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Stage manager : the professional experience

Author: Larry Fazio
Publisher: Boston : Focal Press, ©2000.
Edition/Format:   Print book : EnglishView all editions and formats
Summary:

Takes the reader through various aspects of the craft of stage management, from books and laptops to relationships and people management. This book offers a discussion of what makes a good stage  Read more...

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Material Type: Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: Larry Fazio
ISBN: 0240804104 9780240804101
OCLC Number: 43397151
Notes: Includes index.
Description: xvi, 347 pages : illustrations ; 28 cm
Contents: Professional Gap 1 --
Learning the Hard Way 1 --
Human and Psychological Side 1 --
Objective and Intention of This Book 2 --
A Definition of Professional 3 --
Distinguishing Line 3 --
Most Important Work 4 --
Musical Play 4 --
Standard Stage Manager Titles and Their Abbreviations 4 --
ASM 4 --
Women SMs 5 --
A History of SMing 5 --
Professional Experience 5 --
Interviews 6 --
2. Anatomy of a Good Stage Manager 8 --
Practical Application 8 --
Qualities of a Good SM 10 --
Spirit of an SM 12 --
Right Stuff 12 --
Core of the Spirit 12 --
A Need for Perfection 13 --
Control 13 --
Anatomy of the ASM 13 --
Show Business: A Glamorous Business 14 --
Interviews 14 --
3. Stage Manager's Chain of Command List 16 --
Production Executives 17 --
Production Office Staff 19 --
Creators 19 --
Production Staff 20 --
Performing Artists and Actor's Equity 22 --
Technical Staff: Designers, Department Heads, Their Assistants, and Crewmembers 22 --
Shops and Vendors 23 --
Theatre, Performance Site, or Venue 23 --
In Review 24 --
4. Stage Manager for Hire: Seeking Work, Getting the Job, and Being Hired Again and Again 25 --
Networking 25 --
Building a Resume 25 --
Presentation of the Resume 25 --
Layout 25 --
Credits 26 --
One-Page Resumes 26 --
Slanting the Resume and Additional Credit Headings 26 --
Repetitive Credits 26 --
Absence of Dates 26 --
Further Experience 26 --
Optional Information 28 --
Establishing a Good Reputation 28 --
Good Word-of-Mouth 28 --
Interviewing for the Job 28 --
Gut Feeling 28 --
Controlling the Interview and the Outcome 28 --
Wanting the Job 29 --
First Impressions 29 --
Dressing the Part 29 --
Chit-Chat Part of the Interview 29 --
Other Side of Interviewing 29 --
Most Difficult Parts of Interviewing 30 --
Getting an Equity Card 30 --
Persistence, Paying Dues, Doing Your Best 30 --
Terms of the Contract 30 --
Negotiating 30 --
Personal Financial Planning, Budgeting, and Support for the SM 31 --
Unemployment Insurance Benefits 31 --
SM's Survival Kit 31 --
Professional Experience 31 --
Proud to Join the Ranks 31 --
Terminator Negotiator 32 --
That Gut Feeling 32 --
Interviews 33 --
5. Tools, Supplies, and Equipment 35 --
SM's Portable Office 35 --
SM's Console 35 --
SM's Bag 35 --
SM's Box 39 --
SM's Filing System 39 --
Other Items in the SM's Box 40 --
Today's Stage Manager 41 --
Electronic Equipment 41 --
Software 42 --
In Transition 42 --
Professional Experience 42 --
Well-Supplied SM 42 --
Log Book: Star Witness 43 --
6. Hard Copy: Charts, Plots, Plans, and Lists 44 --
Forms Defined 44 --
Scene/Character Tracking Chart 44 --
Our Imaginary Play 44 --
Beginning the Scene/Character Tracking Chart 45 --
A Refinement 45 --
Heading 46 --
Breaking Down the Play by Scenes 46 --
Subdivision of Scenes, or French Scenes 47 --
Naming or Tagging a Scene 47 --
Character/Actor-Actor/Character List 49 --
Sign-in Sheet 50 --
Rehearsal Sign-in Sheet and Performance Sign-in Sheet 50 --
Listing the Actors' Names on the Sign-in Sheet 51 --
Day Off While in Rehearsals 51 --
Performance Sign-in Sheet 51 --
Matinee Performances 51 --
Day Off When in Performance 51 --
Address Lists and Contact Sheet 51 --
Cast Address List and Staff Address List 51 --
Contact Sheet 52 --
Schedules 52 --
Block Calendar 52 --
Daily Schedule 54 --
SM's Personal Floor Plans 54 --
Starting with the Blueprints 55 --
SMs' Knowledge of the Set 55 --
From Blueprints to the Personal Floor Plans 57 --
Computer-Generated Floor Plans 57 --
SM's Personal Floor Plans for Annie Get Your Gun 58 --
Hello Jerry Personal Floor Plans 60 --
Personal Floor Plans for the One-Set Comedy, John and Mary 61 --
Lists 63 --
Schedule Reminder List 63 --
Industry Phone Numbers List 63 --
Correct Spelling of Names List 63 --
Prop List 64 --
Sound Lists 66 --
Body Mic Tracking Chart 70 --
Dressing Room Assignments List 70 --
Show Rundown or Running Order 70 --
Performance Running-Time Chart 71 --
Show Reports 73 --
Changes and Revisions 73 --
Hard Copy for Which the SM Is Not Responsible 74 --
7. Profiles and Working Relationships 75 --
Turning Inward 76 --
Three Parts of the Inner Self 76 --
Personal Belief Systems 76 --
Making Personal Change 77 --
Spiritual Self 77 --
Anger and Fear 77 --
A Lifetime Work-in-Progress 78 --
Ego 78 --
SM's Ego 78 --
Working with Ego 78 --
Issue of Control and Perfection 78 --
