Chapter 11:

Lifting the Magic: Rigging Systems and Safe Stage Movement

Introduction

Have you ever watched an actor soar through the air, a chandelier descend with pinpoint precision, or a set piece seemingly float into place? Behind every magical moment that defies gravity is a team of skilled technicians, a series of mechanical systems, and centuries of ingenuity. This is the world of stage rigging—where physics meets illusion, and safety meets spectacle.

Rigging is the practice of using ropes, pulleys, cables, and control systems to move scenery, props, lighting, and even performers above the stage. Though often hidden from view, rigging systems are essential to the operation and safety of nearly every theatrical production. They allow designers and directors to build vertical worlds, choreograph scenic transformations, and evoke awe—all while ensuring that what goes up, comes down safely and intentionally.

This chapter will introduce you to the history, terminology, tools, and techniques of stage rigging. You'll explore how these systems evolved from ancient sailing practices and global performance traditions to modern automation and computer-controlled lifts. Whether you’re flying Peter Pan, lowering a sign, or raising a curtain, understanding rigging is key to both creative vision and safe practice in theatre production.

Most importantly, you’ll learn that rigging is everyone’s responsibility. Even if you're not climbing the grid or running the fly rail, knowing how to identify hazards, respect load limits, and communicate clearly can help prevent accidents and create a culture of care backstage.

Let’s lift the curtain—literally—and begin.

A Brief History of Rigging

Rigging systems, long before they became standardized in Western proscenium theatres, evolved from practical innovations in both sailing and sacred storytelling across cultures. While Western theatre often traces rigging back to the ancient Greek Deus Ex Machina, a broader view reveals a rich tapestry of rigging practices developed independently in Asia, the Middle East, Africa, and Indigenous communities.

Nautical Beginnings

Sailing vessels relied on rigging systems—ropes, pulleys, and knots—to raise sails, control masts, and navigate seas. These systems existed as far back as 3000 BCE in Egypt, and even earlier in Austronesian maritime cultures across the Pacific and Indian Oceans, where outriggers and woven rope rigging enabled long-distance voyaging. Sailors’ deep understanding of load-bearing knots, friction, and leverage formed the basis for early stage rigging.

Deus Ex Machina and Greek Innovation

In 5th century BCE Athens, playwrights like Euripides used stage machinery known as the Deus Ex Machina ("god from the machine") to lower actors playing gods onto the stage via a crane-like device. This effect allowed divine interventions to resolve complex plots and introduced suspended rigging into theatrical storytelling. The Greeks also employed trapdoors and rolling platforms (ekkyklêma) to change scenery or reveal action.

Chinese Opera and Kabuki Theatre

In Chinese opera, especially Peking (Beijing) opera, performers used fabric rigging and symbolic props—flags for armies, ribbons for wind or water. Though not mechanical in a Western sense, the representational use of cloth and suspended objects was a form of visual rigging that shaped audience perception through precise movement.

Japanese Kabuki theatre, dating back to the 1600s, used advanced rigging systems such as:

• Kara-kuri: hidden stage mechanisms and trapdoors.
• Seridashi: stage elevators for sudden entrances.
• Chūnori: a flying rig using pulleys and ropes to lift actors into the air—centuries before “flying” became common on Western stages.

These techniques were operated by kuroko, stagehands dressed in black who moved unseen by the audience, similar to modern fly crew.

Indigenous and Ceremonial Practices

In Indigenous North American, Andean, and African performance traditions, suspended objects, poles, and ropes were used in ritual storytelling. For instance:

• In Haudenosaunee (Iroquois) longhouse ceremonies, hanging objects and sound-producing materials like rattles or shells were rigged into sacred spaces to signal transitions or summon spirits.
• In Andean festivals, aerial rigging is used to simulate flight or to suspend effigies and offerings during agricultural and spiritual celebrations.
• In Yoruba ritual theatre (Nigeria), puppets or masks were often suspended or manipulated with ropes, blurring the line between scenic effect and sacred symbolism.

Other global traditions further expand our understanding of rigging's cultural significance:

• Polynesian navigation huts incorporated lashings and suspension systems in traditional staging, echoing the logic of theatrical rigging—especially in suspended structures during performances or ceremonies.
• Peking Opera frequently used overhead lines hidden in elaborate costumes to rig flying and acrobatic effects, often operated in coordination with musical cues to enhance rhythm and narrative.

