Final few weeks

We now only have three weeks until the Film Installations will be opened to the public, and during this time we are running final checks, getting together the last items to be sourced, and confirming final designs.

Unfortunately, I have found the last few meetings to be incredibly frustrating. Lack of attendance by the designers has meant that the Production Team have had to make decisions regarding the designs without consulting the other students, and have been set back in the time frames as we have been unable to discuss certain issues. I have learned a lot about communication over the course of this module, as I have had to email members of staff and students, and be able to contact people for different issues.

By practicing patience and understanding, whilst also being firm in my role of Technical Stage Manager, I have been able to make it known what I need to be done in order for me to be able to continue with my own responsibilities, and through developing a good working relationship with the two Production Managers, we have worked together to solve challenges that have arisen. I am fairly confident that by production week we will be on track.

Journey to Lecture - Archived Video

A short video documenting the 10minutes before a Production Lecture on the 16th March 2012

Video created for a lecture on AV and Projection on 11th May 2012.

Supporting the Production Managers

In my role as Technical Stage Manager, it is my responsibility to source equipment for the projects and ensure that each design will run smoothly in our given studio space on the day of performance.

I have found that as well as this, I have needed to support the Production Managers in organising the designers and other team members during meetings, as well as setting deadlines for both myself and the designers so all aspects of the project come together at the right points.

There have been times when I have found Production Meetings a little difficult, as some things have not been sorted or the communication prior to the meetings has not been clear, resulting in a little confusion and clarification that I have done during the discussions.

These experiences have, however, taught me valuable lessons on clarity, and made me aware that a vital part of a Production Team is making sure everyone is at the same level of understanding in all areas of the given project. As well as this, they have helped me to fulfil aspects of Stage Management such as "excellent organizational skills, the ability to prioritize, [and] flexibility(1)". Despite some communication problems and issues regarding the general management of the projects, I have learnt a lot about different roles within the Production Team and will be able to use these experiences in the future.




(1) Tolkoff, E. (1999) 'Places Please: The Stage Manager's Job in the Theatre', Back Stage - National Edition, 9 April, 40 (15), pp. 28-31

Easter Activities

At the start of the four week Easter break, I made a list of things that needed to be done by me for the Film Projects. The main requirement was to finish sourcing key parts of the projects, and contact the designers for any final changes. Although I have two and a half weeks upon returning to Uni before my equipment deadline, I felt that the break would give me ample time to hunt, without having to rush when I came back.

Unfortunately, the four weeks haven't been as productive as I had hoped. A number of pieces of equipment can only be sourced once semester starts again as they require contacting other departments in the university. Similarly, the main frame for one of the designs is proving difficult to find - large measures of wood are needed to create an arcade booth. In a project with no budget, I've been having a hard time finding somewhere that can supply the materials. Contacting friends is one avenue I have taken in an attempt to find a generous carpenter willing to give up a few offcuts; however due to people being away and the uncomfortable fact that ideally the wood will be for free, this has so far been unfruitful. I am hoping that when everyone is back at university, there might be an easier way to find these things.

Despite these current setbacks, the rest of the project is on track and to schedule, meaning that the majority of the organisational work has been done so come production week, things should work well together with minimal disruption.

Studio model

As we have now confirmed the designs for the HE3 Film Project Installations, I have been able to have a closer look at the layout of the studio we have access to, and how the pieces will fit together within the space.

Using the software Google SketchUp, I was able to create a model of the studio, and mark out where the designs are intended to be placed. Although it is not perfectly accurate, it allows myself as Technical Stage Manager to note the distances between things, and how hazards such as cabling might be avoided or worked around in the space.
It will also show the Project Managers and Designers how the room may look on the day, making their designs 'come to life' a little more and allow us to more readily visualise the end product. Up until this point, we have speculated how it will work together, whereas now we have a visual aid that may highlight any areas that need further clarification.

Below you can see an image of the model.
Note: the lines marking out the areas will be either white display screens, or black curtain.

Easter preparation

In the last week before the Easter holidays, we have had two meetings to catch up with designers, and confirm what needs to be done over the break.

During these meetings, I have been able to raise concerns I had regarding sourcing, and have been put at ease by both the production managers and designers, and now have a clear idea of what is required over the next four weeks. In the minutes from the  meeting which I type up and circulate to the team, items are listed that require further action and names of those responsible are highlighted, to ensure everyone is aware of their duties and what needs to be done.

I feel confident in the role of Technical Stage Manager, and have a set of items to be sourced that are the final pieces of the project. Although I had some issues with certain aspects of the designs, these have since been rectified and I now know what will be required in the final weeks running up to the project in May.

