instruments are used for fairly short throws, generally no more than thirty feet. The beam angle can be adjusted from about twenty-five degrees to about eighty degrees, by using the lever on the back. Thus, the Fresnel can be used as a spot or a flood, and is used in either capacity to light large, general areas, as it does not emit focused light (as a follow spot would).

The lamp is accessed by unlatching the front cover with the lens on it. This cover also contains the gel frame holder, into which gels, barn doors, snoots, etc. may be placed. The Fresnel is generally hung from a batten or pole, but can be mounted on the floor for interesting uplighting effects.

Please note that the word is pronounced “fur-nell.” Avoid using incorrect pronunciation, as it grates on the ears and erodes the mind.

Figure 3. Augustin Jean Fresnel Figure 4. Fresnel Lens Principle

360Q ELLIPSOIDAL

Figure 1. 6x12 Leeko with yoke.

There are three main kinds of ellipsoidal, or 360Q’s, or Leekos, as they are called. They are not much different in construction, only in size. There are 6x9’s, 9x12’s (also referred to as “big-ass” or “old” leekos, due to their particular massiveness and age), and 6x22’s. The first number refers, in inches, to the diameter of the lens. The second number, also in inches, is the distance from the lamp to the lens. It should be noted, that the farther the lamp is from the lens, the smaller the actual area of illumination is. So, one may say that the second number, in inches, varies indirectly with the area of illumination. The lens on this instrument is not a fresnel lens, but a plano-convex lens. This means that the lens is heaver, but can also focus light for a very long throw.

The leeko is a remarkably versatile instrument, with a very long throw. Thus it is classified as a spot which may be used to highlight given areas. These are focusable instruments, and also contain four shutters, operated by four levers protruding from body. The shutters can crop in the area of light. There is one fairly complex aspect of the leeko: the cap. The cap is the little thing on the very back of the instrument, and it has one large brass screw to hold it on. This is what is removed to gain access to the lamp. When removing this, pull it straight back to avoid scratching the lamp. The cap may be adjusted, so that the lamp is a little farther or a little closer to the lens, via three screws on the cap. These have been very precisely adjusted, and unless you are directly asked to, try to keep your grubby paws of them thank you very much. The 6x9 weights about 14 lbs., and the others weigh about 15 lbs.

PAR CAN

Figure 1. Par can.

The par can is a very general instrument. Its name is derived from the name of the company, and the appearance, which, one must admit, is rather can-esque. The par has no lens, and is essentially a glorified floodlight made out of molded aluminum. Do not take this for a negative connotation, however, as its generality only lends itself to further the usefulness of the instrument. The par is generally used in concerts, and for effects for which a general area needs illumination, such as a wash, or a highlight area. Relamping the par is fairly easy. The lamp includes a lens, and resembles a standard flood light bulb. It is not a halogen lamp, so you may touch the glass when removing the lamp, which simply pops out of a friction-release device. The back of the instrument opens to allow access to the lamp.

SCOOP

Figure 1. Scoop with yoke.

The scoop is another under-appreciated instrument. It is remarkably simple, consisting of a molded aluminum body, and a very large lamp. The lamp looks much like an inflated version of any regular ol’ household bulb. The glass on it may be touched, and it simply screws in like a regular lamp. The scoop is used for any area that needs diffused, unfocused, undirected (much like most of crew) light. It is used to light drops, if needed, or to provide other general illumination. The scoop will accept a 300 to 1k watt lamp. Also, it uses the large 14’’ gel frames. Make sure the gel stays in the frame, a little tape may be necessary due to its size.

FOLLOW SPOT

Figure 1. Follow spot with rolling stand and properly coiled cable.

The follow spot is one of the most misunderstood instruments in crew. It is often scoffed at for being “wiggly, unfocused, obtrusive, distracting and a general nuisance to the audience, operator and performers.” However, when under the control of a properly-trained member of crew, the effects that may be created bring tears (of joy, yes the good kind) to the eye. Our spotlight is made by the Altman company, the most prolific producers of follow spots.

As to the structure of the spot, it is made of molded aluminum and cast iron, and is mounted on a rolling tripod. This allows the spot to be moved around on the floor, as well as swivel and tilt on its mountings, giving it a fantastic range of motion. There are two knobs on the back of the spot. One is an iris or diaphragm, which makes the spot larger or smaller in diameter. The second is a shutter, which is used for a quick cut. The shutter, however, is not, what one would call incredibly graceful, and if done to slowly, may cause the spot to become a “monster’s mouth,” or look like the spot is eating the actor.

The levers on the side are color-coded, and when engaged by a downward push, brings a gel into the beam of light, to color the spot. There is also an opaque “dowser” that may be used for quick cuts without turning off the lamp. The lamp is replaced by means of the access hatch on the top of the spot. As the lamp gets very hot during operation, there is one cooling fan on the bottom of the spot, this must always be on when the lamp is on. In fact, the switch that controls the lamp will not operate unless the fan switch is engaged. These two switches are located on the lower right side of the spot. The focus handle on the side of the spot moves the lens closer to or farther from the lamp, giving either a sharp or fuzzy edge to the light. The spot may need to have a sharp edge, or a fuzzy one, depending on the situation, and that is accomplished using these two handles.

As to the use of the spot, there are several things that aid in keeping the spot steady, and even. USE TWO HANDS ON THE SPOT, and try to shake as little as possible. If you think you may become cold during the show, bring a sweater, because even a slight shivering may cause a bouncy spot. However, the most important thing is to keep your hands on the spot, and your mind on your hands, and nothing else. You should not carry on a conversation while spotting someone; you should concentrate on making sure you’ve got a wiggle-free and correctly-sized spot.

Many different people have different ideas as to where to hold, but the handle on the back, as well as curling the fingers around the front opening of the spot seems to work nicely. Further, always anticipate the movements of whoever you’re spotting, and when you’re following someone, keep the slightest bit ahead of them, just to make sure that they don’t walk out of the light. As a reference to the light board, always make sure that the spot fades in before the board fades out, and that the board fades back in before the spot fades out. And if you are working with another spot, make sure that you both have fuzzy focus or both have sharp focus, not a mix of the two. Also, try to keep the two spots the same size, if possible. The spot, as you can see, is quite complicated, and only first-hand experience will improve your abilities and tweak your knowledge of all the nuances and fine-tuning involved.

