Stage Rigging Handbook, Fourth Edition
Autor Jay O. Glerum, Shane Kelly Cuvânt înainte de Mark Shandaen Limba Engleză Paperback – 21 feb 2024
First published in 1987 and revised in 1997 and 2007, Stage Rigging Handbook remains the only book in any language that covers the design, operation, and maintenance of stage rigging equipment. Though often unnoticed, these systems are critical in both easing the workload of stage technicians and creating storytelling magic for the audience. This landmark text imparts the foundations for understanding and implementing rigging systems, such that upon completion of the book, the reader is ready to begin hands-on training and practice.
Organized into four sections, the handbook combines research and practical experience to guide riggers through their work. It begins by explaining the construction and care of basic lifting media. Part two analyzes types of rigging systems; then the handbook details the forces that impact rigging, from Newtonian physics to calculating expansive modern systems. Finally, it presents day-to-day best safety practices, including brand new sections on risk assessment and fall protection.
This reorganized and greatly expanded fourth edition of Jay O. Glerum’s industry standard text updates much of the information in the previous editions with the addition of chapters on truss (the framework that supports lighting, screens, and other accessories), motorized chain hoists, hardware, and job safety, including fall protection systems. Award-winning production manager Shane Kelly preserves Glerum’s voice while bringing fresh information to a new generation of riggers, supplementing the text with updated versions of earlier photographs and drawings as well as an additional one hundred illustrations. The handbook facilitates the development of a rigging practice rooted in safety, precision, and professionalism.
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Specificații
ISBN-13: 9780809339266
ISBN-10: 0809339269
Pagini: 436
Ilustrații: 357
Dimensiuni: 216 x 279 x 28 mm
Greutate: 1.2 kg
Ediția:Fourth Edition
Editura: Southern Illinois University Press
Colecția Southern Illinois University Press
ISBN-10: 0809339269
Pagini: 436
Ilustrații: 357
Dimensiuni: 216 x 279 x 28 mm
Greutate: 1.2 kg
Ediția:Fourth Edition
Editura: Southern Illinois University Press
Colecția Southern Illinois University Press
Notă biografică
Jay O. Glerum (1939- 2014) held seminars on stage rigging throughout the United States, Canada, and Europe. A fellow of the United States Institute for Theatre Technology, he served as chair of the Rigging and Stage Machinery Standards Committee of the Institute and taught at Seattle University, Marquette University, and the University of Washington. He was president of Jay O. Glerum & Associates, Inc., a firm specializing in consulting for the entertainment industry.
Shane Kelly is professor and head of the theatre technology program at The Theatre School at DePaul University and is an Entertainment Technician Certification Program (ETCP) certified freelance rigger and OSHA Authorized General Industry outreach trainer. He has worked as production manager for the Chicago Symphony Orchestra, the Illinois Supreme Court Historic Preservation Society, and the DePaul School of Music Opera. He cofounded and served as executive director of Cloudgate Theatre and has worked as a technical director, carpenter, rigger, craftsperson, and sound and lighting designer at theaters all over the country and internationally.
Shane Kelly is professor and head of the theatre technology program at The Theatre School at DePaul University and is an Entertainment Technician Certification Program (ETCP) certified freelance rigger and OSHA Authorized General Industry outreach trainer. He has worked as production manager for the Chicago Symphony Orchestra, the Illinois Supreme Court Historic Preservation Society, and the DePaul School of Music Opera. He cofounded and served as executive director of Cloudgate Theatre and has worked as a technical director, carpenter, rigger, craftsperson, and sound and lighting designer at theaters all over the country and internationally.
Extras
PREFACE TO THE FOURTH EDITION
When I was first approached by Southern Illinois University Press about the possibility of writing the fourth edition of Stage Rigging Handbook, I was both flabbergasted and flattered. I was so pleased to hear that SIU Press was working on a next edition to continue Jay Glerum’s legacy after his death in 2014. This book is such an integral part of every rigger’s library as well as required reading in many rigging training courses and as such has placed Jay as the one of the world’s foremost experts in theatrical rigging. To be asked to carry on that legacy is such an amazing honor.
The fourth edition has clarified components of the third edition while also expanding on the handbook to update information with new ANSI standards, best practices and lessons I have learned from experience over my twenty-five years as a rigger. There are several updates to photos, drawings, and math examples to improve clarity based on feedback from readers and users of the third edition. This edition also adds new parts on truss and chain hoists, safety and fall protection, and curtain tracks systems and curtains. I’ve worked to remove all gendered language from the text so there are no longer references with “flymen” and instead all references are to riggers, no matter their gender identity. Other language shifts include no longer discussing “master riggers” but instead lead riggers and head riggers; using lead carriers instead of “master carriers”, and hanging masking curtains, without discussing the color of the drapes. Rigging is a craft that should be available to anyone who wants to participate in it. During the COVID-19 pandemic, many members of the entertainment technical production world left the industry, including those who has many years of experience and served as mentors to younger technicians. My hope is that this edition will help people in establishing and codifying the safest practices in this craft. No rigging book will replace hands-on practice, but having a foundational understanding of the tools, materials, reasons, rationale, and best approaches for the practices of rigging will set-up riggers to grow and excel in their craft as a part of the entertainment industry.
