Book description
In every theatrical production, a single indispensable person is responsible for ensuring that scenery, lighting, actors, directors, sound artists are in sync. Stage Manager: the Professional Experience takes the reader through all aspects of the craft of stage management, from prompt books and laptops to relationships and people management. It offers an extensive discussion of what makes a good stage manager, and takes the reader through each phase of a production from getting hired, to auditions and rehearsals, to the run and closing of the show.Using interviews with other professional stage managers, the author provides a practical, experience-based guide for students and aspiring professionals alike. The stage manager's role in each phase of the production is covered in detail. Working relationships, organizational tools, plans, charts, lists and forms, running auditions, cueing, touring, and the stages of rehearsal are just some of the many topics covered. An overview of the stage manager's working week provides a clear view of the many details involved in the smooth running of a production. A comprehensive working vocabulary offers an excellent reference for anyone working or hoping to work in this field.
Table of contents
- Cover
- Half Title
- Title Page
- Copyright Page
- Dedication
- Dedication to the Reader
- Table of Contents
-
1. Introduction
- The Professional Gap
- Learning the Hard Way
- The Human and Psychological Side
- Objective and Intention of This Book
- A Definition of Professional
- The Distinguishing Line
- The Most Important Work
- The Musical Play
- Standard Stage Manager Titles and Their Abbreviations
- The ASM
- Women SMs
- A History of SMing
- The Professional Experience
- Interviews
- 2. The Anatomy of a Good Stage Manager
- 3. The Stage Manager's Chain of Command List
-
4. Stage Manager for Hire: Seeking Work, Getting the Job, and Being Hired Again and Again
- Networking
- Building a Resume
- Establishing a Good Reputation
- Good Word-of-Mouth
- Interviewing for the Job
- Getting an Equity Card
- The Terms of the Contract
- Personal Financial Planning, Budgeting, and Support for the SM
- Unemployment Insurance Benefits
- The SM’s Survival Kit
- The Professional Experience
- Interviews
- 5. Tools, Supplies, and Equipment
-
6. Hard Copy: Charts, Plots, Plans, and Lists
- Forms Defined
- The Scene/Character Tracking Chart
- Our Imaginary Play
- Beginning the Scene/Character Tracking Chart
- The Heading
- Breaking Down the Play by Scenes
- Subdivision of Scenes, or French Scenes
- Naming or Tagging a Scene
- The Character/Actor–Actor/Character List
- The Sign-in Sheet
- Address Lists and Contact Sheet
- Schedules
- The SM’s Personal Floor Plans
- Lists
- Changes and Revisions
- Hard Copy for Which the SM Is Not Responsible
- In Closing
-
7. Profiles and Working Relationships
- First and Foremost
- The Three Parts of the Inner Self
- Personal Belief Systems
- The Spiritual Self
- Anger and Fear
- A Lifetime Work-in-Progress
- Ego
- The Issue of Control and Perfection
- Dealing with Disagreement, Conflict, Confrontation
- Setting Limits, Boundaries, and Expectations
-
Profiles: Superiors, Peers, and Associates
- Producer
- Founder, General Manager, Executive Producer
- Associate Producer
- Company Manager
- Production Secretary
- Casting Director
- Publicity: Press, Programs, and Photography
- Office Staff
- Author, Composer, and Lyricist
- Director
- Assistant Director
- Music Director
- Rehearsal Pianist
- The Music Arrangers: Vocal, Dance, Orchestration, and Copyist
- Choreographer
- Dance Captain and Swing Dancer
- Performers
- Children Performers
- Actor’s Equity
- Designers
- Technicians
- Technical Director (TD)
- Head Carpenter
- Head Flyman or Head of the Rail
- Head of Props (Propman, Prop Master, or Property Master)
- The Electrical Department (Lighting)
- The Sound Department and Head of Sound
- I.A.T.S.E.: The Stagehand’s Union
- Costume/Wardrobe Department
- The Hair Department
- Shops and Vendors
- The Performance Site and Their Personnel
- In Closing
- The Professional Experience
-
8. Running Auditions
- The Equity Field Representative
- The Auditioning Staff
- Types of Audition Calls
- Star and Lead Role Auditions
- Actors’ Representatives
- Auditions for the Non-Equity Actor
- Preparing for the Auditions
- The Audition Space
- Setting Up the Reception Area
- Setting Up the Audition Area
- Quiet Please! Audition in Progress
- The SM’s Art and Craft in Working the Audition Room
- Serving the Actors
- Reading the Scenes with Actors
- Bringing Closure to the Audition
- Your Best Sixteen Bars
- A Second Time Around
- SM as Time Keeper
- Callback Auditions
- SMs Conducting the First Auditions
- You Got the Job!
