This space, expressly designed for those who work in theatre, is dedicated to technologies and products manufactured by leading companies in the entertainment industry that actively participate in our activities by sponsoring the magazine and our events. In summary we feature: the presentation of specific issues relating to contemporary stagecraft plus interviews and articles on a number of topics. The section pursues the following objectives: facilitate networking opportunities among professionals and companies producing materials while developing high levels of professional training and technological research.
TECHNOLOGIES FOR STAGE MECHANICS
Training course for architects, engineers and theatre technicians. NEW TECHNOLOGIES FOR STAGE MECHANICS REGULATIONS AND SAFETY MEASURES RELATING TO PUBLIC ENTERTAINMENT SITES (Video in Italian and in English)
Luca Galante, Amedeo Guizzi, Reind Brackman, Gerbrand Borgdroff
Rigid Chain Technology (RCT)
Rigid Chain Technology (RCT) sistema installato in due teatri storici italiani.
RICCARDO TOMASSONE, (Serapid Italia) SAID LOUNIS ( CEO at SERAPID Group)
Acoustic renewal criteria of the architectures of Opera House and Concert Halls
10 short films
PLANE—SITE is pleased to release a set of 10 short films, produced on behalf of the Pierre Boulez Saal, charting the storied history and bright future of this remarkable new music venue in Berlin.
Pierre Boulez Saal is an architecturally distinct and conceptually visionary concert hall investing intellectually, pedagogically and artistically in music creation and its public impact. The Saal represents the public face of the Barenboim-Said Akademie, founded by Daniel Baremboim in 2012. Designed by the renowned American architect Frank Gehry, space and music within the concert hall engage in a unique artistic vision. The Saal is the second masterpiece in Berlin that Gehry constructed inside an already existing building. The unique circular set-up required distinct expertise on the room’s acoustics, provided by the leading expert Yasuhisa Toyota.
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IRON AND AIR
Stagecraft notes for the MATILDE DI SHABRAN (Melodramma giocoso by Giacomo Ferretti) direction by Mario Martone, scenography by Sergio Tramonti.
The spiral staircase of Matilde di Shabran was the brainwave of director Mario Martone, spurred by the need to find a spatial solution for the set. I was party to this right from the start, lobbing words, thoughts, ideas… in a kind of verbal ping pong as a prelude to the game at stake – Rossini’s opera: “Let’s make it so… the singers don’t have the castle at their backs…not as a backdrop, nor as a standard piece of scenery, not even in the wings to the left or right… Lets have it so… the castle is above their heads… above the stage at an eight-metre height… Let’s make it so the artists can ascend and descend in view of the audience from a spiral staircase positioned on a revolving platform…”
A FLEXIBLE STAGE FLOOR
BY LUCIANO DAMIANI
Contemporary stage design, by contrast, always seems more inclined towards processes that become integrated, guided by a dramaturgical, poetic, expressive and aesthetic scheme, the only true aim to which to aspire. Such integration incorporates knowledge bases in fields increasingly diversified and specialistic, driven by both formal and functional needs in a continuous interaction. One therefore sees perpetual scenographic inventions proliferate, extraordinary prototypes that would often represent by themselves the fulfilment of dreams that the scenographer has harboured right throughout history, but only twentieth-century technology has enabled him to make possible. One of these inventions is undoubtedly the so-called “flexible stage floor” invented by the scenographer, Luciano Damiani.