My deepest appreciation and thanks go to so many people for helping make the fourth edition possible. Thanks to Sallie Glerum for ask me to take on task and to continue sharing Jay’s passion for rigging education and safety with a new generation of riggers. All of us who rig, owe both Jay and Sallie a great debt for their tireless work on the previous three editions. The book and Jay’s legacy have come a long way and touch thousands of lives, including saving many lives, since the early days of Jay writing longhand in the morning and Sallie typing what Jay wrote in the afternoon.
My thanks also go to Dean Martine Kei Green-Rogers and John Culbert, Dean Emeritus of The Theatre School at DePaul University for their support at work throughout this process, including my research leaves. The entire production staff at The Theatre School for helping me find and set-up samples. All of my students and alumni for putting up with my continued asking about how to improve clarity. Gerard Gregerson for contract negotiations. The Guthrie Theatre, Chicago Flyhouse, Protolight Inc., Cornish College of the Arts, Hartford Stage, Dothan Alabama Civic Center, Arts Centre Melbourne, Sydney Opera House, and Mixed Blood Theatre for allowing me to explore and take photos on site. Dan Culhane of J. R. Clancy for his continued expertise on fire curtains, NFPA codes, and all things safety on stage. Mickey Henry at ETC for his motorized rigging knowledge. Reid Neslage for tracking down the typo in the formula for shock loading on 1/4" wire rope and his always enjoyable and insightful stories and memories of Jay. Thanks to Mike Katz and Paul Zagajeski for their help in the shock loading formula solution. The board of directors and staff of USITT, especially former Executive Director David Grindle and Director of Education and Training, Christine Troscher. The teams in rigging, carpentry, and automation at Cirque du Soleil Resident Shows Division. My fellow Glerum Rigging Master class instructors. Ed Leahy, Dominic DiGiovanni, Jen Seleznow, Topher Morris, and Joel Furmanek for their reading, reviewing and guidance. Mark Shanda for his constant support and encouragement as a fellow writing TD. My entire family-Marsha, Greg, Shannon, Gregor, Samantha, Kathryn, Big Joe, Annie, Clare, Vinnie, and Joe-for their constant support, even when they are unsure what this entire book is about. I wish to thank the staff at Southern Illinois University Press Kristine Priddy, Jennifer Egan, Judy Verdich, Sarah Jilek, Linda Buhman, Khara Lukancic, and others.
None of this could have happened without the love and support of the real writer in the house, Kristin Idaszak. You’ve been an amazing spouse, partner, editor, advisor, and support system throughout this very long and winding process as I found out what it is like to spend my days writing and researching instead of my usual teaching and teching.
When I was first approached by Southern Illinois University Press about the possibility of writing the fourth edition of Stage Rigging Handbook, I was both flabbergasted and flattered. I was so pleased to hear that SIU Press was working on a next edition to continue Jay Glerum’s legacy after his death in 2014. This book is such an integral part of every rigger’s library as well as required reading in many rigging training courses and as such has placed Jay as the one of the world’s foremost experts in theatrical rigging. To be asked to carry on that legacy is such an amazing honor.
The fourth edition has clarified components of the third edition while also expanding on the handbook to update information with new ANSI standards, best practices and lessons I have learned from experience over my twenty-five years as a rigger. There are several updates to photos, drawings, and math examples to improve clarity based on feedback from readers and users of the third edition. This edition also adds new parts on truss and chain hoists, safety and fall protection, and curtain tracks systems and curtains. I’ve worked to remove all gendered language from the text so there are no longer references with “flymen” and instead all references are to riggers, no matter their gender identity. Other language shifts include no longer discussing “master riggers” but instead lead riggers and head riggers; using lead carriers instead of “master carriers”, and hanging masking curtains, without discussing the color of the drapes. Rigging is a craft that should be available to anyone who wants to participate in it. During the COVID-19 pandemic, many members of the entertainment technical production world left the industry, including those who has many years of experience and served as mentors to younger technicians. My hope is that this edition will help people in establishing and codifying the safest practices in this craft. No rigging book will replace hands-on practice, but having a foundational understanding of the tools, materials, reasons, rationale, and best approaches for the practices of rigging will set-up riggers to grow and excel in their craft as a part of the entertainment industry.
