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Legacy of Baroque and Neobaroque Theater Technology In Western Europe (1779-1875)<br/>1.1 Historical Background <br/>1.2 Critique: Structure end Building Technology <br/>1.3 Masonry-Bearing-Wall-Timber-Truss Construction in Italy and France: A Photographic Essay <br/>1.3.1 Teatro alla Scala, Milan, Italy<br/>1.3.2 Teatro Regio, Turin, Italy<br/>1.3.3 Teatro Argentina, Rome, Italy <br/>1.3.4 Theatre de l'Opéra, Versailles, France <br/>1.3.5 Salle do Spectacle, Lyon, France <br/>1.4 Masonry-Bearing-Wall-Ferrous-Metal-Truss Contruction in France and Austria (Germany): A Photographic Essay <br/>1.4.1 L'Opéra de Paris, Paris, France <br/>1.4.2 Hofopernhaus, Vienna, Austria <br/>1.5 Critique: High-Baroque Surge Machinery and Stage Technology <br/>1.6 Late- Eighteenth-Early-Nineteenth-Century Horizontal and Vertical Stage Transport Technology: A Photographic Essay<br/>1.6.1 The Italian System <br/>1.6.2 The French System<br/>1.6.3 The German (Austrian) System <br/>1.7 Mid-Nineteenth-Century Horizontal and Vertical Stage Transport Technology: A Photographic Essay 1.7.1 L'Opéra de Paris, Paris, France <br/>1.7.2 Hofopernhaus, Vienna, Austria<br/>1.8 Critique: Oxidizing-Wahl-Source Technology Applied to Theater Illumination <br/>1.8.1 Animal-Fat Candle <br/>1.8.2 The Argand Oil Lamp <br/>1.8.3 Coal and Natural Gas <br/>1.9 Representative Structural and Technologically Significant Theatrical Stages of the Period: A Drawing Portfolio <br/>1.9.1 Teatro alla Scala, Milan, Italy (1770)<br/> 1.9.2 Théatre de l'Opéra du Chateau de Versailles, Versailles, France (1770)<br/> 1.9.3 L’Opéra de Paris, Paris, France (1875) <br/> 1.9.4 Hofopernhaus, Vienna, Austria (1869)<br/><br/>CHAPTER TWO Evolution of Modern Theater Engineering-Technology in Germany (Austria) and Development of Stage Lighting Technology in Western Europe (1875-1940) <br/>2.1 Historical Background <br/>2.2 Critique: Old Wine in a New Bottle-Bayreuth Festspielhaus (1876) and Prinzregenten Theater (1901) 2.2.1 Carl Brandt (1828-1881) <br/>2.2.2 Friedrich Kranich, Sr. (1857–1924) <br/>2.3 Critique: Development and Application of Powered Prime Movers to Stage Transport Systems-Transition from Manual to Power Operation <br/>2.3.1 Hydraulic System <br/>2.3.2 Hydro-Mechanical System <br/>2.3.3 Electro-Mechanical System <br/>2.3.4 Electro-Hydro-Mechanical System <br/>2.3.5 Vertical Transport Systems: Flying and Lifting <br/>2.3.6 Horizontal Transport Systems: Sliding and Revolving <br/>2.4 Critique: New Wine in Old Bottles <br/>2.4.1 The Aspheleia Syndicate Stadttheater, Halle (1883) <br/>2.4.2 Fritz Brandt (1846-1927) Hoftheater, Berlin (1890; Remodeling) <br/>2.4.3 Karl Lautenschläger (1843–1906) Hoftheater, Munich (1896; Proposed Remodeling) <br/>2.4.4 Max Hasait (1874-1951) Hofopernhaus, Dresden (1909; Remodeling) <br/>2.4.5 Adolf Linnebach (1876-1963) <br/>2.4.6 Friedrich Kranich, Jr. (1880-1957) <br/>2.4.7 Direction of German Theater Technology between the Two World Wars <br/>2.5 Critique: Stage Lighting Technology in Western Europe (1871-1940) <br/>2.5.1 Oxidizing-Light-Source Technology <br/>(a) Limelight <br/>(b) Welsbach Mantle <br/>2.5.2 Electric-Light-Source Technology <br/>(a) Carbon-Arc Light <br/>(b) Swan Carbon-Filament Incandescent Lamp<br/>2.5.3 Instrumentation Technology of the Filamentary Incandescent Lamp <br/>2.5.4 Intensity Control