Stage Plot Pro Serial Number Mac Drive 8 18
Theodora Glime
In comparison to the treatment with several mild events, the cover of late colonisers (C. stellatus and complex algae) was highest in the control, and lowest in the treatment with the most extreme event. Specifically, the cover of complex algae reached the lowest values in the plots that suffered the most extreme events, in comparison to other plots that suffered more climatic events but with less intensity. The cover of sessile taxa was much lower for the scenario of one extreme event in comparison to the scenario with several mild climatic events, for which the only exception was the early colonisers, (encrusting and filamentous algae and Rivularia spp.) which remained stable or increased. These taxa are characterized by very quick recovery rates, particularly for Rivularia spp. which are cyanobacteria. Therefore, this study demonstrates that an extreme event can have more negative impacts than several mild events, directing the biological assemblages towards earlier stages of succession.
How to cite this article: Sanz-Lázaro, C. Climate extremes can drive biological assemblages to early successional stages compared to several mild disturbances. Sci. Rep. 6, 30607; doi: 10.1038/srep30607 (2016).
Stage 3 starts before one year of depletion and continues until the economic limit is reached. In this example, the limit is reached after 13.5 years when the oil-producing rate reaches 20 stock tank barrels/day (STB/D). The length of pressure depletion depends strongly on the reservoir permeability and on the prevailing economic conditions. For instance, lower permeabilities will decelerate recovery and protract depletion. The final pressure is 613 psia. This pressure is not low enough to realize Stage 4; therefore, this stage of depletion is not portrayed in Fig. 2. The absence of Stage 4 in field cases is not uncommon. The marked increase in the GOR from 838 to 4,506 scf/STB during Stage 3 coincides with marked increase in the gas saturation from 5 to 28.7% PV. At the economic limit, these simulations predict final oil and gas recoveries of 24.2% of the OOIP and 53.1% of the OGIP. Stage 3 clearly dominates the depletion life of a solution gas drive reservoir.
The number of data points in an F-vs.-Eowf plot is usually limited by the number of average-reservoir-pressure measurements. Recall that F and Eowf are functions of pressure by means of the standard PVT parameters. If two or more data points (other than the origin) exist, then a mathematical criterion must be adopted to determine the "best" line though the data or the "best" estimate of N. If a least-squares criterion is adopted, then the OOIP estimate is[9]
Eq. 3 offers a strictly mathematical means to estimate the OOIP without constructing an F-vs.-Eowf plot. In general, however, a plot is recommended because it provides a visual means to assess the scatter of the data. The straightness of the data points is a measure of material balance and confirmation of the solution gas drive mechanism.
Fig. 4 shows a plot of F vs. Eo. The slope of this plot is 10.2 million STB, which is an estimate of the OOIP. This estimate agrees closely with the volumetric estimate of 10.7 million STB. The agreement of the volumetric and material-balance OOIP estimates, together with the straightness of the F-vs.-Eo plot, is strong evidence that this reservoir is producing exclusively by a solution gas drive mechanism.
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AUDIO DESCRIPTION
A service greatly appreciated by those with impaired vision, Audio Description involves a describer sitting at the rear of the auditorium (in the booth if there is room) providing a narration describing the action on stage. The skill is in not getting in the way of the on stage dialogue, sound effects or other audible movements on stage, but filling in where vision would help with the plot.
Making Theatre Accessible
BELL BOARD
A live sound effects board on which are mounted a number of different types of doorbells / phone bells etc. Usually operated by stage management. The switch or bell push to operate the doorbell (or even the whole bell board) can easily be mounted on the set if the director wants the actors to operate it themselves.
CLOTH
A piece of scenic canvas, painted or plain, that is flown or fixed to hang in a vertical position. It is suspended from a bar or batten above the stage and can usually be flown up or down (out or in, in theatre terminology) to bring it into view of the audience.
A Backcloth (or Backdrop) hangs at the rear of a scene.
A Floorcloth is a painted canvas sheet placed on the stage floor to mark out the acting area, or to achieve a particular effect.
A Frontcloth hangs well downstage, often to hide a scene change taking place behind.
Cut cloths have cut-away open areas and are normally used as a series, painted in perspective.
A Star Cloth (also Star Drop or Starcloth) (usually black) has a large number of small low-voltage lamps sewn or pinned through it which gives a magical starry sky effect. (See also FIBRE OPTICS).
In the US, a cloth is known as a Drop (from backdrop).
In Spanish, a flown cloth is a Bambalina.
