Friday, June 18, 2010

Implantation Calculator

The performance and limitations of derogabilità





As we saw in the previous article , the stage is the environment at greater risk for the safety of all personnel artistic, technical, and guest operating within it. Eng. Bruno Scagliola RSPP of the Teatro Regio of Turin noted that there is currently no specific legislation on the security stage, but only 322 of the DPR 20 March 1956 referring to the rules to prevent accidents in the filming. Scagliola draws attention to some risks related to work on stage, showing the impossibility of being eliminated:

• you can not stand under suspended loads. •
when a drop of more than 100 - 200 cm. height from the floor, it is necessary to put the guardrails.
• The work area should be wide, well lit and free of obstacles. •
bridges and lifting equipment are "equipment" to the scene and are not authorized for transportation of persons as are not elevators or lifts. •
on stage is not smoke, use naked flames.

recently opened a serious reflection on the complicated issue
waivers and what is revealed is precisely the impossibility
to adopt alternative measures and / or countervailing
to get in compliance with regulatory requirements.
As we shall see, however, on the theme of fire prevention the Legislature has provided clear rules regarding exemptions (Article 6 of Decree 19 August 1996) that remittances are, in turn, the evaluation of the Regional Directorate of the Fire Department. The standard vertical fire prevention is that of August 19, 1996 DM as "approval of the technical rule of fire prevention for the design, construction and operation of entertainment venues and shows."
For all that is not about fire prevention call the Legislature entirely to the directors of public entertainment venues, and the theaters, il compito di trovare misure alternative che fanno seguito ad una attenta valutazione dei rischi.
A complicare ulteriormente le cose vi è la mancanza di un coordinamento nazionale di tutti i Teatri i quali si trovano a dover valutare singolarmente questioni e rischi comuni a tutti.
A questo proposito le Organizzazioni Sindacali e l'Anfols ( la parte datoriale) avevano previsto già nel 2004, nel contratto collettivo nazionale di lavoro dei teatri stabili pubblici e dei teatri gestiti dall'Eti (ultimamente inserito tra gli Enti inutili dall'ultima manovra correttiva del Governo Berlusconi), un Protocollo aggiuntivo in tema di sicurezza e salute dei lavoratori nei luoghi di lavoro. Si annunciava la creazione di un Organismo paritetico nazionale e joint bodies of the territory.
The tasks of these bodies was that they lay down guidelines and common positions in matters of health and safety at work, assessing the possible experiences and understandings already operating across the sector.
Unfortunately this project never started.
I am told that some theaters, including Teatro Comunale di Bologna and the Teatro Regio in Turin, began coordination work just to find a common line on the issues discussed here.

the delicate issue of derogations in the theater was occupied Prof. Alberto Cocchi, Professor of Law building and safety at the Faculty of Engineering, University of Bologna RSPP, as well as the Teatro Comunale di Bologna. Below publish his work, which is in continuity with the Treaty by 'Mr. Canary and deepens in excellent way the parties regarding the scope of criminal law.
thank 's Attorney for the availability Cocchi had in allowing the publication of his work.

Giuseppe Patti





In light of the reports presented during the seminar "Work in Show" held in Bologna on 24 February and saw that in that context there is mentioned on several occasions, I may be an appropriate derogabilità brief clarification on the limits of the legislation on accident prevention. We know come non di rado nell’ambito teatrale e soprattutto sul versante della sicurezza in palcoscenico si avverta una obiettiva difficoltà nel dover dar seguito a previsioni normative ideate dal Legislatore nella prospettiva della produzione industriale e dei cantieri edili.

Distinguerei quindi anzitutto la deroga dalla adozione tout court di misure alternative e/o compensative a fronte dalla impossibilità ad adempiere in modo puntuale alla prescrizione normativa.

Per quanto concerne la deroga in senso proprio, questa, vertendo in ambito penale, deve anzitutto essere espressamente prevista dalla legge (ubi lex voluti dixit). In secondo luogo, ove la facoltà di derogare alla disposizione puntuale sia espressamente prevista, la sussistenza nel caso concreto dei presupposti che la consentono (an) e le misure compensative da adottarsi (quodmodo) non sono in genere lasciate (esclusivamente) alla libera valutazione del destinatario del precetto, bensì sono (anche) rimesse alla valutazione dell’Ente di volta in volta tenuto alla vigilanza sul rispetto del precetto medesimo o del Ministero competente, ovvero, in alternativa, sono preventivamente e tassativamente determinate dalla legge.

Per le disposizioni in materia di igiene e sicurezza sul lavoro ciò avviene in talune ipotesi, sia sotto la forma della deroga concessa dall’Organo di vigilanza o dal Ministero competente (ad es.: artt. 205, commi 1 e 2, e 228, comma 3 del D.Lgs. 81/08), whether in the form of the exemption with conditions (and an quodmodo) predetermined by law (eg.: Articles. 113, paragraph 10, 140, paragraph 4, Annex VI paragraph 4.2 and paragraph 2.1.3.3 of Annex XVIII Leg. 81 / 08).

