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SD 137 613 08 CE 010.-742 AUTHOR Allosso, Michael; And Others TITLE Exploring Theater and Media Careers. A Student Guidebook. 'INSTITUTION Technical Education Research Center, Cambridge, Mass. SPONS AGENCY- Bureau of Occupational and Adult Education (DHEW/OE), Washington, D.C. Div. of Research and Demonstration.

PUB DATE 76 ; CONTRACT OEC-0.44-9253 NOTE 144p.; For related documents see CE 010 734-744 AVAILABLE FROMSuperintendent of Documents, U.S. Government Prin ing Office, Washington, D.C. 20402 (Stock Number 017-080-01640-1, $2-15) EDRS PRICE MF-$043 HC-$7..35'plus Postage. DESCRIPTORS Acting; Broadcast Industry; Business; *Career ExploratioM;-Drama; Film Criticismv-Film Production; FilmS;Instructional Naterials; LiteraryCriticism; *Mass Media; *Occupational Information; Occupations; Playwriting; Radio; Resource Guides; Secondary ,Education; Television; *Theater Arts; Writing ABSTRACT One of six student guidebooks in a series'of 11 arts and humanitieS career exploration guides for grade 7-12.teachers,_ counselors, and students, this student book.on-exidorationoftheater 4nd media careers presents-information on specific occupations' in ,five.different career areas: Performance, writing, production, business, atd education/criticism. Each .chapter includes general discussion =of the field and what people'in that'field dol.description of personality ,characteristics and interests.that-are:approptiate education or e*perience'reguired, whereand how jobs are:found and the job outlook, and suggestions a person in theifield would .Make to students.:The chapters and jobs they.cover are7as follows CO Performance Careers (actors, enteitainerso-amnotncers,, and directors)o,(2) Writing Careers.(playwrights and scriptwriters)_ (3) Production Career's (designers, backstageAheater work, and media Oroduction. work),(4) Business Careers (producers, theater businebs and Management, television And radio direCtors, 'agents and salespeople),,amd (5)-Education/Criticism Careers (teachers and librarians,and,writers about theater and liedia)..Appended are,a glosSary, a list of addresses of prOfessiohal,associations, And a list of sources of additional information. .(JT)

Documents acquired by ERIC include many informal unpublished materials not available from other sources. ERIC makes eveiy effort to obtain the best copy avable. Nevertheless, items of marginal reproducibility are often encountered &nd this affects the- quality of the microfiche and bardcopy reproductions ERIC makes available 1.da the ERIC Document Reproduction Service (EDRS). EDRS is not responsible for the quality of the original document. ReOroduttions supplied by EDRS are the best that can be made from the original. Exploring,' _Theaieioand Media Career

a.student guidOook

BY APjHAEL ALLOSSO 'MARY LEWIS HANSEN, PROJECT D RECTOR U S. DEPARTMENT OF HEALTH. EDUCATION &WELARE RICHARD CORNELL, EDITING NATIONAL INSTITUTE OF EDUCATION SHEILA DUBMAN,'ILLUSTRATIONS, EDITING , THIS DOCUMENT HA5 BEEN REPRO DUCED EXACTLY AS RECEIVED FROM THE PERSON DR ORGANIZATION ORIGIN ATIND IT POINTS OF VIEW OR OPINIONS STATED DO NOT NECESSARILY REPRE SENT OFFICIAL NATIONAL INSTITUTE OF EDOCATION.POSITION OR POLICY

TECHNICAL EDUCATION RESEARCH CENTERS, INC. 4-;,BRATTLE STREET CAMBRIDGE, MASSACHUSETTS 02138 2

U.S. Government Printing Of f ice Washington: .1976

For solo by the Supertwendeet et Documents, U.S. Government Printing OM WnsIgngton, D.C. 20402

Ptock No, 017-080-01640 Ile loped and disswain.t- ontrac- N for Currulum Develerment Branch ivision of RttoiIrrh and Demonstration Bureau of6cupational and Adult Edueation -U S, Office of Education Vepartmemt of Health. Education and Welfare uAder ear thornbevelepment in Vocational and Tochnicel Edu on %onel Education AmendnientS Of 196B Public Law 90-576

ukgcrimination Prohibited - Tetlrn Vt of the Rights Act of 1964 States: "No person. in *he United States. shall, on the grOund of race, color, Of na . tional origin, be.excluded from participation in, be denied the benefit of or be subjmeted to dtscrim- ination under any.program or aCrivity receiving fed: eral financial assfstance," Therefore the Vocational ,kdocittion program, like all other programs Or 3CtiVi= ties receiving financial assistance from the benart- ment of tlealth. Education and Welfare ..moat be operated in compliance *ith this law,

The project pro nted or eeprtod herein waspei formed pursuant to a cOntrace from the U.S.Office of Education, Department of Health. Education and Welfare. However, the opinions expressed herein do not necessarily reflect the positton or policy of The O.S. Offiee of Education, and no offkial endorsement by th-e U.S. Office of Elucation'shootd he inferred.

U.S. Government Printing Office a_ ington. 19Th Photo Credits: cover and pp. 5 28, 48, 49, 77, -99, Alton:Miller, through the generosity of Arena- Stage, Washington, D.C.; p. 119,-Philip courtesy The Times-Picayune Publishing Corporation, New Orleans, Louisiana. TABLE OF CONTENTS

INTRODUCTION

PERFORMANCE CAREERS 3

Actors 4 Entertainers 10 Announcers 18 Directors 24

WRITING CAREERS , 29 Playwrights 29 Scriptwriters 37

PRODUCTION CAREERS 43 Designers 44 Backstage Theater Work 58 Media Production Work 75

BUSINESS CAREERS 87

,Producers 88 Theater BusineSs and Management 98 Television and Radio Directors 103. Agents andSalespeople 108

6. EDUCATION/CRITICISM CAREERS 115

Teachers and Librarians 116 Writers about Theate"bnd Media 12c

APPENDIXES

A. Glossary 131

B. Professional As oeiations 135

C. Sources of Additional Information 137 1. INTRODUCTION

-When you think of careers in If you answered "yes" to question theater, film, and television, C, then you weuld probably find you probably almost automatic- that ChaPter-Rour is the. Most in- . ally think Of acting. However, terestipg to you. If you answered there are many non-acting careers ."ycs" to question D, then Chapter .in theater and media. ,Five would be more suitable. (The As you glance through the lists same, of course, holds true for;the 'at the beginning of the following other three questions.) The be- chapters, you will notice a wide ginning of each of these .five chap-, variety of jobs'. Some of them terS lists the jobs discussed in may be completely unfamiliar to that-chapter. By reilding every you. You will probably want to' chapter you will discover more read about all the jobs, but first about' these jobs and deciee if you might want to aSk yourself the deed they-are jobs you might,c n- following questions: -sider as a possible,career.

1.4 The,theater'and Media industries

A. Am I a doer, performer? Do are'composed of creators, bUsiness

I like 'Fe speak in front.of people, production people,'and groups? Am 1 agressive.and educatorsy When you'sit= at home. willing to take risks? watching "Rhoda" on television you .see the products of all these B. DO I like'to read and write? people. Valerie Harper is visibly Might I want to write as,a career? pursuing her carper as a television actress.- But did you ever think' C. Would 1.prefer'working back- about all-the.other people,involved stage in behindthe-scene in the production without whem we jobs br 'designing for the- would never see, Valerie Harper? ater and/or film and tele-7 What about the clothes.she is wear- vision? ing? . She did not open her closet

in the Morning, put on a dress . D. Am I interested in the.business and money a5pects of and wehr it to the studio and then theater and entertainment? under the lights during filming. And what abbut,the.lights?_ Some- Can 1 organize_weLl? one did not simply flick oh a_

I E. Do like sharing What 1 switch 'at the beginning of-the knew with people? show and flick it Off at the end. And who decides hew much light will be shinlng-on Rhoda at a par- Concluding this guidebook to careers in.theater and, media are ticular time?And what good is light if.there is no.one running 1). a glossary of unfamiliar terms, the camera? And what about,Rho- 2ra list of professional associ- da's apartment?.. Who set it up ations to which you can write for and decided what was.to go in it? brochures and pamphlets about the-, And what about. Valerie Harper? ater and media tareers,find 3ythe Who instructed her in the earlyN names of books and someLfilmswhich stages of her career and.helped will give you further information her to develop her craft? about aspects of theater and media. Your school counseling office and Each of these resOnsibilities your local-libraryare-additional representsdifferedjobs and is sources of/information. important by itself. Silt these jobs are also an important part One of the.best_ways to learn is of creating a production. No one to talk with people who are invol- or tWo jobs alone isthe most m- ved in theater and media careers. portant in creating a tv show, Much of the information you will film, or play..It is the combined read in this,guidebook.comes from effort of many individuals which interviews with a large number of makes the finished product.. So people who dO lhe -work described. if yoU like acting, you may, find The pages ahead will suggest your the own questions for people14orking _ easy to continue and read first.section of this book. How- in theater and media as you think ever, if you are not interested' about your-own career, in acting, do not giVe up. The other chapters will introduce you to the many non-acting jobsin theater, film, And television

which are challenging and impor-0 tant. PERFORKANCE CAREERS

AM I A DOER, A PERFORMER? : DO I LIKE TO SPEAK, IN FRONT OF,A GROUP?' -AM I AGGRESSIVEAND WILLIK TO TAKE RISKS?

If your answer to the ques ions Circus:Performers- was "yes," then answer the fol- Acrobat lowing: Aeri.alist Juggler Would I like to be an aCtor? -Thrill Performer Ringmaster' Possible jobs are: Stunt Person i°kctor, Fi.re Eater Double Stand-in WoUld I like to be on radio and/or tv? Do I have a pleas- DoI have some special talent, ant speaking voice? such as doing tricks or tell- Possible jobs are: ing jokes? Do Ilike to perform in front of peope, but Broadcast Journal 1st not as an actor in a play? Announcer Specialized Televis on Possible jobs are: Reporter Mimi Sports Announcer Dramatic Reader Disc Jockey StOry Teller Comedian Would I like to be.in charge Master of Ceremánhes of creating a whole producticip.? imperSOnator/Mimic Possiple jobs are: Magician Hypnotist Director Ventriloquist News Director Walter(Enterta ner Radio Director Model Technical Director- Barker Program Assistant (radio Show "Girl"- and tv) ASsistant Director ACTORS,

If you like beingin plays, read failures. Most actorsfeel that a and.memorize well, and have that good sens-diPof humor and self-con- extra sparkle that makes you stand fidence help in dealing with this out in a crowd, then acting may be problem of failure. the career for you. But don't de- Actors say that you must be to- pend on your "sparkle".to-guaran-: tally committed tO your work. You tee you an acting career. Acting cannot think that your. work day is is One of%the mos.tdiffidult and over When rehearsal (or perfor- compeiitiye careers_in which,to mance)is over. get stared. In 1974 there were. 10,000 pople.in the..United s,tat6s In order to be successful1 most who called themselves "aCtors." actors feel that you really have Only 4,000 of them worked-on-BrOad- to care about the subject matter way, and many of those were only with_which you are dealing. Your / employed a small.percentage of objective fot acting should btto the year. say something important to your audience. Your reasons for want.,/ The statistics are discouraging. ing to be an actor should be more ,Broadwayitheaters are closing. substantial than the exciteffent Fewer movies, are made every year. of curtain calls and compliments Half-hodr television shows are after performances. 'being dropped in fay-or of longer episodes (two half-hour shows. What Shills Do I Need :will employ more'actors than one_ to be an Actor? -hour-long show)- Reruns of old -shows used to appear for only 13 Billy is in all the school plays, weeks out of the year;,now, we has a good sense of-humor, and can see 26 wteks of,terung per year, memorize well. He is4 so dedicated which, of course, cuts back the to acting that he sattimes skips demand for actors. It is clear, his homework to attend rehearsals. in light of such facts, that very Does that Mean that acting is the few aspiring actors ever receive career for him? Not necessarily. any sort of recognition. His ability to memorize welljs If what you have read so far useful, particularly in stock and scares- yoU off, then skip this repertory companies, which often -chapter and read about another rehearse and perform two different field in theater and media, Act- plays in one day. Summer stock ing iS not for-those who are eas- actors sometimes have only two ily diScouraged. 'An actor must weeks in which to rehearse and -be able to cope with .all sorts- learn the lines for a play. ACt- from finding of discouragements: ors in tv soap operas often-have that there are no jobs to being to memorize lines overnight. Mem- rejected from jobs that do exist. orization skills, however, are not Young actots must be-stiong and courageous in the face of repeated Actors perform in a scene om Thornton.Wilyer's Our Town.

quite as important:to motion pic- day. Rehearsals for live Perfo-- ture actors beeause theydo not mances and production time for film- perform a complete production. ing may run late in the evening ,Instead, they memorize.only small and into weekends and holidays. portions'of a script at one tiMe, Geod actors spend what free time as scenes are rehearsed and "shot" they may have thinking about or individually and spliced together researching every role they play., later on. But learning and rehearsing spe- Although dedication is indeed cifiC roles are-only,part of-an an asset to an actor, dedicatim actor's work, truly dedicated, to a school play is not the Same actors'are keenly observant of as dedication to a career in at- :other people, When actors'are ing. Billy may not wolfing down a quick lundh, for enjoy acting'professionally as instance, they are probably listen-- much as he enjoys it in.school. ing to the,convers-Itions at tables -School pOductions do not require round them..The people at-one the=kind of life-time commitment table may be talking about the 'that a prefessional acting career high cost of keeping up their , requires,-in whicivgood actors .yaCht,- and the people at another literally work every hoUr of the table may be discussing the inti- mate 'details of their private

10 6

lives. Although these conversa- said, "You must work as wellori tions may be irrelevant to the Sunday,- after having done eight actors' current work, there is shows:that week, as you.do Tues. no telling whensuch dialogues day,afteryou have had t full day's may inspire an actor to play a rest.". Some activitiey may role more .effectively. The actors be called on to do whichirequire will certainly learn something physital dexterity and/or strength just by observing the way those are: falling down a flight-of

people speak, and the gestures . -stairs; wrestling with a 6'S", 210 and mannerisms they use. lb. muscle man and being placed neatly in the orchestra pit; leap- Good actors also read, see plays , ing off the stage_ into the audience,- and send out resumes during their up the-aisles,. Over peoples.'legs, David, an actor work- sparetime. up to the balcony, and -down a rope H-ng in Boston and New York, de- tostage level; dancing, dancing, scribed the outside activities and more dancing (including.somer he participated in which:enhance' saults, cartwheels, splits4 twist- his career as an actor by saying: ing, turning, jumping --: all over and aver again) standing and see no distinction between waiting.

what I do during my-working A young actor who can dev,elop time and what I do before and 6f:ter. -I send out resumes and some or all of these competendies

phOtos. I meet with producers. might have-a better chance for a_ Some skills, I go to the theater to see career in acting. other plays. Going.t0 the however, cannot be learned. Many theater is not purely enter- acters feel thata good actor

tainment= l'see actors and should have certain "natural" . benefit from their weaknesses talents such as: and strengths. ...A good imagination . David also listed some of the A keen sense of observation competencieL. dn actor needs to

An intelligent and alert mind . succeed: A pleasing personality Memorizat on Charm Concentration s An abi-ity to unde stand Flexibility people. Voice and body control While no one would contend.that Singing and-dancing evety actor has all of these char-

. acteristics (there are, for.example, Physical strength. very nasty actors, whodispldy\-no Why physical strength?. .Accord- understanding about people at all), ig.to David, most actorsfeel they are allvaluable talents.to that they should be as physically haVe. fit as athletes. Their bodies If you now feel ready to make should be strong enough to do a the decision to be an actor, per- variety of tasks ddy.after day haps you should think about what without collapsing. As David 11 David the professional actor had This may seem like an abvious re- to, say when asked, mark, but you Should not minimize its importance. When yoU committed yourself:to Billy might he'a the field _of theater, did,you big Star at Harry Hoover High, but have any notions about that hew talented is he compared toi field which proved to be un- other stars of the other high . realistic? schools around the world? Billy could benefit by'asking adults who

Yes. 1 thought you could be ,know a lot about theater.to assess successful if you were good -- his talents candidly. The more you'd be immediately recognized! "judges" he could find the better

.1 was _dead wrong. Your talent it would be for him. -HiS friends is no+ recognized unless you- end family may_tell,him that:he is know tow to make it saleable. excellent after every performance,

1 thought.you could develop, but they might'Praise him no mat--

your talent really fast. 1 terwhat he did. If Billy is going- had noideajt took so long. to be.an actor, he must berealis-

I thought +Hat if a person tic and able to accept ci;Wcism. were intellectually bright he 'When asked what advice or she could be.a.good _actor. would Thet'sdnot always true. give to students interested in ,the theater David said, Advice to Students ,Get to know as many aspects of Recently a very famous Academy the theater,as.you possibly can -- no matter what your Award winning actress talked about. her career and offered some advice specific interest may be.- to students who are thinking about See plays, film and'televi,sion.

Read. Write and prOduce your . becoming.actprs. She said:- own plays. Theater-can take Make sure yod have talent. plate in the streets,1 Scenery it's not easy tb find work. can be painted on-old sheets. Be sCre you have soMe*talent Put on plays- in the cellar. before you start looking. David's P14 Steg_to BeirquaLif

If there's nothing:else- which'Makes'you happy in life if you are honestly Convinced that there is nothing else you want -- then be an actor. Read, obserVe. Be ready to take a lot of rejection and be strong enough to.survive it financiallyand-psycholog-' ically. Make up your mind that, you cannot become an actor -overnight'. Be willing\to work your head off seven days a week. Go into any.other career unless you have that,pain in your gut which says., mutt get out in front of an,audience..'. Be prepared'to work at other thing- unless you are

rich.' . Go to as many plays as you can_ Work backstage. Witch rehearsals, anywhere, anytime. Imitateother people but know you eventually have to do it Yourself.'

ll Know who you are and love yourse

12. Be yourself. Ke.1) healthy.

14., Be-ariathiete.

DaV-id.also spoke in great detail What DO I Do NoW?- about howtotally inseparable his . working lifeas an actor was from If acting it,the !."right" profes- his private life as a husband an& sion foryou, where do,you go - father. While.he is playing with now? -Most actors have some sort. his daughter on the living room 'of,college education-. You might- floor4 he finds himself sputter choose to go to aJiberal. arts ing-Oftet from his .present play. college or to a specialized,act-. At first his little gArl would say, ing school. A liberal. arts-school "DaddY, what are-you talking about?7 gives you an advantage in that- But now she.is'used to it and jutt alternatives:_could-beavailable passes itoff_as Pthat-funny'lan- if:you:decide-not to be an'act- gudge Daddy always speaks." or after all.'iThe advantage of a specialized school is that OutlOOk you would have:a more intensive acting prOgram from the start. There are few possiblities for- Whatever you choose', you should those who with to act in- theBroad- look for a school which offers Way theater. Regional'cOmmunity 'you-an opportunity to partioipate and summer stock theaters as well . in productionS. Backstage work as teleVision offer somewhat better- Ajn summer stock productions is possiblities: Tv commercials are also good,eXperiencp. one oftlie best employment source- for.actors. .1n.general, musicall Of course the other alterna- -oriented-people'have-greater oppor tive would be to leave School and tunities. .While -dinner-theaters try tO "make it" as arr-actor right . :provide good-acting opportunities; .away. This can be tough slnce it the outlook is ddm for acting in is hard to'find a job without ex- :classical, serious plays. erience. if you am out on the streets looking for an acting job, There are many_ people'.Whocon-- -you should'register with all the- sider acting their "career" ai-

casting offices, agents, and pro- . though they earn no Money at it., ducers' offices in,townl Make, jhey may drive taxi cabs, during the rounds of these places every. the day, to earn money and play

day. Be a pest! -Answercasting -small roles in the evening for . calls in theater newspapers. Make which-they are not.paid. -They-act contacts. Meet as many people as because they love to and that you,can:There is no telling who is their career.- might help you to ge an adting job, If you are-interested in motion ,picture acting-, be, advised that the road to Hollywood, still de- :tours at Broadway.-Yol,.1 should takp whatever "bit" parts are' offered.to you. SoMetimes the steps up seem tOo small to'bother with, but a young actor must be, , willing to work.at even t small- est role. 10

-There are many people who lovd to sacrifice, andaccept:hardships. to-act in amatoOr productions. In the words of a man who ha's Most..cities have community the- been a profesSional. tor,fer ater'groups, with people who hold almost two decades: all. sorts Of jobs gathering in r, the evenings to put on. plays. If there's nothing else which makesryou happy in life, il People beceme professional ac you are honestlyconvinced ors because they love whatthey there is nothing else you are doing, and because theyde want theh be an.actor. it well.. .Their love and dedication totheir.work- enables them

ENTERTAINERS

"ventriloquists entertain atpaxtie4 If you like to perform infront alleys',.but-the next in . or bowling of groups, do you have to act may.be out of- plays and movies'? Not necessarily. year ventriloqUists be-ltike-cur You might be interested in per-, style and.acrobats may fash- rent rage. Some job' which does forming in.some specialited 4st maybecome ion'or doing special tricks. Go rpot appear.on our popular, perhaps in ,1985every :back to'the beginning ofthis chapter.and lOok.at the list o fashionable-party,will,feature an mermaid. imper- speEialited entertainment" jobs aardvark charther.or sonator.. A magicianrespended that exist today. when asked if the outlookis'good' Before you set your mind onbe- for people wanting te'bemagicians, _coming a.juggier or otherkind of:- "It dependS en the fad. Righttlow

entertainer, you-should under7 - - magic is a big thing, might . standAonepoint: many of these die.out." Entertainers can :always-- -careers are victimsof fads, count on one thing --.instability! (One juggler said that his pro- festion, which died out in the Therefore, you should,probably aS a sixties.,"is coming rapidlyback ,n0t,think of entertaining liVelihood. Most people who are in style.) A ventiloquiSt does entertainers must holdother. jobs not reporttoanioffice or factory "Ventriloquize" for to support themselves. Enter-. every_day_to -teachers, eight hours, and pick up a pay tainers might- also:be salespeople or check,at the end of the week; camp directois, Many enter- insteul, he/she is hired byin- full-time homemakers. dividuals and groups-forspecial tainers perfOrm at-anon-paying. job., one-t-Ime_appearances_ It may be "hobby" rather than as A faShionable one year to have 15 There are lots of-kinds of enter-. LUI6's finest dinner plates on tainers who.might be hired by a a stick while riding a uni- family like the fictitious LaCha- cycle. That line-up should Chas, wholiVe in.a wealthy sub- keep the neighbors buzzing for urban community. The.LaChaChas a while. frequently give parties,.and ' Lavinia LaChaCha is a:20-year- uSually hire entertainers to 'old, beautiful model. Last -appear at them For example: spring she modeled evening --LUIu LaChaCha has hired a gowns in a fashion show at the dramatic reader And a comed- big department store downtown.. ian to .entertain at a baby She was alsO a photographer's :Shower:for her sister7inlaW model for a few weeks, posing Amelia. The comedian will lor a series of laundry soap tell funny jokes And stories ads:. The local university to satisfy Amplia.and her just offered her a job as an sisters who love to laugh. .artist's model for a few art Lulu-is:al-so inviting some- classes. Her father, Louie sophiSticated friends who ,LaChaCha forbade her to accept belong to the' ShakeSpearean the assignment because she 'Play-of-the-Month.ClUb. For would have to appear in the their entertainment Lulu has nude., Lavinia got angry and hired'A drathatic reader to --ran away from hometo.attend present .a-monologue a circus school: porating many of the Shakes.- Louie LaChaCha-belongs.to the Tearean roles. The dramatic Fraternal Order of Reindeer. reader will rely on vice He and his fel-low Reindeer

. ehangeS:_instead_ofHmovements_ 'have-organizedthe_ first an- tco hold the audience's.atten- nual "Miss Reindee Beauty tion.., Pageant." The first person Leroy LaChaCha has jutt they will hire is a master of graduated from. kindergarten ceremonies; the emcee will .and.mother Lulu isgiving introduce the contestants and him a-bigl)ash.- Vernayan guest entertainers,'tell jokes, Waltzstein, next-door neigh- 'and even sing a song while=the bor,. hired &clown to perform -judges make their final de- an originalTcomedy routine . cisions. at her son's birtbday party While the contestants change 1aWyear, and itwas the into their.swimsuits, a miMe talk'of the neighborhood. will entertain-the audience In order to out-do Verna; with interpretations of vari- Lulu is planning Leroy's ous emotion's through body arty to,include:. 1)a- movements,ifacial expressions,. story teller who will recite and gestures. The mime's act titple versions of classic will include playing:the:role- -7-fairy-tales, -2)-a-hypnotist- of-a7girl-who-hat-just-been- who-will put unruly ehildren aWarded the !"Miss.Reindeer" into-a trance- to make them crown. Later, is the girls behaVie properly, and 3) a change from swimsuits to juggifer who will balance 'evening gowns, an imperSona or

16 12

will appear on stage, pre- The last tiffie her father heard tending to be everything from her she was swingiAg from from a toad to a dump truck. a trapeze and turning Soper-. saults with'an aerialist she

. Lavinia LaChaCha will, of' .=had met in the circus. course, be ineligible to participate in the contest.

Modeling Is a possible career for those interested in entertainment jobs. There are tWo kinds of modeling: Fashion modeling, in which people model fashions for prospective buyers either for commercial or personal use Photographic modeling, in which people model fashions to illustrate products to be advertised Fashion modeling employs the larger amount of_people, .Fashion models work in manufacturers' shoWroomsde- partment stores, and better dress_stores. Thotograph- ic models work free-lance and generally take boakings through an.agency." They could do still photography . modeling-or model for television. The best hackgrOund .tor a prospective Model-Is to

- . attend,bodeling school.. However, although there are . many modeling sehools all over the.colintry, Many are inferior. Students-are warned to choose sehools which have"a good reputation, good facilities, .and a placement serVice to help the"trainedmodel finda. job. It might be better for an asPiring.model to go_direct- 1y to an agency.before SpendinOoney on a ichool, especially if he/she has_already`put?.together-a good portfolio ofiphotographs. There-are many people, both male and female, interested in modeling. 'Competition for all is, intense. Many models work only part-time.- There are;_some,-- ...models who do nothing more than hand-out'free samples in the makeup department of a large store once, a month. Even withall their activities; For instance, self-discipline is -the LaChaChas have not met up required for all entertainment jobs. with every kind of entertainer. An entertainer needs the discipline- There are still many others. For to keep working to perfect his/her example, there are waiters:Who craft. It is not enough to simply sing and dance as they wait on perform "well enough." Patience tables -- a restaurant in Washing- is important too. The young Magi- ton, D.C.,even has waiters on cian who wants to saw a lady in roller skates. People called half had better be able to put her "barkers" stand outside places back together again. That'means of entertainment shouting to the magician must learn .the trick passers-by that the show is about very, very,well before trying it to begin. There are show girla with a real lady! whodance dn chorus lines or just Most of these jobs require a stand around to fill u0 the stage certain amount of flare and show- in certain-productions. There manship. An entertainer. shoUldrbe -ate-also="exotic"-dancers-who 'something of-an actor. One magi- probably would never, be, asked to eian saidAhat he was always the perforM at,a taChaCha.party. "life of the party" and could The citcus employs'other- enter7 easily organize groups into games.

_ tainers such aS thrill performers, A puppeteer observed that a "sense stunt.eOple, and_fire eaters. of playfulness" iS necessary. In .FOr those,,people;:a willingness,- generalT2entertainers claim that to take-risks is a definite re- being,outgoing.and friendly is an 'quirement for tlie job. No-job asset to an entertainer. ds really "typical" of,entertain- Other important talents ate: _ing:It is possible, though, to ,manuaddextvity; comMon sense, look at a-job as reldtesentative. finesse/podse;,creative thinking, of all the others in this category. imagination, humor; commitment to .-Puppeteers.and magicians are good the job at hand; aggressiVeness; examples of representative jobs. sometimes a strong spedking voice. Muchj.nformation about:these two- kinds of Career is applicable to other entertainment work:

A Ju gler sada

It takes just the.right-combinatioof temperament and self-discipline to be able to ractice alone, hour'after hour.1, It's claret;it's introspective; it's been compared with Zen in the nded for Sinole mihded concentration.

