DESIGN GUIDE: MUSIC AND DRAMA CENTERS
DG 1110.3.120
C H A P T E R 3: ENVIRONMENT
JANUARY 1981
actual performances. It is decidedly desirable to
with a security post offstage. Assembly areas are
limit this situation to dress rehearsals only. Tech-
discussed under stagehouse access.
nical preparations, however, require a set of
quite different facilities which should therefore
Drama facilities must provide makeup areas,
have priority status in construction plans. In
often separate from dressing, with suitable mir-
either case, the scope of these facilities is pro-
rors, lighting, countertop and washbasins. A cos-
portional to the rate of production turnover and
tume wardrobe is recommended, communicat-
program variety.
ing with dressing rooms. Full length mirrors are
needed for dressing, makeup and assembly
areas.
Since the performance Room is literally a single
space, conflicting use cannot be concurrent. Au-
Musicians need areas for warm-up and tuning
ditions, part-reading, dance exercise, orchestra
prior to performance. If none can be provided,
rehearsal, set-building and lighting run-throughs
a more generous sound proofed dressing room
are mutually exclusive. Scheduling this activity
is essential. Instruments too large to be carried
in alternate time periods sometimes results in
through dressing should have a locked standby
very few productions per season and limits the
area offstage.
occasions when touring shows can be fitted in.
As voluntary leisure activity, most preparation
takes place in the evening, which is also prime
D. TECHNICAL FACILITIES
performance time. The ability to separate greatly
conflicting activities, handle them simultane-
1. Parameters
ously, and free the Room for regular perfor-
The relative dominance of Music or Drama con-
mances is vital to a healthy MDC program.
tent in primary presentation types will be re-
flected in technical needs, as will the extent and
2. Functions
magnitude of accessory equipment. This is dis-
Every performing arts facility requires a loading
cussed more fully in Section 3-8. In general, no
door and receiving area (see Section 3-9e) with
element of basic technical facility can be done
associated trunk storage (for road boxes) and
without, although varying levels of development
general storage (for bulk material). At least a
should be considered carefully; certain addi-
maintenance shop with tool storage should be
tional functions may be judged important for
provided adjoining the stage crew quarters and
special purposes (see 3-11f Extended Facilities
office. Ideally, rehearsal space should be readily
and 3-12 Space Allocations).
accessible from these areas, unless a remote re-
hearsal facility is provided.
The nature and size of technical facilities greatly
depends on the number of non-performer crew-
Drama facilities require a scene shop rather than
persons and whether they are touring personnel
(or in addition to) a maintenance shop. As a
or resident production staff.
minimum, it should be nearly as large as the
performing area of the stage and directly acces-
2. Functions
sible to the stagehouse. The layout of the shop
Basic technical facilities for both Music and
is important to the smooth flow of work from
Drama include lighting and sound control,
general storage to fabrication and assembly,
manned equipment positions and accessways,
then to the finishing area before moving the
and the stage manager's command post. A sub-
piece on stage or to temporary set storage. A
stantial stage crew may require a waiting lounge
separate shop is needed for costume fabrication
and locker area of its own.
and maintenance. Even a modest repertory thea-
ter should have generous wardrobe storage to
protect its substantial investment. Long-term
E. PREPARATORY FACILITIES
storage can be at a remote location if necessary.
The production wardrobe work area itself ad-
1. Parameters
joins the dressing areas. Space for the storage
There are two sorts of basic preparatory activi-
and repair of lighting instruments and electric
ties corresponding to performers' and technical
gear should also be provided in a separate, se-
facilities and similarly qualified by respective
cure room furnished with workbench, cable
parameters. The performer who prepares by rep-
reels, shelving and wall mounted or overhead
etition and practice can sometimes use the Room
hooks and clamping bars for fixture storage.
and its support facilities for rehearsal between
3-67
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