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Messages - BalletPSM

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136
Stage Management: Plays & Musicals / Re: Who Runs the Tech?
« on: May 01, 2007, 07:33 am »
I second SMEJS.  A Q2Q often is more tedious for everybody involved.  Especially if the LD is trying to program....talk about waste of everybody's time.

I think its easier just to run everything as is.  Also, then you can discover where problem spots might be with blocking and what the set actually is.

137
Sorry my friend...backstage, and backstage it always will be for me.  I'd rather not know that the electrician is actually watching last night's "Scrubs" while running the board.  =)  JK, sort of...he's a very responsible guy.  He might watch TV while running the board but he gets all his cues and I can rely on him to take his visuals when he's supposed to.  =)

Plus....I need Q lights to run the rail and the deck.  And I need maestro vision.  I have to be backstage to have all three of those.  And I'm only a couple steps away from production office.  Plus I get a good FOH shot and can generally see everything I need to see. 

furthermore...I tend (as much as possible!) to call from the music, rather than what the dancers are doing.  In general, that's how our choreographer works (everything is very musical) and I know the music will never change...but who knows what the dancers might do that night (of course...there's some give and take to this). 

And....I like being close to the dancers.    Makes things more interesting.  =)

138
I agree with Jessie -- it was best keep the rehearsal moving.  Your ASM did what they should have -- the director needs to refocus their anger onto the actor that forgot their line -- what happened that the actor forgot? Were they screwing around, or was their something actually wrong that caused them to go up during a tech rehearsal?

Put yourself in the actor's place, if only for a second.  Everybody should realize how much tech can screw with actors.  Basically, they're taking 4-6 weeks (or more! of extremely hard work -- and then all of a sudden, they get bright lights thrown in their faces, heavy and possibly awkward costumes and shoes to wear, platforms and stairs where there were none before, new and different props to handle and figure out, and all the while designers and others are talking in the house, the crew is stepping on their toes for scene changes, they can't see anything 5 feet in front of them past the edge of the stage....of COURSE they're going to get thrown off the first couple times out of the box.  If they lose a line, its not because they were goofing off or not paying attention (hopefully, anyway!), but more likely it's because they were always used to looking at a specific chip in the paint on the wall when they said the line before and now they have to get used to looking out at black expanse. 

Granted -- a professional/seasoned/good/confident/etc. actor will be able to make this transition from rehearsal room to stage smoothly and seamlessly and nobody will be the wiser what they are actually struggling with.  But a less experienced actor will have more trouble, and (at least IMO) we as management need to go by the idea that our job is to do everything within our jurisdiction and control to make the show run as smoothly as possible.  If this means a little TLC to the actors at first tech, so be it.  Yes, it's "our" time.  I always tell my actors and dancers that they have had weeks and possibly even months to prepare, the designers and crew get just three days to a week to figure everything out.  They need to know their part as well as possible so that they are prepared to deal with all of these additional elements.  But even though its our time, we still need the actors to do the show!  It is important that they are comfortable in their new surroundings and with how the show is going to run.

(Just think of an animal being transplanted from the Sahara into a commercial zoo in the United States....of course it will take some getting used to!)

139
College and Graduate Studies / Re: Stage Management Colleges
« on: Apr 23, 2007, 09:55 am »
Have you thought about Western Michigan?  They have a fantastic theatre program.   It's just a few hours away from Chicago, in Kalamazoo.

I was from extreme northwest suburbs, and went to school in west michigan, and I thought it was great -- I was far enough away from my family that I really felt independent and on my own, but close enough that I could easily get back if I wanted to or needed to. 

140
Tools of the Trade / Re: Clock/Timer recommendation
« on: Apr 18, 2007, 11:45 am »
Hmm....I started using a simple digital kitchen timer that counts up and down.  It was $15 at bed bath and beyond.  My only complaint is that it doesn't have a lighted screen, but under the light on my desk it still shows up fine. 

It's this model:

http://www.bedbathandbeyond.com/product.asp?order_num=-1&SKU=13721254

I highly recommend it.  the one I wanted was an ETC model to be mounted on the "dashboard" of my workbox, but it was about $1000....or more even.  I can't remember. 


141
Stage Management: Other / Re: School productions.
« on: Apr 18, 2007, 07:45 am »
Hey -- it might be easier to stop them from going to places they shouldn't be....like crossing between the cyc and the bounce.... =)

142
Tools of the Trade / Re: Keeping Spike tape down...
« on: Apr 11, 2007, 08:31 am »
Be careful with packing tape, and marley tape -- its very slick! Make sure the actors know it's there.

143
The Hardline / Re: "Unprofessional"
« on: Apr 10, 2007, 09:24 pm »
I think in a very, very, broad sense, the word professional means that you get paid to do the work you do.  When we do educational programming, we define it as such -- when we ask the kids what a being a professional means, the correct answer is "they get paid."  (this is in reference to the dancers).  I am a professional stage manager.  Joe Schmoe at my bakery is a professional barista.  I work for a professional company, where other people get paid to be dancers, marketing directors, etc. 

