KNOWING THE ROPES AN INTRODUCTORY GUIDE TO MODERN

Rope Sets The rope set system operates exactly like a rope and pulley except there is three or more lines instead of one
The ropes are usually a ¾” Manilla Like they use on Ships
Many of the Terms and techniques are the same in the Shipping Industry
We often call a Rope System a “Hemp System” because Hemp Ropes were used historically<br>

HISTORIC INTERLUDE! Back in the day, Sailors would commonly do two side jobs when they weren’t crossing the seven seas
They would work in theaters because the “knew the ropes” and had a communication system in place to talk across far distances (Whistling)
It is now considered bad luck to whistle in a theatre cause you could cue a stage hand and cause an accident<br>

Comedic Interlude! The other job an off duty Sailor would be was a pirate
So mathematically speaking a techie = to a pirate
But techies also wear all black and are stealthy like ninjas so
PIRATE+NINJA= TECHIE<br>

Back to Rope Sets The ropes would be tied to a BATTEN
From the batten they run up to the GRID and pass over LOFT BLOCKS which direct them OFF STAGE to the WINGS
Here they pass over a HEAD BLOCK then down to the FLY GALLERY
Where they get tied off to a PIN RAIL<br>

Terms Batten- a metal pipe which scenery and lighting instruments are suspended from
Grid- Network of Steel i-beams (located in the roof of the fly loft) supporting the elements to fly scenery
Loft Blocks- A grooved pulley mounted on the grid, it is used to change the direction the rope travels
Head Block- A multi Sheave block with two or more pulley wheels used to change direction of all the ropes that attach to the scenery<br>

Terms Continued Fly Gallery- elevated walkway usually 15’-20’ off the stage floor to allow for clear viewing of the stage.
PIN RAIL- Located on the Fly Gallery- it is one or two horizontal pipes fitted with belaying pins that the ropes are tied around
CLEW- The Sand bag is attached to help counterweight the scenery. The bag gets clipped onto the CLEW<br>

Rope Set Diagram<br>

Rope Set Safety Although the rope system is fairly simple and has been used for hundreds of years it is not particularly safe
The ropes and sand bags are made out of fibers that are under constant stress and deteriorate
The deterioration is very hard if not impossible to detect
They need to be regularly replaced and replaced immediately if damage or wear is detected
The Scenery also must be heavier than the Sandbags- this means that if a sand bag is leaking the scenery can become dangerously out of weight over time
The rope system is no longer preferred in the theatre<br>

The Counterweight System The counterweight system works on the same principles of the Rope System but much safer
Ropes have been replaced with Steel Cables that are more resilient to wear
They run up to the grid, over loft blocks, over to a head block but instead of being tied off they get secured to a The Counterweight Arbor<br>

The Counterweight System The Arbor is flown out to the
LOADING RAIL where weight can be adjusted while the scenery is safely on the ground
The System is controlled by an OPERATING LINE of ¾” manila line or synthetic rope<br>

The Counterweight System The OPERATING LINE is connected to the top of the Arbor, runs up to A HEAD BLOCK back down through a ROPE LOCK, down around a TENSION PULLEY and back up to be attached to the bottom of the Arbor.<br>

COUNTER-WEIGHTSYSTEM<br>

Terms Counterweight Arbor- metal cradle that holds the counterweights usually known as a “Stage Brick” or “Stage Weight”
Loading Platform/ Weight Rail- Walkway suspended just below the grid where counter weights are loaded onto the arbor
Locking Rail- A rail that holds all the rope locks for each line set<br>

Why is safety important? Bret Michaels



The wedding ring<br>

COUNTERWEIGHT SAFETY These are basic rules that if followed will greatly improve the safety of all on stage

Make sure everybody clears the area under the Loading Platform when the arbor is unlocked and weights are being transferred back and forth
Do NOT stack bricks above the lip of the Loading Rail, or anywhere they could fall or get knocked off
When working above others do not carry unnecessary tools or objects (even keys falling on someone could cause serious injury)
Inspect all flying hardware regularly and replace any defective equipment<br>

Safety Continued Use bolts and nuts to secure scenery together.
Always attach the scenery to the batten first. Then increase the stage weight.
When removing scenery you should unload a majority of the bricks first and then remove the scenery.
Units should be flown under compression and attached from the bottom of the scenery
Use The Calling System!<br>

The Calling System! Except for during performances and some rehearsals, a standard practice in theatre is for the flyman to always call (shout) out a warning before moving a lineset so as to alert personnel (e.g., rehearsing performers and technicians) who are on the stage.
People on stage typically acknowledge the operator's warning by yelling out a confirmation that the warning was heard.

The flyman's warning specifies what is moving, where on stage is it located, and its direction of movement.<br>

Example of Calling For example, a particularly verbose call might be something like "lineset three, first electric flying in to the deck, downstage" (in USA) or "Heads onstage, Bar 3, LX 1 coming in." (in UK).
In many theaters, all people on stage are expected to respond with "thank you."
Upon completion of the lineset motion, some operators may call again "lineset three locked" to announce that the lineset has stopped moving and is secure.<br>

The Calling System The calling system isn’t just used while flying. Some common calls used in the theatre are
“Going Dark!” or “Going Bright!” as not to blind anyone working on lights or ladders
“Going HOT!” if turning on electricity
“Loose tool Overhead!” or “Open Blade Over Head” when using dangerous objects over head
“Loud Noise”, “Welding!”, or “At Your Back!”<br>

RUNAWAYS A runaway is a moving lineset that cannot be safely controlled by its operator.
Runaways can occur when the weight on the arbor is not equal to the weight of the batten and its load.
Linesets are often intentionally unbalanced to facilitate quick flying in one direction and, in such cases, runaways are more likely to occur.<br>

WHAT TO DO WITH A RUNAWAY In the rare event that an unbalanced lineset gains so much momentum that the operator cannot stop it, a specified safety procedure is usually followed.
Venues typically establish a standard call for this event, which might sound something like "Runaway PIPE, upstage, heads. HEADS!"
Operators are trained not to attempt to stop a runaway lineset but rather to warn others and safely escape. The reason for this is that it is unlikely that they will be able to stop it, and very likely that they will rope burn their hands or be lifted by the lineset, potentially injuring themselves on structure above and/or from a subsequent fall.
Furthermore, this might position the operator in the path of the batten, arbor, or sandbag as they accelerate downward.
Spreader plates are used in counterweight arbors to keep the arbor's vertical rods from bending and releasing the counterweights in the event of a runaway, while the locking plate prevents the counterweights from bouncing out of the arbor.<br>