Show Posts

This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.

Messages - gadget

Pages: [1]
LX is the way i've been learnt.. even before i started uni,

as for sound i just use SOUND i.e SOUND 22 GO.. for the outs if the sound Q has an out I"ll use sound 22.5 GO (this being that is is related its sort odf the same Q if you know what i mean)

the rest .. FLY for flys, FX for any noise done backstage, DOME for followspot, PYRO  pyrotechnics, HOUSE LX house lights,
if we have a leaf drop out snow .. i will ussally call it as what it is,, i.e.. SNOW 1 GO,

I''ve that if you keep it simple and clear it works... :)

I want to say thank you to both of you, its certainly provided some valuable insight.

We are majorly focused on professional shows rather than the amateur side, how in my 12 years of experiance and 40 shows later of working in amatuer theatres, professional gigs, and events and concerts I have picked up a great deal of info which has helped me to go to uni to learn the 'professional' way to do things. With the assignment my fellow class mates have other forms they have to talk about, special events and festivals (yes thre are only three including myself left in the class of second year stage mangement and technical production class). It designed mainly more at the Austrailian theatre industry with a basic coverage of film and TV production.

I certainly am intrested in getting aboard after graduating next year to experiance the differances in styles for the americian, british and german sides of stage mangement.

Thank you once again.

Well what I have already come up with is:
(m) is musicals (o) is ordinary
REHEARSALS: (m) princpal, chorus, dance and band (orchestra) apart from cast only in (o) and  (m) more rehearsals over a longer time period as well as more tech and dress rehearsals
 (m) larger and more complex sets and electrics which relates to longer production schedules and bump in/ out periods.. allowing for set mechanics, riggging lx and flys, foscusing, ploting etc.

(m) more complicated blocking
(m) more complex q's for calling as well as sound/mic plots
(m) calling show.. . having an ablity to follow the score if the LX designer has assigned q's on certian beats in a bar
(m) as well as more dome (followspot) ques

with (m) you have to be on the ball , you may have more than on person calling the show.. i.e 1 dsm for lx, effects etc and 1 calling dome q's

in general, more people working on the show from mechs to lx team to domes to wardrobe assistants as well as larger cast (chorus)

(m) more on going set, wardrobe maintainance
(m) extra calls during breaks in season or touring to keep everyone in tune
 if touring more equipment..more trucks and paper work
as well as more paper work in general from rehearsal/proformance reports, props lists and running order, character scene breakdowns, issueing of different scores to people. princpal scores chorus scores.. etc

at the mo that's all that I've come up with .. I would also like to if possible hear your own experiances from sming and musical compared with ordinary theatre as well this assignment is also for the development of contacts within the industry.
Thank You

Hi this question is for an assignment, i am in my second year of uni and this will be for an oral that I have to present.

The Question: to explain the differnaces and other stage management techniques used in musical theatre that differ for those in ordinary theatre

Pages: [1]