REVISION ORGANISER · 2020. 3. 24. · SM Stage Manager ORCHESTRA PIT ASM / DSM Assistant Stage...

REVISION ORGANISER

CREATED BY S. LOWE & E. TONGE EDITION 1 1

How am I assessed?

Written exam: 1 hour 30 minutes

80 marks

40% of Technical Award

Questions:

A combination of multiple choice questions, short answers, extended responses, design/devising questions.


What will I need to know? You will draw on knowledge and understanding from units 1 and 2:

Roles and responsibilities within the performing arts industry

The role of performing arts in society

Approaches to rehearsal

Working as a deviser/performer/director/practitioner/facilitator

Marketing and public relations

Health and safety

Design and technical elements

Reviewing performances.

Performing Arts Industry

Work in the Performing Arts and research aspects


Roles & Responsibilities

within the Performing Arts

Industry

Job Roles and Responsibilities with the Industry

Specific duties & responsibilities

Recruiting Processes

Contracts

Employment Potential


Roles & Responsibilitieswithin the Performing Arts Industry


JOB ROLE RESPONSIBILITY

Performer Attend rehearsals; work with the rest of the team to create the final performance. Be in the

performance venue in time for the “half”.

Director Supervise all aspects of the development and rehearsal of a show – choice of play, casting, rehearsals,

design of the production.

Choreographer Create and teach dance and movement sequences.

Film Maker See director’s role but also editing the footage for productions.

Stage Manager During rehearsal; attend all sessions and record decisions made in rehearsal; organise rehearsals; make

and acquire props for performance and rehearsal

Front of House Responsible for audience needs from helping to find their seas before the production / performance to

selling ice creams.

Public Relations / Marketing Making the public aware of the performance via posters in order to sell tickets

Technician Maintenance of specific area – lighting, sound, stage; design for each show. They can be responsible for

building maintenance as well.


Roles & ResponsibilitiesSpecific duties & responsibilities


Roles & Responsibilities

Interaction Task

TASK:

Create a CV for one of the job roles you have

been looking at.

Use the template if help is needed.

Name:

Address:

Key Skills:

Experience within this role:

Previous job roles:

Roles & Responsibilities within the Performing Arts Industry

Recruiting Processes


Recruiting Technique Information about the technique

Auditions The most traditional method of recruiting. Production companies and theatres will advertise the show

and the roles. Sometimes they will approach performers directly. Performers will be expected to

prepare a performance for the meeting; this could be pre-prepared or connected with the specific

performance. Some directors employ a workshop approach. There will usually be an interview as well.

Interviews Meeting between the production company reps and person looking for work. Most common for

backstage roles and freelance contracts.

Show-reels A collection of short extracts from film and television performances that the performer has taken part

in. Sent to the film and TV directors who will then decide if an audition is required.

Demo recordings (CD) Recordings created of performances of songs – either covers or original – which are sent out to

recording companies or agents.

CVs (Curriculum Vitae) A full record of personal details, qualifications and experience that is sent off to companies, agents.

Websites Personal websites to advertise previous experience and offer themselves for work.


Contracts


Contracts Information about the type of contract

Permanent A full time job that you are given for as long as you want to have it.

Part-time A job that is often permanent but is not as many hours as a full time role.

Fixed Term A job that lasts for a specific period of time – usually stated in the contract from the employer.

Freelance A job where you are paid for a specific task; it is up to you how much time you are going to spend on

completing it. How much you charge will be dependant on your calculation of the cost of the task / job

you are completing.

Volunteer Supporting the organisation with your labour without pay. Sometimes you get other benefits in

exchange for labour – tickets etc.


Employment Potential


Job Role Chance of Full Time Work Income

Performing 10-18% depending on circumstance When working about £97 per day

Directing No available statistics £1100 per year; dependant on arrangements

Technical & Design Roles No available data; but part time work here is not

available

Approx. £16 per hour

Marketing & Publicity Medium – with clear structure for progression Base pay £25,000

Arts Administration Medium – with clear structure for progression £20,00 - £45,000 per year (London rates)

https://uktheatre.org/theatre-industry/rates-of-pay/

Use the above link to research further into this area

https://uktheatre.org/theatre-industry/rates-of-pay/

The Roles of Performing Arts

in Society

Economic and Social Benefits of the Performing Arts

Organisations funding social projects, arts council

local organisations/councils


The Role of Performing Arts in Society

Economic & Social Benefits of the Performing Arts


ECONOMIC BENEFITS SOCIAL BENEFITS

29.5 million jobs created worldwidehttps://www.economywatch.com/features/The-Economic-Benefits-of-Art-and-Culture0120.html

In 2015 an estimated £20 billion in revenue was created by Artshttps://www.artscouncil.org.uk/sites/default/files/download-file/Contribution_arts_culture_industry_UK_economy.pdf

Wider economic growth in terms of restaurant and other ancillary areas

Performing arts growing at a rate 5 times faster than the rest of the UK economyhttps://www.thestage.co.uk/news/2017/arts-growing-five-times-fast-uk-economy-report/?login_to=https%3A%2F%2Fwww.thestage.co.uk%2Faccounts%2Fusers%2Fsign_up.popup

Introducing and celebrating a range of cultures.

Community cohesion; sustaining heritage and traditions. Help raise community spirit. Brings the locals together

Lifelong learning and development. Develop hobbies and interests with the

community Can build confidence Gives people an outlet for their creative

ability within the community. A medium for self expression and expressing

opinion. Mental health – self esteem.

https://www.economywatch.com/features/The-Economic-Benefits-of-Art-and-Culture0120.html

https://www.artscouncil.org.uk/sites/default/files/download-file/Contribution_arts_culture_industry_UK_economy.pdf

https://www.thestage.co.uk/news/2017/arts-growing-five-times-fast-uk-economy-report/?login_to=https%3A%2F%2Fwww.thestage.co.uk%2Faccounts%2Fusers%2Fsign_up.popup

Type of Organisation:

Lottery Funding

Examples:

Areas of Funding Interest:

Applications for specific projects, usually

with a clearly defined purpose and amount.



Organisations funding social projects, arts council local organisations/councils


Arts Council England (ACE); Arts

Council of Wales; Creative

Scotland; Arts Council of

Northern Ireland


All. Large grants to national profile

organisations e.g. the Royal National

Theatre; Royal Opera House; Tate Britain.