I started 'out as a. piano,player in a band, but soon r became more interested in juggiing.than playing -the-piano.T. So-l-quit'thebahd-and began_j_ugg- ling_full:time. No work, no.school, no band -- just juggling two straight years for eight hours a day. AS we look"ateach talent, it is . and exposure leads to greater oppor- clear-that most of the entertaih.- tunities, for employment. For ex ers mUst'haVe the ffrst oneimanual ample, the principal of the ele- ,dexterity. Without it, a.magician mentary school-just might recommend could never pulia bouquetoffloW- that puppeteer to someone else who

ers out of a cane. A puppeteer. . would'uant to hire him/her for a

'could neVer'do several character . special'job.- changes,in one show. A hyponotist Aggressiveness may seem to-be a would drop-the'watch in thepar-. personality trait common to--.'41 ticipant's.lap, a ventriloquist's sorts of people. Entertainers, -demay would have lockjawand-a- however, consider it a "talent . fire eater would have some nasty. poo, since noentertainer can begin. burns...Even a waiter/entertainer a 'career without: being aggressive. needs manual dexterity tpT,avoid Unfortunately there is rarely, if dropping pea soUp :in ladies' laps. ever, a newSpapet"Tadvertisement imagine what-would.happen to an saying,' "Ventriloquistylanted." acrobatwith butterfingers!' Nor do circus-tents have signs Every entertainer alSoTheeds posted on-the outSide'reading, comffion Sense-to°make docisiOnS "Juggier-Wante&:' Apply within." and gauge audience reactions,. Finesse and,poiSe are:also im- Portant. A,magician must do more: than perform oset of tricks:, lie or'She musf do the'routine smoothly and:with,,an-appealing-sense:of, style. Creativity is an asSet in almost any job, but it is particularc important to an entertainer, who , 'could easily grow stale doing the same material over and over again. In order to survive, an enter-. tainer must have the originality and sense,of humor to interest the audience and a genuine'pride in his/her'work. ,Commitment to the job,at hand is,necessary for all good performers.",'No mattdr how small the-o.ssignment, perfor- f. _ mars try to'do their work to the best of their ability. For in-- stance, a puppeteer ,asked,to do a puppet show for a group of first graders should not go in thinking, "Well, they're just first graders. throw sbmething together, they'll never know the difference." Every-audience_deserves the_best _ a performer can.give it..Per- formance gives public exposure, 15

Therefore, an entertainer seeking You had better decide early to employment mmst be aggressive mork-only tor Pay and then Stick -enough to create a demand for his with your deciSion. Bene-tits her talents: "You might be able are for "the birds. to use a ventriloquist at your party," or "Wouldn't a juggler Even sail,' just a few minutes be be a good addition to your vakiety fore she said this, she admitted' show?" that she herself had done, many' benefits. Entertainers are always in the As Jamessays,

position of having,to find new After alt, someone in the , jobs. There are many ways' to do eUdienCe otone of those chari this. James, for example, is a table7performances might, like-, magrcian in constant search for and_hire you to::do p,paid --employment. He first.found work performance-for them sometime. by telling all his friends that

he was performing-magic and was What_Doesam.Entertainer . available for jobs. Next, he put Do Offstage? an ad in the newSpaper saying, "Magician Available for Various James, the.'magician.,: is- performin unction." Healso paid a few at a.:alesmen's-convention The radio stations for spot'advertise- entire act lastsfor'AD minutes,. Mentslt.ci.,annOunce over the air Although James receiVeS a generous that, "James the Magician is salary for those..40 minutes, no a available for Your-partieS-.and one pays him_for=the_two or_three functions," Next he went through__ hours he spends,wokkibg before and,

the:phone book and wrote letters after-his.onstage,WOrk. - to anybody who he thought might For example, Jamesds:called on want a magiCian; he wrote to families,.school syStems,, ThUrsday night'to do-the- COnven- tier' which iSscheduled,orie'week. churcheS, department stores, countryclubs-hospitals., and from Saturday.-That-gives' him eight daysAo-thInkyabout-his.per convalescent homes.. formance. Even fhpykh most,ofhi5 James has increased his adver- act will be.hiS Standard set' of tising lately by haying a brochu e trickS,- he would also Iike:to. add printed with his picture en,the a new One,'.He will probably spend front, and bk payinkto list him- several hours during-the-next:week-' Self in the telephone Yellow- WOrkihg to Perfect the new.trick' jages directory. He also leaves as well'aS planning how.he will his calling card everywhere he. work-it into the restof the.per goes; formance. Like anactorl. James James-also feels that a-good -must rehearse his act' to:keep it

polished, smooth, and-exciting. . way to drum up business is by Unlike an actor, however, James doing charitable perfermancos. Jean,.a puppeteer disagrees with must do this without the benefit of'-haVing a director_-to- call re James about this. She said, hearsals- which'force him to prac-' tice whether Hefeels like it or . _ not- or-evaluate his-performance to.help him improve,: Self-disei- takes .drama andpsyohology couries, pline is essential for-James. .to help keep her up in her field.-- When the Saturday of the show Most entertainers. Make .a,habit comps along, James is well re- of watching their colleaguesper- hearsed.: But is he ready to form. James aftends special meet- "entertain"? 'Not unless he is ings Where:magicians share ideasq sure that his equipment-is in He-and several Other magicians. good working. order.. Can you ima arrive-at :these meetings several gine James' embarrassmentif he hours early So that they Will have reachedinto a hat to pull out.a timeto share ideas, .and maybe.eVen± rabbit and the, ace Of spadevfell swap 'p. trick'or two. .Mosi enter-. out of his sleeve and atfouquet tainers also do a lot of reading of flowers popped out of hiS in their field; but all agree they pockets? cannot-learn solely .from books. They,say_that it was necessary:to The-fime Jame :spends traveling- teach themseivesand to practite_ to and from the shows,-and the frequently. The.besttraining timejttakes: to set_up and strike aside fromteachingeneself1s-to his act are alSo considerations. studv with-a person who is actually' And--What-happens if the guest practicing the ferm-efentertain-.- speaker at the-salesmen's conven- ment in which you'are interested. tiondecides to 'speak a little ,There area.lseschoois.whiCh.can.. longer-than,scheduled? James has -.train you in specific disciplines to wait before he can do,his act. .suchas,magic.. Puppetry is being. After he does hiS aet, people offered in.'_several-university.: might have:,questions or-dsk him theater_departments throughout the to do certain tricks again,All , enuntry;- Jean,,howeVer,,Jeels that_ these actiVities add minutes or -', -the best preparation for being a, hours to his actual working time. puppeteer 4s te:.: become:involved- What appears tb 'be a large salary- in-school:plays; study drama; read for a short-amount of time_tuins extensively (inclu4ing-stOrie'An'd out to be a moderate salary for 'myths); have somatrainingin many hours. James.414rns.most of painting and music. While an en- his income from,a Sales job, not tertainerdOes not have to do,all froth being a magician, -,. those things, many'Of the:ware The puppeteer-earns-even less usefulypreparation.. than James. When asked what per- tentage of her income comes from Why Do_Entertainers c her'work as-a puppeteer, Jean Entertainers answered: "Almost none. My income buys my equipment (whichis Because they want to?' expensive), P'aks fOr sdpplies, Becausathey have the'right tapes of actors, etc.-. Nothingt kind of Personality andtalent? more." Becausathey like to please- When not giving shows, Jean an,audience? N,,molds puppet heads, writes scripts, SeWs=bodies_and clOthes; and reads_ BeCause thpy careabout the a 'iot; she also spends time _rehear- _quality_ of 'popular enter- sing'aad calling on prospective'_ tainment?' employers --mostly -schools . 17

All of the answers are correct! A coacern for outstandiag_quality

Of course, entertainers must in- . is common to many entertainers'. deed want to dd what they do. Imagine if an idealistic 16-year What Advice Would old announced to his folks'one Entertainers Give to Students night at the dinner tabl.e, "I have-decided to be A tightrope "Marry. someone rich," was- the ad- walker when I graduate from high vice Jean gave,- Puppeteers, like school."His parents would ei= many other entertainers, are poorly ther laugh it off or forbid him paid. Clearly, many entertainers to ever-say such a thing. Most must have some other sort-of income. parents object to their child's The magician went so far as to say wanting to become an entertainer. that magic should be considered With.that sort of negative feel- only as a. part-time job. He feels ing at home, an interested student it is nearly impossible to make a must really-want to be an enter- kull-time livj.ng as a magician. tainer. ,Competition is tAtough Other bits of advice weie: for anyone who's just "pretty good;" so a. unique talent is also Be a good salesperson a requirement. Study other subjects -- for Having a certain kind pf per- instance:the magician advised sonalitV'is important for enter.= that a student' should becoMe_ tainers. A master of deremonies involved ili,psychology, mechan- cannot be shy. A singing waiter ical principles, diama, the- -cannot be arrogant he or she ater, and art- Winterested is still serving 15eop1e. A pup- ,in becoming amagician ' peteei. must love children and 'Observe other people's acts storytelling. and compare them to your own

I like to see the-affect my Don't think you can do it magic tricks have on people's alone; yOu net-d lots of:help faces. and lots to training. -These words of a magician seem . You might want to find out what to sum up. why.people become enter- sort of _grant Could be avAilablea -tainers;- they.enjoy pleasing An T. for-study sin your specific disci-

audience. -The most satisfyiag- , pline. (The American Magician aspect of-the magician's job is \Association canfurrrialr-ti-tat--sort the pleasure Of beingo.ble to of information for careers in'

surpKiseLsompone. Jeail, the MAPI -- magic.) You might-want to spend peteer,derives satigfation from the day watching a prgessional being the source of children's entertainer, to see his-or her laughter. daily routine. Most entertainment jobs require no formal education "I felt as a student and as beyond high sthool. The best edu- teacher that a-lot of material cation is to study right alongside offered to children is boring, .someone actually doing the job. even insulting." The puppeteer You can, for example, take private said she felt that she_could lessons from a magician for $10 .bring something new and good., per-half-hour. ------tothe profession of puppetry.

2 18

Outlook businesses, in whicha.certain number of people ate always needed.1 For entertainers, the job outlook The demand-for fire eaters can be is only as good as the opportuni- zero one week; but-100 could-be

tieS they make for themselves. . hired next week for.a publicity Entertainment isnot-like other stunt to demonstrate a,new brand of lighter;

ANNOUNCERS

Kristin feels that -he haA.the Would I like to be on radio and/or tv, and do !Jove a teceSsary talents andjnterests to pleasant speaking voice? become an announcer. She is.not

quite-sure, though, if announcing . -.Kristin, a high school_senidr, is,a.good career for,her, What-is has a pleasant,,well. controlled an annOuncer,ranyway?.:1 What does_ voice, and a good sense of timing. an announcer do?.. She speaks,very clearly (she won Announcing jObs fall into five am award in the si),(th grade for categories, They are: saying "Peter Piper-picked a peck of-pickled peppers" 20 times witIr * Broadcast 'Journalist out making aAstake) and has a A broadcast-journalist delivj fine sense of grammar.IShe also ers.the news over.the tele- keeps tip' with current events, visiOn or- radio. He/she may enjoys her dram,W music classes, alSO:research-andswrite news and participates in-after-school stories, go out on assign--____ activities. 7 ments,_and-Superitise filming. 19,

Announcer. The time---the disc.jockey An announcer introduces spends on the air is onlya ,guests on television shows. part of his/her wo4ing day. Some announcers, Uke Ed After eaeh'show, the"deejay" McMahon on the "Tonight completes a program leg which. Show" actuallyappear on 'ists records and eommercialS the shoWg.. In other cases, played, during theprogram. The- the announcer is hedrd,but :programmingjor the'next- day, not-seen.by the, audience. must alSo.be planned andpre-: People who host localtalk pared. ,. shows can alse be called In general, announcers, announcers and broadcasters are active in communityand- S ecialized Television public affairs. Many are:involved in certain communityevents which happen before'or after theirusual Working_heursj_ksportscaster, porters are broadcast Jour- for instance, might be malists who deal with'one invited to- present-awards at a- local football spedifid subject area, such banquet. A broadcast journalist as consumer affairs or with.whom we spoke:played wpather. in a They also research charity softball game against and write news,stories the aa firdfighters of a nearby well as appear on the air. suburban community ar a non7payingpart of Sports Announcer the job. A sports announcer.i 1-lowDo Announcers Pre-ate specialized reporter who . For Thei

deaCribes the action ofa . .sporting eventon television or yadio -(sometimes galled jf. Kristin decides thatshe a sportscatter) would liketo pursue'a careeras, ahroadcaatjournalist, where Disc-Jockey should she begin? 'Whatsort of A disc jockey introduces prepaTation does she need? recorded music on the radio He/she 'also pres,antsnews When television'stationshire apd comMercialS and often' breadcast.journalists,-.the-appli- comments on matters of in- cant's prior e*perienceis the mist terest:to the audience. Disc .importantjob qualification.:Edu- jockeys Often work withouta, -dational_background is important, script, "ad-libbing"-muchof hut secondary. If two applicants-. --theiricOmmdntary. A disc had. very'Similar _experience,edu- jockey at-a_small station cat4onal background would bea might operate the.control major factor in .hiring. board, sell broadcast time With no. expptience, whatshould. . to adveytisers, and also KriStindo? .First'of all,"her high wrlte and-edit commercials school schedule,should emphasize and news. -(In larger sta- English, publicSpdaking,:dramaticS, tions, these responsibili- and. foreign-.-languages(broadcast ties are shared bya staff. journalists 'have to.accurately

2 4 sonali- Characteristics

academic backgrounds, In addition toabroad range of have certainpersonality broadcast journalists-should characteristitssuch as:

- In the positivesense.of the -Aggressiveness want-and not word. 'Youmust goafter what you Go out and-' retreat at the sign Ofobstacles. wait.for, the fihd news storiesyourself; don't --news to come toyou. Caring -- You mustSin-c-erely-care=about whatyou and reporting dre doing. If you are researching - deplorable conditions in astate hospital, on the in- really careabout presentingfthis you should only formation to the public. An off-hand'"it's work in,broad- a job" attitudesimply, will not casting- Fairness, in the wayyou-present.the final If You arereporting ore-that state product. probably.to sympa- hospital andyourlinstinct is , be,sure,:to thize-uith thepatients, you must issue:_', Perhaps consider the othersidesof the administration-triedio improve- the hospital conditions but.metwith aserious_hudget-cut.and uncooperative staff,meMbers. Thisl'inforMatiorf, must also bepresented to thepublic.-_ Curiosity-- The desireto "bewhereit's,at" ,Broadcasters- mportant.to peoplein.broadcasting. generally have asincerecuriosity,abocit-thatAady who won thepie-eating,contesterigaiier, , Aaron:feittwhen,he-,,brOke3Babe, _ cares abouthow,Hank questions Ruth's record. Broadcasters usually-isk for which constah Self-Confidence --NewscaSters,are with people while-thonsands:' meeting and-dealing listening. ''Annoui-' 7 of viewersire,watchingland be-sure of themselvesandYaftin,need cers have to self-confidence tb the qUick witwhich steMs from saY1when:the be able tothink of something to does. Soietimes script runs outbefore the time off because of- an announcerhas to cut.a person selfl,confidence. time limitations,which also takes pronounce hundreds of foreign are,three classes of Federal licen- names).- Her sports and artistic' Ses: the first is the most .ceM-. hobbies are also good experience. plete and complex, and the third It might help Kristin tolein the is the simplest.- r,Foran aspiring debating-team and the SChoolnews- dics jockey who does pot:Want paper; many professional broad- ta- become overly involved with_engin-- cast journalists began their-ca- eering' and. mechanical technique, reers by writing for their high the third class would school-newspapers. be.prefer- able. EightY percent of all-oper- -;-;- After graduating from high atop have only the%third ClaSs . school,:=Kristin-could: 1) attend,- lcense _-_- - _- a vocatianal scheol which offers-_ A second class license is-better a program in broadcasting, .2) at- for'someone who is goingto hald_a ten&a-tollege which. offers:a technical job. _The first'clasS majer in-broadcasting, or 3)-take license is required for the pergon -a varied program ifirthe7humanities-. who maintains,and xepairs',broad- ata liberal arts-college. ,If tasting equipment. It..s ,also KriStin has anyidesire te wark-for required_ for "combO" oPraters

a major-network, collegP:is prob- . anneunCers at-Smallstations who ably-het -best-choice-, lArithouta are bdth disc jockeys and tech- ,college -degree, it would be dif- nicians. fieditfor-herstocompete-with . the thousandS-of appliCantswho It is pessitle to study forthe . , are college graduates., third class licenseindependently by reading Federal CommunicationS

Even if Kristin's-educational _. CoMmission pamphlets.Ilmn the . background is ideal-for-broadca4f applicant,mUst take-a written jOurnalism, she still'needs test some at an.FCC field office..-4Alf he/she . practical experience.' She Will _passes the written exam,.notifica-.. h4eto start at the.bottom: tion comes within a few weeksand vShelby, a broadcast journalist. - , license is issued. It iS, how- _ata Major ty station in Boston, ever, more diffitUlt le;prepare started a.S:a "gopherq fora sta- for a first Or secondclass 1Y- tion in Seattle. (Ailgopher is cenSe. Attendante at atvocational- the person-,whal-has t? "go for" school ca'college which offersthe toffee, "go far" stamps, etc.) proper course of.study is necessary-- --She ran errands,.emptiedwaste- Even small stations willrarely_ -basketsdid whatevier She 'Could-.- consider_hiring a beginner who-hasu as long as she coup be in the ne;14,cenSe and thereforecannot setting,:Of,a-television station. de anrtechnical work-at thesta- -'Shelby'S.advice tOtudents in tion. In.addition to thp license; search of employment was'to.Get any experience a beginner might your foot in theidoor.. Take the have-in writing;sales, first job available.." or news Eventually . gathering would also be an asset a student might' as Shelby did, in job hunting, sinceannouncers- _work his/her w4. uP to.,becoming frequently take on many of these a- broadcast-joirnalist. responsibilities too. A radio broi,dcaster mustbe 'Auditioning is also part of tensed to operate-turntable the- typical hiringprocess forany and control dqUipment. :There- announcing job.-elle national Unions

membership to In. New York, LosAngeles, and Chicago, Guild is requiredof all announcers the Screen Actors' to the who appear ontelevision'. Disc jpckeysbelong of Television andRadio Artists.; American Federation turntAbles belong those who operatethe controla and Broadcasting .Engineers to the.NationalAssociation of and Technicians.

pr pub- give an manager, sales-executive, -networks-will not even These advances until' he/ licitydirecter. -applicant an audition 'would giVe Kristin moremeney,and sheis a collegegraduate and has enjoyment, chal- of suCcessful different,kinds of had seVerai'years lenge, andresponsibility announcing experience. An audi-' If Kristin What Advice Would-A agrueling.experience. sional BroadcasterGive in a radio sta- Profe were to audition Students.? tioni she probablywouldbe asked sight, to: 1) read a passage on You, feW minutes. op a: It'SnOte gl-aMorbusjob. -2) ad-lib for,a -may,thinicabout how:wonderful -specific. subject,3) read a diffi- it would,beto-have your hair cult.piece whichcoulOnclude beautiful new koreign done, and :to wear Some hard-to-pronounce outfits every night asyou giVe namesi and 4)read'aoomMercial Well, don't If sheperforms the 6,:00 newscast. or news,bulletin. count onAti _better than hercompetitiers do, she'could be -hired.for a low-level -Those are.thewords of a Boston -announcing job, andcould even- all newscaster, Eighty percent of tUally work .her wayUp. work orr announcers inthis country- find a. regular _More im-' , If Kristin cannot radio,, not television, she time is job at a.':tvor,radie station, portantly, announcers' They are Might_consider temporaryannoun7 generally _inflexible.- requirecitolvork in thetudio A oing'assignMents. An-aspiring of.time each week announcer might,alsohire,a broad certain amount ,scheduled :basis. cast agent,--register ,on a regularly journalist who re- entageney, and-Makesure.hiS/her The broadcast name-is on thebooks of local .sta-- ceives a call to goout en an tv de- middle of the tionS. andin.the.radio,and assignmentin the partmentsjpadvertisingagencies. night must doit: bard to get, , " Announcing jobs 'are and other students be aggressive. What Kristin and a beginner must aspiring-to careersin broadtasting injObhunting. must realizeiS that most .of an ..AfterlDedoming.an experienced, adhouncer!s.job-is what Shelby hard, crummy top-quality-broadcastjournalist,- calls "just plain, Kristin might'bepromoted to news work."

2 7 23

Ethical _-nflict

Shelby faces ceTtain ethical-conflict's in*Iher job. Those considering broadcast jOurnalismas a career might consider the following potential situations=

IIsiilg_llreLl_Z.n_!!Eignment you do not want to do -- A broadcast journalist -at an important station might be asked.'to interview the family of an accident victim. The journalist might feel that the family's grief should be private and suchan interview is not news, but Sensationalism. :,But it is his/her job to do this interview.. Bein given a "boring" assign!ht.-- A broadcast journalist may_beaSked,t0.piece together-sPeeches .Made by the president'of a nearby state university at several past commencements.- The speecheS may be, boring and tho:task of. reworking .them todicus,-but he/she would still have to do it as part of the job.- Being an entertainer instead of a ournalist -- Many professionalsin this field,dislike the trend in joutnalisM of "entertaining" rather thanreport-, ing. They ,feel that they should be journalists' first, and:entertainers second. A good broadcast journalist should be more, concerned with important issues than amusing stories ,Important,news is rarely entertaining, and it must be reported to -the Publit in a serious fashion.

Shelby said: specific areas.rather than in general broadcasting. .0n the 'Some days I hate my a-ssidnments, local level, there is greater but I do it betause it is my job. There are lots of pres- ,emphasis on-news, with more and sures and deadlines to meet. longernews programs appearing II a piece of writing is due on the air. :two.hours from now and it is The announcing field is highly not done on time,it does mot competitive and jobs are increas-

go-on the air. That's it. I ingly Aifficult to ,seeure. More

am lucky because I work better women are being hired than in under pressure. the past for news announcing and special programs, but opportuni- -Outlook ties for feMale disc jockeys re-, --- 7- 'Main limited., The number of new The world of broadcas-ting is con- . ______tv'and radio stations in the U.S. .,stantly_changing.'There is a is limited by .law thus announ- trendtoward specializing in cing is not a "gro th" field.

2 8 DIRECTORS

produeed for the first time. A Would I like to be in charge of creating:the whole prO- director might request-certain' duction? changes Which may ditplease the designers. A diplomatic_ agreement No single person is the "most . should be reached, but in most important" in any television pro- .cases the director hasthe last gram, movie, or.play. A produc- word,concerning what is best for tion is the combination of many the produttion. talents. One perten, however, does have primary responsibility For.example:i for the success.of the production During the production tf Moliere,s --, the director. This person The Miser by a profestional' com- bringt.the play or screenplay to pany working at a university life on the:stage or screen. campus, there wasa conflictbe. tween the director-and the' cos- What Does A Director 00. tume people. -An actor playing the-JustiCe of the Peace worked As an actor your4responsibility out a ."bit" in which he wore a is clearly defined -- you are beadtiful purple robe backwards. responsible for yourself. A -The director wanted hiM to-keep director-worries over,sets,, his robe backwards throughout costUmes, and being a the play., The director felt "psychologist.to the actors. that the robe added'to theComedy.._ :,The costume' John, a director'of plays On- of the actor's role'. be7 the West coast, explainedwhat people did:not like.the idea that,wearing:, a directordoes-L-'"everything." cause they thought The director it usually theonly the Justice's robe backwards. . person in the productionwho has would ruin its "aesthetic.beauty." contact with.every otherindivid- The director poiitely.*(plained show, ual involved in the play OT, -that'this was.not a fashion He/shemorks'with.the producer but a play. He then:requested 'to makemajordecitions,about' that .the- train-on the robe be' :the prodUction, and with the a t shortened-so that the actor The director (films) and designert would,not trip on stage. ,(theater),, He/she will check costiMm_peOp_le_refused. the# designs to make:sure-that director,said "I would -like they art practical and cempatible that robe alteredby- tonight's -With ti* director's oWn concept rehearsal.so that the actor can, 'of4hel:froduction, and that all safely'wear it -- backwardsl" the lights, costumes-, and sets -and then he-stormed out. worktogether to present,a uni- The coStume-people still did fied,aPpearance. On a film set not Shorten the-train, instead," the director works withthe they put a fastenerto the"back"- writert to make sure that their: (actually the frontof the cos-, ideas can be carried Pout prac- ;tune so that the trairrwouldbe tically; the director of a play :raised a. little and the- actor would work-with the playwright_ could Walk safely.'Even though it were a new play being . -75

the resolution was somewhat.of What Skills or Talents a.compromise, the director Does A Director Need? "got his way." In a play and to a lesser extent Much of a dir ctor's job involves ih movieS, the director is respon- understanding the needs and problems of the actors in the Cast. sible for Casting: Apr choosing actors. and-understudies. A pro- A director should, then.,,have the ducer, however, may Assert Serie same talents and skills'as an' . influence as to finaircasting actor.. (See'the section on actors decisions,- The film-director has ai the-beginning of-thischapter.) the additional responsibilities Adirector cannot successfully help, of investigating and-approving actors in their 'craft unless he/she- any distant locations which will has mastered that craft and can' be used, and.working With:the 'communicate knowledge clearly ,and special effeets and.. sound effects express thoughts with inspiration people. and excitement; -A director mustbe coMpletely A director must:have an excellent imagination''in Order to:elaborate

comfortable Witlithe script of . the play or movie. He/she should on the script,. Cccasionally, di- ,be able 'to answer any.questions rectors .will add-piecesof music, the actors might have about theit dance, or other activities in- roles. The director must read the. order to clarify the production script several times-before meet- °I-A° make:it more interesting to ing-With.theactors, and must make the audience'. A.,director'must also many notes. concerning,blocking be imaginative in suggesting Move- ments and expressicins for the ac- (where,the-actors Move on stage),. tin's to use in.their roles. motivations,(why-the charaoters do what they do) and: any=addition-' -Clearly, a director Must have a al characteristics the actors talent for working well with other should express.. people; :The director has a=set goal in mind for the production Finally, the director creates the atmosphere'in which the actors and must secure the_cooperation Will work, establishing the tone and talentsof other people to of rehearsals. If the director realize that goal. Directors-may is stern and demanding, the actors have to argue with people, but are:less likely-to joke and laugh they Must be diplomatic about it. .during rehearsals. If the tone -Battles with the 'crew should occur is permissive and,casual, the 'only., as One'directoraaid,. "if actors are more likely to try everYone can kiss and make up different experimental approaches afterwards." to their characters. The:direCtor is also responsible -for.keeping peace between the- tem= peramental actors and-the.eiacting backstage or camera people.' Direc- tors need to be.good organilers- and often, good psychologists. They must understand people. A directer of a teenage theater groupwas working on a scene in a bigmusical. 'The Scene required the -leading-male and female actors tokiSs.'The director started the scene several timeswithout success. The boy simply would not kiss thegirl.

The director told the.stage managerto call a lunch , break. As the cast was leaving, thedirector approached the male lead and tried to find outwhy hewas havin$ so much trouble with the scene. The boy explained that 'the).eading lady's boyfriend was inthe wings watching the rehearsal and giving him"dirty looks." The director zssured the actor thatthe boyfriend under- stood the scene was part of theplay.'After lunch, =the director cleared thetheater of everyone but the° boy and girl in the love scene.:Me three-worked alone and achieved the feelingthe diTector wanted, including the kiss. When .the rest of the castwaS brought_back on stage, the young actor wasable to do the scene with confidence.

A director.needs to be highly What Back round dedicatedand must not count-on Should a. Director Hav -earning a secbre income..- The , Ddrecting can also be compared to' pathwny to becoming.a director is.every bit as inSecure and lone acting in terms of the background be ly-as the road one takes tobecome- and experiences,which might Participation in llieJlirector who went . beneficial. an actor. and tc(New.Yorkwhen in ftis earlY 20's school plays, drama classes, his experi- attending a college with a theater to "maka,7it" described W ence as a."lonelylife" because department are all.helpful. he did not know anybody andmade liberal arts background will help understand more about yery fewfriends atthe.beginning. =a director theater and life. 'A highschool The aspiring'directorhas.tomake sacrifices, such as student who is interested indirect- many personal acting as -time spent With family, orworking -ing should do as much 'at other:jobs not necessarily*in possible, and see-as many plays and movies as possible. . the"theater/media field. . 27

Man'y diretors feel that.an, example, learned her Craft by teach- aspiring director must attend a ing and directing plays in churches university. jn college a direct- in her town. She also directed

ing student has the opportunity, . plays for local clubs and taught

without fear of failure,' tp take , drama to children in her own home. the time to develop his or.her .Eventually she went to New York to craft:and to find out- if direct- -trythe professional theater. -ing is .really the desired'career. -Growing discouraged by the lack-of job opportunities, she went back Another point was expressed by .Bob, a Successful director and .to the Midwest where she now di- rects community theater groups for administrator. He disagrees with a small salary. the ,notion'that.6ollege is the' appropriatebackground ler an -All-young directers,-regardiess aspiring:director.: Bob did go of their.educationi start at-the

to_college and upon.graduation , bottom. 'Prior.to becoming direc- taught history at the high school' tors, people have heId'many dif- level.- While-he was'a.teacher, ferent jobs including working as:

he joined,a community theater , stage managers, actors, dancers, group. Eventually he-opened his- prop handlers, stagehands, camera own.community theater and left operators, writers, assistant 'teaChing; later he did Some act7- directors, film editors, rug,haul-

ing fcir movies.andjworked as a ; ers, scenery painters, insurance casting direEtor-fpr several filmS salespeople, employment counselors. While all of these jobs.are good Bob feels.that a director must experience for a'director, back- ioarn to-Cope.with failure, and stage work is particularly bene- Lnat.young'Teople should go out, ficial, for a good director-should and expose.themstIves to all as- know the workings of all the tech- pects of theater. HT feels that nical departments involved in a experimentation, coupled with show. the_best_wayfor-a-, 'director to learn,- "It 'is impor- How Directors Find Jobs? tant tp go,out and do.Universi- ties Makeyou four.years late," -There is,no sure method for secur- .is his opinion._ He feels the ing a directingljobi but it:might best experience.is to "build your be wise to direct ,as ,many amateur- owncompany," as he did. , plays as Onel3ossibly-can, andthen HoWeVeri.the best criteria for pester every producer in every securing a 'directing job is ex-. nearby community to be hired', The- perience,' -Because experience in more directing experience listed the.professional theater is_,dif- on a resume, the more attractive fictilt to acquire, a:willing,and theTybung director looks to a pro- talented student willfind'oppot- ucer. Professibnals'advise young', tunities for acting and- directing directors.to work-even without easier to obtain at a College salary,,if necessary', just-to get theater, SOMTe-xperience,. -H'Experience and self-confidence Broadway theater and moVie/tele- -can also be gained in an amateur Vis011 directing isoften limited theater. One director, for toolder, eXPerienced people. A student could not go to a movie The director is the last "doer" , studio, take a job as a, messenger, or"performer" discussed in this andexpect to become a director 'chapter. Although-this'person is overnight, ,As one_director said, -not actually on stage or before "That would take about 30 years," the camerasi-the-director shares .In terms of film-directing, educa- many traits and background require- tional films and commercials_offer ments with the- ether professionals the best opportunities. Community in'this chapter. theater groups offer job possibili- ties to directors, and people who ,-teach_theater and film courses in schools have directing opportuni ties.'

Injdashrrigton, ,D.0 'the Arena Stage :prodktJon of :The pybbuk Was vIdeataped for.- he-Pub,lic BroadcasJ7ing 3. CAREERS

DO I LIKE TO.WRITE? WOULD I LIKE TO WRITE,FOR. THEATER-, FILM, OR TELEVISION?

If you answered "yes'' toboth PLAYWRIGHTS questions, then continueto answer the- following questions: .Karen is'a,high school.junior who thoroughly-enjoys-writEj: She Do I like to write -at my_own- writes short stories for'the pace without-outside presL school's literary, magazine:and sures? -satirical dialdgues for the school Possible job: newspaper.'Karen's favorite course isrcreative writing. She loves the Playwright heursshe spends by herself writing.

Is playwrighting a possible career , Can I-write quickly and under i for her? pressure? Would I like to work on a Movie-or television Perhaps. But Karen will need set? -great self-discipline to be a playwright.- A famous Writer once said: Possible.johs are: The hardest part about writing, Screenplay or Scriptw lter is getting your 'rear end on the Continuity_Writer seat.. Writers love to be in- Scenario Edrtor. terrupted so that they_mon't Gag Writer have to work, Title Writer Reader ,Even thougivthere mak be no spe- Script Clerk 'cific-deadlines; itJs important Script Assistant_ for.the playwright-tocontinue. writing all,thetime. much tOo 'easy to sneak off to ;De beach,

, knowing that no.boss will be angry because the employee did not show lup for work today- Many play wrights force themselves to stick 30 A

te a nine to five working sched- the_ability to translate observa- 'ule, so that they have to write, tions into exciting andinteresting every day.. -As'one playwright exchanges between characters. Writ- described, ing drama is %Inch different from writing a'charatter sketch or -The total self-discipline short story, because it requires a. needed to write is a kind of special sense of form and organi- insanity or madness.. zation. Scattered ideds and ob- But it is the only way a play- servations -- no matter how crea- wright can accomplish any work. tive and incisive-- cannot 'stand by themselves if an andience is to A-good playwright also draws- appreciate theM. If Katen,for heavily from,observations of, instance, overhears an argument at human nature. Successful play-' her neighbor's house,-she should- wrights havealways,based their- be able to capture the feeling of characterS on real people they :that argument in. a,dialogue.. haVe known or observed at some 'she is unable to do thiS, she-is time in'their lives% and are in lacking 6ne Of.the 'essential lal-1 'conStant search,of actual dia- ents of playwrights: Jogue to jotrdowh in a/notebook forJuture oSe: -If Karen carried When a play iS being produced, a nbtebeok'with her for one dp, the playwright usually attends ,as an experiment and,listened to rehearsals. 'This-brings up another people all day long, she would, important characteristic of a play-

have more to write than she would . -wright: rflexibilitY.:After a ever imagine. For-instance: ) written and into prodUc- a conversation between her parents tion, the playwright should never at the breakfast table, 2) a fight .censider it ,:"untouchable." -Many between her brothers aS they get creative people come to work t6.-. ready for school,3) a rundown on gether on, d play;.the plaY itself the latest. "romantic" adventures is the eXpression of all these of:her tWol)est girlfriends as tf one person-in this they talk oh the bus to school, "machine" iS changed.(if one actor 4) an exchange of toMplaints is replaced by another, if a new _about jobconditions between two costume'designer comes,ift,etc.), cafeteria workers at lunch timei, the whole production is' changed= 5T:an angry/teacher's leCture to Therefore, everybody'S comments a disrupt-Die student, and6) gos- and feelings about the script are' sip between two people atthe important-. A playwrightmust. re, grocery -store, etc., etC.,,etc! main open to suggestions' and be A, playwright would tell Karen to willing to take script -changes capture these exchanges On paper- when the'director feels that a anclt6 use them when-she writes: ..: -change would help. Carrying a hoteboak-and recording' overheard Conversations is part, Of a playwright's work. Another skill needed is the- ability te organize obserVationS: 'This requires what plaiwrights "good sense of drama", -- Playwrights have to listen. Listen to actors, directors. If everyone's telling you something, try something else. Rework. If you're rigid, forget it. You don't always get George C. Scott to -play the lead, so you'll often have to compromise on the effect of a certain character. -A Playwright

What Preparation or Back round Jiow_Do Playwhts Do Playwrights Gene_i_1411t_Hair? Make a.1.1

, Karenreads and attends plays-as In an ideal world, playwrights frequently as possible. She is could spend all of their time ob- familiar with the Sense of form serving and writing. In the-real in :writing drama. In addition world, playwrights have,to earn a to her experience writing in living. For many, that means tak- class and_as_a hobby,,is.she now ing jobs which are totally unre- teady to become-a, playwright? lated to their writing. Exampaes Probably not. Most playwrights of jobs-which some current play- ftel that having a university de- wrights hold are; advertising gree is helpful for an aspiring copywriter, hotel and travel mana- playwright. College offers a ger, clown, writer and advisor to structured'environment in which political candidate, aniMal train- a yoUng playwright_can.find ex- er for theater ahd tv commercials. _ rerienced guiddace. Several uni- However, even a part-time waitress- versities offer playwrighting- ing job_at a local restaurant coul& students the,opportunity to see be useful background for a play- their own work produced in campus wright. It might at some point theaters._ Production is.often 'provide observations And experi- the_best Way to examine the ences with peopre-which,could be strengths and weaknesses of a the source of a pI.ay. play, and of a playwright's talent. How Does a Playwright Get a "Job"? Joseph,-a,playwright whose plays have been'produced off-Broadway,' Obviously'in order for Karen to says that he sharpaned All of his support herself as a playwright, writing skills atthe drama-school she must write plays which will be of a major university.-..It was at. produced. The process of having school where he realized ,thw& he her first play produced couldtake was better than'his competition, many years. Even some of themost and that,playwriting, was a de- famous playwrights did not become sirable Career choice for him;- professionals right out of college. 32

lUences

eph talked abou to playwriting:.

My parentsI nfluenced me in a way that made me not want to go into the-theater. I came from a family in which every member was involved in the

theater in some fashion. I fought joining that life-style for a while.

The theater never awed me.. I used to walk down- stairs from my bedroom and there would besbmeone like Jackie Gleason sitting in the living roojn

talking to my parents. I was always surrounded by 'Show busi ness. great I have always had, 'much.to my chagrin, a deal of encouragement from people inthe theater. If.it weren't for them Ild'be a happy, stable-bo

high school -- I had no I was a'football player in

thedter activities. I wanted to be a novelist.

