The Most Widely Used Manual For Aspiring And Veteran Stage Managers - Now Revised and ExpandedThe next best thing to shadowing a Broadway stage manager, this detailed, behind-the-scenes book as been brought completely up to date. First published in 1991, it is widely used and has been lauded as the most comprehensive, educational book on stage management available. From preproduction planning and first rehersals to opening night and final strike, all the essentials of the profession are presented here in a friendly, engaging style.Blending how-to information with anecdotes from his own career, author Thomas A. Kelly explains the entire theatrical process, including:- Organizing all rehearsals and performances- Maintaining the working script, cue sheets, and daily records- Supervising the technical aspects of the show- Running shows outdoors and at other non-theatrical venues- Dealing with performers and crew members on all levelsThis new edition reflects all the latest developments and innovations in the industry and adds a totally new chapter on opera stage management, complete with an in-depth breakdown of the challenges this style of production presents. The text is supported by sample documents, diagrams, and charts that straddle time-honored approaches with what can be generated by today's computer software. All the latest stage machinery is discussed, along with tips on finding employment. This guide remians the first choice for anyone who works in any branch of the profession, whether amateur, educational, or professional.
This new edition reflects all the latest developments and innovations in the industry and adds a totally new chapter on opera stage management, complete with an in-depth breakdown of the challenges this style of production presents. The text is supported by sample documents, diagrams, and charts that straddle time-honored approaches with what can be generated by today's computer software. All the latest stage machinery is discussed, along with tips on finding employment. This guide remians the first choice for anyone who works in any branch of the profession, whether amateur, educational, or professional.
The Back Stage Guide to Stage Management, 3rd Edition: Traditional and New Methods for Running a Sho
Now in its twelfth edition, Stage Management is the comprehensive go-to manual on stage management in all theatre environments.Revered as the authoritative resource for stage management, this text is rich with practical resources, including checklists, diagrams, examples, forms, and step-by-step directions. In addition to sharing their own expertise, Stern and Gold have gathered practical advice from working stage managers of Broadway, off-Broadway, touring companies, regional, community, and 99-seat Equity waiver theatres. This new edition has been fully updated with new technology and best practices, including:
-New websites for stage management tools and software-Updated Equity rules-Additional safety and emergency protocols-New voices from practicing stage managers in text boxes and case studies scattered throughout the book.This practical guide is written for students of Stage Management in Theatre programs, as well as early career stage managers. The companion website features paperwork templates, downloadable checklists, suggested readings, a list of websites and apps with today's cutting-edge stage management technology, and a list of over 500 internships and apprenticeships available across the United States.Purchase on Amazon Here.The Back Stage Guide to Stage Management, 3rd Edition: Traditional and New Methods for Running a Show from First Rehearsal to Last Performance by Thomas A. KellyThe next best thing to shadowing a Broadway stage manager, this detailed, behind-the-scenes book has been brought completely up to date. First published in 1991, it is widely used and has been lauded as the most comprehensive, educational book on stage management available. From preproduction planning and first rehearsals to opening night and final strike, all the essentials of the profession are presented here in a friendly, engaging style. Blending how-to information with anecdotes from his own career, author Thomas A. Kelly explains the entire theatrical process, including:- Organizing all rehearsals and performances- Maintaining the working script, cue sheets, and daily records- Supervising the technical aspects of the show- Running shows outdoors and at other non-theatrical venues- Dealing with performers and crew members on all levelsThis new edition reflects all the latest developments and innovations in the industry and adds a totally new chapter on opera stage management, complete with an in-depth breakdown of the challenges this style of production presents. The text is supported by sample documents, diagrams, and charts that straddle time-honored approaches with what can be generated by today's computer software. All the latest stage machinery is discussed, along with tips on finding employment. This guide remains the first choice for anyone who works in any branch of the profession, whether amateur, educational, or professional.