Technology for the Filamentary Incandescent Lamp <br/>(a) Liquid Intensity Control System <br/>(b) Resistance Intensity Control System <br/>(c) Autotransformer Intensity Control System <br/>(d) Bordoni Intensity Control System<br/>(e) Strand-Bentham Remote Electromotive Resistance and/or Autotransformer Intensity Control System 2.6 Enveloping Sky Surfaces <br/>2.6.1 Kuppelhorizont <br/>2.6.2 Rundhorizont <br/>2.6.3 Lighting Instrumentation Technology for the Sky Surface <br/>2.7 Representative Structural and Technologically Significant and/or Projected Theatrical Stages of the Period: A Drawing Portfolio <br/>2.7.1 Bayreuth Festpielhaus (1876) <br/>2.7.2 Stadttheater, Halle (1893) <br/>2.7.3 Hoftheater, Berlin (1890; Remodeling) <br/>2.7.4 Hoftheater, Munich (1896; Proposed Remodeling) <br/>2.7.5 Schauspielhaus, Dresden (1914) <br/>2.7.6 Grosses Schauspielhaus, Berlin (1919; Remodeling) <br/>2.8 Walther Unruh (1898–1973) <br/>Notes <br/><br/>CHAPTER THREE Evolution of American Theater Engineering-Technology (1850-1940) <br/>3.1 Historical Background <br/>3.2 Critique: Theater Design and Stage Technology, Both Adapted and Imported from Western Europe, and Development of Native American Theater Engineering-Technology <br/>3.2.1 Academy of Music, Philadelphia, Pennsylvania (1857) <br/>3.2.2 Steele Mackaye: Madison Square Theater, New York (1879) <br/>3.2.3 Dankmar Adler: Chicago Auditorium-Theater, Chicago, Illinois (1889) <br/>3.2.4 Old Metropolitan Opera House, New York; Original (1883), Remodeled by Karl Lautenschläger (1903) <br/>3.2.5 Palacio de Bellas Artes, Mexico City (1910); Direct Import of German Technology and Stage Machinery to the Western Hemisphere <br/>3.3 American Ferrous-Metal Construction and Invention of the Rigid- Steel-Frame-Masonry-Curtain-Wall System of Building <br/>3.4 Stage Lighting Technology before Filamentary Incandescent Electric Light <br/>3.5 Filamentary Incandescent Electric Lighting: Source and Instrumentation Technology (1880-1940)<br/>3.5.1 Edison Carbon-Filament Incandescent Lamp <br/>3.5.2 Coolidge-Langmuir Tungsten-Filament-Inert-Gas-Filled Incandescent Lamp <br/>3.5.3 Instrumentation for the Incandescent Lamp: A Photographic Essay <br/>3.6 Critique: Electric Stage Lighting Intensity Control Technology for the Incandescent Lamp (1900-1940) <br/>3.7 Intensity Control-Engineering Design and Manufacture: A Photographic Essay <br/>3.7.1 Manual Resistance Lighting Intensity Control System <br/>3.7.2 Manual Autotransformer Lighting Intensity Control System <br/>3.7.3 Electromotive Resistance and/or Autotransformer Lighting Intensity Control System<br/>3.7.4 Ariel Davis Autotransformer Lighting Intensity Control System <br/>3.7.5 Resistance-Controlled Magnetic-Saturable-Reactor Lighting Intensity Control System <br/>3.7.6 Thyratron-Controlled Magnetic-Saturable-Reactor Lighting Intensity Control System <br/>3.7.7 Hysterset-Controlled Magnetic-Saturable-Reactor Lighting Intensity Control System <br/>3.7.8 A Special Case: The Magnetic-Saturable-Reactor Lighting Intensity Control System for Severance Hall, Cleveland, Ohio (1931)<br/>3.7.9 Load-Circuit-Control-Circuit Patching Systems <br/>3.7.10 Improvised Manual Resistance Lighting Intensity Control System for the Commercial Broadway Theater<br/>3.8 Critique: Commercial Theater versus Subsidized Theater in New York-The Case for Technological Improvisation and the Extravaganza <br/>3.8.1 New (Century) Theater, New York (1909) <br/>3.8.2 Little (Winthrop Ames) Theater, New York (1912) <br/>3.8.3 Center Theater, Rockefeller Center, New York (1932) <br/>3.8.4 The Professional Road House <br/>3.8.5 The Presentation House Extravaganza <br/>(a) Hippodrome Theater, New York (1905; Remodeled 1926) <br/>(b) Radio City Music Hall, Rockefeller Center, New York (1932)<br/>3.8.6 Legitimate Theater Extravaganza Stagecraft versus Theater Engineering: The Case for Technological Improvisation <br/>(a) Ben Hur, or the Fixed Horse Race (1899) <br/>(b) The Miracle, or That Old Broadway Magic (1924) <br/>3.9 Subsidized Theater Elsewhere in the United States <br/>3.9.1 Private Subsidy <br/>(a) Goodman Theater, Art Institute of Chicago, Chicago (1923) <br/>3.9.2 Higher Education Subsidy <br/>(a) lowa University Theater, University of Iowa, Iowa City (1936) <br/>3.9.3 Government Subsidy <br/>(a) W.P.A. Federal Theater, San Francisco, California (1939) Exposition, Verba Buena Shoals, San Francisco, California <br/>3.10 Representative Structural and Technologically Significant Theatrical Stages of the Period: A Drawing Portfolio <br/>3.10.1 Academy of Music, Philadelphia, Pennsylvania (1857) <br/>3.10.2 Auditorium-Theater, Chicago, Illinois (1889) <br/>3.10.3 Goodman Theater, Chicago, Illinois (1923) <br/>3.10.4 Radio City Music Hall, New York (1932) <br/>3.10.5 lowa University Theater, Iowa City, Iowa (1936) <br/>3.10.6 (WPA) Federal Theater, Golden Gate International Exposition, Yerba Buena Shoals, San Francisco, California (1939) <br/><br/>CHAPTER FOUR The Electro-Mechanical Laboratory, Yale University Drama School (1939-1977) <br/>PART ONE Developments in Remote Electronic Stage Lighting Intensity Control <br/>4.1 Critique: The Need of Art versus the Requirement of Engineering- The Electronic Inverse-Polarized Lighting Intensity Control System <br/>4.2 Switcher-Dimmer Characteristics <br/>4.2.1 Power Switching and Dimming: Voltage versus Current Control<br/>4.2.2 Load Sensitivity and Power Gain <br/>4.3 System Control Characteristics <br/>4.3.1 Bimodal Operation: Manual Mode (Individual Circuit) and Memory Mode (Preset) <br/>4.3.2 Proportional Mastering, Random-Access Switching, and Timed Integration (Fading) <br/>4.4 Location and Design of the Control Element (Console), Arrangement of the Control Face, and Development of the Controls <br/>4.4.1 Location <br/>4.4.2 Arrangement of the Control Face <br/>4.4.3 Manual (Individual) Controls Development <br/>(a) Analog <br/>(b) Analog-Digital <br/>4.4.4 Present (Memory) Controls Development <br/>(a) Manually Operated Analog Potentiometer Arrays <br/>4.4.5 Master Controls Development and Design of the Person- Machine Interface <br/>(a) Proportional Manual Master and Time-Preset Integrator (Fader)<br/>(b) Random-Access Switcher <br/>(c) Person-Machine Interface <br/>4.5 Load Patching <br/>4.6 Modular Design and Fabrication <br/>4.7 System Circuitry <br/>4.7.1 Load Circuitry and Output Filtering <br/>(a) Thyratron Tube <br/>(b) Magnetic Amplifier <br/>(c) Silicon Control Rectifier (Thyristor) <br/>4.7.2 Trigger Circuitry, Feedback, and Output Calibration <br/>4.7.3 Pilot Circuitry <br/>4.8 Laboratory-Fabricated Electronic Lighting Intensity Control Systems and Engineering Design Models: A Photographic Essay <br/>4.8.1 Yale University Theater-Original (1947), Rebuilt (1956), and Remodeled (1960 and 