Therefore, a definite interest in theaterwhile you are in high schoo/ is not partic rly necessary if you want td become aplaywrigh An interest in writing is important, however.

Tennessee.Williams and Harold were of-tremendous value toJoseph Pinter were both actors first. in his career as a playwright. Arthur Miller was a scriptwriter . Social "contacts"fcan be impor- for radio. William Inge was a tant to. a playwright's career. drama and music critic as Well Many playwrights have honestly said: as a teacher. that "wbo you know" does matter in Playwrights axe often subsi- the theater. A playwright.would: dized by grants to write., When have-to continue-to go to partiesi- 'Joseph was a young man, the New. conferences,-and theatrical events, York Council,of the-Arts awarded sc that producers and:directors, him a grant Which paid him to ob- would get to know and like.him/her serve professional shows in re- personallynnd- professionally. -A hearsal and performance. Joseph New York playWright says described himself as "ayoung. -- If you're anti7social-, producers playwright'who hung around." He won't touch your wcirk. met many people and had theitalu- able experience of watching pro- He went on to talk about another characteristic of plaYwriting: fessionals. Observing profession-. -aL s at work and watchingthe me- "It's a team effort. If You-have- cianics of producing_a_new play -trouble with one guy on the team, 33

Becorain -A-Professional

Joseph e ained how he bec_6 a prOfessiOnal play w#ght:

There I S. no set -out Pi ne After you have writien a .playi f Ind an iqent. It often does not help very Muchi but if you get ! good agent interested in your .work,-'the Chances .are a little better that- _ your play WTI L_ be: produced r.andt.parn _some money. . . . _ In my. ,part I Cu I ar case, ope :event- led smoothly to another; 1- needed', Money and: began -to write for

,te) ev s i on 1 'wrote's p I ay hA =w0n a Pr ze -The reCOgnjtion from vii-nning .-.that prize, got.=one of .the finest schools In 'the .6-ountry- nterested in me.. went. to that' schooL and majored- in playwriting.' One,teacher in particular real ly helped me'to deVe lop, my craft- I. met =a,-;__)-ot-of other' .1.mpOrtant peop le, there- who_ reached. ,otheri peop le who_, cou 1 d he 1 p me .f i nd profess Iona 1 _emp 1 ciyment:_as a pi ay wright wben1 .graduated;..:There is no one )n, the theater you cannot reach through someone else-. :From Robert -Redford on, yoU can get -th'el r -tele- '- phone ,numbers.

I joined the New Dramatists Committee in. New 'Ydrk which kept me in 'contact .w.)th ,more peop le In the theater. The- theater n . New )1ork I s a smal) n- . _

grown .world. 1 met people whci were in important positions., and 1got into. ImpOrtant pos)tions .

the producer, will psp someone else." earns less than -10 percen He Karen must work cooperatively with supplements his indome by working Ihe -members of the production in ,the hotel business. for at least her first few jobs, Karen may write a,good,play which dr else she- will. establish.herself is:Produced. However,.if it closes -as "difficult" and will find it im- after one night,.sbe won't make ; possible to' find other playwriting much money because-the amount She - jobs paid depends on how often her

. plays are performed. Successful Do PlayWri h Make Much Money? plaxwrights can make.as much as -$2,000 per week4uTing the Tun pf JoSeph earned 100 .Not usually, -a show, but that is unusual. percent of his income from playwriting in the 190's but noW 34'

Karen would also make money if . you can start aSerting your- someone decided to turn her play' self as a professional play- into a movie -- provided she knew wright. Do it now. ,. how to negotiate a centract. She Know people who_know people woUld be wise to have a good law- The more people you know,.the yer do the negotiating fot her better it is for you. If they (particularly if she does not have are successful before you are,, an agent, who incidently would. ask-them how their sUccess take 10 percent of her salary). might help you_in-terms of Sometime.it takes a laWYer Ion- making connections, 4gbr to negotiate the.terms With , the producer than it'doeS the ''.. Connect with a theater. Plays playwright to:write the play; are written tol,e'playedand -: The playwright, of course, Makes unless you can.see your work no-money during these negotiatibns. performed you canbot succes-. fully evaluate yotr strengths Generally,_a young playwright -_and Weaknesses as-a playwright. makes little or no money.. That Places where you.Might see is why most ppywrights-need an- your %jerk-performed are uni-. other source-of income. Karen versity'theaterS,. specialized will either have te-inhr:Tif money drama schools, repertory com- .,, . or be prepared totake,a nen-the- panies, regional'theaters, and. -aterjob in order'to have some New York City, both on and off--. sort of income. , Broadway,

Advice from 'Playwr Be eareful of unrealistic ex:- rested Students -Pectations.- Coming out bf dfaMa school, elle playwright Several professional playwrights,, . hadolferS7for tWoiof his both male ant female,, advise stu- play:, one for Broadway and :dents like Karen who are interest- One. or-offBroadway. He was edjn rplaywriting to: excited and thought-that he -was the greatestyoung play- Write about wha t. is close to wright,in the world. Then,

. Don't Write a play which- you. nothing.happened. He was ter centers around a woman who riblY dtsappointed and showed leaves her beautiful family it_ Many people do botlike to live aS a mysticin the to work with-young playwrights imalayan Mountainsmnless be,cause of their $1-ftbtl-ity-to you actually observed or., accePt failure. Bbready to studed such .a woman. Write 'be diSappeinted -,. sometimes about people you'know, and rathet badly'-,And not to let feelings you havefexperienced. it 4set-you a much .Xhat you Spe pLenty of theater. Go cannot resumeyour work and :--to the theater as often as strive for.a'better-opportun,- you can. Become familiar ity:next time. --.- - with the Works of many play- 0Keep astandatdbf.profession- wrights. .alism; !hoW-Up,on time, dbOt Don't waste time. Don't wait' deal onlafriendship-basis,, foT that opportune moment when etc..- Your standards could a begin noW-inany involvement speak to the actors. For you might.have with high instance, if an actor decided school theater. that his character-shouid have

, a beard andwalk with a limp, ACcept that there will be, and the playwright felt that- ,people in the theater who these characteristics were 'are:only there,as a.hobby or because it is 'something totally inappropriate, in . terms of the'way she imagined,-- different to try out for, the character, she would dis-, a while,' They'will not be cuss her-objections privately as dediCated,as you(one playwright,Said that theater with-the director. He would then, if he so desired, tell hes-more creeps per'square, the actor to omit the new' foot,than any-other industry). characteristics. -:You have to put up:with phony people who'really don't Don't make rehearsals a social ..know what they are doing. gathering. The height of un- professionalism is-for a play- eLove ,the rehearsal-process; wright to bp having special learn to love actors. There ationships with members,of are-three steps in putting a. A playwright who play together: 1) the:play- -:silweral successful plays wright writes, 2) the direc- behind him said: tor blocks, works on rela- tionships,etc., and 3) the The idea that everyone in actors take=over_theplay. theater is promiscuous is Most playwrights feel that nonsense. in these days, the third SteP is the most -the morality in.the theater .A.exciting time. One play- is of d different nature. wright expressed-herself ac- Women are liberated. 'Don't cordingly: put your daughter:on the stage'is a fallacy. If you do7-i't like the rehearsal process, you should Be prepared to be an agent's

not be a playwright. I see tool. In the negotiating

a dress rehearsal, then 1 phase, artists (directers and leave. Eugene O'Neill never playwrights; playwrights and watched a play of his own actois; etc.) nelier relate

wilh-an_ audience._ I 'prefer to one another. The agents rehearal-time to perfor- andthe lawyers-do all-the m6pce fime. business. Sometimes it is As a,playwright,k never try. difficult to work while you-, are being bargained for and to direct. Once a show is , traded. in rehearsal, a good play-

wright never communicates . Realize that.crities_ are an- ---diTectly with the actors. other controlling agent in The professional chain,of the .theater -- =once. again;-' communication demands that .not the ''bItiSts. A play- a playwright discuSs-aray wright could writ.p an excel- problems or suggestiCns. lent,play,-directed by a the director, who then will creative genius; and acted by

4 0 one of the-finest,casts ever-. wright. Al.o; if she did not live- assembled. The play.could in New YorkCity.shemight consider close two-aights alter.it moving the Although there is.- opens. Why? -An important ..an-increas-in ;regional-theaters, critic in New York givei :the NeW 9rk rmains the focus of

PlaY A bad review,Critics , theater. -havesthe-power to make or destroy a show. (In this Finally, Jif Karen were-to breaden sense,-repertory theater her scepe ad consider writingfor where critics have little movies and. elevision, her chances power is-an ideal situation. would' be be ter. Much of,the work a Accept the fact that the- forivriters although,it is not theater is a weird business! always "irt StjC,tt is-in film and t revision= Fine plays are pro- What-is the Outlook duced On,terevision and;shewn.only or Playwrights? once to a',huge:audienpe. May PlayWrights-f-derilaff, although- A current statistic released.by th,e), might-prefer,writing for live a famous-AMerican play-publisher, theater',- teleVision offers them a. -statesthat 99 percent of the chance to bring drama to more pe6- aspiring playwrights in the-Uni- ple. Writingfor television and

ted States would, like to have a , movies changes the titleof the play produced on DrogdWay; less career-to "scriptwriter" or "screen --than one percent-actually do-see playHwriter," but .as the next see-

their'plays-produced there. . tion/disci,oses, there-are-similar- itieS- in the work -- as well as *Aren would-have to think about/ important differences. this statisti.0 before she;decided to become a-professional play-

-r, !SCRIPTWRITERS.

Danny is a high school seniot who Observation skills, If Danny i wants to-write fot television o: wanted to be a' scriptwriter,--he motion pictures. He has A good .would'have to be.very-observant imagination and-a knack Eor know- of people around-him. He would

, ing-what particular audiences will probablY keep a journal of dia-. like. .For instance:he wrote the logues overheard between people. scripts for a Student Councji.pre---.. Good research skills.- Script- sentation given for junior high writers often do a lot of "dig- .school students and,theit.parents ging!' for information they might to introduce'them-te-the high need in.their scripts. school--Hi. included all the im- - portant factual-information as KnoWledge of film production. ,-well.as several jokes and funny Danny-should know about film Stories which thoroughly amused directing and editing.. Most.suc- everyone...He alSo wrote-and:de- cessful scriptwritersare famil- livered an elabbrate presentation iar with- the whole process-of at the annual awards dInnei of filming since they are-aware of the local 4-H Club.- He wrote the limitationSand'advanatages his script well,enoukh. to make of ihe.medium. (See the fitst all the parents feel proud, and part of "Playwrights" foi Other to make..his friends laugh. It , talepts'Scriptwritets might need.) takes a special skill to please two kinds of audiences with the 1,11-1!_t Do scrimdriters Do? same 'speech. There are mafiy different types' of Insight into what appeals to_ film and television scripts ,Danny, audiences and knowing how-to might write. -make.the material appealing.to many people are'important talents Drama Of a scriptwriter. Other talents needed are: Dramatic scripts, both serioUs and Self-discipline. As a.strip --comic, are the ones Danny is accus- writer, Danny would have io tomed to seeing every day. For fbrce himselfto write in a any weekly comedy or drama on-tele- 'brief amount of'time. Often vision fpm-"Happy Days" ,to "Medi7'. seriptwriters atp given dead- cal.Center," a new ScriPt must be lindS in which they must Create-- written every week. Every, movie' :a story, scene; or dialogue which plays at-the downtown.cinema overnight. alse fits in!thisltategory. The'ability to wOrk Under_ The 'scripts for these movies and _ -Intense 'poitSt-ure. For example, tv.programs are called screenplays. the writers for a variety-, As a-screenplay writer, Danny' comedy show must comp up with might write a script:based on a- new skits.and.jokes every week book, a play, or-some material that without falling behind schedule. has never been. published. "The Gbdfather" was based on-a neVel. "The Sound of Music"was based on

4 2 38.,

the BroadWay musi.Oal. The movie, .SupreMe Court,-he would find it '"ChinatOwn" is an,example,of an -useful,to see the Supreme Court .atiginal script for a -movie. in action in Washington. Danny might.collaborate with a: film-, Sometimes a_screenwriter will -'maker or photographer when he tewrite,someone else's screenplay writes his script. the request of the Studio. E_I'example, Robert Towne,-who wan-an'ACademy Award for his BttsineSs-Films original:screenplay Of "China- Industries often need films to town," also Wtote the.screenplay promote products or- to instruct for "Bonnie and Clyde.:' The'. employees in,various tasks.- original screenplay for "Bonnie Usti- and Clyde" was wr#ten by two ally these films are made by independent fiim companies. other Writers, but it was Towne's Danny version which was filmed. would be hired by a film company rather than an...industry to write Scriptwriters-for television scripts for such films'. usually come up with their own ideas 'after the original cast'of NeWs/News Reports- characters has been-selected.- Often the sdreenwriter (or script- .!Pften.broadcast journalists do writer) will also "create" the their own writing. But Other original characters, writers, who do not appear on'the air, are needed to write' some of _ EIocumentaries and pcial =the-daily_news-and-speoial-news attires' -reports.

Documentary scripts are as dif- Variety Programs ferent from_drama scripts as non-fictipn books are from fic- Vatiety.shows such as the "Carol tion.,-Danny might writp a script Burnett. Shdw" haVe a-large staff for:a'short film deScribing,some of.writers w'ho muSt come up2with of the eVents of-the ViefitaM War.. different ski s-and jokes each The script would indicate which -week. photographs or_famous film footage to include. Another example Childten's P-ogram of a documentary-is:a script for a nature film about the ecological---Danny=Might consider writing systems_ofFlorida's'Evetglades,_ = scripts fot- a show like "Sesame (Such scripts might be written Street" or some other film er-show_ for television or moVie produc- which is designed to teach and/or- tion.) entertain children. Often a documen ary writer :Commercials must research-the subject of the script.' This means taIkingwith Sometimes the centinuity writet, people, going:to libraries and (see below) writes.commerCials, museums, and visiting certain but more frequently advertising= places --qiistorical or otherwise firm staff:writerS prepare scripts- If Danny is writing a script for ceMmercialg. .Ptec-lancd,cOm about the workings of the U.S. mercial-sctiptwriting is.possible. '39

Talk Programs continuity writer.might simplify It on the shooting script'by Writers for shows'like the "Mike saying "Fainy day."). Douglas Show" do not actually - script everything that will be ag Writer 7.- A gag .writer can be said on the air. .Rather, they anyone.who writes humcirous dia-, write outlines about topics the iogue or jokes. Johnny Carsen's host might cover with each guest., monologues-for the "Tonight Show!li To do that, talk. show writers do are written by gag writers. extensive researCh on the.lives Title Writer H' The title writer of-the famous people who,appear is responsible'for any captions, on,these shows. tities,.or narrative added-on to a film afteritompletiod.'All the Radio Music ProaKairl printed-words on the movie or, - television screen are usually: Disc jockeys often do their own written by -die title writer. writing and "ad-libbing" (see '-Some-title writers translate "Announcers" in Chapter Two),- foreikn films.into English, or. but.awriter may-fie needed to the other_ way around, and decide add continuity-- the-transitions where the translated captions used by the person on the air be- -will appear on-the film. tween records: For-example, with the, current trend_toward themati"c The Scenario Writer for-a motioTb or "Oldie" radio programs, writers picture supervises and Coor- are needed to research and-Write dinates all the writers-.on the set. _ interesting pieces of jnfprmation .aboUt,various.scings and records. The.Reader reviews various .streen- \plays and_writes synopseS of Ahem for the produCer.-' A reader may also translate foreign lan , There are many other specialties guage material. .within the field 'of scriptwriting.- An aspiring writer should be aware\ qertEL_Afsistants and Stript ---:Clerks are important.helpers on= of such jobs as:- = a television'or movie set. The -.ContinuityMriter--- In many of script-assistant reads the _the situations mentioned above; ;scripts and prepares a list-ef a continuity writer is needed: \all the,props needed for the AS' a-continuity writer for a 4ow.- -Script_Clerks jot-down.. moviep.Danny would extract.an- the diFector's comments- regard- "'outline" froma screenplay. ing_scene.details. They Might -Danny`s outline would provide also write short articles de-' the director With a'logical scribing,the film or tv show for sequence of scenes to "shoot." publiCity purposes. Script_ Jri other words, Danny would clerks write.notes to the actors Organize the script and elimi- concerning entrances and exits' nate anything irrelevant to or costumes and hairstyles. the filming process. (For Finally, theY keep track of each ample, if-the screenplay scene that is shot, the number Ipriter wrote'several--paragraphs of times"each-scene is photo- describing:ihe weather, the graphed, and the-number of the scene that- the director finally.- Gag writers-and Variety show7skit selects for printing. writers ideally have some improvi- sational experience.. In other:- What Ba Tound Should words, it could help a young gag .1_Scria_writer Have? -writer to-take a drama class where -students have-to-invent clever- ideas on the spot.- Many script- guess I always thought I was

I writers also have been actors. going to be a writer. . wrote. mY first short story at age six. If Danny wanted to write'children's shows, some teaching back- The striptwriter who made that ground would be helpfUl. Experi- statement.is typical of most 'ence in 1461-king with children screenwriters; most writers begin__ creatively., such as in a children's writingat-an early age. . PerhaPs theater, is a 'useful background. --Danny was not writing best--sellers during-recess in_the Eirst grade, How Does a Screenwriter. but.his high school. writing is , ind a job? certainly a good.beginning. -A summer'job with a televisiun. sta- As in.the caSe with the' playwright, tion or a npwspaper would be a an aspiring screenwriter might use yery helpful background,particu- an,agent to find employment; how- larly if he were interested in ever, agents are'rarely eager to writing news br-neWs programs.. take on young scrcenwriteis who Aside from actual writing ex7 have not yet been published. Con- perience,'an important-qual- nections knowing people_in the ' ification for an aspiring script- business -- can ,be important for )4riter is a college degree. He/ a screenwriter. _One_screenplay she should find a college.which writer said: "I met everybody. offers.-gbod writing cOurses and through'one connection.' 'He .has.an.active'television and/or directly or directly arranged for radio station where-he,may do every writing assignment I had at, some writing. the beginning."Talent alone may not beenough to land anyone a . . A screenwriter, like a play- screenwriting job. wright, should become involved with people:in order to capture The other way Danny might help ,realistic dialogue. This'experi- himself to find a writing job in_ ence is'particularlyimportant films is by working in a setting' for,writers who specialize' in,- for Which he would ultimately like__ If he were interested drama scripts. , to write. in children's programming he might Writers of documentary films apply to the local educational and special television features television stationfor any avail- -often need some specialized acal able job. -If bp'is living in Los demic\background in addition to. AngOles or New York City he might writing. For example, a.Writer try the same approach at a motion should know something about, bet- picture ,or'television 'studio. In any in order to'write ascript places other than New YorkCitk or about the Everglades.. California, about the only settings . _ in-which he-Might find Some_ non- was born. He wanted to make a '.professional job are local tele- -stateMent 'about the:changeS -, visicin and-radio news, talk, and' which have occurred in the city educationaP shows. Of Course, ' over the 'years. His excellent 'there is one icatch to the approach screenplay 'reflected 'his en- iof :taking any available job----jtst thusiasm and interest in its to.wOrk in,the right setting: subject. Danny wciuld have to keep writing in his spare time.. No matter hoW Be yersed.in some field other than writing'. -There is a trend _ demanding his nonwriting job might be, he must not let his- today-toward specialization: writing skills-slip. writing exolusively about some special subject 'area,-suCh as- 4 economic news for a news show. . What Advice Do Scriptwriters Give Thus-ManY writing jobs require to Interested Students? a-specialized background in_a fieldtiler than writing. How- The best 'thing an aspiring Writer ever, thiSbackground.in-an-' otherfield canalsp prove val- can do,- of course, is write;Some professionals in the field do offer uable if you are unable to other.advice: find a writing job-. Learn to be a good researcher. Meet people and, getto know Forexample,---eventhghbu you -those who can help yo-u-to _ . find jobs_ .__--- are a whiz at. astronomy you probably cannot write an -edu= Be careful not to think that cational-.firm for high school _ you' will become-a famous .studenta.about Saturn's.rings writer" immediately. The without doing Some special- 'Writers''Ouild of America research about those celestial has oVer 3,000 members-and bodies. yery few of their names are You must:work,-well under pres- household words..It can take' .a long time simply to have sure. Writers are expected.to your work read.by a potential come up with scripts in yery, producer:let alone us.ed' little time. Be sure-that you can handle this kind of pres- Write from-your own experi- sure and that you won't become ,.11ces, about the-things which' too neryouS to ';,tórk. really excite you.That way,. your work will be more satis- Be knowledgeable aboUt the whole filming process-. Make fying and'your writing will . beAnhanced by yoUr interest -it your businesS.to, gain entry_ and knowledge. Robert Toyne into a'studio when-any kind of wrcite "Chinatown" because he program is being filmed. 'You . will zain a good perspective of :slated to'write about Los Angeles, the city where he the film industry by seeing she pcifitely rebuffed-his ad- what happens to a script vances, he became violent, after it is written-and beat her to the pavement and before'it'is shown o the ran off.' The helpless Woman, public. was left there immobilized until a group'ot Boy Scouts 7 "If you are a news writer, helped her up and tOok her.t0, -be_careful of biases," advised the hospital. The boy Scouts - an.East Coast news writer re- donated some of their own gardingfairnewin reporting. money to help pay_her medical He:added, "Honesty is ;something bills all writers should,strive for.P For example: Young news writers must learn -to,avoid_thit kind of-biased- A man walks down a street, writing. Biased writing wiLl minding pis own business, make others.lose.respect for whistlIng a tuna._ A woman your work, and:you will find wafking up the street toward it difficult to gain subsequeiit. him thinks he is making a employment.-- pass at her, and,$)aps_him___ -on-the-lace.. When the man', What it the Outlook _yells in surprise, the woman ' for'Scri twriter starts-to kick hiM. He putS-. out his arm to .defend him- ,Danny must.expect stiff.competi- self,and_the Women twists

, tion and few job openings if-he her ankle. She ruris off plans to become a professional' ,shouting, 'I'll get'you for Scriptwrier. He would find more- this.' She then orashps OpportunitiesAn film and tele- through a group of.Boy Scouts vition.than the playwright does collecting money for.charity, . in theater: the audienceS for knocks several of.them over, television aremuch 1aii11an---- and steals'thejr money boxeS, -the audience-fOr theater and more screaming,-l'Get loSt, you material needs to 'be written for creeps!' The dumb- teleVision'and,fiams than:for. founded man standS watching theater. _Educatiohal television for a%mgMent and.then con- is a .powinvfield. Radio-net- tinues.pis walk. wordt-are beginning:to revive A biased writer who favored "radio plays" for which;original the above woman was interested scripts may be needed, and if in,creating-a sensational story ti--4s trend continues, radio might', -- which exaggerated aninci- .1Y-rove to be-a good source,of em- dent just to excite the pub- ployment for dramatic writers. A' lic-. He wrote that incident growth of cable television Could up-for the eVening neWsTro- greatly-inCrease job opportuni ties for Media writers, gram like this: * .Today on SmuttyStreet a It is difficult to predict the mariwas seen making-wild numbers and-kinds of screenwritert :and,obscene gestures 6t .who will be needed. in the future.. young woman passerby. As, The.professionals-have.two words to say to students interested in- scriptwriting: KEEP. WRITING!

4 7 PRODUCTION CAREERS

DO I PRhFER WORPNG BACKSTA$E IN BEHIND-THE-SCENE JOBS -.OR DESIGNING FOR THEATER AND/OR FILM AND TELEVISION? _

If you answered "yes". to the title CoSlumer quest.ion, then answer 'the foilow7 WardroCe Supervisor ing questions. - Costumer:Assistant.- Would'I like to design and can Master 'ElectriciqP I express my ideas,in sketches, LightS OperatOr dr,awings, or .models. Master SOund-Technioian Ross4 ble jobs are: Sound Controller - ' Scene Designer Makeup-Person -Costume Designer Hair Stylist Lighting Designer Would:. I like to assist during Sound Designer the making of a movie, tele- _Art Director (set designer vision-or radio show? .4or motion picture) 'PoSs'ible jobs- are:. Would I like to' assiS'Cback- stage during a_theatrical Technical-Director performanCe? _Stage Manager: Possible jobs are Camera.Specialists (various specifit titles)- : Technical- Direc or Motion-picture Equipment Stage Manager Supervisor Assistant Stage Manager Motion-picture Projectionist' Master Stage Carppnter Film Editor Stage Settings Painter. Film Technician (Va iou Grip (Stagehand) specific titles)- Flyer Vault Custodian- Curtain Ope ator Film Clerk_ Rigger Film ASSistants. -Circus Supervisor , Special Effect'S Specialist _ Property Supervisor Carpenter Supervisor Property'Handler S6t Decorator Prop Maker Painter - Gaffer Greens Planter. Studio Electrician Grip: Lights Technician

Rigger . Sound Effects Spe Stage/Production Ass Recordist , - ,

Property Sup'erviSor . Mixer Property Handler Re-recording Mixer- Prop Maker Cutter -SHopper Engineer Property Custodian Playback Equipment Operator

Mike Operator . Costumes-Supervisor Microphone Boom Operator W6r-drobe Supervisor Audio Operator Costumer Assistant Makeup SuperviSor Hair Stylist

GNERS

Lorraine, whose favorite classes box ,to-use in a rock and roll-num- are art and mechanical drawing,. ber:, Lorraine.went toevery pizia==, is a student at-Sandy Beach High and ice treamparlor in Sandy

School. Her drawings have won . . Beach indneighboring towns,,but_ -various pi-nes in city'art. shows, without-luck ---no one would loan and her three-dimensional models her-a' juke -for the play. are excellent and imaginative: She decided-to look among the For exahple, her social studies odds and.ends at-her grandmother!s project of Egyptian pyramids was house for'something which might _built entirely of colored sugar . . even-vaguely resemble a juke box, cubes. something that she could decorate By working backstage for the and change. 'She found an bld tele school pluys-, Lorraine knows most vision set with nbyicture tube, -of the mechanical workings of painted it; and put hluetella- the stage such as how to Operate phane where the picture tube would drops, lights,'and flies, She is have been. The direptor was high-- highly organiied,_particularly ly-impress6d and used it fbr the when it coffies tb doing.one of.. show. Does Lorraine possess the- her drafting projetts. necessary talents or skills to be a designer for theater or motion -Lorraine.is industrious and is ingenious in\solving problems. 'For ins'tante,--in the last Sandy_ Not entirely. Lorranie would Beach:High production, the diree -need-other skills in addition to tor asked Lorraine to find a juke artistic abilities. If she wants to be a costuMe designer, for Will help.her -as a designer. When .instance, Lorraine must have A Lorraine cooperates with:the membsers ,working:knowledge-of drafting of the production team-at all timeS\ and sewing; a 1nOwledge of his- her work-Will ,be exCellent, be- torywould be a helpful addition. cause everyonewill be working to Lorraine would alsorfind it help- achieve the'same goal., ful to know-how clothes from .:_every historical period.wcre, What Does a Designer Doy. made,,in terms of cut, fastening, placement_of seams, etc. Costume There'are four types of designing designers usually need to be able Lorraine might want to do: to picture instantly,What_fabric Scene/set(art,director will'look likeunder thé lights.,- job in a motion picture) ,If Lorraine,were _to design Scarlet_

O'Hara's- party gown for "Gone . --- Costume with the Wind,"Jar example, she ,Light would have to make-sure that,the fluffy magenta material 'she'picked Sound. out would not look stiff and faded- Each of these designers has to fol- under-the 'bright-lights-in'a movie- low instructions from the seript. Studio., 'A knowledge_Of stage For example,-if the script says; -lighting is important to all de- "Leroy places his mother, in the -signers in'the theater.- birdbath-in his backyard,",a set Lerraine needs- to know all the designer woUld probably have 'to'i mechanical skills of the specific -desigma birdbath somewhere on,the discipline.in which she is inter- stage or set% ested (cogume; sets, lightS,-

sound)_ in erder_ to realize her unique ideas about designing-. But ii i_S possible for hertobe -a super-Carpenter, .s'ewer---,electrician, scene painter, and/or. sound-engiheer; and Still- -not have the ability to be a succes ful In addition to soMe-sort of unique creativity, Lorraine must understand that she is working as a part of an ensemble: a group .where no single achievement is important if it does not complement the work of:everybody else. Lorraine needs to know why that juke,box is important to the play. MerelY knowing,how to construct it expertly is not enough. A -1-11e.scene desTgnerls-model helps' knowledge of all atpects of the- the,d)rect6r and actQrs -visualize ater-'or motion pictures -- in- the fine( set. cluding acting and directing ---- - Designers .COncerns

Designers.working on a prOduction on "The Wizard of _Oz" Would be Concerned with several elements which- have nothing to do with ."showing off" talent. For example:, 41, SiYie -- as it relates.to acting style. The play is a fantasy And crazy things happen; trees talk, witches melt, etc. -The scenery, costumes, and fighting for'the 'pmerald City ! therefore Tratst haVe the feeling of a fantasy-

. 0Mood -- as it relates to the mood expressed in

the script. Designers would capture certain . moods in-"The Wizard of'Oz" through -use.of color. When Dorothy is captured in the witch's castle', dark, foreboding backgrounds might be used hy the'lightipg. designer Geographic Location _-- as it/relates- . to the actual characteristics_of wrear place-. The set designer must be careful not to put a cactus._ , pn Aunty Em's farm in the opening scene if cac- ius plants are not usually found on _farms_ in Kansas. Scenery Changes. -- .in the stage version of "The. Wizard of Oz," a designer haS to make 'Sure that the scenery change from-"DorOthy in the storm in KnxISAs", to !Torothy landing in'Munchkin-Land" can be made quickly and without distractions to the audience, whoi 'if giVen too_ much.time during the change,Will lose interet 'in the .story.. uick scene changes Are not,- of Course,', a_prob lem for designers.who work in films.

. _ ovement.---as' it relates tp expanding the actors'' possibiJities. The_designer controls much of the action in the script.-For example: if the yer- , low brick Toad traveled through the audience, .over their seats; and then uP the walls of the. stage, Dorothy and her friends would .have trouble dancing off to the Etheraid City.. Mnny designers consider that the respoffsibility to determine .

. actors' movements anti_positions is_their most Important function,

.5 1 -I-

A designer must satisfy the I -An Interipr deerator could de- requirements -of:the director. isign-the..restaurant comfortably f the director,wants Leroy's iandattractively. The set designer mother te wear an astronaut's to9,-but not without first suit When she is, plunked into 'thinking of the remantio. episode the birdbath, then the costume 1-which must occur.in-that ,reen.-' A designer must design the suit setdesigner mightdesignthe whether or not the script spe- LrestaUrant like this:.: . cifically calls for it. Each designer has to remain-,qexible for. any inspira ions the director might have. However, a ,designer is much moie than -a_tool to satisfy the author and.director's request. He or .she has the opportunity to r expand the meaning of -the produc- H

-tion in-a way that the author,and I director might never have imagined,, A birdbath with:an eleetric Aqire fence around it Would _-suggest a little bit mere about The above flobr-plan_would_allow the.exchange of romantic glances Lerok and his background. The designscould add a. whole new and.the eventual meeting.that.later dimension-to his character Aat leads toitarriage. A designer who the,attor, director, and even-the is only interested in an Interior . playwright.or scriptwriter had decorators approach to 'the TOOM net considered. 6Duld eaSily-,destrOy the marriage-. With no ;concernxfor what nust hap- cene/Seesigners pen on_Stage-Yan interior decorator: might design it this way: Unlike,designers in the'nineteenth cantury-whe used theater as.a showcase for their artistic abil

ity., today's designer is not just - a-creator of scenia effects, but rather an artist who is involved in all the 'Preblems of performance. For example, the script of a_ popular musical -ealls for-a scene in a restaurant-where a man and Woman sneak -romantic glances at each Other from their Individual tablels. The manjinally catches- Ihe 6,e-of the woman, and decide's to nove-o-Yer, to her-table_ and join her. A remantit'involvement fel- lows the firtt meetingi.and the couple eventually-gets married. . The desi gnerlk and assistants useabstract- materi als like sty rofoam....

