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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. |
| More information: |
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Publisher Synopsis
"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 manager based on his own experience and that of other theatre professionals." - Janine Rauscher, Dramatics"Also among the three hundred pages is a glossary that could prove invaluable to any novice theatre artist. Fazio's intended audience is the beginner, making the book a great resource for a student who has a show or two under belt and is looking to pursue stage management as a career." - Janine Rauscher, Dramatics Read more...
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