WEEK 3: Being A Performer

I started by completing the “Being a Performer Quiz” and the “Job Opportunities Quiz”.

 

 

A report that explores the variety of roles, responsibilities and functions in the performing arts, and looking how they interrelate.

In the performing arts there are a variety of roles and each role is critical to the creative and performance process of producing a show.

At the top of the hierarchy are the DIRECTORS who are responsible for overseeing a production company and they are responsible for financing and finding funds for the project.  They would also have the final say on presentation and advertising when trying to find funds. The Managing Director’s job is to oversee all staff within their company and would delegate day-to-day jobs to the departmental managers (Marketing Manager, Front of House Manager). A Director does not need specific training requirements or experience but a degree in a subject such as English Literature or Drama and Theatre studies or Creative and Performing Arts may improve an applicant’s chances. Entry without a degree is possible if the applicant has a reputation and experience as an actor, writer, producer, assistant director etc. Having practical theatre experience in acting, stage management and direction would be very useful when applying for the role of a Director.

An example of an undergraduate course is the BA Directing course at the University of the Arts London which would give the applicant a direct entry into the directing profession and would include placements with theatre and TV companies. http://www.arts.ac.uk/csm/courses/undergraduate/ba-directing-drama-centre-london/ Or if the applicant wished to further their training they could apply for the MA Directing which is a Masters course which provides a deeper understanding of the acting process and equips you with the skills to work in theatre, film and TV and radio. http://www.arts.ac.uk/csm/courses/integrated-masters/ma-directing/ Both courses can be applied for via the UCAS website and require 5 A*-C grades at GCSE and a Foundation Diploma in Performance at either Level 3 or 4.

Below is an example of the kind of job advert for a Theatre Manager that is responsible for the day-to-day running of the theatre.

Soft skills of a Director would include being able to efficiently lead a team of people and so strong leadership skills are crucial. They need to be able to represent the company to outside people and keep up to date on the daily running of the company. A Director should have excellent negotiation and interpersonal skills as well as having the ability to develop innovative ideas and to solve problems creatively and practically. Experience in the industry is important as the Director should have an awareness and understanding of technical issues, the workings of the theatre and the process of performance and acting.

Typical tasks the Director would undertake would include:

·      Programming and budgeting

·      Working with writers through workshops or script development schemes

·      Holding auditions for productions, selecting and hiring designers, musicians, etc

·      Attending production meetings with set designers

·      Communicating and liaising with all parties involved, including actors, the creative team, the production team and producers

·      Help to publicise the production by giving interviews and leading discussions

In a theatre production company the director is likely to have a specialist skill, for example Cameron Mackintosh, the Chairman Director of Cameron Mackintosh Ltd. has been producing musicals for over 45 years. Those 45 years of experience make him the perfect person to be the managing director of a production company as he would have a vast knowledge of how a show goes from an idea to become a popular show.

http://www.cameronmackintosh.com/about/cameron-mackintosh

A case study:

· Your name? Mark Sheridan

· Job title? Drama teacher/Director

· When did you decide to go into the performing arts industry? At university

· What interested you about this line of work for you to choose it as a career? Working with people, shaping ideas, being creative

· Describe the training and qualifications you have undertaken, if any? A levels. Degree in English Literature/Drama and Theatre Studies. PGCE (teaching) English/Drama/Media

· What has been your biggest career achievement since leaving education?Becoming a teacher in charge of drama. Directing school productions; “Little Shop of Horrors”, “Oliver”, “Grease”, “Dracula Spectacular”, “Bugsy Malone”.

· What was your first professional job? I have not been paid for any professional work. I have at university been involved in voluntary community theatre about local history and issues in Liverpool

· What advice would you give to someone trying to get into the business? I would suggest speaking to as many people as possible. Agents and actors. Be involved with as many productions as possible and gain contacts and knowledge/experience

· Do you enjoy your job? Teaching is slightly different to being part of the industry

· What is the most difficult part of your job? (See above)
 

This case study shows a Director who took a route through teaching and so rather than being responsible for a theatre company or the theatre itself, he would be responsible over the casts of his productions and would oversee all aspects of puttings the shows on (directing, budgeting, technical, production).
 