Such a floor plan would make it' must remain open to thesuggestions: impoiiible- for the man 'and woman of the.directOr and the problems D'esigners cooperate - everi to see one another ,unless of the actols. at-the same the man climbed the tree or the . with directors while woman stood on the bar. Ile 4e- .-time ilaking their own artistic .signer's-'plan can thus drastic- statements.1, ally influence the way the direc- Designers not only t. rive,to, tor blocks (or stages) the scene.. please the director who-wantA-/a The director and the designer functional-set for the,actors', but must -work-closely together. The alsotry to satisfy theneedS-of designer needs te be the "paint the producer and author.- The pro-' brush of' the director' s mind . " ducer Wants designswith:artistic In certain instances it should be value which are to some-degree at- impossible, to separate the inflü- tractive and_unique. Writers want ences.the director and the design- an honest settingfor their char- / _ er have made on the'production. acterS. Des,igners help the director vis- Some di ctors, pxodUcers, ualize Nthe script by making'models', or aUthois will want to approve plans, and sketches. Such designs .do'es down. _ everything the designer should be clear, butpot rigid. ''to the pattern of the /rugs on the Like the playwright, the designer o Make a finished, life-like Set'for'the actors.

floor.- A .director mighteasily Some playwrights are extrieMely decide ty replace a door the-de-, preciseaboutdinign requirements. signer,has arranged with a hat' A Playwright might deseribe the'. 7.15-ck. 'Like-a.playwright, a de- set-up of a room in such detail signeirmust remair flexible to that the designer has no choice , make these. changes.' but to-follow the playwright'6 insuctions. exactly. Most-writ- ,Usually the director and5deS-igners however, prefer not to- give, _ers will-meet together before the' theesigner a strict-plan., partly television show, or play becaltserthe design of a play when / has even been cast. The first it is first produced pay pecome reading ofihe script bythe set dated and qninteresting several -designer an'd di-rector-is highly, years later. The way Shakespeare's influential in Ale whole-process Macbeth was first designed, or of designing, a.Ad it is at- their designed even 100 years ago, would . first.meeting that the director pTobably not appeal to.an auaience rand designer discuss their first, today. Playwrights today are usu-- -.impressions_of the script. The' ally anxious for:designers to add two-then will work independently their creative touches to the plak. bu-;:talk with one another regularly about problems and changes. T__e Tasks of cene Designer

The scene designer has complete responsibilityfor all the visual elements of the production. Usually cestumes.and lights ate the TeSponsibilityof other designers (who will be diseussed later in this- sec tion). The specific tasks of a scene designer are:. .6 To -ecome familiar with the12!slsgl'2.12n4AteriaI hich scenery will be based.: In other words., the 'Scene.designermuSt fulfillthe,desires_of the author and director:as: muCh at poss,ible, within a.ny given limitatione of space, money,and: equipment.,,Scene designers study-the script and then share their viewS With-thedirector. To-make-sketch,y7f400rTplans,-end-medels_of_each__,

, setting. ,From these, the actots,-the director, and others. Working on the.produCtioncandetermine -the nature of the scenery. Mere-detailed drawings'. may he needed-for the stagecarpenters who are actually going te build and-install the scenery.

411 To figureout-amethOd'of.12211.ipg_the scenery-in as little time is. possible duringlive-perforthances.- -To:know specifically- the theater: place,et_sXudio in which the scenery will be used. When designing for theaters designers must check thesight- lines 7the_lines of vision from points in :the audience to-points-on the stage. Pot. instante,'- the-designer,should hot design,atetempele,and Tilt it way downStage _if itis_going,to-obscure the audience's view of the stage from:the first three

TO select or:design all the-smallerfl2zeLEEmE7' tieS:and small pietes of scenery which the actors USe more:directly: Props and-scenerrcan.include an)%thing from an_ elegant sefa to thetoothpick used by:\a gangster on his teeth: .Te supervise all aspects of the buildin aint- ingl- and. Orkin& of the scenery:freMstart to finish. Finally; it is the responsibility of the' scene des er to be aware of the usesof:Various materials and :their limitations. Designers are always introducing new materialsand innovative methods itoi their de- :signs. Some mountains are actually constructedof styrofoam! 51

CoStume Desilners A costume designer is-not simply a dressmaker, but an imaginative Sometimes the-scene designer dlso- and individual artist. The job designs the doStumes for a.produc- consists of Much more than just tion. 'But in films and often in cutting; sewing; and fitting. theater, a:separate individual Costume designers experiment don- called the costume designer is tinually'while creating costumes. responsible for everything the _ Often,:it is more,pradtiddl to :actors wear including:hats, wigs, choose and gather costumes rather gloves, and.shoe*.-"Costume de- th4n design And build-them. Cos- signers must be familiar,with the tume designers with small-budgets- working* of backstage as well as spend-a great-deal of time at lo- resourceful,' ind Must have- the abilityto executetheir ideas cal thrift shops digging thrbugh piles.of Sedond-hand clothes, try- 'in sketdhes'and color'drawings.. ing to find just the:right dress,

.Like the scene- designer, the . just 'the right7.jacket,-or just the ..doStume-deidgner-has-to-satisfy______tightpleceof'junk that can be director, producer, and author., turned into something'spectacular.. . .,With theset designer, the-

costUme designer must studythe TheCostume Designer's Tasks . Script for style; mood,-geogra-, phid location, changes, and The tasks of a costume designer facility of. movement. The cos- include:- tumedesigner for the prOduction Reading and re-reading the of"The Wizard. of Oz"would make -Much of the work will :sure that; lain. be done before the first re- .Dorothy.wears.traditional hearsal. First-readings of young girl's outfits to the Script give certain images Contrast with-the eccentric and ideas of what the costumes costumes:1in the Land Of Oz. should look like. TheMunchkins costumes are Consultirl with-the director. in cheery, bright colors to Like the scene designer, the reflect the,mood in Munch- costume designer has a don-, kin land." sUlting- session with the director to exchange ideas _AUnty_Em does_not_wear_a abefore-thb-play-istT--tbb hula'skirt in the opening- -director'might suggest to the \ scene as that is very un- / costume det'igner, for instance, \ usual clothing.for KanSas. . _. outstanding costumes fcir char-

\ In a stage play, the actress acters who belong in the back- \ playing Miss Gulch and the ground. \Wicked Witch of the West can Makinsketches and drawin s \_,_wonange into the witch costume . . of each costume. If the.script Auickly and easily. were an historical one, the The Tin Man's metal suit is costume designer will study,/ not so stiff-that he cbuld- paintings of the period in net.walkAr dance. order to have some idea of hoW,. /I 52-

people. dressed. For-any Arrahging a "dress parade." scriPt, each character's Designers usually arrange a costume is.indiVidually "dress _parade" at least a week created so that personal- before the first dress rehear- ,ity is revealed as much by sal. At this time, the actors icostume as'by spoken lines put on their Costumes and walk and actions. After-the under the stage lights. _The director has' approved the costume designer for a film sketches, the cestume de- arranges a_similaAemonstra- -sdgnet prepares final-- color -tion Under the lightsin' dllustrations., studio. The Costumer and di- -rector make surethat the ac- After designs Buyin fabric. tors-carCmove the way they have and fabric choices are 4.- to in-the production without prbved, the costume-designer difficulty from the costUme. It is shops for fabric. Directors appreciate-these portant for thedesigner.to beahae at thia_time - --hbp rather-than. send- asSys7;7 they can see,whether or not tanis,.because only the'de7 the designers final interpreL signer knowS4-the exact tex- tation is similar to their own. tures-and colors required. it may be necessary tp bring Attending a dress rehearsal. the material under stage At this time, designers learn lights because the lights whether costumes cause dif- in stores-areoften deceiv- ficulties for the actors as ing when ttying to determine they perform special movements. ahexact-celer,The coStume If the leading:lady's dress is dOigner,musi keep'-in Mind,- too long to dahce the.polka the size of the budget. in the last scene, her dress has to be shortened. The ConstruCting,the coStume..- director Might,also suggest In-Same Situations,JiiSigner Minor, alterations at this time. superVise others makipg the cOstume, althOugh thc\desigh- Sometimes costume designers have er may dui out and sewcos- special tasks such as ageing_a new iumes. When designing for a. costume to make it.appear old_for play Which could- possiblY\ a certain effect in the production. _run a-long time, the costume,- They might also comment on hair designer must be sure that- \ styles and makeup -- particularly the costumes dan withstand the theater, where hair-stylists the redgh schedule. 'apd makeup specialists are usu- airy, quite open to suggestions.- Fitting the costumes. The costume-designet makes appointments. with the actors to_ make Sure the-costumes, Idi accurately. (Heasure ments are,generally_taken- shortlyafter casting.) qglilg_Designers Lighting,designers must under- , stand the total-design in terms of Lighting for a theatrical,event Sceneryand. costumes.:The light- 'can be expressive-and- exciting- ing designer will look'atthe Lights can suggest an explosion, scene designer's plans in order to- -a fire, or even a. dense fog. The picture-the size and shape,of the varieusmeMbers of the production scenery,'its Position both onstage are usually extremely concerned- and when in the,fly,position aboutthe lights: actors_ worrY-'- (ceiling above the Stage), and the': about how their makeup will look areas of-stage action which need "under the lights"; scene design- to.be lighted. After finding out ers wonder hOw the curtains-, wall- .the openings-through-which light, paper,' and upholstery Will look ,can be' directed onto the stage,'

as a,result of lighting;\ costume . the lighting designer may:even sug7 designers are anxious that their gest that the'scene designer move 'fabrics- and colors will appear -certain scenery in order to re- ---as--desired-when lit:- -The light ceive a betterlightingeffect. ing.designer is an important part .The/lighting designer,shoulclhave' of the production ensemble. the.seene desigher'-a list ofre- , Sometimes the responsibility quirements designing,the- -for designing the lights for a -lighting.-The stage manager pro- ,-production,belongs-to the scene vides the list of acting: areas to' designer, who does the light-de- .6b lighted, a-plan-of lighting sign'or giveS the task to an effects needed'in the-action of assistant deSigner (who is exactly the production, and a cup,sheet- .:that==:_an assistant fo the de- which tells where- in the script signer in all The tasks-of the each effeet occurs. -job), Or hires a lighting engin- The lighting designer then has eer. Producers sometimes hire to Specify what instruments are,- their own-lighting designers. needed (and an estimate of the Some lighting designerS-develop cost) to light the production and associations with certain pro- submit this information to the ducers which almoSt guarantees-, producer. Lighting desighers must them employmeht as lighting de- always stak within the giVen bud-- signers for future shows with. get-- The lighting designer hireS the sameproducerS. _the. chief_electricianWho_then.:.. Ina few instandes, hires other necessary people to ing foria show is."designed" -by set up and operate the lights,. an-employee of the onMpany which Lighting designers work. creative- supplies-the lightinvequipment. ly, although they-must havea work-' But. usually -the lighting-of a ing knowledge ofelectrieity and_ show is.a much-more artistic en- knoW hoW to handle .and focus-iftstru deavot-.-- A lighting.designer can ments. For example', a scene aboUt accentuate the action of the play,

a woman's pocketbook being:stolen . and by the use of colors and on her way to her apartment can be

timely use . of darkness and,bright- made a lot scarier by the use of -n,ass can even make a philosophical shadows and effective Lighting. statement. ,

5 8 54

Sohnd Desig constructed in t me for h-show which is opening in two weeks. -Occasionally a production requires ,All designers must work within a sound desigher. . The sound de- the physical limitations they are signer receives a list ofsound ,given. If the theater where the requirements from the director or, production is going to be, presented Consulting the deSigner's has sufficient power for only Sixwriter. :plan concerning the location of lighting instrumentS, the lighting microphones and:loud-speakers, the designer cannot, arrange a play that- -Sound designer might suggest that requires 60. the scene deSigner provide places to:mount eqUipMent and special For live productions, designers openings or coverings in the. ',are required to attend rehearsals. scenery. Interference tests help- During'thetechnicallrehearsals the sound designer solve the acous- (which occur just, prior to the tical, and electrical problem$ dress rehearkals) all1 tehe effects, --7,-Werkihg="wi7th=the-stage-manager77--- -scene- change,--LightTpuesand r the sound designet indicates' where sound cues are coordinated.All in the script sound cues must be the designers, ekcept\perhaps the recorded. (See later in this chap- costume designer-, must attend the ter abodtsound techniciang.) technical rehearsals to supervise their work. The costuthe designer'.s_important tiMP is during_ dress rehearsals, Ifitwoi three, or four separate individuals are designing, they Of designers', responsibilities should meet together in the early 4nd tasks, the most iMpertant is stages of the production so that Ito make'an individual artistic they can best 'coMplement one an- contributioh that is relevant and other'.s design work. Sometimes acCeptable to therest of the show= the-designers have to make changes What the designer creates-has a immediatelY after the:play is cast real bearing-on the actors and the 'For eamplei if the,director of director, andmost important, the. "The Wizard of Oz" cast a fat man, play itself; as. the Scarecrow, the costume designer may alter original plans. 'Where, How, and If the,same actor cannot fit 'th What Back through the gate to EMerald City, Cah Theater Designers the scene designer would=enlarge the entrance= There are five basic settings where a,prospective designer could loOk All designers must consider the for work.and in each -one, the'. budget of the productibn. The responsibilities would be.a little sound designer eould ne-iJreqUest different: 43 mierophones in one scene'fOr a play which has a $50 budget for Commercial Theater -- Des-ign- all expenses. All designers _must ers on and off-Broadway work consider----the time available for free-lailce and associate them- executing their work property. selves with each production A set designer cannot design a se.Jarately= Designers for 15-room apartment and have it commerciat.theater often work in'their own studios. .55

Resident Designers ments'build and design the cos may be residents in the com- tumes. Although the organiza- pany or be employed for a tiokis different at eaeh single production.' school,.the goal is to follow as closely-as possible the:pro- 11.1.1yeaterCOMITIU1- Scene designers in community theat r cedure of 'profesSional theater. often double as technicians, In order to be hited in any of supervising the hanging of these:places, a designer needs a lights and all scendry7rela- diverse designing background'. Re- ted activities, and partici- quired knowTedge for designers., pating in set construction. .includes the mechanics of tbe The costumes are rarely de- mOdern stage, such as,theatrical signed or even bought-- technicalities involvedin moving they are usually rented or scenery, methods of constructing made by volunteers in the scenery; and the,u8e of theatrical community from patterns and materials and techniquesi -what-ever material. is-avail- SomeWhere in a designer's back- able. , - ground should be a familiarity Summer Theater The design- with theater history and the de- er often paints the scenery velepment of drama. Art history and finds the Props. Of courses are-valuable for,better primary conccrn to the -stene understanding of periolds and 'designer in summer theater stylet of architecture, furniture-,

is economy of-money, space, : painting, sculpture:, and costumes: an& labor. A fey wealthier Costume designers haye to know summer theaters have their about different pattetns and suth scenery built and painted period costume terminology ds in professional shops. A.- wimples, godets, porures, etc. costume designer may be hired, depending upon the size and financial strength of the - Lorraine, backstage,at SandY. Beach company. High School, is considering design 0 School Theater The design- work in the theater as: alpossible In for a school .oruniver-- .career..:, Just what should she be sity theater is usually done doing'now and-in thenear futUrt?: by -art-departmentstudents., facultY members, er the the- bteauSe.desi,gneA..Offen. start with_jobs which deal with two- ater's qirector. In professional schools and univer- dimensional design, Lorraine:would sities with strong theater do Well,to sharpen up her painting skills,. departments, there is a stage Lorraine tould acquire design section with faculty these background skills as'abigh sehool student designing and work- and/or student digners. .A faculty or student designer ing in,technical tapacities :for makes sketches, color layouts her high school theater group. Of Course', she should take any working drawings, -costume plates and patterns, either theatrical design courge as well as theater and art .history courses alone, or with one or two available in hercommunity. others.: The costume depart- UpOn graduation from high school-,join the union upon paymentof an, Lorraine ShOuld attend another initial fee which is approximately . school-which offers a more in- $1,000 (1976 figures). Designers tense theatrical design program. interested only in costumes pay .A liberal arts college with scene _a-round'$300and those qualifying design courses Would give Lorraine -for lighting only'belcing to a the opportunity to broaden. her special sectioni the fee,for which. ScoPe through learning about many.. is $200. aspects of, the world aroundlier; ; In order,to pasS-the difficult -the inforMation and philosophies. test administered by the union, learned at a-liberal arts:school Lorraine needs not Only-linatural: might be useful at a later date' talent,"-butspmeactual experi- when designing-a certain produc- ence gained by working on'univer tion. If Lorraine's designs were' sity productions, community the,- Used,in a college'production, she aters,-and in'summer stockAheater - could develop a portfolio (a:col- where non-union designers are hired, lection other work) and tsy_to : I-She-should-keep-an-attraetive and secnre an apprenticeship to a, up-todate portfolio of all her designer,, or to obtain summer -work,to show in any.interviews.. theaterWork. with prospective empleyers.' Lor-;' When it comes.to looking for a. raine.will have to make opportuni7 job in professional,theater; Lor- ties for herself in low or non- , raineVill =probably have'-diffi--. paying design positions if she culty. ProducerSand. directors ever hopes to be hired -as a pre- like to hire people with whom fessional designer.

they have already worked, or- - -whose designs are.familiar from Advice for Interested StudentS- previous preductions. It is less- risky for,producprs and directors . Several professional designers to work with known 'designers be including an art direCtor for films, cause the union for designers, offer the following advice: reqUires that contracts with de-, First, while preparing for a job,_ signers be signed,before they .

submit sketches or even ideas . Gather a solid background in ',for the scenery to be used.' ell the basic .stagecraft-skills and techniqueS, but keep your- To be accepted into-the-design- se I f -we H -roundedHave a good ers-runion, the United- SeeniC understanding and appreciation Artists, of America, Lorraine must of literature, music-, and submit a,list oflier education dance. Be totally eduCated in and-experience to a uniet.examin- all the arts, not-justthose of ing committee. -She then must

. the theater. pass an extensive exam,on her design-ability with a special Give yourself an office to emphaSis pn her specialized area work in that you can keep and -- scenery, costumes,of lights.. exPand upon as you &in woi-k. The-exaM tests for imagination, Include a place to think.and painting-and-sketching skills, make rough sketches 'and a,place and knowledgeof architecture. to make finished sketches with After-passing the test, she can a Water supply nearby in case,

. _ -57

_ - you are using water colors, No matter how wonderful your a storage 'are,?.a drafting designs are, you will only be table, a mode1"-making area, judged suCcessfulif your work an area where you can show is servicing the playwright, slides from a projector, and director, and actors. a little place for amusements such as a radio or.small re- Do not take the easy wpy out frigerator (that will help you by only designing a window, to feel more comfortable). for instance, because 'the script says so,' Mdst play- Begin thinking right away of wrights actually.count on the every single possible way of deeigner.to come up with ideas moving scenery or Jighting a to make the script bettei. If set or costuming a'production. you are goirg.to put in a win- You will be able to solve fu- dow, put it in-because you feel ture problemS in a clever it will help the production. fashion if you are aware of -ari-ous methods-avatrable-te- Be_sure-youtake_Into considera- you. tion the peo,oie who are working under you. You are only as :Once a student has.'a designing good as the people who wOrk job, -designers give these sug- with and for you gestions= Make su're the directdr, pro- Remember that a designer's ducer, and writer understand fasks cannot-be done allin all',the limitations at the one place at 'the same time. beginning of the show. If you

Like a painter or sculptor, . have, a 1200 budget and the you might have your own 'stu- script calls for 30 dancing dio,' but unlike the painter girIS wearing mink.tutus and 'or sculptor, you cannot ex- diamond earrings,Jet the pect to stay there for long group'l know that you will be hours 'creating.' You will using,fake diamonds and minks. probably find that you will If you remain sijent, the do your job in small bits in director and producer will as- many different places -- sume that you can provide.the scenery building shops, the- real thing for $200. Speak' aters., paint studios, librar- up-at the first meeting! -ies, museums-, etc. Specifically for costume designers Always keep in mind that yyur a profeesional in the field said:

work is net just-a craft. Do l not become so involved making Visit'museums regularly. Keep your mcidels and drawings that a' collection of any pictures, you forget your work is part photograPhs,664t' cards, ad- \ -IF of a whole which is dependent verfisements, efc, which upon you and upon which you miaht bentereSting or useful. are dependent. Do not try so Makea filing system to store hard to Make an indiyidual this information. Make sket- impresslon uponthe audience ches. Buy\a.camera and take that you a e not working for pictures ot anythYng which the ood of the production. might-seem \like a good addition to your collection.

2 58

lighting designer warns: simple sets and simple costumes will reduce the:amount of work Be ready for djreotors and 'available for designers. scene designer who do not understand your technical However, the rise of dinner the- termjnology. Have patience aters does help designers, for many end _be ready totranslate dinner theater productions are yodr work into simple, either commercial comedies or mu-. everyday terMs sicals, both of which generally require. deSignerS. Outlook for Design Jobs Forthose who are interested,in designing as a hobby, community Like most theater Andatedia jobs, theaters Always welcome Someone the competition for design jobs -eager to volunteer'their design is intense. Jobs are et easy work. to find. Also. trends-toward

BkKSTAGB THEARR WORK

Steven works backstage with,Lor- and whispers to.the leading lady raine as stage manager for 'Sandy to ceme back there. Because the Beath High School productions. play calls for her to mix.a drink' His main job is to cue-theActors for a guest, she crosses-behind.' :during rehearsals and help the the bar'grasping.the back:ofher director set-up the stage and dress. She,intentionally drops props.' a'stirrer, saying,Oh;-how clumsy of me,'and stoops_beneath the bar 'On.opening night of-a produc- to'pickit up. _During the-short tion, Steven is waiting offstage tithe it takes to pick the stirrer- to help with scene changes, but Steven fastens a SAfety pin _also just to be there in case --,on_the_baCk_of_her_dress and anything goes wrong. Of course, crawls-back offstage..The audience .something does go wrong. The problem or the , never notices.the clasp on [the back of the leading solution, ladO dress has broken; the dress isIradually falling off. She Steven's resourcefulness and realizesI4 the problem, but cannot ,calmnessin 'that situation are not do Much, about it since.she is on- enough to say that he would be a- stage for:the-entire play. good professional stage'manager or even backstage person. But the Steven luckily had brought an ability to keep- a clear head with- emergencykit,. including, masking outshewing panic, in emergency tape,,:bandaids,."Twinkies,,anti Situations-is essential' for those safety pins. ,He'crawiS behind who work backstage in the theater. the bar which isupstage right 59

Steven must be able to reason out Who are the Backstal/mL1 problems logically and quickly. and What Do They:Do?

If he were a prOfessional,stage A crew head for an off-Broadway :manager, Steven would havaunder- theater-in New York summed up what stood-the needsof-the-designers,' backstage people do when he commen- actors) producer, director, stage ted on what he found the most-sat- hands and electricians- A stage isfying aspect of his job: . manager muSt deal:witiv.people on --a business leVel and also, a per- 'To $ee.e 'show that's nearly' sonal One. pertect, that runs Smoothly, that hes been organized well, For inStance;--if the:mother,of been rehearsed,-smoothly,- 'Donna,:the lighting technician, and to know1. had a pert in were rushed to the hospital right -makiug it,that'way. before Donna came-to:the thewter,, the:lighting technician might be Backstagepeople mUst work sys- tense and upsat,----StevenTwould---:- tematically-I-and-smoothly- T-he' need to'treat-her in a gentle and following chart demonstratesthe-= understanding way, -yet at:the:same Way vatiousAobs, in the.world of time make sure that Donna does her theater productionare organiied. job correctly for the show*, v Afterthe-designers have made in anether situation, iv migiAt their specificplans''(woTking be necessary for Steven to yell AraWings, costume sketches and-- and scream, to get along:with' notes-light-plots, prOperty and the peopleTn the show. As a set plOts)-and the:director is- stage manager hp bas to make de- rehearsing the_play (inthe floor mands- of people, andhacan do plan made by the designea- the it by emotional forde 'or by being people .repreiPnted-onLthe bottom nice. As one'stage manager said, level of the chart begin their work -- supervised-by the,peopie

I am one of the, few people in . on'the first, levels. the show who must comMunicate Scenga is zonStructed, e.-t-,up

with everyone. I either have and hung. The settings are painteli to be a-pblitician. or a, whip-

I 'Properties are bUilt,'purchaSed dracker. In any case,- must . get. along. or found. Costumesare built, fitted to,, Every person on .a backstage the actor,and-appropriate acees-.- , crew knows how certain machinery sories areobtained. works- for example, the.lighting -person-is skilled at running the Lightin instruments are bought

lighting'boatd. The production . '-(or rented Or already .exist in the works more sthoothly' if every theater_ hung, focused, andgelled. backstage person is familiar with Sound.instruments and recordings the theatrical machinery others are procured. Any neceSsary tapes run, but the stage manager must :are made. know how to run everything.

6 4 BACKSTAGE ORGANIZATION

Producer

Director

groductiOn Stage Manager Designers Technical Director Stage Manager

Wardrobe Electrician Master Soun'd, Mster Carpenter Property Master Supervisor Supervisor Technician ,.

tage Settings Curtain Prop yrop Rigger Operators era-6)1.s Painter Person Person Persen Maker

Makeup Hair Stylist i6 61

- - The people responsible for many of the stage-manager's respon- theSe,jobs worka.s a production sibilities during tharehearsal- team. Th&-stage Manager brings period of the show. There are also together.the technical and,the -assistant stage-managers who have acting aspects-of the production. various responsibilities in different theafers and shows. (Note: TechnicalM) rect- each job dn this section could easily have an assistant For.in- A t chnical director is e---per-, stance,. master carpenters have' son who establishes frOm the de- assistant master carpenters.; the' sigper's plans and models how wardrobe supervisor-might,have an well the scenery Will work for assistant wardrobe supervisal' etc. the intended theater. A techni- The_"assistant's"Ijob will'not be -,cal director learns from the plans -listed or destribed in each case, what is necessary to build the . The assistants merely sharethe scenery and to light the produc responsibilities of thejeople . tion, any special provisions for whdm theyare assiSting-;--The train-, sound 4nd effects; heishe,then-- ing is the same as for the"master"

makes a tentative cost estimate . job.)-- of all the technical elements of The stage manager isreSponsible the production. After superVising to the producer or the.business the execution ofall these tech- manner, but actually,works for nicai elements, the job is over theldireCtor: The crew heads of- .when everything,works as planned'. He/she is responSible to the pro- alli-the various,technical departments report-to the stage manager. ducer of the show. .The technital Stage managersare responsible for director of d resident or tommun-. , everybody'during the performance ity company plans and supervises ofa show.-- the building and running of,all ,

. settings and may-even light'the Stage managers.vary on how.Much .show. He figures oat all the they talk-to actors during a show, scene changes and- any necessary depending upon.hoW many other cues 'additions needed in techniai- have to be called.' Astage manager equipment. ight announce 'over the "head set" Tthe public- address system-Which

ge Manager s channeled-into the dressing , rooms,,green roem, and -all the im- ,The stage manager's duties Are portant crew locations where-tech-. divided into two categories: ,nitians are also. wearingjhead-sets)-: what is done before production, /each time .an actor will be need d, and what is done dt_ij_g..n and after shertly on stage;. or might only. , roduction. The'production stage call actors when.it appears_thae manager,(often called the pro- they will be late_for or Miss an duction asSociate) takes over entrance. 62

_ighting Operato

Grip- age OrChestra Leader machinerv)

Cast AGE IANAGER Fly Handler(s)

Sound Techntcian

,Froperty Handler(s

The Stage Manager's Responsibilities

The stage manager esponsiblle for much of what happens in a sho th during rehersal and during performance. The stage manager': .

Beforfr Production During Produttion

Assists at early tryouts and re- Runs the show. -Once it isinto hearsals; DoeS-'all.the organiz- performance, stage manager ing'apd scheduling Of above, as commnder. Starts all per°mam- well as subsequent/rehearsal ceS. Gives cues- Callsa tors. times and. places /i! Posts calls. Makes sure that, all the techn cal Cheeks the, set-Lups of all the wary is aone cdrrectiy and on, technical departments every- time. Checks on-designers' work _performance and reminds them of deadlines Jiefore Production During Production

. = Keeps a "proMpt book" (includes Brings.in necessary?replacements -blocking, diatogue, certain for actors (directorleayes when .directorial notes) . show opens ..; ":-Marks flopr With tape:according Organizes the technical crews

'te the designer's_plans:and until . the-.set-and furniture arrive Makes sure the-actors and.Crews aulalways Tunctual-\ . Makes- sure .thd actors carry out f:lirector's wishes, know their Keeps the director's Standards, lines, etc. for_the shoW. "Makes.Sure eVery- one is working to best-of abitity. Runs rehearsal when director is Makes sure no error is repeated.' not there and, if necessary, rehearses whole shoW over again Is a-center -of -information for \ all Runs-rehearsals-once-a.week where Acts as representative of the understudies_play the roles show, conducting-certain union Prepares .the script for publica- business. Is first person union tion with notes if,the show is deputy comes to when checking on- a success. show Organizes afsignment of aressing rooms, parOae,- and pictu14, call (photokraphs -of ac,tors in cOstume

Backstage Theater Jobs-

Thebackstage- theater-jobs under:the stage manager andtheii4various departments include:

-S-t or run the scenery directly on the floor or on coasters,-wagons, In the. theater there are two.basic oilrevolving stage _floors. An- :kinds\of scenery: two-dimensional oqier methodis to "fly" the- flat scenery_(drops -- canvas scenery from the stage ceiling. ings" dropped from the ceiling In-some theaters scenery can even often at an Upstage position. to be brought through the stage floOr create backgreund-Seenery.-- wings, by the-Use of an elevator.,

flats),and.threedimensionat scen- . - ery (reat pr reallooking solid Scenery is often changed at au intermission or w4hin the play. forms such as- b.desk., a coUch, A change taking .place in-between doghouse, etc.) scenes within the play usually - There are several methods to annot Jast more than'one-and-_a= Move scenery. 'One way is to move ha,,1f minutes-at-mo-st-; otherwise

6 9 II '64

the flow of the'production -(GripS and ifiyers mighthave a disturbed,,-_Thus people who, _person:in charge among them called 6 change.scepery'are essentialyto "head grip or "master-flyer.") the:audience's,enjoyment uf-the -show.: Yhere Might,be black-' Stage Set Painters _ gut- br a:curtain drawn to:hicie the scenenchange', in'some prOduc- The pair)ter iS responsible for all tions aotorsj)articipate-in--a set paincing and particularly any- scene change whi,ch is Visible detaile'd paint-mixing. He might Taint ianything-:--from/ a lavish de- --f(5-afie_audience.'Visible changes 'fit onlycertain--ttypes 'sign to simple lettering. Inter- aithongh in the nineteenth cen- preqng the designer's elevetion tury elabOrateviSible changes.: proplortionately, the painter_en- of.the pro- larges the drawing tO full scale Were a usual par . Yduction. (spé illustration). .Painters allow for the effect of distance (will _the_soft_black_lines beingused_ lbrthe chicken's, feathers show . The stage carpenter(often the from the baltony?) and Colored head stage carpenter is .called liighting (will.the yellow chicken -"master" whether:the job is held look like a white abominable snow- by a man or woman) 'supervises the man. under the lights?). -Ther.must shifting, rig ing, and general also consider-durability due to' condition ofhe scenery. First, traveling (will the paint scrape .he/she -receiiieslueprints from :off in the moving van?), a long the technica _director (or the irun (will the chicken begin to stage managei or director)made' fade daring the second monthn, and butdooruse (will a Surprise from the des'gner's working draw ! ings and a w rk schedule_ for cOh- ' rainstorm turn the chickenlinto struction. Fe tnen supervises a giblet gravy?). In some more crew,in const ucting the scenery .,sophisticated backstage organiza- every step ofthe way. He is / tions, a whole.crew may paint _ also responsible for assembling scenery under-the supervisionOf the-sceneryon\stage. a master. Layout people perform any-cartooning,involved in t4a _The stage cal enter mightneed/ painting.2. The layin people '(somer prepare the tage before asl+,v times called fillers) are usually by removing any tending Stage less,experienced.and do the prim-I- -equipment-which As not necessarY ing and the,larger-scale,painting. for the particular show. He pre- (If a flat had to be painted part- pares the StageOoor for trap' chartreuse and:partly avocadoi -doors or any other special effcts with absolutely no detail, layin which the product n requires.:- people yould do the painting.) Working for the master carpenter The More experienced detail: is a crew consistin' of: painterS do all the intriater An assistant carpenter brushwork. People holding the lowest level job, called "paint Grips (stagehands, -boys/girls," take careof the equipment, clean-the flooriand : Flyers.

7 0 65

do routine work in paint-mixing respOnsibillties. Ail of these- ,although the skilled painters TeoPle fall under.the heading described above may.exchange ' "stage settings_Painter."

