Stage-width drapes can be very heavy, weighing hundreds of pounds, especially the front curtain. In some theaters, especially where battens are close together, a heat-resistant fabric is attached to the front of the electric to prevent heat from the lighting instruments from damaging nearby flown objects.Ī drapery pipe may support front curtains (such as travelers), tormentor legs, borders, or tabs. Electrics generally have an established trim height (a reference for standard height) so that focusing is consistent. Loaded electrics are among the heaviest types of battens, often weighing more than a thousand pounds.Įlectrics will often employ large loops of spring steel that extend outward to prevent adjacent battens from colliding with and damaging the lighting instruments. All cable plugs have identifying numbers printed on them so that they can be easily referenced by the lighting control system. The cables emerge from one end of the batten and continue through a snake to dimmers, control boards, or patchbays. It typically has power cables for lights and DMX512 data cable for lighting control, and may also have audio cables for microphones. Types A view of an electric batten with scoops, fresnels, PARNels, elipsoidals and a Source Four Electric Īn electric is a batten that incorporates electrical cables above the pipe, often enclosed in a raceway. Battens that are located above a stage can usually be lowered to the stage (flown in) or raised into a fly tower above the stage (flown out) by a fly system. In theaters, a batten (also known as a bar or pipe) is a long metal pipe suspended above the stage or audience from which lighting fixtures, theatrical scenery, and theater drapes and stage curtains may be hung. JSTOR ( April 2011) ( Learn how and when to remove this template message)Ī simple Electric batten with two instruments (a Source Four PAR and a scoop).Unsourced material may be challenged and removed. Please help improve this article by adding citations to reliable sources. Por consiguiente, analizamos el Rudens de Plauto y la Venise sauvée de Simone Weil con el fin de mostrar sus técnicas hiper-performativas para escribir rituales religiosos en el teatro, tanto en la Antigüedad como en la Modernidad tardía.This article needs additional citations for verification. Para ilustrar esta técnica, aplicamos la teoría de la hipertextualidad de Gérard Genette en el desarrollo de un nuevo concepto de hiper-performatividad. En este estudio defendemos que en algunos casos, como en Plauto y en Simone Weil, los rituales religiosos no son sólo imitados, sino que la estructura performativa específica del ritual realza la carga afectiva de la obra teatral. || En el teatro, los actores a menudo realizan rituales religiosos en el escenario. Consequently, we analyze Plautus’ Rudens and Simone Weil’s Venise sauvée to portray their hyper-performative techniques, in antiquity as well as in late modernity, how to write religious rituals into theatre. To illustrate this technique we apply Gérard Genette’s theory of hypertextuality to develop a new concept of hyper-performativity. In this article, we argue that in some cases, like in Plautus and Simone Weil, religious rituals are not just imitated but the specific performative structure of the ritual enhances the affective charge of the theatre play. In theatre, actors often perform religious rituals on stage. Moreover, it has been simplified in order to fit the established models of cultural development that have dominated since then 2) in late modernity, the greatly enriched repertoire of critical tools and languages with which we can approach mimesis offers the potential for creating a new and generative framework 3) given the globalization of the (new-, late-, post-industrial) West, there is a real need to face and understand other traditions of art and thought, whether they be 'defeated' ancient civilizations or marginalized or geographically distant cultures in our present age. Nowadays, this task seems particularly urgent for at least three reasons: 1) it is now clear that the term " mimesis, " as it was used by the Greeks, has been systematically misunderstood and corrupted. On the same topic please see recent Gregory Scott's book! The concept of mimesis needs to be re-evaluated in every era. The postdramatic fans are ignorants! They ignore what Aristotle did say about drama, and the contemporary quest for a poetic theatre.
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