These traditions remind us that rigging is not only about mechanics—it’s also about meaning, presence, and ritual transformation. Integrating these cultural approaches into our understanding of theatre practice invites us to rethink assumptions of Euro-American stagecraft dominance and embrace the truly global nature of theatrical innovation.

From Shipyards to Stages: Renaissance and Beyond

By the 16th century, the theatre of the Italian Renaissance embraced complex scenic changes. Many stagehands were recruited from shipyards and ports, bringing maritime rigging knowledge with them. The chariot-and-pole system—hidden machinery used to slide scenic elements on and off—relied heavily on ropes, pulleys, and stage decks built like ship hulls. These systems flourished in Baroque opera houses, eventually evolving into the counterweight fly systems common in modern theatres.

Ropes and Knots: The Backbone of Rigging

While rigging systems have become increasingly complex over time, their foundation remains remarkably consistent: ropes and knots. Understanding how ropes work—and how to tie them effectively—is essential for anyone working with theatrical rigging. These basic tools are the difference between safety and disaster, between smooth transitions and catastrophic drops.

Types of Rope in Theatre

Not all ropes are created equal. In theatrical rigging, the material and construction of the rope determines its strength, stretch, and best application.

Hemp Rope: The traditional rope of stagecraft, hemp is strong, grippy, and biodegradable. However, it can be inconsistent in diameter, affected by humidity, and sheds fibers over time. Many older theatres still use hemp systems, requiring frequent inspection and maintenance.

Synthetic Rope (Polyester/Nylon): Modern synthetic ropes are smoother, more consistent, and offer greater strength and resistance to weathering. Polyester ropes are particularly common in new rigging systems because they resist stretching (low elongation), making cue timing more precise.

Wire Rope (Aircraft Cable): Made of braided steel, wire rope is used in many overhead suspension systems for its extremely high tensile strength. It's common in counterweight arbor systems, automated battens, and grid rigging, especially in permanent installations.

Essential Knots for Rigging

Theatre technicians must know a handful of reliable knots—each with specific applications. A knot should be strong, easy to tie and untie, and safe under load.

Bowline: A strong, fixed loop that doesn’t slip under tension. Ideal for attaching a rope to an object or creating secure loops. "The rabbit comes out of the hole, around the tree, and back into the hole" is a common teaching phrase.

Clove Hitch: A quick, adjustable knot often used to secure rope to a batten, pipe, or post. Not recommended for critical loads unless backed up with another knot.

Figure Eight (and Figure Eight on a Bight): A reliable stopper knot that prevents a rope from slipping through a pulley or loop. Can also be used to create a midline loop.

Half Hitch and Double Half Hitch: Used for tying off ropes or reinforcing other knots. Often paired with other knots for added security.

Prusik Knot : A friction hitch used in climbing and rigging scenarios. Can slide when not under load and lock when weighted.

💡 Practice Tip: Every technician should be able to tie these knots one-handed, in the dark, and under pressure. Practice regularly with real rope—not string—and test the knot under moderate load.

Care and Inspection of Ropes

Ropes are subject to wear and tear, especially in busy productions. Regular inspection ensures safety:

• Fraying or Broken Fibers: Discard immediately if visible.

• Discoloration or Odor: May indicate chemical contamination or mold.
• Crushing or Flat Spots: These weaken rope integrity.
• Knots Left Tied Under Load: Always untie and retie between uses—permanent set can compromise strength.

Store ropes coiled loosely, off the ground, and away from heat or moisture. Never step on a rope—it can grind dirt into the fibers and shorten its lifespan.

Types of Rigging Systems

Rigging systems in theatres are engineered to move scenery, curtains, lighting instruments, and even performers—sometimes in full view of the audience, sometimes discreetly behind the scenes. These systems range from ancient manual mechanisms to cutting-edge computer-controlled automation. Understanding the different types helps theatre technicians make informed, safe, and creative choices based on the needs of the space and production.

