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the Kabuki theatre, the platform eventually became flush with the
immobile sections of the stage. This in-turn placed the mechanism
below the stage and hid the manual labor. After this downward shift,
the manual technology only increased. One circle, in the 1820s in
Japan, was placed inside another circle and was used for various
transitions. Some special effects included one boat passing another
by the two rings turning against each other. This was just an
example of many tricks that the Kabuki theatre developed. Revolving
stages were a huge step towards the stylized form Kabuki theatre is
known for today. They made it possible to implore supernatural
transformations and come up with creative entrances and exits.
Modern Kabuki theatre companies still employ a rotating stage but in
a much smaller capacity. For the most part, the wall on the circle is
flush with the wall behind the chanters, and a rotation is used to
allow new head chanters to be revealed seamlessly.
For theatres like the Dresden, that did not have an underside to
their stage, each sector of the revolve would have wo wheels
operating directly on the stage floor and propelled by a small motor
fixed to the underside of the turntable. Some revolves had only two
separate sections while some had as many as seven. Not all sections
had to be split into equal proportions. Sections could be very shallow
or very deep according to what the scene required. Rectangle
sections were even used many times for indoor scenes. Some
revolves had sections that connected to each other to give the
appearance of travel and help give the set perspective. Eventually
traps, elevators and rotating stages combined in some theatres. The
individual sections of the turntable could be lowered and raised to
and from the underneath the stage to make scene changes even
more efficient.
In 1889 the Munich court theatre hired Lautenschlger to design a
stage that was more efficient for Shakespeare productions. His
rotating stage seemed to be the perfect solution to Shakespeare.
Other theatres and other companies performing Shakespeare
quickly began to use the rotating stage and it started to become
known as the new Shakespeare stage. This was probably the biggest
role for the rotating stage in its history.
Present-Day Use
Today rotating stages are still in use. ''Les Misrables'' is probably
one of the most notable modern uses of a rotating stage. It was
recorded to have made sixty-three rotations each performance
during its original run in London. It is common practice to reverse
the rotation of a rotating stage as frequently as possible to prevent
cables from becoming twisted, and eventually breaking.
Angular momentum is the product of an object's moment of inertia (its rotational mass) and its
angular velocity. Angular momentum is a vector quantity represented by the variable, L.
L = I
The units for angular momentum are: (kg m2)(radians/sec) = kg m2/sec. Note that although the
angular velocity must be expressed in radians/sec, the term radian is dropped when expressing the
units for its angular momentum. Remember that = 2f. This expression was first introduced when
we studied the sinusoidal equations forSHM.
The vector nature of L is determined by the right hand rule (RHR). When your fingers curl in the
direction of the object's angular velocity, your thumb points in the direction of the object's angular
momentum. Examining the rotating masses illustrated in the diagrams below, the sphere, disk and
cylinder have angular velocities producing angular momentum vectors pointing along the positive yaxis. The angular velocity of the thin ring results in its angular momentum pointing along the positive
x-axis.
solid spheres
I = 2/5 mr2
I = 1/2 mr2
I = mr2
Point Masses
Often we are required to determine the angular momentum of a point mass. A few examples of point
masses would be: (1) a speck of dust on a spinning CD's surface; (2) a stopper moving in a circle at
the end of a string; (3) a planet or asteroid moving in circular orbit about the sun. As you can see, a
point mass comes in many sizes. The term applies to the fact that all of an object's mass is
constrained to a small radius in comparison to the radius of its circular motion or from the pivot point
of the system. That is, it can easily be represented by a single concentration of mass at the object's
center of mass.
The moment of inertia for a point mass traveling in a circle is I = mr2 and the instantaneous tangential
velocity of a point mass, v, equals r. This relationship between angular and linear velocities can be
understood by imagining a rotating platform.
All points on the platform share the same angular velocity (they all pass through the same angular
displacement in a stated interval of time), but each one has a unique linear, or tangential, velocity
based on how far it is located from the axis of rotation - that is, how large a circumference it must
travel through during each revolution. For the three horse figurines shown above, the figurine closest
to the central axis would have the least tangential velocity since the fraction of its circumference that it
travels during the 1/6th cycle shown is the shortest.
We will now derive an alternative expression for the moment of inertia of a point mass.
L = (mr2)(v/r)
Lpoint mass = mvr
NOTE: this expression is the cross product of the object's radial distance, r, and its linear
momentum, mv, L = r mv. That is, the angular momentum of a point mass equals the product of the
magnitude of its moment arm - the perpendicular distance from the line of action of the momentum
(instantaneous velocity vector) to the central pivot or axis of rotation - times the magnitude of its linear
momentum.