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Messages - Amie

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136

<<<
Stop listening to other people, and take the time to start contacting the grad schools think you want to attend and talk to the admissions staff there.  Get the info straight from the source.>>>

Very helpful. All of it. And reassuring!  Will do! Thank you!

137
I'm about 4 years out and in that time, have gained experience.  So, you are telling me it's not a pre-requisite to have professional/equity under my belt before I apply for graduate school?  I've heard that before, and wanted to know some thoughts.

Thank you for sharing!
Amie

138
Hi, all -

I am considering returning to get a masters degree in Stage Management.  I have a bachelors degree, though it is in fine arts, not stage management. I've been stage managing for over 4 years now, though and have a solid portfolio and I think pretty good experience.

I've been considering returning to school, but don't know how soon is too soon to apply...

Thoughts? Is it too soon?  What do grad schools look for?

Thank you,
Amie

139
College and Graduate Studies / Re: Stage Management Colleges
« on: Jul 13, 2008, 10:45 pm »
I have a question that I don't think I saw covered in this thread.

I have also considered going BACK to school for stage management. I have my undergrad degree in Fine Arts.  (I wanted to use my arts degree to possibly design for theatre, but ended up working backstage and finding my way to stage management). I've been stage managing for about 4-5 years now.  It's not a ton of time, obviously.  However, I've been thinking about going back to school for stage management, but to earn a MFA, not for another undergraduate degree.

From what I understand, those who seem to be applying for grad schools have worked professionally and even have equity cards.  Is this a pre-requisite to graduate school?  Thoughts please, because I want to work professionally, but I also want to get a higher education in this field of study.

Thank you.

140
Avery brand makes a kind that are "semi-permanent" so they stick, but you can move them around if you need to.  They come in all sorts of shapes and colors.  Ah... office supplies.  A SM's best friend. :-)


Haha! So true. So true!

141
I don't know what forum this goes under, but I need advice.

I need to know a logical way to split a community theatre show with another stage manager.  It is one that starts in a few weeks, and I have conflicts that have come up (some I know of, and some I know will arise as rehearsal progresses), causing me to need another stage manager but not entirely hand over the whole show.  Because I've already started the show (the communication with the actors and production staff, sending out information, scripts...etc. Basically doing my pre-rehearsal duties for this theatre) and the conflicts do not prevent me from working on the entire show, I still plan to be the stage manager.

I've shared a show before with another stage manager, where I took over rehearsals and we split the performances.  However, for this particular show I am asking about, my dilemma is, how do I share a show that I've already started?  I mean, instead of just having the other stage manager call performances and sit in on rehearsals, I need the cast and crew to develop a trust in her abilities and her authority, if you will. However, the show is not a fifty-fifty split.

My thought was to write out specific descriptions for a primary and secondary stage manager, though I don't know what wording can be used because primary and secondary don't seem quite right.  (We already have an assistant, but she is more or less still in training and using her experiences as ASM to build her education and skills as a SM).  Does this make sense? Has anyone been in a position where they had more than 1 stage manager, but there was still ultimately one stage manager who was the primary one? I struggle to describe this, because I believe that both of our positions are valuable, but know that if I don't set guidelines and duty-descriptions, we may step on each other's toes and not know who takes care of what, etc.

Can someone advise on a good way to share this job?

142
Tools of the Trade / Re: Erasable highlighters?
« on: Apr 10, 2008, 08:34 pm »
I'm not a fan of the erasable highlighter as much, because while it erases wonderfully...you can't go back over the 'erased' mark, it doesn't allow that.

Has anyone had better luck with that?

143
"I forgot we had a show tonight."



Sorry if this was already said in the discussion and I missed it.

144
I'm with Fitz. 

I can only speak on community level stage management.

Regardless if scheduling is well planned and detailed ahead of time or can change the night before, what I am getting from these posts is that there needs to be communication and a clear sense of organization.  If you feel you are communicating well, and that is not so, sit down with your director and address that.  I am also a stage manager who sends very thorough and detailed emails and schedules and information.

Be detailed and as thorough and clear as you can be and put it in writing. When the actors are there in rehearsal, be sure not to waste their time.
I've worked with directors who have called people and intended to work their scenes but changed their minds halfway through the rehearsal. VERY frustrating! 

I guess some of this is redundant information, but I can't stress enough or agree enough to put things in writing, be detailed, and when there is confusion with what you understood versus what the director understood...refer to the schedule in writing. You know?

It seems, also, that you get flustered and frustrated by mistakes.  We all make mistakes. Part of your insecurity may show through, which can have an impact on how directors treat you.  You seem very dedicated and sweet and willing to learn.  Look for ways to improve, but to do so, analyze what is NOT working. If it's a consistent problem, discuss this with the directors on ways you can improve upon those.

Okay. I hope this isn't too confusing.... :)


145
Is this your first time as a stage manager attending a casting?  Depending on the director, theater, and show, stage managers are utilized in various ways. Helping organize auditionee information, and aiding in whatever audition needs (such as passing out scripts, keeping notes on who is who, etc).... all that.  Depends on the director whether you get input on who is cast. I've always had input.

In situations like this, it's fair to ask what is expected.  I've been in a similar situation and I've stated, "In my previous experience, I've done this and this during casting and auditions.  Because each theater has a different culture and process, what does  *this* theater expect? I just want to make sure we are on the same page."  I've approached it firmly and professionally without coming off as "uh...I don't know what I'm doing."  It's about that communication since each theater functions slightly differently from time to time.

Hope this helps!

146
My first crazy thought...

Kazoos with "What's the Buzz?" written on them.

Erin

Erin, - you win.

147
Hm. The only thing I can think of is like a "Star" or something. Actually, the first thing I thought of was a "cross" but I don't think that would sit entirely well with the whole cast and crew, depending... 

Hm. I guess I don't really know. Does it have to be themed?  Couldn't it be something nice like a star shaped card with a note and some candy?

148
Tools of the Trade / Re: What goes inside a SM Kit?
« on: Feb 13, 2008, 10:26 am »
Iknow..it's a pain to take up.....but when I have no money..and when I have to order any other sort of tape (we live in po dunk town..we don't even have an official "building store".)...... I use masking tape...

Isha - when I run out of spike tape, I personally use colored electrical tape, which does come up easier from floor surfaces (when spiking) and still pretty durable.  Spike is always best, but I find electrical tape works well. I learned that from an equity scenic designer and it's saved me in many situations.

As for kits, I also find that I have one with items I use quite often, but don't always use the kit in every theater situation, based on what the theater already provides.  It's used "as needed" to get "the job done", as Matthew stated earlier.

Best to you,
Amie

149
Uploaded Forms / Re: Line Notes (for going "off book")
« on: Feb 12, 2008, 02:34 pm »
Thank you all for sharing this! I've been looking for a format for line notes. 

This fall, I stage managed at a university, which featured one equity performer. I usually do community theater work, so my exposure is slightly limited in terms of forms like these.  This performer mentioned having a stage manager who had some slips or a book of some sort that he/she would write line notes on, rip off and give to the performer.  I'd never done that but it was a great idea.

Thanks for sharing this information!

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