My behavior must be professional, because I work for a professional company.  I am expected to act in a certain manner, simply because I am getting paid to do a job. When we cast students in company productions, they are expected to act professional -- i.e., they are expected to act as if they are getting paid to be there.  Now, people don't always adhere to this, obviously! 

When I do work for community theatres, nobody is getting paid (or getting paid much), but we are all still expected to act professionally, because we are working for a company where people are paying to see the show, and where other staff members are paid to make sure that you are doing your job.

As djemily says, in the theatre world, I think of it more as an attitude and manner than anything else.  I am professional, because I do my job well and I treat people well.  Other people, even though they're getting paid, are not professional, because they are rude, use bad language in front of the little kids in Nutcracker, talk back to the directors, etc. 

144
Quote
"Dressing cables and providing adequate backstage Run Lights? I'm sure that's unnecessary. And clearly not the Master Electrician's responsibility. And clearly not the Head Carpenter's job to doublecheck. If it needs to be done, I'm sure it must be my job. But that's probably me just being too anal and demanding again. Gosh, what a jerk am I."

Ha. ha. ha. ha. ha. ha. I am laughing so hard at this I have no breath left in me.  If I had a nickel....

145
I would never, ever, ever, put a sharp knife on stage. What if the actors hand slipped?  With a dull blade, yeah, someone might get a bruise or bump, but they're not going to get cut. 

I SMed a show in college where the lead actor had to use a dagger in the final scene to kill someone.  The fight was choreoraphed such that he pinned the other actor on his back on the ground, then brought the dagger down and "stabbed" him by stabbing the stage deck basically.  Well, one night he decided to "really get into it" (his words) and as he raised the dagger over his head, it flew out of his hand and THROUGH the huge doors muslin door behind him, just a couple feet away from the heads of one of the guards.  His parents were in the audience that night; he was trying to play everything up because of them....and got completely carried away.  This would ahve seriously injured an actor if it had hit them, but it would have injured them every worse had the blade been sharp. 

I would try to find another solution to the other business that has to happen -- you can stab the knife into a table or picture without it being sharp, and perhaps the fabric could just be rigged as breakaway fabric -- so that it's just velcroed (I know, nobody likes the noise, but there is some lo-grade velcro out there that's not so bad) so that it appears as if the actor is cutting it but is really just pulling it apart? Without knowing the show and the business its difficult to offer solutions.

And I think by law, all weapons must remain under locked with limited access only when not in use on stage.  Or maybe that's just any kind of gun.  I'll have to look into that.


146
Stage Management: Plays & Musicals / Re: Backstage Etiquette
« on: Apr 05, 2007, 12:44 pm »
I've got a tungsten E running palm OS.  My mac doesn't really like the desktop application, however.  =)

147
Stage Management: Plays & Musicals / Re: Dressing For The Part?
« on: Apr 05, 2007, 10:13 am »
I was thinking about this topic a couple weeks ago when we had a two-show day on St. Patty's day -- I wore a black skirt, black shirt, and....

bright green tights.  =) 

My ASM was pretty shocked...as was everybody else.  It was probably the first time I had worn color to a show, ever.  When asked about it, I said, "hey, if I have to get up out of this chair during a show, we have bigger problems than the fact I'm not in all black!" 


148
Stage Management: Plays & Musicals / Re: Viewpointing
« on: Apr 05, 2007, 10:08 am »
I had my introduction to Viewpoints work last fall when I worked on a brand new adaptation of "Sense and Sensibility."  I was the choreographer/movement director, and the director decided to use Viewpoints to approach the show.  It was AWESOME.  I have never felt more physically connected to a piece than I did to that play.  The movement vocabulary that viewpoints uses is an excellent way to explore all aspects of the play, character and bring in all design elements as well.   Anne Bogart is a genius. Read her book "A Director Prepares" and then read the Viewpoints book. 

What do you mean notating "this" type of blocking?  What piece are you working on? 

149
Stage Management: Plays & Musicals / Re: YAle Short Hand
« on: Mar 25, 2007, 11:48 pm »
Quote
Does anyone else do blocking keys regularly?

I do -- to me it's part of the H-BAB.  (hit by a bus)  At the beginning of the process, I make a code of the blocking symbols I use, and how characters/actors are referred to in my notation. 

At the end of tech before we go into previews/performances, i make a key for my post-it note Qs (yellow=light cues, blue=actor cues, etc.).


150
College and Graduate Studies / Re: Yale.
« on: Mar 21, 2007, 07:52 am »
Quote
Another thing to consider is this (from the yale website)
The tuition fee for 2006/2007is $23,610*. Areasonable estimate of costs to be incurred
by a student attending yale school of dramaand living off-campus in the 2006/2007
academic year is between$36,910and $38,310.

Right, but if you're good, you'll get full funding for that, plus a research assistantship or fellowship, or just a monthly stipend. 

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