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Revisiting
the 1993 Reconfiguration Study
Program
for Reconfiguration
Choices
Drawings (configuration
by Jonathan Christman)
Plan
view of existing space
Plan
of the 1993 Proposal
Plan
view of proposed 2000 configuration
Section
through center
Section
through side seating units
Computer Visualizations
(prepared by Walter, Robbs, Callahan &
Pierce: Architects)
Entry into the Ring
From top row- viewing performance area
From stage- center seating unit
Audience Crossover
Model Display Area-- installed in center seating section
From booth- stage area
(symbol is
an active link to the plate or illustration)
| RECONFIGURATION OF THE
RING SPACE
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| 1993
Study
to view 1993 Study |
In 1993, the we proposed
a reconfiguration of the Ring Theater. That proposal was for a more
ambitious renovation of the Theater / lobby and entrance to the building.
This proposal featured a second level entry and walkway for the audience.
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| 2000 Renovation | As the original surface
treatments in the theater have become thread bare over the past few years,
a renovation of the space is required. While the capital resources
were not available for the scope of renovation that we envisioned, I revisited
that plan to consider alternate configurations for the space. The
choices were to keep the project to be manageable both in time and money.
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| Original Program for Reconfiguration | • The space must be a "finished"
space. The space must be ready for a public presentation at any time with
little or no preparation.
• The number of seats should remain approximately the same. • A large open area must remain for class use, of at least the size of the present acting area. • To provide a structure for a more fully produced production requiring minimal scenic material. • Limited flexibility
for presentations and lectures there should be a standard configuration which will maximize audience seating and focus. • To provide the student directors, actors and designers a theatrical configuration and structure that approximates theaters that they will encounter upon graduation. • To create discreet audience and backstage areas. • Increased backstage space provides accessible storage for classroom properties and equipment hidden and not intruding into the audience areas. • Audience access to the Scales Fine Arts Center. The majority of events happen
at night, and the changes to the campus traffic plan mean the majority
of the off campus visitors come from the direction of parking lot Q. From
this approach there is no defined entrance to the building, particularly
at night. People tend to use the closest entrance stairwell rather than
an entry, down 4 steps, and through a dark stairwell before entering the
lobby. From this point there are additional stairs to down to the Ring
Theater or up two more to lobby levels. This is a problem for handicapped
patrons as well as less than desirable from an aesthetic consideration.
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| Additional Concerns: | Lighting- A concern expressed
by the Performance Faculty that is the low level of lighting available
for teaching in the space. This concern would be intensified once
the projection screen is removed.
Fire Exits- The fire marshall in his recent visits to the space has expressed concern about various pod configurations and the proximity of the opening in the pods to the exits of the space. In addition, concern for the shared "backstage" and exit space has been expressed. Hamlet Project- This project proposed by James Dodding would be enhanced by the reconfiguration of the Ring space. This project would feature one of the proposed uses of the space, an incorporated Elizabethan unit set. Storage / Display space- The
conversion of the scene design studio to a digital lab has created a need
to find a space to store models.
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| Plan
Comparison:
a) existing b) 1993
c) 2000 plan
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| Configuration: | The scaled back proposal
for the ring essentially reconfigures the pods from a circular arrangement
to a configuration based on the 1993 proposal.
The access aisles have been expanded to minimize the tunnel effect for the audience. The net effect is that there are fewer seats and smaller stage space. This plan does not solve
the audience and actors sharing the same spaces as the patrons still must
cross stage area to reach their seats. The vomitory entries
may not use scenery as they are the principle method of audience egress.
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| Stage Configuration: | The stage space that remains
is approximately a 25 foot square, with actor access from the vomitory
on the downstage corners, at the ends of the side sections of audience,
or through the set. The rectilinear shape is considerably more useful space
for creating a set with architectural integrity than the present circular
shape.
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| Orientation:
The theater is now oriented to with the stage facing the West wall. This puts the double doors of the scene shop to the backstage area. View
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| Features:
A structure creates a backing for the performer, the choice of these walls is reminiscent of a proscenium though the performers will be in front of this structure. The choice of materials for this is stained wood that would be similar to the interior finish of the Mainstage theater which would maintain continue the buildings vocabulary. This structure will also reflect the performers voices. |
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| Backstage: | The backing structure creates
a permanent backing wall and divides backstage from the rest of the theater.
There is a door on each side allowing access to the backstage areas.
Performers may use the audience access spaces to reach the voms using the
side door of the ring theater.
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| Panels: | A system of tracked fabric covered panels allow the backstage space
to be closed off for meetings and other events that demand a finished look.
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| Seating:
At this point we will continue to use the existing chairs for the Ring Theater. Seating Area will be finished in carpet to make the space similar in rehearsal and performance. Row Width:
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| Display
Space:
The interior space of the pod creates a opportunity to created a lit display space for models and other design & production relics. |
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| Audience
Passage:
Wall sconces supplemented with a low level light trough light the audience passage behind the seating units. The wall spaces may be used for flat display. |
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| Comparison: |
** Indicates space shared by performers and audience
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| Control
Booth:
The existing control booth is not in an ideal location for the projected stage space. In the ideal, the booth would be relocated so the stage manager and crew would have an unobstructed view of the stage and the booth would not be in the visual sphere of the audience. It is not feasible to contemplate relocation of the booth with present funds. |
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| Multimedia
Capability: |
A projection screen will
be located in the structure of the backing which may be lowered to create
a projection surface.
At this time, there are no funds for wiring or multi-media equipment. |
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| Front of House | The Front of House aspect
of the original program is not addressed in this renovation.
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| Plan: | 
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| Section Through Center: | 
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| Section: |  |