1967) <br/>4.8.2 Goodman Theater, Art Institute of Chicago-Original (1951), Remodeled (1958); Carnegie-Mellon University Theater-Original (1951), Remodeled (1958), and Rebuilt (1973); University of Delaware Theater-Original (1952), Remodeled (1967)<br/>4.8.3 Maryville College Theater (1953) <br/>4.8.4 Bowdoin College Theater (1956) <br/>4.8.5 Theatron System: Engineering Model (1957) <br/>4.8.6 Edkotron System: Engineering Design Model (1959) <br/>4.8.7 Magnetic Amplifier System: Engineering Model (1956) <br/>4.8.8 Magnetic Reset Preamplifier (Trigger Circuit) Shoebox Chassis: Engineering Model (1956) <br/>4.8.9 Control-Rectifier Tomato-Can Chassis: Engineering Design Model (1958) <br/>4.8.10 Control-Rectifier Locklin-Type Chassis: Engineering Design Model (1960) <br/>4.8.11 Control-Rectifier Carnine-Type Chassis: Engineering Design Model (1966) <br/>4.8.12 Punch Digital Punch-Card System: Engineering Design Model (1959) <br/>4.8.13 Analog Staple-Card System: Carnegie-Mellon University (1973) <br/>4.9 Coda<br/><br/>PART TWO Developments in Stage Lighting Instrumentation <br/>4.10 Optical Background Projection <br/>4.11 Remote Control of the Light Source (Spotlight)<br/><br/>PART THREE Developments in Power Flying <br/>4.12 Critique: Flying Systems-Manually Operated Parallel Batten Sets vis-à-vis Power-Operated Parallel Batten Sets vis-à-vis Synchronous Spot Lines and Combinations Thereof<br/>4.13 Work with Scale-Model Prime Movers (1947-1955)<br/>4.14 Early Work with AC and DC Full-Size Prime Movers (1957-1968)<br/>4.14.1 AC Dead-Haul Syncrhonous Spot-Line System <br/>4.14.2 DC Power-Assisted Counterweighted Batten-Spot-Line System <br/>4.15 Telemetry <br/>4.15.1 Early Analog <br/>4.15.2 Digital <br/>4.15.3 Later Analog <br/>4.16 Design of the Person-Machine Interface <br/>4.17 Later Work with Full-Size DC Prime Movers (1972-1977); Combination Dead-Haul Batten-Set and Synchronous Spot-Line System: A Photographic Essay <br/>4.18 Variations on a Flying Theme: A Graphic Summary <br/>4.18.1 Dead-Haul Synchronous Spot-Line System <br/>4.18.2 Dead-Haul Batten Winch System <br/>4.18.3 Dead-Haul Synchronous Spot-Line and/or Power-Assisted Manual Counterweight System <br/>4.18.4 Power-Assisted Counterweight Spot-Line System<br/>4.18.5 Manual Counterweight Spot-Line System <br/>Notes <br/><br/>CHAPTER FIVE The Theater Consulting Practice of George C. Izenour, the Electro- Mechanical Laboratory, and Collaboration with Manufacturers<br/>5.1 Critique: Development of a Modus Operandi <br/>5.2 Representative C-I Lighting Intensity Control Systems for Television: A Photographic Essay <br/>5.2.1 CBS TV City, Hollywood, California (1952) <br/>5.2.2 NBC Studios, Burbank, California (1953) <br/>5.2.3 CBS Studios, Chicago, Illinois (1956) <br/>5.3 Representative C-I Lighting Intensity Control Systems for Theater: A Photographic Essay <br/>5.3.1 Theater, United States Pavilion at the Brussels World's Fair, Brussels, Belgium (1958) <br/>5.3.2 Loeb Drama Center, Harvard University, Cambridge, Massachusetts (1960) <br/>5.3.3 MacGowan Hall, University of California at Los Angeles, West Los Angeles, California (1963) <br/>5.3.4 Uihlein Hall, Milwaukee County War Memorial Center for the Performing Arts, Milwaukee, Wisconsin (1969) <br/>5.3.5 McCain Auditorium, Kansas State University, Manhattan, Kansas (1971) <br/>5.4 Representative Flying Systems: A Photographic Essay <br/>5.4.1 