Regional partnerships run by regional

centres.

Individual project funding in areas

considered to require it. Supported by the

national Lottery.


Foundations & Charities

Examples:

Esmee Fairburn Foundation Paul Hamlyn

Foundation

Andrew Lloyd Webber Foundation


Applications for specific projects, usually with a

clearly defined purpose and amount.

https://www.google.co.uk/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&ved=2ahUKEwiu2vfXtrflAhV88OAKHW_FBRoQjRx6BAgBEAQ&url=https%3A%2F%2Fwww.capartscentre.com%2F2014%2F06%2Fesme-fairbairn-arts-funding-ongoing%2F&psig=AOvVaw34OmSBptoNavV-wmvgdgGy&ust=1572093466861918



Organisations funding social projects, arts council local organisations/councils


Business Funding / Sponsorship

Examples:

Travelex; BP; Hyundai


Either limited term funding or funding for a

specific event: logo on all marketing and

other benefits – corporate tickets


Local Authorities


Usually supporting the buildings within the

local area

Approaches to Rehearsal

Divisions of the Stage / Performance Space

The Stage

Understand the process of bringing a performance

to an audience

Technical Terms

Different Performance Spaces

Creating mood and atmosphere

Influence of key practitioners in chosen disciplines


Approaches to

Rehearsal

Divisions of the

Stage /

Performance

Space

UP STAGE CENTRE

CENTRE STAGE

DOWN STAGE CENTRE

UP STAGERIGHT

UP STAGELEFT

DOWN STAGERIGHT

DOWN STAGELEFT



Approaches to Rehearsal – The Stage

Approaches to

Rehearsal

Understand the

process of

bringing a

performance to

an audience

Rehearsal Practical meetings between the director and actors. Stage managers will also be present to record decisions made. Designers may attend at early stages. In the professional theatre rehearsal is between 4 and 6 weeks as a general rule.

Technical Rehearsals

Full run-throughs of the performance for the benefit of all the design teams – lighting, sound, stage management etc. During this time issues are resolved and design decisions are checked.

Dress Rehearsals

This is the full performance to check all running details.

Preview Performances

First run throughs in front of an audience. Tickets for these are cheaper because you might not get to see the whole production complete.

Performance runs

Full run of the show in front of a full paying audience.


Approaches

to

Rehearsal

Technical

Terms

Technical

Term

What it means

Wings Area on both sides of the stage where actors /

performers wait to come on; sometimes used for all

off stage areas.

Fly Towers

(flies)

Tower above the stage where the backdrops for the

back of the stage are held until they are brought in

“flown” at the appropriate moment.

Stage Dock The area where large pieces of scenery etc are

uploaded.

Orchestra Pit Area for musicians, usually under the front of the

stage area.

Tabs The name given to the (usually) black curtains

blocking audience view of the wings.

LX Short for LIGHTING Effects – usually seen in the

stage managers notes.

FX Short for SOUND Effects – usually seen in the stage

managers notes.

The Book Stage manager’s record of the complete show.

Compiled during rehearsals and used to run the show

during performances.

SM Stage Manager

ASM / DSM Assistant Stage Manager / Deputy Stage ManagerORCHESTRA PIT

FLY SYSTEM to operate the

backdrops


Approaches to Rehearsal – Different Performance Spaces

PROSCENIUM

ARCH

THRUST TRAVERSE IN THE ROUND

PROMENADENo specific space as the performance is in the midst

of the audience. Popular for outdoor performances

SITE SPECIFICThe performance is tailored to a non-performance

space e.g. hotel, factory, historic building (research

the work of PUNCHDRUNK)

https://www.punchdrunk.org.uk/home


AUDIENCE

STAGE

END ON STAGE

https://www.punchdrunk.org.uk/home


Performance spaces

A stage where the audience sits on one side only is called

a proscenium arch stage (you might know this as end-

on staging). The audience faces one side of the stage

directly and may sit at a lower height or in tiered seating.

The frame around the stage is called the proscenium

arch. The area in front of the arch is the proscenium – it’s

in front of the scenery.

St Helens Theatre Royal Theatre Royal, Drury Lane London

Advantages Disadvantages

• The proscenium frame emphasises the stage pictures.

• Backdrops and large scenery can be used without interfering with

sightlines.

• There might be fly space and wing spaces for strong scenery.

• The frame around the stage adds to the effect of the fourth wall,

giving the impression of a self contained world.

• When the curtains are down, for example the set changes, scenes

might be played in front of the curtain on the stages apron.

• Some audience members might feel distant from the stage.

• The auditorium might feel very formal and rigid.

• The proscenium frame might seem too old-fashioned for some

people.

• Audience interaction might be more difficult.

• Sight-lines can be an issue.



Performance spaces

An in-the-round stage is positioned at the centre of

the audience. This means that there’s an audience around

the whole stage.

This type of stage creates quite an intimate atmosphere,

and is good for drama that needs audience involvement.

There are walkways for the performers to reach the

acting area. The Royal Albert Hall, London Hale Centre Theatre, Sandy Utah


• It often suits productions where the audience should be close to the

action.

• It can encourage audience interaction and/or a sense of intimacy.

• Entrances and exits are usually made through the audience, which can

be exciting.

• The audience might feel more involved with the action as there is no

obvious ‘fourth wall’.

• Blocking must be done carefully, so that certain sections of the

audience don’t miss key moments of action or dialogue or facial

expressions.

• Tall flats, backdrops or stage furniture cannot be used, as they will

restrict sightlines.

• The audience can see each other which can be distracting.

• It can be difficult to create a single ‘stage picture’ which is sufficiently

effective for the whole audience.

• It is difficult to put a curtain around the stage, so scene changes might

have to occur within the view of the audience.



Performance spaces

A thrust or open stage is where the acting area in front

of the proscenium arch comes forward or juts out from

a back wall so that the audience are sitting or standing

on three sides of the action of the play. This sort of

stage can give the performers the same sort of close

relationship with the audience as a theatre-in-the-round,

but also allows the back wall to be used to suggest

different locations.Advantages Disadvantages

• It combines some of the benefits of both proscenium arch and

theatre-in-the-round stages.

• As there is no audience on the upstage side of the stage, backdrops,

projections, flats and large scenery can be used.

• Many members of the audience might feel close to the performance

as there are three first rows – one on each of the stage’s three sides

and they are often close to the edge of the stage.

