Figure 2a there is no gap, no "canyon" created by a cross aisle between the audience and the actor. One of the possible transformations has been omitted from this figure---the area closest to the stage used as a forestage, and the balance used for audience seating. Figure 2f depicts a small forestage plus a small pit or orchestra. An alternate for consideration when funds are very scarce is to use one mechanical lift closest to the stage, and incorporate manually handled platforms for the downstage portion of the pit. Pit for Small Auditorium Figure 3 shows an adaptation of the transformable throat zone for a very small theatre, perhaps seating from 200 to 600. Figure 3a shows a fixed-pit rail, included here to point out that fixed rails must be avoided in order to permit flexibility in the use of the "throat zone." Figure 3b illustrates a pit which measures about twelve feet fore and aft, with a demountable pit railing. 3d shows the forestage mode, while 3c shows how the gap between the actor and the audience can easily be eliminated. Again, these transformations are much more likely to be used heavily if the capital budget incorporates sufficient funds for a mechanized lift. How Many Musicians in The Pit? We have examined some of the basic transformations possible in the throat area of a proscenium type of civic/campus auditorium, without paying much attention to the question of the size of the pit or the number of musicians to be accommodated. Let us turn to this question. The conductor and the production's executive and artistic Figure 2 Throat Zone (Pit/Forestage Area) Possible Configurations a Extended Audience b Full Stage Seating d Partial Pit Orchestra / Audience Seating e Partial Pit Orchestra /Separatecl Forestage Partial Forestage/Pit Orchestra 10 Theatre Design & Technology USITT /Fall. 1979