1. Hemp Rope and Sandbag System (Rope Set System)

What it is: The rope set system is one of the oldest theatrical rigging methods still in use. It typically involves three or more hemp ropes that run from a batten (the pipe holding scenery or lights) up through pulleys (called loft blocks), across to a larger pulley (head block), and down to the side of the stage where the ropes are tied off. Sandbags are used as counterweights and are tied to the rope below the pulley system.

Key Components:

• Hemp or synthetic ropes
• Loft blocks and head blocks (pulleys)
• Sandbags (counterweights)
• Cleats or pins for tying off lines

Where it’s found: Historic theatres and educational theatres, often used for instructional purposes.

Pros:

• Affordable and repairable with simple tools
• Offers nuanced, tactile control
• A great system for teaching foundational rigging concepts

Cons:

• Labor-intensive
• Requires manual strength and proper training
• Difficult to balance large or uneven loads

Safety Note: Ropes must be regularly inspected for fraying or wear, and all operators must be trained in safe line handling and proper knot-tying techniques.

2. Counterweight Fly System (Single and Double Purchase)

What it is: A counterweight system uses steel arbors (metal frames) filled with weights to balance the load on a batten. A hand line (rope) controls the movement of the arbor and batten, allowing a stagehand to raise and lower scenery with minimal force.

Key Components:

• Steel arbors
• Steel weights (called bricks or pigs)
• Rope hand lines
• Locking rail
• Loft blocks and head blocks

Single Purchase System: The arbor and batten travel the same distance. Operated from stage level, this system requires a tall fly tower.

Double Purchase System: The arbor travels half the distance of the batten, allowing operation from a higher loading rail. Requires double the counterweight but saves vertical space.

Where it’s found: Medium to large theatres, educational institutions, regional venues.

Pros:

• Smooth, safe movement of heavy loads when properly balanced
• Effective for fast cue-based scene changes
• Widely used in professional settings

Cons:

• Requires precise balancing of weights
• Mismanagement can cause equipment damage or injury
• More costly and complex to maintain than hemp systems

Safety Note: Never “ride” the arbor. All users should be trained in the proper loading and locking of weights and must understand what happens when a system becomes unbalanced.

3. Motorized Winch Systems

What it is: These systems use electric motors to raise and lower battens or lines, replacing human muscle with consistent, mechanical power. They are operated by a control panel or wall switch.

Key Components:

• Electric winches
• Steel cable or synthetic rope
• Control panel or switch
• Brake systems and limit switches

Where it’s found: Large professional venues, modern high school and university theatres, performing arts centers.

Pros:

• Reduces physical strain and crew fatigue
• Increases precision and repeatability of movement
• Enables cueing with show control software

Cons:

• Expensive to install and maintain
• Requires trained operators and regular testing
• Breakdowns may interrupt performance if not quickly repairable

Safety Note: Motorized systems must be tested regularly and include load limits, emergency stops, and operator lockouts to prevent accidents.

4. Automated Rigging Systems (e.g., ETC Prodigy, TAIT Navigator)

What it is: These advanced systems allow batten movement to be pre-programmed, synchronized with lighting and sound cues, and adjusted in real-time using touchscreen interfaces or remote controllers. They can be integrated with stage automation for scenery and performer flying.

Key Brands/Examples:

• ETC Prodigy: Designed for schools and mid-sized venues, includes intuitive interfaces and built-in safety features.
• TAIT Navigator: Used in Broadway, concert touring, and immersive experiences, often for complex set movements and flying effects.

Where it’s found: Broadway theatres, theme parks, opera houses, major educational facilities.

Pros:

• High precision and repeatability
• Flexible and programmable cue sequences
• Excellent for syncing complex multimedia cues

Cons:

• High initial cost and maintenance
• Requires skilled technicians and regular safety inspections

Safety Note: Automated rigging must always include hard stops, emergency stop buttons, and load monitoring. Operators should receive factory-certified training whenever possible.

5. Dead Hung and Fixed Grid Systems

What it is: Dead hanging means scenery, lighting, or pipes are permanently suspended from the ceiling or grid with no vertical movement. A fixed grid is a metal structure above the stage where rigging points are manually adjusted using lifts or ladders.

Key Components:

• Pipe battens (non-moving)

• Beam clamps, shackles, and cable

• Manual lifts or ladders for access

Where it’s found: Black box spaces, classrooms, gymnasiums, multi-use venues.

