PHOTO BY VEˇ ROLSAV SˇKRABÁNEK PHOTO BY AUTHOR Figure 5. Proscenium and Proscenium Door Figure 6. Sliding Trap and Elevator the same axle so that when one is raised the other is lowered. Since flying out the borders consists of two steps, first pulling the lines up to brail the borders, then pulling the lines further to fly the borders out, there is a point where both borders would be brailed and out of sight. This would allow both sets of borders to be hidden and a third border controlled by another axle to be lowered into view of the audience. Backdrop Change (figs. 12 and 13) All of the backdrops and the front curtain are brailed due to the low stage house. Some of the large winches located on each side of the upper gallery are used for raising and lowering the front curtain and the backdrops. The brailing lines for the backdrops also use rub rails. Each backdrop can be changed ALL ILLUSTRATIONS BY AUTHOR PHOTO BY PAVEL SLAVKO brailing lines, instead the lines pass across rub rails, smooth rounded hardwood boards. When the borders are lowered to the playing position, they are supported by a set of dead hung lines, dressing the borders to proper lines of perspective. The upper gallery contains two more pairs of border axles. These axles have drums to allow control ropes to be operated from the lower gallery for better coordination. The number of stagehands required for the border change depends upon the number of borders used for the settings, but typically it is three stagehands. Peter Perina, chairman of the Baroque Theatre Foundation of the Castle at Cˇ esk y´ Krumlov and professor of theatre at Dalhousie University has proposed a different rigging scheme for the borders (fig. 11). Two sets of borders may be rigged to Figure 8. Wing Change Machinery Figure 7. Wing Change Axles THEATRE 58 DESIGN & TECHNOLOGY SPRING 2007