• This is often perceived as an exciting space which encourages a

connection between the performers and the audience.

• Sightlines for those on the extreme sides might be restricted or

obstructed.

• The audience on the right and left sides of the auditorium have each

other in their view.

• Box sets – where three sides of the room are constructed – cannot

be used as they would restrict views for much of the audience.

• Not all the audience members see the stage from the same angle, so

stage pictures might be more difficult to create.



Performance spaces

A stage which has a long central acting area where the

audience sits on the two sides is called a traverse stage.

The audience are very close to the action which creates

intimacy with the performers. It’s an unusual form of

staging but you will often see the format used for fashion

shows since it is effectively a catwalk.


• Many members of the audience will feel close to the action as there

are two long front rows.

• The audience can see the reactions of the other people facing them.

This might increase a feeling of involvement and interaction.

• It can be used to recreate certain settings with great effect, such as a

catwalk, a pavement, a conveyor belt or a railway platform.

• The extreme ends of the stage can be used to create additional acting

areas.

• Large pieces of scenery, stage furniture or backdrops can block

sightlines.

• The long, thin nature of the acting area can make some blocking

tricky.

• Actors must be aware of making themselves visible and audible to

both sides of the audience.

• Lighting needs to be arranged carefully to avoid lights shining in the

audience’s eyes or spilling onto them.

• Some audience members might find being able to see each other

distracting and unsettling.



Performance spaces

Bridge Theatre, London

In a promenade performance, the audience does not sit

down. The performers work in different parts of the

performance space and the audience moves around to

see what is being presented.


• There can be exciting design opportunities in converting an unusual

space into a performance area.

• This is an interactive and exciting type of theatre, where the audience

can feel very involved.

• This type of staging is likely to enable experimental and new types of

theatre.

• Non theatre buildings can be used, street theatre, multi focus

environments and outdoors.

• The audience might find moving around the space difficult or get tired

of standing.

• Actors or stage crew need to be skilled at moving the audience

around and controlling their focus.

• There can be health and safety risks.

• There is no ‘off stage’ area for the performers to use.


https://www.google.co.uk/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&ved=2ahUKEwi5muH8wbnlAhVEyhoKHdeZCF0QjRx6BAgBEAQ&url=https%3A%2F%2Fwww.thestage.co.uk%2Freviews%2F2018%2Fjulius-caesar-ben-whishaw-review-bridge-theatre-london%2F&psig=AOvVaw3TLO5FGlAJxHmJq8Yxcp2d&ust=1572165210173828


Performance spaces

This is when the rear of the stage is higher than the

front of the stage. It helps with visibility (so that a

performer stood behind another could still be visible as

opposed to being masked on a flat, non-raked stage); it

was common in older theatres. This is why it is called

‘upstage’ and ‘downstage’.

A raked stage can have an impact on perspective

because it isn’t level. This has to be considered carefully

when planning the design for the production.



Different Performance Spaces

Interaction Task

Draw what a promenade theatre would look like.

What would be an advantage and disadvantage of using this

space?

A thrust stage isn’t often used as a performance space, why might that be?

What are the advantages of using Theatre in the round?

Research a show that has used Theatre in the Round, why did they use this

space?

What type of theatre do you think is the most popular for Dance and

Drama performances- why might that be?


Influence of Key Practitioners in chosen disciplines

ACTORSKey Practitioners

DANCERS; CHOREOGRAPHERS

Key Practitioners

KONISTIN

STANISLAVSKI

-Russian Theatre

PractitionerBERTOLT

BRECHT

– German

Theatre

Practitioner

STEVEN BERKOFF

- Theatre director

MARTHA GRAHAM

– Contemporary Dance,

American modern dancer

and choreographer

PINA BAUSCH

– Contemporary Dancer

and Choreographer

GENE

KELLY /

FRED

ASTAIRE

- American

Dancers

BOB FOSSE

– Jazz Dance,

American

Dancer, Musical

Theatre

Choreographer

MATTHEW

BOURNE

– Contemporary Dance

& Dance Theatre

Choreographer

ANTONIN

ARTUAD

- French

Dramatist, Poet,

Actor, Theatre

Director

https://www.google.co.uk/imgres?imgurl=https%3A%2F%2Fcdn.britannica.com%2F13%2F135513-050-0422F2C7%2FBertolt-Brecht.jpg&imgrefurl=https%3A%2F%2Fwww.britannica.com%2Fbiography%2FBertolt-Brecht&docid=-gSxta3g9BgTSM&tbnid=QbG4L5tLXxo8zM%3A&vet=10ahUKEwjVwK-xx7flAhXeAmMBHWLtCsQQMwh3KAAwAA..i&w=547&h=798&bih=687&biw=1280&q=brecht&ved=0ahUKEwjVwK-xx7flAhXeAmMBHWLtCsQQMwh3KAAwAA&iact=mrc&uact=8

https://www.google.co.uk/imgres?imgurl=https%3A%2F%2Fcdn.britannica.com%2F61%2F135461-050-27735AC4%2FKonstantin-Sergeyevich-Stanislavsky.jpg&imgrefurl=https%3A%2F%2Fwww.britannica.com%2Fbiography%2FKonstantin-Stanislavsky&docid=2mdVKcEw1TKaTM&tbnid=pn15kzoVf8ubMM%3A&vet=10ahUKEwi50YzXx7flAhWp5OAKHTm2AKYQMwh5KAAwAA..i&w=495&h=800&itg=1&bih=687&biw=1280&q=stanislavski&ved=0ahUKEwi50YzXx7flAhWp5OAKHTm2AKYQMwh5KAAwAA&iact=mrc&uact=8

MUSICIANSKey Practitioners

DIRECTORSKey Practitioners

BOB DYLAN

-American Singer

SongwriterMICHAEL

BUBLE

- Canadian-Italian

Singer

PAUL

McCARTNEY

- Singer

Songwriter

NICK HYTNER

- Theatre DirectorCAMERON

MACKINTOSH (not a

director but massive

influence) – British

Theatrical Producer

VICKY

FEATHERSTONE

-Theatre director

GREGORY

DORAN

- Artistic

Director of the

Royal

Shakespeare

Company

RICK RUBIN

- American Record

Producer



FILM MAKERSKey Practitioners

TECHNICIANSKey Practitioners

STANLEY KUBRICK

- Film DirectorALFRED

HITCHCOCK

- Film Director

DAVID LEAN

- Film Director

SANDY POWELL EDITH HEAD

- British Costume Designer - American Costume Designer

BOB CROWLEY

- Theatre Designer (set)

NEIL AUSTIN

- English Lighting

Designer

STEVEN SPIELBERG

- American Film maker

BUNNIE

CHRISTIE

- Theatre Designer

(set)



Working as a devisor, performer,

director, practitioner and

facilitator

Written Formats for Performance

Constraints on Creation of Work



Working as a devisor, performer, director, practitioner and facilitator

Written Formats for Performance

Performance

Medium

Type of material produced

FILM &

TELEVISION

Storyboards – a cartoon strip form to plan both

dialogue, visuals and types of camera shots

Shooting Scripts – the above converted into a

script

MUSIC /

MUSICALS

Musical Scores – the notes and words for songs

etc.