Pros:

• Simple and cost-effective
• Minimal maintenance
• Great for static installations or educational demos

Cons:

• Not suitable for fly cues or fast scene changes
• Changes require manual labor and often involve height access equipment

Safety Note: All hanging hardware must be rated for load capacity, and installations should follow local building codes and ANSI standards for suspended equipment.

How to Safely Suspend Things Over People’s Heads

Suspending objects overhead—whether lighting instruments, scenic elements, projection surfaces, or immersive effects—is a standard but high-stakes part of theatrical production. Every item flown above an audience or performer must be treated with meticulous care. Safety is not just technical; it’s cultural.

1. Understand the Load Path

The load path is the route a load takes from its attachment point to its ultimate anchor. This includes:

• The Structure: Beam, grid, or ceiling structure—must be rated to hold the entire load plus a safety margin.
• Hardware: Beam clamps, shackles, wire rope clips, turnbuckles—all must be rated, labeled, and inspected regularly.
• Suspension Medium: Wire rope (aircraft cable), chain, or certified synthetic rope—sized to exceed the expected load and safety factor.
• Object: The actual element being suspended (a flat, speaker, or truss)—must include rated connection points.

Best Practice: Never mix metals (e.g., aluminum truss with steel shackles) without isolators—galvanic corrosion can weaken connections over time.

2. Factor In Dynamic Loading

Even stationary-looking elements may be subject to dynamic load—movement, vibration, or sudden stop/start actions. These can multiply the effective weight by up to 5x or more.

• Flying scenery: If a drop accelerates or stops abruptly, the shock load can exceed rated capacities.
• Motorized lifts: Mis-timed cues or system faults can cause strain if not properly programmed and tested.

Rule of Thumb: Always assume 5:1 or higher safety factors when motion is involved.

3. Practice the 3-Point Rule When Working at Height

Anyone climbing ladders, trusses, grids, or catwalks should use the 3-point contact rule at all times:

• Three points of contact = two feet + one hand OR two hands + one foot on a secure surface.
• No carrying gear in your hands—use tool belts or haul lines to move items.

Why it matters: Slips, loss of balance, or sudden movement at height can cause major injury or equipment drops.

4. Use Proper Fall Protection Systems

When working at height (on grids, trusses, tension grids, or fly galleries), technicians must use certified fall protection equipment:

• Full-body harnesses rated for theatrical use
• Shock-absorbing lanyards or self-retracting lifelines
• Certified anchor points (NOT pipes, battens, or unapproved beams)

Training must include:

• Fall arrest vs. fall restraint
• Anchor selection
• Rescue plan implementation

OSHA, ANSI, and ETCP guidelines require specific training and documentation. Never improvise fall protection.

5. Inspect Every Rig – Every Time

Routine inspections are non-negotiable. Before every performance or use:

• Check shackles for wear, rust, or deformation
• Inspect wire rope for frays, birdcaging, or crushing
• Ensure hardware is torqued and secure
• Test and confirm motor operation, stops, and limits
• Examine safety cables and backups for proper attachment

Create a rigging inspection log and assign responsibility for checking and signing off.

6. Double Your Safety with Redundancy

No single point of failure should compromise the safety of people onstage. Redundancy saves lives.

• Safety cables on all hanging lights and speakers
• Independent second supports on large flown scenery
• Backup lines or harnesses on lifted performers or moving elements

Redundancy means designing for failure—and ensuring even when something goes wrong, nothing falls.

7. Communicate with Clarity

Clear verbal and visual communication keep everyone safe:

• Use standardized callouts: “Heads up!”, “Line moving!”, “Hold the line!”
• Warn before movement of any overhead piece
• During rehearsals and changeovers, perform “safety talks” for new crew or performers
• Use radios, headsets, and hand signals in noisy or dark environments

Safety communication is a team habit—not just an individual responsibility.

8. Document and Lockout Hazardous Systems

If a piece of gear is damaged or unsafe:

• Tag it out: Clearly label it “DO NOT USE” with tape or signage
• Lock it out: Prevent motors or systems from being engaged
• Report it: To the TD, rigging supervisor, or venue manager

If in doubt, stop the show. Safety trumps schedule.

