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Stalls, orchestra or arena: the lower flat area, usually below or at the same level as the stage. Balconies or galleries: one or more raised seating platforms towards the rear of the auditorium. In larger theatres, multiple levels are stacked vertically above or behind the stalls. The first level is usually called the dress circle or grand circle.
A large stage house and a small first class hotel were also incorporated in the second theatre that could seat 1,700 people. The stalls were steeply sloped and the dress circle could accommodate 500 people. It was fitted with American-style folding seats. The stage was 13.7 m (45 ft) wide, 11.6 m (38 ft) deep and 16.8 m (55 ft) high. [2]
The film explores the “somewhat true story” of the undercover police contractor’s life who unexpectedly discovers that he can pose as a reliable hitman to bring down those enlisting his ...
An opera production of Ihitai 'Avei'a – Star Navigator at a 'block box' events centre in Auckland, New Zealand Backstage area of the Vienna State Opera. A theater building or structure contains spaces for an event or performance to take place, usually called the stage, and also spaces for the audience, theater staff, performers and crew before and after the event.
Dress circle in some theatres, a shallow gallery level above the main seating. In UK proscenium houses, it is a (sometimes large) balcony above the stalls. Dress rehearsal (or dress) a practice of the play with all actors wearing full costumes. Generally, dress rehearsals also include full make-up and music (when applicable). Dry tech
The unbelievable true story is simply too hard to resist. And legendary director Ron Howard has thrown his ring in the hat with the upcoming feature film 'Thirteen Lives.'
The pit is usually a large opening ranging from 4–6 feet (1.2–1.8 m) wide, 20–40 feet (6.1–12.2 m) long and 6–10 feet (1.8–3.0 m) deep. Some orchestra pits have lifts or elevators that can raise the floor of the pit up to the same height as the stage. This allows for easier movement of instruments among other things.
Each story has its feet firmly planted in the real world, but serves as an epicenter for swirling fantasies. In one story, "The Lizzie Borden Jazz Babies," Sparks makes use of a tragic plot point that sets off many classic fairy tales – the untimely death of a protagonist's parent – and applies it to the father instead of the mother.