BORDER LIGHTS

Borderlights are often overlooked, or underlooked, as it were, as lighting instruments. They are, however, very important, and provide the bulk of the illumination on the stage. Each strip is eight feet long, and consists of twelve separate “sub-instruments.” These are grouped into three sets of four each, and in each set of four, there are four separate colors: red, blue, amber, and clear. The colors are achieved by the use of roundels, or colored glass filters over the lamp. In our case, the colors are achieved by colored lamps. The lamp itself resembles a regular household bulb, and the glass may be touched. Usually, 150 watt clear long neck lamps are used.

Boarders are used for general stage lighting, as in a concert, and for creating really killer chases. Because each strip contains three sets of four colors, the permutations and combinations of chases astound even the most senior crew members. Relamping the borders is a seemingly simple task, but may become complicated if it is not done correctly. The roundels are held in by a ring, and the ring is divided into two parts. Rotate the section with the little tab on it, while holding the roundel and being sure not to drop it. This will release it, and you shall have gained access to the lamp.

PLUGS AND

CABLES

It is important to know about the various different kinds of plugs and cables that crew uses. Because things are constantly being moved and re-cabled, using the wrong type of cable, or the wrong plug for a certain application can be dangerous and/or spark producing. Truly, using the wrong kind of cable for a high-draw instrument may melt the outer casing of the cable and start a fire, which would harm many people. Please try to avoid this situation by always using the correct cable.

One type of plug that is used in the aud is twist-lock. These are so named, as to attach the male and female ends together, one must “twist” to “lock” the two ends together, so that they are secure. The main advantage to this type of plug is that the cables are locked together, and are less likely to fall apart. There are two types of twist-lock cables, flag in and flag out. The difference is that the little flag either points in or points out.

Another common type of plug is the Edison plug. This is your standard, run-of-the-mill, household-style plug. It has thee pins, also, but none of them lock in, so these types of cables are quasi-dangerous to use, as they have a habit of falling apart. A slice of duct tape usually convinces the two plugs to stay together, however. In some cases, the neutral pin may be larger than the hot pin, and these types of plugs are called polarized plugs. This ensures that there is only one way in which to insert a plug. The third and final type of plug, is the stage pin. This particular plug has three pins, with one, the hot pin, separated from the rest. Some types of these plugs have clips that hold them together, but if they do not, a bit of duct tape is recommended to keep them together.

When using a cable, make sure that it is out of the way, and that nobody can possibly trip on it. If it is suspended, make sure that it does not hang down in such a way that it could become entangled on other battens, bars, etc., or decapitate particularly tall people.

When you are done with the cable, there is one, and only one, way to coil it. Hold one end of the cable in your dominant hand. With the other hand, grasp an arm’s length of cable, and, whilst spinning the cable with your non-dominant hand, bring it towards your dominant hand to make a loop. Sound confusing? It’s not. See your advisor for details.

Figure 1. Three types of plugs and the corresponding wires, with colors and polarities.

The size and capabilities of a cable are very important when attempting to select the correct cable for your particular need. Cables are measured in “gauge”. There are a plethora of scales in which to measure gauge, and some of them are quite complicated. However, most of our instruments draw 20 amps, and 12 gauge, or #12 cable can handle 20 amps, so that is what we use. 14 gauge cable can take 15 amps, and as the numbers get higher, the cable gets smaller, as does its capacity. The amperage that an instrument draws can be calculated by using a very simple formula, given here:

This is quite simple, and may also be stated in another way, for those visual learners among us. Consider the magic triangle below. Simply cover up whichever you want to find, W, V, or A, and the magic triangle gives you the formula to use. For example, cover the A, and you get W divided by V, the same formula as above. Or, cover the W, and you get V times A, a valid relation. Lastly, cover the V, and you get W divided by A, the last derivation of the above formula.

It is important to know and understand this formula, so that the wrong cable is not selected when rewiring or cabling something. This formula is also the reason why we don’t use twofers often. A twofer allows the use of two instruments on one dimmer. Thus, the capacity of the dimmer and cable may be quickly exceeded. So, when you are rewiring or changing a plug on an instrument, it is necessary to make sure that the proper connections are made, and that you check with your advisor before connecting the instrument to a power source. It is IMPERATIVE that this be done, to avoid FIRE and DEATH. If even one plug is miswired, when that instrument is used it may cause a short circuit and ERUPT IN FLAMES, a situation that we here try very, very hard to avoid. Another way in which we prevent the spontaneous combustion of our instruments, is by knowing the proper color-coding of wires. In all situations that you will deal with here at north, the following color codes should be observed:

LEXICON

A

Act Drop n. Any drop that is lowered during an interval or other scene change.

Actor: n. seemingly useless people who prance around on stage, thinking that they are simply the greatest people on earth, and that the world should revolve around them, and that they are perfect.

Adapter: n. Any device that converts one form of plug to another. See also twofer, sex changer, converter.

Aisle: n. A passage between sections of seating.

Aisle Lights: n. Small lights, imbedded in the sides of seats on the aisle, or in the step of the aisle, to assist the audience in not tripping when entering late, or when the theater is darkened.

Ampere: n. The “amount” of electricity traveling through a conductor, defined as one coulomb per second.

Amplifier: n. A device that boosts the signal received from a microphone or other input device, to the proper level for the speakers.

Anal Bum Cover: n. Originally constructed by Sean Conery, a device that fits securely over the posterior.

Apron: n. The area of the stage that extends downstage of the grand curtain. See also crown, lip.

Arbor: 1) n. A shady resting place in a garden or park, often constructed of rustic latticework. 2) n. The object onto which stage weights are placed, in order to balance a load on a batten. Located on the pin rail.

Arrrrrrrr: n. An exclamation, usually uttered by a member of crew to express extreme disappointment, or to express pirate-like exuberance after completing or surviving a particularly dangerous or whimsical task.

Attenuation: n. The reduction of an electrical signal with little to no distortion. This is why the sliders on the sound board are marked with negative infinity to zero. If there is zero attenuation, the signal is let through the board with no reduction, at full strength. However, as one moves towards negative infinity, there is increasing reduction, and so the signal is diminished.

B

Backing Flat: n. A flat placed behind a door or window in a set to simulate the outdoors, or to obfuscate, from the view of the audience, the backstage area.

Backlight: 1) n. Any instrument that is placed behind an actor or set, facing out into the audience, usually with the purpose of highlighting the actor or set. 2) v.i. To backlight.

Backstage: n. The area of the stage which is not visible by the audience; the service areas of the theater. See also wings.