Roles such as Artistic Director are overseen by the Director and they would feed all their ideas back to the Director during the creative process. An Artistic Director is responsible for conceiving, developing, and implementing the artistic vision and focus of an organisation (e.g. Theatre Company). The Artistic Director would typically report to a chief administrative officer if there was one in the company. For all important decisions about the development of activities the Artistic Director would consult with the chief administrative officer.

Typical tasks of an Artistic Director include:

·         Programming and budgeting

·         Working with writers through workshops or script development schemes

·         Adapting a script, might involve working with or collaborating with the playwright

·         Managing time and organising people and space

·         Holding auditions for productions

·         Organising rehearsals

·         Communicating with all parties involved (actors, creative team, production team) 

Many Artistic Directors do not have formal training as the skills required tend to be developed by doing the work and are process-led. It is the experience, reputation and credits that are essential in order to progress and be successful within the directing sector if the industry. Some drama schools however offer specialist courses in directing, stage management/technical theatre. An example of a degree that an applicant could undertake is BA (Hons) Stage Management at Rose Bruford College, https://www.bruford.ac.uk/courses/stage-management-ba-hons/ . The course allows applicants to learn a wide range of management skills (team leadership and liaising with industry professionals) and develop skills in areas such as lighting, sound and set construction. The course also allows the applicant to collaborate to make a wide range of performances and events and can build experience through work placements.  

This area of work is open to all graduates but a degree in subjects such as English Literature, Drama and Theatre Studies, Music or a Directing/Stage Management course, although if the person had a good reputation and experience as an actor, assistant director or stage manager a degree would not be necessary. Those helping to get into the profession should gain practical theatre experience in acting, stage management and direction in theatre work such as amateur and fringe. To help learn about the directing process and how to work with actors and the production team forming a theatre company would be a great way of gaining knowledge and experience. Others skills sought after from an Artistic Director is:

·       Ability to express yourself both orally and in writing, as well as being creative and prepared to take artistic risks

·       Team working and time management skills

·       Awareness and understanding of the workings of a theatre and the process of performance and acting

·       Ability to develop innovative ideas and to solve problems creatively and practically

·       Dedication and enthusiasm

 

Below is an application form for Artistic Director for the theatre company Tricycle, which is acclaimed for its programme of new work. Responsibilities listed are split into three sections: Artistic (to provide “strong, inspirational and high-profile” leadership, leading and developing artistic policy to create an imaginative programme of theatre), Creative and Entrepreneurial (to initiate and develop artistic and educational collaborations and to broaden and diversify The Tricycle’s sources of income), Organisational and Financial (To oversee the recruitment and professional development of The Tricycle’s staff and to maintain the highest level of awareness in theatre, arts and education practice). The job does also ask for “person specific” skills and experience they are looking for in the post holder: clarity of artistic vision and ambition, strong track record of professional theatre production, direction and developing new work, good knowledge and understanding of the theatre industry and arts funding and the ability to inspire and motivate others.

http://www.tricycle.co.uk/wp-content/uploads/2008/08/AD_Job_Description.pdf

A case study:

·         Your name? Graham Shackell

 

·         Job title? Performing arts practitioner (performer, tutor, director, writer) 

·         When did you decide to go into the performing arts industry? Early 20's 

·         What interested you about this line of work for you to choose it as a career? Creative expression, the chance to create worlds and explore them

 

·         Describe the training and qualifications you have undertaken, if any? Studied with Antonio Fava at his international school in Italy, workshops and residencies/courses with various companies including Scarabeus, Can Do Co, and various stage combat qualifications

·         What has been your biggest career achievement since leaving education? Performing to tens of thousands on tour in Mexico, and/or teaching severely disabled and abused children in Peru and making real breakthroughs with them 

·         What was your first professional job? A touring street show from my own company called 'The uncanny adventures of Flibble and Gibble' or teaching circus skills

·         What advice would you give to someone trying to get into the business? Attitude is at least as important as talent, if not more, I would never hire an actor if I even suspected any whiff of something I didn't like in their attitude, and this is common among directors. Also it's worth volunteering sometimes when you are first starting, to get to know a company, friendships and contacts can be very important in this business. Just give it your all in everything you study, in every part you play even if you hate it, because you never know who is in the audience 

·         Do you enjoy your job? Love it 

·         What is the most difficult part of your job? It can be difficult to have a holiday as you don't want to book time off until the last minute in case any work comes in suddenly. Having said that I get to work abroad fairly often so that compensates some. The worst thing is when there is a financial crisis in the arts and suddenly there is no work and you can’t see where the next contract is coming from. It’s hard when you get rejected for roles, funding, commissions etc.

