Public ledger. [volume] (Memphis, Tenn.) 1865-1893, 1876-11-22
Theatrical Stnge Machinery ,


A stage proves to be a very differ
ent thing from what the popular
eye, gazing from pit or boxes, pre-
sumes it to be. A great arch, a j
sloping floor, pierced here and there
with traps, cellars below, regions
above, grooves ateach side, in which
scenes glide forward or back, roll
er5 stretching across, on which the
"cloths" behind are rolled up-such
is the popular ideal. But the stage
Of one Of the "grand" houses offers
a very different spectacle. There
lis neither floor nor ceiling proper;
lbut above there is a number Of
light galleries running round in
tiers, while, instead of a floor or
stage, properly SO called, there is a
vast expanse Of open gratings, or
cage work, ope below the other, the
bars of which are parallel with the
seats of a pit. The whole, there
fore, is one "clear' from top to
bottom, resembling one Of those
great engine-houses which have
iron galleries and flying bridges all
, around. A large stages look i'm
posing enough from the boxes, but
few, perhaps; are aware that below
J it, in a grand opera house, there is
a space of about the same height
as the stage, and above, more than
twice that extent. Thus the space
devoted to performance is really nc
more than D seventh or eighth parl
of the regions above, below and
around it. The stage and the floors
below fin a large thester there are
often four) Thus appear like a series
. of gridirons, one beneath the other
: This has been found q necessary
arrangement, owing to the grea
scenes, stretching The whole wldtl
: Of the stage, that must ascend OF
descend, and have a clear passage
AS thase' openings may be required
at any part Of the stage, the onl,
; mode is to make the entire stage AZ
open frame, covered with panels
q which can be drawn away !
t "trap" can thus be opened at an,
It spot, as one of these panels con
D tanning the trap and it's machiner,
can be inserted. Few persons ar
aware Of what is the traditional an,
established engine of motion in al
the great theaters, or how it is tha
in some ambitious Transformation
scene, a huge iron frame, ladel
with fifty or sixty figures, can b
raised alort. The agency of wind
lasses and such mechanical power
would entail vast expenditure 0
human strength which, indeed,
l. would be found impossible to con
centrate at a fixed point. The md
N tive power behind the scenes is won
u derfally simple, and even scientific
and has been in use without chang
III for more than a century and a hal
: 1t consists in a permanent arrange
i' ment Of great balance weights a
ways ready mounted, and wit
Which the object to .b0 raised can b
). readily connected. A child popl
raise ton weight to particula
hight If the cord passing over
II pulley be balanced by another to
8. weight. Root and basement, alo
m and below, are filled with enormou
." rollers, each furnished with wheo
m something like that Of a aship's rue
m der. TO these are attached . seri'
'0' of concentric drums, much lil
II the cone-shaped wheel upon whic
Or Or a watch.chain is wound, for Il
ms ms purpose of allowing cords to
- wound upon them. The balanc
as weights are hung IN grooves me-
ne tho walls; while the cords attache
70 to them run up to the roof, pa
y 70 through pulleys, and are the
'ss 3. brought down to the drums,
which they are attached. WhC
come slowl ly-eyolying transform
tion is in progress, to be crownt
= by the ascent Of some glOEltt
frame stretching the whole widi
\ of the stage, on which q number
=. . ladies are bestowed, its ascent
wn thus contriyed. The weight OF y
re-, re, machine and it's burden is rough
ia- found. Il is thAn attanhed 10 I,