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This document sets out to give some idea of the variety of theatre jobs which contribute to the putting on of a show. Its aim is to help those who have developed an interest in technical and backstage theatre to find out more about the type of job that may suit them before deciding on theatre as a career. Please note: The only theatre job not covered in this document is that of the performer. The following is a brief description of the work that may be carried out by the various theatre departments concerned with: Getting the show under way!Most of the activities in the theatre are concerned with presenting a show to the public. We will therefore chart the progress of a show from an original concept to its first performance, as this is a sequence which is constantly repeated in the every day life of the theatre. The show is designed and directed ...Most shows begin with either a script or a score for which a DIRECTOR and DESIGNER are chosen. The DIRECTOR then chooses the cast. The DESIGNER works closely with the DIRECTOR to create the visual side of the production. Both DIRECTOR and DESIGNER have to work within the budgetary constraints of the company.The PRODUCTION MANAGER often oversees the Design budget. Having worked out the best interpretation of the drama, the DESIGNER first builds a model set then supervises its transformation into a full scale set, also supervising the work of painting the set, the making of stage properties and the hiring or buying of furniture. The DESIGNER often designs and supervises the making of the costumes although this may sometimes be done by the COSTUME DESIGNER. TRAINING FOR DIRECTING AND DESIGNINGIt is worth emphasizing the benefits of a good general education and as should experience as much amateur or voluntary theatre work as possible. Many DIRECTORS may start as actors or become involved with drama groups at University or College, moving into the professional theatre having gained some experience as Directors within the college system. Some may have specialised further by attending Directing Courses that are available at some Drama Schools. Most DESIGNERS will have had an art school training, taking either a specific theatre design course at degree or higher diploma level, or a more general course such as Fine Art. Some may consequently specialise further by taking a one or two year Theatre Design Course. Further information concerning DESIGN may be found under the Society of British Theatre Designers section of the ABTT site. A COSTUME DESIGNER may have had a similar training or alternatively taken one of the few costume design degree / diploma courses available. Rehearsals begin ...About three or four weeks before the opening night, the cast will start to rehearse. The Stage Management department is responsible for scheduling rehearsals, collating all the details which go to make up a production, for instance property buying, organising sound effects, recording sessions and for ensuring that the Director's ideas and requests arising from the rehearsals are passed to the appropriate department. The STAGE MANAGER has ultimate authority on stage during a performance and this activity is always assisted by a DEPUTY STAGE MANAGER who is often responsible for 'running the book' ( typically responsible for calling all the lighting,sound,stage, performer and audience announcement cues via the script / score ) as well as ASSISTANT STAGE MANAGERS who generally assist in all matters of show and performance continuity, as well as administrating personal props for the performers. TRAINING FOR STAGE MANAGEMENTFor those wanting to make a career in Stage Management, there are many diploma courses available at Drama Schools. Many are two year courses, although several offer the option of a three year university degree course. Whilst it is still may be possible to join a repertory company without training, it is unlikely that the chance will arise. Most companies now expect formal training as well as the fact that the union may restrict entry into the profession. Only a very small number of people now enter the profession without formal training. Costumes and Wardrobe .. Make / Hire / Beg ! ...The Production Wardrobe Department is responsible for providing costumes which are either made or hired. The COSTUME SUPERVISOR would work closely with the designer on co-ordinating the making of costumes and wigs. Within the Wardrobe department there are several trades, such as COSTUME CUTTERS, COSTUME MAKERS, TAILORS, MILLINERS etc. TRAINING FOR WARDROBEThe Wardrobe is the department which presents the most opportunities to newcomers who can obtain work as SEWING HAND without previous theatre experience.
A COSTUME SUPERVISOR may have had a specialist Art/Design/ or Drama School training. COSTUME CUTTERS can acquire these skills whilst working in the department.
A specialist cutting course is available at the London College of Fashion.
