What business makes something big that you see all the time but seldom notice?
These very large, custom-made products are usually unique: built once and never again. Each can cost millions of dollars only to be used briefly, sometimes just for a few hours, then thrown away.
4 comments:
I read this article because I feel as though it a rule, not an exception that most people working in technical theatre do big things that aren’t noticed a lot. I could list probably fifty jobs that people don’t realize go on in a production from Stage and Production Management, casting assistants, painters, shoppers, dressers, A1’s, instrument tuners, physical therapists… like I said, I go on and on. I think its industry how media plays up that something so big doesn’t go noticed because theatre to me is a lot about making sure you don’t see a lot. No one should know that the stage manager is there unless specially scripted and the show should just go off seamlessly so I read this article to see what it was talking about. This article wasn’t at all what I expected, which was nice. I’m so glad it exists to prove that scene shops do more than just theatre and it is, of course, nice to see that a Carnegie Mellon Alumnus had his hands in on it. People especially readers of a mainstream newspaper like the Chicago Sun should see that people with a theatre degree can do more than just theatre.
When I saw this article title, I assumed it was going to be about a technology company that makes some computer thing that is so universal in its use we do not notice it. I was pleasantly surprised that it was about Chicago Scenic Studios. I always forget that even though this studio does work with theatre, that they are a commercial shop that does fabrication work for a wide variety of clients including "stage sets, museum displays and the physical contours of public spaces at trade shows, conventions, parades, and at least one war". I agree with Alexander's comparison of this company's work with the work of the many theatre artists that work behind the scenes and are not readily recognized as those under the spotlight, especially on the production side of the work. Along the same lines as Alexander's thoughts, I think it is interesting how little attention the hard working laborers get for the work they do, while designers get tons of publicity in comparison. I wish there was an easier way to admire the work that places like this do, because I, as a person interested in production and fabrication, am always wondering who or what company built the scenery or the exhibit space for place or events, and I can never seems to figure it out. I was able to find the lighting and scenic designer for the Oscars in a minute, but still do not know what companies helped build all those automated parts and the beautiful proscenium.
It is such an interesting paradox to spend so much time on such expensive, pain staking work to just have it thrown out in the end, but that is what we do, and I think it makes our art form what it is. Theatre is not meant to last forever. It is meant to be seen in a two hour period and never again, so if it were kept around forever, it would kind of defeat the purpose. Now, of course there are those shows with crazy long runs on Broadway, but for profit is its own beast that does not really follow any rules of theatre. I have found an interesting dynamic in myself where I enjoy making lasting art when it is a small sculpture or art piece, but when it comes to theatre I have no problem throwing away my work as soon as it served its purpose. I hate throwing away my own art though. I think it is because it is meant to serve a different purpose which is to be appreciated at any time wherever it is by whomever might be seeing it.
When I was beinning to read this article, I had no idea it would be written about a Carnegie Mellon Alum, Bob Doepel. It was interesting reading about how the cruise line Royal Carribean was replacing the wedding chapels with escape rooms (ironic, in my opinion,) and their thourough attention to detail in many of their projects. The most interesting part of the article, however, was the paragraph dedicated to talking about a waterjet. The scenic mini teacher none other than Ben Carter taught Locals 1A and B the wonders of a fabulous waterjet. Reading this article proved that they truly do exist, the prophecy is true, and they cut through a variety of materials. From the moment I waws told about the waterjet, I have always wanted to see one in action, for Local 1 and our hero Ben Carter. Chicago Scenic sounds really cool and looks like they’re doing some great work.
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