Libretti – the correct term for a script of a

musical, it will include the song lyrics and often

the music.

THEATRE Play/Film scripts – the most common form. Lay

out is different for a play script as for a film

script.

DANCE Laban notation – a form of symbols that record

the movement of Dance. Not used as much as

practical learning from one dancer to another.

MUSICAL SCORES

LABAN NOTATION

SHOOTING SCRIPTS

STORYBOARDS


Working as a devisor, performer, director, practitioner and facilitator


Constraints

Budget How much you have to spend on a performance will limit

your decisions. £500 on costume will need a rethink if your

whole budget is £500.

Funding If you are funded by a particular group they may have

restrictions on how you spend their money or it may be “in

kind” funding where you are getting specific goods instead of

money.

Location Where you are performing has two effects; what is the

amount of money you can expect from the ticket sales and

how much in the venue costing you? This last one might be to

do with audience expectations of the venue.

Commissioning

Groups

If you have been commissioned by a particular group, often a

charity, to create a piece of work with a particular theme you

must fulfill this commitment.

Touring Transport and accommodation costs will cut into the creative

budget; your work must be able to fit into the spaces where

you will be performing.

Marketing &

Public Relations Types of Marketing

Marketing – Posters & Tickets

(what needs to be included)

The Parts of a Theatre - Front

of House, Box Office, Lobby


Types of

Marketing

Marketing and Public Relations - Forms of Marketing

SOCIAL MEDIA

Cheap (often free) but limited by

having people who have signed up

able to access it; no new audience

ADVERTISING

All forms of media utilised to promote the

performance; usually with a linking

theme/logo/colour scheme so they are associated

with each other

TV

Only really used for large scale live

events, especially if touring. Used

for films. Very expensive

TRAILORS

Short film adverts referencing

exciting moments from a film or

TV series to encourage people to

go and see it.

BILLBOARDS

Large posters placed along

roadsides in busy usually urban

areas.

POSTERS & PROGRAMMES

Posters- Colourful images

representing the performance with

all necessary details for a potential

audience member to get tickets.

Programme- Information about

the actors and the running order

of the production that is given out

to all the audience.

TEASER CAMPAIGNS

Very short hints of what is to

come; often visual without words

or posing a question


Marketing and Public Relations - Forms of Marketing

PROMO EVENTS

Events paid for by the promotion

compony; usually a drink provided.

Book launches most common use

of this.

FLASH MOB EVENTS

A flash mob is a group of people who assemble suddenly in a public

place, perform an unusual and seemingly pointless act for a brief time,

then quickly disperse, often for the purposes of entertainment, satire and

artistic expression. Such events have high profile on social media and are

cheap publicity.

ARTS FESTIVAL

Opportunities for bookers to see

a lot of different types of work in a

small area in a short space of time.

Edinburgh Fringe Festival popular

for this.

PHOTOSHOOTS

Professional specialist photographers

employed to take shots of leading

performers either during the

performance or in special settings to

be used in publicity, included in press

releases etc

TV INTERVIEWS

Stars of shows made available for

chat shows to promote the show.

Usually supported by extracts for

discussion.

Types of

Marketing


https://www.google.co.uk/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&ved=2ahUKEwj724rP5LflAhWPGBQKHZtuBCwQjRx6BAgBEAQ&url=https%3A%2F%2Fwww.facebook.com%2Fflashmobpune%2F&psig=AOvVaw3mr4-N66pQqoOFTIniZtjk&ust=1572105766169533

Marketing and Public Relations -Marketing - Posters

Example of Poster created for Portfolio published

by AQA

When creating posters for marketing and advertising

purposes there are clear pieces of information that must

be include:

• Title of performance

• Price of tickets

• Venue and address

• Where to book tickets

• Dates and times of performance

• Company putting on the performance

• Picture to give a hint about the performance but does

not give anything away


Example ticket linked to the poster created for

Pupil Portfolio published by AQA

When creating tickets for marketing and advertising

purposes there are clear pieces of information that must be

included:

• Title of performance

• Price of tickets

• Venue and address

• Row and seat number

• Date and time of the tickets’ performance

• Company putting on the performance

• Picture to give a hint about the performance but does

not give anything away

• Images and colours chosen are the same as the poster

to show the connection.

Marketing and Public Relations –Marketing -Tickets



Marketing & Public Relations

Interaction Task

You are part of the

marketing and public

relations team who are

responsible for advertising

the production of

Cansfield’s

‘The Rise of Simba’ which

will take place on 5th, 6th

and 7th May 2020 at 7pm

in the school theatre.

TASK:

To produce a poster that

will attract a large

audience to promote the

show and the school.


Marketing and Public Relations -

The Parts of a Theatre - Front of House

Front of House (FOH)Lobby – The lobby is a room within the theatre that

is used for public entry into the theatre from the

outside. The ticket counters, concessions and toilets

are all usually located in the lobby area.

Box Office – This is where the tickets are sold to

the public.

House – The house is any area within the theatre

which is not considered the playing /performing space

or backstage. This includes the lobby, ticketing

counters, restrooms and coat check area.

The house also refers to any area in the theatre

where the audience is seated which also includes the

aisles, the orchestra pit, control booth and balcony.

The Box office – located in the

lobby of St. Helens Theatre Royal

Health & Safety

Risk Assessments

Front of House (also see Marketing & Public

Relations section)



Health & Safety -

Front of House Facilities, amenities

Front of House (FOH)The aim of the FOH team is to provide a safe, welcoming place for all visitors, staff

and volunteers.