A theatre TAILOR will often have served an apprenticeship in the clothing industry, and adapted these skills to theatre use. A skilled cutter may sometimes take on the making of men's costumes. Millinery is another skill which may be acquired on a design course or by working in the Wardrobe Department. Building and Painting the Set ...The set will be built in the Scenic Workshop by the MASTER CARPENTER with the help of one or more ASSISTANT SCENIC CARPENTERS. As the parts of the set are completed they are moved to the paint shop where they are painted by either a SCENIC ARTIST or by an ASSISTANT DESIGNER. Any large properties, such as a tree or a dragon, will also be made in this department or Scenic Workshop. Most theatres have the facility to provide their own sets and costumes. There are, however, exceptions to the rule and specialist contractors exist to provide sets and costumes to theatres without this facility. Most of these exceptions are the group of theatres in the West End as well as a few national touring companies. TRAINING FOR SCENIC CONSTRUCTION / SCENIC PAINTINGThe MASTER CARPENTER is most likely to have acquired the skills through starting in the department as a trainee or at Drama School, although it is possible that carpentry skills learnt outside the theatre can be adapted to suit theatre practice. The same applies to SCENIC CARPENTERS. There is a Scenic Carpenters course run by the ABTT. The SCENIC ARTIST may have learnt the skills from an apprenticeship training within a theatre, but is more likely to have attended a theatre design course and then abandoned the idea of trying to make a career in the highly competitive field of theatre design. The skills of a PROPERTY MAKER in dealing with a wide variety of materials and techniques, may have been acquired as part of a theatre design. Stage Management course, or developed out of an original interest in designing and making props.
Lighting the Show ...The lighting of the production is planned by a LIGHTING DESIGNER who works closely with the Director and Designer. (This job could be allocated to the CHIEF ELECTRICIAN in the event that a LIGHTING DESIGNER is not available) TRAINING FOR LIGHTING DESIGN / ELECTRICIANA LIGHTING DESIGNER would normally acquire skills through vocational training and by working within the industry.Good working knowledge about the operations of all other technical departments would normally be expected.
Providing the backdrop of Sound ...Many shows will require the services of a SOUND DESIGNER who will be responsible for recording sound effects and providing any voice amplification that may be required. He may also be the SOUND OPERATOR for each performance and have other duties if sound is not separate from the Electrics department. When a musical or pantomime is produced, the services of a MUSICAL DIRECTOR and possibly a CHOREOGRAPHER will also be enlisted. TRAINING FOR SOUND DESIGN / OPERATIONThe SOUND DESIGNER may have started as a member of the Electrics Department from which he/she developed an interest in sound, or may have attended a Drama School Course. Specialist courses run by the ABTT are often on hand. The show is now transferred to the stage ...The cast will rehearse in the rehearsal room for several weeks, and during the later stages of rehearsals costumes are tried on, and props and parts of the set used by the actors are brought into the rehearsal room. Sound effects can also can also be tried out, but the lighting can only be planned on paper until it is possible for the stage to be used. Any time spent rehearsing in the theatre, as there is not a paying audience, is expensive and must therefore be kept to a minimum. This imposes a sense of urgency on activities which take place on stage and proves a taxing time for all concerned. A set must be erected and the lighting equipment hung in position before the scenery changes and lighting levels can be coordinated.. All this must be done as quickly as possible, which inevitably leads to long working hours for most of the staff. The responsibility for co-ordinating the activities rests with the PRODUCTION MANAGER who has been overseeing the work of the various departments and making sure they are keeping to a schedule which enables everything to be ready for stage rehearsals. Several days are devoted to rehearsing the show up to technical and dress rehearsals, culminating in public previews. TRAINING FOR PRODUCTION MANAGERThe PRODUCTION MANAGER is most likely to have spent some years rising through the various jobs in Stage Management or alternatively may have been head of one of the departments such as Electrics or Scenic Workshop.