Dealing with Disagreement, Conflict, Confrontation 79 --
"You" Versus "I" 79 --
Art of Listening 79 --
Bringing Closure 79 --
Setting Limits, Boundaries, and Expectations 79 --
Power and Position of an SM 80 --
Profiles: Superiors, Peers, and Associates 80 --
Producer 80 --
Founder, General Manager, Executive Producer 81 --
Associate Producer 81 --
Company Manager 81 --
Production Secretary 82 --
Casting Director 82 --
Publicity: Press, Programs, and Photography 82 --
Office Staff 82 --
Author, Composer, and Lyricist 83 --
Director 83 --
Assistant Director 85 --
Music Director 85 --
Rehearsal Pianist 86 --
Music Arrangers: Vocal, Dance, Orchestration, and Copyist 86 --
Choreographer 86 --
Dance Captain and Swing Dancer 87 --
Performers 87 --
Children Performers 91 --
Actor's Equity 91 --
Designers 92 --
Technicians 92 --
Technical Director (TD) 94 --
Head Carpenter 95 --
Head Flyman or Head of the Rail 95 --
Head of Props (Propman, Prop Master, or Property Master) 95 --
Electrical Department (Lighting) 95 --
Sound Department and Head of Sound 96 --
I.A.T.S.E.: The Stagehand's Union 97 --
Costume/Wardrobe Department 97 --
Hair Department 98 --
Shops and Vendors 98 --
Performance Site and Their Personnel 98 --
Professional Experience 99 --
Personal Beliefs 100 --
A Central Dance Figure 100 --
Star Power 101 --
Baby June's Mom: Mamma Rose 101 --
Maintaining Artistic Integrity 102 --
Electrical Storm 103 --
8. Running Auditions 104 --
Equity Field Representative 104 --
Auditioning Staff 104 --
Types of Audition Calls 104 --
Open Call or Cattle Call 104 --
Auditioning by Appointment 105 --
Auditions for Musicals 105 --
Singing Auditions for a Role 105 --
Ensemble Auditions 105 --
Star and Lead Role Auditions 106 --
Actors' Representatives 106 --
Auditions for the Non-Equity Actor 106 --
Preparing for the Auditions 106 --
Becoming Familiar with the Script 106 --
Communicating with the Audition Site 106 --
Office Supplies 107 --
Directional Signs 108 --
Audition Instruction Sheet 108 --
Audition Sign-in Sheet 108 --
Choosing Scenes for the Audition 108 --
Audition Space 110 --
Dividing the Audition Space 110 --
Setting Up the Reception Area 110 --
Sign-in Table 110 --
Seating 110 --
Toilet Facilities and Drinking Water 110 --
Setting Up the Audition Area 110 --
Setup in a Theatre 110 --
Setup in an Audition Room 111 --
Quiet Please! Audition in Progress 111 --
SM's Art and Craft in Working the Audition Room 112 --
Serving the Actors 112 --
Reading the Scenes with Actors 113 --
Bringing Closure to the Audition 113 --
Your Best Sixteen Bars 113 --
A Second Time Around 113 --
SM as Time Keeper 114 --
Callback Auditions 114 --
Actors Getting a Callback 114 --
Spirit of Callback Auditions 115 --
Working the Callback Auditions 115 --
SMs Conducting the First Auditions 115 --
You Got the Job! 116 --
SM's Expressed Opinion 116 --
In Closing 116 --
Professional Experience 117 --
An Epic Audition 117 --
Serving the Director's Audition Needs 118 --
9. SM's Production Week 120 --
Homework 120 --
At the Production Office 120 --
On the First Day 121 --
Block Calendar 121 --
Key Information 121 --
Under the SM's Watchful Eyes 122 --
Production Meeting 122 --
Making Phone Calls and Creating the Address Lists 122 --
Personal Contact 122 --
Information Needed 123 --
Applying the Art of Listening 123 --
Contact Sheet 124 --
Contacting the Equity Field Representative 124 --
Settling in to a Calmer Pace 124 --
Scene/Character Tracking Chart 124 --
Character/Actor-Actor/Character List 124 --
SM's Personal Floor Plans 124 --
Completing the List of Hard Copy Work 125 --
Assembling and Distributing Packets of Information 125 --
Revisions of Information 125 --
Scripts 125 --
Distribution of Scripts 125 --
Script Copying 126 --
Paperback Play Book 126 --
Finishing the Production Week 126 --
Rehearsal Rooms 126 --
Taping the Rehearsal Room Floor 127 --
Rehearsal Props and Furniture 129 --
Equity Callboard 129 --
Finishing Touches on the Rehearsal Room 130 --
Professional Experience 130 --
Fritzie: A Lasting Impression 131 --
10. Rehearsals 133 --
First Day of Rehearsals 133 --
First Day Rehearsal Hall Setup 133 --
Setting Up for Equity 134 --
Setting Up the Social Amenities 134 --
Additional Setup 134 --
Arrival of the Cast 134 --
Equity Business Hour 135 --
Equity Business to Be Done 135 --
Attendance at the Equity Hour 135 --
SM's Formal Welcome 135 --
Costume Measurements 136 --
Eight-by-Ten Glossies and Brief Biographies 136 --
Enter the Producer, Director, and Star 136 --
Reading the Play 136 --
Breaks for the Cast 137 --
Director and Breaks 137 --
Stopwatch 137 --
Mid-Day Meal Break 137 --
After Mid-Day Break 138.
Responsibility: Larry Fazio.
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"Larry Fazio presents the journey of a stage manager, from interviewing for the position through striking a theatrical production. He describes what does-and sometimes, does not- make a good stage Read more...

 
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