The front of house manager is responsible for:

• The safety and security of the public during the performance time and whilst they

are on the premises.

• Managing the box office, ticket sales

• refreshments, making sure that food and drink is up to standard that is sold on the

premises.

• Ordering and dealing with any merchandise that is sold at the theatre.

• Making sure the auditorium is clearly et up before each production.There is often an assistant manager who

helps the house manager to run the theatre.

The front-of-house manager also has front-

of-house assistants to check the audience's

tickets, help them to find their seats, and

make sure the theatre is safe during the

performance.

These assistants are often also called 'ushers'

or 'stewards'.

https://www.slideshare.net/elfiecheetham/risk-assessment-86966774

Health & Safety


Example: Risk Assessment

Risk Assessments A risk assessment is something you are required by the law to carry out to

manage the health and safety of your business/workplace. To do this you need

to highlight what may be classed as a hazard and identify sensible measures to

implement to control these risks and protect and prevent people from harm.

https://www.slideshare.net/elfiecheetham/risk-assessment-86966774


Health & Safety Example: Risk Assessment

http://ablivemt.blogspot.com/2018/11/risk-assessment.html

The Risk Rating Hazard & Prevention New

Rating

Running

and

tripping

3/5 When rehearsing do not wear socks ensure dance shoes are worn or

bare feet to prevent slipping.

1/5

Dance Falls 3/5 Within one scene, someone is lifted within a group lift. To prevent

injury the lift will be practiced many times with correct technique and

additional bodies will be choreographed into the piece for added

support.

2/5

Spillages 2/5 Drinks should not be drunk within the performance space, in the

event that something is spilt it is to be cleared straight away.

2/5

Props 3/5 Within some scenes, some characters use hand held props, (horse on

a stick, swords). Each performer will have plenty of practice and

space to perform with these props to prevent any harm to another

performer.

1/5

Set Props 3/5 There will be heavy set on the stage during each scene that may

cause hazard if someone were to trip over. It has been made very

sturdy to prevent it from falling over and will be set in the same place

throughout and a skilled member of the stage crew will be altering

the set and have plenty of practice at doing so.

2/5

Curtains 2/5 The stage curtains may cause someone to trip therefore they will be

set in place throughout all rehearsals and performances and the wings

will be clear at all times.

1/5

Cables 2/5 The cables for the sound could be a potential hazard and someone

could trip. To prevent injury cables will be stored neatly out of the

walkway of any performer, stage crew, member of the performance.

1/5

Example OF Risk Assessment for

School Summer Showcase Production

http://ablivemt.blogspot.com/2018/11/risk-assessment.html


Health & Safety

Interaction Task

You are the director of a

touring company and have

hired out the Cansfield

Theatre for your

production.

TASK:

To ensure the safety of

your staff, you need to

carry out a risk

assessment of the

performance space being

used. Use the space to the

left to create your risk

assessment.

Design & Technical Elements Setting out a props table

Technical cue sheets – lighting & sound

Lighting

Creation of mood and atmosphere through design

elements

Set Design

Stage Plans

Sets - naturalistic / non-naturalistic

How lighting, sound and design elements work to

enhance performance

Constraints on design, venue, performance space,

available specialist equipment



Design & Technical Elements

Setting out a props table

The PROPS TABLE ensures that hand props are properly set out

in their own marked off square and set before each performance.

It consists of all the props that the performers have to collect or have

to bring off stage. The props table has its own marked off labelled

square for each prop so that all props can be easily and quickly found.

It looks like a theatrical C.S.I. table. Sometimes actors are guilty of

not returning their props to the table which can make things quite

complicated.

The Stage Management Team (ASM – Assistant Stage Manager), is

responsible for making sure that all props are organised and laid out

correctly on the props table offstage. They have a pre-show check list

which makes sure that all props are in the correct location.

They may also have a running list which involves the ASM moving

props to different locations backstage during the performance or

maybe handing the props to actors as they rush off stage.



Technical Cue Sheets

Technical cue sheets are used by the lighting and sound

technicians so that they know when and where to change the

lighting / sound effects within a production. The cue sheet to

the left shows a lighting (LX) cue sheet and the cue sheet to

the right is an example of a sound (FX) cue sheet

Sound effects Cue SheetLighting Cue Sheet

Some can also be fitted with what is known as a gobo. This is a

sheet inserted on a frame at the front of the light with a design cut

into it. It filters the light, creating a picture effect on the stage.

For example, a gobo could be used to create a dappled lighting effect

to look like the leaves of a forest, or could be cut to create strips of

light onstage which look like the bars of a prison.

Design & Technical Elements Lighting

Use the following link to make extra notes about how lighting is used for the stage.

https://www.youtube.com/watch?time_continue=45&v=YhI1I0wPhxQ

Lighting is a very technical area and there are many types of

lights (or lanterns).

Coloured gels can be added to the front of some lanterns so

that they throw coloured light onto the stage.


https://www.youtube.com/watch?time_continue=45&v=YhI1I0wPhxQ

McCandless method

Actors are fully front lit with at least two angled lights.

A backlight and/or top light will help to add dimension to the actor.



Spot - has a hard-edged effect, used to light

characters or elements on the stage. Coloured

filters can be used with this lamp.

Fresnel - used for a softer edged effect,

with a diffusing lens in front of the lamp. It's

useful for good overall light when used with

others. Coloured filters can be used with this

lamp.




Flood - produces a clear wide-angled

light, but there’s little control over the spread

of the light. Coloured filters can be used with

this lamp

Strobe - a flashing light, used for special effects.

It’s often used to give the effect of old

movies. It produces a jerky effect on the

movements of actors when used on its own.


Design &

Technical

ElementsCreation of

mood &

atmosphere

To create a specific mood

and atmosphere on stage

certain colours are

connected with different

emotions and feelings

which can be portrayed

on stage for example

through lighting.

e.g. Red could also

represent danger.



Design & Technical Elements How do we create an effective stage design plan?

It is important we

know stage

positioning when

designing set and

directing actors.

Examples of stage

plans, set design


Audience

You’re not assessed on your drawing

skills.

You are assessed on your understanding

of stage plans

TASK: Birds eye view.

Mark on each aspect of the set and explain how it is being used.

