Production in the Performing Arts PDF

Department of Education Region 02 Schools Division of Nueva Vizcaya **NUEVA VIZCAYA GENERAL COMPREHENSIVE HIGH SCHOOL** Bayombong **Production in the Performing Arts** **Performing Arts- REFERS TO THE FORMS OF ART WHERE AN ARISIT USES HIS OWN FACE, BODY AND PRESENCE TO CON...

Department of Education Region 02 Schools Division of Nueva Vizcaya **NUEVA VIZCAYA GENERAL COMPREHENSIVE HIGH SCHOOL** Bayombong **Production in the Performing Arts** **Performing Arts- REFERS TO THE FORMS OF ART WHERE AN ARISIT USES HIS OWN FACE, BODY AND PRESENCE TO CONVEY ARTISTIC EXPRESSION** **MAJOR PERFORMING ARTS** Spoken Words Music Dance Opera Theatre *Definition* **Theater Arts** a collaborative form of fine art that uses live performers to present the experience of a real or imagined event before a live audience in a specific place. the performers may communicate this experience to the audience through combinations of gesture, speech, song, music, and dance. The specific place of the performance is also named by the word \"theatre\" as derived from the Ancient Greek théatron, which means \"a place for viewing" **Theatre refers to:** the acting, the building Plays themselves Administrators Scenery Costumes Make-Up Lights **The difference between "theatre and drama"** Theatre can refer to a whole theatrical production whereas drama refers to the plays themselves. The study of plays is referred to as dramaturgy. Theatre can mean a building, whereas drama cannot. **PRODUCTION ORGANIZATIONS AND RESPONSIBILITIES** **[1. CREATIVE]** **Roles in a Stage Production/ Theater Production** **Producer --** In a professional stage production, this is the person who takes the play from a mere concept to an actual finished presentation. He or she chooses all the team members and assigns them their functions, and oversees the casting of the actors and actresses for the different roles. He or she also decides on major logistical matters like when and where the play will be staged, the production schedule, and in most cases either finances all the production costs or else sources the funds needed. **Director --** The director is the overall artistic coordinator of the entire production. Like a conductor of an orchestra, he or she has a vision of the desired total effect and impact of the performance. With the play's script serving as a "musical score," the director ensures that each one in the production "hits all the right notes" to create a cohesive, seamless performance that will engage the audience. Throughout the play's rehearsals, the director instructs and guides the actors as to the delivery of their lines of dialogue; their positions and movements on stage (called "blocking"); the thoughts or feelings they are to convey through tone of voice, facial expression, and gestures. By the time of the actual performance, all these should be second nature to the actors as they portray their characters on stage. The director also coordinates closely with the set, lighting, sound, costume/makeup designers, and the choreographer (if the play involves dance) to create the envisioned total effect. **Playwright --** For a script intended for stage performance, the writer of the script is more specifically called a playwright. The initial concept or plot may be original, and then developed into a play script. Or it may be based on an existing story or another play which the playwright will then adapt to present in a new way. The script forms the basis of the entire production. It contains the exact lines of dialogue that each character will memorize and deliver on stage, often with notes on tone of voice, facial expression, and even movement or blocking. It also provides a clear description of the set, props, and lighting to be used in each scene. In some cases, the director may collaborate with the playwright on making some script adjustments in the course of the rehearsals to better achieve the desired effect. **Set designer --** The concept and creation of the physical stage setup is the task of the set designer. He or she builds the set (or sets) that will simulate the world that the play's characters are supposed to live in. The set may be realistic and filled with authentic details; or it may be minimalist, merely suggesting the setting with a few pieces of furniture or props and a simple backdrop. In either case, the set designer ensures that the set will enable the actors to move about easily and naturally to make their roles believable, and will truly provide the ambiance on stage that the director and the playwright intend. **Lighting designer --** Coordinating closely with the set designer is the lighting designer. Lighting is critical in creating the mood of each scene in the play, highlighting a dramatic moment, signaling the entrance of a character, focusing attention on a specific spot on stage, or even providing the blanket of darkness for set and prop changes. Colored lights or filters may be used, as well as special effects such as gradual dimming or brightening, a speckled effect like sunlight through leaves, or flickering lights. The lighting designer plans all these and adds detailed notes on the script for the lighting crew to follow during rehearsals and the actual performance. **Costume designer --** The actors and actresses must look believable in their roles, and much of this is owed to the costume designer. He or she studies the