In German, a floor cloth is a Bodentuch
CUE LIST
A list of sound, lighting, automation, scene change, video, followspot (etc) cues in order of their appearance in the show. Each cue is given a unique number, and the list includes a brief description of what it does (e.g. for Lighting: Blackout, Dim Downstage Wash, Red Spot Upstage; for Sound: Preshow Music, Fade Out, Snap Music to Quiet etc. )
Cue is often abbreviated to 'Q".
Also known as a Plot Sheet.
DEAD
1) A pre-plotted height for a piece of scenery or lighting bar - 'that bar's on its dead'. The positional indicators on the rope (either PVC tape, or more traditionally cotton tape passed through the strands of the rope) are called DEADS. Sometimes flying pieces are given a number of extra deads, that may be colour coded, in addition to the 'in dead' (lower) and 'out dead' (higher - out of view). In the US, TRIM has the same meaning. Fluorescent ribbon is often used, through the fibres of the rope. The fluorescent colour shows very clearly under UV light, which is often used to light fly floors.
2) Scenery or equipment not needed for current production - 'that table's dead'.
3) An electric circuit that has been switched off or has failed - 'the circuit's dead, you can change the lamp now'
Submitted by Chris Higgs
GOING DARK
Warning to people on stage that the lights are about to be switched off. Normally said during lighting plotting sessions or technical rehearsals. Obviously should not be done if there is any risky work on stage, or if anyone is up a ladder / using power tools / working on platforms / rehearsing choreography etc.
IN THE ROUND
Theatre in the Round is a form of audience seating layout where the acting area is surrounded on all sides by seating. There are often a number of entrances through the seating. Special consideration needs to be given to onstage furniture and scenery as audience sightlines can easily be blocked.
Stage managers and directors often use the idea of a clock face to describe actor positions on stage (e.g. the aisle nearest the technical point is described as the 12 O'clock position, with other aisles described as 3, 6 and 9 O'clock.)
See also ARENA, THRUST, END ON, TRAVERSE.
PLOT
1) List of preparations and actions required of technical crews during the performance (eg Sound Plot = list of sound cues and levels in running order.) In the US, the term plot refers to a plan. (eg Light Plot = scale plan showing lighting instruments). See also RUNNING PLOT, STATE PLOT.
2) Session during which lighting states are created or checked with the director, on stage, with furniture and stand-in actors. This is also the name for the session during which sound levels are set (but this should not happen at the same time as the lighting plot!).
3) The basic story thread running through a performance / play which gives the reason for the character's actions.
REHEARSAL
(from Latin hirpex - 'large rake used as a harrow'. Rehearse means 're-harrow', or to 'go over again'. It originally meant 'to repeat' (mid 14th century). It wasn't until the late 16th century that it came to it's modern meaning.)
A session when actors are called to work through some scenes from the play in private.
Types of Rehearsal:
The initial phase consists of a Readthrough, when the entire company and technical staff hear the play read by the actors straight-through, as written in the script.
Blocking Rehearsals follow the readthrough(s) and involve working through the play scene-by-scene with the actors and director looking at movements and on-stage positions / physical relationships of the actors. They also may involve character analysis and discussions about the emotional development of the characters as the plot progresses. The set should be marked out on the rehearsal room floor, and stand-in furniture (either generic tables & chairs, or rehearsal blocks) is used where relevant. This is sometimes known as an Acting Area Rehearsal.
Once the blocking is worked out, and the actors know what they're doing, the performance is said to be 'Up on its' feet' - it is able to be run through, and the technical team and designers can watch rehearsals knowing they're seeing the bare bones of what will become the finished performance.
A Line Run (also known as Line Bash) is a speed run of just the actors' lines, to enable them to feel confident that the text is correct (and remembered).
Polishing Rehearsals follow, once the actors are secure with their movements through the play, and look at the nuances of character and how lines are delivered in more detail, along with any physical sequences. The Director works with the actors in small groups, rather than having the entire company called to each session.
A series of Technical Rehearsals (often shortened to Tech Rehearsal) are the first time when technical elements (lighting, set etc.) are combined with actors. The actors should be secure in their character, blocking, physical actions etc by this point, and the technicai crew work on integrating all of the technical and physical aspects of the show.
Dress Rehearsals (or Dress Runs) are performances of the show as it will be on opening night, with all technical elements up-to-speed and working correctly, including full costume and make-up. The stage management team use these rehearsals to ensure any scene changes and technical aspects work reliably, repeatably and safely, and the actors ensure they can perform as required at full speed, and that none of the technical elements cause them any problems.