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The set design drawing's are marked in grids, to enable the scene painter to enlarge the draWing

accurately on the flat 4-

7 1 66

Curtain 0 erators

"Grip" is simply another word for The responsibility of these back7 - stagehand. *rking Under the stage workers is simply to operate stage carpenter, a-grip moves the curtains at'interMission Or scenery by One Of the several me- whenever a scene change or a spe- thods_on,and .off the-stage-,--SOme. -cial'scene.requires that curtains times by using- machinery above and be opened Dr closed. beloW,the stage floor. Grips.also assist in the building of-the-set Circu Supervisors - and in the rigging of the machin ery. Circus supervisors take charge of all the tethnital rigging, moving Riggers of scenery, and use of lights -within the circus setting. Riggers build equipment for aerial and.acrobatie showsi-or-variety. shows which employ atrobats. -They

also raise and lower :trapezes, as : ,/eil as protective nets during the Stagt properties4(props) 'are often performance. :Riggersinstall the extremely important tp- the meaning theater equipMent'Used to'lower: of the,play. _For example, aTlay raise, or support scenery, crystal Called "An'Jtalian:Straw-Hat"- ' chandeliers, etc. centers around the search fer'one . particular prop.-- the hat. Be- Flyers, (formerly called "Flyman") tause the Way- an'actor relates to . proP can tell the audientean The .flyer lowersand raises-scen- infinite amount-about the charac- ery and Curtains -bY pUlling ropes ter, stageproperties areimporta4 froma. place, generallyaboVt.or*,. -.Treps.are broken into tWo groups; to the side of the stage From- costume props: '(Such as fansdag- this position, these crew member's:,.gers, and swords) and scenic-props. sóits of large,flat (sUch.ts a roast turkey, a pogo: scenery; Which is attached to . stick, or: a 'rolling pin). machinery and elevated into'the fly loftabovethe stagt for Stor- Pr2perty age and then- lOwered-for produc- .tion.: FlYers attach. thascenery Property Supervisors take car: of -to the rigging; they,aso prepare all the scenic.props as well as- -the,stage during the- shows re-. specific costume props which the hearsal by installing any special, actors or costumers do not obtain. linti needed-in the flieS and:re- They are responsible for rugs and - positioning flying equipment ac- ground cloths,_and all the non- cording-to the hanging plan of -recorded sound,effectg in the the show. .Puring theperformance show. They,have to sneeze, ring the flyer works from a cue:sheet doorbells, drop dishes, shoot guns, and is cued.by the-stage _manager and blow whistles as frequently when scenerk needs to beraised as the script and.dirctor.require. or- lowered. A property supervisor also'supervises the handling of props _during.

7 2 67

ASamole P

_Stage right table: / a_fishbowl with waterand two goldfish' -a chocolate candr,barwithout huts, -shaving equipment. .sandpaper a wrapped ChristMas present.with pink bow Stage deft table: a rubber chicken a cactus plant as unprickly as pessible a guitar with broken strings an idigbo ashtray a set of barbells e

All of these items would either be carried on stage by one efthe actors during the play or a scene change, et-set on stage by one of the members of the prop crew during- a:scene change-

scene change with the assistance "strike" the props (temove them ofClearers and grips. from the stage) and'store theur .until- the next-performance. Each night ,of-the 'performance;- the property supervisor.talc,es Prop Makers out of storage- all the props needed for the show. The stage Othough props in manY..productiOns manager provides a list- ef preps .are items boughtin:storeS, SOme whiCh indicates'the Side .of the '- shows requite prop makers. Whe stage where each prop belongs. could he asked to make, absolutely The property supervisor sees that anything; Props fall into these each prop s located properly he- categories: foreTerformance and is yet away 'safely at the end of the per- Exaggerated props .(for being formanc seen. Clearly from far away) 7- "Lighter than reality" props Pro*erty Handle-s ("C earersf, -(weighing mtich less than the item they represent) Property handlers assist the property supervisor with setting Cheap" props (testing icss props and handing-them to the to make than the item they atters as well as with the. man- represent would cost to- ital. sound effects. (The sound purchase).. of .two peoplescreaming'.off S-tage might be heeded in Act II, Scene 3). -They-.also help. te' 7 3 68

FPr instance,,to make some of Wardrob6 Su ervisor the props'in a prop list a prop maker might construct -the plunger The wardrobe supervisor cleans, ras ah exaggerated prop (the play, presses, ind repairs all costumes This' might be a.cotedY in-which- a . with the help of assistants. .crazy. plumber Walks on stage,with person assists-Actors during quick ah,ehermous plunger; a baby's costume changes made-offstage in .swimming, pool attached to the the:wings-or in the dressihg rooms'. end of.a hoe might exaggerate, the In temmnnity and university,the- 'notion- of a plunger).- -The stage- aters, the wardrobe supervisor barbel4s Mightneed to Le lighter often also acts as makeup super- in,weight than real-barbells. visor. (The-actor might have tbaet the part of a muscleman who could.lift Dresser (Costumer Assistant) the barbells with his baby-finger. The weights might need to be made In addition to packing and unpack- -of styrofoam or paPier-mache;)- ing:the-costumes-and assisting-the 'And whai about the idigbo,ashtray? wardrobe supervisor with other .It will need to be eheaper-than tasks, theTdreSser helps-Actors reality. If idigbo iS very ex-- put on costumes in their dressing pensive wood to import. from Africa, rooms before goingAon stage; dress- it would-he Cheaper te make-the ers' may also assist Abring an emer- ashtray out of puSsy,willow branch-'gency change. -es br whatever wood looks.like

_idigbo tc,the'audience,'(Diamond'. rings are'a godd exa4le of props :which mu§t he madecheiPer than The lighting designer, .if there is one, Supervises,the lighting-Crew. If there is no,designer, then the, Costumes stage:manager is in charge of the crew. For many Prodnctions, the'costuMe desigher takes care ,of akl Aspects Electrician Su &visor of the costumes, perhaps, with the assistance of volunteers. But in An:electrician supervisor arranges most cases; the designer has .and-focuses-the±lightinvinstruT assistants.. ments, takes:care.of all the electrical equipment,onerates the Costumers switchbOard'or the console for -lighting cues', meVes,lighting A cOstumerbften takes the place equipment when'neceSSaryin.the of costume designer and selects show,'and'prepares the stage be- costumes out of a stock or-from fore the shew.by .clearing- excess thrift shops and fits them .to the lightingequipment andrunning actors. A costumer for:a desigher additional- cables as .needed. The will also fit the costumeS to the electrician superviser Creates actors. stage explosionS, flashes, light ing, fog smokethe- moon- and -the stare through'special lighting on a chicken farm. However,-for, a effects. Any of these actiVities simple sound effect like a pollee 'might be performed by any assis- siren, -a record could easily'be ,tants,or operators on the elec- purchased. 'trical In a permanent theater group, ILght_2perators the sound technician organizes and services'a sound recording library: For each show, the sound technician The lights operator assists the records all the music/sound cues of eleotrician supervisor in all the show and edits them; the re- -.tasks, but-especially in the --corded cues are then spliced_to- installation and controlling o gether by:using recording machine light'ing equipment. (Note: equipment.=The sound technician an 'on-stage lamp which has to supervise the installation of plug in and actually function speakers and microphones, end the would be the dual responsibility ofthe propertk crew_and_the stage manager's sound communication system- The sound teOhnician lighting crew.) is-concerned with scenery:to know where to position sound equipment &fund on stage.or have microphones flown from above. He/she is responsiblefor all_acoustital 'problems' and The-two basic tasks in the sound. -solutions. department are censidered the same job sound technician In a show.with both a sound ' and-sound operator -- because operatorand a sound technician, r. when both jobs actually do exit the operator usually:runs the, ;ina theater situation, equal sound control system (including responsibilities are shared.:The tape recorded) during a perfor- technician is merely-the supervis- manCe.- A hpadset providee him or of the operator ahd might do with direct communication'to the tall the.aifficult technical work- etage manager=The technician him/herself.,In some situations, alWaye follows a cue sheet or

the soundpeople are considered script. , -.part of the electrical-department. -The.sound people are responsi- Makeup-and Hair S-ylist -ble for any hi-fi recordings and

. incidental music used in the play. -Many -theater companies do not:have For instance, if the director of Makeup epecialists or hair stYlists "Flower .Drum Stick" decided that because.the work is done by the "I'm a Yankee Doodle Chicken": ceStume department or-by the actors- should be heard in the distance themselves. When there ire Makeup .during the last scene, the sound People and hair stylists for a -.department would find: record, production, they study the show's and,then play the music on cue. _ TequireMents.(character, period, f the director wants the sound _situation) an& make up the actors of-SO chickens clucking in the and stYle their hair or wigs -- laseseene as:the leading lady accordinvto roles. .Both jobs is dying of chicken pox, the sound department might record this sound 70

require occasional research for be a good place for him to find an historical or-period plays and assistant stage manager job With characters. which_to start. In whatever capacity he worked in_summer-stock, Where, How, and Steven would have the opportunity th What Background to watch how professionals work _a-ks a-e Peo-le Find Job and 'to grow familiar with the struc- ture of professional theater. Back to Steven; as he graduates. Unfortunately, Steven would find from Sandy Beach High School!-- employment'diffiCult to obtain even If would not .he easy for him to- with an extensive and diverse back- find a. backstage theater job upon ground. Most backstage people graduation; First of all, few when'asked how they got their job jobs are aVailable. The operating said, "Through a connection," -- budget of a profesSional show is- a person they knew who-helped them tied in with the length of its- to be hired. Often', the connec7 run:.---Producers-of-a-Broadway- tion was a relative. show with along runtry to re-

duce.the numberof backstage peo Unlike actors and announcers, . ple needed by spending-Meney on backstage people ,do not audition Mechanical methods of moving seen- fer jobs.' This ean be an advan- erY', etc, :-Universify- and commun- tage for some The important ity theaters buY Machinery' if-the- factor for Steven in finding back- staff feels that theequipment stage work =- besides the people can be-Usectin many shows to cut he knows -- is his credits, his -down the number.of workers needed experience.- If, for example, in backstage the last show Steven worked on, the produCer may haVe hated him or Steven yould very likely'need he may have really done'an infer- much. more 'training than-his-high _ior job, the experience, Would_ school experience before even still be there-on his resume. geing.considered.for a paid back-- 'Stage job. While his interest in 'Then, if Steven could tack to theater and his actiVities are a his resume a:few letters Of recom goOdbeginning, he would rieedex- mendationfrom respected'produders tensive-experience whether at a, and-directors; he Would.be.ifi good liberal-arts-school: with a the- shaPe to be hired, But; without 4ater,.a prefessional school,'or theexperience and the contacts, a-technical-school._ Steven has littlechance of-ever- getting backstage work. Producers, Of course, any experience Steven and'directors-are not interested couldgain in place's like-temmun- in.young candidate* with little ity-theater would also-be valuable experience. An unemployed prop-. Sumter:steck.is probably- ihe most- erty master from Chicago explained: valuable:, especially.if Steven_ returned tothe same company,year _1 am discriminated against cbn- Steven could perform after year. stantly because of my age (23). a variety oftechnical crew work, Old.age never seems to bother advancing-each.year in responsi-' anyone,- but youth is not scale- bility. If ho'were intereSted in thing,in.06r favgr when tying stage managing; summer stoa might 71

to be hi ed for'a production -have a person whO'does all duties -job in a theater. which a technical Airector-in.a resident company would perform, According to a technical direc- and- teachesat.the same:time; the, ,in New York, the places where position may be that of "Aesignerf the most backstage people are technioal.director." High schools hired are New. York, Los Angeles, which havetnote than one drama Boston, Chicago, -and Minneapolis. teacher are apt to hire a 4esignerf -Steven, however, might be abie to _technical director, as the second find_workLinOne_of-the_many_re- full-time_salatied position-on the-- gional theaters loCated through- staff. out the country. Because heTould have a longrterm contract with the The student'interested in becom- theater, there would be-little, ..ing a stage manager sheuld obtain directing ability and experience, -chance for Steven to.advance to a job on Broadway if he were work- since stage managers are in charge ing in a_regional theater___How- of the understudies', rehearsals as -yell as btiiSh'-up reheAtsals during, ever, his employment would be mg e secure.than on Broadway. the run ofthe show and_rehearsals when a'new cast membet 'is added., If Steven were intetested in By directing a show or two In high working on off-Broadway in New school or college, Steven would be ' York, he could try tobecome in- bdtter suited to dealyith this vollted with a "showcase" -- a responsibility. play in which the actors and backstage crew work for no.salary to If Steven wants to be a stAge Manager, he will most likely join. have their work exposed to pro-. Actor's Equity Association, a1=- &leers and directors in the city. 'though there is some work,available This arrangement would be par- on' off-Broadway for:non-union meM- ticularly useful if Steven were bets.. Participation in summer interested in stage managing. stock iS p'channel for joining Because the showCaSe rehearsals- Equity. Many stage managers'hope and performances -occur in the to .become actors; as stage maw.- evening, Steven would have time -gets they become acquainted-with during the day to look, for other producers an&-directors. Assis- employment or to.work at another,, tant stage managersare sometimes job for earning money to live on.

actors or dancers in the show. , In New York City Steven should Many assistants go on to become see shows and talk to as-many the- directors, producerS, ot ,business ater people as possible. He managers. Of course many,stage should-seize every pos'sible opporr managers like the career and fol- tunity to do backstage production low it all of their adult lives. work, and-also read all the tech- If Steven is interested in nical magazines published in the New York area. . painting scenery; he must join the -United Scenic Artists Union, after For the person who chooses tech= taking a test which _measures his nical directing as a career, a painting ability.. For people in- source of work is schools. Uni- terested in making props asa- versities with strong theater de-\ career-, resident companies Are the partments and professional schools best source of employment because Bob, a stage manager from Bos background: r t:; college with I went to a fou'r-year liberal

a strong -theater department. I wanted my education to cal ncide with chance to do both stage

manag j ng ffindr_des ign I ng. I wantedto go to_ a school whose theater Was profesiona Ienough could stage manage shows for salary as ..that I

we 1,I as do i ng- work for no. pay.- I had 'my Equ ity

card by the time I was a sophomore in , col lege,

because I had worked as an apprentice in a.,summer stock. theater. From there on,1. Stagethanaged. have_taught myself a great deal, even though learned the basics .from working with profes- I sionals: You cannot always 60 to a book for answers. Instincts are very important.

these companies ofteniemploy spe- The contradietieni.s clear. cialists to build properties. Steven.Should.have soMe education . -Carpenters:or_set crew -.members_ beyondhigh:school if hemants-a-, have limited employmeht oppertun-. career inbaCkStage-theater.,How- ities in school or community-the- ever, way- many people seam to _aters because usually only one find work is if.their father,and carPenter is hired:tUbuild,:tig, grandfather Were al,so-baekstage Workers., in'which case-only a high and Shift scenery with the help , ,of students/volunteers. (Steven' school diplomajs netessary. eould volunteer'if he were inter-.

. AlthoUgh-Steven-might,not be ested in doing backstage work as able to.land a job backstageoil a hobby rather than a full-tithe Broadway, he still Could prepare job.) himself fora fobin a resident . In resident theater, some com- company, or community theater. If munity theaters, professional, Broadway is-hia onlyAesire;-he scflools,and universities wit.11 could ge to New York and keep try-', strong,theater-departments, ex- ihg withthe hope that he is,that perts in stage lighting are staff one sueeessful person out of the members.of the faculty. The light- many who seek backstageWork ing and control equipment forres-,

'ident companies 'is owned .by the . theater andjs rigged, operated, and cared.for by the house elec7 triciah.:

7 8 Scenery Studici

For big Broadway shows, sets are built.in studios 'like:the Feller 'SCenery Studio in New York. The _studio is run by Peter Feller, who has been a master carpenter most df his life, and figures that he has partidipated in about 4,000 shows in his lifetime. His studio receives about.50 percent of Broadway's set-building business..- At-the studio,--sets for iShows-_: are built from the designer's plans-and tha producer's specifications concerning budget. Usually; about!..60 men work,for Feller in'the studio. If the studio is building the sets for a large number of shows, as many-as 150 peeple-could be employed,. Feller-feels that his workers are highly-creative. He feels that scene building is more a craft than it is engineering. For most-of the shows, he builds sets from foam, fiberglass, or any other new material which comes along. His carpenters can sew as well as any tailor or seamstress. However, many of the technidians mere hired for their job for reasons other than creativity and tra!fts- manship. Most of his workers have been with him §ince, theY were children. Others are from minority grthips whom Feller was able to hire once union rules became- less. restrictive, --- Feller himself, even though he is "in love with show business,"--was _forced into the business during the Depressien. His father, a scenery builder, could not afford to send Feller to college.---Instead, he got him ah apprentice.job at a scenic studio;'where Feller did everything including sweeping floors'. He then worked his way up to master carpenter.He lives with his wife above the-studio; because he works-"24 hours a day,!' and needs to be close.to the studio._

- views of:you. If you tan't'clo it, dOn't because,ybu're hurting the production..Those who can't do-the wonkproperly Professionals aTeund ,the country eventually are-weeded:out any- offer:0e following r.+ice to way, because they tan,--t -take. student's---aboa-backstarge careers the strain. --in the theater': Prepare youraelf to be tu ned. StArt As. an apprentice in sum- down Jor jobs_. If you can't take that rejection, quit right mer stock7--- that wil Ihelp . yoy to make contact-51. Commit away. yourself only _to loOking-for Television is the big place for work in your field.: 'If you crew people to be hired.; .ln want to be a wardrobe super- -theater, there are"-few openin s_ visor, don't accepi_a job at -- --I Montgomery_ Ward in/the dress Don't make enemies._ -YOU never department and cohsid6r it re- know when-that enemy could be lated. Find an organization in a hiring _position; It will, you can regi'ster With that will be hard notto, though, because send you out-oP tOaly5hows there are lot of temperamental .such as showcaseS. people in the _us'iness. Those who yell and_scream are remem- Go tp parties and.meetings bered more than those who do ,which theater peoPle attend- good wprk. Many people.have 'found jobs from a- Lou-I-act tHey melt at Wheh you are in a supervisory positi_on., _there Will always be people underneath you w6 do It's a difficulYbusiness. It- . pp+ do their job. The work will takes extreme personalcomMit- then fall on you., as you will ment and self-:confidence. nave .to Cover for them. It hap Sinte there are/so maw/ people pened to' me once (as a stage who wantyour-ob,. yo1.0ave -ft): manager). I did their jobs and feel and know you-have1some- couldn't get.my own work dane. 'thing epecial o offer And; The Crew head or, stage manager More importantly, you have to- always takes the resoonslbility. communicate,that to.the proper You carnot say, 'No: that's not. people. my job.' Con!t consider backsta0e jobsl I There will be times when you are- ,--We---don't heed the, competitio, offered a,good sum of money-to

, If you do have:the qyali- do a non-Equity show and you fications.to: o the spetifiC are Equity (which mepns you tan job', don't try joriit.: It ls only do.Equity shoWs). You have not a creative thing,like act- to make.the deciston for your- ing where people,have different self whether or not you'll do them, but remember thatgUity= .You never 9et t6 theJpoint-where is a hassle-to get Into,/ All you can relax..Even some Ofthe the really, big jobs be big names in theater production Union jobs. Pf you)are oaught are unemployed a lot doIng â non-Equity'sbew, yOu'll be dismissed from the union.

MEDIA RRODUCTIONJIORK

Janet, like Steven, is a high school student who likes to help put productions together and pre- fers not to-be "on displaly" herself. Because Janet enjoys work-7 ing with the audiovisual depart- Ment, she is one of the students who runs the,projectors for the teachers when they show-films. She also,has worked with closed- circuit television as part of an 'after-school club. Would she be suitted to wcareer in media duction? / Perhaps. But, similar to backstage personnel,' .she must possess certain,skills and mechanical ability neededifor\media-Work.' In addition,-. she mus,t be.resourceful,'patient, and abke to work under intense.pressure most of the time. .Optiffiism and a willingness to fail are valuable charac-' teristics for someonewith a spe-

, cial interest in cinematography 0 or film editing. I. -Would also'be helpful if TelevisiOn stations employ film Janet knew a little'bit about specialists who, are skilled the,?ther areas outside Jler spe- operating complex eguipMent cific discipline. If.she yere intelrested in lighting; for in- -Ince', knowing'.something about how cameras work is useful. 76

Most of all, she must.be able to- director 'wears a headset' to tom- . work cooperatively with others in municate with the crew. order to make a production run smoothly. Floor

,Who arefthe_Media The stage manager is the link be- on Peo-le and tween the"director and the people Do? who appear-on the air or on film

4 1 (justuas a stage manager in the- -Film,lilce-theater, -a--colle-e-: ater is- the link-betwb'en the Ai-ret--- tive art involving',Many people tor and the actors). In small' who all'giVe-Some'sort of crea- re1evisl9n stations, the director tive assistante to.a produttion. takes:Ontheiresponsibilities of Major:films and:larger,teleyision. the stage manager. In larger statiens hayekmost qf the same tions the-stage manager, as in -

, wears,lybadphones and coM- jobs.as backsjItage theater. ..:There . theaterA are the same departments -- s-et.,, municates with all iñvd'lved in the.. props, costumes, lights,sound,' production. makeUp and airstys -,t plus Other duties-of the stage mana- camera and some aadLtihal ..oneS: ger are to: film. a, io of course onl. _deals- with the ound .e'leMent, au4jo.),14' Cue the actors7orpersons .In media(thqre are;also-the twe appearing-on he air. supervisory positions': technical 0 Relay time cues direttor and.. stage Manager.. .Niany oth:e-jobs have'as!sistantswho ' Relay lighting d rections'-- _ share-Th amit-resPons7libi=liti-e-s- AsSist.in property andl,ccnery and,tasks changes and lighting correc- tions Technical.Director ' Adjust Monitors for teleyisiOn A technical director coordinates zperformers to v ew - all thetechnical facilities and Make performers. omfortable operations pf aproductilon such. by, answering-their needs as lighting, sound', and cadera-. intiuding "remote"oproductions. .Change the-title cards bn a (A-"remote" is a broadcast,Which television-show. occurs away from.the studio such 4s at a church Service, political Camera ,.tonvention, or athletic event.) j'hee are several diffeent kinds The technical director assigns of camera specialists in televi workers to the jet) they do b6Stv sion and films: tv-, motion pic-, During-a television production, 'ture, head% newS--(screen repor-ter), the technical director cArries' animation, special effects, assis- out the director'scommands by tant, etc. This book will,discuss operating a videb switcler that in .general terms the iob "camera determines which camera Shots and operator" for both television and -speciAl ef-fects will be broadcast._ films. On atelevision set, tho-technical

8 2 77

--The camera specialist, (director doctor as he walks onto the. stage " of-photography, cinem4tographer): ."Let!..s have a close-upon the must understand and foilow.cues mike," etc. 'The camera operator from the directar.having to do must master the camera in term" of with camera operatici. The cin- its moVement followingthe actors ematographer for an interview show or performers on a movie or tele- hears the director throUgh'the vision set He or she-has the

headphones saying, "Fbliow the - opportunity ta.become creative. with

3 78

the use of Camera angles,.particularly when working on a dramatic film.. The following procedures '\ If Janet were more interested in for both television and films arb fixing cameras than in running them,, important parts.of the camera op-% she should consider the jobs of erator's job: motion-picture equipment supervisor and machinist (sometimes called ' Uncoiling tables and not "maintenance engineer"). running over them Janet)night also consider the job ' Holding hands on the camera \of Motion picture projectionist. 7. Keeping eyes on the view- 'Aside from the person who rpns the finder projector at the neighborhood movie housea_Proi_ecti-OniSt is the op7=: ' Avoiding sudden moveS of erator of the film projettor which the camera directors, producers, and.editors ' Adjusting controls and check- use to view the unfinished and finished film on a movie or tv set. ing the moniter screen in - back of the camera so that The-projectionist threads, runs, the whole subjedt is in-the stops, and rewindt the projector picture as well as inspects andstores filM. 7 Being aware of obstacles' when moving so as:not to bump into them ' Composing pictures with hack- SemeWhere between the categories ground7and foreground in mind of "Camera" and "Film" belong the video engineer-and the video-taRe ,Trying to keep eye level with recording' engineer. Like camera the people being "shot" specialists,'they deal with "film" '1(nowing the kind-of shot pos (video-tape) while it is being sible from any . distance1- and shot,:but they do not operate a from any angle camera. Knowing Ca.era-lenses and the The 'yidbo engineer sits in the kind-of picture each produces. control booth during the filming of a television show and balances- Some camera operators for small the pibture composition by oper-. television stations have the addi.- ating the controls which regulate tional tasks of processing, edit- the quality, brightness, and con- ing, and cutting their own film trast Of the.tv picture.- Wearing since there are no' film special- a headset, the engineer works ists hired. They might assume closely with the-camera operator other film responsibilities such either in the studio or at a "re- as mixing chemicals for film-pro- mete."Video engineers.take part cessing machines and-maintaining in the production while it is on the darkroom and other special- .the air, and the quality of their ized equipment. work definitely and immediately affects the show. 79

The video-ta e recording engin- arranging them in an orderly pat- eer records live programs on video tern for the audience. tape and plays previously-taped

A film editor, for-a dramatic . programs, commercials,'and announcements. motion picture has the greatest opportunity for creative decision- Also concerned with film itself. making. On a Motion picture:the -_-_ the vault custodian And film editor'works an' the.film as it is clerk. Beth of these jobs deal- being produced: :the editor views with storing,and organizing film each day's shots with the producer for future Ose. and the director and listens- to 'The special effects erson-iS their suggestions. responsiblefor any unusual gim- A. film-viewing_machine.enables__ miCk:like- the earthCracking open the editor to run film backwards or an ocean parting in the,middle. and-forwards at varying speeds. The .most important job conceyn- The editor uses a wax pencil to mark the sections- of-the film to ing.film itself.is that of film_ be.cut and later euts them with editor. There are two-kinds. of scissors. (This*task is often-__ film editors: theaterical and perfoimed by assistants.) non-theatrical. Theatrical film The editor also synchronizes.the- ) editors work .on feature movies sound track, to the actors' lips_ and television- shows. Non-the- -or the narration to- thd appropri- atrical editors Work on industrial ate action in the film. and educational films, or at television stations. Three-quarters After being edited the faim is of the more than-7,000 film edi- viewed by the producer, director, 1

tors-in this country work in tele- and other anterested people who I vision. (See "Scriptwriters" in discuss revisions and suggest fur-I the.previous chapter for the kinds ther changes; Another.showing to; of scripts in film and television. the director,and preducers ,brings These same-scripts will usually more suggestions. :This process' need film editors.) -continues for some tiMe until the: film is.ready-for release. A film editer, with the help of assistants, editS movie film =While the director is viewingH and sound tracks. The editer is the film, the film:editor makes: asimportant as the-director,-de- the atmoSphere of the cutting

. signers, and actors in-molding room as. pleasant as possible for

= the assorted.pleces of film into the director who can be more era- one cohesive product,',and in mak- ative in an atmesphere where there ing a creativestatement on film. no fear-of expressing feelings. During the edi:ting process, the Films are rarely shot in -the editor tries to grasp the'feeling 'sequence of scenes that are finally-shown to an audience. Often of the completed film by trying to understand the direetbr's-concept. -re is as much as ten. .times more Each change of:emphasis ("Shall film shot than can-be uSed in the we go from A.-close-up of the'boy final version. The film-editor to a close-Up of the statue in must. be Wri artist, writer, critic, and director while selectingthe the park?") could radically, change the meaning of the film.Editing scenes that.will be used and 80

Fi lin Edi -rs ?vale __an Decisions

Film editors decide whether,there is sufic ent film coverage to tell the .1.'storyi.':inthe most effective. way. Example: -The editor mi-ghtisuggestadditional footage for a documentary about thevarlous- breeds of .dogs which had oeglected,tomention- or show German shepherds,collies, or poodles.

Editors time scenes to =give the film a pacewhich

-would hald-the-audiencels_attention,__ -- Example: Shortening long, photographic land- scape shots in a murdermystery thriller for television is part of the editing process.

EdiSors must understand the feelingand meaning of eaal scene in order to fit theindividuaLsceneS together to develop the ploteffectively. Example:,,The news photographer May haveshot the incidents*of racial unrest overthe last few weeks leading up to an allnight negotia- tion session. The film editor needs to understand the substancebf eachepisode to show how each led logically to the other.

Film editors decide where to make cutsin the film since the first version always runslonger than the length desirable for an audience.

Example: Editing "How to Cook an Omelet"film for television, aneditor'might delete the part when the cook goes out to the hen houseto gather the eggs.

Film editors decide.where specialvisu4-effects like dissolves or trick photpgraphy areneeded.: Example:. The editor .might-decidethatin-a dra7 .matiC film when the two centraLcharactersare . ;haying a violent arguMent, it iteffective to. dissolve to two lions roaring at eachother in a zoo sC-ne.which,had been shot separately:

8 6 SI .

is basica _y-d matter of communi- Props cating: the film editor inter- pretS what the director is trying Added to the.backstage theater list to put-on the screen. The final is the-shopper, who goes to stores product-is in a style whichis an to buy any props needed. The Shop- exspression of both the director per technically belongs in the and the film editor'. "cOstume" section because he/she could also be assigned to buy Just-aS the edi'er communicates costumes and accessories for the the director, so it is ad- cast members.- visable to s;ommunicate with the scriptwriter. The film editor must know how to relate to the Costumes eharncters_in.the. film. It is._ The co timer in-television will--- not just a matter-of technique design if there is no,designer on when a film editor asks': "To a,specific s4ow, But thecos- whom do1 euthow? When,. why, turner's usual tasks are to: .and how?" Technictil skills, however, make the film "play." It Plan specific costumes with s a demanding and precise. job to the director- assort, discard, and assemble the . Measure actors fer size of pieces of film which make the fin- costumes ished prOduet a personal interpre- tation, Particularly for a drdmat- Locate, order, or make eos- ic tumes (being aware of different shades for color or Depending on the size:of the black-and-white) television station or the impor, tance of the film,assistant edi- e Return rented costumes to tors assume:many respons'ibilities. owners or store'them in ap-- Possible titles for-these assis- propriate wardrobe room. tants are:. as-sistant film editor, film inSpector,-film.Viewer, film Lights Lhnician, film splicer, sorter, and film loader. "Gaffers" run the lights for a firm or television show. They Set adjust the-lights on the performers -and on the set. Gaffers_help . As in theater, film and television to create character or the desired production requires carpenters, mood. -Setting all .the Jights painters, stagehands, and some- prior to a show, they operate the times-riggers. _Their duties are, dimmer during the telecast .(actu- basically-t.he same as those of ally controlling the lights during their counterparts inthe theater, the performance), supervise the --pryvious section on:backstage .lighting board, and store cables theater.) One addition to the lIst and floor-mounted lamps when the is the greens planter who.sets production ,is completed. Gaffers any greenery or landscaping on have assistants who share these

moVie or television set, responsibilities. .