Balanced: adj. Referring to a cable that has three conductors. The cable is balanced, because of the way that it transmits the signal. The two inner conductors have the same signal, but opposite polarities. The signal is read in respect to any differences between the two conductors and the ground, or the third conductor. So, if both of the inner conductors are affected in the same way by the interference, then they will both be “balanced” in respect to the ground, and thus no interference is observed.

Balcony: n. The seating area located above the orchestra level. This provides optimum viewing from an elevated angle, and a good place to make out.

Ballyhoo: v.i. To swing a follow spot around in a figure-eight pattern. See also Hollywood.

Banjo: 1) n. The rod along which a curtain runs. 2) n. An extremely annoying musical instrument. If you are ever caught with one, it will be cause for your expulsion from crew.

Barn Doors: 1) n. A device that fits into the gel frame holder of an instrument, and which has four flaps with which the beam of light may be cropped. 2) n. Those doors which are opened to allow farm animals entrance to a barn.

Bar: n. A long, usually hollow metal tube from which instruments may be hung or mounted. If a bar is suspended above the stage, it is called a batten. When vertical, it is refereed to as a boom.

Bastard Prompt: n. A term used when the prompt corner or cue area is to stage right, not the usual stage left, due to any number of reasons or particular circumstances.

Bastard Side: n. A term used to describe stage right when there is a bastard prompt, abbreviated BS. Stage left is then known as opposite bastard, or OB.

Batten: 1) n. A long pole, extending the entire breadth of the stage, to which drops, instruments, etc. are attached. The batten is connected via fly lines to the arbor that counterweights it. 2) v.i. To prosper, especially at the expense of others.

Bell board: n. A board on which are mounted various live sound effects, such as bells, hammers, etc.

Bessy: n. The pet name given to the pin rail. Be nice to bessy, or you’ll be smited...

Blackout: n. Completely extinguishing all stage instruments currently in use, in a quick, crisp, manner. Often abbreviated BO. A Dead Black Out, abbreviated DBO, is when all lights are cut, including worklights.

Big-ass leeko: n. A slang term referring to 9x12 leekos. They are called this, due to their massive nature.

Black Hole: 1) n. An accidentally unlit portion of the stage. See also chasm. 2) n. A singularity in space-time.

Blacklight: n. An ultraviolet light, which makes UV reactive or very bright white things glow. May be in lamp form, or a fluorescent tube.

Button: 1) n. Something that is pushed, usually by a digit of the hand, to effect a change. 2) n. A small slice of music that is played to connect two vignettes together.

Blinders: n. Instruments facing out into the audience, with the purpose to blind the audience. They were originally meant to obfuscate the stage during a change. Borderlights: n. A strip of eight feet in length, containing twelve instruments, of four different colors. Useful in creating “killer” chases.

Breakaway: adj. Refers to a prop which is meant to “break” without causing injury.

Breakup: 1) adj. Refers to a wash, usually achieved by gobos, that projects non-distinct patterns on the stage to create a textured appearance. 2) n. An event that causes people to consume massive amounts of ice cream.

Breast line: 1) n. Not what you think it is. 2) n. A wire or cable that is suspended horizontally across the stage, to pull a piece of scenery either upstage or downstage to allow the passage of another batten, or to improve its position.

Bubble: n. Jargon for a replacement lamp, esp. in television and film.

C

Cable: 1) n. Any wire designed to carry electrical current from a dimmer to an instrument. 2) v.i. To plug in an instrument, and connect it; to cable.

Catwalk: n. The narrow passageway above the trusses in the auditorium, used to hang instruments.

Center Line: n. An imaginary line running down the center of the stage, in the center of the proscenium. It is often marked CL on drops and diagrams.

Channel: 1) n. On the lightboard, it refers to a specific slider, to which one or more dimmers may be assigned. 2) n. On the soundboard, it refers to a specific slider, to which one or more inputs may be connected.

Chase: n. A pattern of flashing lights, which may be fast or slow. It is usually many different colors.

Chasm: n. See black hole.

Check: v.t. To lower the level of an instrument all the way to zero, generally smoothly.

Clearing Stick: n. A long stick, usually crafted of bamboo, to free battens or other objects that have become entangled in the fly wires, or used to prevent such a condition during flying.

Color Mixing: 1) v.t. To aim several, differently gelled instruments at a single area, to create a new color. All the primary colors aimed in this fashion add up to white, so it is called additive mixing. 2) v.t. Gelling one instrument with more than one gel, to create a new color. All the primary colors will add up to black, so it is called subtractive mixing. Concession: 1) n. Something given up, usually during compromise. 2) n. Something that is sold during the intermission of a show to get Crew more more money with which to buy gadgets.

Confetti Cannon: n. A large barrel which is filled with confetti, atop a cylinder pressurized with air. When power is applied, a solenoid allows a burst of air to fire the confetti all over. See pain in the ass to clean up.

Converter: n. See adapter.

Cookie: n. synonym for gobo, from gr. “Kukaloris”, or the breaking up of light. It is an abbreviation of Cucaloris.

Corner: n. Also called the prompt corner, it is the location from which the cues are called. See also bastard side.

Counterweight: n. A collection of stage weights that are used on an arbor to balance a load placed on a batten.

Crash: v.t. To fly a batten to its lowest point. Care must be taken if the load on the batten touches the stage, as the rail will become arbor-heavy as the stage begins to support more of the weight of the load.

Crescent Wrench: n. A wrench on which one of the tines is adjustable to accommodate many different sizes of bolts. May also be referred to as “Wenches.”

Crop: v.t. Using the shutters or other devices to shrink the size of an instrument’s projection.

Crown: n. The very front of the stage. See also lip.

Cue: 1) n. A direction given to a specific department. 2) n. A line that is used as a signal to the Stage Crew to do something.

Curtain Warmer: n. A set of lights aimed at the grand curtain to “warm” it while the audience enters. Should be subtle, and very muted.

Cyclorama: n. The very last curtain upstage. It is often called the cyc.

D

Dance Lighting: n. Lighting that is aimed from booms on either side of the stage. Each boom usually contains three instruments: shins, mids, and heads, to light the lower, middle, and and upper portion of the dancer’s body, respectively.

Dark: 1) adj. A theater that is closed to the public, as during closed rehearsals or preparations for another show. 2) adj. The distinct absence of light.

Dave: n. A unit of measure, used to determine lighting goodness. The Dave is equal to 12 lighting units, as defined by the formula in the manual.

DC: n. Abbr. of direct current, or current that does not alternate.

De-rig: v.t. The process of removing all instrument and cables from the battens, bars, and booms around a theater to return it to its normal state, or to prepare for the next show.