general setting (time and place) that the play is meant to take place in, as well as each character in the script. He or she then decides what attire will not only give the audience a clear sense of the setting, but will also express each character's personality and distinct qualities. The costumes may need to be designed and sewn to meet these requirements. Or they may simply be assembled from available clothes and accessories, with some additional touches created as needed. For a modern or avant-garde play, the actors sometimes wear regular street clothes with a simple prop, a mask, or headgear to denote the characters they are playing. **Sound designer --** Similar to the lighting designer, the sound designer serves a vital role in creating and enhancing the atmosphere of the performance. Sound, in this case, includes music both on stage and as background, which the sound designer may need to source to suit the general time and place of the play, as well as particular scenes. Also involved are special sound effects like thunder, birds chirping, rushing water, gunfire, passing cars, approaching footsteps, and the like. The sound designer works with all these to support the action and interaction taking place on stage. He or she adds detailed notes to the script to serve as a guide for the sound crew during rehearsals and the actual performance. **Production manager --** Coordinating all the complex behind-the-scenes details of staging a play is the production manager. He or she is tasked with overseeing the crews for the sets and props, the sound and music, the lighting, and the costumes. This includes ensuring that all the needed elements, facilities, and equipment are not only available, but are in good working order, properly catalogued and labelled, and safely stored from one rehearsal to the next, up until the time of the performance. **Stage Manager-** is responsible for rehearsals and performances **Choreographer --** In cases where a play involves dance in certain scenes, a choreographer is included in the production team. He or she not only plans out all the dance steps to suit the music, but also rehearses the actors until they are able to perform the dance skillfully---while remaining "in character" on stage. Should the play happen to involve fight scenes, the choreographer will likewise program the moves of the opposing sides so these can be executed not only believably, but safely as well. **Makeup designer** -- As the costume designer deliberates on the characters' main attire, the makeup designer is brought in to plan the hairstyles and makeup to complement the costumes. The work of the makeup designer may be as simple as making the actors look natural for their respective roles---based on their characters' age and personality, and the time and place of the story. But it may also be far more challenging, such as transforming the actors into mythical creatures, animals, a different nationality, or futuristic beings. Thus, the makeup designer works his or her magic through the wonders of makeup, face and body painting, and hair coloring. Other accessories may be employed, like masks, wigs and hair extensions, headdresses, and even prosthetics to alter certain facial features or body parts. **[2. PERFORMERS]** - **Performers** - Artists who participate in performing arts in front of an audience are called **performers.** Examples of these include **actors, comedians, dancers, [magicians](https://en.wikipedia.org/wiki/Magic_(illusion)), [circus](https://en.wikipedia.org/wiki/Circus) artists, musicians, and singers.** A performer who excels in acting, singing, and dancing is commonly referred to as a ***triple threat***. Well-known examples of historical triple threat artists include [Gene Kelly](https://en.wikipedia.org/wiki/Gene_Kelly), [Fred Astaire](https://en.wikipedia.org/wiki/Fred_Astaire), and [Judy Garland](https://en.wikipedia.org/wiki/Judy_Garland). **Performers need to be talented and skilled, and also need stamina, dedication and self-discipline. The following are various types of performers.** **1. [Actors](https://www.careerexplorer.com/careers/actor/)-** play characters in film, television, radio, or theatre productions **An actor's performance is enhanced by:** - an ability to put personal skills like imagination, emotional honesty and empathy at the service of a creative process - an ability to focus and listen - vocal training for greater power, expressiveness and clarity - physical training stressing general fitness, flexibility and grace - insight into the psychology of human behavior - a ready understanding of and love for language - high-level reading, research and text-analysis skills Other performance skills an actor develops can increase the range of roles for which he or she may be considered. These include singing, dancing and playing a musical instrument; fencing/stage combat and physical theatre skills; circus skills like clowning, acrobatics and juggling; *commedia dell' arte* and mask techniques; and training in improvisation. Theatre training is available through college, university, conservatory, and studio programs. Conservatories typically offer intensive training over several years. Colleges and universities offer programs varying from less to more intensive, depending upon other courses required to complete a degree. Studios offer ongoing courses that may be short or long term, and participants opt in or out depending on their needs. **Konstantin Stanislavski (1863-1938)** and his ideas about how to build a character. **\"the method.