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	WPI Technical Theatre Handbook: Stairs
	Stairs When high platforms are used, it is useful to have some means for actors to get to them, or else there was little point in putting the platform there in the first place. A stair is generally used to provide the necessary access, either from the ground or another platform. There are a variety of methods that can be used to construct stairs. Some form self-supporting units that require little or no mounting to the set while others form units that must be attached to the set at their top and bottom points. Often stair units are constructed for several standard heights and kept on stock in a theatre's scene shop for later re-use. Stairs must be constructed out of appropriately strong material. Self-supporting stairs often use 1 inch lumber for the step part (called a tread), and 2 inch lumber for the supports (called stringers or carriages). Any stair higher than a couple of feet off the ground should have a railing on any exposed side. These railings can be constructed out of two by fours for offstage stairs that are hidden from audience view. On-stage railings can be almost as simple if the look is not important, and as complex as any railing in a fancy house. The goal is to provide support for the actor, and make them feel safe when using the stair. Use of information in this document implies understanding and agreement with the copyright and terms of use. Specifically, no warranty is expressed or implied regarding the accuracy of the information contained within. YOU USE THIS INFORMATION AT YOUR OWN RISK. All trademarks are property of their respective owners. You must obtain permission from the author before using the contents of The Handbook for anything other than private use.	Table of Contents [Whole book in PDF 5.3MB] Contents Introduction Goals Sources Methods Conclusions Costumes Introduction Procurement Fabrics Color Patterns Fitting Rehearsal Clothing Design How to Begin Color Practicality Documents The Set Introduction Set Pieces Platforms Flats Stairs Rakes Other Structures Floor Coverings Construction Materials Tools Finishing Painting Types of Paint Mixing Paints Applying Paint Draperies Design How to Begin Documents Computer-Aided Design A Typical Set Construction at WPI Rigging Introduction Common Rigging Hardware Rope Wire Rope Thimbles, Wire Rope Clips, and Swages Shackles, Turnbuckles and Hooks Chain & Rapid Links Slings Fly Methods Non-Counterweighted Pulley Systems Counterweighted Fly Systems Lifts Chain Motors Flying Set Pieces Lighting Introduction Lighting Instruments Scoops Cyclorama Lights Parabolic Reflector Cans Fresnel Spotlights Ellipsoidal Reflector Spotlights Automated Instruments Color Color Theory Primary, Secondary and Complementary Colors of Light Light Mixing Practical Use of Color Glass, Gelatine and Plastics Dichroic Color Filters Patterns Dimmers Dimmer History Cables and Connectors Lighting Boards Control Design Washes Specials Cyclorama Lighting Color Lighting Angle Simulating Exteriors Lighting Design Paperwork Shop Order Instrument Plots Focus Sheets Computer-Aided Lighting Design A Typical Lighting Hang at WPI Audio Introduction Input Microphones Converting Sound to Electricity Directionality Analog Tape Digital Audio Tape (DAT) Compact Disc (CD) Mini-Disc (MD) Digital Samplers Computer Sound Cards Mixing Boards Signal Processing Equipment Equalizers Compressors and Limiters Noise Gates Effects Processors Output Power Amplifiers Speakers Crossovers Cabling and Connectors Line-Level Speaker-Level Automation Design Creating and Obtaining Effects Editing and Processing Effects Designing the Sound System The Input Section Signal Processing The Output Section A Typical Audio Setup at WPI Power Introduction Basic Theory Power Feeds Power Distribution Boxes Power Protection Important Considerations Special Effects Introduction Animated Costuming Smoke and Fog Pyrotechnics Acknowledgements References List of Figures Index About this document ...

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