Mark on the position e.g. washing machine USC (Upstage Centre)

Washing Machine

Design & Technical ElementsInteraction Task


Design & Technical Elements - Set Design

When you're writing

about your set

choices or the set of

a production you've

seen, remember to

note the colour,

texture, shape, scale

and style in your

review.

It’s important that the choice of set suits the style of

production and enhances it.

Set design drawing for Peaky

Blinders, 2013. Credit: Grant

Montgomery

The set designer usually:

1. Discusses sketches of their ideas with the director

(and sometimes the cast).

1. Once the choices have been made, they build a

scale model of the set, which is called a ‘model

box’. This gives them an idea of what the real set

would look like and lets them make any necessary

adjustments.

‘Apologia’ at the Trafalgar Studios, 2017 ‘The Ferryman’ at the Gielgud Theatre, 2017

“Naturalism and realism Realism was a 19th-

century theatrical movement, seeking to portray

real life on the stage. ... Naturalism is often

used to refer to the same things but it can also

mean the belief that a human character is

formed by what they've inherited from their family

and environment”.

https://www.bbc.co.uk/bitesize/guides/zxn4mp3/re

vision/3



https://www.bbc.co.uk/bitesize/guides/zxn4mp3/revision/3

‘The Curious Incident of the Dog in the Night-Time’,

at the Apollo Theatre, 2013

‘The Threepenny Opera’ by Bertolt Brecht

Non-naturalism is a broad term for all

performance styles that are not

dependent on a life-like representation

of everyday life.

It is based on the work of Antonin

Artaud (Theatre of Cruelty), Bertolt

Brecht (Epic Theatre) and Jerzy

Grotowski (Poor Theatre).

https://materchristi.libguides.com/c.php?

g=677507&p=4780424



https://materchristi.libguides.com/c.php?g=677507&p=4780424



How do lighting, sound and design elements work to enhance performance?

Set

In Blood Brothers, the set

represents the working

class community within

Liverpool.

Sound

In Blood Brothers they use sound

effects to enhance the performance

through the simple use of a heart beat

to show the connection between the

two brothers

Lighting

In Blood Brothers, one of

the key lighting effects is

the use of red because it

signifies the blood and what

it to come later in the

performance e.g. death




Constraints

Design Performing Arts Companies have to work to a budget which could have restraints on the amount

of money they spend on the set/props. E.g. if your budget is £1000, you would not use £1000 just on

the set.

Venue The cost of hiring a venue could be a problem again due to the budget that companies have to

work to which means that they may not be able to showcase their performance within a certain

venue. Booking the venue in advance is also essential due to other companies sharing the space.

With out advanced booking this again could be a problem.

Performance

Space

The size of the space could be a problem for companies if they have not done their research about

the space they want to use. For example, if they have practiced their production within a small

studio and the space they are booking is a lot bigger this could cause problems to their

choreography and movement between performers.

Available

specialist

equipment

Trained technicians – are there available trained technicians to use the equipment.

Cost – can your company actually afford to hire out the equipment

Availability – due to different venues, they may or may not have access to specialist equipment.


Management structures

Profit and non-profit organisations

Range of venues

Performing rights legislation


KEY TOPIC 1

Performing Arts

Industry

Management

Structures

Chief Executive

Production

Manager

Artistic

Director

Master

Carpenter

Chief

Electrician

Wardrobe

Supervisor

Stage

Manager

Scenic

Painter

Deputy

Electrician

(lighting)

Wardrobe

Assistant

Deputy

Stage

Manager

Prop

Master

Deputy

Electrician

(Sound)

DresserAssistant

Stage

Manager

Lighting /

Sound

Technician

Stage

Technician

Musical DirectorChoreographer

Props

Master

Lighting

Designer

Set

Designer

Costume

Designer

Actors / Dancers / Musicians

Theatre / FOH

Manager

Box Office

Manager

AdministratorHead of

Marketing

Box Office

Assistant

Admin

Assistant

Marketing

Assistant

Creative

Performance

Technical / Production

Design

Admin / FOH



For profit, not-for-profit organisations


PROFIT NOT FOR PROFIT

The aim is to make a profit from the

performance.

For example:

Large West End Theatres

Concert Venues especially arenas

Not-for-profit does not mean operating at

a loss; these venues still need to cover

costs.

For example:

Regional Arts Centres, usually with a

community focus.


Range of venues


Type of Venue What shows / events take place?

Receiving Theatre/Houses Work produced in one location and then taken on tour come to these venues. E.g THEATRE ROYAL BATH

Producing Theatre/Houses Work made on the premises for that building (NB because of cost and funding these shows are often

joint productions with another venue). E.G SALISBURY PLAYHOUSE/BRISTOL OLD VIC

Arts Centre Range of arts work in a programme of different timings – single night events, exhibitions, film, classes –

a complete range of shows and events. E.G TROWBRIDGE TOWN HALL/POUND ARTS

Arena Large scale events requiring massive amounts of space and technical resources. Often part of a tour

e.g. think singers, bands O2 ARENA

Studio Used for in house work and small scale touring theatre. Small venue; small audiences. Heavily reliant

on volunteers. E.G THE SPECTRUM

Multi-use spaces Flexible spaces that can be used for any arts activity – community centres

Festival Annual / bi-annual open air events usually over a few days in a range of venues. The full range of arts

available but most audience members will have come to see specific acts in the line up. E.G

GLASTONBURY


Performing Arts Industry Range of venues AND safety

Venue What is it? Picture examples Advantages Disadvantages

Small - Local Venues

-School theatre / Studio

- Used for in house

productions and small scale

touring companies e.g.

local dance schools

SCHOOL THEATRE • Intimate atmosphere

• Close to the audience

• More accessible for local bands, companies,

caters for the community

• Poor sound and technical

facilities within smaller

venues e.g. school

stage/theatre

• Limited audience

• Less publicity/promotion

Medium – local

venues / theatre

– St Helens Theatre

-Work produced in one

location and then taken on

tour come to these venues

ST HELENS THEATRE • Close to the audience but larger audience area due to the size of the building

• Audience interaction• Accessible to the local community• More publicity through involvement of well

known performers / artists (pantomimes – well known performers as key characters)

• Some parts of the audience are further away from the stage

• Hiring of a larger venue than a studio or local school hall / theatre

Large / Multi-Use

Spaces

Arena – E.G. O2

Festival – E.G.