\"** While not all actors, directors, or teachers subscribe to Stanislavski\'s ideas, many are useful to consider: - **Given circumstances---**all the facts in the script that are not open to interpretation such as plot, historical period, the basic personalities of the characters and the social conditions in which they live. - **The "magic if"---**a way an actor can stimulate his or her imagination by asking "How would I behave if I really was this character in this situation?" - **Motivation---**the underlying reason for a character's behavior - **Subtext ---**the deeper meaning in the spoken lines that reflects the inner life of the character. - **Objective---**the goal towards which a character is working in a scene; the specific outcome of an event the character would like to see. - **Obstacle---**something that stands in the way of a character's achieving his or her objective. - **Concentration---**an actor's ability to focus his or her attention completely. - Go and see as many plays as you can - Check out the theatre arts/drama class or your school drama club - If you\'re in school, join the school improvisation team - Audition for a local community theatre - Volunteer to do backstage work for a local community theatre and observe rehearsals when possible - Check the yellow pages for theatre/drama classes. Many theatres, both professional and amateur, offer acting courses - Check our list of theatre-related sites - Read plays! **2. [Stuntmen](https://www.careerexplorer.com/careers/stuntman/)-** fill in for the star of a movie or television show, performing dangerous falls or getting into car crashes or fights **3. [Musicians](https://www.careerexplorer.com/careers/musician/)**- are talented and skilled in playing one or several musical instruments **4. [Singers](https://www.careerexplorer.com/careers/singer/)**- vocalize musical sounds with tone and pitch, and use their own voice to produce music 5\. [**DJ\'s**](https://www.careerexplorer.com/careers/dj/)- play the music you hear on radio stations, internet radio stations, local bars and dance clubs, and even at wedding receptions 6\. [**Dancers**](https://www.careerexplorer.com/careers/dancer/)- use movement to express ideas and stories in performances 7. [**Choreographers**](https://www.careerexplorer.com/careers/choreographer/)- design and direct routines used in dances and performances and may also perform 8\. [**Circus Performers**](https://www.careerexplorer.com/careers/circus-performer/)- must have unusual entertainment skills, such as acrobatics or juggling, and will perform using one, or a combination of these skills 9\. [**Magicians**](https://www.careerexplorer.com/careers/magician/)- entertain an audience by performing magic tricks, effects or illusions 10\. [**Comedians**](https://www.careerexplorer.com/careers/comedian/)- have the job of entertaining an audience and making them laugh 11\. [**Motivational Speakers**](https://www.careerexplorer.com/careers/motivational-speaker/)- deliver speeches with the intention of motivating or inspiring the people in the audience **[3. TECHNICAL ]** **Technical Director- The technical director shadows the play's director throughout the entire production process. From the time the director presents his or her vision for the play and issues instructions at every rehearsal, the technical director carefully notes how each actor and every member of the stage, sound, lighting, and costume crews need to be coordinated to bring the director's vision to life---ensuring that every instruction is properly executed.** - **By the time of the final technical rehearsal (sometimes called the dress rehearsal, since it is performed in full costume and makeup), the director focuses on assessing the total effect of the performance and how it might still be improved. It is then the technical director who takes over to closely monitor the individual details, and again ensure that these work together seamlessly in the actual performance.** **Working to Ensure All Goes Right** The basics - **There are many important people** who help to make a production go smoothly\--on and off stage. Below are some not represented in Theatre People\'s individual pages. - ###### https://aact.org/sites/default/files/Misc%20small/w23.gifProperties Master/Designer - Most productions use a properties master to deal with the large number of small items that a play needs. In larger shows, there may also be a props designer who decides what the props should look like and how they will function, in coordination with the director and set designers. - ###### Assistant Stage Manager - Often needed in larger productions, the ASM is often stationed just offstage to facilitate communication between the stage manager (who is out in the house) and actors, as well as ensuring safety. The ASM often helps with complex set changes, quick changes offstage, or preparing the stage for performance. - ###### https://aact.org/sites/default/files/Misc%20small/w23.gifCarpenters/Electricians - When sets need to be built or lights hung, shows need carpenters and electricians to do the grunt work of sawing, hammering, lifting, hanging. In many companies, no experience is necessary to serve in one of these roles as you will be taught on the job. Often, actors serve in these roles when