Messages

1

Articles from the Old Site / Re: Stage Management History?

« on: Jul 23, 2012, 11:44 pm »

Interesting...the dramaturg in me now wants to investigate this further. I agree, everything we are told and taught is 'he said, she said' through secondary sources. But then I wonder, what are the primary sources? It would be quite a dig but not undoable. But that would just be proving what we already believe - the point in the evolution of theatrical history that the term 'stage manager' came into use.

However, the way you speak of it makes it seem like there is some other history? Do you have a counter-thesis to the proposed evolution? I agree, it is general but also logical. Somewhere stage managers popped up. If this evolution is, as you put it, an 'urban legend' then what do you think is more likely the truth?

Also, you talk about finding the point before. Then are you speaking of something bigger than just the term 'stage manager'? I personally would argue there has always been stage managers. (Someone had to make sure the Greek actors showed up!  ) I think the idea of discussing the history of the term is a way narrowing the history of the duties aka the duties becoming an acknowledge role/profession. To track the duties of a stage manager would be a whole different issue, since they have always existed in some way. So then how significant is the first one to be called "stage manager" really?

Also, I know my studies have been severally bias towards European and American history. What about other cultures?

This is very interesting and I would love to see some primary sources. Imagine reading about stage managers of long ago...we can't be the first to be curious. This would indeed be a great thesis topic - I wonder if anyone has investigated it before. Hmmm....


Post Merge: Jul 24, 2012, 01:06 amOk, so I think we should give this a crack. There has been a lot of debate online about the subject but no one seems to have gotten anywhere (other than agree with the standard logic we are taught).

I was able to dig up the name "Maud Gill", who is often credited as being the first female stage manager (perhaps just in England though, there doesn't seem to be a reliable source). I found this tidbit :

"Peggy Dear (obituary April 20) was, indeed, a pioneer of women in stage management. However, the first woman stage manager in this country was Maud Gill, who took over the post at the Birmingham repertory theatre in 1917. She left a fascinating and entertaining account of her experiences in her autobiography See the Players. She was told that a woman ought not to be put in charge of stagehands because "working men" would not take orders from her, but she decided that, since mothers had been keeping order in the home since the beginning of time, the way to go about it was to treat them as a mother would treat her family. It worked." (http://www.guardian.co.uk/news/2001/may/07/guardianobituaries)

I skimmed my History of Theatre text (Brockett, Oscar G. History of the Theatre. 7th Edition. 1995.) and am amazed to find not one mention of stage management! There was no mention in the index so I looked at the general Theatre Management mentions, which all mostly refer to what we would consider producing or artistic directing aka arts administration.

However, I did find this juicy statistic : 17th-19th centuries saw theatrical troupes gaining support and growing. By the late 18th century some troupes employed more than 200 people, including stage hands, maintenance personnel, and prompters.

By this point there most likely should have been stage managers - interesting though how the text does not name them as such.

I think, perhaps, the key will be looking into the history of technical theatre - of stage hands. We understand the actor-manager and director-stage manager theory. What we need is the moment somebody gave the stage hands a boss that functioned backstage as well as in management (really the stage managers power to walk on both sides of the curtain).

One forum post suggested the key to unlocking the mystery would be in old tax returns - who first filed their occupation as a 'stage manager'. This is a good idea, and perhaps could be useful but I don't think it would guarantee the first stage manager who most likely was working freelance well before tax records we have (though you never know).

I think a great way to track this would be in gathering old playbills and show notices - track how they mention production staff. Again not a sure fire way...

The hunt is on. I just graduated this May, I'm going to see if I can still get into my library database which would give us some primary sources. See what I can dig up. 

2

The Green Room / Re: Book Club?

« on: Jul 23, 2012, 04:21 pm »

Cool, thanks. I'll check and see if my library has it!

3

The Green Room / Book Club?

« on: Jul 23, 2012, 03:11 pm »

So I am compiling my summer reading lists and was wondering if anyone was interested in starting a smnetwork book club/discussion group (sorry if one already exists, I couldn't find it).

My current reading list is as follows below (based on books I already own). Most of them are theatre related (because I'm a geek). I would be open to suggestions as well. Anyone interested?


1. Steve Jobs by Walter Isaacson

2. Shamanism by Eliade

3. Training of the American Actor edited by Arthur Bartow

4. Towards a Poor Theatre by Grotowski

5. The Theatre and Its Double by Artaud

6. The Empty Space by Peter Brook

7. The Open Door by Peter Brook

8. Myths to Live By by Joseph Campbell

9. Theatre by David Mamet

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Articles from the Old Site / Re: Stage Management History?

« on: Jul 23, 2012, 03:04 pm »

Ok PSMKay, so I know you posted this YEARS ago...but for those who may be reading the boards now (and if you're still interested):

Stage Management came about in the 18th/19th century with the rise of technology. This was a changing time for theatre. Before the job of the stage manager was handled by actor-managers or theatre-managers, later director-managers. The term "Stage Manager", as with the term "director" came later in the process, long after people had been doing the jobs we associate with such a title. It is perhaps easiest to explain this transition as the change from smaller companies into larger businesses (though that is way too oversimplified). But basically, with more technology productions became more complex, started to involve more people, people started to specialize and, hence, the birth of stage managers.

In tracking the history of the stage manager one might consider the move from outdoor theatre to indoor theatre. The original 'stage managers' would have acted much more like company managers or production managers. As lighting technology, use of electricity in theatre, and such grew, it became necessary to have someone to manage those aspects only (calling the show, board ops etc.) Titles, jobs, necessary employees started to shift. No longer could your playwright, also be your lead actor, producer, director, and stage manager (as you might have seen in the 17th century and before). Obviously this way of operating was solidified with the creation of theatre unions, as it became a more honorable profession.