9. Call in Certified Professionals When Needed

If your production involves:

• Motorized rigging
• Performer flying
• Complex scenic automation
• Suspended loads above audience areas

You must consult with a certified rigger, ETCP technician, or licensed engineer.

Amateur solutions are not acceptable when lives are at stake. Know your limits and reach out.

Rigging Accessories and Safety Equipment

Rigging is more than pulling ropes — it's an engineered system requiring specialized tools, rigorous inspection, and disciplined technique. Whether you’re flying a backdrop or raising a lighting truss, these accessories and protocols ensure the work is not only effective, but safe.

Essential Rigging Hardware

The accessories below are found in most professional theatre spaces. Each serves a specific function in load distribution, angle control, and secure fastening:

Shackles:

• Forged Alloy Steel Shackles are industry standard — each is stamped with a Working Load Limit (WLL).
• Safety Tip: Always load shackles on the center pin axis; side loading drastically reduces capacity.
• Common Use: Hanging lighting trusses or chain motors from grid points.

Turnbuckles:

• Made in open-body or closed-body styles.
• Rigging Use: To fine-tune level scenery elements (like a raked platform or flying drop).
• Safety Tip: Once tensioned, secure the turnbuckle with a wire tie or cotter pin to prevent loosening due to vibration.

Spanset / Round Slings:

• Fiber loops rated for vertical, basket, or choker configurations.
• Good Practice: Always pad sharp corners and avoid knots or twists in the sling.
• Color Codes: Purple (1,000 lbs.), Green (2,000 lbs.), Yellow (3,000 lbs.) — always verify with manufacturer specs.

Wire Rope and Crosby Clips:

• Thimbles are inserted into wire rope loops to prevent kinking.
• Follow the "Rule of Three": At least 3 wire rope clips spaced correctly; torque clips to spec.
• Tag Lines: Prevent load spinning and help stabilize objects being lifted.

• Motorized Equipment:

• Chain Motors (CM Lodestar is a common brand) often require a dedicated operator.
• Line Sets: May include motorized winch systems like ETC Prodigy, which offer programmable presets and remote diagnostics.

Safety Equipment and PPE

Theatre rigging often requires working at height or with heavy suspended objects. Proper PPE and training are mandatory.

• Fall Arrest Systems:

• Full-body harnesses must meet ANSI Z359 standards.
• SRLs (Self-Retracting Lifelines) are preferred over lanyards for greater movement and fall force reduction.
• Anchorage Devices may include I-beam sliders, ceiling loops, or fixed steel anchors rated for 5,000 lbs. (per OSHA).

• Site-Specific Safety:

• Venues should maintain a Fall Protection Plan and Rescue Plan.
• Install signage near high-risk areas (e.g., “Harness Required Beyond This Point”).

• Footwear:

• ASTM-rated Steel-Toe Boots protect against rolling/falling rigging hardware and are often required during load-ins or builds.

• Hearing and Eye Protection:

• Required when working near power tools (e.g., grinders, impact drivers used in rigging support).
• Tip: Keep protective gear stocked near work areas to encourage use.

Inspection, Documentation, and Load Testing

• Daily Checklists (often laminated backstage):

• Look for rust, deformation, frayed wires, worn splices, cracked shackles, or discoloration in synthetic slings.
• Use color-coded tags or lockout tags for defective gear.

• Load Certification and Testing:

• Many venues require load certification for battens, grids, and fly systems, especially in spaces rented by outside productions.
• Dead Hang Loads (objects suspended from a single point) should be assessed by a qualified rigger or engineer.

• Documenting Safety:

• Maintain Rigging Logs that include:

• Date of inspection
• Inspector initials
• Observed defects and repairs made
• Manufacturer info and serial numbers

• Training and Competency:

• Only trained personnel should install or operate rigging systems.
• Stage crew and students should complete ETCP-recognized safety training before using motorized systems or fly systems.

Global and Historical Influence

Incorporating diverse rigging traditions offers deeper understanding of how cultures around the world have managed suspended elements and overhead construction:

• Japanese Kabuki Theatre:

• Uses seri (elevator platforms) and chūnori (flying rigs) to lift actors and scenery through trap doors or across the stage.
• Operators are often dressed in black (kuroko) and coordinate silently with performers.