However, in view of the principle of risk assessment which I will discuss today the Legislature sometimes without predetermining the exemption allows absolutely no cases (n), or compensatory measures to be taken (quodmodo) or to refer to their identification to a third body, but it put the choice in the assessment of the employer. This happens, for example, and as far as we can relate in terms of work under suspended loads in accordance with section 3.1.5. Annex VI of Legislative Decree no. 81/08.

In fire prevention, a subject which affects obviously the protection of workers, the exemption following a precise procedure (Article 6 of Decree 12 January 1998, n. 37), is feasible only in the cases determined by law (n) and provides for the adoption of compensatory measures (quodmodo) whose fitness is within the discretion of the Regional Directorate Fire Department. Regarding in particular places of public entertainment, Article 6 of Decree 19 August 1996 expressly provides that where by virtue of particular technical or functional requirements is not possible to comply with any of the provisions contained in the relevant technical regulation, it is necessary proceed notwithstanding the base della medesima procedura sopra citata.

Ecco pertanto che fuori dai casi in cui la deroga è consentita (e disciplinata) dalla legge, non dovrebbe esservi spazio per la disapplicazione di norme puntuali e per la sostituzione di norme prescritte con misure alternative e/o compensative, a sicurezza equivalente, a prescindere dalla loro efficacia nel raggiungimento dell’obiettivo sotteso alla norma.

Come noto, nell’ambito della prevenzione incendi e, più in generale, nell’ambito di tutta la legislazione in materia di costruzioni, negli ultimi anni si sta cercando di introdurre un approccio normativo tendenzialmente prestazionale, con definizione normativa delle sole prestazioni attese e delle modalità calculation to verify the effectiveness of measures taken, resulting in relative freedom for the designer, however, not restricted to quantitative analysis,
in the identification of measures to achieve these benefits (quodmodo). The question is not, however, in my opinion particularly emphasized, as our country still firmly anchored to a tradition of precise standards required (specifically: technical fire prevention), also best to ensure minimum safety standards generally. Therefore, when we are confronted today with a discipline-defined performance, often it is actually a discipline semiprestazionale, in which live performance targets and prescrizioni puntuali intermedie

Ad ogni modo, nella materia di prevenzione incendi, dopo una fuga in avanti operata con la emanazione delle norme tecniche per le costruzioni nella loro prima versione (D.M. 14 settembre 2005), che appunto aveva introdotto e generalizzato l’approccio prestazionale, con la novella del 2008 (D.M. 14 gennaio 2008) e, prima ancora, con i Decreti Ministeriali 9 marzo 2007 e 9 maggio 2007 l’approccio prestazionale (peraltro in questo caso puro) è stato mantenuto (in via facoltativa) esclusivamente per quelle attività per le quali non dovesse esistere una regola tecnica, ossia prescrizioni puntuali, ovvero, appunto, per le quali sia necessario procedere in deroga per la sussistenza di constraints. All but always under the supervision of the Regional Directorate Fire Department. Furthermore, as rightly said Eng. Felice Monaco during the seminar, for now the approach performance all'antincendio (fire engineering) has not been particularly successful because of the substantial lack of reliability, for various reasons, the results of calculations which would demonstrate the soundness of the measures taken to achievement of expected benefits.

However, for our purposes we can say that even in the current legislation relating to fire prevention, where there remains the norm and it is timely only if that standard does not exist, or where it is possible or necessary exemptions which may intervene, lent its support to, the normal procedure in derogation of Art. 6 of Decree 12 January 1998, No 37, the performance approach.

With regard to the rules of hygiene and safety at work, it must be said that the Legislative Decree no. 626/94 and the subsequent formal introduction into our legal system the principle of risk assessment discipline has gradually assumed a markedly characterization purposive or, if you will, performance. The principle of risk assessment does not end well-known fact in the corresponding documentation requirements charged to the employer, but is also expressed, if not more, in ever increasing flexibility of the commandments (quodmodo), more often characterized by adaptability to the case by requesting suitability, adequacy and sufficiency of the measures taken for the protection of workers.

Indeed, as rightly pointed out the RLS Foundation's Teatro Comunale di Bologna, Giuseppe Patti in his speech at the seminar, the principle of risk assessment was (and is) already evident in our legal obligation (or rather: debt) General security imposed on the former employer. Article 2087 of the Civil Code. However, that forecast, certainly capable of generating a position to guarantee the very large employer, could not (and can not), in fact, have effective preventive its violation is not punishable in itself.

In terms of the definition of the precepts of prevention, already several provisions of DD.PR 547/55 and 303/56 in fact contain elements of a qualitative evaluation (suitability, sufficiency and adequacy), implicitly referring, if available, to its standardization, but this is still the exceptions to the prevailing framework in which individual provisions are subject to more quantitative assessments (instrumental measurement of the risk factor).

Today as I said, the picture is largely changed in virtue of the statement of the principle of risk assessment anche e soprattutto come approccio alla tecnica normativa. Al punto che anche nella disciplina, ad esempio, dei rischi correlati agli agenti fisici, di per sé tipicamente misurabili, esistono disposizioni che implicano valutazioni qualitative pure. Ad esempio, per il rumore, i rischi per la sicurezza da interazione con segnali di avvertimento, ma anche la scelta dei periodi di riferimento dell’esposizione per la rappresentazione del fenomeno sotto il profilo degli effetti dell’udito.