Technical Checks

It is the TSM's responsibility to ensure the technical side of the production works smoothly and efficiently. As I am working on film projects, this is even more important as all of the designs contain aspects of video, audio, projection, or filming. This meant that in sourcing equipment, I have had to check everything works as is required so that on the day there should be no problems. However, if there are issues during the production days, as TSM I will also be required to have an awareness of what is involved so I can fix anything on the day.

Before the Production Meeting today, I was required to check two monitors and processors we are borrowing from the Theatre department. This involved finding the appropriate cables, connecting the monitors, and ensuring they switched on and worked sufficiently.
Below are photos documenting the process - note that one of the Apple monitors had to be replaced as it did not have the appropriate VGA cable connection.

 

Week 8 update

Entering week 8 and the start of the Easter break, I have had time to reflect on the project so far and look on its progress.

This week is the designer's deadlines, and so there are two meetings to take place in which all the design specifications should be confirmed. This will allow me the month of April to source the equipment and necessary items that the designer's need, as well as having two weeks once everyone has returned to Uni before the equipment deadline which I set for myself in mid-May.
So far, I have found it quite difficult in speaking with the designers to get accurate specifications for their projects. Some members of the team have been unresponsive to emails for several days, delaying my progress in sourcing the larger items which require confirmation and co-operation from other people around the University. However, throughout this process I have had to practice patience and understanding, as everyone involved in the project has other commitments which require their attention also. I have found that being polite and flexible has helped with the relationships between team members and designers, as it built a rapport and a respect that was later reciprocated.

Today's meeting with two of the designer's clarified their final pieces and gave me specific things to look for over Easter; namely two projectors, wood, chalk, and black paint. These are easily sourced and are the last things to be found.
With a little compromise, we have also managed to solve the issue of screens, as these were going to prove difficult to repaint and organise as I have no technical team. The designer agreed to using display screens which are readily available and easily covered with fabric.

Entering into the Easter break I now feel far more confident about the running of the projects as Technical Stage Manager, and feel ready to bring it all together once we return to uni in May.

Working Without a Budget

One of the main problems the production team are facing with the Film Project is the lack of a substantial budget. This means that all equipment must be sourced for free, and it requires the building of rapport with particular people in order to borrow the right pieces.

Initially, I was very concerned that this would greatly inhibit the work we would be able to do and the way in which the designers' pieces would fit together. However, after discussions and emails, I have managed to secure the use of the main items for the two weeks surrounding the performances, and have contacts who may be able to help with the remaining things.

Working without a budget on a film project is one thing, as it forces you to find projectors and electronic equipment. But it got me thinking about Grotowski's Poor Theatre, which aims to produce theatre with little or no money, set, and props. According to Encyclopaedia Brittanica, Grotowski's work takes place in "simple circumstances", impacting its audience with the least amount of effort.

Last week I went to see two shows performed by the Fourth Monkey Theatre company. Both of these shows (4:48 Psychosis and Lord of the Flies) had no set whatsoever, and very limited props. The main atmosphere within the Theatro Technis venue was created through clever lighting by Pablo Baz, who has been nominated for an Offie because of his work on these shows. It proved that theatre can be done on a very small scale but with just as much impact as big spectacles, as it is left to the actors to really draw on the imagination of the audience.

As Technical Stage Manager, it may be left to me to ensure that the atmosphere of the studio as a whole is such that engages the audience without set, or large effects, but just through the placement of lighting and the 'flow' of the projects. It is definitely something I will keep in mind when investigating the studio space further and solidifying the ideas presented by the designers.

Sourcing

As Technical Stage Manager, one of my roles is to source the relevant equipment for each of the installations. During the meeting we decided the key items were 5-7 monitors, several large screens, a computer, camera, AV leads, a television, 5 exam-style desks, and large white chalk. There were a few other necessary pieces, however since the meeting took place one Designer has left the module and so will no longer be a part of the installation.
Once I had established what we needed to get (without a budget), I emailed the appropriate members of staff to request the use of equipment during the two weeks surrounding the production dates. I have already received permission to use several monitors, and have been informed that I will be told soon about the use of screens from an old play.

Sending so many emails to lecturers has enabled me to practise the correct way to communicate on a professional level - when writing to someone within the context of a professional production and as the Stage Manager of that piece, one must ensure the letter is polite and respectful throughout, as well as clear and fairly concise as busy people do not wish to read pages of explanation. Similarly, it is important to build up a rapport with potentially helpful members of staff in the early stages of the project, so should anything go wrong, they already know and understand who you are and know you take your role seriously.