• Peking Opera:

• Flying and acrobatics are often rigged using overhead lines hidden in elaborate costumes, relying on hand-operated pulleys — often in coordination with music cues.

• Haudenosaunee Longhouse Ceremonies:

• Rely on overhead storage and symbolic hanging objects crafted with twine, bark rope, or sinew — examples of Indigenous suspension techniques balancing function and cosmology.

• Polynesian Navigation Huts:

• Lashings and suspension systems in traditional staging resemble rigging logic — especially in suspended structures during performances or ceremonies.

Integrating these cultural approaches in your curriculum acknowledges the global nature of rigging practices while inviting students to rethink assumptions of Euro-American stagecraft dominance.

Conclusion

Rigging is one of the most invisible yet essential parts of theatrical magic. It’s where engineering meets artistry, where centuries of global traditions meet cutting-edge technology. Whether you're tying a knot, inspecting a cable, or programming a motorized lift, rigging is about trust, communication, and responsibility. From hemp rope systems in historic fly houses to computer-controlled automation in Broadway theatres, every rig must be treated with care and every technician trained with intention.

More than just a technical skill, rigging is a culture of safety. It asks us to be mindful, collaborative, and precise. It challenges us to understand the mechanics beneath the spectacle—and to respect the lives those mechanics protect. It reminds us that nothing overhead should ever be taken for granted.

As you continue your training and gain experience backstage, remember that rigging is never a solo act. It requires coordination, ongoing learning, and a shared commitment to keeping everyone safe. Whether you become a fly crew member, a designer, a stage manager, or a curious collaborator, your awareness of rigging systems will make you a stronger, safer, and more versatile theatre-maker.

Keep looking up—and keep asking questions. That's where the learning begins.

Showcase Your Learning

Assignment Objective

Students will demonstrate their understanding of theatrical rigging by applying principles of safety, system design, and hardware use in a creative or technical project.

Assignment Rationale

Stage rigging is fundamental to creating dynamic, safe, and effective theatrical environments. Whether you’re designing a scene change, hanging lighting instruments, or flying scenery, understanding how and why things stay in the air is essential.

Choose Your Assignment

Pick one of the following ways to explore and demonstrate what you’ve learned about stage rigging:

1. Design a Fly System for a Show: Choose a scripted play or musical with multiple flying elements (e.g., Peter Pan, Matilda, or Phantom of the Opera). Create a draft rigging plan that includes:

1. A labeled grid or batten map
2. Descriptions of flown scenery or effects
3. Line set schedules or motor assignments
4. Annotated diagrams or cue descriptions

2. Create a Rigging Safety Training Presentation: Design a short slide presentation or video to train new high school or college technicians on safe rigging practices. Include:

1. 5 essential safety rules
2. Visuals of hardware (shackles, wire rope, harnesses)
3. Proper PPE and fall protection
4. Examples of “what not to do”

3. Build a Scale Rigging Demo Model: Construct a miniature version of a single-purchase or double-purchase rigging system using model materials (string, washers, pulleys, dowels). Demonstrate:

1. How loads are flown and counterweighted
2. The path of the rope and arbor
3. Safety elements like locking rail or batten control

4. Interview a Rigger or Fly Rail Operator: Reach out to a theatre professional who works in rigging or automation. Create a 3–5 minute audio or video reflection OR a written summary including:

1. What a day in their job looks like
2. Their advice for rigging safely
3. Real-world challenges they’ve faced
4. How rigging intersects with design and storytelling

5. Rigging in Cultural Context: Research a historical or global rigging tradition (e.g., Kabuki stage mechanisms, Noh stage traps, puppetry rigging, or Indigenous lifting techniques). Create a one-page infographic or poster that includes:

1. Visuals of the system in use
2. How it was constructed
3. What cultural values or performance goals it reflected
4. How it compares to modern rigging

6. Cue Calling Simulation: Flying Scenery: Write a cue sequence and call script for a scene that involves multiple flying elements. Include:

1. A short script excerpt
2. A cue sheet with standbys and GO calls
3. Diagrams of what’s moving and when
4. Consideration of safety and sightlines

7. Roll the Dice: Mystery Build Challenge: Let the fates decide!

All assignments must include the following

• A written reflection (200–300 words) explaining: What you learned, What challenges you faced, How this connects to real-world theatre practices
• Proper safety considerations and terminology
• Credit for any collaborators or research sources used

Key Terms

Arbor – A metal frame that holds counterweights in a rope-and-pulley system to balance flown scenery or equipment.