My deepest appreciation and thanks go to so many people for helping make the fourth edition possible. Thanks to Sallie Glerum for ask me to take on task and to continue sharing Jay’s passion for rigging education and safety with a new generation of riggers. All of us who rig, owe both Jay and Sallie a great debt for their tireless work on the previous three editions. The book and Jay’s legacy have come a long way and touch thousands of lives, including saving many lives, since the early days of Jay writing longhand in the morning and Sallie typing what Jay wrote in the afternoon.
My thanks also go to Dean Martine Kei Green-Rogers and John Culbert, Dean Emeritus of The Theatre School at DePaul University for their support at work throughout this process, including my research leaves. The entire production staff at The Theatre School for helping me find and set-up samples. All of my students and alumni for putting up with my continued asking about how to improve clarity. Gerard Gregerson for contract negotiations. The Guthrie Theatre, Chicago Flyhouse, Protolight Inc., Cornish College of the Arts, Hartford Stage, Dothan Alabama Civic Center, Arts Centre Melbourne, Sydney Opera House, and Mixed Blood Theatre for allowing me to explore and take photos on site. Dan Culhane of J. R. Clancy for his continued expertise on fire curtains, NFPA codes, and all things safety on stage. Mickey Henry at ETC for his motorized rigging knowledge. Reid Neslage for tracking down the typo in the formula for shock loading on 1/4" wire rope and his always enjoyable and insightful stories and memories of Jay. Thanks to Mike Katz and Paul Zagajeski for their help in the shock loading formula solution. The board of directors and staff of USITT, especially former Executive Director David Grindle and Director of Education and Training, Christine Troscher. The teams in rigging, carpentry, and automation at Cirque du Soleil Resident Shows Division. My fellow Glerum Rigging Master class instructors. Ed Leahy, Dominic DiGiovanni, Jen Seleznow, Topher Morris, and Joel Furmanek for their reading, reviewing and guidance. Mark Shanda for his constant support and encouragement as a fellow writing TD. My entire family-Marsha, Greg, Shannon, Gregor, Samantha, Kathryn, Big Joe, Annie, Clare, Vinnie, and Joe-for their constant support, even when they are unsure what this entire book is about. I wish to thank the staff at Southern Illinois University Press Kristine Priddy, Jennifer Egan, Judy Verdich, Sarah Jilek, Linda Buhman, Khara Lukancic, and others.
None of this could have happened without the love and support of the real writer in the house, Kristin Idaszak. You’ve been an amazing spouse, partner, editor, advisor, and support system throughout this very long and winding process as I found out what it is like to spend my days writing and researching instead of my usual teaching and teching.
Cuprins
CONTENTS
Preface to the Fourth Edition
Symbols and Abbreviations
Selected Formulae
Foreword by Mark Shanda
Part 1. Foundations of Rigging
1. Lifting Media
2. Cutting and Finishing of Rope
3. Rigging Hardware
4. Fabrics and Curtains
5. Chain Hoists
6. Truss
Part 2. Types of Rigging Systems
7. Rope Set Systems
8. Counterweight Systems
9. Block and Tackle Systems
10. Curtain Tracking Systems
11. Powered Hoist Systems
12. Fire Protection
Part 3. Calculating Loads and Reactions
13. Load and Force
14. Beam Forces
15. Effect of Load and Force on Rigging Systems
16. Bridle Analysis
Part 4. Operation, Training, Inspection, and Safety
17. Rigging Elements to Fly
18. Daily Inspection, Annual Inspection, and Maintenance
19. Training and Operation of Rigging Systems
20. Safety on the Job
Works Cited
Glossary
Index
Preface to the Fourth Edition
Symbols and Abbreviations
Selected Formulae
Foreword by Mark Shanda
Part 1. Foundations of Rigging
1. Lifting Media
2. Cutting and Finishing of Rope
3. Rigging Hardware
4. Fabrics and Curtains
5. Chain Hoists
6. Truss
Part 2. Types of Rigging Systems
7. Rope Set Systems
8. Counterweight Systems
9. Block and Tackle Systems
10. Curtain Tracking Systems
11. Powered Hoist Systems
12. Fire Protection
Part 3. Calculating Loads and Reactions
13. Load and Force
14. Beam Forces
15. Effect of Load and Force on Rigging Systems
16. Bridle Analysis
Part 4. Operation, Training, Inspection, and Safety
17. Rigging Elements to Fly
18. Daily Inspection, Annual Inspection, and Maintenance
19. Training and Operation of Rigging Systems
20. Safety on the Job
Works Cited
Glossary
Index
Recenzii
“The most important book for any theatrical rigger’s library. . .a must-have that will raise your technical knowledge, awareness, and ability to be a productive, safe theatrical rigger.”—Dan Culhane, senior project engineer, Wenger Corporation, and past president of USITT
“This latest edition of Stage Rigging Handbook, spearheaded by Shane Kelly, does a tremendous job of carrying on Jay [O. Glerum]’s message and making updates that reflect the current expertise and practices in the industry…with this must-read for anyone involved in entertainment rigging.”—Erin Grabe, ESTA executive director
