(td)squared

Saturday morning I was finally able to talk with Cirque. I asked them a few questions and this is how they answered:

What kind of automation is essential to your productions/ the most useful?

• Safe Automation is always essential and each show is different and therefore requires different automation

Is any of the automation you use affordable to a university?

• Most automation we use is custom and can cost anywhere from hundreds of thousands to millions of dollars.

How much maintenance does your automation require?

• 10-12 hrs a week, friday morning inspections, and inspections every time we set it up or tear it down.

How are your productions so seamless without any interruptions from scene changes or shifts?

• Automation.

Cirque also pointed me to Stage Technologies. Stage Technologies is a company from which Cirque buys some of its automation. Stage Technologies told me about their PC Wing, a compact training and programming desk. This desk is used to train students to use the latest automation applications. It is also can be used to provide in house instruction for staff in state-of-the-art technology. Trainees can work on the same control interface used in some of the live performance industry’s most popular control desks. (Paraphrased from PC Wing: compact training and programming desk handout.)

One of the Stage Technologies representatives pointed out an interesting way to create low budget “automation.”  He said if you don’t have a large budget then you could rig flats or scenery to a curtain traveller. I hope to implement this into a production in a future semester.

Friday morning I decided it was time to go talk to representatives from Cirque du Soleil in person. I had a lot of questions for them since the session titled, “Automation at Cirque du Soleil” only taught me that safety is the number one concern at any Cirque production.

Naturally when I went to speak with the person who knew the most about automation he was no where to be found. Therefore I went to talk to any of the other companies who were involved in automation.

During my wanderings I discovered:

1. Daktronics (A Company which is involved in Automated Rigging)

• Are located in Victor, NY which is about an hour from UB
• Have a new “outsourced German system” which controls automated batons and can do many functions at the same time. If UB decided to buy this $100,000 system we would be the first to own this system. At $100,000 this thing is a steal!
• They also have a $20, 000 system that has presets which work similar to sub masters on a lightng board
• This system could bring one or all of your electrics down at once (and at variable speeds)-How Convenient!
• You could also make a snow bag make snow fall and at the same time raise one drop and lower another.
• And it’s touch screen…..

AND THEN LYNNE, LOGAN, COLIN, SCOTT, SCOTT, AND MYSELF SAW Cirque du Soleil’s TOTEM

Totem was basically the evolution of man from start to finish shown through the medium of live spectacle. The show was everything the representatives of Cirque promised and more. The show included aerial acrobatics, insane trapeze work, phenomenal unicycle skills, and a story which brought it all together. Set changes used state of the art automation which allowed for smooth scene changes that did not hold up the production in any way. Ever time a new scene began you would say to yourself ” that’s cool but it would be cooler if you did something more insane” but then the acrobats would do something even cooler than you could imagine. My only regret is that I couldn’t see the show twice or go backstage.

1. Micro controllers are a cost effective way to create and operate scenic automation. For just $13 you can purchase 1 micro controller capable of controlling a scenic element based on time, a measured distance, and even temperature if applicable.
2. They operate can be programmed on the same principles that you would use to program a chase effect for holiday lights or stage lighting.
3. The capabilities of S.A.M (Scenic Automated Mover)/ specs are:
   1. The ability to transport scenery on and off stage repeatedly during a production
   2. A maximum speed of 2.1 ft/sec when not bearing a load.
   3. It can move a maximum load of 700lbs effectively
   4. It weighs 400lbs
   5. Operates by following a wire beneath Marley/the stage floor
   6. It is not being marketed.
4. Anyone can operate S.A.M. Programming and operating it is similar to recording cues on a lighting counsel and hitting the GO button.
5. The cost if S.A.M was marketed would be more than $3000.
6. Scenic automation always has a human operator even though the point of automation is to get rid of human intervention.
7. Automation is dangerous and must be taken seriously especially since automation allows massive structures to move on and offstage rapidly, sometimes during blackouts.
8. Cirque du Soleil deals with risks that arise from scenic automation  (such as open traps onstage and moving parts) by first eliminating all physical risk and then uses technology to make the automation safer.
   1. i.e. If an open trap is onstage Cirque would first put a railing around it to eliminate physical risk and then they would outfit acrobats who interact around and with the trap with harnesses and safety cables to make interactions safer.
9. The 4 main points one should address when using scenic automation are
   1. Maintence
   2. Operator Training
   3. Documentation
   4. Risk Assessment

10. Cirque employees always make sure that before they fix or adjust automated equipment that everyone in the vicinity knows               that they are doing so. This is so no one attempts to operate the machine while they are adjusting it, which could cause a                 catastrophe.

(These 10 facts came from 2 sessions I went to, “Using Micro-controllers in Production” and “Automation 101″)

I realized, I completely forgot to mention the Expo in the last post. I’ll try to fit that in at the end of this one.

Friday came, and I had no sessions to really attend. I decided to spend my time exploring Charlotte. I set off with my iPod blasting music for the show im designing/teching over the summer-The Wiz-and took in the sites. I wasn’t really paying attention to where I was walking, or where I was heading. I knew roughly what direction the hotel was in in relation to where I was, so I decided I was safe. While walking, I managed to get some inspiration for the show.

 I previously had designed a set that was much more childlike. Without going too far into the details, it was a very large toybox. But while exploring Charlotte, I started developing new ideas. I wanted something that seemed more futuristic, more industrial, but clean feeling; blues, whites, silvers.  Oz is supposed to be the antithesis of Kansas, or wherever Dorothy decides she is from today. Kansas needs to be hot, oppressive, dirty.

Below are a few pieces of inspiration I found while on my journey.

Tree on Trade Street

 -I loved the white blossoms. And I’m currently toying with the idea of a distorted tree painted blue, with silver accents, and white blossoms to be included in the set.

Structure I found outside Mimosa Grill

Different view of structure outside Mimosa Grill

While I was heading back to the hotel, I found this. I fell in love with the look of it almost instantly. I want my set to replicate that (Look, I’m stealin’ ideas. Thanks, Beg, Borrow, Steal). I still have to figure out exact dimensions, but I love the idea of a two level set that would take up much of the stage, with stairs leading down.  It would be very multi-purpose, and since I seem to lack a good crew every year, I won’t need to stress over shifting scenery.

On Thursday, there were two sessions that peaked my interest. The first was one tailored more towards those who serve as the entire design and technical staff for high school productions. I, however, work as the entire design and technical staff for a community theatre company over the summer, and thought, “Maybe this will apply”

The session essentially consisted of various instructors who have served as the entire design and technical staff at one point in their life. Their tricks and pointers were fantastic. They discussed how you need to beg, borrow and steal your ideas. One showed images of a proscenium arch she constructed out of paper. She also discussed the uses of paper, and how she has built entire sets out of paper. They discussed how by adding a piece of plywood, two step ladders can easily turn into a platform, as well how, allegedly, adding all paint colors together will give you a type of beige. I disagree with that, based on my own experience, but I digress.

The second session I attended was all about those who want an arts management degree, but don’t have a program at their school. UB does offer an MFA program for Arts Management, but no Bachelor’s program. I went, toying with the idea of my final goal getting a Masters in Arts Management. I went planning on asking various coursework they recommended. Allegedly, I was already doing fine.

My first 2 years at UB consisted of me pretending I wanted to be a lawyer. So, I took classes pertaining to that. Then I switched to theatre for a multitude of reasons that I do not have the time or energy to get into right now. When I told them about my previous stint as a legal studies major, they said that was perfect. One even mentioned that, with a law and theatre background, id be well on my way to practicing Entertainment Law. Now I just need to figure out if its what I want to do.