 

 

This case study covers aspects of both a Director and an Artistic Director, Graham has created a company that takes works using the theatre style of Commedia dell' Arte on tour and is responsible for creating and directing these pieces. An example is the Commedia dell, Arte take on Hamlet ("Toby or not Tobie") that he directed at North Hertfordshire College. Graham's training includes working with Commedia practictioners and theatre companies that has made up the experience requrd for him to be a Director/Artistic Director.

In the performance sector of the performing industry an example of a job is a DANCER. Dancers work in a variety of genres (classical ballet, modern stage dance, contemporary dance, street dance) and often perform to a live audience or take part in a recorded performance for television, film or music videos. Dancers use movement, gesture and body language to tell a story or portray a character to the audience. Many dancers will follow portfolio careers, combining performance with teaching, choreography or administrative work in a dance company.

Typical work activities:

·         Preparing for and attending auditions and casting sessions

·         Preparing for performances, by rehearsing and exercising

·         Studying and creating choreography

·         Learning and using other skills such as singing and acting – roles in musical theatre require a combination of performance skills

·         Teaching dance, either privately or in the public sector

·       Running workshops in the community

·       Undertake administrative, promotional or stage management work, particularly in a small company or if setting up your own company

·       Self promotion is also a significant feature of work: sending out a CV/photographs/footage, attending auditions and meetings 

Many dancers work on a freelance basis on short, fixed-term contracts, however there are some opportunities for full-time work with dance companies. Dancers are required to practise daily and must be able to learn new steps and styles quickly. The career of dancers can be short because of the physical strength required and injuries can have an impact on the length of a performance career. Many dancers therefore combine their dance role with teaching or administrative duties to make a living in dance.  

Training to become a dancer often starts from a young age, but dancers can begin training in the teens or even at university. It is vital to have a high level of training and ability in at least one form of dance but it is also important to be versatile in dance styles so that the applicant will stand out amongst others. Joining a local dance company or dance school can help build up experience in performing which will again help the candidate stand out from the rest. Applicants will need to show motivation and discipline, as well as resilience, creativity, confidence and self-belief.  

An example of an Undergraduate course is the BA (Hons) Contemporary Dance course at Trinity Laban Conservatoire of Music and Dance in London. http://www.trinitylaban.ac.uk/study/dance/undergraduate/ba-(hons)-contemporary-dance

This programme will prepare the applicant for a career in contemporary dance as they develop the technical, creative and performance skills needed to become an individual and versatile dance artist. During the programme there will be major performance projects where they will work with leading dance practitioners to create and perform a wide range of work.  The entry onto the course is through an audition where the applicant will demonstrate their commitment and potential required to study dance to a professional level.  Entry requirements will include qualifications appropriate for entry to university/degree level education such as A Levels or perhaps a BTEC Level 3 in Dance at college. http://www.nhc.ac.uk/courses/Dance/BTECLevel3inDance_10573.aspx   

Here is an application form for a dance job at Wildfire: http://www.teachkidsdance.com/Wildfire_Dance_job_app_101310.pdf The application is laid out similarly to the others I have looked at and like all application forms has asked for the applicant to list all previous experience. As a dancer it is important to have experience within the industry as it allows the person to stretch their abilities to become a versatile dancer. Also as dance is such a competitive profession it is important for dancers to be continuously learning and attending open dance classes so they are always learning. Pineapple Dance Studios is one such venue where a dancer could be going to take extra lessons in varying styles of dance, such as Latin: http://www.pineapple.uk.com/classes_and_timetable/latin/default.aspx The wider the range of experience a dancer has the more jobs they will be able to audition for.

A case study:

·         Your name? Trudina Youngs  

·         Job title? Dancer / Principle Dance Instructor 

·         When did you decide to go into the performing arts industry? In the early 1980’s 

·         What interested you about this line of work for you to choose it as a career? I love to dance and enjoy passing that passion on to others. I have always been interested in going to places such as Australia to learn new dance styles, each new location has brought me new experiences. 