they aren\'t needed in rehearsal. - ###### Crew Chief - The crew chief is intended to take the burden of finding a scheduling staff off of the TD and master carpenter\'s shoulders. The CC will find determine with the master carpenter what the build schedule is, and how many carpenters will be needed on any particular day (and then make sure that they show up). - ###### https://aact.org/sites/default/files/Misc%20small/w23.gifMaster Carpenter - The master carpenter\'s job takes the working drawings from the TD, and using them, builds the set. After a quick glance at the working drawings, the MC should be able to schedule the build, order lumber, and then just pass that information on to the crew chief and TD, who make sure that the carpenters are there at the appropriate times. In many theatres, these duties having been absorbed into the TD position. If your show can come up with a master carpenter, use them wisely. - ###### Master Electrician - The ME is responsible for taking the lighting plot and making sure that all lighting units on the plot are hung in the correct locations and actually work. Coordinating the numbers of lights and circuits and allocating cabling, gels, and other accessories are the most important aspects of this role. In many theatres, the light designer often ends up sharing many of the typical ME roles, so the job gets done by both. - ###### https://aact.org/sites/default/files/Misc%20small/w23.gifMaster Painter - A highly sought skill in most theatres, the MP is responsible for painting set elements under the direction of the set designer, but often the Master Painter has the freedom to choose many of the design elements him/herself. - ###### Prop Manager/Master - This person is responsible for designing and securing all stage properties needed for each character in show. (Note: Some companies have two positions\--a Prop Manager who is responsible for building, storing and cataloging all props for the company, and a separate Prop Master for each production.)  Key duties may include:  Works with director to understand his/her vision and needs related to time period or other limitations; determines needed props for each show considering script, time period of show, and usage of props; works with producer to communicate budgetary needs and work within the assigned budget; collects all receipts for expenses and turn in to producer; works with producer as necessary to find alternate sources of props if unable to find what is needed; works with producer and director to ensure props are ready according to schedule; works closely with each actor to develop understanding of usage of any special props; works with stage manager and props crew to explain and develop mechanics of running the show, including setting up prop tables and assigning specific tasks to each crew member; strikes all props at end of show and return Hershey Area Playhouse prop shop or place of origin. - ###### https://aact.org/sites/default/files/Misc%20small/w23.gifSet Decorator - This person is responsible for securing all items needed to decorate the set that are not considered to be stage properties. Key duties would be similar to Prop Manager/Master above, replacing the word \"props\" with \"set pieces.\" - ###### Sound Engineer - The sound engineer must take the sound design and ensure that it can be created in a given space. This involves selecting equipment to reproduce the various sound elements required, installing and testing it, and usually running the actual show. **[4. MARKETING AND PUBLICITY ]** **The Marketing/Publicity Director\'s Job** **The basics** This work involves managing or assisting in promoting the productions, services and public image of the theatre company.  But the role itself may be difficult to define, since in many theatre companies the responsibilities listed below are assigned to more than one person. For example, a company may have one person in charge of marketing, to whom is given the responsibility of the season brochure and advertising, while a publicist handles promotion of individual shows (including ads and contacting print and electronic media with story suggestions, news releases, and calendar information). **Marketing-** Theatrical marketing is a specialty within the marketing and sales profession. You need an intricate knowledge of theater and how a theater company works behind the scenes. This involved field requires more than advertising an upcoming show or selling tickets. You need research, analytical and decision-making skills, writing and design abilities, and the willingness to work closely with patrons of the arts. **Identify the Target Market-** The marketing professional researches the target audience in each city where the theater company performs. He identifies potential donors and which segments of the population are most likely to purchase tickets. You need to know what other types of entertainment is scheduled for the same time as the theater company performances, and develop a strategy to entice people to attend the play instead. **Design and Writing-** It may be your responsibility to design all theater company publications, including brochures, seasonal performance brochures and nightly programs for guests. You may run a monthly newsletter for patrons and season ticket holders**.