Loeb Drama Center, Harvard University, Cambridge, Massachusetts (1960), Modified (1961)-Dead-Haul Synchronous Spot- Line Winch, Variable-Frequency AC Drive, Analog- and/or Digital- Telemetered (J. R. Clancy Company) <br/>5.4.2 MacGowan Hall, University of California at Los Angeles, West Los Angeles, California, Original (1963; J. R. Clancy Company), Modified (1976; Peter Albrecht Corporation)-Dead-Haul Synchronous Spot-Line Winch, Variable-Frequency AC Drive, Digital-Telemetered <br/>5.4.3 Krannert Center, University of Illinois, Urbana, Illinois (1971), and Hancher Auditorium, University of lowa, Iowa City, lowa (1972)- Manual Counterweight Batten Spot Line, Power-Assisted DC Drive, Analog-Telemetered <br/>5.4.4 Rodey Theater, University of New Mexico, Albuquerque, New Mexico (1975)–Manual Counterweight Batten Spot Line <br/>5.5 Representative Control Systems for Secondary Movable Structures: A Photographic Essay <br/>5.5.1 Loeb Drama Center, Harvard University, Cambridge, Massachusetts (1960) <br/>5.5.2 Jesse Jones Hall for the Performing Arts, Houston, Texas (1966) <br/>5.5.3 Alley Theater, Houston, Texas (1968) <br/>5.5.4 McCain Auditorium, Kansas State University, Manhattan, Kansas (1971) <br/>5.5.5 Edwin Thomas Performing Arts Hall, University of Akron, Akron, Ohio (1973) <br/><br/>CHAPTER SIX The Contemporary American Theater Building: Design, Structure, and Engineering-Technology<br/>6.1 Historical Background <br/>6.2 Representative American-Designed and -Engineered Auditoria and Stages Built since 1960: A Drawing Portfolio <br/>6.2.1 Single-Use Proscenium Stage and Single-Use Auditorium <br/>(a) Metropolitan Opera House, Lincoln Center, New York (1965) <br/>(b) Opera House, Musical Arts Center, Indiana University, Bloomington, Indiana (1971) <br/>(c) Revue Theater, MGM Grand Hotel, Las Vegas, Nevada (1974), Rebuilt after a Disastrous Fire (1981) <br/>(d) Vivian Beaumount Theater, Lincoln Center, New York (Proposed 1970)<br/>(e) Theater, New York Hotel Project (Proposed Redesign, 1979) <br/>6.2.2 Multiple-Use Proscenium Stage and Multiple-Use Auditorium: The First Generation-Theater Stage to Concert Platform <br/>(a) Grady Gammage Memorial Auditorium, Arizona State University, Tempe, Arizona (1964) <br/>(b) Uihlein Hall, Milwaukee County War Memorial Center for the Performing Arts, Milwaukee, Wisconsin (1969) <br/>6.2.3 Multiple-Use Proscenium Stage and Multiple-Use Auditorium: The Second Generation-Variable Auditorium Volume and Acoustical Absorption <br/>(a) Jesse Jones Hall for the Performing Arts, Houston, Texas (1966) <br/>(b) McCain Auditorium, Kansas State University, Manhattan, Kansas (1971) <br/>(c) Edwin Thomas Performing Arts Hall, University of Akron, Akron, Ohio (1973) <br/>6.2.4 Multiple-Use Proscenium Stage and Multiple-Use Auditorium: The Third Generation-Fooling the Eye but Not the Ear and Other Electro-Mechanical Sleights of Hand <br/>(a) Concert Hall-Theater, Civic Center, El Paso, Texas (1974) <br/>(b) Project for the Design, Fabrication, and Erection of Three Mass-Produced Theater-Concert Halls for the Kingdom of Saudi Arabia, Riyadh, Dammam, and Jidda, Saudi Arabia (Proposed 1978) <br/>(c) DeVos Hall, Civic Center, Grand Rapids, Michigan (1981) <br/>(d) Koger Performing Arts Hall, University of South Carolina, Columbia, South Carolina (under Construction with Scheduled Completion in 1988) <br/>(e) Concert