Personalmente, ho sempre criticato questo approccio in considerazione del fatto che, stante la natura penale delle violazioni nella materia de qua, si finisce per produrre fattispecie di mera condotta del contenuto indeterminato (rectius: non preventivamente e tassativamente determinato) e/o soggette ad integrazioni da parte di fonti extrapenali e, spesso, persino extralegislative. Ad ogni modo, come detto, questo è l’approccio finalistico, se volete prestazionale, attuale. E posto che (e, sottolineo, fin tanto che) la prestazione attesa è in via immediata e diretta la tutela della salute, della sicurezza ed, in definitiva, della vita delle persone, può anche essere che i principi costituzionali di tassatività, determinatezza del precetto e riserva di legge debbano subire qualche compressione, salvo poi capire sino a che punto ciò possa accadere e, paradossalmente, sino a che punto la flessibilità del precetto sia in grado di garantire realmente i lavoratori al fronte risk assessments wrong never submitted to the consideration of the supervisory board ....

However, with regard to the subject in question, despite the aforementioned developments, today we can speak of (and action) alternative measures and / or countervailing measures only where the standard explicitly allows the waiver. But where the rule limits the requirement already in the first instance the adequacy, sufficiency and appropriateness of the measures taken, it is clear that you can not even speak of alternative or compensatory measures, since the rule itself leaves itself free of the employer to define what measures to take, provided, of course, are appropriate, sufficient and appropriate ... Out of these assumptions, is not possible to adopt measures other than those provided by the command (or from additional sources): This just in virtue of a criminal nature, is therefore imperative (ubi lex noluit tacuit), the provisions in question.

said, it is a fact that, as rightly emphasized in the seminar Eng. John Libener, particularly in theater and on stage (but not only) there are certain safety rules which does not seem possible to fully implement and therefore requires the adoption of alternative measures and / or countervailing measures. This, we said, is already in many cases a positive finding in the rule, designed in terms of performance or to whom derogation is allowed, but not necessarily always the case.

In these cases, the inability to restrain prescriptive rules may depend on the technical impossibility of the adoption of the standard prescribed by or incompatibility with the requirements of that stage .... And this brings the familiar question of the relationship between security needs and requirements stage, on which is clearly not within, but merely point out that, while no stage need never justify the failure to adopt a detention does it not then follows an injury to a worker on the other hand no one (not even a prosecutor) would imagine going to the theater to see the singers ed il coro cantare con un caschetto antinfortunistico in testa, o di trovare una balaustra davanti al golfo mistico, eppure….

E’ chiaro che comunque, allorché si debba derogare, che sia consentito o meno farlo, ciò non avviene senza adottare misure alternative o compensative, possibilmente misure a sicurezza equivalente. Il problema però, a mio avviso, è a monte: se infatti esistono prescrizioni inderogabili, qualsiasi misura che venga adottata che sia diversa da quella prescritta, a prescindere dalla motivazione, è valida (ovviamente di fatto e non certo per l’Organo di vigilanza) solo fin tanto che è efficace. Nel momento in cui dovesse rivelarsi inefficace, per qualsiasi motivo, rispetto event there would be detrimental to specific fault, with all that implies in terms of responsibility and ... what, exactly, despite the impracticality of certain provisions are there for all employees in the sector or not.

Perhaps, I repeat, we are talking about marginal situations. Perhaps your view will become increasingly marginal to the principle of risk assessment, but I wish we were all well aware that, to date, not all, exceptions, and that in such cases where the exemption is made to demand for technical or stage minimum, inherent to the fact that it is theater, in the absence of acknowledgment of it by the legislature the exemption is not allowed.

Then, that of mere derogabilità should be treated, or the development of an ad hoc framework can also define the quodmodo, as with the noise just for the music industry art. 198 Leg. 81/08 depends on the real (and I stress real) magnitude of the issue and perhaps the starting point for an argument in this regard should be to own a careful analysis of those cases that require necessarily assumes an exception ...

Good work!


Alberto Cocchi

Friday, June 4, 2010

Chicken Pox More Condition_symptomsdiseases

"Fork NETTLES"




PROGETTO DELLA SCUOLA MEDIA PLANA:

" DALLA TAVOLA ALL'ORTO"

Questo progetto ha cercato di abituare i ragazzi alla pratica della raccolta differenziata : separando, in particolare, gli scarti della frutta e della verdura della nostra tavola si può ricavare il compost in un angolo all'aperto e all'ombra rendendo più piccola la montagna di rifiuti che produciamo giornalmente.

Questa pratica è stata ulteriormente sviluppata utilizzando il compost per allestire un piccolo orto didattico.

Durante lo svolgimento del lavoro manuale è stato inventato un personaggio: Serena Nellorto, la professoressa che li ha accompagnati in questa avventura e le hanno "tenuto" un diario che, scritto al computer è diventato multimediale con testi, disegni e foto.