Glastonbury /

Community Centres

-Large scale events

requiring massive amounts

of space and technical

resources. Often part of a

tour

O2 • Excellent sound and technical facilities

• Huge publicity and promotion

• Higher fee from tickets sold

• You have to be already

famous to perform at a large

venue (less easily accessible)

• The cost of hiring a large

venue

• Less intimate interaction

with audience

Health & safety , security at

venues: You need to know the

health and safety issues and

security concerns within

performance venues to keep

people safe:

5. Obstacles are clearly lit / indicated (e.g. stairs)

6. Adequate parking and parking arrangements

7. Flow of people in and out of the venue is safe

8. Secure ramps / stage scaffolding

1. Heating, ventilation and lighting

2. Electrical equipment is kept safe

3. Toilets and drinking water are clean

4. First aid and emergency exits are highlighted in case of a fire



Interaction Task

Why would a small touring theatre company not hire an arena?

Who might use arenas to perform, why might this be?

What problems may local communities/companies face if hiring small

venues for their productions?

As a GCSE Performing Arts Company, discuss which venue

you would hire to put on a production for the local

community.

What do you consider the most important when

considering the safety of others in this venue?

Work in the Performing Arts and research aspects - Venues

The Ancient Greeks built amphitheatres into hillsides having discovered that sound carried well in naturally formed bowls in the

landscapes. Some amphitheatres, such as Epidaurus, could hold around 20,000 spectators, Colosseum in Rome holding around

50,000.

Amphitheatres allow every member of the audience to see what is going on.

It is an open-air venue that was used for entertainment, performances and sports.

They were used by the Romans for events such as gladiator combats, venationes (animal slayings) and executions.

The Olivier Theatre at the National Theatre, London

Modern Example of an amphitheatre

The Theatre of Epidaurus, Greece The Colosseum, Rome, Italy


Can produce ‘in-house’ in a specific venue where they are resident e.g. Bristol Old Vic

Can become a ‘touring theatre’ company such as Kneehigh, Travelling Light, Paper Birds etc.

Includes drama, dance, physical theatre, musical theatre, dance, opera, theatre for children, theatre in education, street theatre, and specialist work such as mask,

puppetry and circus

DO YOU KNOW WHAT ALL THESE ARE?


Performing Arts IndustryOrganisations-

Production Companies (create performing arts work)

Transport e.g. van hire

Hiring equipment e.g. costumes, set etc.

Selling and installation e.g. lighting, sound and other specialist equipment

Can you think of any other things that theatres or theatre companies might need to

buy in?


Performing Arts IndustryOrganisations-

Service Companies (provide assistance to venues and production companies)

Public Sector Private Sector Third Sector

Large regional and national funding bodies

Arts Council- money from the

Government is distributed to arts

organisations following application

They will monitor how the money is spent

(ensure it is spent how the application

stated)

Money is given as a ‘grant’ meaning the

venue/company don’t have to pay it back

An example is – SALISBURY PLAYHOUSE

Sponsors or investors could be businesses

or individuals

They will give money (or benefits in kind)

to a organisation but will want something

in return e.g. advertising or use of facilities

for their own use

For example the Theatre Royal Bath offers

‘Corporate membership’ to companies-

including use of hospitality facilities and

membership fees go towards to running of

the building

Funding from trusts and charities

The trust or charity decides how much

money it will donate as a grant to an arts

organisation

An example is ‘The Wingate Foundation’-

an independent grant giving charity which

supports arts in Wiltshire. They have

separate grants for Performing Arts and

Music

Many arts venues become charities- this

means individuals can make donations to

the venue.


Funding Organisations


Performing Arts Industry Performing Rights Legislation.

All work is protected by copyright and belongs to the writer of the work (composer, playwright etc). This right continues for at least 20 years after a persons’ death.

This is often administered by a licensing organisation like Samuel French Ltd, Music Scope, EMI etc…

The Performing Rights Society (PRS) and the Phonographic Performance License (PPL) oversees this.

Many venues need a license to perform and this will indicate how many people can attend for certain events. This license is often issued by local fire services.

Public Liability Insurance is also required for any space where people gather, even if it is an open air event.


Work in the Performing Arts

and Research Aspects Professional Bodies; awareness of

professional bodies, unions and

associations

Training opportunities

Different venues (see Performing Arts

Industry section )



Professional Bodies; awareness of professional bodies, unions and associations


EQUITY The performers’ union – actors, dancers, musicians

BECTU Broadcasting, Entertainment, Communications and Theatre Union

The technical, media and entertainments union

BAPAM British Association for Performing Arts Medicine – supporting the

physical demands of a performers’ life.

MU Musicians Union

NATKE National Association of Theatrical and Kino Employees – for people

who work in cinema and television.


Training Opportunities


Training Opportunities

Professional Drama / Dance school

For all aspects of performance including design. Often leading to a degree qualification.

Film and television courses Both at university and independent schools

University Courses Huge variety; may need a postgraduate qualification in order to work in the business.



Interaction Task

Research into a chosen College / University / Performing Arts Centre of your choice.

Name of Training Provider: _________________________________________________________

What qualifications do you need to be entered onto this course?

Linking to your specialist discipline/area that interests you most within Performing Arts,

identify the courses that are available for you to take after school:

Any other relevant information about this

training provider:

Exam Question Tips


What kind of questions could come up about Performing Arts & the community?

You could be expected to consider:

Reasons for arts in the community

Possible activities as part of arts in the community

An understanding of how the arts can reflect life in a community, location or have a specific purpose.

How and why things should be funded

Responding to a brief


You could be expected to consider:

REASONS FOR ARTS IN THE COMMUNITY

POSSIBLE ACTIVITIES AS PART OF ARTS IN THE COMMUNITY

AN UNDERSTANDING OF HOW THE ARTS CAN REFLECT LIFE IN A COMMUNITY, LOCATION OR HAVE A SPECIFIC PURPOSE.

