Production Roles in the Performing Arts Industry Artistic Director Roles and Responsibilities: Artistic_ Directors are mainly responsible for creating, developing and employing the artistic “vision” of the production company. They are also inconceivably involved in the development of making the production more aesthetically pleasing, often consulting with the Chief Administrative Officer. Sometimes these two roles are combined into one. Other responsibilities include: hiring, and constantly checking on and helping other artistic members Of the crew, e. . The Stage manager and performers; ring and constantly helping technical directors, and other important people involved in the performance; developing an annual budget for the program: acting as a spokesperson during public appearances and/or fundraising events; directing some productions; reporting progress to the Board Of Directors regularly; helping make sure that rules are maintained; and creating relationships with other organizations, by participating in meetings and gatherings when suitable.Order now
Employment: Usually, artistic directors are employed on a long term basis for a specific production company, although sometimes they will be brought in to a specific reference, as they may be experienced in a certain field. Artistic directors tort ballet companies are often retired dancers, unlike artistic directors in general theatre, who will usually not be experienced in performing.
These directors are employed in: film and video businesses; TV; and generic theatres, Job opportunities in this field are quite poor, due to competition. Training/Qualifications: Although no specific training or qualification is required for this job, significant experience in this field, such as in choreography, directing plays, or script writing, s expected to become an artistic director.
Useful subjects to have qualifications in include: English, Performing Arts, Film and Theatre Production, Classics, History, Music and Business Management. Some very useful personal skills include: creativity; imagination; influence; patience; focus; good at team leading; communication and people skills; persistence; culturally aware; able to make decisions, and cope under pressure. Salary: Salaries within this job vary extensively, due to deviations in levels of experience, however the average salary range is around Ell 750 – Gouge p. Obviously, this means that some artistic directors feel the need to complete other jobs, to supplement their income, Which may be so low for such a hard job because Of the recession, which mean that not so many people go to theatres anymore. Stage Manager There are many responsibilities that Stage Managers are expected to fulfill. It is important that stage managers work with and closely support the directors, actors, and the rest of the production team in a professional manner throughout all of the rehearsal process.
Required to record blocking, scheduling, technical ND set notes in an important document called ‘The Book”, this important job role is an additional means of communication between actors and directors, also enabling directors to have a less stressful time trying to do too many things at once, Other responsibilities include: scheduling and helping to run rehearsals; coordinating the stage crew; helping organize and cue performers during the performance; overseeing the performance when performed (taking over the directing position); marking out the floor, appropriate to the stage; helping in technical rehearsals; notify other members of changes in meetings; keeping n eye on props organization; calling for breaks and efficiently managing time; planning for set changes; arranging basic catering and Of absolute paramount importance, caring for the cast. Stage managers can be employed in all theatre companies in the LIKE, whether they be touring or commercial. Jobs can be found in fringe theatres, educational theatres, and even prison theatres!
In addition, since stage managing is usually a seasonal job, some travel to festivals and theme parks to look for work, in the times of the year when they don’t have a steady income. Most employment for tag management is done through personal contact, not agencies – you have to send off your application to a company yourself. To become a stage manager, you don’t need any specific degree, but one in performing arts, music, or theatre studies improves your chance of employment. Even better is a degree which is recognized by the National Council for Drama Training, and some drama school offer specific courses, e. G. A qualification in *Technical Theatre”. A post-graduate qualification will also help further employment chances.
You can also become a stage manager without a degree, y starting as a member of the stage crew, then working your way up the ranks, through SAM and ADSM, finally to SMS. However, there is a lot of competition, and therefore this may be hard. Practical work experience in a theatre is also very handy, and the more aspects Of drama you can get involved in, the better. Usually, Ism’s Will be expected to develop their own training, as companies cannot afford to do so, and most training Will be on the job. There are three main bodies that Offer training for existent and amateur stage managers: The ABET, The SIBS, and The Stage Management Association. Useful skills for a stage manager include: a sense of humor; being detailed; being organized – with time and documents; good people skills, e. G. Influence and politeness: and confidence. The average salary for new stage managers is around E20000 which can rise to double that in 15 years, but once again prices vary die to the performance and venue. Front of House Front of House (FOE) staff are essentially required to deal with the audience arriving to watch a production, Imperatively, these staff should meet and greet such arrivals with enthusiasm, focus, and informative friendliness. They should e able to create a comfortable atmosphere, with good lighting, sound and temperature, and they should put the public at ease, readying them for the show and hopefully making them return for a different production.