Batting Line (Line Set) – A collection of ropes, pulleys, and hardware used to raise and lower scenery, lights, or curtains.

Batten – A long metal pipe (usually schedule 40 steel) suspended from a fly system used to hang scenery, lights, or curtains.

Block – A pulley used in rigging systems to redirect the path of a rope or cable.

Counterweight System – A rigging system in which metal weights balance the load of flown elements to make movement easier and safer.

Deus Ex Machina – Latin for "god from the machine"; an ancient Greek rigging device used to lower actors (often portraying gods) onto the stage.

Dead Hang – A method of rigging where an object is hung directly from the structure without the use of a pulley or counterweight system.

Fly Loft – The space above the stage where scenery and equipment can be lifted and stored out of view.

Grid (Gridiron) – The steel structure at the top of the stage house from which rigging systems are suspended.

Hemp System – A traditional rigging system using natural fiber rope and sandbags instead of steel cables and counterweights.

High Steel – Slang for working at heights in the grid or overhead truss systems, often used in concert and arena rigging.

Knot – A way of securing rope or cable; examples include the bowline, clove hitch, figure-eight, and square knot.

Load-In / Load-Out – The process of bringing scenery, lights, and rigging into (or out of) the theatre.

Loft Block – A pulley attached to the grid that redirects the lift line toward the head block.

Motorized Hoist / Automated Rigging – A mechanized rigging system (e.g., ETC Prodigy) that uses electric motors to control lifts and drops with precision.

Pick Point – A specific point where a line or chain connects to the structure to lift a load.

Rope Lock – A mechanical brake that secures the operating line on a counterweight system.

Safety Factor – The ratio of the maximum load a rigging component can support to the actual expected load; ensures systems operate well within safe limits.

Shackle – A U-shaped piece of metal secured with a pin, used to connect components in a rigging system.

Span Set (Round Sling) – A flexible, fabric-wrapped sling used to secure heavy objects safely without damaging their structure.

Three Points of Contact – A best practice rule for working at height: always maintain three points of contact (e.g., two hands and one foot) to reduce fall risk.

Truss – A metal framework used in arena rigging or touring shows to hang lights, speakers, and scenery.

Winch – A motorized or hand-operated drum used to wind rope or cable to raise and lower loads.

Working Load Limit (WLL) – The maximum weight that a piece of rigging hardware is rated to support under normal conditions.

Video Resources

• Rigging 101  – Introduction to operating a counterweight rigging system in theatre.
• Rigging - Basic Terms to Know – Comprehensive list of terms on theatre rigging systems and safety.

Practical Pedagogy

References

Bridel, D., Giesekam, G., & Tuner, B. (2015). Theatre and performance design: A reader in scenography. Routledge.

ETC. (n.d.). Prodigy rigging. Electronic Theatre Controls. https://www.etcconnect.com/Rigging/Prodigy/

Feinberg, J. (2020). Stage rigging handbook (4th ed.). Southern Illinois University Press.

Gillette, J. M. (2013). Theatrical design and production: An introduction to scene design and construction, lighting, sound, costume, and makeup (7th ed.). McGraw-Hill Education.

Hays, D. (2003). Lighting and the design idea (2nd ed.). Wadsworth.

Hull, E. (2017). Entertainment rigging for the 21st century: Compilation of work on mechanical systems, safety, and rigging practices. ESTA.

Kerr, D. (2015). Rigging math made simple: Rigging calculations without trigonometry. Entertainment Technology Press.

Pilkinton, M. (Ed.). (2020). Technical design solutions for theatre: Volume 3. Focal Press.

Reid, J. (2016). The stage lighting handbook (7th ed.). Routledge.

Wilkins, A. (2019). Safety and health for the stage: Collaboration and coordination in entertainment workplaces. Routledge.