- The SM’s Expressed Opinion
- In Closing
- The Professional Experience
-
9. The SM's Production Week
- Homework
- At the Production Office
- The Block Calendar
- Production Meeting
- Making Phone Calls and Creating the Address Lists
- Applying the Art of Listening
- The Contact Sheet
- Contacting the Equity Field Representative
- Settling in to a Calmer Pace
- The Scene/Character Tracking Chart
- Character/Actor–Actor/Character List
- The SM’s Personal Floor Plans
- Completing the List of Hard Copy Work
- Assembling and Distributing Packets of Information
- Revisions of Information
- Scripts
- Finishing the Production Week
- Rehearsal Rooms
- Rehearsal Props and Furniture
- The Equity Callboard
- The Finishing Touches on the Rehearsal Room
- In Closing
- The Professional Experience
-
10. Rehearsals
- The First Day of Rehearsals
- The First Day Rehearsal Hall Setup
- Arrival of the Cast
- The SM’s Formal Welcome
- Costume Measurements
- Eight-by-Ten Glossies and Brief Biographies
- Enter the Producer, Director, and Star
- Reading the Play
- Breaks for the Cast
- The Director and Breaks
- The Stopwatch
- The Mid-Day Meal Break
- After Mid-Day Break
- More on the Director and SM’s Working Relationship
- The SM’s Notepad
- Making the Daily Schedule
- Dealing with People Being Late
- The Equity Rulebook
- The Day’s End
- Production Meetings
- The Work Continues
-
11. The Rehearsal Script
- Learning the Show and Gathering Information
- Blocking
- A Definition of Blocking
- The SM’s Responsibility for Noting Blocking
- The Speed Required for Making Blocking Notes
- Knowing Your Right from Your Left
- The Stage Breakdown
- Arena Staging
- Additional Abbreviations for Noting Blocking
- Abbreviations for Character Names
- Moving Symbols
- Some General SM Abbreviations
- Noting Blocking for Busy Scenes
- The Absence of Some Blocking Details
- Neat Blocking Notes
- The Numerical Way to Note Blocking
- The Publisher’s Printed Stage Directions and Technical Effects
- Organizing the Rehearsal/Blocking Script
- Following Script
- Calling Technical Cues in Rehearsals
- Timing Scenes, Acts, and the Whole Show
- Props
- In Closing
- 12. The Last Week of Rehearsals
-
13. The Cueing Script
- The SM’s Master Plan or Conducting Score
- Preparing the Cueing Script
- Cue Gathering
- Noting the Cues
-
Practical Application in Noting Cues
- The Caret
- Making Changes and Refining Timing
- Color Coding Figure 13-2
- Point Cues
- Boxed Information
- Key Notes in Parentheses
- Bracketed Cues
- The Rail Cue
- Cues Cut from the Show
- A Group of Cues
- Noting Spotlight Cues
- A Complicated Sequence or Grouping of Cues
- Color Coding Figure 13-6
- A Granddaddy Cue Sequence
- Color Coding Figure 13-7
- Noting WARN: Cues
- Noting Cues for the Opening of the Show
-
Calling the Cues
- Reaction Time
- Feeling at Home at the SM’s Console
- Three Parts to Calling Cues
- Calling Spotlight Cues
- QUICK, Turn Page, More Cues
- Calling Cues with Clarity
- The SM’s Pattern and Rhythm
- Vocal Inflection
- Watching the Stage
- Tight and Flowing
- Visualizing Scene Changes and Transitions
- Giving Hand Cues
- Working in a Congenial, Pleasant, and Businesslike Manner
- In Closing
- The Professional Experience
-
14. Technical Rehearsals
- The PSM and ASM
- No Rest for the SM
- The Cast’s Work Schedule
- The Nature of Technical Rehearsals
- The SM Entering Techs
- The SM’s Work in Techs
- The SM’s Psychology of Good Timing
- Grey Responsibilities
- In the Line of Fire, Magnified
- The Crew’s Expectations of the SM
- Cast and Crew Coming Together
- The Daily Tech Schedule
- Division of Labor
- The Working Relationships of Techs
- Let the Techs Begin
- The Heart of Techs
- Laying In Spike Marks
- Changes and Cleaning Up the Cueing Script
- The Next Phase of Techs
- Actors’ Entrances
- Timing the Show, or the Running Time
- Show Rundown Sheets
- Dry Techs
- Scenery Plot and Fly Plot
- Checking Sight Lines
- The Blue Work Lights
- Crucial Cues
- Costumes, Hair, and Makeup
- Musicals: The Orchestra
- Before the Arrival of the Fire Marshal
- The Fire Marshal’s Arrival
- The Final Phase of Techs
- The Director Giving Notes
- Performance Show Reports
- Production Photos or Videos
- Piano Tuning
- More on the SM’s Working Relationships
- A New Beginning
- The Professional Experience: An SM Overwhelmed
- 15. Opening Performance
-
16. Run of the Show
- Reviews and Ticket Sales
- A New Show
- A Shift in Work
- The SM’s Work and Responsibilities
- The SM’s Log Book
- Actor Changes and Improvements
- The ASM Takes Stage
- Days Off and Matinee Days
- Rehearsals During the Run of the Show
- Prompting or Feeding Actors Lines
- Creating Close Friendships
- The Professional Experience
-
17. The Touring Show
- Types of Touring Shows
- Equity Care
- The Company Manager, Touring Manager, and SM
- The Wear and Tear of Touring
- The Parts and Phases of Touring
- Additional Work for the Touring SM
- Another SM Myth
- On the Road Relationships and Behavior
- Living Together
- The Performance on the Road
- The Professional Experience
- 18. Closing the Show
- 19. In the Line of Fire
- Glossary: The SM's Working Vocabulary
- Index
Product information
- Title: Stage Manager
- Author(s):
- Release date: July 2000
- Publisher(s): Focal Press
- ISBN: 9781136083570
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