Stagehand的問題,透過圖書和論文來找解法和答案更準確安心。 我們找到下列問答集和資訊懶人包

Stagehand的問題,我們搜遍了碩博士論文和台灣出版的書籍,推薦Boychuk, R. W.寫的 Nobody Looks Up: The History of the Counterweight Rigging System, 1500-1925 和Leroux, Gaston的 The Phantom of the Opera都 可以從中找到所需的評價。

另外網站Stagehand | Reimagining Live Music Experiences也說明:Live music can bring any space to life. At Stagehand, we've redefined what a music venue can be because we know that live music has the ability to enhance ...

這兩本書分別來自 和所出版 。

最後網站Stagehand Job Description - Betterteam則補充:Also known as stage technicians, stagehands are crew members who assist on sets. They work in television, film or theatre, helping with lighting, sound, ...

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Nobody Looks Up: The History of the Counterweight Rigging System, 1500-1925

為了解決Stagehand的問題,作者Boychuk, R. W. 這樣論述:

Nominated for the 2016 USITT Golden Pen Award "...a magnificent and very important piece of work for our industry." Richard Pilbrow, author of 'A Theatre Project' "Very nice job, congratulations " Mike Murphy, President, J.R. Clancy, Inc. "Boychuk has thrown down the gauntlet with bold statements ba

cked up by documentation..." Tim Williamson, Northern Alberta Jubilee Auditorium "...a very informative and great read." Norbert Muncs, Past President, CITT "Anyone who has ever pulled a rope in the name of theatre will enjoy this revealing back story..." Charles Haines, President, Hall Stage Ltd. T

he counterweight rigging system has dominated the theatre fly tower for the last half of the 20th century. And yet, the history of its evolution has been lost, until now. In this first ever written history of the counterweight rigging system, author Rick Boychuk upends two core theatre myths. Stage

rigging did not grow from a nautical tradition and counterweight rigging did not evolve from the hemp system. Boychuk neatly identifies the origins of the myth of the sailor-flyman and leaves no room for doubt. Counterweight rigging emerged from a European tradition of 17th century Torellian stage m

achinery. Hemp rigging was a side-show. In documenting the evolution of the counterweight system, Boychuk dissects the machine that is the stage house along with its upper machinery - the rigging. He examines the development of the fly tower, gridiron, loft steel, head steel, grid wells, arbor, bric

ks, blocks, and loft lines; all of those mundane components necessary to make the system work. He deconstructs hemp, counterweight and Torellian rigging into system paths to gain a better understanding of the progression of development and the workings of each system. This is the surprising story of

how the counterweight rigging system was developed for an Austro-Hungarian theatre in 1888, then quickly found its way to the American Midwest in Adler & Sullivan's Chicago Auditorium in 1889. But it was the Chicago scenic painting studio Sosman & Landis that capitalized on the system. As Boychuk e

xplains, Sosman & Landis adapted the system to increase the number of painted scenic pieces that they could sell to the well-funded Masonic theatres that were fast emerging across the United States. By 1925, the system had further evolved then to become crystallized in the catalogues of J.R. Clancy

of Syracuse, NY. Clancy did for counterweight rigging what Ford had done for the automobile. Counterweight rigging was made affordable, was standardized and, soon, was ubiquitous in theatres around the world. A major takeaway from this book is this: the stage house impacted the evolution of stage ma

chinery, and stage machinery impacted the evolution of the stage house. Today we appear to be witnessing a move from manual to automated stage machinery. If that is so, how will the change in our machinery impact our stage house? And how would we manage such a transition? Nobody Looks Up: The Histor

y of the Counterweight Rigging System: 1500 to 1925 is a must-read for all who work in and around technical theatre - stagehands, crew, manufacturers, designers, suppliers, consultants, and most importantly, those who are teaching the next generation of technicians. R.W. (Rick) Boychuk has been stud

ent, teacher, technical director, IA stagehand, designer and recently, inventor, and now an author. A graduate of University of Saskatchewan in technical theatre, he has worked in the industry for over 40 years. Rick owns and operates Grid Well, Inc. in Toronto, Ontario, Canada.

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The Phantom of the Opera

為了解決Stagehand的問題,作者Leroux, Gaston 這樣論述:

The Phantom of the Opera (French: Le Fant me de l'Op ra) is a novel by French writer Gaston Leroux. It was first published as a serialization in Le Gaulois from 23 September 1909, to 8 January 1910. It was published in volume form in late March 1910 by Pierre Lafitte. 1] The novel is partly inspired

by historical events at the Paris Opera during the nineteenth century and an apocryphal tale concerning the use of a former ballet pupil's skeleton in Carl Maria von Weber's 1841 production of Der Freisch tz. It has been successfully adapted into various stage and film adaptations, most notable of

which are the 1925 film depiction featuring Lon Chaney, and Andrew Lloyd Webber's 1986 musical. In Paris in the 1890s, the Palais Garnier opera house is believed to be haunted by an entity known as the Phantom of the Opera, or simply the Opera Ghost. A stagehand named Joseph Buquet is found hanged a

nd the rope around his neck goes missing. At a gala performance for the retirement of the opera house's two managers, a young little-known Swedish soprano, Christine Daa , is called upon to sing in the place of the Opera's leading soprano, Carlotta, who is ill, and her performance is an astonishing

success. The Vicomte Raoul de Chagny, who was present at the performance, recognises her as his childhood playmate, and recalls his love for her. He attempts to visit her backstage, where he hears a man complimenting her from inside her dressing room. He investigates the room once Christine leaves,

only to find it empty. At Perros-Guirec, Christine meets with Raoul, who confronts her about the voice he heard in her room. Christine tells him she has been tutored by the Angel of Music, whom her father used to tell them about. When Raoul suggests that she might be the victim of a prank, she storm

s off. Christine visits her father's grave one night, where a mysterious figure appears and plays the violin for her. Raoul attempts to confront it but is attacked and knocked out in the process. Back at the Palais Garnier, the new managers receive a letter from the Phantom demanding that they allow

Christine to perform the lead role of Marguerite in Faust, and that box 5 be left empty for his use, lest they perform in a house with a curse on it. The managers ignore his demands as a prank, resulting in disastrous consequences: Carlotta ends up croaking like a toad, and the chandelier suddenly

drops into the audience, killing a spectator. The Phantom, having abducted Christine from her dressing room, reveals himself as a deformed man called Erik. Erik intends to keep her in his lair with him for a few days, but she causes him to change his plans when she unmasks him and, to the horror of

both, beholds his noseless, lipless, sunken-eyed face, which resembles a skull dried up by the centuries, covered in yellowed dead flesh. Fearing that she will leave him, he decides to keep her with him forever, but when Christine requests release after two weeks, he agrees on condition that she wea

r his ring and be faithful to him. On the roof of the opera house, Christine tells Raoul about her abduction, and makes Raoul promise to take her away to a place where Erik can never find her, even if she resists. Raoul tells Christine he will act on his promise the next day, to which she agrees. Ho

wever, Christine sympathises with Erik, and decides to sing for him one last time as a means of saying good-bye. Unbeknownst to Christine and Raoul, Erik has been watching them and overheard their whole conversation. The following night, the enraged and jealous Erik abducts Christine during a produc

tion of Faust, and tries to force her to marry him. Raoul is led by a mysterious opera regular known as "The Persian" into Erik's secret lair deep in the bowels of the opera house, but they end up trapped into a mirrored room by Erik, who threatens that unless Christine agrees to marry him, he will

kill them and everyone in the Opera House by using explosives. Christine agrees to