** **Advertising** -While a few large theatrical companies have a separate publicist, the smaller ones expect the marketing person to perform both jobs. Part of the job involves researching the public's opinion of the types of shows they enjoyed, what they would like to see and what they thought of ticket pricing. The marketing person provides this information to the artistic director, and they work together to plan the following season's shows. **Public Relations** As opposed to advertising, public relations seeks to gain awareness and positive image for a company and its offerings *without an exchange of money*. And, while PR usually entails the use of publicity and media relations (below), it takes a much broader view than simply promoting a particular production or service. Most small theatre companies have a publicity person, whose job is to heighten awareness of individual productions, in order to sell as many tickets as possible. A larger company would have a PR or promotions person who works closely with the marketing manager (in some cases, marketing and PR are handled by the same person), so that information about individual productions is not only consistent, but meshes with the overall image the company wishes to project. **Public Relations**- Theatrical marketing depends heavily on public relations. The theater company with an excellent reputation and top reviews of its shows has an easier time soliciting donations from patrons and selling tickets to the public. You may be a spokesperson at fundraisers or a youth theater group. You write press releases and promote events to the media. Additionally, you arrange for reviewers and media professionals to attend performances with complimentary tickets. **Organize Events-** Theater companies participate in a variety of events to improve their visibility in the community. For example, they may perform for low-income or disadvantaged students who would not otherwise experience the theater. A theatrical marketing specialist organizes these events. **Archivist-** Theatrical marketers archive everything related to the theater company, including video and still photos, radio interviews or advertising, press releases, reviewers' columns and copies of all brochures and other publications. **Arts Marketing ideas-** Whether you\'re an artist trying to show and sell your work or an arts organization attempting to fill your venue for a performance, you won\'t get far without marketing your offerings. Successful promotion targets your potential audience with multiple methods. Use a blended approach derived from different forms of promotion, ranging from traditional print media to online marketing. **Print Marketing**- It may seem as if the electronic world has taken over, but traditional print marketing remains effective. Create postcards, flyers and brochures to mail to subscribers and distribute in venues such as retail outlets and coffee shops. Send press releases to newspapers and consider purchasing ads in local arts magazines. Business cards may be appropriate for spreading the word, particularly for individual artists. **Online-** Your first priority in online marketing is to create a website that includes at minimum your offerings, a calendar of events and contact information. A portfolio site with a list of upcoming gallery shows and a way to purchase artwork is appropriate for visual artists. An arts venue should include descriptions of the season\'s performances and a calendar. Maintain a blog and link it to your website. Many online events sites and the entertainment pages of online newspapers allow you to list your events for free. **Email- Create an email newsletter to send to people who subscribe to it on your website. Never send unsolicited email, or you may be considered a spammer. Let readers know about upcoming shows or events, but also offer value to your subscribers beyond basic information. Provide artist interviews or highlight the story behind a piece of artwork in your newsletter. Include the first paragraph of each story as a teaser with a link to the complete piece on your website or blog.** **Social Media-** Social media accounts give you the opportunity to carry on virtual conversations with your potential audience. Let them know what\'s special about your art with a Facebook page that emphasizes photo albums and includes links to your website, where they can purchase pieces. Performance artists and venues can take advantage of video sharing sites, posting previews or highlights of upcoming shows. Ask people what they like about your arts offerings, get a dialogue going and you\'ll develop an engaged audience willing to help spread the word about you. **What does belong on the poster?** a. TITLE OF THE SHOW b. VENUE c. OPEN AND CLOSING DATES d. TICKET INFORMATION (NUMBER/ WEBSITES) e. IMAGERY (TEXT OR IMAGE) **What does not belong on the poster?** a. NOT every individual performance date and time b. NOT information about where to park c. PRICES **Your poster should be:** -EYE CATCHING\ -GRAB'S ATTENTION **The Marketing/Publicity Director\'s Job** The basics This work involves managing or assisting in promoting the productions, services and public image of the theatre company.  