8 7 82

Sound Sound duties :are also assumed by other personnel, such as recordist, Sound in media takes en far great- mixer, re-recording mixer, cutter, er importance than in theater. and playback equipMent operator. In radio, for instance, sound is the only dimension. Makeu

Audio engineers control the Makeup artists in media have more sound portien of a telecast or to do than those in theater be- film. For example, the audio en- cause they apply make-up several gineer of-a-television show which times' during the production. They starts each.program with a lady make up the performers keePing in screaming followed by mysterious' mind.the qualities_of cosmeties Musie wauldWedi al+Ceset to .under lights in Color d black- hear cues from the director such and-white. Other t- nclude: as, "Open boom mike, stand bywith the music', hit ihe screaming lady; sneak in.the music" 'These pro- Makin the p appear duction workers-operate the con- ,"neu_ral" witlithe lights trols inside the stu'dio which reg- Creating Characterization ulate Sound pick-up and transmis- (particularly in dramatie sion fer live studio work, record- 'movies or television shows) ed'Work, and network or "remote" pick-up. _They:also check and Touching up the performers' control .the microphoneS used for makeup during the production. special effects and. music, tape Keeping makeup neat and stored recorders, and turntables -The properly music may be live, taped, or on 'a record. Taking inventory and ordering stock.periodically. Assisting the audio engineer are microphone boom'operators, Hair Styling Through earphones, they listen to the,instructions of theaudio HairStylists are used mere fre- engineer in one ear and the pro- quently in motion pictures-than graM 'in the other-in order to in theater or television. They' control and adiust microphones style'the actors' hair or wigs as needed. -They,are also respon- according to the historital per- sible for suspended as well-as iod of the film ar the kindof boom mikes. characters being portrayed. The sound effects specialist works on afilm or television show,accumulating the sound spe- cified by the script or director. Possible sources for sound cues are the soune-effects library or, recordings made-by the sound crew itself. The sound:effects-specialist synchronites the sounds s9 thatthey are'heard at the right times .during the film. 83

How, and with What Background Most film editors have a liberal Do.Media Production People- arts education because there are Find Jobs? only a few schoOls which :offer 4ecial training in film editing. Preparation for a media broadcast- While in college Janet, as an ing job begins in high school. aspiring film editor,: would take JanelJS participation in theater courses related to the kinds of and audiovisual grou0s at Sandy films she might like to edit: Beach-High is a good start. She arts and.humanities. cour-ses for an should complement her extra-cur- interest in theatrical films, and ricular activities with film, education 'Courses if her intereSt communications, or audiovisual- were in educational films, as ex- classes. Math, science, _and vo-_ amples. cational courses are helpful too. Most professional media prodUc- If Jan6t"S particular interest is tion people agree,.bowever, that n film-editing, she should take the most valuable experience is high school courses in English, gained out of school.. Photography. art, and photography. Building should definitely e a,hobby for and operating an amateur radio those interested in camera and station right at Sandy Beadh High' film jobs. Janet should learn School would be.uspful prepara- how to: tion for media production jobs... Use acdmera Further education beyond.high' school, would be desirable for ' Make a sequence- of shots Janet in planning a career in which tell a "story" media production. Technical Cut and splie film training in electronics is a helpful avenue; a college degred might Run ihe school projector. be even better, especially if A part- ime job in a_ film-process Janet wants to advance to super- ing lab of:a photo supply business visory positions. While in col- is helpful .preparation. :lege, she should join any radio station, film club, or closed- Professional 'media production circuit operation available to people must possess a Federal her. Communications Commission license- (see "Announcers" in Chapter Two). The student considering becom-. Anyone adjusting or operating ing a director of photography for broadcast transmitters in radio_ a film needs:at least a three7 anditelevision stations must have year course at a technical:insti- an FCC:license. -Janet could begin tute -- a eourse_Which includes studying in high-school to_pass inStruction in mechanical and, the necessary exam Tor her license; artistic aspects of.camera work. courses are available to help stu- A More advantageous course of dents prepare for the. test. study might.include a bachelo degree from a liberal arts= col- When looking forjier first Job, lege followedrby a Master of Fine' Janet Sbnuld have some awareness Arts in film, a degree which many of al' goes on in film, tele- tep cinematographers have obtained vision. radio,witha reasonable Doris' Career

Doris, a successful film editor from the West Coast, :started hercareer as amessenger in a film studio. She eventually worked her way up to an- apprentice's job.-She advanced to become a script clerk, an assistant editor, and then, sound effects editor.- She left the-security of-stablt studio employment -to work on a free-lance basis. For-a while she edited commercials and industrial shows and_ now is editing major dramatic motJon pictures.

poficievicy in more than one aioa. f Janet were fortunate enough She should also demonstrate the to be hired as a film.apprentice, potential for being a skilled her duties would be to_splice, re- craftsperson in a specific pro- , wind, number, and deliVer film duetion area. A good place for After flo less than three years Janet to start might'be a film-, Janet could be considered an assis- processing lab where .she would: tant-to.the film editor if her work get the.strong technical back-- were good and a job opening avail- ground needed to eoMpete for:jobs.' able.. As an assistant shewo6id Because the best media production help the-editor synchronize the jobs require union-membership and sound with the, picture, break the it is difficult,to procure a un- film down into-scenes, take notes ion apprenticeship, Janet's'next during the.screening,.and file step might be to try non-theatri- film. cal,non-union jobs. Manufactur- After no less than eight years, ing companies, religious, medical, Janet mould be eligible for a film government,and educational organ- editing posfttoh,, but &mid easily izations may haVe their own not be hiredfor one,due te lack film-units After gathering some of openings. Non-union jobs have experience working on non-theat -the same process, but take about rical films,'Janet could apply, for half the tithe for advancement.- union= membership if shejliesired. The step after being a film editor Unions requiroexperiefice for is producing and/or directing. admission., TO Obtain experience in editing industrial (non-the- .For many of the media:production atrical) films, JJanet will have' -'positiens career advancement means to seek work in the big cities, moving from a job at a small sta- particularly Los Angeles, New York, tion to the same job at alarge.r Washington, -D.C., Chicago, Detroit, station.. A production person at .St.Louis, Houston,-and Denver.: a small 'station-itra rural aFea The placement bureau of the-col- would-perform many tasks at ihe -lege She attended-might:be able same time. (See "Announcers.") to help her locate possible jobs A cinematographer fram' Detroit with-industrial filMs. started as a production assistant 90 85

in a small station in Indiana. _Advice ibr Students He then- worked his way up to as- from-Media-.-Troduction Peo le sistant cameraman-and did simple 'news and quiz shows. He now hasi Many of. thepieces of advice listed

a job'as .camera operator for a in the backstage theater section . large station And'does more.com- apply to Janet as she aspires for plicated, interesting shows. a media.production- job. Some addi tional advice given by prefession- Ed, an-Academy Award winning Als exclusive to media jobs cinematographer from New York, suggests that an-aspiring produc-- _Be- ready to face the problems tion person do anything related of 'not enough' on a.flimpor at to the skills of.the job for a television station: not whIch_hebhe_hopes: The aspiring enough budget, tijmepersonnel,_ technician should then ..space or. freedom7---Xou might have to make artistft-sacrifi-ces.

- gradually suggest offer, pu6b, You may often-work in cramRed and prod peop)e Lnto letting quarters.- Sometimes, you'll you do what yOu want to do. feel, that there' is a set way of Then; you get a sample of your doing everything which leaves work and can sellit from no room for.oricinality. 'film' door to 'film' door.- After some years, friends and- If you are-Tnterested in com- reputation substitute for sales mercial success -- in making effort. Advancement comes-. as money and establishing a-repu- you have more freedom to do tation,-- traln to be 6 sensi- your own work. tive tool for the 'Vision' of the director, or the intention- A cinematographer might advance

. of thefilm. .df you are in- to directing,'producing, editing, terested in-artistic 6uccess, or writing. Many cinematographers train:to be an artist with a plOssess the skills tO be still basic teehnicaf 6cquaintance photographers, sound technicians, with tbe craft. gaffers, and electricians. Some are teachers. And consultants at Yeemay have to work on commer- 'the sate time. cials, which will .beartistic7 ,ally 'humiliating. Do itjor According .to professionals a whiFe if you must, but don't Janet must _be aggressiye and self- get stuck at it. confident to convince people to be interested in her work. Any Be prepared to be asked to f -I friends she can make lon g the . low a iife-style which you do way may.prove helpful.Tilling not. like.' Thrik about,how you jobs with friends is gtill a pop- might want to dedl ith that. !Alai tradition in media...

91 86

More specifically, cinematographers Job Outlook had the following adVice: Media production people have irreg- Get ready.to be asked to shoot ular hours, firm deadlines, a:hd things which are not true,,or pressures which constantly build wirl contribute to a statement up. Yet more and more talented -that.is jalse or misleading. people areseeking media produc- You may have to film a commer- tion jobs. -The competition is in- cial showing mosquitos light- tense. ing on an arm_not sprayed by the terrific insect repellent = Bothindustry and =governmental and avoiding an arm sprayed with agencies are making'greater use the great stuff. -What thepub- 'than in the pa-st of film and video- lic-doesn't-khOW-Fs-that-the tapet-there-is-a4so-an increase of: first arm was coated with ice film use in education. The popu- cream -- wouldn't you light larity of movies made specifically on it if ycd were a Mosquito? for television,and of television This example may be made-up commercialS for advertising iS: but it happens all the time. another factor in assuring that Commercials aren't the only Media production- workers will con- films,that lie. Dramatic tinue ti) be in demand despite LlIms and even children's the competition for jobs. Finally', films lie, too. women are-gradually finding more opportunities than in previous years in media production.

9 2 S. BUSINESS&BEERS

AML-1 INTERESTED IN THE BUSINESS AND MONEYNASPECTS QF PRODUCTION? CAN I ORGANIZE WELLT

If you answered "yes" then answer WOuld Ilike to 5upervEse the foljowIng-questions. activities:at .a television or- xadio station? Would Ilike to be'in complete charge of and'pay for- Some possiblejobs are:- all elements of a-production? Program Department Director Some possible jobs are: Production Manager NewS.DireCtor Producer Program (Production) .Executive Produter Assistant - Associate Producer Public Affairs Direttor- Assistant Producer peneral (Station) Manager Business: Manager Do Ilike working with people COpyright Expert and coordinating-activities, and ddI have some leader- Am I good at persuasion? ship qualities? I like to..sell? Some possible jobs are: Possiblejobs are:- General (Business) Manager Literary Agent' ProduiCtion (Company) Manager Script Rental Agept Publicity Director Personal Manager (Public Relations Manager) (BusIbess Agent) Ti'ress Agent (Assistant) Booking,Agent Theater Manager Titket Broker -House Manager Tv-Radio TiMe'Salesperson Box Office Treasurer Sales Manager (Head) Usher Traffit Mariager Ticket Taker a

87 88

PRODUCERS ,

Gail is on the South Cubby High those students pho have.an averag_ School,Committee to plan an even-- of:C or betteri but they cannot ing of.theater,t0 celebrate this agree upon a 4rector. One. person , year's graduation-ceremonies. suggests Misso/Dullton, a social The committee-mus studies teacher-whose only direct-. ing.experience was last year's o Select-a play for the event South Cubby "Egyptian ReVue." The ' Choose the cast and director audience loved the show.. the show wasn't much, but they Decide where and when the loved the_pyramids Miss Dull_ton predu,ftio-nwir1-1--take---p lace:- built as scenery. The, other members of Gail' s Gail was on the pubiicity com- committee are in favor of a new mittee for the- "Egyptian Revue" play: written by an elderly woman and recalls 'how Miss Dullton spent from the neighboring community of the env+.5zbudget on those pyra- Tukitown. ,It is a satire based ' mids and IN no ingney left to print on the lite of a chicken farmer publicity posters' or advertise the in'a place 4puch like South Cubby' play in the newsPapers. .'Conse- which the wiiter, has carefully -quently, -halt tfie seats were empty. disguised as "North' Guppy." Gail' feels thatsMr. Bell, the Gail is opposed to the selec- music teacher, would be a better ,tion for many reasons. She feels choice tor director since he would that if the committ/ee selects an spend the money more carefully. original play, it should be one Gail also mentions_that selecting written by aresident of South- Mr. Bell would save additional-mon- Cubby. The parents of the gradu- ey on musical ltcompaniment for ating students would probably the show,--sincp he plays the piano prefer to see a play written by quite well himself. The rest of a student. The South Cubby par- the committee/considers Gail's . ents are proud and competitive ideas and decides to wait another and have not forgotten-that Tuki- day before voting on.the director- town t4at South'Cubby on Thanks- giving Day's football game this year-- final score.77 to six. Next they discuss the times and, Also, there are many chicken far- place of the production.. Members mers in South Cubby andGail feels of the committee felt;that the old that parts of the play may be of- swamp a half-mile down Vhe.road fensive to-them. After hearing from the school would biI an excit- --Gail's argument,theyest,of the ing place for the production. The .committee decides to wait another swamp had been filled in by _sand # day before voting on the play several years ago and-alI of the selection. high-grass had been-cut away. It was suggested that seats could be Next, the Committee must select arranged around all'four sides of They the cast and the director. the swamp. The audience could all agree that the directo'.- Nfl!, walk to the swamp right after choose _cast members from commencement-and_the production S9

could begin around 10 p.m, an& much parreFto drink, fell down and: end around midnight. ripped his new-trousers. Many people grew tired half-way there Agreeing that :the- swamp idea and dended to skip the play and was innovative and excaing, Gail instead went oUt for coffee and. questioned its practicality. Too donuts. much time and effatt-would go in- to setting,up the TA-Inirs and, the Those who did arrive at the

stage area. Platforms would have swamp caMe much later than expec- ! to be built. Furnituile and other ted. Qne actor was Missing because scenery would have to be carried his parents made him come right all the wily to the swaMp. She home to see his Aunt Virginia who

Mentioned that the audience might had flown in unexpectedly from I --Europetosee-the-graduation7=-Miss- ,Also it might rain and there Dullton was still putting finish- .!would be no convenient indoor ing touches on the three-story-high 'alternative site. The high school chicken she was building for_\ scen- auditerigOM wou4d bea much morp ery.. convenient location, Gail thought Whea the play finally started ini Gail, also felt_that the produc7 Gail's dream, 12 chicken farmers' i tion should not be scheduled on got angry and stormed out in pro-I

! commencement night. People might test,throwing eggs at the actors)

be tired and elderly people might and Miss Dulltoif:- Suddenly, if 7 not want to-stay out until mid- began.,to rain and what was left of.

nighk. Besides, the students the audience quickly ran nway 1 would\prefer,to celebrntetheir , / Thenctors continued untilthe) graduation by having parties felt the stage platform sinkng that night. below ,the sand. They jumped off She suggested that the perfor- the stage just as it sahWAnto mance take place the night before the earth All that:could be sqen :graduation when the students' of of Miss Du lton's giant chickenlwas South Cubby were still studeilts, qits beak a d head. Miss Dullto of, South Cubb y. ft could be.Pie was about o stand up and give a. final and biggest event of,the social dies lesson when... year. The:rest of the committke, J Gail'sj alarm wen.,a f. It wias, after listening to Gail,-decided morning. She'went,? school and to wait another day before voting prepared herself for, the committee on the time and place

1 me g. Thplieeting turned.ibut

t - Gail left th.at meti deter- toj be brief. The other members mined to convince the emmittee.. aglyeed.that Gail was right n,bout She fell asleep that ft think- qfl she had said./ They decided-on

, ing abobt what -could happen if tudentwl-itte- play whicli Mr. the.calmittee didn't go along Bell cheerfully frreed to d/ireict. ,

with her ideas. She dreamed that / The skills which Gail showed in it was CommenceMent night anethe estimating and/planning:Sol/1th Cub-: diplomas had just been'awarded, by:s .producti9n are ccrtaiinly Everyone marched up-the street to skills which a professi6nal pro-

the old swamp to seethe play. . ducer would -iiPed:' producers must One/Man, who had a_littie too. understand h/ w,toplan 'ail the elements of time and work invelved She should be creative insofar as in a production. For example, having good ideas, having them Gail's Skill in understanding often, and being able to express What the audience will or will them. -not-like is an asset to a produc- Gail would also need'organiza- er, who must alwaysbe cohscious tional abilityjln.order to coor- of the audience's needs, prefer- dinate the many activities which ences, a's-A ure. A good pro- conTribute to one production. She --know-that-AL--play_about= must be able to keep things in chicken arming was not, right for, 'logical drder. the Sout,c Cubby audience.. rOne producer. described the inSinct, ProducerS.also feel Viat Gag Jor_judging a_good show-s havin should have certain personality a "gut feelingAbOUt the people ehiatteristICS7fti-be-SdedeSTU1---_ you're Serving.. knother skill as a producer% She should be ser- 'needed by the producer is the ious about herself., committed to - knack for using,limited'facilit- her job, have a sense of humor; Most ies to their:maximum advantages. and the desire to work hard. Producers havedoneyoncierail important, however, would be Gail's' work in inferioi' theaters,and behavior-Aen working with crea:-, with: ineXperienced actors/and/or' tive people. She needs aggressiTe- deal-. very little thoney.r,Prodiicers mu- ness, even arrogancel when _e aware-ofthellikiden traps-in ing with ideas and patience,.even prodUction And the chanCes for kindness, when dealing, withTeopi failure. What 'DO Producer's Do?' Gail has always liked theater , and:movies. Although she never A producer for radio, tv, tried.out for any-school plays, and theater has many moreompli- she always worked on publicity cated tasks than/Gail encoUntered committees and often ushered dui.-- in her committee work at South iing performanceS. -She has hacY. Cubby High SEhool. In order to many part-time job's inbusinesses help studentslina out more about )and she,hopes to work her way up what producers do, Jorge, Michael, te a thanagerial'positionwhen she Sheldon, and Polly deScribed'the ,is, in college. jhis is a Useful job of produeing. yolly and Shel background if Gail ever hopes to, don are professional produCers in -become AI,roduCer. But she will theater and COmmerc:ral movies; -need certain other skillsAnd tal- Jorge and'Michael produce radio, l'ents, Gail should know4bout all and tV _shows AndeducatiOpal filths. J various production techniqueswith- in the art of theater-and/ormedia. Gail, like many-other people, the'difference A theatrical- producer,.for,example, may not understand should be famikiar with lighting between a prodUcer add a director__ Of - and stage design; a filth producer ' The producer-is the "higher" should knew abeet film techniques the two poSitions in-thht the pro- ) ducer arranges.all the-details i Such asvidtape. and finances. As producer, Gail - Prochicers mdst alSo have a,good would decide datestithes, and command of the English,language. places for rehearsals andwOuld Gail should be abl.e te ,s.peak' ar-1 also arrange to finance the5-hew ticulateiranU te write well, 91

and how to..spend money. The pro- I arrange all financing and ap- ducer is the director's "boss." prove experse!=. I raise money from other people (who invest Tasks and Activities a lot and expect a largeamount of return). If the movie or Question: What tasks and activi- play fails,it hurts my repu- ties do you do during your working tation. time? must decide whether or not Jorge and Michael to use a tOp star who will draw (Radio, tv, educational films) the audience but wili cost.more and need a fancy wardrobe and I gather all the necessary a special dressing room. factors in putting together a show such as researchers, Particularly in'a movie, I may writers, performers, crew, take insurance out on a star so arti5ts, etc. that the- show does not suffer because of illness.

I supervise, plan, or conceive

individual progran's (or a ser- I am baby-sitter, lawyer, doc- ies of programs). tor, and mother to the people who work for me.

I arrange a perFormance date and establish rehearsal dates and times.

I raise funds and look for Producers' jobs can vary a great sources that will enhance the. deal. A news show producer, for production. example, would have the security of working in the same place all I travel to other nations when dealing with joint productions. the time, hile a movie producer might have the problem of having Polly and Sheldon to rent a facility for each new (Theater and movies) project. In commercial movies, producers who "live" at or are 1 assemble the cast,.writers, affiliated with one studio are directors, technicians, de- now almost 'completelyunheard of.. signers, composers, and -- Independent producers (producers if a film -- the film editors. who work for themselves and make individual films for many dif- I am responsible ftm- the final ferent sources) are dominant. product so I supervise at ev- Film producers usually make any- ery step of the way. I accept or reject everybody's work where from zero to three films if down to the clean-up crew. I in a.given year, perhaps more make sure everything is done the films are short documentaries. on time. Theater and movie producers also take big financial risks. I decide where the film or Often they work for a percentage play will take place. I rent the facilities of.a theater or of the amount made; if the show studio that has the necessary is a failure, the producer luses ..equipment. rather-than Makus money. Income

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results from box office receipts Sometimes producers are urder and sales of refreshments and contract to their financial back- souvenirs. Occasionally a pro- ers for a specific amount of money ducer will own the "rights" of a which they will get whether the show_ This means that if a re- show succeeds or not. Television cord, book, or tv shcw made and radio producers are.paid week-

. from a movie or play L-- a movie ly, so there is less risk iavolved.. from a play -- the producer will In a field with many unstable occu- earn a share of the profits from pations, the radio and television- the sale. producer's job is one of the few relatively stable positions.

Career Enhancements

Producers, like actors, directors, and writers, don't necessarily work from nine to five. They-are involved with their work all the time. Question: What do you do outside of your working cay that enhances your career as a'producer? Jorge: There is no "outside" of my working day. Almost

I keep up with what's everything I do enhances my job. happening locally' and nationally -- politically or other.wise. That helps to keep my work relevant. You can never tell when something you do could relate

I to your job. I went to see a band last night. might want to use them as part of my television show.

Michael: Read, read, read. I observe the world, 'satisfy my curiosity, and meet people.

Polly: A:play I see at the theater could be related to a play jwant to produce'. Going to community meetings, giving guest lectures, and keeping up with the arts all

enhance my wdrk. Also, I sew costumes, design.posters, hammer nails, or do whatever has to be done to get a show up on time.

Sheldon: Since.I do not work in New York, I find it

helpful to visit the city and see plays. I also meet with other prcducers and with playwrights and script7 writers 'who are looking for someone to produce their

work. If I'm producing a show which has stars, I go with them tb their interviews. There is really little separation between my working time and my "spare" time.

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How and Why Sheldon: B.S. in Business Do Producers Become Producers? Accounting, M.F.A. in Acting (Directing) There is no one, two, three, or A combined arts and business back- 23 ways to become a producer. All ground seems to be the best possi- producers.advance to their jobs ble preparation for,a producer. via some uni.qUe pathway. Many be- Producers agree, however, that al- came producers by sheer accident. though their educational experien- Michael described his first step ces may have been helpful tothem, in becoming a television producer: they learned much of,their "trade" after they entered the field and I revisited my college campus to share a beer with myf'former learned from what other people had roommates and found out that to offer. they'd begun a graduate teach- Although some ptoducers have been ing program in telev.ision. I "overnight successes," most produc- enrolled. A tong and varied ers reach their jobs via many years career began with a bottle.of ale!of experience in the theater, films, Most producers, however, did or television. participate in some related extra- A young producer might find many curricular activity when they were aspects of the job very satisfying. in high school or college. Others In the theater a producer might claim they were independent, did have ,the joy -of-seeing_a full a lot.of reading, and stayed away house and the realization that his/ from group activities. her efforts Were partially respon- A student might participate in sible for attracting people. If a drama, newspaper, yearbook, or play is a big critical and finan- musical activities -- even stience cial success', the producer's re- labs help to steer hiM/her toward wards would be even greater. The a good background in performance chance to do bigger and better- and communications. A knowledge productions can be gratifying, too. of film processes is helpful to Finally, producers enjoy the inter- 'students who want to produce films play o''..:.ideas which occurs when or television shows. creative people.work together. Most ptoducers-would agree that As was mentioned earlier, there a young producer should have a are no clear'cut patterns tobe- college degree, or even a master's coming a producer_ A few sugges- degree. For example, four posSibletions of "career ladders" -- jobs eduCational pathways are: .or "steps" one takes in order to reach a certain job -- given by Jorge: 13'.A.'in Psychology and producers were: Education', M.S. in Human Development in Television Television/Radio Michael: B.S. in Drama, M.S. in Volunteer for tv show led to Television Production Assistant led to Associate Producer led to Polly: B.A. in English, M.A. in Producer. Theater

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Why Did You Become a Producer?

1.1corp: My. 6;vrl of children. My first interest was

in children's Iv because I have great concern for the early years of life. Television has a tremendous

impact on the community. I have things to say to the people. If you want lb go about changing things, tv is the one source which reaches all. did teach at first, but that was a dead end for

me. I like the producer's schedule and, most of all,

1 like meeting people -- which I did not get to 00 much as a teacher.

I need the type of job which is high energy, keeps me running and on my toes all. the time, and gives me exposuff7e7to people who are doing things. It may be a cliche, but there is no business like show business!

Michael: The producer is the focus of all ideas and decision-making and is the creative beginner. Be- cauSe the producer is the seat of power and the judge of what is tasteful or not, I naturally gravitated toward the job.

Polly: Even though my parents advised me against the

theater for economic reasons, I realized that I had the natural talents and abilities to be a leader in

that business and I went after it. The atmosphere of excitement and creativity which surrounds a producer led me to thexareert .

Sheldon: The affluence influenced me. 1 wanted*to

be a bigoproducer and make a lot of money. I also

love the publicity I get. I am attracted to the glit-

ter of being in show business. As a producer I go to New York and .see Plays, havepeals, stay in suites, etc., for free. The fringe benefits appeal to me. The power to control the whole fabric of a play or movie was a great attraction.

100 Theater Advancement can also mean working on larger projects, with bigger Assistant Stage Manager led to budgets. Stage Manager led to Director led to One producer said, _ Producer. Advanding depends upon developing a wide array of talentt Another step on the theater 4 more or less simultaneously. career ladder might be "motion If'some'are missing, a large picture producer," as there are. rut appears. prOducers in theater who go on to produce motion pictures. Many A young producer looking for ad- television producers started with vancement within the television lesser jobs at small television industry would have to prove him/ stations, and gradually advanced herself first by producing the to larger stations. A news or "best show for the least money." talk show producer might also become a station manager or program manager of a large network.

Other Work

Question: What other work could 'you be doing with your background and experience?

Jorge Polly Teaching Teaching Administrative work with Directing community agencies Writing Developing curriculum Educational research and evaluation

Michael Sheldon Tv reporting (news, Acting public affairs) Directing Magazine editing Accounting Consulting for the Any type of government buSiness work Managing a supermarket

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Advice for Interested Students Polly (theater): Don't! But from Professional Producers you must, consider it very carefully and be fully aware of the The profeSsionals would warn stu- responsibility. Don't undertake a career in theater unless you dents about having unrealistic - notions abe.ut the glamour andsim- have complete dedication. plicity of a producer's job. The- ater and media business is not Sheldon (theater): It's not all It's a very rough bus- "fun and games." Neither is it glitter. as financially lucrative-aspeople iness. Most actors are unem- tend to think -- at least not ployed most of the time. Get right away. involved with smaller companies and repertory companies. Be The'four-Producerseach had ad- well-informed of what the "real vice for students considering gen- world" is like. Nobody cares eral fields of theater,television, about what yob did in high school .and broadcasting. and college.

Jorge (broadcasting): The field The following advice frot producers of broadcasting is diverse -- shows that people have differences there are researchers, writers, in the way they view their jobs: technicians, business pec 'e, administrators, financiers, Jorge: Experience the community artists. Get a formal educa- while you're getting your edu- . tional background. As the job cation in the field of communi- market grows wire competitive, cation. Have patience and per- educational qbalifications in severance. Be aware of what's, the:field will become more im- happening. Read the newspaper. portant. Do not commit yourself only Michael: Look.for an opportun- to one field. Use each experi- ity to work for challenging ence as a step in thelearning people. process and draw from your ex-. periences for what you are do- Polly: Be aware of the studies ing at the moment. Be an inter- you must undextake, the long grind without recognition, and disciplinary.person. the lOng hours of work. In Michael (television): Read, ancient Greece to be in theater write, see plays. Act if pos- meant to be dedicated to the The feeling of com- sible. Paint at least one god Apollo. life in oil. Participate mitment has not changed even in the world and play with today, particularly for pro- ideas and your curiosity. Be ducers. committed to exploring the world and know that tV is a good vehicle for doing it.

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Sheldon: Do not tecoTe a pro- The major conflict is that of ducer for the artistic part compromise. You want to in- of T. You.have to start 31't sist upon your personal stan- commercial. Don't try to ap- dards of quality while others peal to just a .small audience. are trying to "cut corners." Appeal to everybody. Hire There are always disagreements

' 'names'if you can.. Do not on matters of artistic inter- expect everything with which pretation. you deal to be a work of art. !-Ioney and the box office are What'is the Outlook important. Get people to come for Those sE:s your productions. Do not Planning to Become Producers? go for personal satisfactiop in arts. Producers interested in the "big time" theater, or in commercial Producers face endless details films or television, are better in their day to day routine, and off in New York, Los Angeles, and \the.constant pressures of their London, where large numbers of -)jobs can be exhausting. Many pro- producers are employed. However, f ducers also find that the endless more and more small theaters are searching.for funds can be an un- appearing all over the country. pleasant task. There 4re always Boston, Massachusetts, for example, petty problems centered around has several within the city. The .people's attitudes and personali- population growth of cities such ties which can make the producer's as Denver and Houston has brought job less pleasant. with it a percentage of the population who want and need theater, Producers sometimes have to make and theater groups are appearing. difficult decisions aboiit ethical There are now repertory companies issues. .Professional- producers in nearly every state because peo- in theater, film television, and ple demand live theater. Broad- radio mentioned such issues as: way theaters are often filled to ! There is.always the conflict capacity. The more theaters there of producing a show you feel are, the more producers will be is immoral or_unethical. It needed. Many small theaters are is.not impossible to say 'nb.' being opened because they cost less to operate than the larger As a producer you try to make ones. But they still require pro- the best contracts you can. ducers. There' will always be an Inevitably,, you end up hurting audience who insist upon seeing The low people along_the way. real theater with real people in percentage of working actors front of them. has something to do with it: everybody is trying to make Television production depends on it to the top and you are in the amount of advertising money a position to shatter people's available. New York, Los Angeles, dreams. You hire the people Chicago, Philadelphia, Houston, who can best fulfill their Boston, and San Francisco have jobs, and fire the ones who major tv markets along with other cannot meet deadlines or can- big cities. As radio stations be- not work to your satisfaction. come more and more responsive to

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social issues, there may be better be replaced by the work of another chances for producers who work to free-lance producer. meet community needs to find em- The biggest demand for producers ployment. Minority members and is in documentaries, training films women are finding increasing oppor7 for industries, and educational tunities in television, and radio films -- rather than in commercial to a lesser extent. There seems television or movie endeavors. to be a trend toward more free- Producing is competitive. Only lance creative activity in tv and those who are highly dedicated and radio. A producer can sell his/her talented-will be likely to find property to a television station, opportunities. . but, of.course, if it proves to have no-audience appeal, it will

THEATER BUSINESS-AND MANAGEMENT

Gail's best friend Joe was also Possibly, but Joe needs a lot on the South Cubby committee to more experience planningtheatri- choose a production for commence- cal occasions and working with ment. In fact, he handled all large groups of pecple. Like the the publicity arrangements him- producer, he would be responsible self, sold tickets in the cafe- for handling many aspects of a teria during lunches, and kept particular'production, and he track of all the expenditures and would need organizational ability profits of the production. Joe to execute his responsibilities even ushered the night of the smoothly. production. Everyone remarked how charming he Was as he showed Who are-the Theater people to their seats and pointed Business People and Managers children to the nearest rest room, and What Do They Do? as was frequently necessary. There are several steps involved Joe is a good peace-maker. He in putting together a dramatic stopped a food fight in the cafe- production. The first step is to But although he teria last week. form an 'organization. An "organi- is pleasant, he also has.what his ation" could be anything from parents call ."good business sense." the South Cubby Drama'Club to a He earned his spending money last group of professionals working to- spring by collecting old test tubes gether and pooling their funds for which Mrs. Tougho had thrown away a single idea. in the science lab and selling them as bud vases. He particular- The organization selects a play ly likes the theater and all the or a series of-playS. The pro- business which is involved with ducer mak do this with.theas'sis- it. Is a job in theater manage- tance of a general manager. For ment a good idea for Joe? a professional endeavor, atheater has to be rented from a theater manager.

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The box office of any [arge theater emplo0 many °'11 workers to respond quickly to audience demand for tickets.

Then the production is designed perhaps tours, and then ends. and c-ast, and various parts of The receipts and expenditures are the production are prepared by totaled by the box office trea- their respective departments surer. The final balance is then (see Chapter Four). determined. Next, the press representative If Joe were to visit a theater (or pu6licity director) and the in New York or some other major press assistants and agents get city to see a production he would together to Promote an audience. receive a program or "Playbill" which lists the business staff Once the production is assem- involved for the production. bled and the technical and dress rehearsals are held, the play runs, 105

S:3` 100

A Sample'Program Listing

Staff for

"ShakeSpeare Tames the' Animals" in Three ActS

General Manager 'Mousie Macduff Press Representative Othello.Associates Company Manager Portia Piggson Production Stage Manager Hermia Haress

Press- Assistants Romeo.Rodente, Henn; Hamlet Attorney Cleopatra Clam

The people listed above all the general manager is planning a have something to do with the spe- season or a specificproduction, cific production, whether it be and then-supervises the fulfill- "Shakespeare Tames the Animals, ment of all plans. For instance, or "The Wizard of Oz." if a company wanted tO have.a summer season with the themeof The general manager manages all "Great American Plays," the com-' the business affairs of a theatri- pany manager participatesin the cal company when it is in a par- selection of specific plays. ticular city. .Hefshe is the supervisor of the people listed The press' representative is above in the sample program ex-- hired to do the publicity .for a cerpt and is in charge of the show. Press_as.5is:talAs may be overall producti9n schedule. The hired to help with plAblicity:The general manager makes sure that responsibilities of the publicity the "house" is managed well, or press department arevaried, but (that'is,.that the fire exits they include writing the. biogra- are marked, seats areclean, and phies of the cast, director, and there are sufficient ushers for producers which appear in the . the anticipated crowd, etc.) "Playbill." The press assistants make sure that the information is The company manager and/or the correct and meets the actors', production.stage manager acts as director's, and/or producer's again -- of a coordinator -- once (...-approval. The publicity depart- the many eletents of the produc- ' ment also writes news releases, tion. FOr example, this manager submits photographs to newspapers, has.to solve any problems which and writes announcements. might occur between the lighting perSon and the sound person. The An advance press agent makes company manager also workswith all the.necessary arrangementsfor

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a play to go-on tour. The advance a Shakespearean play if 90 percent press agent for the road company of the community are high-school of "Shakespeare Tames the Animals" drop-outs. The same would apply would have tocheck in oc_. the to the manager of a movie theater: local theater and provide the if 90 percent of the community were managers with information about over 25, he would hesitatebefore the arrival of the scenery. He/ scheduling a children's movie. she would also be responsible for TheAprofit, after all, from show- making sure that the scenery ar- ing a movie to an empty house would rived at alE. be small. The advance press agent checks The theater manager's first con- with the theater's publicity di- cern is the comfort, entertainmen.c., rector to make sure that the pro- and saiety of the people who come gram is being correctly used. He to the theater. Often a house man- also makes sure that the advance ager, head usher, and ushers are billing outside the theater is hired to help in this responsibil- correct, and that the sign does ity. The manager sees that the -not read "Shakespear Times the lighting, heating, and air condi- Animals." tioning all are working properly. Managers also have to make sure While -on the road, the advance that the theater and rest rooms press agent makes hotel reserva- are clean and that therefreshment tions for the actors. He visits stands are stocked with enough food the drama editors of local news- and drink. papers to arrange for them to review the show and requests that A theater manager is involved feature stories about the cast with business matters such as the appear in the papers:He might hiring and paying of employees, also deliver an advertisement at advertising, and the upkeep of the this time. The agent's job in- building and its contents. The cludes going to any nearby radio box-office treasurer, who collects or television stations to set up and recordS money made from ticket interviews for the stars of the sales,assists the manager in this show. Even local organizations responsibility. The box-office such as Women's Clubs would be treasurer might also helpthe gen- contacted in order to drum up eral manager with financial plan- business. ning. The ticket-taker checks and collects ticketsiftom people com- Another group of jobs is con- ing into the thofter, and might cerned with the theater building also deny admittance to anyone who itself rather than a specific behaves in a disorderly manner. production. This group includes the theater manager, house manager The manager of a "legitimate" box office treasurer and assis- theater tries to convince produc7 ers to use that theaterbuilding. / tants, and head usher and ushers. He informs them about the theater's A theater manager should under-, excellent seating capacity, flexi- stand the tastes of the audiences ble stage area, precision back- in the area where the theater is stage equipment, cqpvenientloca- located. He/she might, for exam- tion in town, etc. ple, think twice about scheduling 109

The manager or a motion picture Most press agents are college grad- theater selects the films shpwn uates who start as office assis- in the theater, and buys the soda tants or secretaries to producers pop machine or the popcorn self- or press agents. butterer for the refreshment stand. Theater managers usually start The manager of a drive-in has to by working as ushers in a theater_ make,sure that the grounds are It is typical for theater managers clean, the speakers for automo- to advance to their positions by biles work, the playground sec .- working within the industry, ra- tion is safe, and that the traffic ther than-by acquiring related ex- coming and going is kept under . perience in some other field. The control. best preparation for a career as- a Theater managers, house managers, theater manager would be experience head ushers, etc., must work even- in handling publicity and finance.- .: ings and weekends when theater --attendance is at its peak. What i§ the Outlook?