L'ultima pagina del diario, però, è stato scritto da Serena Nellorto in persona perché, al termine del progetto, ha compreso che i ragazzi "ortolani" sono speciali per tanti motivi e uno in particolare è questo: sanno mantenere gli impegni e prendersi cura di ciò che è stato loro affidato .


DAL DIARIO DI SERENA NELLORTO

16 Maggio 2010

Oggi è la festa patronale di Voghera.

Abbiamo allestito uno stand della nostra scuola tutto dedicato all'orto: orto che riutilizza, orto in miniatura, orto in verticale, orto degli aromi, orto del gioco dell'oca, orto che coltiva LA PACE…

Nino si era assunto il compito di annaffiare e io sono venuta a controllare se ha mantenuto l'impegno: ebbene sì, l'ha fatto e non da solo: con altri compagni!

Le piantine qui hanno poca luce, ma almeno hanno acqua in abbondanza.

Ora i ragazzi rides are on their "extreme" will return Monday, shaky legs, telling of dizziness and feeling of emptiness in the stomach, in the meantime, in my heart I hope they have a life full of flower gardens and lush green gardens.

Serena Nellorto


Wednesday, June 2, 2010

Ativan Maximum Dosage

Decree 81 and the entertainment

INTRODUCTION

In Theatre, the analysis stage of the work identified in the environment most at risk for the safety of all personnel artistic, technical, and guest operating within it.

The goal is to focus on risk assessment and prevention and protection measures to be implemented, to manage and run the show, taking into account that the analysis must be separated from the normal risk assessment for the installation the specification:

The first is related to the safety of artists and all the technical staff and guests who enter the stage during the show. The second is related to
been fitted where the rules of work are well defined.

• NOTE: The examples and procedures related to the Teatro Regio in Turin.

DECREE N ° 81/08 OF WORK AND RULES

get on stage, opens the door to a new world and particularly where, in some cases, the implementation of a performance, it can be dangerous due to artistic needs and direction that can expose the creative and technical staff, in this stage, the risk of bodily injury.

Theatre and above the stage, has particular characteristics that require special rules. There is currently no specific legislation on the security stage, but only the DPR 322, 20 March 1956 referring to the rules to prevent accidents in the filming.

goes without saying that, because of its specificity, the stage can not apply all the rules laid down in Legislative Decree No. 81/08, as amended with additional enacted Legislative Decree No. 106 of 03 August 2009.

Like the previous Decree 626/94, Decree No. 81/08 and also the next Dlgs106/09 apply in all public and private sectors and all types of risk, but does not contain specific references to the activities that take place on the stage of Italian theaters.

This involves, at times, derogate from the rules lavoro. Quello cui occorre meditare è la complessa questione delle deroghe, cioè il complesso delle disposizioni a carattere cogente che costituisce solo il livello minimo delle misure adottabili in presenza di rischi particolari ( livello al di sotto del quale si è nel reato).



PERCHE’ NON SI POSSONO APPLICARE TUTTE LE REGOLE



Perché alcune regole elementari di buona tecnica dicono :

• che non si può sostare sotto i carichi sospesi ( in palcoscenico abbiamo sulla testa migliaia di chili appesi ai tiri di scena che si muovono continuamente (quinte, fondali, americane, proiettori, elementi di scena, ecc.).

• quando un dislivello exceeds 100 to 200 cm. height from the floor, it is necessary to put the guardrails (sometimes on stage, for artistic reasons, it is not always possible to place guardrails).
• The work area should be wide, well lit and free of obstacles (often on the scene working in low light conditions and in tight spaces). •
bridges and lifting equipment are "equipment" to the scene and are not allowed to transport people because they are neither elevators nor elevator (it can happen that needs performing and / or director, bridges, wagons and / or lifting equipment, can be used to transport and / or lifting of people). •
on stage is not smoke, use naked flames (in this case, the use of open flames in the representations may be allowed upon approval of the competent authorities, see Ministerial Decree 19 August 1996 Title V).

SAFETY MEASURES ALTERNATIVE

In the absence of specific technical standards, we have to apply the principle of equivalence of the level of protection that addresses the choices to "alternative", which, for those reasons, may not be necessarily technical, but rely significantly on the contribution of behavioral procedures.

Even then, in the case of preventive measures in search of "waiver" is the only application of the principles of the scalar security according to the priorities identified nell''art. 15, Section 3 of Decree No. 81: (when the elimination of risks is not possible, the risk itself must be minimized in relation to knowledge in light of technical progress.


There is zero risk, but there is risk acceptable.