But the role itself may be difficult to define, since in many theatre companies the responsibilities listed below are assigned to more than one person. For example, a company may have one person in charge of marketing, to whom is given the responsibility of the season brochure and advertising, while a publicist handles promotion of individual shows (including ads and contacting print and electronic media with story suggestions, news releases, and calendar information). Because of the differences in duties from company to company, it\'s important to understand the various aspects of marketing. **Marketing** Most people think that marketing refers specifically to the advertising and/or selling of productions or services. Actually, these are near the tail-end of the marketing process. In general, marketing activities are all those associated with identifying the particular wants and needs of a target market of customers, and then going about satisfying those customers better than your competitors. (In the case of theatre, the competition could be TV, school activities, golf, movies, the Internet or video games, as well as offerings by other theatre companies.) This involves doing market research on your customers, analyzing their needs, and then making strategic decisions about which productions to offer (individually or as a season), as well as ticket pricing and promotion. **Publications** Publications may include an in-house newsletter, a patron newsletter (sometimes these two are combined), a season brochure, and brochures about the company and its services (such as educational programs, youth theatre, etc.).  In some companies, the season brochure is the responsibility of the marketing person, while the newsletter or brochures are handled by the publicity or public relations person. In other companies, one person handles all these tasks. Publications may be either print or electronic. **Public Relations** As opposed to advertising, public relations seeks to gain awareness and positive image for a company and its offerings *without an exchange of money*. And, while PR usually entails the use of publicity and media relations (below), it takes a much broader view than simply promoting a particular production or service. Most small theatre companies have a publicity person, whose job is to heighten awareness of individual productions, in order to sell as many tickets as possible. A larger company would have a PR or promotions person who works closely with the marketing manager (in some cases, marketing and PR are handled by the same person), so that information about individual productions is not only consistent, but meshes with the overall image the company wishes to project. **Publicity/Media Relations** The publicity person is most often tasked with promoting of specific productions, events or services, and normally serves as the contact person for all media inquiries. **Advertising** Advertising means paying someone to bring your productions or services to the attention of potential and current customers through materials you create yourself or pay to have designed\--advertisements in newspapers or on television or radio; signs; direct mailings; or e-mail messages.  \"Paying\" can refer to money, but also to trades of goods and services. Depending on how your company divides up the above areas of responsibilities, you may be asked to do one or more of the following: - Research the attitudes and opinions of the public as relates to the company and its offerings. - Using this research, help shape the company season in partnership with the artistic director or other person(s) responsible for choosing individual shows or an entire season. - Write, edit and produce newsletters, brochures, direct marketing pieces and other printed material. - Create and determine publicity/press relations plan to generate continued greater awareness for the company and support any overall marketing initiatives. - Assist marketing director by serving as another spokesperson within the arts community as needed. - Develop communication objectives and communication plans - Identify the most important audiences, and decide what to communicate to them and the best media to use - Examine the media for issues that affect the company - Write and implement communication or promotional plans - Cultivate and maintain media contacts in order to generate relevant stories, interviews and other media coverage for the company. - Solicit, arrange and organize media interviews (print, radio and TV) for general stories about the company - Work with other organizations and provide information to them. - Organize and/or promote promotional events and conferences - Keep staff and patrons up to date with company news. - Write news releases, articles, calendar listings, and public service announcements (PSA\'s), ensuring consistency and accuracy. - Distribute news releases to media - Field and respond to media inquiries generated by those releases, or regarding a specific production or event. - Provide the public with information when it is requested - Solicit, arrange and organize media interviews (print, radio and TV) for productions or about the company in general. - Coordinate and oversee photo sessions for public relations and marketing purposes. - Coordinate handling of reviewers, including contacting them, securing comp tickets, and compiling press packets. - Oversee the archiving of all press clippings, video clips, radio tapes and photo library. - Responsible for design and/or placement of ads - Maintain and update the company\'s website, or work closely with the person who does this. It\'s a good idea to familiarize yourself with the roles of all the other people you\'ll be working with, or whose work affects your own.