How and Why do People The number-of business positions Become Theater Business available depends, of course, on People and Managers? the number of theaters in-vtliera=. tion. There does not seem to be Most people who hold highly re- any growth in.the number of pro- sponsible jobs-such as business fessional, legitimate theaters. manager choSe their specific Therefore, finding managerial posi- occupations in order to.combine tions in the top-ndtch profession- in theater and al theaters will never be easy. managem nt. Many people who are - Dinner theaters and small pro-. ushers and ticket tdkers take jobs fessional and semi-professional in,order to support themselves theaters are becoming increasingly whiie they'look for employment .popular and present a need for of a more artistic nature in the- 'managers and business people. ater. An usher, for example, in Managers of smaller theaters, will a Broadway theater working even- have to handle-many responsibili- ings and two matinees per week ties. One person may be both.box would have time io attend several , office treasurer and,business man- auditions during the weekdays. ager._The ticket taker may also Generally there is no set way he the usher, and the business tO get involved in theater busi- manager and the house manager ness and management. Some rules,, might be the same person. however, do apply:-press agents, The outlook for.a student inter- for example, must belong to the ested in managing-movie theaters Association of Theatrical. Press or drive-ins could be good if he/ Agents And Managers. People can she is particularly ambitious and only join that Association after willing to start in a lesser ca- working as an'appr-entice with an pacity if necessary. It.is gener- Ap- agent for at least 60 weeks. ally easy to .fand work as an,usher prentice work might consist of in a movie theater. typing, writing, or general sec- retarial and clerical dutAeS.

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Movies have become increasingly particular the large shopping malls popular. Americans love the mov- generally hriv,-. at least one movie ies. In 1946 there were.only theater ,es. about 100 drive-ins in the United Fo: business-min- States; now there are about 5,000. ded outlookfpr a More movie theaters have been open- career Ler management could ing th.the form of "group cine- be good. mas" -- that is, more than one theater in one building. In.

. TELEVISION AND ROE) DIRECTORS

Yolanda never had much to do with All radio:and television- direct- drama at School becauser.she Was ing and managing careers require toe) busy Working with the audio- organizational,and.administrativer visual club; and the school news-, abilities. Yolanda's newspaper paper. With the audiovi'sUal clUb, experience is a.good way.for her she helpedjilm.special :class-pro- to practice and deVelop her organ- jects and was permItted to use:the . izational talents. As a news di- equipment to film.her.own script rector Tor a tv or.radio station for,a. social ,studies assignment. she would have to understand the Yolanda was' ,also:editor7in7chief problems of reporting, and.coor- of the newspaPer.and wrOte several dinate the many aspects of a,news. special:news-articles herself. program:. : As editor-in-chief Yolanda dis- .Managers at radio.r television played a.good sense of news. She,. . stations have to know all facets, and/ot One of her reporters were -of the broadcasting business. .An always atrthe scene when Something. understanding:Of Tilm (including newsworthy happened -For example, video-tape) and.Jilm processes.is she just happened to be at.the essential to them .A student would- :sehool-baseball game,when aftesh7 learn great deal-by participat- man pinch-hitter hit four home invina.n audiOvisual club to see rUns-and stOleilome. plate. how a video-tape is made. Yolanda's "noSe for news" would It would:also be advantageous-- heIP her if she were interested for a .student to haVe some experi- in a career as news:director for ence with public relations work. a radio or-television station.. For a student, that could mean . Her ability to write,interesting, writing advertisements to bp broad-, factual, _and occaSionally enter- cast over the public address system tainingarticles-are'also an asset. at school,for the sehool newspaper.

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People in managerial jobs should produced locally -- such as a news be able to stay calm. One manager. program; 2) some are supplied by . of a television station said that independent producers and.syndi- his job is "like flying a plane. cated .companies uch as "The Mery Griffin Show" and other talk shows,

. You mustget everybody to move in panic situations." Particularly and 3) some are 1.iated with in live broadcasts, such .as news the three major nc_workS -- ABC, latter group programs, calm level-headedness CBS, or NBC. 'I; is invaluable for a tv manager or includes "Rhoda" and most of the be- director. For example: when it programs seen on television is 5:58 p.m. and there are two tween 7:30 and 11.:00 p.m. more stories left to be prepared The radio stations in the United for the 6:00 news program, a news States are either independent or director must be able to work affiliated with a major'network. without going into a panic. Most television stations are con- nected with one of.the three na- What are the Managerial Jobs tional television networks. ..The Availr,ble in Radio and Tv? others are independent or connec- ted with.other Stations in a group , .Chapter Two has a whole section broadcasting system. devoted to directors. The directors being discussed now inbusi- If-a radio or television station - net-s ness and management are differ- is affiliated with a national .ent sort of directors.. The dif- work, that does not mda.n the sta--, ference between. the two groups is tion is. "owned",by the netWork. like the difference'between being The national network supp,lies some' director of a hospital and thatof of the station's programs and in' a symphony orchestra. The concept turn, receives a share of the

of being in charge is the same, revenues. . but:creative skill for the direc- AnnOuncers-(see Chapter Two).are tors in'this section is not as members of the program department. important as managerial. ability. But an aspiring director Would be positions. Most radio and television sta- . most interested in the tions have four basic departments: of program department director, production manager, news director, Program program assistant, and public af- Sales fairs director. ' Engineering Television or radio program di- (see Chapterjour) rectors make the final decisions about the selection and scheduling Administration. of programs the station will broad- These four departments work to- Case. They also administer.the gether to broadcast programs which station's programming policyby, will appeal to the spOnsors and chdosing programs for the station the audience. which offer not only a balanced package of entertadnment, The program department selects but also to uphold thestation's and develops programs to 'go on programming policy. (A station's the'air. Programs are selected policy might include not showing from three sources: 1) some are

110 105 I

Large vs. Small

The nature of management jobs at a radio or television station varies according to the size of the station. In a large station,jobs are highly specialized and people are hired to perform in one spiCific capacity. In a smaller station one e ee may have production, administrative, and sal- )ilities all at the same time. Small-stati si do'not Offer many of the jobS mentioned in till. (such as'public affairs directors). At a small station the news director also has to be a reporter in many cases. Often the job titles are somewhat different. In a radio station there usually is no production manager, but ,rather an assistant program director 'who performs the same responsibilities.

pornographic programs, or programs A public affairs director .super- which make religious,-ethnic, or vises and edits certain public ser- racial slurs, etc.) v4ce productiOns and 'serves as a means of.communication between the kproduction manager dealS with station and the community. ,- the details involved in program- Ming: choosing persOnnel to be The administrative_departmentyis hired, alloting space, and decid- represented by the general (station) ing on what kinds of:equipment are manager dnd the business manager.. ..needed, etc. The production mana- As the head of the television or ger supervises all the studio radio station, the general Manager

,activities. deals with all the.daily problems. . of running .61e station and.deter- A news director guides the over- mining the station's general poli- all news policy for the.station, cies._ The general manager also" and is responsible for every news- handles_the station'slrelationship

cast.going on-the air. Every fa- . with:.the Federal Communications cet df the news program -- includ- Commission and other government . ing the broadcast journalists 7- agencies.

, is the responsibility of the news director. ,Accountants, public relations people, lawyers, researehers, and A program or production assis- clerical people all work under the tant helps to assemble and coor- general manager. The business man- dinate the variou8 elements of a. ager also works.under the general program. These assistants do manager in handling the financial such jobs as helping-to.transmit end of the station's operation. cUes,from,the director to'the announcers, and assisting with props and visual aids used in the/production. 111 106

.How Does a Person Become went places with my parents: a Radio or TelevisionDirector? I loved to read.

Qualified people usually find jobs General Manager: It is simply metamorphosis. You bY knowing somebody in aprominent a matter of then-find position in the broadcasting indus- enter the field, and out what you want to do init. try. The general manager of a station knows people' who are qualified Some people are happy working in any managerial positionat for jobs at his station by1-,aving '

I iIud a job met them at function- mr- a station. could .hape all the where i conventions, an , One station managui L'aid ci his other jobs in the station. colleagues, "They have to know you to want you.n Friends call Program Department. Director: friends to offer jobs when there It is nice to have good programs on the air eachday or iS an opening. night and know that you are:..- Ingeneral, people advance in the one who is .primarily re- broadcasting management by moving sponsible for -them. That from.:a smaller station to a larger sense of satisfaction pos- Many,peoPle enter the broad.- . one. sible.from the work is why casting. industry on a part-time became a program I I think their basis, an'd graduallrwork director. way toward.a full-timepoSition. Change, of.setting, greater respon7 Advice:from 'sibility, increased independence, ,Broadcasting Managers. .and higher salary are thefactors broadcasting manaers use to mea- There are many prck: .; and deci-

sure advancement. sions an aspiring brcAcasting . cdirector would face PrOfession- Why Do Pecn-le Become als in'the field ofi_ chese bits Televisic- or Radio of advice: Directors and Managers? If you want to'explore theworld, and have a great -desireto'com7- A news director, ageneraimana- municate what is happening in ger, and aprogram'department 4rector explained Why :they chose the world to.as many people as possib!e,.a'career in broadcast:-

. their careets: ing management may besuitable News Director:1 wanted to for you. be involved with history: to Get some writing andfilm ex:- serve pecal by telling them ,perience. 1Writers' and those what Was ,y-:.r1c n in the'world. experienced with -Their craft was :-.eadi-g 'he NewYork find jobs. I are the ones who can Times at the aye of five. important to Broadcasfing directors can come = it became VE::',/ .froMall walks of life: the me to absorb much.news as City, the country, -suburbia. I remember the ..pOssible. Tha school you went to is a 'bell chimes when Franklin key factor when tryingto- find Roosevelt died. I always

112 107

a Job'. It doesn't .really mat- considered great. Prepare your- ter what town.you came from. self for the ups and downs of the business.. Be Very realistic. Don't expect to..graduate from col- What is the Outlook? lege and suddenly become a director at a 'major station. .This is a highly competitive field. Start with small stations. That important first job can be If you have a top position very hard to find..HoWever, every at-a.station before you are station needs at the very least, 40 years old, you are ex- one manager and larger stations ceptionally lucky. ,Jequire many more. .Some-managerial You must be gregarious; be jobs 'will always be there. outgoing. You must be able Society is More visually oriented- to show others that you are than it used to be. More people capable of being a good prefer to watch'television than to leader. rea.d. This trend, whether it is Mak sure that you haye good or bad, is likely to continue.. 'journalistic integrity.' The increased number of viewers Be interested in qualit/, should increase,the need for em- not promotion. Unfortu Ate- ployees at the studios. At the ly, you will find thaf same time ii will increase the -work with Many people w!-:..; responsibility of those in charge are not interested in ciLaliti. of. broadcasting. ,'Directors and YOu have.to operate withi- managers will need an awareness of the system., In other worc_s, ,.many, fieldS tO appeal to and.acc-,ur,- if you're:a hews director, ately inform the viewers. you'll find that the prolm- The 'job outlook is improving for, tioh and salesAepartMemt75 minority groups-. .Women now hold . care only about the ratincH, many executive positions. There -7 not the news. If yo_ are femalejublic relations'direc- in the sales department .tors, production 'assistants, etc. you'll find that there u Managerial.openings will always be .many people who will not -0- scarce, but for those who are high- ry at ell about the finaial lY dedicated and willing toAstart end of the statlon and l' with low-leveljobs, 1:7roadcasting II disturb you. You, h, manageffient is a field ,4-ith a to learn.to Jive with or.,_ future.

another. . You're only :as goodzs last show. [The day befe you mayhave been cOnsidered a'disaster. Today, you broa--- cast a sMaSh and you are

113 108

AGENTS AND SALESPEOPLE

Four 'of the more successful grad- "I would, however, trust him uates from South Cubby High School with almost anything. If. I had have gone on to become agents and to .describe him ih one word., salespeople. The school's news- I'd sdy. 'charming." -Amper ran a mini-biography of outstanding graduates in its last Andre Hamburger - Today, a issue. The features editor also literary agent for playwrights found the.old biographies of this While in college: Andre did a year's:four commencement guests. lot of writing. He did-some The editor then wrote a descrip- field work at a publishing house tion ofeach of the visiting grad- where'he learned'publiShers' re- uates' present jobS and ran the ,quitements He also met uany descriptions with Cle original peOple whom he coufd uSe as.con- biOgraphies. Below are extracts tacts, this special issue.of the .South Cubby High-News, Andre took courses in :selling and accounting in'th'e businesS Andre. Hamburger - at High' School school of his liberal.arts uni- _Graduation -,.VerSity. He did 'publicity for_ the uniVersity plays and:was .Favoritadlasses: English,'" :- -chairMan Of-Ole multiple scler- typing, Greek,' Italian. osisdrIve-tor-: the entire State. Activities: 'Writer for The Upon graduation: ,Andre Used his News., actor. in Drama Club contadis -- and his tarentS 7- Favorite hobbies: Reading, to earn a job as.an assiSiani talking editor at a small theater arts .magazine. The magatine.bought ..Part-time job:_Clerk at:the. ya lot of material.fromfree- "Absent-minded Profegsor" , lanoe'scripwriters and printed bOokstore, their wOrk in the magatine. Educational plans:.. will Andre helped-to choose the: attenCa liberal arts college striptS.' and major in business admini:- He stilf)cept contact'with stration. 'the publishing house and_with He.began to make Ambition:."to be able to work play brokers. with Peapie all my life" friends and professional acquain-' tanceS_with playwrights and. Teacher's comments: "Andre scriPtwriters. He gradualix hasa. lot of what:dOuld be decided-to repreSent a few_: called 'charisMa.' The.other, littleLknown playwrights. A. students like and respect.him. douple- of:them were quite tal- He is quite clever and'is'al- ented and their plays sold. ways aggressive and cpmpeti- Andre was a successa-liter- tive. He is not easily-dis-.. ary agentfor playwrights. couraged and sometimes makes his teachers angry by not taking 'no' for an answer.

1 1 4 109

Most-recently: Andre has moved Educational plans: None speci- to New York where he can be in fically, would like to go to closer-touch with the big play college eventually producers. He is affiliated Ambition:.To be a lawyer cr to with another agent in Holly7. go into show business woo&and with one in London. Teacher's comments: "Amy is N, He is an agent and his pri- talkative, persuasive and busi- mary responsibility is to find nesslike. She his leadership the best market for his writer's qualities and likes to'use them. works and to sell them at the 'She has made a name for,herself best possible prices. as chairperson of the'Special Andre represents many play- Activities Committee and as wrights and scriptwriters -- Secretar)flof theStudent Council. some famous and some not.. He She has been responsible for the ,makes-sure his:.clients receive hiring of big-name bands for our a fair.advance and that the school dances. The kids really royalty scale is suitable. flipped when she persuaded Dickie and ihe Doodads to .Andre finds thathereads come and%play for half their many more scripts than.he acL- usual_ fee. Amy couldliandle tuallY accepts. :He knows the any business situation. _She kindS of scripts prOducers-are oan talk her way but of any .apt to.buy and will only.accept problem and I think that is why Some- 'those.kindS.of scripts. she did so well-in My class! times he advises'prospective. clients to make'certain changes Amy Cissel - lbday, an agent

.in. their scripts in order to for entertainers ' make them more attractive to After high school graduation: producers: Amy worked full-time in the personnel department of "Messy's." In no time she was 'promoted to interviewer, and assisted the director in hiring employees. Amy Cissel - at High School. Graduation Amy worked for about a year and then decided to go to a Favorite classes: Drama, 'two-year liberal arts,college businesS education where she toot business and Activities: Student Director drama courses. Mille in col- fOr the-Drama Club, Secretary lege, she directed some plays and Special-Activities Com- for a community theater. She :mitiee Chairman of Student also worked part-time as a file Council clerk for an advertising agency.

Reading . .Favbrite hobbies: Upon college graduation: She .about,peoplen show business, 'accepted a full-time,job as a 'making-MOney receptionist for a theatrical Part-time .job..: Clerk typist agent whom she had met at the in the perSonnel department advertistug.agency., As a re- of "Messy's!' the downtbwn ceptionist she learned a lot 'department st.-re about what it is to be an agent

115 110

for aspiring actors and enter- appointments .with prospective tainers.' After seVeral years employers and her clients. She is responsible for making . the actors and entertainers who came to the agency grew hotel and travel reservations

to trust and respect Amy's . for her clients'. engagements.- abilities and herknowledge She sometimes even answers of the business. their fan mail.. She 'is in and out of her office n11 day nnd Most recently: Amy has become often woll. OV:LAAAIL cL, the personal mnrer, for act- work at home. ors, entertainel and circus Amy.will fly from South Cubby acts in a large Midwestern city. Thursday morning to attend:the She plans tours for the perform- performanc ,. of a magician in a ers registered with her and, in new Atlanta coffee house.. She general, does anything.she can has heard that he is terrific She to promote-theix-careers. and may want to sign him. advises actors what to wear when they make tv :appearances. --o She'helps them'to receive fair terms in whatever contracts Bea Nornie -.at High SchoO1 they sign: She'arranges for Graduation interviews bY newspaper.report- No.information available because _ ers with her performers. -She she did mot graduate with her consults advertisers to find_ 'class.' out if they would'like one of her performers toTromote thtir Bea Nornie a,theater products. booking agent and ticket broker Amy negotiates:with union After'dropping Out of high, Officials, televisionstudios, school: She went to worle:for producers, or night Clubs in her lather in a large theater order to secure contracts for downtown where he:was a booking Sht receives a her clients. .agent. She took night Courses' percentage of whatever money 'and'finally earned enough'cred-' her clients earn. Therefore, its to receive her high.School her income is determined by diploma. .She then went to a how much money she can perSuade . 'business school-where'she employers to payYfor her 'di- learned the skillsnecessary nts! work'. to be herfather's Secretary. Amy is always looking for She learned the "business" of new talent.to promote. She : being a,bOoking agent from him. travels all over the Country Later Bea took her. father's visiting smaller-theaters, place at.thetheater when he night clubs, and even circus- retired. ,She became responsible es lobking for talented peo- for booking' theater companies ' ple Who do not yer have an to play in the theater. She agent to represenm them. also became the booking'agent . Dur:Lng her working day Amy for an establiShed downtown, writes letters and keeps night club. Bea scheduled entertainers who brought '- 111

unprecedented crowds to the Reuben Sttauss at High School club. A keen awareness of Graduation what the downtown night-club Favorite cllsses: History, goers enjoyed helped her to choose the right people to "bool," Activities: Drama Club (publicity);-Debating Club As booking'agent she was responsible.for negotiating Hobbies7 Writing, fishing contracts with the performers' Part-time job: Maga!tine sub- agents and making sure that scrip:ion salesman, sales the proper billing was always clerk at "Mr. Dashimg's" men's used for the performers.. Buy- store ig space in the 1,c)cal newspapers was also her- Eddcational. plans: Will attend responsibility. a liberal arts university and majOr in journalism and/or Mcy'st recently: Bea is living. psychology in New York City from Sep- Ambition:* To write. at atele- tember through June and lives visipn station ot movie studio oil Cape Cod in the'Summer.On the Cape:sheis the booking Teacher's.comments: '"Reuben is agent fOT,anoutdoor Summer one of the friendliest and Most' stock theater. She presents personable students l_have ever a balanced season of theater taught.:.He always had his hand grouPS and entertain,ers which .:raised:Io contribute something delights both the tourists and tO the olass even if it did not the:residents alike. During directly:relateto what We were the year she is,a ticket bro- discussing.' .He,livens.up'even. ker for a firth in Times Square: the driest subjects! His work She buys tickets for eVery show on the debating club has been.. on and off-Broadway in blocks 'outStanding,He demonStrates -- at regular box-office pri- unusuaiinitiative and persua ces *often before the show siveness'. He often wins people opens. She then sells the .over to hiS-side by being, tact- tickets to people who are un- ful and patient.rather than able tobuy themat the box rude.and belligerent.. Reuben office or for whom it is more is competitive and hard-wOrking. convenient to go to a broker: _Heusually knows what he wants She charges more than she and will try.hiShardest tndo paid, and thus makes a neat almost anything to.achieve his profit. -goals.-Sometimes he Can be stubborn in*his persistence, but always his stubbornness is a result of his doing what he believes to be 'Tight"

117 112-

Reuben Strauss - time he kne, :Li people in the time salesperson community and what their in- While in college: Reuben worked terests and income were. He at várioUs summer jobs -- he was also was.familiar with all the an editor's assistant at anad-' station's programs so that he vertising firm for a while and could match an advertiser's then worked as a page at a tele- needs to the right program. vision station.. He also helped his uncle selling life insur- Now: Reuben has become a full- ance. His course load included, time:salesperson. He is always' as part of his English major, active and spends tithe in his journalism, communications, office, only to prepare sales and drama: He took several presentations. Otherwise, he psychology'courses as well as is oft in the ccmmunity trying a course in marketingand busi- to convince people that a com- ness administration. mercial.on tv Would draw lots of customers to their stores. Reuben was also a disc jockey for-the college radio station, Reuben is being considered and wrote and sold advertise- for the jobs of sales manager As sales ments for the.newspaper, and traffic manager. manager he would coordinate Upon graduation: Reuben began the salespeople and Make sure working full time at the tele= they went out on calls.each day. vision station -- still as a .He would also watch to make sure page, and stillnsold life in- no two salespeopleapproached At the start surance for his uncle several ' the.same. spohsor. nights,a week -- partly be- of each day, Reuben would fur- cause he liked selling and nish the salespeople with.óc- partly becauSe he needed the casional leads. He Would also money. make-sure that communication .wasmaintained=withold spon- At:the. station,he became sors. He'might alsci check fascinated by the'job of tv ,with competitive,stations to time salesperson. These peo- see what their salespeoplehad ple.promote and selladvertiS- to offer. Re or his sales-' ing time to various sponsors. people may_even.write comer-, Be found out that many of cials for the customers if these salespeople obtained-. they so desire. Large stations their jobs by having a strong have fairly large sales depart sales background in another ments headed by managers. .In industry. -Others were experi- smaller StationS announcers enced journalists. might a6 their-Own selling when Reuben was gradually permit- not on the air. ted to Assist a few salespeople; Another job Reuben is being The interest and knowledge Reu- considered for at his station . ben demonstrated gradually lan- is traffic manager.. If he is ded him-a production assistant's promoted.to traffic manager, job and eventually he became a -Reuben will.prepare a daily- part-timessaleSman for the log of the station'sactivities, television station. By this.

118 113

shoWing any unsold time per- to make contacts with people iods. He would' keep a record in the field. of all broadcasting time avail- Thesize of your income will able to advertisers. The pre- depend on' your own initiatiVe, paration of the daily schedule

talents, personality, and . of programs would also be ambition. You may not be Reuben's responsibility. able to make ends meet finan- Reuben is sure he will re- _cially at the.beginning. Be ceive one of these advance- prepared to worichard -- in-. ments because his work.as a cluding).unch hours, evenings, time salesperson has, been holidays, and weekends. recognized as excellent. ...An agent's or salesperson's job can be very satisfying. AdVice for Interested Students The salesperson knows that- -his/her work helps the station Andre,Amy, Bea, and Reuben were to exist financially. Agents asked-to speak to this Year's and personal managers have grdduatinclass of South Cubby the satisfaction of knowing High. In general, they.advised that their efforts are help- students:to continue their edu- - ingplaywrights and perfor--- cation_and to.exercise their tal- merstowards success-in their.H. ents as often as they could. More careers.' specifically they said:. 'They Cannot, however, depend_on As in ali theater and media future successes.. Agents in par- jobs,the cOmpetition ticular exptrience a feeiing of tense for prosPective agents uncertainty about the future. A_ and salespeOple...- You need client's popularity and,marketa- 9 every possible advantage,you bility may be short-lived: can geITa-Eragood education is only one of these advan- Andre, Bea, Amy, and Reuben all tages. ,On-the-job training said they were happy at their jobs'. is a distinct advantage. An They nll said that they were'de7 'employer is much.more apt to voted to their- work.and.it was hire.you if yob have some ex- that devotion which helped to' perience dealing in the type make them successful. of job for which you are being considered. What is the Outlook For Agents or Salespeople?

. In order.to aequire on-the- job training,-however, it-is ,. Agents perform a valuable' Service usually necessary to start at to performersj_214m1AgbIA_;_an the bOttom. Don't be too

atidiences by handling many- of the . proud to consider a clerical' business dttails of the-entertain- position for'an agent or ment business,. Performers and., That clerical' salesperson. playwrights prefer not to handle.- JOb may give you the exposure_ these,details. Since there are to and the knowlege of the many:"Creators" in this country, job'you really warlt. agents are in demand: that job as an opTortunity

11.9 114

Producers are more apt to favor most fOreign.televisionand radio talent which is represented by an .stations, American stations are by.tovernment funds. agent. Often producers will refer not supported to agents when acertain type of Large stations generally have talent is needed. Thus, because many salespeople and managersto agents enhance theirmal-ketability, handle the responsibilityof'so],i- performers use agents. Good ones citing sponsors. As long as Amer- are certainly *in.demand. ican stations are not government Television and radio time sales- funded, salespeople will continue people are also in demand. Unlike to be necessary.

120 . IDUCATION/CRITICISM CAREERS

DO I LIKE SHARING WHAT I KNOW WITH PEOPLE?

If you answered,"yes" to th-e- title question,, then- answer the following.questions.

Would. I like to work.in a -' Do I like to write? schOol or library all day? SoMepossible jobs are: Some possible jobs are: Critic College or University Instructional Writer Faculty Member Theatical Biography Secondary School Teacher Writer Elementary School Teacher Research DirectOr Adult/Community Education '(Motion PiEture'Technical Teache: Advisor) Private Acting Teacher Historian

. F)

121

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TEACHERS AND LIBRARIANS

The audience was applauding en- Kennetkalso has lots of'frielids, thusilticallyas the young whom he does-not want to giveup, actres who,played Nancy came for an acting career in a city. out to take her bow..The whole He is also rather attached.to his cast was on stage now except for faMily: He would find it lonesoMel Kenneth. His turn was last, since living by himself.. he played the lead rble of Fagin Because of all the questions and: in South Side High School'spro: risks, because hp indeed eNt have.- duction of "Oliver." to live humbly and bY hiM el4 gen- j(ennethcame running on stage neth'dolp not want to be 41 actor.- and took a deep bow. The'audi- 'He has.a great deal of musital, ence applaudedwildly. .Some rose dancing,YaCting, and even dirett7 to theit feet. Before long the ing He has had roles ill whole auditorium was on its feet .'church and school prOduct,ions and shouting "bravo" fOi Kenneth's since,hp was six years old.: -Ais

brilliant.performance: .parents always took him to. plays ,

.andimOyies. He has always been a , For a while'Kenneth could npt "ttkid.". If there-were going to move because:he was.too.excited. be anYbody in Kenneth'S town. who "This is ecstacy," he said to ould become wprOfesSional actor, himself. No other jobacti- ;it would be .Kenneth..BITt although vity could be as'satiSfying as Kenneth is enthusiastic and even being-an actor and-hearing the aggressive', he.is,not willing to enthusiastic response ofan'au& lead the life-style of anactor. ience. If Kehn6th found his ex- periente in the school. musical - Kenneth was always A good -Us-. such a-rewarding experience, is tener and has remarkable patience. a career as an'aCtor the ideal He enjoys ;alking to peopl'e and. choice for Kenneth? sharing his ideas with them. He' sincerely likes children. 'Is Not at all: Kenneth mightien-1 teachinethen the best career for :joy. actinc, and audience resp4se, Kenneth? but he is alsofairly realistic 'about th, draWbacks:of An'acting Maybe. But Kenneth ShOtild knOw career. Kenneth enjoys security . thatthere are.other skillS and knowEng Where.he is going to talents that he'should possess. 'be tomorrow,and that when he For instance, most theater/media

'.wakes,p1*.in the morning-he will teachers feel that in order to be . be ableto go to school. Kenneth a good teacher one has ta-be "self- does nOt like to take risks. drven and have a coMpUlsive ded.73 .i/ éation." A good teacherearely . Nor does he like living.uncom- pays attention-tothe'linebetween fortably..Icenneth'S parents_are Isrcirk and life. Kenneth would find middle-class, small town.people 'that he.would rdrely be done with wh6 have always provided-him with 'his job, and his wOrk would carry a clean home-anelicious food. over intohis priVate life. He would be uncOMfortable living under conditions inferior to those to which he-was accustomed: 117

Kenneth would also need teach- He should seize any opportunity to ing ability which could best be teach a class or to coach drama. gained by some sort of experience.

Nece.7sary Talents

Ed (a university professor),Joanne (a drama teacher), ,nd Kit( a film teacher) all cited the talents they ic:Jt were necessary to teach theater-and/or media. _

Ed: . A good theater or film professor should have as much background as possible in all departments o all the performirig arts. Mental and physical durability is also necessary. Joanne: 'A drama teacher should be someone interested in children and someone who is more concerned with kids than using the classroom as.a place to showcase his/her own talents. Drama teachers irLsecon-. to be good disciplinarians

. because the Subject matter reguires-a71-U-n-conver44-GR- al,flexible classroom. Given new freedom,_kids sometimes react in 'a volatile way. You must develop the skill of being firm and yet fostering,an atmosphere of free expression at the same time.

Kit: You must be able to write, for you will constantly be writing your own curriculum. You must be capable cf learning new ideas to pqt into your curricu-

lum. I had the talent of'being a self-starter and being able to initiate adtivities easily. These are invaluable assets to a teacher. Finally, a good film teacher needs to know how to make good films. A knowledge of film processes and technical exper- tise is mandatory.

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What Do Theater/Media Teachers that the aCting was flowing

Do at Their Jobs? smoothly. I then ran over to the agricultural schoOl to give There are several kinds of teach- a lecture on themes of-farming ers in the field of theaterand in American twentieth century media. People teach drama and drama. film in universities, junior col- From there I dashed off to es, high schools, junior high --each my last class of the.day. schools, e emen ult I am continuing Chapter and community education centers, ...-hree of my new boo e and in private studios. There Foting as a Psychological Release. are also film librarians (sometime§ called film-rental clerks) Joanne, Junior High Drama Teacher who maintain a library of films and other audiovisual material First period was my only free for use by schools or other period of the day today. I organizations. went through that new drama

The activities performed by each activities book I bought and of these teachers varies somewhat . made up a-mimeographed sheet according to where they teach. of a characterization exercise All of thein work longer than the for my fourth period class. I hours actually spent in the school. also used first period to begin They must read books, write.and reading a new play I had ordered reviSe curriCITra-,--attend-me_ezings_____for posslble consideration for see plays and movies, andattend the spriTITTrustcarl--;--4-11ave_a_l_m______functions. Kenneth ready read five-or-si-x child-- couldbest--11-17J-irride-a---af'what a seem either too :they do by sneaking into their ish or too sophistica fir offices and reading a,copy of. their junior high school use. -daily journals -- which many teach- I taught for the rest of the ers.do keep. da.y and had to deal with only a bloody nose from a rather phy- Ed, College Professor .sical drama game, a shy girl bursting into tears becauSe she Today I made appointments with was nervous about playing"duck,. three.students to talk about duck, goose,"and an.angry French possible careers in theater,and teacher comiplaining that he :

film. I had to cut the third simply could not conjugate the one short because'l wasdue at verb,"jouer" with so much.noise the rehearsal of."The Glass coming from my dpama Menagerie." It would be relax- .After school-Ihad a meeting ing if I were only invorved with the classroom on only in- to attend but was delayed be- volved with production, but cause my star-student Ned was having to balance both.can. having a problem with his girl really be hectic. frien'd and the problem was -tine -7:,.rformance both I stayed at the rehearsgl in prOduction. long enough to make ure the lighting cues were sci

1 2 1.;

44.

t. %. 4 4

Drama.teachers,often unconventional ways. This . -phatograph_shows a th(-,-.11.( ts class at the New Orleans Center for Creative itn1;.