HOW AND WHY THINGS SHOULD BE FUNDED

RESPONDING TO A BRIEF




State four benefits that a Performing Arts Centre could provide the local community. (4 marks)

-----------------------------------------------------

SOME POSSIBLE ANSWERS

- providing jobs

- bringing the community together e.g. putting on performances/festivals

- providing education for the younger generation

- Celebrating local diverse culture

- Provide an education for a range of age groups


Short response question:

Q: Choose a performance by an actor, dancer or singer that you

have seen in either:

a live performance

A film

Name your chosen performance: _________________________

Give two reasons why this is an interesting performance/film

-----------------------------------------------------------------------------------

Select two points below to consider within answer:

-The choice of performer

-The challenge

-The performance style

- Interaction with other performers

-The audience response

-Aspects of the performance – vocal/physical work

-Costumes/design features

-The direction

Short response question: (answers and marks gained)

Response 1

Curious Incident of the Dog in the Night-time Christopher – Scott Reid

I thought he knew a lot about being autistic because it seemed very lifelike, I liked his

movements they were done really well. I liked the arguments with his parents as his

movement was done well in those scenes.

This response only gained 1 out of 2 marks because they had made two

points but they both described the same element of the performance

‘movement of the character’ and how it enhanced their performance.

Response 2

Curious Incident of the Dog in the Night-time Christopher – Scott Reid

The actor had an excellent understanding of the effects of autism. The best example was in

the section on the London underground. His jittery movement and avoidance of eye contact

was very effective. After he had the initial tantrum about the death of the dog, the way he

demonstrated Christopher calming down and being comforted by his father was very

skilled and showed this interaction with another character in a very moving way.

This response gained the pupil 2 out of 2 marks because they made two

valid points that were different – movements to portray his character

and how he interacted with another performer.


Longer Response Question:

You have been asked to support the proposal for the performing arts centre. Write a pitch to convince people that it would be a successful venture. (6 marks)

------------------------------------

Areas to consider and discuss within your answer below:

- The range of potential uses of the venue should be considered; workshops, rehearsals, creation of youth theatre groups and educational ventures such as Theatre in Education Projects.

- Appeal to the community and the possibility of building a centre that not only generates income through hiring and merchandise but benefits the cultural life of the community.

- Responses might include specific examples of specific cultural events ranging from Asian Dance to Folk Music and the celebration of significant local events.

- The performing arts centre could be seen as a place to bring culture and the arts together hosting small scale festivals of dance, drama and music and offering a wide range of classes and opportunities for people for all ages to come together and share experiences

through performance.

Example answers on next page…………………..


Longer response question

Response 1

It would be a really good idea to build this centre in your town because lots of young people don’t have enough to do and this would be a place they could go to and do something. It

would be used by schools and youth groups and people could practice dancing and playing instruments. They would be paying for this so it would make money which could help to

make even better performances. Lots of people I know like drama and dancing so I think it would be popular.

Response 2

This proposal would be an excellent opportunity to bring community groups together in a shared experience of the creative arts. The venue will have multiple uses including dance and

drama workshops, a performance space and a small art gallery. A small shop and café will help to create some useful income – including opportunities for merchandising and even hosting small business events. One essential focus will be on the encouragement of cross-cultural events and the launch of the centre will be celebrated by an international dance

festival. It would be important to remember all groups in the community and to have opportunities that catered for all ages and tastes. We would make links with local schools and community groups and amateur productions could be staged at the centre. The venue

could also be rented out for meetings and conferences in order to raise more money.

Response 2 was awarded……..

Response 1 was awarded……..


Example exam question linked to a brief!

HIGHLIGHT THE COMMAND WORDS – the words that are telling you what to doUNDERLINE 3 KEY WORDS that you must respond toGO TO THE MARK SCHEME – what will the examiner be looking for?

A) Identify four factors about this brief that a production company should consider when

planning for the festival.

B) Give three reasons why the government should fund events like this.

THE KEY PARTS OF

THE QUESTION TO

TAKE INTO

CONSIDERATION

WHEN GIVING

YOUR ANSWER

(HIGHLIGHTED)


RESPONDING TO A BRIEF

THE INFORMATION YOU

NEED TO NOTICE FROM

THE BRIEF

Brief A

Your company are invited to participate in a community arts festival.This festival will be held on 16, 17 and 18 August 2019. The theme is ‘looking back’ and the organisers want audiences to see how their local history has had an effect on their lives. Audiences will be drawn from all areas of the local community. Performances will be staged at a suitable community venue at 7.30pm each evening.


Breaking the BRIEF down

So you’re looking for

◦ What sort of Arts event is it?

◦ Who is sponsoring it and why?

◦ What is the theme?

◦ Who is the intended audience?

◦ Where is it going to be performed?

And when you know what they are that will give you the answer to the question.

REMEMBER – 4 marks = 4 minutes


B) Give three reasons why the government should fund events like this.

Around £9oo million a year goes to the Arts – some directly to large museums and organisations and most to the Arts Council (ACE) who distribute the rest.

It will NEVER fund all of a project; it want the organisations to support themselves in other ways

No organisation producing performance work can cover its cost without external support.

Some music venues manage it; but they are not producing work

So why do we need to fund this stuff? Why is it important?

No funding would mean that we would only see work that could cover its costs

– a very limited range

Supporting new work by new artists

Allowing the community to reflect on itself artistically

Pride in your local area; learning more about the place you live and the people you live with.The arts preserve unique

culture and heritage,

The arts create jobs and produce tax revenue.

Create a sense of desirable place to live.

Exam Question Tips


Reviewing Performances

How do technical elements enhance the production?

Using to structure your longer answer questions.

Point –The use of ……enhanced the performance by creating comic effect…

Evidence –This was clearly shown…

Analysis – the effect of / the use of….

Response –The audience responded/ the impact on the audience was…

Link –The use of this …therefore created an overall comedic effect…


When writing a review consider the following:

Set –Think about the performance and comment about when it was set E.g. modern day, what

year was it performed?

Message – What was the main message that the director was trying to get across to the

audience performance. E.g. Is it about racism/sexism/bullying. How did they do this? E.g. Was it through the movement they used, the dialogue?

Character –Talk about one character within the performance. Was their performance good

and why? Was it well rehearsed? What techniques did they use that impressed you and that you will include in your next practical performance. Mention the costume and lighting and how it added to the effect of the performance.

Remember the exam question maybe asking you to write a review to encourage other people to watch it so finish it off with a one line statement that would sell the show:

E.G. “A magical moment not to be missed”.


REVISION ORGANISER · 2020. 3. 24. · SM Stage Manager ORCHESTRA PIT ASM / DSM Assistant Stage...

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Transcript of REVISION ORGANISER · 2020. 3. 24. · SM Stage Manager ORCHESTRA PIT ASM / DSM Assistant Stage...