·         Describe the training and qualifications you have undertaken, if any? Latin American and Modern Ballroom with IDTA Great Britain. Licentiate qualifications in Modern Ballroom and Freestyle and Associate qualifications in Modern Ballroom, Latin American and Freestyle. 

·         What has been your biggest career achievement since leaving education? Being awarded the John Dilworth scholarship in 2007 beating out 962 other professional candidates.

·         What was your first professional job? Working with the Australian dance federation for the millennium. 

·         What advice would you give to someone trying to get into the business? Work as hard and often as you can and enjoy everything about it. It is also important to be willing to try as many new things as possible, you never know when it could be used. 

·         Do you enjoy your job? I love every moment of it. The pleasure I see in those I dance with or for is exhilarating, and I am always anticipating the next time I’ll be able to perform around the UK in touring shows. 

·         What is the most difficult part of your job? Being able to balance running a dance school, whilst still maintaining a career as a professional dancer.

This case study looks at a dancer who splits their time between taking part in shows and events as a professional dancer and running a dance school as the principal instructor. Trudi has undertaken several qualifaications in many styles of dance enabling her to be a multi-skilled instructor as well as a versatile dancer.

WEEK 2: Being a Box office assistant and Being a Stage Technician

I watched the video on "Being a Box office assistant" and completed the quiz where I successfully completed all sections:

Being a Box Office Assistant:

A Box Office Assistant is responsible for selling tickets for productions at their theatre and providing customer service to members of the public. They may also be responsible for helping with marketing strategies for productions and events being held at their theatre. Box Office Assistants need to be friendly and meet the needs of a customer’s questions and be able to give customers advice.

The training and/or experience required for a Box Office Assistant include experience in cash handling (such as working in a job where you are handling cash regularly) and being proficient with computer software and has strong IT skills to ensure that the person can effectively use the ticketing software. As a box office assistant spends their time helping the general public they must be polite and courteous both when taking face-to-face with customers as well as on the phone. It is important when working in the box office that they can work with accuracy and pay attention to detail to ensure no mistakes are made during ticket sales.

Work experience could include previous jobs as a Box Office Assistant as well as previous experience when you contact customers via the telephone, this previous jobs would show that the person has a vast experience and would work effectively in a theatre Box Office. A business course at college/university would be a good starting point when training to be a Box Office Assistant as Business Administration would be helpful when working in a Box Office as handling money is a must and you need to be able to administer information correctly.  

A Box Office Assistant does have the ability to progress their career. They could progress to a supervisor or box office manager which could lead to broader responsibilities. Their work load would then include sales, marketing, events management and venue management responsibilities. They could then use these skills to work in venue or event management in the performing industry or develop their skills in marketing and sales, this could lead them down the road of joining a production company.

Below is an example of the qualifications and experience needed from an applicant wishing to apply for a job as Box Office Assistant:

This chart shows that specialist qualifications are not necessary to be a Box Office Assistant but they look for applicants who achieved 5 A*-C GCSEs and are interested in those who took their education higher by taking A levels or equivalent. It is experience and knowledge of the trade which proves to be of more importance as this shows that the applicant has prior knowldege and experience that they can bring to the job. Experience is important in a job like Box Office Assistant as the person need to be efficient in their job as they are constantly interacting with customers and need to be able to work effectively when with a customer.

I then watched and completed the video/quiz on "Being a Stage Technician", where I got 6 out of 6:

 

Being a Stage Technician:

A Stage Technician is responsible for making sure that all set and props are in order on stage and backstage. A Stage Technician’s job is to help change scenes by bringing on and taking off set and props. The job may be at a local theatre or be employed to work on a different production every week to coordinate the technical aspects of a production. Stage Technicians are needed throughout a productions run, from unloading the lorries before the first show, setting scenes during a performance and then dismantling all equipment after a productions run.

It is important for a Stage Technician to have a good understanding of the Health and Safety procedures so as to keep themselves and others safe. They should be comfortable working at height and know proper ladder safety as well as being trained to safely work with power tools to ensure that no accidents occur.

A Stage Technician is expected to be knowledgeable of all stage operations so training/experience in working with sound and lighting is of use, as well as having basic carpentry skills if they are needed to help create scenery or props. However no specific qualification is required but would be helpful as it would allow the applicant to gain an excellent understanding of the intricacies of stage productions and expertise in the operations behind the scenes. Being qualified as an electrician is a good basis in becoming a Stage Technician though and some theatres would also look for a First Aid at Work certificate. 