It is imperative to: • Motivate
case because of the non-applicability of the principle of order of priority (devices protection such as guardrails or other means, individual protection devices, etc...)
• Detail the measures or the set of alternative measures adopted, emphasizing the real possibility of reaching a level of protection equivalent to that achieved with canonical measures.
• Detailed operating procedures and conduct to be followed. • Acquire
reasonable assurance of the possibility of applying it effectively.
• Provide tight control measures - monitoring of correct and consistent application of that measure.
• Maintain documented evidence of the whole process put in place. •
Entering the stage is like stepping into a machine with moving parts where it is not always possible to protect areas potentially at risk!

is an excerpt of some articles of Dlgs81/08

• General protection measures: art. 15.
• Risk assessment and date certain: art. 28.
ee • Training information: art. 36.
Railings • Security: Art. 126 and Title XVIII paragraph 2.1.5.
• Do not stand under suspended loads: all. VI paragraph 3.1.5. • Requirements
lifting systems and motion: all. Title V II.
• Systems and control devices: all. V paragraph 2.
• Maintenance and record maintenance systems: Article 15, Section Z - Title V comma11.
• Protection against falling projectors or more: all. V, paragraph 3.
• Control cables: all. VI paragraph 3.1.2.

specific risk

On stage, the situations at particular risk for
safety of all personnel, certainly we must consider:

• The handling of the shooting scene (electrical or manual).

• The movement of the movable bridges.

• The movement of wagons (Electric or manual).

• Work on the attic.

essential condition to ensure safety to all staff and crew at this stage, in situations with specific risk, is to implement an effective organizational model for safe management of all plants in the mechanics of the scene (shots scene - bridges - Mobile Carts - etc.).

NB:
is essential that the facilities of the mechanics of the scene, are subject to regular maintenance
the outcome of which shall be provided on register.

DOCUMENT ON RISK ASSESSMENT IN SHOW

Unlike the risk assessment of work activities in this theater, where the specific risks are easily identified by the processes themselves, the risk assessment regarding the achievement of a performance, when it can not be identified in advance, should be implemented when the action happens on stage.

Very often potentially hazardous situations arise during testing or assembly techniques, according to the artistic demands that the director requires, however, these requirements may be changed several times in light of the comments and changes requested by the director himself during directing the show.

For this reason, in order to implement a proper hazard assessment and implementation of a comprehensive prevention and protection, the document on risk assessment for the show, should be a dynamic document that is "modulated" during the tests and adapts to each new situation to be mediated and agreed with the Director, the Director of Productions, the stage manager and the Head of Prevention.

CRITERIA ADOPTED FOR RISK ASSESSMENT

The risk assessment and security measures relating to the show should be done based on:

• April 9, 2008 Legislative Decree No. 81 (art. 15 to 28 - 36 - all. V - VII, etc.)..

• dell'allestimento analysis being presented with the director, the Director of Productions, the Head of the Prevention designer drafter.

• The type of progress made and the dangers of his access.

• Of the artistic needs and actions required in the scene by the Regia.

• The type of special effects (smoke, fog, flames on the scene, etc.)..

• handling of carts electric or manual, bridges or other masses in the presence of art on stage.
• the emotional and psychological
of artists in relation to their feelings when, on stage, in situations of potential danger.

security procedures

analysis of risks and preventive measures must be written on special forms of safety and includes:

• The first is related to the analysis of the show at the design stage in terms artistic, structural, plant and equipment; (at this stage is to be assessed, the situations of potential danger, identified alternative security solutions, eliminating, where possible, at source risk situations).

• The second is related to the analysis dell'allestimento on stages of assembly - disassembly, it is at this stage to be evaluated all the safety conditions required for the assembly of the stands, taking into account the weight of the items to be handled, facilities to be implemented, information, training of technical personnel performing work on the stage.

• The third is related to the analysis of the show, taking into account the special stage events and actions requested by the Director in the preparation of the performance (handling of wagons, bridges, shooting, special effects, special items of tooling, etc.). .


• In questa fase che devono essere valutate:

1 - le situazioni di potenziale pericolo che possono emergere durante le prove

tecniche e/o di assieme in palcoscenico e/o in sala Regia per tutto il personale

artistico e tecnico presente in scena.

2 - le misure di formazione informazione e le disposizioni da attuare, per la

sicurezza di tutto il personale artistico e tecnico che opera in palcoscenico.



• La quarta e ultima scheda è riferita all’analisi dello spettacolo prima della prova generale e/o prima della prima, al fine di verificare che non siano emerse nuove situazioni di pericolo.



L’esito della valutazione deve be signed:

• the Director of Productions by the Head of the Prevention, the Head of Services Stage, the stage manager, workers' representatives for safety and occupational physician.

• Where necessary the security document will be customized to have read and signed by artists, extras, technicians and stage if there are minors, their parents.

NB:
• The document shall indicate the chronology of the dates which have been implemented security measures and prevention.
• The "date certain" of the assessment is attested by the signing of the document part of the employer, the charge of prevention, the representative of employees for medical sicurezzae by competent authority (Article 18 paragraph c-Decree No. 106/09).

DUTIES OF THE DIRECTOR OF SCENE

the stage manager, in collaboration with the Director of Productions and Prevention Security Service Manager will: • Inform staff

artistic work on stage, in accordance with document security on the show.

• Work with the Head of Prevention and the Director of Productions for the drafting of the document in the security of the establishment its various stages.

• Manage the performance in respect of safety data sheets issued.

Productions • Report to the Directorate and the Head of Prevention, hazardous situations and / or special requests of the Director not provided during the preparation stages of the show in order to implement the necessary security measures.

