Theatre Design & Technology - Fall 1979 - 15

Avoid
At

r-------

Avoid

Wall

Here

Vertical
Walls
These
Points

-------l-\
a

Overhang

Areas

r-----------------------------------,
I

I
I

-~-

\
\

.L-

Figure 7
100% Open Pit vs. Pit with Overhang

...

Overhang

Area

//r----------------~----------------\\\

the sides. (See the broken lines.)
Figure shows a gradual transition or evolution of design.
At the top is a vertical walled pit; next is a pit with a small overhang area only along the upstage edge; the third diagram in
the figure shows a shallow overhang on three sides of the pit;
and at the bottom is a large overhang at three sides of the pit.
The type of pit design with large overhang areas on three
sides (ad and 9d) provides good pit versus stage loudness
balance, good sectional balance, acoustical blending, and
acoustic reverberance. The large overhang areas also help in
orchestra layout.
Figure 9 shows the longitudinal sections of the variants.
Figure 10 illustrates how a pit with large overhangs can be
used by orchestras of various sizes. Although the solution
shown in Figure 10 seems to be ideal from some points of
view, a combination using two independent pit lifts plus a very
large overhang area (Figure 11) produces a better range of
flexibility. The flexibility relates to size of orchestra, acoustics,
and audience capacity. If the conductor chooses, he can add
audience seats in the pit lift area further from the stage, thus
forcing a large portion of his orchestra into the overhang area.
In this case he has added some box office revenue for his production, but has given himself a much more difficult task in
controlling the orchestra and in balancing the sound of the orchestra in its various sections.
The conductor also has the option with this pit design of positioning his musicians principally in the open area of the pit
(Figure 11 e). The trade-off here, of course, is that in return for
improved acoustics-a much easier and a much more natural
way to obtain sectional balance in the pit orchestra and
greater sound level as heard in the audience area-he has
had to give up some revenue.

Watch the Baton
The key to control of an opera production is the baton. All
USITT /Fall, 1979

/~ Edge

Stage

Floor

Above

Pit / \
\

'---~'----

Figure 8
Plans of Orchestra Pits Increasing in Size and
Usefulness as Overhang Area Is Increased

of the singers onstage, both the principals and the chorus,
must see the baton, both the conductor's hands and because he also transmits many instructions with facial' gestures-scowls, looks of pleasure, approval, or painful expressions-his face. Figures 12 and 13 show how, with the
use of riser platforms, a one-lift pit can be set up for an orchestra in such a way that all the required visual contacts are
provided. Keep in mind that the pit with two mechanized lifts
provides the flexibility required in the larger houses; the single
lift shown in these figures is appropriate only in very small
houses.
Each member of the orchestra should be able to see with
no obstruction, all of the same signal devices-baton.' both
arms and hands, and the conductor's face. The conductor has
a need for the same visual relationships in reverse. He wants
to be quite certain that he will be able to signal any member of
the orchestra at any time, and he wants the same degree of
control over all the principals and the chorus on stage. Figures 12 and 13 also show the conductor elevated on risers to
produce the appropriate amount of contact between stage
and conductor's podium, and at the same time, the "mound"
sloping away from the conductor's podium in three directions
provides the same amount of contact between conductor and
the musicians in the orchestra.
Theatre Design & Technology

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