496
Stage Management: Plays & Musicals / Re: Noises Off
« on: Aug 10, 2006, 09:05 pm »
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497
Stage Management: Plays & Musicals / Splicing
« on: Jun 13, 2006, 10:43 pm »
I recently had to do some cut and paste in scripts. I used scotch tape. So much easier than glue. You can always peel it back off easily.
I was working with re-writes which were often only one or two lines per page. It would have been a big pain to re-type that much, plus that way I still had the original lines under there if we ever need to go back and reference hem.
I was working with re-writes which were often only one or two lines per page. It would have been a big pain to re-type that much, plus that way I still had the original lines under there if we ever need to go back and reference hem.
498
Stage Management: Other / Dance Calling
« on: Jun 12, 2006, 10:08 pm »
I have used a number of ways all depend on the situation.
If you have a short amount of time to learn the show. I recommend a page with 6 or 8 mini stage diagrams. Each should have a place to write the time and the cue or stand-by.
You can draw or write whatever you need in each box. It's quick and dirty, but it gives you the freedom use images or words or timing to describe the moment. This can work with live or pre-recorded music.
A standard that I have seen in modern concert dance is the four column method explained above by BalletPSM. I found that for me personally, I put my columns in a different order though.
First column- Time from start of music (or start of piece if music is not used at top)
Second column- The action (I will included descritions of action even if cues are not called of them. This makes it easier for me to follow (and my successors to learn the piece from) and if the cue needs to be called a little earlier or later, you have a slot to move it to. It's my version of blocking.)
Third column- Stand-by's
Fourth Column- GO's (this column and corresponding action are bold)
Fifth Column- the fade time of light or sound cue, speed of rail
Sixth Column- Notes
I would be willing to send a sample cue sheet. It is unlike most others I have seen and works really great for me.[/i]
If you have a short amount of time to learn the show. I recommend a page with 6 or 8 mini stage diagrams. Each should have a place to write the time and the cue or stand-by.
You can draw or write whatever you need in each box. It's quick and dirty, but it gives you the freedom use images or words or timing to describe the moment. This can work with live or pre-recorded music.
A standard that I have seen in modern concert dance is the four column method explained above by BalletPSM. I found that for me personally, I put my columns in a different order though.
First column- Time from start of music (or start of piece if music is not used at top)
Second column- The action (I will included descritions of action even if cues are not called of them. This makes it easier for me to follow (and my successors to learn the piece from) and if the cue needs to be called a little earlier or later, you have a slot to move it to. It's my version of blocking.)
Third column- Stand-by's
Fourth Column- GO's (this column and corresponding action are bold)
Fifth Column- the fade time of light or sound cue, speed of rail
Sixth Column- Notes
I would be willing to send a sample cue sheet. It is unlike most others I have seen and works really great for me.[/i]
499
Stage Management: Plays & Musicals / Show Stopper
« on: Jun 12, 2006, 02:52 pm »
I have stopped shows bunches of times. Usually on tour.
Here are some reasons:
-malfunctioning CD player/ sound system (during concert dance, can't dance if there's no music)
-fire alarms (once did a tour where it happen in three separate venues all during the same piece, weird)
-once worked on show when we had to stop because an actor broke his leg onstage
-my favorite has been that a couple of times on tour, the light board op managed to somehow turn all the lights off and not be able to bring them back up. Luckily, on both occasions, the house lights were controlled separately and we were able to bring in the curtain and get light in the house while we addressed the problem.
-I have also done outdoors shows. Sometimes you can sense the rain coming and stop and make a formal announcement, sometimes the skies open up with no warning and everyone knows it's over. All you can do then is try to make sure everyone safely gets out.
-ok, I lied, my real favorite was when an Italian crew went on strike. I didn't actually stop the show, but I count it because we were at places when the strike happened. We had to make an announcement to the audience seeing as how, they were all sitting there waiting for a show to happen.
Stopping shows is certainly tense, but when it has to happen, you just do what you gotta do. Usually you can pick back up where you left off. Sometimes you can't, that 's what rain dates are for.
Here are some reasons:
-malfunctioning CD player/ sound system (during concert dance, can't dance if there's no music)
-fire alarms (once did a tour where it happen in three separate venues all during the same piece, weird)
-once worked on show when we had to stop because an actor broke his leg onstage
-my favorite has been that a couple of times on tour, the light board op managed to somehow turn all the lights off and not be able to bring them back up. Luckily, on both occasions, the house lights were controlled separately and we were able to bring in the curtain and get light in the house while we addressed the problem.
-I have also done outdoors shows. Sometimes you can sense the rain coming and stop and make a formal announcement, sometimes the skies open up with no warning and everyone knows it's over. All you can do then is try to make sure everyone safely gets out.
-ok, I lied, my real favorite was when an Italian crew went on strike. I didn't actually stop the show, but I count it because we were at places when the strike happened. We had to make an announcement to the audience seeing as how, they were all sitting there waiting for a show to happen.
Stopping shows is certainly tense, but when it has to happen, you just do what you gotta do. Usually you can pick back up where you left off. Sometimes you can't, that 's what rain dates are for.
500
Stage Management: Plays & Musicals / Hispanic Theatre and Stage Managers
« on: Jun 12, 2006, 02:39 pm »
Having worked quite a bit in Italy on various tours, I must agree that the lifestyle/ work ethic is completely different. Two hour meals breaks, loose starts times, etc. But I have found the Italians to come up with some wonderfully creative solutions in times of need.
If you need more structure, try Germany or the Netherlands.
Keep an eye out in Spain, France and Italy. They take unions VERY seriously and like to strike. (and I don't mean load-out)
As for stage managing bilingually, reading Spanish should not be that difficult, it is phonetic. If are from any remotely urban area of the US, you probably hear it being spoken every day anyway.
Having stage managed in foreign languages, my advice is to be honest about what you understand (ask for them to repeat slower or explain using different words if necessary) and be willing to laugh at your own mistakes.
A great resource is the book "Theatre Words" It helps even those who are bilingual but don't experience with theatre vocabulary in their second language. http://www.theatrewords.com/orderpage.html
If you need more structure, try Germany or the Netherlands.
Keep an eye out in Spain, France and Italy. They take unions VERY seriously and like to strike. (and I don't mean load-out)
As for stage managing bilingually, reading Spanish should not be that difficult, it is phonetic. If are from any remotely urban area of the US, you probably hear it being spoken every day anyway.
Having stage managed in foreign languages, my advice is to be honest about what you understand (ask for them to repeat slower or explain using different words if necessary) and be willing to laugh at your own mistakes.
A great resource is the book "Theatre Words" It helps even those who are bilingual but don't experience with theatre vocabulary in their second language. http://www.theatrewords.com/orderpage.html