• Any changes to security measures or any new scenic effect, required by the Director, likely to involve danger to persons, must be authorized by the Management Productions in order to make appropriate assessments and measures for its prevention.

BOARDS SAFETY ON THE SHOW

• The collection of key prevention and protection for the creative and technical staff working on the stage, refers exclusively to the management and conduct of the show, beginning the tests until the first leg on stage .

• The recipients, which are addressed to these boards are appointed and to warn the workers of its content and require compliance.


















Allegato - 1 RELAZIONE TECNICA



MATERIALE SCENICO (Dm 19 agosto 1996 titolo2 comma 2.3.3).

- I materiali utilizzati per realizzare gli allestimenti, devono essere rispondenti al Titolo 2 comma 2.3.3 del Decreto Ministeriale 19 agosto 1996 ( vedi fascicolo prevenzione incendi in palcoscenico).



STRUTTURALE

Allegare ove occorra:

- ll progetto dell’allestimento, firmato da professionista iscritto all’albo, con i dati di calcolo della struttura, di passerelle, balconate, praticabili, ecc..



- Il peso dei vari elementi scenici da installare e movimentare in relazione alla portata della struttura di appoggio o di sostegno della soffitta, dei mezzi di sollevamento, dei carri, dei ponti, ecc..



- Le istruzioni per il corretto montaggio della struttura da parte del progettista.



- La verifica di avvenuto corretto montaggio secondo le istruzioni al fine di rispettare, dette istruzioni, nei successivi montaggi e cambi di scena during performances.



ELECTRICAL - Electrical service to the scene should be conducted in accordance with professional standards (IEC and the Ministerial Decree of January 22, 2008 No. 37 under Law 46/90).

NB:
- The document to be produced is a dynamic document in that it needs to be updated as conditions change and security of mounting.
- Mark on the card where not require design data and calculations.




Annex - 2
ORGANIZATION OF WORK SAFETY PROCEDURES


• Describe the work in all its parts and the means of intervention ..
• Establish the team, the number and level of the people involved.
• Identify what are the dangers to life and property safety measures to be implemented, provided the document on Risk Assessment Services Stage and safety data sheets.
• Identify what are the DPI to be used according to the SDS.
• Inform technicians of the type of work, how to run etc..
• Organize your work area (where necessary to segregate the area with barriers or other systems).
• Consider lifting systems and methods of coupling elements in relation to the load.
• Evaluate the loads of the various scenic elements to be processed and handled.
• Identify the responsible for the execution of the work and the enforcement of security measures
• recorded the outcome of the procedures identified.

• NB: Jobs that involve special risks not covered by existing safety data sheets or in general, must be reported to the head of the Prevention and the Director of Productions in order to make a new risk assessment with for preventive measures to be implemented.


GETTING AROUND STAGE


• Place a lot of attention at every stage of activities keeping in mind that requirements for scenic and artistic potential situations of risk are often different from one show to another.

• It is the responsibility of the Directorate of Scene, the Directorate was created in collaboration with the Head of Prevention, providing the right information about the dangers you might encounter and how to act on stage.

especially for the stage is recommended: •

to respect the prohibition signs and / or access to the stage during assembly, disassembly, or otherwise.

• to move with caution, especially in the presence of large masses of art and / or the scene when there are special circumstances (movement of tanks, elements of the scene, flames, etc.).

• to pay attention to the unevenness and the sudden signs put on the floor delineating the areas of danger.

to pay attention to the use of special tooling elements (spears, swords, shields, torches, etc.)..

• to comply with the instructions given by the Directorate of Scene and / or fittings.

• for women, except for requirements stage: during the tests to avoid wearing shoes with high heels, shoes opened or read (sandals, slippers, etc.).

• at the end of the tests and / or performances leave the stage quietly. • Each

for its role is required, in accordance with art. 20 of Legislative Decree No. 81 April 9, 2008 (obligation of workers) to:

• comply with regular reporting to the management of situations which could create a hazard to persons or property.

• contribute to the improvement of safety performance. •

not do on its own initiative, any action which may endanger the safety of themselves and others. •

is important to "respect" the stage as a "place" of work, and especially not underestimate
be aware that you are in a place
potentially at risk.








ORDER OF THE MINISTER OF THE INTERIOR August 19, 1996


FIRE PREVENTION IN STAGE






INTRODUCTION

Unlike the Decree. 81 / 08 fire safety is regulated in Theaters
from August 19, 1996 through a Ministerial Decree No. 149 that sets the rules as
implement fire prevention, on how to do a layout and special effects
(flame-free, gun shots, fireworks, etc.). .

essential requirements to ensure fire safety is that the structure of the theater or the premises allocated to them, they respond to what is stated in the Ministerial Decree No. 149 August 19, 1996 (approval of the technical rule of fire prevention for the design, construction and operation of entertainment venues and public entertainment).

NB: The examples described below are based on a Theatre Opera Concertistico



LEGISLATION FOR THE STAGE


• Title II paragraph 2.3.3: props. • Title V

paragraph 5.1: special provisions for the scene

• Title V paragraph 5.2.6.1: local service to the scene




props

Dm August 19, 1996 - Title 2 Article . 2.3.3.