Dead: n. 1) A predetermined position for a piece of scenery. Some pieces may have extra deads, including “in dead,” (lower) and “out dead.” (higher; out of view) 2) adj. A prop that is not being used in the current production. 3) adj. A circuit on which the power has been shut off, or interrupted, purposefully or otherwise. 4) adj. A room, usually very heavily padded, that allows very little sound reverberation. 5) adj. The distinct absence of life.

Dead Hang: v.t. To hang without a counterweight.

Decibel: n. A logarithmic scale used to express differences in sound levels.

Deck: 1) n. Colloquialism for the stage. 2) n. A device used to play audio tapes/CDs/minidisks/mp3s.

Deus Ex Machina: 1) n. A term derived from the Latin meaning “God in the machine.” Such devices date back to the medieval times, when they were used to lower an actor playing god onto the stage to resolve a conflict. Modern machines of similar function are referred to as this today. 2) n. Any character which has a similar, resolvatory function. Direct Box: n. A device used to convert the signal from a high-impedance, unbalanced, device, such as an electric guitar, to a low-impedance, balanced, signal at microphone level, suitable for input into a sound board.

Diaphragm: 1) n. A device, usually inside a follow spot, used to decrease the diameter of the projected light. see also iris. 2) n. The part of a microphone which responds to sound waves.

Diachronic Filter: n. A filter that reflects all light except that which is the color of the filter. This is unlike a gel, which absorbs all colors except the desired one, converting light energy into heat. Thus, the diachronic filter runs much cooler, and produces a cooler beam of light. They are considerably more expensive than gels.

Dim: v.t. Slowly fading out completely an instrument or a group of instruments. It is slow and graceful, as compared to a blackout, which is very fast.

Dimmer Pack: n. Any device that controls the amount of electricity going to an instrument. The “plugs” on the walls are referred to as dimmers, as they are each connected to a separate dimmer pack.

Dimmer Rack: n. A collection of dimmer packs mounted in a cabinet.

Dip: 1) n. A transparent lacquer used to color lamps, also lamp dip. 2) n. Any instrument mounted at stage level.

Discharge Lamp: n. A very bright source of light produced by an electrical discharge between two electrodes. Because they are non-dimmable, they are suitable for such applications as follow spots, in which dimming is achieved by mechanical means.

Dolly: n. A small, wheeled platform to move things, or wheels permanently mounted on a piano, etc.

Donut: n. A metal plate with a circle cut into it, that is inserted in the gel frame holder of an instrument to sharpen focus or reduce spill. Not as delicious as you’d think, but still fun.

Door Flat: n. A flat that contains a working or practical door.

Double Handling: v.i. Moving a flat or piece of scenery more than necessary, because it was not properly positioned or stored the first time. It is usually very annoying, and accompanied by profanity.

Double Purchase: A counterweighting system in which the arbor travels half as far as the batten. The fly floor is then elevated, leaving the backstage area clear of equipment. The arbor in this system requires twice the amount of counterweights as a single purchase system.

Downlighting: n. Lighting from directly above the acting area.

Downstage: 1) n. The lowest area of a raked stage. 2) n. The area of the stage closest to the audience.

Dowser: n. an opaque metal flap that is moved into the projected beam of an instrument to cut off the light without cutting power.

Drapes: n. Synonymous with curtains.

Drencher: n. A system of pipes arranged along the top of a curtain to drench it with water in case of a fire.

Dress Lighting: n. A low level of light on the stage behind the curtain when the audience is entering. Not to be confused with curtain warmer.

Drift: n. The effective traveling distance, measured from the lowest point, to the highest, of a batten. If there is “note enough drift,” then a particular set piece is not able to be flown out of sight.

Drop: 1) n. A piece of cloth, usually brightly painted that is meant to simulate a background for a given scene. 2) v.t. Something that we avoid doing to walkies, instruments, babies, etc..

Drugget: n. A piece of cloth used to protect/mask a floor.

Dry: 1) adj. Of or pertaining to an actor who has forgotten his lines. 2) adj. Recording a sound without using an effect.

Dry Ice: n. Frozen carbon dioxide, at a temperature at or about -87.5 degrees Celsius. When placed in water, especially boiling water, it produces clouds of carbon dioxide vapor that stays very low to the ground. It may be directed through ducts via fans to the stage. It should be noted that carbon dioxide vapor does not support aerobic respiration, so small mammals, insects, actors, ect. should not be submerged in it for extended periods of time.

Duct Tape: n. The very thing that holds crew together. It is a sticky, gray, tape, that has many functions, too numerous to list here. One should always collect all the tape used in a show into one big ball while striking the stage.

E

Electret Mic.: n. A condenser microphone in which the capacitor plates are given a charge during manufacture, which they retain, and as such these mics need no external power.

Electrics: n. Battens with dimmers mounted on them. The first one upstage of the proscenium is the first electric, and so on.

Electrical Tape: n. A stretchy, non-conductive black tape used to wrap exposed wires.

Ellipsoidal: n. An instrument which has a reflector in the shape of an ellipse. Refereed to as Leekos after the company that manufactures them.

End On: adj. A seating design in which the entire audience is looking at the stage from the same direction. This is the most prolific sort of seating.

Equalization: n. A complex process accomplished by an equalizer (EQ), which adjusts the tonal quality of the sound. An equalizer is placed after the sound board, but before the signal goes to the amplifier.

ETC: n. The company that makes very, very spiffy lightboards. ()

F

Fade: n. An increase, decrease, or other change in a lighting or sound level. Usually gradual and graceful.

Fade Time: n. The time it takes for a dimmer to reach a new level. There are two types: upfade and downfade. These are usually programmed into a computerized lightboard. False Proscenium: n. Sections of fabric or flats that are placed within a proscenium, to make the opening smaller, or to provide decoration.

False Stage: n. A stage laid down over the existing stage, to allow for special effects to be installed, to provide a better surface to dance/jump on, or to protect the existing stage. Feed: 1) n. The power supply to an instrument. 2) n. The signal sent from one device, (such as a mic) to another (such as soundboard). 3) n. Grain, often ground and mixed with vitamins, that is given to farm animals as a means of nutrition.

Festoon: v.t. To drape lengths of cable or fabric in a decorative manner. Also called swaging.

Field: n. The light intensity as measured across the beam of light. Most instruments have a “hot spot” in the middle. A clean, or even field is necessary when dealing with gobos, etc.

