Unit 6 – Production Arts Planning

PMD 1

Stage ManagerThe stage manager is responsible for all stage elements in a show.

The role of the stage manager is especially important to the director in rehearsals. Here the director and the stage manager work side by side, with the stage manager recording the director's decisions about blocking and notes for the actors, keeping track of logistical and scheduling details and communicating what goes on in rehearsals to the rest of the team. This enables the director to concentrate his or her full attention on directing.

In conjunction with the director, the stage manager determines the scheduling of all rehearsals and makes sure everyone involved is notified of rehearsal times, meetings, costume/wig fittings and coaching sessions. During the rehearsal phase, stage managers also• mark out the dimensions of the set on the floor

of the rehearsal hall• make sure rehearsal props and furnishings are

available for the actors• attend all rehearsals• notify the designers and crafts people of

changes made in rehearsal

Typical work activities:Roles vary depending on the size and type of organisation, but the tasks stage managers will typically be expected to carry out include:

• setting up and running rehearsal schedules;• procuring all props, furniture and set dressings. In small companies, the theatre stage manager may also

assist in set construction;• arranging costume and wig fittings;• distributing information to other theatre departments;• managing the props and possibly the design budgets and liaising with the production manager regarding

costs;• supervising the 'get in' to the theatre, when the set, lighting and sound are installed, and the 'get out',

when all the equipment is removed;• compiling and operating prompt copy - also known as the 'prompt script' or 'the book' - which notes

actors' moves and the requirements for props, lighting and sound;• making changes to the set between scene changes, prompting actors and cueing technicians;• ensuring the company's welfare and maintaining a good working knowledge of all relevant health and

safety, legislation and good working practice;• running the backstage and onstage areas during performances;• liaising with the director, stage personnel and other technical departments, e.g. costume, lighting, sound;• calling actors for rehearsals and performances;• during a long run, maintaining and replacing props and costumes as required;• liaising with resident staff at other performance venues (if touring).

• These were found from here : http://www.prospects.ac.uk/theatre_stage_manager_job_description.htm

In rehearsals the stage manager also records all blocking, plus all the light, sound and set change cues, in a master copy of the script called the prompt book. The information in the prompt book also allows the stage manager to run the technical rehearsals, calling each technical cue in turn to determine precisely how it needs to be timed to coordinate with the onstage action.

The stage manager and the technical director also work out a smooth and efficient plan for the stage crew to follow during set changes. Furniture and prop plans for complicated sets are drawn up by the stage manager and technical designer to show exactly where the furniture and props are to be positioned on stage at the beginning of each scene and sometimes in the wings.

Once the show opens, the director's work is essentially complete. Now it's the stage manager's job to make sure that every aspect of the production runs just as the director intended time after time, until the production closes.

A Professional Stage Manager in the Industry

I used Stage Jobs Pro to find all my research below. This site is a great resource for research.

http://www.stagejobspro.com/uk/casestudy.php?uid=2821&user_uid=74394

Andrew Manzie – Stage Manager

Question 1: What is the most rewarding aspect of working as a Stage Manager?The satisfaction of seeing a show produced on a stage from what is essentially a lorry load of metal and wood.

Question 2: What are the key skills required to be an effective Stage Manager?Good Communication Skills are a definite. The ability to think on your feet and be adaptable. Being able to make snap decisions is a big bonus too. Again being adaptable.

Question 3: Do you see your role as a natural step on a career ladder, and if so what is the next rung?Yes. I've evolved from an Assistant Stage Manager to Stage Manager to Production Manager (On the road) it seems though that as the title gets bigger the paperwork gets bigger!!! My next rung is to become a Company Stage Manager. I enjoy being with people so the logical step is Company Stage Manager because not only do you deal with people but the practical side is still very important as it's the side of the job that I love most.

Question 4: How did you work your way into your current role?I was recommended by a Company Stage Manager from my previous tour. Before that I had some time out but was working with Qdos as a Tech Assistant Stage Manager where I specialised in Foy Flying. I was lucky enough to get a break as Stage Manager on a show called Simply Ballroom produced by Qdos. When that had finished I was recommended by a friend to go onto Buddy UK tour as Stage Manager I've been lucky. I've been recommended for each step up the ladder I've taken and been able to Recommend people who I know to follow behind me.

Question 5: How much do you think networking helps towards landing a job in the industry?It's absolutely essential. You need to get to know as many people as possible because if people know you and like you you stand a good chance of them recommending you for more work. But... Keep your CV up to date and keep trying to find work off your own back. You can't rely on other people's help to make your career. Any help you get should be seen as a bonus.

Question 9: How important is working for free at the beginning of your career?I agree it's a good idea to try and do some voluntary work. Maybe join an amateur dramatics company as one of their stage crew. But also try and talk to local venues, be it for work experience on stage or voluntary stewarding. Often these people are kept on and begin to earn steadily. I know a lot of people who have ben volunteers and moved up the tree to become Lighting Designers, Stage Managers and Sound Designers I even know a producer who was a volunteer steward.