Meetings and Communication

Last week there was the next production meeting for the 3rd year Film Projects - in attendance were myself, the two Production Managers, three of the Designers, and David Hockham, the lecturer overseeing all the projects.
During this meeting we discussed in more detail the three of four installations, and established exactly what needed to be sourced, from whom it could be acquired, and when we would need confirmation that the items would be available.

Following this meeting, I typed up the minutes and sent them to all of those involved in the projects, including those who were not at the meeting itself. When writing the minutes, I bullet-pointed the Designer's ideas, and highlighted the names of people who have specific tasks to do. As well as this, I listed the important deadlines regarding design confirmation, final checks, and sourcing time frames.

Production Meeting 2

The second meeting was held the following week, and included three of the four third year Designers. During this meeting we were briefed on the initial design concepts, and could give provisional affirmation to these ideas. Two of the projects would require projection and computer interaction, which will be confirmed in the next few weeks. The third design requires only a table, spotlight, and small smoke machine as it is just a model, rather than an interactive installation.

I had some queries regarding one of the more ambitious projects, as it would need a hidden camera that is subtly operated by the audience member to film them completing tasks - the footage would be played back to them once they have left the project area or booth. Initially, I was uncertain as to how this would work practically, and the level of technical ability required to build such a piece. However, following an email with Dave, we have clarified with the Designers that they must be able to set up and know their own projects, and that my role as Technical Stage Manager is to understand the pieces so I can fix any problems that may arise on the day of performance. A Stage Manager has been described as the person who is “making sure it all happens”(1). This helped to clarify my role, and also the amount of work I would be required to give to the actual creation of the pieces.

Overall, the meetings were very productive as it opened up the dialogue between the Designers and the Technical Team, and began to sketch out both a schedule and an idea of how the installations may work together.

(1) Tolkoff, E. (1998) ‘Stage Manager as Guru: Reading the Director’s Mind and Fulfilling the Vision’, Back Stage – National Edition, 9 October, 39 (41), pp. 5

Production Meeting 1

Within the last two weeks I have attended the first two Production Meetings for the HE3 Film Students Design Project. The first meeting allowed me to get to know my Production Managers and the Lighting Designer. We established key dates and deadlines for us and for the designers, so we know the time frame within which we must work to get all the equipment and preparation sorted.

As well as this, we discussed the issue of having no monetary budget and how this will effect the way we source things. We decided that the best way to go about finding equipment would be to discuss borrowing pieces from the relevant departments, as well as using websites such as FreeCycle, from which we can obtain more common items.

During the meeting we ensured all contact details were up to date and available on ULearn, and answered any initial queries we as the technical team had - the main concern was to begin talking to the Designers so we could start to think about sourcing the project.

Initially, I feel a little concerned about the amount of work required with such a small team and budget. However, hopefully over the next few weeks things will become clearer and I will get a greater feel for the requirements of Technical Stage Manager.

Reflection: being a Stage Manager

This week I was assigned the role of Stage Manager for a student-led dance performance from the University's company Actual Size Dance Company. The day would consist of the get-in and setting up of the stage space, plotting, focusing, and cueing lights, ensuring all sound and AV were working and in the appropriate positions, running rehearsals, the final performance, and then a get-out at the end.

As Stage Manager, it was my job to ensure everyone stuck to the schedule that I had been given by the Production Manager, which was built upon and adapted as the day went on. This meant keeping a close eye on all activities throughout the day, and stepping in when extra hands were needed to make sure things did not overrun too much.

I was able to aid the various departments as and when they needed it - at the beginning of the day I had to collect cables and other equipment from other venues on campus, and then return them the following morning. As well as this, it was my responsibility to keep the tech box, seating bank, and back stage clear so the other technicians could work easily without obstacles in their way.

During the dress and technical rehearsals, I was backstage operating the curtain - as there were several changes between the dance pieces, I wrote up a running order and annotated it with details of the curtain. This was then stuck to the wall next to the pull-cord, and the technician who operated the curtain during the show was able to follow this. At one point the Production Manager was busy, and so I was required to run a few last-minute rehearsals of specific pieces; checking with my Deputy Stage Manager and keeping the dance choreographers happy meant that these rehearsals ran smoothly, and the few minor errors were corrected so there were no problems during the performance.

I found the role of Stage Manager to be an exciting one as it held a lot of responsibility, but kept me busy as I was in constant communication with the other technical departments. It was interesting to see the production from various angles and work closely with everyone so the full performance was clean and satisfactory.

This experience has helped me understand more of what I will be undertaking during the productions in June. Although then I will be working with a much smaller company, it has shown me the levels of responsibility as well as how to work efficiently with other departments.

© Actual Size Dance Company