Though for many of us, myself included, you may feel like an old fashion director-playwright-manager or such when working in educational theatre or very small companies.

I think a good modern analogy of how the stage manager came about can be seen with dramaturgs/literary managers today. In the dramaturgy world, we often talk about how even if there is no official "Dramaturg" in the room, someone is doing the work of a dramaturg. Therefore, before dramaturgy/literary management took a big upswing in popularity, there were many actor-dramaturgs, director-dramaturgs, and stage manager-dramaturgs, who may not even have called themselves dramaturgs! Now, the word is more commonly used in the theatre world, but many productions still go up featuring the work of a dramaturg, but no person holding that title.

I'm not sure who is credited with first being called "stage manager", though I believe it would be hard to actually track since 'managers' of some sort or another were pretty typical throughout theatrical history.

_____

All of this is my own knowledge through my training as a theatre practitioner, much of which I learned in college taking History of Theatre courses. I have read numerous stage management texts, but referring back now I cannot find any citations. I would be interested to learn more if anyone else has any sources. 

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Stage Management: Plays & Musicals / Re: Stage Manager Prep To-Do List

« on: Jul 21, 2012, 06:11 pm »

As everyone has said, breaking it up by where it is in the process will help you not get overwhelmed.

Many college will have pre-made guidelines which include such timelines. I would definitely ask your theatre if they already have one, and then you can use it as a base.

The most important thing is that your To-Do list will change depending on where you work, so whenever changing venues I would be sure to double check your responsibilities.

One of the things that has helped me be successful in terms of to-do lists is ALWAYS thinking of the others involved. You may not know everyones deadlines but thinking logically will help everything run smoothly. For example, if you need to make photocopies of the script - do you have to also provide them for designers? If so, they probably want them before the first rehearsal.

This also can relate to the smaller, pre-show to-do lists ie. when you arrive at the theatre. I am CONSTANTLY planning everything backwards. For example, if actors are called at 6pm then everything should be ready for them at 6 pm. That means I arrive at 5pm in order to do a,b,and c. But I know that I can do d, e, and f while the actors are dressing.

My general rule of thumb is the sooner the better - use your To-Do list, but trust your gut and instinct. Think something should be done now, just do it - even if your to-do list says it doesn't have to be done till next week. 

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Stage Management: Plays & Musicals / Re: HOUSE MANAGEMENT: House Report

« on: Jul 21, 2012, 06:03 pm »

Yes, it really depends on your venue.

For example, I have often doubled as house manager when working for smaller companies or educational venues, but the reports were then handled by box office/a business manager.

In my experience, I would also suggest a cover sheet. Then include more itemized break-downs. Make sure to include any documents or photocopies that might be helpful (for example my college used a seating chart to track ticket sales, and then counted stubs to confirm).

If your unsure what you need, check with your higher up - box office, artistic director, business manager, whomever it is in your theatre to see what they would like to see on the reports.

It is always better to include more and be safe than sorry.

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The Green Room / Re: Hell in a Handbag (A Game for Stage Managers)

« on: Jul 18, 2012, 05:29 pm »

What kind of tea pot? Size? Color? Material? Do we have confirmation about whether the stove actually works? Will the actors prefill the teapot or should it be done backstage? Is tab water OK, or Evian (as per lead divas request)? Do we have enough budget to fill the teapot? Does it need to be actually used for tea or can we trick out the stove to just look as if it is getting hot? Could we employ a boiling sound effect? Are all the other sounds recorded or would that be out of place?

What kind of stove is it and will that affect how the audience views the boiling of the water (gas, electric etc.)? If we use real stove have we checked fire codes? Where is the stove onstage? Is the teapot within the sightline of the audience? What time period is this? If not modern, who is doing the research into the heating times of water per the electrical output and warming of vintage stoves?

How long between when the teapot is placed on the stove and when it should boil? Who is in the scene, have the been briefed on the dangerous of teapots, stoves, and cooking? What kind of tea do the prefer?

Is anyone in the cast allergic to tea, water, fire, stoves, or teapots?


New Note : The actress cast for the role of stripper in Act III, Scene 2 turns out to be anatomically male. Director insists on full nudity.

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Homework Help / Re: Deadline June 2013: Safety and the Stage Manager

« on: Jul 18, 2012, 04:51 pm »

First aid, first aid, first aid!

I am just starting out but one of my most helpful things in terms of safety has been my first aid kit. I always carry my personal kit because as a freelance you never know what you are walking into. My college first aid kit was notorious for being poorly supplied (when I first started it was empty!). Larger houses should supply first aid kits, but I worked with a new theatre company (showcase equity) and my first aid kit was our primary one. I always make sure to have it stocked and have used it many times. Even if an actor needs a band-aid for something as simple as a bad paper cut, being prepared and calm with small things establishes trust and helps when bigger issues occur.

Also, I think stage management success is directly correlated with personality. I do very well in emergencies. A stage manager tries to be pro-active (safety checks), but they need to be prepared to deal with crisis and deal with it in a level headed manner.

For example : I once had a stage hand cut herself backstage during house open. I had to take care of her, call an ambulance, comfort her, reassign her tasks etc. before we could start but really the harder job is to keep actors and other technicians calm.

You may have the situation completely under control but remember not everyone you work with might be as calm. Patience, reassurance, and good leadership is key to dealing with a safety situation and also preventing a snowball affect.



Hope this helps!