Andrew ManzieStage ManagerLocation : Devon

About AndrewA responsible person who is also a good timekeeper. I am quick to learn, adaptable and conscientious. Happy to work as a member of a team but just as capable of working alone. I'm used to working in a supervisory capacity and am able to motivate members of my team to give their best effort in achieving targets. Having worked both in-house and as a member of a touring theatre company I am used to seeing things from both perspectives. Amongst my skill set is Flying by Foy and regular Generic Flying. I have experience as a Rigger although no formal qualification. Whilst working in-house I gained a good working knowledge of Health and Safety Regulations and Risk Assessment Paperwork. I also hold a Full UK Driving License and a Counterbalance Fork Lift Truck License (up to 5 tonnes)

Additional SkillsPlanning, prioritising and organisational skills

Happy in a supervisory capacity or as a member of a team

Able to coordinate different members of a team towards a good final result

Good at adapting to and controlling a challenge

A very hands on approach and a good work ethic

Proactive

Outgoing, lively and motivated

Industry AwardsNational Diploma and Higher National Diploma Stage management and Technical Theatre.

Additional InformationHave a good working knowledge of Health and Safety Regulations and Risk Assessment paperwork. I have toured to most of the receiving houses in the UK and I hold a Full UK driving license.

Sound DesignerThe sound designer plans and provides the sound effects in the play. The composer writes any original music the show may require. All the music and/or effects in a play considered as a whole make up the "soundscape."

In addition to the sounds of the words spoken by the actors, a play may also call for sound effects to recreate lifelike noises or use music or abstract and unidentifiable sounds to support the drama.

Sound designers and composers begin their work by studying the script, gathering as much information as they can about any sound or music it calls for. As in all other aspects of design, an early meeting with the director and the design team is essential to get a clear understanding of the production concept.

Some directors will already have very clear ideas about what the sound effects and/or music should sound like, while others may request that the sound designer/composer sit in on rehearsals to assist with developing effects and music to fit the specific contexts in which they will be used. Once they have a precise sense of what the production needs out of the music or sound, the composer begins composing the necessary musical pieces and the sound designer begins to gather and create the necessary sounds.

Sounds and music in the theatre can• motivate actions onstage and indicate events taking place

offstage• establish the time of day, season and weather• locate the action in a specific place• create mood and changes in mood• stimulate audience expectations of what is to come• provide information about the characters• build transitions between scenes• offer shortcuts that rapidly advance the plot or recall past

events

The designer or composer combines and varies the five controllable properties of sound to create unique effects or music required by the production of the play.

The controllable properties of sound are:• Pitch - the wavelength or frequency of the

sound• Volume - the loudness or quietness of the

sound• Quality - how pitch and volume combine to

give each sound its own distinctive effect• Direction - the location of the sound in

space and how sound travels from one location to another

• Duration - the length of time the sound lasts

Planning tools of sound designers and composers• Plot: A list of all the music and sound cues for each act/scene. It indicates where the sound or

music occurs, the page number of the script where it appears, precisely when it begins and ends, and the equipment that will be used to produce it.

• System layout: A system layout shows the type and location of speakers on stage, on the set and in the auditorium. The system layout may also include a layout of how all of the sound equipment will be interconnected.

• Cue sheet: A version of the sound plot to be used by the sound technicians who will run the equipment during the performance.

• Sound and music cues are often dependent on the precise timing of the onstage action and can only be set after the play's blocking has been determined. Ideally, the director, cast and crew will have several opportunities to fine tune the timing of the completed music/sound design during technical rehearsals.

The sound designer will meet with the director and the design team (set, costume, lighting and sound designers), to discuss the details of the set and the director's interpretation of the play. The set, costume and lighting designers also meet and work together to ensure the creation of a unified look and feel for the production. A lively exchange of initial ideas and first impressions helps clarify the steps that each person needs to take in this intensely collaborative process.

I did my research from these sources - http://www.aact.org/people/sounddesigner.html

A Professional Sound Designer in the Industry

Philip Tiso

Sound DesignerTechnical Stage ManagerLocation : Staffordshire

Education• 2014, Diploma in Multimedia Development• Alison.com• 2008, 20 + years in sound• none other• 2008, 3 yr. Production Sound• college of life

About meMore than 20 years sound experience covering touring bands and shows, TV sound for broadcast and video and most recently working for Bourne Leisure on 3 bands a night, every night and a year-round panto, in-house as well as touring shows, and theatrical shows. Knowledge and experience with analogue and digital set-ups.

I got my research from - http://www.stagejobspro.com/uk/view.php?uid=199377&position=1&page=1