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1953-54 Theatre Catalog, 11th Edition, Page 19 (xix)

1953-54 Theatre Catalog, 11th Edition
1953-54 Theatre Catalog
1953-54 Theatre Catalog, 11th Edition, Page 19
Page 19

1953-54 Theatre Catalog, 11th Edition, Page 19

In an attempt to correct these faults, Schlanger developed his reversed slope design which is known today, in its modified form, as the dual incline. What this plan did was to change the Slope of the orchestra floor, bringing a higher point of the iioor nearer the screen instead of the low point. In other words. instead of the usual door slope of seven feet downward towards a motion picture screen, there was a slope starting from the rear of the auditorium of only about two feet downward, and half-way down the seating depth, there started an up ward slope towards the motion picture screen of approximately a little less than two feet, varying with the depth of the seating.

A problem which Schlanger still feels requires more work, is that of determining the desirable angles of view upward and dowward to the picture. The quality of a. theatre design from a patroncomfort standpoint, is very much aii'ected by this yardstick. Spectators in upper level seating should not experience excessive upward viewing. He says that the ideal design would present the largest percentage of seating positions for the entire theatre affording desirable vertical angles of view. '

As could be determined by previous remarks, Schlanger has always been an advocate of upper level seating, where it is possible. He was in favor of this form because Viewing distances and screen image sizes were thereby decreased, which is still desirable with the advent of the wide screen movement, and his reason is that the screen size

THE NEW STREAMLINED NORMANDIE. New York. was inspired by the French ocean liner and lectured armchair seating comtort.

is dependent completely on viewing distances.

He believes that as the result of his work, and that of his contemporaries, balcony seating can be at a comfortable level with relation to the picture level, and projection angles can be kept well within recommended limits.

When building a theatre with a single upper level of seating, the orchestra fioor must be lower. However, if properly designed the orchestra floor is lower in relation to the level of the screen only for the portion farthest from the screen. And Schlanger says that this lowering of the fioor does not create any annoying upward viewing because the distance from the screen places the screen well within the normal range of vision.

With this design, the balcony seating positions are improved to a great extent, and at no sacrifice in the quality of the orchestra seating. Another advantage of this design is the elimination of the requirement for the intermediate step in the balcony aisles, the extra step Which had to be used to get from the level of one seating platform to the next. Since this step had to be shorter than the rest of the platform, it has alwa s created a hazard, and many of the accidents in theatre aisles have been due to this fault. Because the pitches of the balconies can be much less severe, Schlanger says there is no need for 1hr extra short step between seating Platforms.


1953-54 Theatre Catalog, 11th Edition, Page 19