A Stage Technician could choose to progress their career by choosing an element they wish to specialise in, such as lighting. This would start by them becoming a trainee and learning on the job from experienced lighting technicians. They could also attend training courses to develop their skills. Once they had gained their experience they could then take further specialist courses, such as pyrotechnics or rigging. These specialist skills would open them up to more opportunities in the performing arts industry, as they could be part of a lighting team for a show that uses lots of pyrotechnics. They could even expand their opportunities into the music industry and become part of a technical team for a touring concert.  

http://online.dudley.gov.uk/dudco/oppor/jobopps/jobspecifics.asp?jobid=5324&title=Theatre%20Technician - Job details for a stage technician

The job descriptions are laid out in sections, such as duties, experience, qualifications/training skills. An applicant's qualifications and training skills are important in helping them get a job as a stage technician as they need to have the appropriate technical and professional training (for example: L3 Diploma in Electrical Installations) as well as GCSEs or equivalent. They also need to have the appropriate Health and Safety training and qualifications. Experince of technical work in a theatre, as well as experience of rigging and operating sound and lighting equipment would also be appropriate.

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Below are the set of questions that I will be sending out to people who are willing to participate in my case study of the performing arts industry:
 
·       Job title?

·       When did you decide to go into the performing arts industry?

·       What interested you about this line of work for you to choose it as a career?

·       Describe the training and qualifications you have undertaken, if any?

·       What has been your biggest career achievement since leaving education?

·       What was your first professional job?

·       What advice would you give to someone trying to get into the business?

·       Do you enjoy your job?

·       What is the most difficult part of your job?

WEEK 1: Staffing A Production Company

I started by watching the video about staffing a production company and completed the quiz, which I got 5 out of 6

Different Kinds of Theatres:

In England there are a variety of different working theatres that have different approaches to creating work. For example a Production House produces its own work whereas a Receiving House receives work by inviting touring artists or companies to their theatre.

Production Houses:

Production Houses are responsible for producing their shows in-house, a non-theatre example could be Aardman as they are responsible for creating their own work (Wallace and Gromit, Flushed Away). Much like Aardman theatre production houses are responsible for creating and promoting their own work. An example of a working production house is the Globe Theatre in London, which shows a variety of Shakespeare plays in the summer months. The plays are produced to be performed at the Globe to allow us to explore the work of Shakespeare in an interactive and educational way.

http://www.shakespearesglobe.com/about-us

 

Receiving Houses:

Receiving Houses differ from Production Houses in the way that Receiving Houses do not create their own work. Touring companies and artists can be found performing at Receiving Houses. The Cliffs Pavilion Theatre in South End is a receiving house. Between December of last year and March this year the Cliffs Pavilion had several events including David Hasslehoff in a pantomime and the pop duo Rizzle Kicks performing in concert. Receiving Houses are effective as it allows the theatre to open up to a wide and varied audience by showing pieces of theatre alongside concerts. Receiving Houses allow the people living in the area to see a variety of productions and this will in turn keep the theatre popular as they’ve always got something new to offer.

https://southendtheatres.org.uk/Online/default.asp


T.I.E Companies - Theatre in Education
 

Theatre in Education companies (TIE) take projects into schools and create performances that are supported by teaching material which then encourages the teachers and young people to undertake further work after the TIE visit. The performances are not designed to give the children factual knowledge but rather explore sensitive issues. TIE companies use theatrical performance and drama workshops to explore social, political and moral significance to young people. The Belgrade Theatre Coventry is the first theatre to have a TIE company (1965) and began by offering a free service to schools and young people in Coventry. The Belgrade runs an annual project “Big School” which explores the transition from Primary to Secondary School and the theatre is also open for developing new projects on request. TIE companies are committed to providing schools with unique programmes that enrich and extend the National Curriculum because they have found that young people learn best when they are learning creatively and having fun.

http://www.belgrade.co.uk/take-part/theatre-in-education/

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Cameron Mackintosh – Staffing Structure

Cameron Mackintosh Ltd. is responsible for producing successful musicals such as Les Misérables, The Phantom of the Opera and Oliver. To be able to produce a show that can then be put on the West End or taken to tour around the UK you need an efficient team of people who are responsible for the overall production, the marketing, casting, the music and the technical side and these all need people who specialise in these aspects.