Hall-Theater, Stocker Arts Center, Lorain County Community College, Elyria, Ohio (1979) <br/>6.2.5 Multiple-Use Proscenium Stage and Multiple-Use Auditorium: The Fourth Generation-The Prefabricated Auditorium <br/>(a) Recital Hall-Theater, St. Anselm's College, Manchester, New Hampshire (1981) <br/>(b) Recital Hall-Theater, Etherredge Fine Arts Center, University of South Carolina at Aiken, Aiken, South Carolina (1986) <br/>(c) Recital Hall-Film Theater, Communication Arts Center, University of South Carolina, Columbia, South Carolina (Continuing) <br/>(d) Concert Hall-Theater, Civic Center, Hilton Head Island, South Carolina (Continuing) <br/>(e) Concert Hall-Theater, Brevard Community College Arts Center, Melbourne, Florida (under Construction, Completion Date 1988) <br/>6.2.6 Sine Qua Non of the Type Teatro Teresa Carrena, Caracas, Venezuela (1983) <br/>6.2.7 Proscenium Stage and/or Thrust Stage and Multiform Auditorium<br/>(a) Loeb Drama Center, Harvard University, Cambridge, Massachusetts (1960) <br/>(b) Theater, Birmingham Southern College, Birmingham, Alabama (1968) <br/>(c) Theater, Francis Marion College, Florence, South Carolina (1977) <br/>(d) Theater, Arts Center, Swarthmore College, Swarthmore, Pennsylvania (Continuing) <br/>6.2.8 Modular Thrust Stage and Partially Enveloping Auditorium National Theater of Greece, Athens, Greece (Continuing) Theaters for Wide-Screen Film Projection, Multimedia, and <br/>6.2.9 Projected Video (Television) Theater Center-Space Port U.S.A., John F. Kennedy Space Center, Cape Canaveral, Florida (1984) <br/>6.2.10 Concert Hall-Theater for Performance Outdoors Gerald R. Ford Amphitheater, Vail, Colorado (Proposed 1983) <br/>6.2.11 Restoration versus Remodeling of Theaters <br/>(a) Bob Carr Auditorium, Orlando, Florida (1979)<br/>(b) Valentine Theater Block, Toledo, Ohio (Proposed 1982) <br/>(c) Chicago Auditorium-Theater, Chicago, Illinois (Addition of Acoustical Shell and Orchestra-Pit-Stage-Apron Lift and Updating of the Stage Equipment) (Continuing) <br/>(d) Jesse Jones Hall for the Performing Arts, Houston, Texas (Remodeling) (Proposed) <br/>(e) Academy of Music, Philadelphia, Pennsylvania (Proposed Remodeling. 1984)<br/>6.2.12 The Found Space <br/>(a) Longstreet Theater, University of South Carolina. Columbia, South Carolina (1977) <br/>(b) Warehouse Theater, Greenville, South Carolina (Continuing) <br/>(c) Theater-Dance Hall-Cinema and/or All-College Space. Swarthmore College, Swarthmore, Pennsylvania (1986) <br/>6.3 Structural Options in Contemporary American Theater Building A Graphics Photographic Essay <br/>6.3.1 Rigid-Structural-Steel-Frame-Masonry-and/or-Reinforced- Concrete-Curtain-Wall-Steel-Beam-and/or-Truss Space-Spanning System <br/>(a) Milwaukee County War Memorial Center for the Performing Arts, Milwaukee, Wisconsin <br/>(b) Etherredge Fine Arts Center, University of South Carolina at Aiken, Aiken, South Carolina <br/>6.3.2 Rigid-Structural-Steel-Frame-Curtain-Wall-and/or-in-Situ- Reinforced-Concrete-Wall-Structural-Steel-Compression-Ring-Cable Space-Spanning System <br/>(a) Concert Hall-Theater, Civic Center, EI Paso, Texas <br/>6.3.3 In-Situ-Reinforced-Concrete Walls-Steel-Truss Space-Spanning System<br/>(a) Teatro Teresa Carrena, Caracas, Venezuela <br/>6.3.4 In-Situ-Reinforced-Concrete-Walls-in-Situ-Poststressed- Concrete-Valley-Beam-Reinforced-Concrete-Plate Space-Spanning System <br/>(a) Edwin