Fire Extinguisher: n. An essential piece of stage equipment which is used to hold open doors when risers are being moved, or to put out fires on curtains when pyros misfire. May also be used to extinguish other fires.

Fit-up: v.i. The initial set-up of a production’s hardware (sets, flats, hanging drops, etc.)

Flagging: v.t. Waving one’s hand in front of the instrument being focused, to identify where it falls on the stage. Useful in areas of high ambient light.

Flash Pot: n. A small, fireproof, cauldron into which a fuse and flash powder may be placed. Connected via a wire to a control box that coordinates multiple ignitions.

Flash Buttons: n. A button on a lightboard that is used to bring the channel up to full instantly.

Flash Through: n. A method to test the lamps in individual instruments, by turning them on, usually to only 70% to preserve lamp life, one at a time.

Flat: n. A lightweight wood frame covered with plywood, and painted to resemble the desired background. May be hung from a batten for ease of movement.

Float: v.t. Moving a flat from the vertical to horizontal position by footing the bottom, and letting it drop onto its face, and be cushioned by the air trapped under it as it falls. Floats: n. Referred to early form of footlights formed by floating wicks in a trough of oil on the lip of the stage. Now refers to any equipment rigged at the front of the stage.

Flood: 1) n. Any wide angle instrument that emits a diffused, unfocused beam. 2) v.i. To make an instrument a flood by moving the lamp and the reflector towards the lens, or vice versa.

Floor Pocket: n. A set of dimmers, audio hookups, Edison outlets, et. al. recessed into the stage floor that is covered by a hinged flap.

Fly: v.t. The action of moving an item up (out) or down (in) on a batten via the pin rail.

Fly Loft: n. The area above the stage, into which items are flown. Ideally, the loft should be twice as tall as the proscenium arch, to allow all items to be flown completely out of view.

Fogger: n. A device that creates fog by heating and vaporizing fog fluid. Many different scents are available, most notably “maple syrup.”

Follow-on cue: n. A cue that follows another cue so quickly, that it does not need a number of it’s own. Often abbreviated f/o.

Frequency: n. Measured in Hertz (Hz) for sound, the number of times per second the sound source vibrates. The lower the frequency, the lower the tone, and vice versa.

Full Up Finish: n. Abbreviated FUF, it is a direction to the lighting technician to bring all channels currently operating to full at the end of a song/number, to “draw the applause.”

G

Gaffer Tape: n. A sticky cloth tape, generally black, that is used to secure cables, actors, or any other nuisance item. It is sometimes spelled “gaffa,” or simply shortened to “gaff” tape. It was originally “Gaffer’s Tape”, named after the Gaffer, or head electrician on a film set.

Gain: n. The amount of amplification give to a signal.

Ghost Light: n. A light, usually a bare, standard household lamp, set downstage center when the theater is unoccupied. Also called an Equity light, after the Actor’s Equity (union) which originally required them, to prevent actors from falling into the pit when the house and stage were dark. However, many house managers still use them as they believe that they keep the house ghost happy. It is commonly thought that if the house ghost sees that the theater is completely darkened, then he or she will think that the theater is abandoned, and cause trouble to sets and instruments during shows.

Gobo: n. A piece of metal that has a pattern or picture cut out of it. It is placed after the lamp and before the lens of an instrument to project the image. Many gobos from many instruments may be used to create effects such as a stained glass window. Greater accuracy may be achieved with more expensive colored-glass gobos. The origin of the word is not known for sure, but it may have come from “Graphical Optical Black Out,” or “GO Black Out.” In the early days of film, if a director wanted a studio devoid of sun, he would yell this, and people would put black fabric over the windows. See also cookie. Gobo Holder: n. A piece of metal with clips to hold a gobo in an instrument. Other varieties may rotate the gobo as well.

Grid: n. The support system at the top of the fly loft from which the pulleys and fly wires are suspended.

Gridded: adj. Describing any item that has been flown to the upper limit of the batten, all the way to the grid.

Groundling: a) n. A poorer member of an Elizabethan audience, relegated to stand in the open-air section of the theater. 2) n. Any annoying, (usually loud and crying) baby, adult, or actor who disrupts the show.

H

Haas Effect: n. An effect whereby the audience will focus on the original sound, not the amplified sound from the speakers if the delay between the two is greater than about 10 to 15 milliseconds. This may be eliminated using a delay in the sound system.

Halogen Cycle: n. In halogen lamps, when tungsten evaporates from the filament, it combines with the halogen in the tube, and is re-deposited back on the filament. This greatly extends lamp life, as compared to tungsten lamps, where the tungsten evaporates, and coats the glass, causing the lamp to blow out. Halogens need a very high temperature to operate, however, so these lamps are usually smaller.

Ham: n. a) A purposeful over-actor; a histrionic person. 2) A delicious Easter dinner. Mmmmmm.

Heads Up!: n. A call given by someone operating the pin rail to signal to those on stage to beware of moving battens.

Hollywood: v.i. A method by which the follow spot is swung about in a figure-eight pattern. See also ballyhoo.

House: n. The seating area of the auditorium.

House Lights: n. The lighting that illuminates the house. They should always be faded in and out smoothly and evenly, to avoid drawing attention to them.

House Warning: n. A method by which the audience is notified that the start of a show is imminent. It is done by lowering, then bringing up the house lights three times. One should always hesitate a very little on the last time the lights are raised, to build anticipation in the audience. May also be accompanied by ushers with “five minute chimes.”

I

In-the-round: n. A theater set-up that has the audience completely surrounding the stage.

Independent: adj. Describing a dimmer that is not controlled by the light board.

Instrument: n. Any lighting device. Referred to as lanterns and luminares in Great Britain.

Intelligent Light: 1) n. A moving light, usually controlled by a DMX system. 2) n. Any instrument smarter than the crew; all instruments.

Interval Music: n. Music played during the intermission of a performance. Usually Vivaldi’s Four Seasons.

Iris: n. see also diaphragm. A set of overlapping shutters that is placed in the beam of light to regulate its diameter.

J

Jardin: n. Originally “coté jardin”, it refers to stage right. “Coté cour,” then, was stage left. These terms are derived from one of the first theaters in Paris, the Salle des Machines which was built between the Jardin des Tuileries, and the Cour du Carrousel. The landmarks on either side were used after the Frech Revolution, when use of “Coté du Roi” and “Coté de la Reine”, for stage right and stage left respectively, were outlawed. These two positions referred to the locations of the royal boxes in the house.