The First Night! ...When the show has had its first night and opened to the public, the involvement of some of the departments is at an end, except for any repairs to sets and properties. Other departments have a continuing role on the running of the show each evening. The Stage Management, who were previously responsible for the rehearsals are now responsible for the control of each evening's performance. From a position at the side of the stage the STAGE MANAGER or DEPUTY STAGE MANAGER gives instructions(cues) to all departments which enables the movement of scenery, control of lighting and sound to be co-ordinated. The scenery is traditionally moved either vertically or horizontally by special equipment operated by a staff of STAGE TECHNICIANS who are under the immediate supervision of either the MASTER CARPENTER or a TECHNICAL MANAGER. Some of the stage staff have permanent jobs, but others are employed on a casual basis, working each evening as SHOW STAFF. This arrangement applies to other departments such as the Electrics Department who need FOLLOW SPOT OPERATORS and sometimes staff to move electrical equipment. The Wardrobe Department is now responsible for the cleaning and repairing of the costumes and the WARDROBE SUPERVISOR may need to employ DRESSERS to help the artists into their costumes when making quick changes. TRAININGThe jobs of DRESSERS, FOLLOW SPOT OPERATORS and other SHOW STAFF can be undertaken by people without previous experience, although in reality the jobs are often staffed by by experienced people who may have undertaken relevant Theatre training.
The show is publicised ...As the show is now open to the public, other theatre employees are involved. Publicity is an important part of any theatre's operation and has already been under way for some weeks. It is the responsibility of either the PRESS REPRESENTATIVE or the PUBLICITY OFFICER, who supervises the printing and distribution of posters and leaflets, and makes personal contact with organisations who display publicity material. The PUBLICITY OFFICER is also responsible for collecting and collating programme material, contacting artists for press and television interviews, organising photographic sessions and generally promoting public interest in the theatre and its shows. A GRAPHIC DESIGNER may also be employed to provide designs for posters, leaflets and programmes, but will probably work on a freelance basis. TRAININGThe PUBLICITY/ PRESS OFFICER possibly has had previous practical experience in marketing as well as journalism or training at a Business College. The GRAPHIC DESIGNER may have had an Art School Training and will probably have aquired relevant computer skills in Desktop Publishing and Image Processing. It is very likely that one of the above may need additional Internet skills in the near future!
The audience flocks in ...If the publicity department is successful, there will be a constant demand for tickets both by telephone and from personal callers at the Box Office. This is handled by a BOX OFFICE STAFF of 4 or 5 in an averaged sized theatre, who are employed on a permanent basis, although casual staff are sometimes taken on for busy periods. They are under control of a BOX OFFICE MANAGER. Tickets are checked by USHERS/ USHERETTES who will show the public to their seats and will probably sell programmes and ice-cream, and are employed on a casual basis for each performance. During the interval the theatre bars are open to the public and are run by BAR STAFF who may be employed either on a permanent or casual basis and are supervised by the CATERING MANAGER. The theatre is cleaned by CLEANERS supervised by a HOUSEKEEPER. All the activities of the theatre which provides facilities for the public are the responsibility of the HOUSE MANAGER who is on duty every evening in the foyer to oversee the theatre attendants and bar facilities. He is in turn directly responsible to the THEATRE MANAGER. TRAINING / ENTRYThe THEATRE MANAGER and HOUSE MANAGER may have done an Arts Council Administration course, having first acquired some theatre experience. The BOX OFFICE MANAGER is most likely to have been a member of the Box Office Staff and risen through the ranks to the position of Manager. TRAINING / ENTRYThe GENERAL ADMINISTRATOR is likely to have taken an Arts Administration course and in addition will have extensive previous experience within the theatre. The ARTISTIC DIRECTOR will have previously worked as a Director.
COURSESAdministration Design Costume Scenic Carpentry Lighting Sound Stage Management ORGANISATIONSEQUITY is the union which covers actors, stage managers, directors, designers and choreographers. Anyone pursuing a professional career in theatre is eligible to join. NATIONAL VOCATIONAL QUALIFICATIONSMETIER, Is the National Training Organisations for the Arts and Entertainment sector. PUBLICATIONSGOING ON THE STAGE. Based on the findings of an enquiry into professional training for drama funded by the Calouste Gulbenkian Foundation, which led to the setting up of the National Council for Drama Training.
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