Thomas Performing Arts Hall, University of Akron, Akron, Ohio <br/>6.4 Stage Machinery in Contemporary American Theater Buildings: A Graphics Photographic Essay <br/>6.4.1 Metropolitan Opera House at Lincoln Center, New York <br/>6.4.2 Milwaukee County War Memorial Center for the Performing Arts, Milwaukee, Wisconsin <br/>6.4.3 Jesse Jones Hall for the Performing Arts, Houston, Texas <br/>6.4.4 Teatro Teresa Carrena, Caracas, Venezuela <br/>6.4.5 Edwin Thomas Performing Arts Hall, University of Akron, Akron, Ohio <br/>6.4.6 Etherredge Fine Arts Center, University of South Carolina at Aiken, Aiken, South Carolina <br/>Notes <br/><br/>CHAPTER SEVEN State of the Art and a Possible Scenario for a Program of Development of Theater Engineering-Technology: A Long View<br/>7.1 Light-Source Technology: Blackbody Radiator versus Plasma <br/>7.2 Light-Source Instrumentation Technology: Manual versus Mechanized <br/>7.3 Stage Machinery Technology: Manual versus Mechanized <br/>7.4 Computer Technology and the Person-Machine Interface: Memory, Random Access, Sensing, Feedback, Telemetry, and Multiplexing <br/><br/>CHAPTER EIGHT People and Means: Contrasts in Style <br/>8.1 Higher-Education-Based Engineering Development as a Means for Furthering American Theater Technology <br/>8.1.1 The Making of a Theater Designer-Engineer: A Memoir by George C. Izenour <br/>(a) The Early Years (1939-1947)<br/>(b) The Middle Years (1947–1953) <br/>(c) The Mature Years (1953 on) <br/>8.1.2 The Lab: The Lessons and the Legacy–The Electro-Mechanical Laboratory: A Memoir by James L. Read, Jr. <br/>8.1.3 Thoughts about Stage Machinery-Its Design, Manufacture, Use, and Maintenance in the Contemporary American Theater: A Memoir by R. Duane Wilson <br/>Teatro Teresa Carrena <br/>Edwin Thomas Performing Arts Hall <br/>Summary Comments <br/>8.1.4 Essay: The Lehigh University Program of Directed Studies in Theater Engineering and Technology, by Associate Professor Jeffrey Milet, Head, Divsion of Speech and Theater, Lehigh University, Bethlehem, Pennsylvania <br/>8.2 Theater Engineering-Technology in the United States from the Commercial Point of View <br/>8.2.1 Essay: Design, Engineering, Manufacture, Installation, and Maintenance of Stage Machinery in the United States, by Paul Birkel, President, Peter Albrecht Corporation, Milwaukee, Wisconsin <br/>8.2.2 Essay: Commercially Backed Development of Lighting Equipment for the Theater, by Dr. Joel E. Rubin <br/>8.3 A Janusarian View: The Architect, the Engineer, the Specialized Consultants, and the Future of Theater Engineering-Technology in the United States <br/>Notes<br/><br/>APPENDIX A Scale-Model Study for a Modular Stage from the Consulting Practice of George C. Izenour: The National Theater of Greece <br/>APPENDIX B Scale-Model Studies for a Convertible Stage and Auditorium from the Consulting Practice of George C. Izenour: Swarthmore College Performing Arts Center <br/>APPENDIX C Set of Working Drawings from the Consulting Practice of George C. Izenour: Brevard Community College Arts Center <br/>APPENDIX D Heavy-Rigging Coordinates and Reaction Drawings from the Consulting Practice of George C. Izenour: Teatro Teresa Carrena<br/>APPENDIX E Mechanical Detailing of Heavy Machinery from the Consulting Practice of Olav Soot <br/><br/>BIBLIOGRAPHY <br/>EVENT INDEX <br/>NAME INDEX<br/>PLACE INDEX<br/>SUBJECT INDEX<br/>THEATER INDEX<br/> |