K

Kabuki Drop: n. A drop with grommeted holes at the top, which is suspended from a rotating bar hung below a batten. The hooks on the bar are normally horizontal, but when the bar is rotated, the hooks allow the drop to slip off, and fall. Used for special effects, unveilings, etc.

Key Light: n. The “actual” source of light. I.e., if it is a sunny day, the key light would be coming from the window of a set. It is not where all the light comes from, of course. Kicker Light: n. Light from any instrument placed to the side of an actor to accentuate the sculptural effect of the light.

Killer Chase: n. Term used to describe a really, really, cool chase.

Kirby Wire: n. Cable used for flying an actor. It is named after George Kirby, who perfected the first practical means to fly an actor in 1898. The wire is 12 gage piano wire spliced around a solid brass eye. The company is still family-owned, and exists today.

L

Ladder: n. Any of numerous apparatus containing steps, used for accessing high places.

Lampy: n. Colloquialism for a lighting technician; indicating an interest in lights.

Lantern: 1) n. Term used for instrument in the UK. 2) n. A section of roof over the fly loft which, in case of fire, opens to create an updraft and help prevent the spread of fire and smoke into the house.

Lavalier Microphone: n. A mic which originally was worn on a string around the neck, but is now commonly called a lapel mic, as it may be clipped to the lapel or tie, or worn in a wig, hat, etc.

Leg: 1) n. Curtains on the sides of the stage, usually in pairs, used to obfuscate the audience’s view of backstage. 2) n. Something to be broken by actors before a show. The origin of the phrase is unknown, but several speculations are: (a) it came from what happens when you take a very deep bow, that is, the leg breaks, or bends. (b) in the early days of vaudeville, many more acts were booked than could perform. So, if you broke the leg, or went past the leg curtain onto the stage, you would get paid. (c) it is an attempt to outsmart sprites, or little fairies, who may cause you harm, by wishing for the opposite of what you want. (d) in olden times, people would sometimes stomp their feet, or bang their chairs instead of applaud. Thus, if they did either of these loud enough, the leg of the chair or the person would break, indicating a good performance.

Libretto: 1) n. The text of an opera or other long musical work. 2) n. The script of a musical.

Light Curtain: n. An effect where a line of downward-pointing lights, generally par cans, creates a wall of light in an area filled with fog.

Lighting Schedule: n. A sheet that is filled out as instruments are hung, that shows location, gel color, aiming, and many other important notes.

Limes: n. Slang term for followspots and their operators. The spot used to be fitted with a lamp that used a bar of lime to produce light. This technique is now obsolete, but the name was retained.

Line Level: n. The standard level at which inputs and outputs of a sound board operate.

Load In: n. The process of moving all the traps, equipment, sets, etc., into the theater.

Load Out: n. The process of clearing all the traps, equipment, sets, etc., from the theater after the show. Usually accompanied by more profanity than load ins.

Luminare: n. A universal term for instrument, widely used in the UK. See also instrument, lantern.

M

Mic Level: adj. The signal output level of a microphone. Must be boosted before it can be amplified.

Microphone: n. A device to convert sound waves to electrical signals which may be amplified at the sound board to the proper level to be sent to the speakers.

Minion: n. Any stage crew neophyte who is under the direction of a senior member.

Mirrored Ball: n. A large ball, with small mirrors attached to it at varying angles. When a light is projected on it, small spots are therefore projected throughout the auditorium. Often motorized to spin.

Mixer: n. A sound board with a number of input sources, each receiving its own channel, where the sound quality, level, etc., may be adjusted. There are usually two (left and right, for stereo) or more outputs for each channel.

Monitor: 1) n. A speaker placed on stage, facing the performers, so that they can hear the orchestra, other musicians, or other actors. 2) n. Any lizard who is a member of the family varanidae, prevalent in Australia.

Monophonic: adj. A signal that is recorded or played through only one channel. Stereophonic has two, left and right.

Mr. Sands: n. A person whom, if there is a fire, you say is in the area of the fire. I.e., if there is a fire in the lobby, one might say, “Attention please, Mr. Sands is in the lobby.” That way, the house doesn’t panic, and crew gets out first.

Mullion: n. The vertical pole in the middle of a double door, to which the doors latch. Removing or putting back a mullion is refereed to as demullionization, and remullionization, respectively. N.B.: the terms “demullionization” and “remullionization” were coined by Mr. Mark Percy, and we are deeply grateful to him for doing so.

N

Naturalism: n. A lighting theory that dictates that the source of light should come from where it would normally, in nature. See also key light.

Noise Boy: n. A sound technician; indicating an interest in sound.

Noise Gate: n. A piece of sound equipment used to eliminate background or unwanted noise by muting the signal when it falls below a pre-set level.

Non-dim: adj. Describing a dimmer that is not controlled by the light board, or one that is, but is switched, and not dimmable, to accommodate florescent lamps, motors, etc.

O

Ohm: n. The unit of electrical resistance or impedance.

Open The House: v.i. When the seating area is opened and the audience is allowed to enter.

Opposite Prompt: n. Abbreviated O.P., it is the side across from the prompt side. It is synonymous with stage right.

Overlay: n. The wider of two followspot beams falling on the same performer.

P

Paging: n. The act of pulling aside a tab curtain or leg to allow the passage of a large object such as a piano, elephant, carriage, statue, etc.

Pass Door: n. A fire-resistant door in the proscenium wall that is the only correct and legal passage allowed between the house and the stage.

Patch: v.t. Connecting a certain dimmer to a certain channel on the lightboard.

P.C.: adj. The lens on many theater instruments. It is an abbreviation of plano-convex.

Pepper’s Ghost: n. A projection on stage, achieved by placing a sheet of glass across the stage, and reflecting the image of an actor standing in the pit, via a mirror, onto the glass. Named after J.H. Pepper, who first demonstrated the effect in 1862.

Periaktoi: n. A Greek term referring to three-sided flats mounted on rotating bases. Often used in rows for easy set changes.

Phantom Power: n. If a mic does not have it’s own power source, i.e. a battery, then it needs power from the sound board. It is usually 48 volts DC, and is called phantom power, as it is sent down the same cable from which the mic signal is received. Therefore, there is no discernable source of power.

Pin Spot: n. A very small instrument that produces a bright, narrow beam. Used for mirrored balls.

Pink Noise: n. A random-sounding noise containing all frequencies in the audio spectrum, tuned to the response of the human ear.

Point Cue: n. A cue inserted between two other cues. For example, 4.5 is between 4 and 5.