“The seminal work by Jay O. Glerum, painstakingly updated by Shane Kelly, a masterful rigger and scholar in his own right, to reflect the culture of safety that Jay fostered and the massive changes in technology since this book was first written.”—Beth Martell, theatre planner with DLR Group and coauthor, The Physics of Theatre Mechanics
“The fourth edition of the Stage Rigging Handbook truly builds on the foundational text that so many started using in 1987 and have continued to reference since 2007. Additional context of what’s been learned over time, reference to ANSI Standards that have since been developed, and new organization of the parts and makeup of the content both allows the reader to continue to jump around as needed in the moment and simultaneously have a singular place to reference and start their journey on an education in stage rigging. As the book mentions in its fourth edition preface, ‘Rigging is a craft that should be available to anyone who wants to participate in it.’”—Latiana “LT” Gourzong, assistant professor, David Geffen School of Drama at Yale
“Stage Rigging Handbook: Fourth Edition is a comprehensive resource on the mechanics and principles of rigging, and a tool for understanding how components work together to create safe and effective systems. With practical examples, tables, and illustrations, this edition is an essential reference that is accessible to both seasoned technicians and the next generation of riggers.”—Jen Seleznow, associate technical director, Oregon Shakespeare Festival; adjunct professor and acting head of theatre technology, The Theatre School at DePaul University
“Jay’s passion for furthering the knowledge base in the entertainment industry through the Stage Rigging Handbooks has been instrumental in helping riggers of all stripes work better and safer. This fourth edition is a testament to his legacy and should be a part of every rigger’s library.”—Bill Sapsis, author of Heads Tales: Uncle Bill’s Musings on the Theatrical Experience, Entertainment Rigging for the 21st Century, and coauthor of The International Code of Practice for Entertainment Rigging
“This latest edition of Stage Rigging Handbook, spearheaded by Shane Kelly, does a tremendous job of carrying on Jay [O. Glerum]’s message and making updates that reflect the current expertise and practices in the industry…with this must-read for anyone involved in entertainment rigging.”—Erin Grabe, ESTA executive director
“The seminal work by Jay O. Glerum, painstakingly updated by Shane Kelly, a masterful rigger and scholar in his own right, to reflect the culture of safety that Jay fostered and the massive changes in technology since this book was first written.”—Beth Martell, theatre planner with DLR Group and coauthor, The Physics of Theatre Mechanics
“The fourth edition of the Stage Rigging Handbook truly builds on the foundational text that so many started using in 1987 and have continued to reference since 2007. Additional context of what’s been learned over time, reference to ANSI Standards that have since been developed, and new organization of the parts and makeup of the content both allows the reader to continue to jump around as needed in the moment and simultaneously have a singular place to reference and start their journey on an education in stage rigging. As the book mentions in its fourth edition preface, ‘Rigging is a craft that should be available to anyone who wants to participate in it.’”—Latiana “LT” Gourzong, assistant professor, David Geffen School of Drama at Yale
“Stage Rigging Handbook: Fourth Edition is a comprehensive resource on the mechanics and principles of rigging, and a tool for understanding how components work together to create safe and effective systems. With practical examples, tables, and illustrations, this edition is an essential reference that is accessible to both seasoned technicians and the next generation of riggers.”—Jen Seleznow, associate technical director, Oregon Shakespeare Festival; adjunct professor and acting head of theatre technology, The Theatre School at DePaul University
“Jay’s passion for furthering the knowledge base in the entertainment industry through the Stage Rigging Handbooks has been instrumental in helping riggers of all stripes work better and safer. This fourth edition is a testament to his legacy and should be a part of every rigger’s library.”—Bill Sapsis, author of Heads Tales: Uncle Bill’s Musings on the Theatrical Experience, Entertainment Rigging for the 21st Century, and coauthor of The International Code of Practice for Entertainment Rigging
Descriere
First published in 1987 and revised in 1997 and 2007, Stage Rigging Handbook remains the only book in any language that covers the design, operation, and maintenance of stage rigging equipment. This landmark text imparts the foundations for understanding and implementing rigging systems, such that upon completion of the book, the reader is ready to begin hands-on training and practice.