ACT CHANGEA change of either scenery, lighting, costume, props or other technical elements between acts of a play or musical. Theatres with little backstage space may have to reconfigure scenery stored offstage during the interval so that the next act runs smoothly.
ACTING AREAThat area within the performance space within which the actor may move in full view of the audience. Also known as the playing area.This term is also used to describe the smaller subdivisions of the main stage area which are lit separately by the lighting designer (e.g. 'The stage is split into 6 acting areas, 3 downstage and 3 upstage').An Acting Area Rehearsal (also known as a Blocking Rehearsal) involves the actors running through their moves around the set, and less focus on the quality of the characterisation. (Also the name of an early Strand down-lighting floodlight - it was called an Acting Area Flood, and was colloquially known as 'Ack Ack' or 'A.A.').
ASSISTANT STAGE MANAGERUsually shortened to ASM, the assistant stage manager is the most junior member of the Stage Management team, and is often in charge of sourcing and running Properties during the run of a show. They are also a member of the stage 'crew'.The ASM is reponsible for setting props used during the show, as well as carrying out a pre-show check list to ensure all props are in the correct place and that all furniture used on stage is correctly placed for the start of the show. An ASM may also have a small acting role in some performances (they are then known as an Acting ASM).See also STAGE MANAGER and DSM.
BACK WALLThe rear wall of the stage (part of the building which cannot be moved!). Sometimes a blank brick wall (often painted black) is a good backing to a show, where theatrical masking is not part of the design aesthetic. Such 'bare walls' productions may also have completely exposed lighting rigs, and no traditional masking, even exposing the exit doors from the stage.For technical reasons, some shows have a constructed back wall which looks like it's the back wall of the theatre, but actually isn't (e.g. Billy Elliot).
BALANCE CALLSession with opera performers in a new venue (or on a new set) to check the balance of voices and orchestra is correct, and that the performers can hear the orchestra enough. Foldback can be used to increase the volume of certain key instruments (e.g. piano / keyboard) on stage for the performers.
BISCUIT POTTERY / BISQUE POTTERYEathernware product that has been fired once but not yet glazed. It can easily be painted / decorated and can be used for plate / cup smashing scenes on stage as it breaks more easily / gently than a fully glazed product. However, breakaway cups or plates made from wax are the only really safe solution, as even biscuitware can have sharp edges.For a long-running show, or for a more controllable effect, consider using a glazed plate / cup and pre-smashing it, then using filler or glue to 'fix' it so it holds together. It will break far more easily, so minimum effort will be required.Any breakaway or pre-smashed item will need a sound effect 'smash' to make it fully believable.Ensure that use of any ceramics / crockery on stage is fully risk-assessed.
BLACKOUT 1) Complete absence of stage lighting. Blue working lights backstage should remain on and are not usually under the control of the board, except during a Dead Blackout (DBO), when there is no onstage light. Exit signs and other emergency lighting must remain on at all times.2) The act of turning off (or fading out) stage lighting (e.g. "This is where we go to blackout")3) Blackout Check takes place in some multi-purpose venues to ensure that window curtains or blinds are closed and that there is no stray light either from adjacent rooms or the outside world, before the audience is admitted.
BLACKS1) Black clothing worn by stage management during productions.2) Any black drapes or tabs, permanently or temporarily rigged. Used for masking offstage and technical areas.Running Blacks are full stage width black tabs with a split half way, which are usually fitted to a tab track so that they can be opened and closed horizontally AND flown in and out. The tab track control can either be operated from stage level or from a fly floor (when they're flown out).Hard Blacks are black-covered scenic flats used as masking. A Full Stage Black is a black cloth which can be flown in and is the full width of the stage. This is used to go upstage of a gauze to make transformation scenes work effectively, or can be used as a neutral backing for carefully lit scenes downstage.Blacks flown vertically at the edge of the stage are known as LEGS.Blacks across the top of the stage are BORDERS. 2ff7e9595c
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