Pop Screen: n. A thin piece of material placed between a person and a microphone to reduce the sound of “B’s”, “P’s”, and other breath noises.

Practical: adj. Any prop that must actually operate on stage. I.e., a lamp which actually lights up.

Prompt Side: n. The side of the stage containing the prompt area, usually stage left.

Pyrotechnics: n. An electrically-fired firework effect with a manual detonation. Types are a theatrical flash, which has a flash and a cloud of smoke, the gerb with a cloud of smoke, and the maroon which produces a loud bang. There are also other types.

Q

Quick-change Room: n. A room in the backstage area, in which an actor, or an actress may make a very fast costume change.

R

Rack: n. A rack of standard with, usually 19’’ to accommodate sound equipment in a neat manner.

Raked Stage: n. An early type of stage, on which the upstage area was higher than the downstage area. The slope was usually around 2 degrees. This was done to provide better visibility to the house. The terms upstage and downstage are derived from this system.

Rat Stand: n. An illuminated music stand, possibly named after it’s manufacturer.

Reverberation: 1) n. An effect that may be added to sound, to simulate a very large room. 2) n. The persistence of sound after the source has stopped vibrating.

Riser: n. Any platform that elevates performers or musicians above stage level, usually in stepped form.

Ruche: n. The pleating or gathering of cloths, as on a curtain or valance.

S

Safe Working Load: n. Abbreviated SWL, this is the maximum load that may be placed on a batten to ensure its safe operation.

Safety: n. Something that should always be gnawing at the back of each crew member’s conscience, even if his or her mouth is saying things like “safety is overrated,” etc.. Safety is assessing a situation as you go along, and inferring from experience and acumen any possible dangers that may arise, then taking steps to avoid them as much as possible.

Safety Cable: n. A short length of braided wire with a carabineer on one end, and a loop on the other. It is looped over the bar on which an instrument is to be hung, and attached to the yolk, to stop the instrument from falling should the clamp fail.

Sampling: v. t. Recording a short segment of sound so that it may be manipulated later, and be ready to use as a sound effect if placed on a tape with many other such sounds. Screen: n. A large, white, piece of cloth onto which images are projected. Some screens are slightly translucent, and therefore allow for rear projection.

Scrim: n. A drop made of a very course gauze. This allows it to appear white when lighted from the front, but if back lit, becomes translucent and allows the audience to see action behind it. It is very useful in that respect, for artistic purposes.

Segue: n. A term applied to an event that directly follows another event. I.e., a very rapid progression of songs may be called a segue.

Setting Line: n. An imaginary line extending the width of the stage, directly under the proscenium arch. This is the most downstage that any props, etc. should be set, to avoid entangling them in the grand curtain.

Sex Changer: 1) n. A rather painful device, often used in mad doctor’s offices. 2) n. A device to convert a female plug to a male plug, or vice versa. Thus, the cable often has two male, or two female ends.

Shield: n. In an audio cable, a conductive sheath placed around the center conductors, to eliminate unwanted interference (heard as a buzz or hum), especially in particularly long runs.

Shin Buster: n. The lowest instrument on a boom. It is named so because of the proximity of very pointy parts of the instrument to the sensitive flesh of the lower leg. Shutters: n. Flaps of sheet metal, usually four in number, located within an instrument, that allow for the beam to be cropped.

Single Purchase: n. A rigging system in which the arbor travels the same distance as the batten. This is the type of pin rail that Groton has.

Sitzprobe: n. The first rehearsal between opera singers and the orchestra. Usually counterproductive.

Skin Money: n. Extra money paid to actors/actresses when nudity is required onstage. Strangely, crew never receives this sort of compensation.

Smoke Machine: n. A device which heats mineral oil (available in many varied scents/flavors), to vaporize it into a fog. The fog is non-toxic, and most is reputed by their manufacturer to be fire-alarm safe. The only way to assure this, however, is to test it.

Snub: v.i. To in some manner seize the lines of the pin rail to prevent them from moving. May be accomplished by gloved hands, or by other, mechanical means such as a bar wrapped between the lines.

Sound Check: n. The process of checking each piece of sound equipment to make sure that is it functional and that the levels are appropriate. May also include pre-setting levels on mics, for voices, instruments, etc.

Sound Board: n. A station at which inputs from mics, etc., are mixed, and their levels, and qualities are adjusted before being sent to the amplifiers, and then to the speakers. Spike Tape: n. Tape with a fairly weak adhesive force that is used to mark the positions of props onstage (spiking). It usually does no damage to the stage.

Stage Weight: n. A hefty bit of iron used to balance a load on a batten, by being placed on an arbor. They come in 12, 22, and 48 pound varieties.

Stagger-through: n. The first attempt to run a show. As its name indicates, it is not often very smooth.

Strike: v.t. Clearing the stage completely after a performance, and returning it to its original form. During this process, the duct tape ball is created.

Strobe Light: n. A device that can produce very short, bright, blasts of light. It is a useful creative effect, but the audience must be warned if it is to be used during a show, as suffers of epilepsy may have seizures due to the rapid flashing. Often causes elation and maniacal hooting among crew.

Submaster: n. A single slider on the light board, to which many individual channels may be assigned. Different effects may also be loaded onto submasters, useful when creating a large show with the need for a lot of changes.

Superstition: n. Actors and crews are notoriously superstitious. For example: Whistling used to be used backstage, to direct the sailors who operated the pin rail. Sailors were employed for their extensive knowledge of knots. Now, whistling backstage is considered bad luck, as you may cause a ghost sailor to cut a line, and drop something on an actors (good for crew, bad for theater lawyers).

Swag: 1) n. To draw up a curtain or fabric in an artistic manner. 2) n. Souvenirs given to crew after a show, usually in form of coffee mugs, or t-shirts. Crew, however, would prefer pyros or pizza….or both.

T

Techie: n. Another word for crew members.

Technical Rehearsal: n. A run-through of the show, using all the technical aspects. Often accompanied by profuse profanity and much screaming by all parties involved.

Theater of the Absurd: 1) n. A genre of theater in which common-place ideas and things are made out to be strange and unusual. 2) n. Anytime that crew takes the stage.

Throw: n. The distance between the light sources and the actor or object being lighted.

Thrust: 1) n. Really, get your mind out of the gutter, this is not the time nor the place. 2) n. A section of the stage that protrudes out into the auditorium, providing a runway, or extra acting area. It is often temporary, and is most often a pain in the lower alimentary canal to set up.

