Author Topic: RUNNING: Plotting out scene shifts  (Read 7097 times)

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ReyYaySM

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RUNNING: Plotting out scene shifts
« on: Nov 01, 2009, 08:53 am »
There was an interesting conversation in a recent production meeting for my current show.  We were talking about the set, and the scenic designer asked about the backstage crew so that he could start plotting the scene shifts and making assignments.  The producer stopped him and said that the stage manager (me) would create the run sheet and make all crew assignments.  The producer told the scenic designer that I would work with him and the director to make sure that I designed the shifts in such a way that fulfilled their artistic vision of what they were looking for in the shift but that I was the one ultimately responsible.  The scenic designer was delightfully surprised that I would be undertaking responsibility for plotting out the scene shifts.  This got me wondering if there was a standard for who is responsible for designing transitions/creating the run sheet.  I've always created the first draft of a run sheet based on conversations with the director and scenic designer, met with them to revise before tech, and then revise as necessary during tech.  What has been your experience in who plots out the scene shifts?  

Edit added label to subject line-Rebbe
« Last Edit: Dec 17, 2009, 12:26 am by Rebbe »

SMrose

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Re: Plotting out scene shifts
« Reply #1 on: Nov 01, 2009, 08:58 am »
In my experience, the SM department ultimately plots out any revised or final shift plots since s/he is more involved with what fits where backstage and in what order it needs to arrive on stage.

nmno

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Re: Plotting out scene shifts
« Reply #2 on: Nov 01, 2009, 12:06 pm »
I've always created the first draft of a run sheet based on conversations with the director and scenic designer, met with them to revise before tech, and then revise as necessary during tech.  What has been your experience in who plots out the scene shifts? 

I usually work with the TD since s/he is the one who knows HOW these things will move, has the best sense of if the item needs more than one person to operate, if B needs to happen before A, etc.  But yes, I (stage management) create the shift plot.

BayAreaSM

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Re: Plotting out scene shifts
« Reply #3 on: Nov 01, 2009, 01:23 pm »
I agree with the others about this.

Though I will say I got into an interesting conversation like you did once. I was told that the Assistant Director would be "choreographing" the scene shifts - because "what else is she going to do?"  We quickly got that straightened out and the SM team took over. Though I have found that with working with some directors, they do want scene shifts literally choreographed. In my early days of being a PA - I did a whole show based on dancing scene shifts in costume.  And yes, I was the oddest looking "male" soldier.

cprted

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Re: Plotting out scene shifts
« Reply #4 on: Nov 01, 2009, 03:37 pm »
I agree with the others about this.

Though I will say I got into an interesting conversation like you did once. I was told that the Assistant Director would be "choreographing" the scene shifts - because "what else is she going to do?"  We quickly got that straightened out and the SM team took over. Though I have found that with working with some directors, they do want scene shifts literally choreographed. In my early days of being a PA - I did a whole show based on dancing scene shifts in costume.  And yes, I was the oddest looking "male" soldier.
I've never had to do it personally, but I have a friend who had five costume changes in a show as the ASM for the shifts.

loebtmc

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Re: Plotting out scene shifts
« Reply #5 on: Nov 01, 2009, 04:10 pm »
I don't think it's our exclusive right, altho we certainly do it most of the time and it would normally fall under our purview. If the set shifts are being "choreographed" by the AD or the director, then hey, go for it, I will still be standing there actively helping negotiate what needs to live/move/end up where and make suggestions. But I have worked w directors who love doing this stuff (using actors, actors/crew or just crew) and as long as my needs are satisfied, it's all good. One director just does it cuz he's never had a real SM before and he kinda loves doing it. And recently for IS HE DEAD we had a completely choreographed intermission shift, all done by crew, which the director, sound and light designer worked out based on the cues they wanted to interpolate. I put things in order and figured out where they needed to live off stage and made some suggestions throughout, but it was a group effort.

Yes, I usually assume it's my job, but if someone else really wants to do it and/or wants to do something creative and specific with it that they want to orchestrate, well then, no skin off my nose!

MatthewShiner

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Re: Plotting out scene shifts
« Reply #6 on: Nov 02, 2009, 07:37 am »
I think it depends on the situation.

On my current production of AYLI, where cast and crew will be doing the changes to music, in plain sight of the audience.  Of course the director is going to want to have some say in it - and she is.  If he happens behind a curtain or backstage, then it's stage management responsibility.  If it happens onstage, the I will come up with a plan, but be completely flexible in change as needed per the director's notes.

NOW, I do hope by the time the show and the set has become my responsibility, a TD and scenic designer (And possible whomever the lead crew is) have already figured out it can be done, they just may not be able to figure out the most stylish and polish away, but if a production manager, technical director and scenic designer design, build and okay a set to be built that doesn't fit in the theater, or can not be changed in a reasonable amount of time . . . (Since where I work now, the set is usually underway before rehearsals begin) . . . then there is very little I can do during the rehearsal process of tech to make it happen.
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ReyYaySM

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Re: Plotting out scene shifts
« Reply #7 on: Nov 02, 2009, 08:57 am »
but if a production manager, technical director and scenic designer design, build and okay a set to be built that doesn't fit in the theater, or can not be changed in a reasonable amount of time . . . (Since where I work now, the set is usually underway before rehearsals begin) . . . then there is very little I can do during the rehearsal process of tech to make it happen.

I've run into this problem before.  In one case I asked a question with the TD in a meeting during my prep week and caught something that he and the scenic designer hadn't thought it.  It was early enough in the process that they were able to redesign where the piece would be controlled backstage so that the shift would be possible within the size of the crew I already had.  In other instances, we've either added crew or the producer has opted to rider AEA actors for set moves. 


missliz

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Re: Plotting out scene shifts
« Reply #8 on: Nov 02, 2009, 10:45 am »
I'm used to organizing the basics of the shift- what needs to go where when- and if it needs any more "finessing" or choreography, the director/AD/choreographer put it together. I guess I'm the safety/practicality end...leave it to the others to make it look the way they want.
I personally would like to bring a tortoise onto the stage, turn it into a racehorse, then into a hat, a song, a dragon and a fountain of water. One can dare anything in the theatre and it is the place where one dares the least. -Ionesco

loebtmc

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Re: Plotting out scene shifts
« Reply #9 on: Nov 02, 2009, 12:19 pm »
I, too, have had sets that were designed without any concept of the actual stage (and backstage space) in mind - so I always prepare for set shifts and storage and then am willing to let the TD/Director/Choreo take over if they want to design it for the show, keeping my notes always in the discussion -

yes, as Matt says, it depends on the show's specific needs, is the shift in plain view or in black or backstage - etc etc - we still need to prepare, cuz no matter what, we still own it once the show opens, yah?

 

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