To implement the above fixed and mobile (fifth, curtains and the like) may be the use of combustible materials of reaction to fire not exceed 2.

E 'possible use of class materials than 2 provided that effective measures are planned improvements to the general safety of the scene, as effective means of disposal of fumes subservient to the automatic fire detection systems and / or automatic shutdown.

normally today, the realization of an exhibition, is made using materials in the classroom for a canvas, backdrops, textured carpets, etc.. available on the market, and accompanied by certificate of conformity, while the creation of the armor is made using Cantinelle wood treated with fire retardant paint or armor steel or aluminum.

should take some time, however, that there is a continuous exchange of exhibitions between the various Italian and European theaters, productions that have often been made in years when there was a 'harmonization of laws to prevent fire from various Italian and European theaters , in which case the law comes to us allowing you to use
also stands above the class as long as the two stages are equipped with the facilities given under two described above.
All works carried out over the fire curtain, must instead be carried out strictly in zero class or a class accompanied by the relevant supporting documentation.

Alternatively, the reaction class Fire can be attributed to the artifact in treating wood with fire retardant paint specific to the type of wood used, with its supporting documentation.

of that fact must be disclosed in the test whose validity is limited to six months with the obligation not to carry out washing or other maintenance work that may adversely affect the reaction to fire.

In local scene integrated into the room, the materials must be prepared in the stage of reaction to fire no more than 1.


supporting documents.
1. statement of responsibility where it appears che il manufatto in legno è stato trattato con la vernice ignifuga tipo xxxx idonea per il tipo di legno utilizzato, nei modi e nella quantità previste dalla ditta fornitrice della vernice.

2. Certificato di conformità della ditta costruttrice della vernice.

3. Certificato di omologazione della vernice del Ministero dei Trasporti.

4. Documento di trasporto del prodotto.







DISPOSIZIONI PARTICOLARI PER LA SCENA



Titolo V comma 5.1:



• Le scene, sia del tipo separato che integrato rispetto alla sala, devono contenere unicamente gli scenari, gli spezzati e gli attrezzi necessari per lo spettacolo del giorno, che devono essere placed so as not to clutter up the steps and make available the equipment and fire trucks.

• Use representations of fireworks, flames and gunfire weapons, must be assessed by the competent authority and may not be authorized in the absence of security measures appropriate to the risks.

• ... ... ... ... ... ....

• Smoking is prohibited in the scene and its dependencies, except for requirements stage.

• Title V. paragraph 2.6.1: dressing rooms and dormitories.

• No installation even provisionally, from dressing is allowed in the scene itself, including under the stage, unless it is equipped with its output directed to a safe place and is a fire compartment class REI 120.




REGISTER OF FIRE SAFETY "

• The title holder is required to record inspections, maintenance work on facilities and equipment designed to fire safety, described at section 6.18 of the DM on August 19 1996.


MAIN MEASURES RELATING TO FIRE PREVENTION EQUIPMENT

• The materials used to make the preparations must be consistent with the Dm 19 August 1996 (see above). •
projectors scene, as a source of heat, must be installed at a safe distance from the seabed, scenes, or anything that may be a risk of ignition.
• Power cables, extension cords, plugs must comply with standard "IEC" in force and must be of fire retardant.
• The electrical installation made in a production must be made according to the rules of art (CEI Ministerial Decree No. 47 January 22, 2008 under Law 46/90).
• Any electric machinery as a source of heat should have CE mark and be installed according to standards of good practice and away from items that can cause ignition.
• Must be organized maintenance of the cables connecting the headlights, the scene of the machines, extension cords with its thorns, etc., (the false electrical contacts are the primary cause of a fire!).
• Cables connecting plugs and extension cords must have adequate size for the load.
• On stage and in any of the local theater to bet, smoking is prohibited.
• Respect the smoking ban, the ban on open flames, the prohibition of storage of flammable liquids or gas cylinders in the hall. ... use in the representation of flames, firearm shots, etc., must be assessed by the competent authority and may not be authorized in the absence of appropriate security measures to risks (DM August 19, 1996 Title 5.1).

• If adjustments on the armor of aluminum and / or a metal construction, which require the use of flexible and / or electric welders, to implement all necessary security measures to prevent the emergence of a principle of fire and accurately:
- coordinate the work according to the scheduling of assembly and / or evidence to avoid interference with other activities of the Theatre.
- assist in the work of a fire fighting team with a fire extinguisher.
- use of fire blankets or other systems capable of avoiding the spread of sparks and / or welding slag.
- always be guaranteed as escape routes from the stage.

• At the end of each working day:
- turn off unnecessary electrical use (lights, cars, etc...)
- All the props, staging is not absolutely necessary, (Cantinelle, practicable, hips, etc..) Must be placed in special storage areas or in special spaces or recesses in the back stage side, so as not to obstruct
passages, exits or prevent the closing of the doors and fire doors of the stage.
- close the doors involved.
- lower the fire curtain


SCENE IN FLAMES

use in the representation of flames, firearm shots, etc., must be assessed by the competent authority and can not be authorized in the absence of security measures appropriate to the risks (DM August 19, 1996 Title 5.1).