Directors:

The director/managing director is responsible for the overall running of the production company and so oversee planning and funding activities. The Directors would be in charge of finalising decisions made within the company.

Training Requirements/Experience: In the case of Mackintosh Ltd. Cameron Mackintosh has had success after success with the shows he has produced showing that a vast experience is important to being a director. You’d need good communication skills and have organisational skills.

Production:

The production team is made up of executive producers and production assistants. The producers are responsible for finding the money to finance the show and managing financial risks. The producer will also source the team and cast who will create and put the show on.

Training Requirements/Experience: There are no specific training requirements but do need to be able to lead and oversee a team successfully. They need to be capable of taking an idea and working with it in all aspects.

Marketing and Press:

Jobs include Heads of Sales and Marketing and Marketing Account Manager. As a Marketing Manager they have the responsibility of promoting and informing people of a production. In a large company like Mackintosh Ltd. the Marketing Manager would have to approve proofs for promotional material (leaflets, posters). The Marketing Manager would also liaise with the media to further promote the production.

Training Requirements/Experience: Organisation and the ability to communicate messages and ideas are important for this job. To become a marketing manager you would possibly need experience as a marketing executive first. Employers are more interested in the skills and industry knowledge obtained by the person rather than their formal qualifications.

Technical:

The technical department includes the Technical Director and Production Manager. The Production Manager oversees all technical aspects of a production and would be responsible for appointing technical staff. The Production Manger must work closely with the Producers, music, costume and set designers as well as supervising the technicians. The Production team are responsible for delivering the creative team’s vision.

Training Requirements/Experience: To become a Production Manager a degree in an appropriate subject is necessary, such as engineering. However other skills needed include organisational and interpersonal skills, as well as being able to work in a team and being able to communicate well with others.

Getting Started

PERFORMING ARTS BUSINESS

ROLES WITHIN THE PERFORMING ARTS

QUIZ TO GET YOU STARTED.

NAME: Coral

There are many jobs within the performing arts, this quiz is a fun quiz designed to explore the range of jobs available within the industry.

Fill in the quiz and see how many you can get write.

Take some time to work out what each job does before you answer. The answers will be posted up next week.

ACCOMPANIST: A musician who accompanies someone when they are performing, e.g. a pianist accompanying a singer.

ACCOUSTICIAN: An acoustic musician?

GHOSTWRITER: A writer who anonymously writes for others who will then take the credit, ghostwriters are used because the name of the “writer” is important in selling books/scripts

EDITOR: Responsible for editing work, whether it be a script or editing film footage.

DRAMATURGE:

DJ: Music specialist, who works on a soundboard, creates music and can mix music together.

COSTUMIER: Someone who costumes dancers/actors etc.

IMPRESARIO:

CONDUCTOR: Leads an orchestra, responsible for all musicians.       

DSM:

STAGE MANAGER: Main role behind the scenes for stage productions, they are in charge of ensuring each scene is set correctly and that the show rums smoothly.

WRANGLER:

RIGGER: Responsible for lighting               

RUNNERS:

GAFFER: Sound?

GRIPS:

KEYGRIP:

STUNTMAN: Does stunts that are unsafe for the actor to complete.

STUNT CO – ORDINATOR: Choreographs and oversees stunts.

ARTISTIC DIRECTOR: Responsible for designing sets and the way a film/stage production appears to an audience.

STAND UP COMIC: A comedian who performs to live audiences

FIGHT ARRANGER:

SOUND ENGINEER: Responsible for lookign after the sound on projects, ensures all sound levels are correct.

PROPERTY MASTER:

DOLLY GRIP:

CHOREOGRAPHER: Creates pieces of movement, e.g. a dance choreographer would choreograph dance routines.

HOOFER:

EQUESTRIEENE: Works with horses, would help create a performance that involved horses

AERIALIST: Works in the air, such as a trapeze artist.

AGENT: Responsible for getting performers jobs

ADVANCE MAN:

ADMINISTRATOR:

I found that there were some roles that I had heard of but had no clue as to what job they had within the performing arts business