POOH members should dress formally to stand them out from the crowd, and they should look presentable, so they act that way as well. FOE staff should also carry out a thorough safety check before audiences arrive, checking for hazards, fire extinguishers being suitably arranged, attendants knowing where they should be situated, knowing where the emergency exits are, and so on. In case of an emergency, they should stay calm and usher the audience out of the auditorium, dealing with any problems they encounter. One thing that FOE staff have to be careful of is customer rights – they must not offend anyone, and know how to safely deal with customers e. G. Wheelchair users. Front to house staff are not only employed in theatres, but in concert halls and cinemas as well.
They are expected to be flexible in regards to whether that are working in the restaurant, at the bar, or directing people to seats, and because of the late hours and the serving of alcohol, 5-01-1 staff will have to be over the age f 18. Much like other production staff, FOE stiffly be employed not through an agency. Instead, they are often employed by handing in their application first hand to prospective employers. Training/Ossifications: Much like all other performance roles, specific qualifications are not required for ushers/VOW staff; however most employers do expect at least high-school education. The main part of being a successful FOE is through training, which is picked up through education on the job.
As long as ushers have good people skills, such as being able to deal vivid everybody, whilst being polite, courteous ND neat; and being persuasive towards less polite audience members. These skills are picked up on the job, and little “dealing with people experience’ is required beforehand, although business and math skills are useful. Depending on a few factors, such as age, ability, and how long you work, there isn’t a fixed salary for FOE staff/ushers. Most earn from around EYE IOW a year, although these guidelines are very loose. Director A director is central to a performance – they have the very demanding, yet rewarding job of bringing together everything that goes into a performance, including the scripting, costumes and sound, and bringing them together as a whole so that they flow.
The director, to make such a performance happen, need to: interpret the script well, so they know how they Will portray the playwright’s intentions; go through the script and pick out any significant psychological or physical aspects of characters, and then cast accordingly to these requirements: plan rehearsals and company meetings; and act as a guiding light for the actors in their preparation for the performance, and during rehearsals. However, arguably the most important aspect of a director’s job is working tit and communicating effectively with all of the designers, whether that be costume, set, lighting, or sound. Directors are expected to have initial meetings with all of these designers, in order to discuss the creativity needed to produce an effective piece to art. Tater details theses technicalities have been discussed, it is expected of directors that they work and support actors, showing good communication and understanding towards contributions performers may have themselves.
Motivations and deeper character developments are what directors strive to construct. When rehearsals are over, the directors job is completed. Directors have many opportunities to favor in different theatres around the country, and London is a good choice for freelance directors. This includes both receiving and producing theatres. There are also job opportunities in less familiar settings, much like for Stage manager’s, in places such as prisons, community theatres, and much more common nowadays, in festivals, such as the Edinburgh Fringe, and Where our unit 2 performance Will be, venue-wise. Directors are usually selected through word-of-mouth.
Much like in other Performing Arts jobs, it is not required to have any specific lubrication in anything, although it does help if a relevant course has been undertaken, and if experience in any Performing Arts event is illustrated. Some useful qualification subjects are: English, Music, Performing Arts, Media Studies and History. Training is not needed either, but it is very useful to have experience in: journalism; research; administration; accountancy; marketing management; editing; and camera operation. Average salaries for directors range from IEEE – El 300 per week. However, some directors are self-employed and therefore pay themselves very little to reduce costs. Marketing Manager There are many different responsibilities that a marketing team have to realism for a performance. Therefore, some roles may be distributed between many different people, e. G. Nee person may be placed as an actual publicist, and another as a marketing manager. The responsibilities of the whole team are as follows: conduct effective market research into the intended audience, which should help shape the artistic vision of the performance and influence the themes and plot utilized as part of the performance; create/edit newsletters, articles on websites, or brochures on upcoming events and performances; become a spokesperson/ plan towards/ organize interviews for the company, publicity wise; help to develop future company plans; understand how to effectively communicate with the target audience; identify key media problems for the company, and respond to them (e. G. Rate a website); keep all staff up to date faith important news; arrange interviews about the company, rather than the a specific production, vivid TV, radio, or magazines; design and distribute advertisements; and co-operate with reviewers. Marketing managers are employed in all sectors in the ASK, including Performing Arts, and so they are employed in venues such as theatres and cinemas, but they are mainly clustered around major cities such as London and Birmingham, making job competition very intense. There is no straight path to being employed, however some theatre marketing managers often progress into their role after several years of other marketing experience, effete have a passion for and/or qualifications in Performing Arts.