General prevention measures

• Preventive measures should be from time to time appropriate to the type of effect and the type of construction put in place.
• After hearing the competent authorities, the management of open flames in the scene must be done in close collaboration with the Head of Prevention, the Department of scenes, and the Director of Productions and the Technical Director.


Information Activities Training

• The creative and technical staff working on the stage should be informed about the risks derived from the fire and emergency procedures to be implemented in case of danger.

Services Security
• On stage, must be guaranteed (with a weekly program) assistance: • • Electric
by a qualified engineer.
• • Fire prevention officers by the fire company.







EXAMPLES OF FIRE ON STAGE
1st example

description of the scene

• Use of candles or candles in the scene.
• Use of torches carried on stage by artists and / or extras.

assessment risk
• initial fire
• The fire hazard for the costumes. •
of burns of varying severity depending on the type of fire.

prevention
• Assess the needs second stage:
• Who, how, where and when lit candles, candle holders and / or torches.
• Who, how, where and when it is turned off.
• Where are they placed in the scene.
• Ensure that in the immediate vicinity there are elements that can propagate flame.
• Inform and educate the technical staff at turn on and off flames (note: at this stage must have an attendant with fire extinguisher suitable).
• Educate artists about risks and how to behave on stage, especially if they wear fluffy costumes and highly flammable.
• Notify the Fire Department of the Provincial Command of membership, serving for the show, the presence of flames in the scene.

For torches:
• use of safety torches made of sheet metal with a spring return.
(in case of loss or release of the spring, fall within the wick
grip suffocating the flame).
• To limit the spread flame, protect it with a wire mesh.

security measures
• Provide adequate means of extinguishing (fire extinguishers - extinguishers water - hose reel - fire blankets).
• Provide adequate security service for fire protection in accordance with the provisions of the Provincial Commission of the Supervisory Board or the Fire Department of command responsibility.





Example 2
"Clemenza di Tito" FIRE SCENE IN A CERTAIN SIGNIFICANCE

report submitted to the Competent Authority for obtaining prior authorization for the use of open flame of some significance at
the show "La Clemenza di Tito" on stage at the Teatro Regio in Turin in May 2008.


TECHNICAL REPORT

• The effects will be built by recognized expert and authorized by the police of responsibility for the handling and use of products for the production of stage effects for flames.

DESCRIPTION OF THE SCENE AND EFFECT
• The scene takes place at the end of Act One and the Capitol is on fire.
• The scenic effect, it must represent a fire, a width of about six meters with a height of the flames of about one meter, seen from the windows of the Capitol.
• The effect of duration of about 6:00 to 7:00 minutes, will be built in the back of the stage using a special "alcohol-based gel" that burns with fire regularly, it does not release toxic gases, and makes no residues or hot sparks.
• The "gel" will be placed in a special stove, made of sheet metal and insulated from the stage.
• The lighting of the flame is carried out behind the scenes, enabled by the expert using special remote-controlled igniters.
• To switch off course from exhaustion fuel.


• Description of the fireplace hearth is composed by 4 metal tanks (90 x 20 x 5) placed on a special mobile cart that can be moved in case of danger.


• Risk assessment of fire
• The fire hazard for the costumes. •
of burns of varying severity depending on the type of fire.

PREVENTION MEASURES
• Safety distance:
• The home is isolated from the mobile cart with refractory bricks.
• The mobile carriage is lined in turn by a plate metal
• Near the fire there are dangerous elements that can spread the fire.

• Media •
off the sides of the stage and positioned in the vicinity of the effect will be available: adequate portable fire extinguishers, wheeled fire extinguishers, hydrants and No. 2 fire blankets.

While this effect will be on stage:
team • Fire service in the Provincial Headquarters for the show, which will follow the effect on demand, from both sides of the stage.
• Business of the team involved in the prevention of fires Teatro Regio, nel

numero indicato dalla Commissione Provinciale di Vigilanza, che sarà a

disposizione dei Vigili del Fuoco del Comando Provinciale.

• un elettricista della manutenzione con il compito di disattivare tensione a tutti i circuiti di scena in caso di emergenza

• Si trasmette quanto sopra per le opportune valutazioni al fine di ottenere la relativa autorizzazione e per predisporre le appropriate misure di sicurezza.



ATTIVITA’ DI FORMAZIONE INFORMAZIONE COMUNE



• Artisti e/o personale tecnico, devono essere informati sui pericoli per persone e cose derivati da fuoco, sulle misure di sicurezza individuate e su come behave in a scene.
• During the testing stage, artists and technicians, following the teachings on how to behave on stage, according to the preventive measures identified by the Management and Technical Direction Productions and Prevention.
• The outcome of the assessment and preventive measures implemented and information will be recorded on a special custom tab for information signed by the artists, extras, technicians and stage if there are children, parents.



by Bruno Scagliola RSPP Teatro Regio di Torino