DESIGN GUIDE: MUSIC AND DRAMA CENTERS
DG 1110.3.120
CHAPTER 3: THE STAGE
JANUARY 1981
F I G U R E 3-6.4
ORCHESTRAL-CHORAL STAGE
ions under sleepers variably spaced to dampen
planning of freight lifts is needed to make
resonant vibration. If understage is unused, the
stage loading efficient. Installing a lift platform
structural base can be a ground slab.
in the orchestra pit is recommended only if the
acoustic enclosure design makes provision for
Enclosure: Disregarding open stage forms ap-
the platform's use as performance areai.e.,
plicable to small Rooms, two kinds of "sending
if a proper forestage canopy is installed.
end" enclosures are possible: the "hole in the
wall" associated with traditional drama pros-
5. Recital
ceniums and the "`horn" that gradually be-
Instrumental and vocal recital rooms are the
comes the Room. The latter is permanent con-
most intimate music spaces. The presentation
struction especially designed for Music use,
format is similar to orchestral concerts, but mu-
with structural qualities similar to the House.
sicians are fewer in number and share a much
The first type (proscenium) is normally em-
more personal relationship with the listener. Re-
ployed in multi-use Rooms or theater conver-
cital acoustics provide greater definition among
sions, consisting of a demountable shell erected
instruments.
in the stagehouse. Both types have a degree
Performance Space: The platform area de-
of geometric adjustability.
pends somewhat on anticipated music group
Scene/Working Space: Stagehouse functions,
sizes, 400-600 square feet typically. A low el-
if any, are minimal for Music; most support
evation, 24"-30", is usual and portable risers
activity takes place backstage or from control
may be employed for the larger groups or for
areas in the House. However, space adjoining
choral performances.
the performance area should be allotted for
performers' assembly and temporary instru-
Enclosure: The surfaces near the platform may
ment standby (pianos, extra chairs and stands).
be treated with adjustable panels that are re-
flective, absorptive or both. These are nor-
There may also be separate rooms for broad-
mally intended to adjust hearing on stage
cast, recording equipment and lighting switch-
rather than project sound to the house, and a
gear. If there is a story below stage, thoughtful
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