Top Hat: n. A cylinder of sheet metal that fits into the gel frame holder of an instrument, to improve focus, or limit spill.

Track: 1) n. A metal structure on which curtains run. 2) n. An individual recording channel. Most playback devices have two tracks, one left and one right, but many computerized systems have multi-track capacities.

Tragedy: 1) n. A particularly depressing type of theater, in which most of the main characters die through a dramatic, revealing, round-about-self-inflicted-ironically-deserving manner. 2) n. When crew doesn’t get pizza.

Transducer: n. Any device that converts one form of energy to another. A microphone converts sound energy to electrical energy.

Trap: n. A passage in the floor of the stage. There are several types of trap doors: (1) A grave trap is a rectangular section of stage that may be lowered or raised. (2) A Cauldron trap is a simple opening, usually under a prop, through which items may be passed. (3) A star trap is a set of four or more triangular leaves, which are sprung, to return to their original position once the actor has passed through. (4) A vampire trap is a pair of sprung doors, which give under pressure, then retract, to give the impression of passing through solid matter.

Trap Room: n. Area directly under the trap doors of a stage, often very dimly lit, used to access the traps.

Treads: n. General name for any stairs used on the stage.

Traveler: n. Any curtain that travels horizontally on a track.

Tripe: n. A bundle of wires tied together for ease of placement, and for neatness.

Tungsten Halogen: adj. A lamp in which the filament is enclosed in an envelope of a halogen gas, allowing it to retain its color temperature throughout its lifetime.

Tweeter: n. Speaker designed to handle the high frequency part of the sound signal.

Twofer: n. A device with one male plug, and two female plugs, to split one cable into two. Must be used with caution, so as to not overload the circuit breakers.

U

Ultra-violet: n. A high frequency part of the electromagnetic spectrum, higher than violet, as the name suggests, in the range of four to 380 nm. You may consult the Earth Science Reference Tables for further information. It causes specially treated materials to fluoresce or glow. When used for theatrical effect, they are called black lights, and have all unwanted radiation filtered out.

Unbalanced Cable: n. A audio cable which is open to interference, as there is no third conductor.

Uplight: n. Any instrument placed on the floor of the stage, shining upwards. Sometimes referred to as contre-plongée, indicating that the light is “against falling,” or going up.

Upstage: n. The part of the stage furthest from the audience.

V

Valance: n. A short, pleated piece of fabric, that is hung at the top of the stage to obfuscate the battens, electrics, etc. from the view of the audience. The valance of the grand curtain is called the grand valance, and is usually the same color as the curtain. Visual Cue: n. A crew cue taken from the action on stage, not from the stage manager. It is often abbreviated “vis” in scripts.

Voltage: n. The “pressure” at which an electrical current is being pushed through a cable. Standard household voltage is 110V, but some theaters may have 220V lines.

Vomitory: 1) n. A place to which crew retires after pizza. 2) n. An entrance to a theater that goes through a raked seating area.

W

Wagon Stage: n. A Stage on which all the scenery is on movable trucks, hooked to tracks imbedded in the stage. This allows seemingly impossible scene changes to happen almost instantly by moving a tremendous amount of scenery on and off, all at once. Walla: n. General background sound effect. Named as such, as that is the sound the actors make to simulate a crowded hall, or other busy room.

Wash: 1) n. A general lighting scheme that covers the entire stage evenly. Often divided into warm, cool, etc.. 2) n. Term used to describe the first run-through of a show. Often combined with “out.”

Watt: n. A unit of measure defined as the amount of current multiplied by the voltage. Most instruments are rated in watts, as are circuit breakers, defining how big of a load may be placed on them.

Wavelength: n. The distance from one point to another, corresponding, point on a wave. The human ear can detect wavelengths of fractions of an inch to around forty feet. The longer the wavelength is, the lower the frequency, and the less directional. However, a short wavelength is very directional, has a high frequency. The electromagnetic spectrum has only a small portion, the visible spectrum, that we can see as color. Red is the longest wavelength that humans can see, and infrared is longer than that, which can be felt as heat. Violet is a shorter wavelength, and ultraviolet is shorter than that, which can cause items to glow.

Wedge: n. A speaker shaped like a triangle, usually used as a monitor, so that it can sit on the floor, and project up at the performers.

Wing: n. The out-of-view area to to either side of the stage. It is used as a technical area, and for actors to prepare to go on stage.

Wipe: n. A single curtain moving across the entire stage on a single track, as opposed to a traveler moving on a tab track.

Woofer: n. A speaker designed to handle the low-frequency part of a sound signal. A sub-woofer is designed to handle the very low frequencies of a signal. The two terms are not interchangeable.

Work Lights: 1) n. Lights that are used when the stage lights are not on, that is, for clean up, etc. 2) n. Very dim blue lights backstage during a curtained scene change that allow the crew to have a little light, without the audience seeing.

Wrench: n. A device for loosening (un-tightening) or tightening (un-loosening) a nut. Also referred to as “wench”. A crescent wrench has two tines, one of which is adjustable, and is the most useful type.

X

Xenon: n. A very bright type of gas-filled arc lamp. Xenon gas is excited by an electrical current, and glows with a brilliant, hot, white light. Used in strobes, spots, and other non-dimmable instruments.

XLR: n. A multi-pin metallic cable. It has Three pins for a normal audio cable, and five for a DMX application. Pin one- Screen, pin two- hot, pin three- cold.

Y

Yoke: 1) n. The “holder” of an instrument. It has two arms, one to attach to each side, and to allow a full range of movement for focusing, etc.. 2) “yolk” n. The nutritious part of an egg, used to nourish the embryo while it is still unborn/un-hatched. Mmmmmmmmm…..yolk.

Z

Zoom: v.t. Focusing in on a particular object, as by shuttering or focusing an instrument.

N.B.: This Lexicon is meant to be a living reference. As such, it should be updated as often as needed. With the growing technological advances, both in the theater and out, it is becoming easier and easier to obtain information. It is the hope of the crew of 2007 that future crews will take advantage of this technology to keep this Lexicon as up-to-date as possible, by incorporating new entries and definitions.

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Lighting Units = (seconds of final applause)(number of specials used in show + 1 )(number of standing ovations +1)(number of chases + 1) + (number of encores x 360)

(number of errors + 1)

Watts ÷ Volts = Amps

W

Interchangeable

A

V

Function

Neutral

Hot

Hot

Ground

Ground

Wire Color

White

Black

Red

Green

Bare Copper

N.B.: Red is generally used to indicate the hot wire of a switched circuit.

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