We talked together and ---a-play the junior high school resolved it. in the neighboring community, was doing. Then Dotty, the scienc

: er, decided she wanted 7' :,,, At the end. of the day I drop- to Me because the felt r ped -- but not without making,: ,,...

rood' attire was inapprop- , sure my lesson plans were ready my style of teadhing was and that my dill pickles were ing ttudents to be defian-, -. carefully packed for tomorrow's taste exercise with my seventh ,,...... _ why wasn't I teaching English like a normal personanyway ? graders.

-, , I talked with her, patiently

---. -trying to defend.myself and Kit,' Adult Educator explainingthe pUrpOse of Class-

I am finishing writing a. room drama as. I do aimost 50 Today

, .timet a day. book I startedover a year,ago. a bb-ift---- how -to--t ea ch-f-i-l-m-i ni--tha______::7)-arrived at my meeting late 'classroom.':Afteral.l, is _ aild-had to-71 eave early to go , what )do sveryoy, so 1 might to play reheartal. After re-

, 'as well put it in print to share

I went .-,,H hearsal my cast and with other teachers. to dinner and then dut to

125 120

the,.. can m:71re creL veiv and ef- I have ..J_.7e confer- e-nces wi7 --,-uunts today feively J.:se film .1:, of p ;)gress in clas_room. -ne course. S iv teachrs, of cc e, do beyond the ba:-4?st adnimum After clas--s I am going into C attend o ar they have to In the the: showir.:: education- c:::..sroom. Rarely ar, les,e film al film an.: it with or theater teachers. rle.th wants other filr and the to be a good teacher, he sho=ld

filmmakers vno I also be know that the tasks ar ire very in atterre ,ight I am of Ed, Joanne, and .Ki t. conduct' nop for crimmon among good tears. te3che- ional sub- iects . !earn how

Educational Backgrounds

:ion-al backgrounds of Ed, Joanne, and nt 5 :ME lat tyrical among drama/film teachers:

Joanne Kit -sh B.A. Theater B.A. English

Arts . M.A. Motion Pictulles/ Theater Arts

--I-Jvae_l'eld jobs totally unrelated to teaching and r and drama prior to becomingteachers. Cash- ier cut:ter, waitress were among their previous

AH1 three also held iobs which were more profession- 11/ _:oriented in theater_and media before_teaching. A.:-..or-r,p-roduct,ion-assistant,----filimiTaker were some of held prior to their present teaching jobs.

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Background and 0:1 If K,.enne-Th is mt d in teach-

ing in the nublic ,L setting, Mos= drama/media teac1 '77ee he should involve himE with any that a backgrouni which activity he can withi school the study of teaching sk and system(s where he wc I like to =eaching-experience comb 4n) teach. Fie might tutor dbstitute, actual experience in Dro_IL -iom or velunt:aer to'assist .ne drama ideal, Participation in or film organization. Je could curricular activities re d 1-,L become friendly with the admini;- drama and media is also af,,11.1 strators of the syste= After working as a =_.aa or film }low. Does a Drama/Fil7 teacher, Kenmeth!s op-or=unities Get Hired? for f-ature jobs coul(', Question: How do you Dep:::tment Chairmar with your job obtain AdmIliszratcr

Teacher_n a better ;c:lool Pester the school _±mini- system stration Writr Keep showing yourselti--- TeachEng (example: thrusting yourself umEer7 draLLL tea._ couLd teach their noses, be vi.,iAa stag desc:=) Attend functions an.,-.1 Teaching a7-.- a higLer :.rade meetings level (hig-L schooL to junior Find out what peopli college, j:anior ccile;e to doing, keep on top of university Have personal Ceinta:t.. Act:r Kenneth has always be. a,:irgre=- Proclucer 'sive in his stage work. ff- hi Director plans on finding a teach:- jo when he graduates from cT. ege. Government Worker he must continue to be agei ss (researchcr, etc.)

Having a good education in How Kenne=h would go about being impressive resume., enrollig hired for ar:: of the above jobs placement services, joini:r,;.: p:,.- would depen& on the number of fessional associations, hawi7: .divers'e experiences e could his writing published woui c.:.all gather for his resuand personal be helpful to Kenneth in findins: contacts. Many dra:_a/film teach- a job. ''But..the.way mos-tdrrima/ ers are cormtent in ig Crama/.. .film teachers find their jobs- film tea&ers.all or their lives. by knowing'someone.first and 7.-.hei showing off their impressivc, grounds.

z) 7 Why Teachers Choose Their Careers

Ed, Joanne, and Kit gave theirimpressions abou_t they chose their careers.

Ed: Participating in and seeing plays frequen7ly

led me to a career in theater. I was also a-tr ted to the life-style of theater its excitem.n' and expressiVeness.- Theater was an activity tha- d Ilked and felt good.doing. There was the 77.ro of variety instead of sameness. This has bee- fulfilled! Joanne: Having a large university with an exc-,Ile- theater department in my hometowninfluencec

I could deal with chilc-7--1 I wanted a job where and direct plays at the same time. Therefor- --rp.-_11.- .

ing drama was the ideal job for me. I love receive from parents and kids let- response I

ow that I am needed and appreciated.'

Kit: I always had an- interest in images, siar--t, They al.l come together ih film. I . writing., the feeling of creating, contributingand wc with students toward-their improvement. It to have the knowledge that there arepeople 1

the country whom I have helped and who know respect me..

Kenneth wants to be a drama teach- Their_students-are- Lecelying er-hecaUs-ehe loves theater and the best possible arsa: :heteachers. wants sincerely to share his know- are never really haT7 . ledge and enthusiasm with as many .Some theater/media eachers were other people as possible.: He is influenced at.aneari age by the- certainly in the majoEity as far ater and/or Maas -result of as motivation forteaching is con- exposure their pare=_-.Lz gavethem. cerned. Others were strongl. 7nf2uenced However, there are somedrama/' by teachers they film teachers who are'teaching high, high:school, 'mainly because'.they coUld not be Some had.such terrib_e teac:5-ders successful as an actor, filmmaker, in school, who did pothing 'with .or some other theater orfilm non- drama and film,that 'they wanted teaching job. These people are to become teachersj-7, order to perform- usually not the best teachers. give more.exposure r!:7'tla People who say that they can,"Tall ing arts in tbe:clasroam. back" on teaching if another career fails often do.a disservice.to their students and themselves.

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Advice from Teachers 35 tic and as s to Intere. students rh st_ !err]. as you wish -s had be-,- with you. There Ts lit- neoJ,onition f the obvious . by the estat. disci- 'Irts vc,d in teachft..;., plines. Math 53:. studies, 'n leadinerr- science, and en rtlish prc:duction5:jvir teachers ote- th.--rou are :-Joritres. bec:oming too c;:use eitner weird 77 s_Deffluous. th 7t,_.cents, and rmpro- Sometimes you canrt be a] -ino 771 reaching duties la r-cl creative as y]u would. the period of

Much of your (:)b ,i1 be ]: administratiN- arc will volve a lht o' paperwork. In .r..rt]_uuLac-, teachers had che fol_Hwint aLHde to give sudenrs Be in'Iove wi-n yoir field and. about ho td prepare for the your work_ Your ooligation is career: to discover rew knowledge and share .it with others. Arything Do al yo..1 can in theate7/' less is a cop out. If yo.. are tv wh'-ie you are in sch.00l 'falling pack on teachHg be- leorn:al4 you can about th anorher job is unavail- whole world and about peop able to you, 'tore ihc.., KTS"'14 LI! the artc. -Read ab yoL will not .5e the -type of them. tepoher _you srould be. Prepare broadly: narrow dow7: Kni that 'your sociailive will the Mtest possible time be cut down. Teaching .(and do- and then only as necessary. inc extra-cur-icular production) Avoid -learni6g-more and more demands a.gra.azt-amount of under- about less and 1Q55. Many and sacrificing from basic humanities, arts, and your loved o-es. even science courses have appPi- cations ir theater, film Become a lea:e- in yo..r field. tele,isTo-n areas. .13e a pusher. Don't rely on old ideas. Innovate. You should 5e able to present material tc hners clearly and YoL should inspire stude-r] to want to do

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Tr to fi.,; a fl-lmer Joh rhat Cotir_ual combratais in on is _1:irreho re t.:-,sd to tbe arts. ratput into class -- Dr. C. aches film at the local treat i ve ri e :s ur-2_versity On days when he ar is tireC or has work to do, he turns on the TnrojectOr and mnd Other stu- tells his, studer-r.s to watch a dent2- iaten-tea t teaching thefilm and then wrze comments bte aware of atet or mediLa about it. He .ca. easily do teachers: something else v:.rile they do .=-Iincouracjaag ..trrlented the viewing ancT ,titing. ttudents A., the pri- L Natedrompin (-s'aise adver- Tate actang teatwher, tells tising) -- P. teaches Tlet .st12.:flents3 how talented theater art:: it3.private ney ar e. and how they have cc l lege . TLtt s tutlents are ::haces for La Trofessional awed by her a. she tells tales career. Many of her stu- of her relatinships with dents have li.ztle chamce for Marlon Brando, Katherf.ne Hep- but professaonal suczess burn, Dustin .off.t:an, and she encctlrages rihem because Liza Minnelli Actually, she wants the.m to re-enroll the closest 5j arrae to any in her advanaaci class which of them was tc.:minty a waste :osts twice aa much. basket in Maricr .Srando's Collecting st=dents, depend- o e 4 itt--werkod ing too much an the "foIlow part-time whili she was in ing" -- Mr. junior high. high school in New York City. film te:acherhas his four or five little "pets" with What is the Outlook? him in his .office every day The market for teache_-ts of theater after3hoo 1.. They tell him whaa tney likze about his ass, tad media changes ever,- few years. and so, he d,.:_gns his curr1,2- Several years ago, scnozds were alur priaardl-:- to meet tilq;1.,r aL:ding drama and filt courses at neeLe. He. foraets about the a fairly rapid rate_ present, s:ludenits who aae tact shy to there is a trend rOW_Trz returning, talk .dith hin to the "bmteics" in catzain sections of tine country.-.:students' quallifiLtat ..rns inaibility '7:D:read ar.ti:wri-re is G. hia!ghschooL cited as the reason to aliment wz-gs Inired- for 1" traditional courses and de-empha-. ab (hue to the Large nriDu:7,t size the arts.. a.crtr..:7 and di.-..-rectica oerita .on. her77' . Drama ,and film teachers them- tiermly -.expertence selves, are idealistic 'and optimis- she rad was to alay tic about the grow,:n of their Many of thet feel that if1 the f!CC277.tL. iron the left field, in .`.te ap_late tree scene of a person LE qUali.reed and aggres-- "The iiizard ciT: Oz." sive, he/she will nrially find

130 work. There are several related Ar__ Lac-rased education for ad- fields -- sucL as curriculum de- tini=:ral:rs, making them aware tf velopdAent also offer the neri7-s-- of drama and filr,wLi opportbnties fbr those.trained lscenh,:ialce, the outloftok for pro- to te reacherf. ,pec:7Lve- teachers in the field.

Idealistic drama teachers feel = te, teaching. -- any that crarawill eventmll: 5e in ut is still a competitLwe every junior high, high school', TIze present popularity af and liberal arts college curricu- teazrini: .:.1rama and film probabLy .-- lum. Mose scrPoolis which already wilL "increased_cpmpetition have rrograms, they feel, will for tny. available-. jobs. (For have '_1.ncreased svcialization further information, see "Educators" withta the department; a school in Explorng Careers in the Huma71- that -71y teacles acting may add ities A Student Guidebook.) a stat-,: desLgn course, f-or in- stancc.

WRITERS ABOUT THE :ER AND MEDIA

Josephine was busy typing te temptation by attend-ligthe lare last story rcgo in -tme West Tav- showiritg of the new movie playing ortown High :nool literary maga- the Tavertown Cinema. Writing iine The Tor;Rose. As -(aitor- going :to the movies were the iin-chief Of e magazine, Jose- things ksephine enjoyed doing; phine not onl managed activities rl-cJst.. Is; a career as a writer but also did:771ting, typing, _boat theater and media a good layout hersel Her staff was not tdea frirliP? vary good at damdnei-:, and FerEaps. But aside from writ-d-Im; 7±is month's Lition Nias due the well and p!iten, people who are printer in an :lour. By remaZ:1,ing critics, writers, and researaheTs natient and T7rs-istirg in her -ork, feel that 'abroad knowledge (pf jasephine.madL the deadline airst sociaLogy nd the humanities' Ls single-handed . also imporrant. Josephine's Right after :osephdne arrived tience and persistence will be home for a supper, s;he was helpfultc her. But she must be out .the door .7din to attend.drama fairly aggressive in Jrder to rehearsal. 5'r was playin.g the earn money in the comperjtive small role cf.a gorgeous ()wgirl field of writinlg aboltt theter in a western -bresented 1)f ';:he 44i-fia and t4edial. tlUb. When .F.'(ne waS not 60 age, :g(Ald" writer doe.s. rt Wrote os,-tes La a jouxnal she alwaya -me= using correct amm_tu- tri.4.3.t1 to. ationand being able to Spell. After rehearsal lThseph±n? and. (CritLcs and writers often :1.ay a few of.her- frien gave in to_ they cannot spe" lnd doinethave

IAA 126

speak about them on television. As a critic, Josephine would often have freedom to choose what she would write about from month to month, week: to week, or 3ay to day. She would zenerally see three to five plavs, movies, or television shows each week_ AnDther part of the critic's job is to interview, personalities in.' -Actin,- .7,3 ve> the fiel&L Not only would Jose- who c. gizOr« forrr eyi 1:11, It , 111 phine conth.-.3ct her (own imlnerviews, -4 but she would also arrange them, and, of ..zourser write them up cc>" tiENSK>zEINAL afterwardis.. This process gives ta: cn muslAL the critic access- to many perform-' uf='.s .4111riE-n C JURY ers in theater and media. (/) 4-- , tn 0 Z Josephinewould alsco have to t:C 004 ti 11.2 x*rit spend-her time readin what'am.:. P..;:?i41) how otheT critics write, oecasion- ally observing the early stages of 2,USPENSE WITH DIMENSION... Troduction, of a show, reading as 0:h in character portrayal and per- many artiu.Ies as-.possible _about fC)nal drama!" theater and media, andl occasionally writing articles other than reviews or interviews_ .fther writing jobs Z 01. theater the need. "The copy editor takes and media i:nclude the, r.,e,:archers care of that.") In order to be and writers of such toni. as sci- hired as writer,_:osephine needs entific and technicail de-lopments to have a unique flair Dr a.spe- in the field, or the- a,7-:...zations cial or entertaining .style. -Ever_ of the social sciences t. the the- -if.her "flair" is to write simpl ater and filreindustry. There are and-intelligently if she is also instrwctional writers who, consistent and does -it Well -- write textbooks, manuals, and "how she will stand out over other to" tooks. wr0-.ers. A major industry in its-=.1f is Jobs ineW7.'iting that of theatrical bograp'ly about Theater 4;,t.ia and write::_ Many performers :1mi the Responsibilit of Each others in the entertainment Thisi- aess will tff:11 theirlife story to Josephine might consider the job anothfer who.- then writes- it as a of film, television, or theater biography. Some theater and media critic. Critics view plays, mo- peopie even write autobUographies vies, or television shows -- often with. the assistance of :rim:ether.. before they are shown to the pub- writer, lic -- and then write,about them- for a newSpaper Dr magazine or 132 127

Finally, tht=e., are research di- and taking courses in writing would rectors and historians. These give Josephine a good beginning peOple cOmduct research to make preparation. sure manners of speech, kinds of Where, How, and Why transportatiom, etc., im a pro- Do Writers Find Jobs? duction are historicall: authen- They may visit another part tic. Where? Tliose who write biographies .of the world to, observe- and inves- might have to work and research tigate it for use.im a -production. wherever their subject lived and A director-might be directing a lives. Historians and researchers film in Buitardis Bay,-assachusetts have to work with their production with one scene taking rlace in Bo- wherever it might be (usually New The: Eirector and -gota, Colcimbia_ York or Los Angeles). Textbook the cast m_light meVer have been to writers could live and work almost _Bogota, ar.i if the film has a anywhere, but would probably have arge budEaatit would be worth-- to negotiate With someone in a big_ while to soand an historian to city in order to have their work South Amerca to view the Bogota published. Most critics find jobs in New Prepara7ion and Background York, Los Angeles, Boston, Chicago, San Francisco, and Washington. Plost wrLters about theater and Even though some small neWspaperS media have at Beast a Bachelor have critics, big cities offer the of Arts degree from a college or greatest number of opportunities'. universitT. Winile studying at a Josephine might review movies university Josepinine should write for a suburban or small city paper, film,theater, or television criti- but she would probably be viewing cism for the sCtool newspaper or the movies at the same time as her doisome ether smrt of writing public, generally months after- where she woula have the oppor- they open in the big cities. Work- tunity to see bor work.published. ing away from a large city, she Sheshould probably be active in might lose the feeling of fresh- the theater or film department of ness and immediacy that coMes4rom the university as-an actress, di-. being one of the first people to rector, or in-a public relations review a play or moVie. She prob- capacity.. She night evenwrite ably would have little chance to some scripts herself. meet and interview performers A course,'"reviewing" or either. "biography writing" is not a ne- On the. other hand, as a critic . cessity, and these.coUrses are for a small newspaper, Josephine Some cour- not often available. would feel.close to her readers ses in writing would belielpful., and-use their responses and in-: If Josephine could attend'aschoOl sPirations in her :writing. Some- where a _prominent critic, biogra-- times the.smaller papers give their phy writer,or historian teaches, critics more:space in each isSue; she would probably.find the ex- so Josephine, could write longer perience Of;working With him/her .and._more -detailed-reviews -than-T- --helpful. Concentrating-her-stud-. for a big city paper'. ---ies in Eng4sh, theater, or film,

133, 128

Critics can work at newspapers, It is only through persistence, magazines, television and radio continual writing, and -- as in stations -- large and sthall. most theater and media jobs -- Where Josephine would work as a good contacts that Josephine will critic is often considered the be able to find work as a writer factor for how successful she is about theater and media. in the field. She would have more Why do these writers want to prestige and be making more money write about theater or.media? if she went from a small newspaper Josephine wants -to be a critic or to the New York Times, for instance.other sort of writer because she This- change of settings is the way feels that her natural talents mos't critics "advance" in their lean toward writing and she is . field.. interested in theater and media. How do writers about theater Professionals mentioned their mo- and media find jobs?. If Jose- tivation for choosing a career in phine wants to be hired as a crit- writing about theater and media. ic or writer, she-will have to I read the works of many great be highly persistent. She should critics and writers and de- have her best college materials cided that was what I wanted (reviews, research papers, etc.) to do. Their works made me reprodUced and mail them to news- proud of my choice. papers, magazines, or publishing

houses and agents. She should I always had a life-long love then make follow-up phone calls, of movies, so being a ftlm visits, and write letters to tho'...e critic was sort of a natural who express even the slightest choice for me. .// interest. Growing up id New York was a Josephine might be commissioned tremendous influence for my to review one specific play for a choosing a career in theater.

magazine and that may be the:ex- I had the opportunity to see tent of the publisher's interest many plays and 'live' in a in her. But if the review is theater atmosphere. good, the magazine might ask Jo- , I was really excited by-the sephine to review another play or idea that I would have the review plays on a general basis. opportunity to see movies as Or another magazine or newspaper, soon as they were made and television or radio show might write about,them for a.large read her review, like it, and com- nation6I audience. mission her to do more work.

. If Josephine is successful at reviewing, her job could lead tO more reviewing with a largerand/ or more prestigiousorganization.' Her job could also lead to Writ- ingbooks or longer articles, public rel.ations_workteaching;_er eeniptwritng. (See Chap- 'ter Three.)

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Advice from Working Writers might try to pressure you to criticize favorably when you One notion professionals would -did not really like a produc- want to warn Josephine about is :- tion. It takes great commit- the idea that a career reviewing ment to the ideals of honest plays or movies is always glamor- criticism to keep one's in- ous and exciting. Josephine might tegrity. It is ver'y hard, be hired as the film critic of especially for young writers, a magazine.. She might, during to keep one's head above the her first month's work, view noth- water. ing but terrible movies. (Many- critics do feel that most movies What is the Outlook? are bad.) She would have to be patient and have a real love of There are a limited number of major movies. Otherwise, the bad mov- reviewing jobs in this country: ies might dampen her feelings so metropolitan newspapers, national much that she would fail to re- magazines, and television syndi- spond to something good, new, cates. These positions are often and original. frozen by people who have been affiliated with the organization Other advice professional.s would for ten or 20 years. give 'Josephine might be: The situation is likely to re- Build up,a portfolio of good main the same in the near future. Get pub- published material. New magazines are formed, but old lished any way you can. You ones die. The competition will cannot -be hired unless you probably not change except that have something published to it might be even keener -- par- show for yourself. ticularly in the area of film Read everything you can get criticism. Many schools and-col.- yoUr hands on -- everything. leges are teaching accredited film See alot of plays, movies, courses, preparing more students or television shows, but to compete for the few profession- remember: a the'ater buff al positions available. is Inot the same thing as a One developthent which may in- theater critic. Learn about crease job availability is that all the arts and experience some magazines and newspapers are life,too. All the arts are becoming involved with speciali- derived from life, and crit- zation. Whereas previously one icism is derived from and person wrote about all the enter- dependent on the arts and tainments -- books, movies, plays, the society wnich creates it. television shows, opera, concerts, There can be alot of pres- night clubs, restaurants, fire- .sure from press agents_and eating acts, etc., -- the cate- advertisers, who all have gories of music, books, and film their share in seeing that (and sometimes other categories) a movie makes poney. 'A Lot are handled individually now' with of subtle coercion,takes ueater space allotted for each place in the theater and critic. film industries

135 130

People like reading criticism still use books as a great re- and many depend upon-reviews to. source for writing their own determine -which entertainments" dissertations. they will attend. Criticism, The audience is there. The interpre7ations, and biographies positions, although few, are there in book form are still considered for the talented and the persistent. exciting reading, and students

136 Appendix A GLOSSARY

- Billing ..-'the iielative prominence Community theater -,theaters lo- given a name (as. of an-actor), cated:usually outside of a city in pubficizing,:advertising, where par,is small or usually or,other promotionalprograms non-existent; participants are ..(Example:.-The'marqUe& of ev- usually-non-:professionals and ery theater gave him top work.at some other jeb, aside, billing.) from'what is done at the .theate-. May do anywhere from 'one ot six Block, blocking.- to determine productions.each year. 'whete which actorS will move .'. when, usually done by the di- Control board -/the area.in a f:N= rector (Ekample:. The actor's' radio or .t:idevision 'station whfch - :blocking was to move.center has all the switches and audio': .stageand stand near the fire- and video controls place while saying, "What a. DocumentarY - a film or television . 7 gloriousnight!") show whi.O1 is..afactual presen- , Broadway:,-a group or theaters tation, /usually with a narrator, in New Yerk located An .and designeA more to infotm.than to. .apound_the street called entertin -BrOadWay-in Times. Square', Dress prade - during.the final. New York City., considered to stage's of rehearsal, actors Offer the highest prestige and. "parAde"on stage in'their cos- 'money to actors_and others in- tumes in order for the director volved in legitimate theater. .andrcostume designer to see-how 'Cinematography - the making of coStumes.lOok on stagg and if :films., the-Camerawork involved they meed.any adjustments in_shooting:afilm: Equity - shortened tem for Actor's 'Omission 7 the toner a. writer, .;Equity Associationwhich.is the director, actor, etc., receives major union controlling'the work :from the.-proceeds of the.money .of professional actors, 'direc- a.play ,or-f0m makes, often - tors, and stage managers. Mem

. . _ . 'An-addition to regular salary bers of Equity are only allowed -to work in mon-Equity'shows with

137 132

special permission. As a mem- Off-Broadway - New York theaters ber of Equity, a performer.is where the pay scale is smaller guaranteed a certain minimum and the'prestige not as great salary from employers. as on Broadway, where new plays and seriousmorksareoften pre- Flats - rOodnailed together sented and'are-sometimes moved usually with canvas and/or to Broadway for longer runs. 'Tainted over for use'as the wallS in a room in a play' Play broker person who controls 1.486 of an author's script and Floor plan - drawing used by the ;subSequent'payment of royalties set designer indicating dimen- on-alarge scale. sions and shape of the Stage as- well as the placement of Portfolio- a collection under one' 'certain set pieces and furni- .cover of ajl.of'a designer!s or ture writer's lailiOrtant. works. Like a resume, iris used to help, Flyer -*runs the'"flieS'" of a secure'jobs aS' it makes.the pro- stage'show, scenery andcurtains spective employer _totally aWare 'Which-need to be lowered. and/or of 'the applicant's capabilities. raised during a perforMance Public Relations --the promotion

Free-lance - working for.one!s . of a performer:show; or station self asopposed.toworking for to.the.public, by Stressing all a.company or a studio positive aspects. (Public rela- Gaffer person who does the tions pedOe for '!Jaws" play up lighting for a. film-or tele- in their ads that the movie has vision show \. broken all box office records.) andther name,for a back-' Resume - a'list-of previous jobs,, stage,person who asSists in ,training, education, -past per- moving scenery during Scene formanceS and other pertinent changes. information written bY a person lookingfor.a-job and presented. 'Legitimate theater - term used to '- to prospeCtive'employers refer to plays asopposed to media or Other'forms of,enter- oyalty - money-a playwright is

! tainment: paid eaCh-tiMe his/her work is prOduced Mannerism - habit, movement, or repeated action, either inten- Sensationalism -publicizing a tionally.for a tole or uninten- false storY or. ekaggeratinga

tionally out of nervousness, done - true one in Order to excite the ' by an aCtor on-stage.br on camera. Ap.ublic (Example: That actor has the'. Set - furniture and other'itemS iliannerism of con,!,ntly stroking placed on the stage for- a, per- 'his beard.) formance; in media, where the Marketability- the appeal and/or. performersand crew people:work .usefulness a performer's work ."Shooting" a'scene - filming 4 has to prospective.-directors and/ scene-with a camera:for tele-. or.producers .vision or motion pictures

,138 133

Summer stock - Plays done in the Technical rehearsal - the rehear- summer for a seasonal company -Sal late in the whole rehearsal generally rehearsed.for onlk process just prior to dress re- two 'or three weeks, are perform- hearsal. Light, sound, and set ed and are then replaced by oth- cues are tested. er plaxs performed by.the same company. Summer stock actors might very well,rehearse one .play while performing in an- oether.

t. .

139 Appendix B. PROFESSIONAL ASSOCIATIONS

Actor'.'s Equity Association Center for 'Understanding Media

165 WeSt 46th Street . 75 Horatio Street

New York, New YOrk 10036 New York, New York 10014 ' .Affiliate Artists, Inc. The DiamatistS Guild,-Inc. .155 West 68th Street .234 West 44th'Street New York, New York 10023 .. New York,-N.Y. 10036 AmeriFan Educational 7:teater ,Educationai Film Library Association 'Association 726:Jackson Place, N..W. 17 West 60th Street' Washington, D.C. 2056 New York, New York 10023 AMerican :Guild of Variety Artists ...information Film Producers of 1540 Broadway :America, Inc. New YOrk, New York 10036 - 177_1,N Street,.N.W. Washington,'D.C: 20036 The American Mime Theatre 192- Third Avenue' Internaticinal Aljiance of : New York, New York 10003 Theatrical Stage Employees'-and. Moving 'Picture. Machine'Operators AmericanPuppet Arts Council of United'States-and Canada 59 Barrow Street l270-Avenue of the Americas New York,'New York 10014 iiw York, NewYork 10020 . American Theater4tssociation IA,ernational ThesPian.Society 1317 F Street, N.W. Coli\ege Hill Station, Box-E -.Washington, D.C. 20004 Cincinnati, Ohio 45224-

.. American Women in Radio and National Association ok Broadcast.

. TV, Inc. Employees and'Technicians 1321 Connecticut Avenue, N.W. 1601 Connecticut Avenue, N.W. Washington, D.C. 20036 Suite 420 Washington, D.C. 20009 Association for Professional Broadcasting Education pr .1771'N Street, N.W. 80 EastJackson BouleVard Washington, D.C. 20036 Chicago, Illinois 60604 0

. .

140

135 136

National Association of New DramatiSts Committee, Inc. Broadcasters 424 West 44th Street 1771 N.Street, N.W. New york, New York 10036' Washington, D.C. 20036 -Screen Actors Guild National AsSociation of Theater 7750 Sunset Boulevard OWners, Inc. Hollywood, California 90046 1501 Broadway Society of Motion Picture'and- New York,'New York 10036' : _Television Engineers National Education Assbciation 862 Scarsdale'Avenue 1201 Sixteenth Street, U.W. Scarsdale, New York 10583 Washington, D.C..20036

. c 137

Appendix C SOURCES OF ADDITIONAL INFORMATIbN

.Acting Professionally. Robert Pesigning and Making Stage!

Cohen. 'Palo Alto,.Cakifornia: . Motley. New Mayfield .Publishing Co.; 1972. yatson-Ouptill Publizatiar2. 1974. Acting in the Sixties. Hal Bur- ton. New: York; International Electric. Journalist. Cha.tk Amr- Publications Service, 1970. son. New. york: Praelr,=,r Pth lishers,,, 1974. American Cinematographer 1782 North Orange Drivf ElectriC Media:-Television. Hollywood, California 90Q28 Brown. New York; Harcourt Brace Jovanovich,- Inc., 1974. American Film InstituteZuide College Courses in Film and Film and.Television Makeup, HermLan Television, The. Washingzon,'. Buchman. New York:, Watson .Gup-

121-.C,.: Acropolis"Books, Ifd., till'Publications, 1975. 1973. FilmMakingJethniques Camera. Basic Drama Projects.!.,Fran. -Hollywood: 'Aims Instructional Averett Tanner. Pocatellb, Media Service.. (a film)

. Clark, Film-Making Techniques - Acting. Behind'the Camera. William Kuhns Hollywood:.Aims Instructional and Thomas F. Giardino:' Dayton, Media.Service. (a film) Pflaum/Standard, FilikStudy iniligher Education. :Careers for You. Scarsdale, New Washington, D.C.: AMerican :York: Society of MOtion Pic-. CoUncil of EdUcation, 1966. ture and'Television Engineers. ureat Playwrights. Eric Bentley. OareerS and Opportunities in-the. Garden City, New York: Double- Theatre. Jean DalrYmple.- NeW day, 197G. York: E.P. Dutton'& Co.,-1969, HQW You Cam Appear in Tv Comer- .Design for the S,tage. Darwin Reid cials. Ron Millkie and.Ray, 4?ayne. -Carbondale and Edwards- Carlson. New York: Pilot Books,

Ville: Southern.111inoisUni-! , 1973. versify Press, 1974.

14.2 138'

How to Survive in Your Native Land. Radio; TeleviSion,.and Film in ---:7James_Herndon. New York: Simon the Secondary School. Skoki.e, and:Schuster, In-C:',--197.1. National Textbook 'Company-, 1974.. Improvisation for the-Theater. Viola_Spolin. Evanston, Illi- Scene Design and.Stag Lighting. nois: NorthWestern University. W. Owen Parker an& Harvey K. Press, 1963. 'Smith'. New York: Holt, Rine- hart and Winston, Inc., 1974. Is a Career in the Performing Arts for You? Philadelphia: Counse- Scenery for the,Theatre. Harold lor Films, Inc. (a film) Burris-Meyer and Edward C..Cole. Boston: Little, Brown and Co., Is a Career in Radio or Television 1971. for'You? Philadelphia: Counse- lor Films, Inc. (a film) Stage Makeup Herman auchman. New York: Watson CuptilI Pub- Jobs in Communications and Medi:J. lications, 1974. Chicago: Science Reaearch Associates, Inc., 1974. Television 'Program, The. award Stasteff and Ru4y Bretz. Iew Literary Market Place. New Yon..: Yort-d Hill and. Wang, 19ti. R.R. Bowker Co.' QUarterly .±Nobody the Cast'. Robert BaT-L-on, AOth Street David Booth, Agnes Buckles, NA- New York,New York 10018 liam Moore. Don Mills, Cana::.a: Longmans Canada Ltd., 1969. Theatre Crafts 1501 Broadway. Occupational Outlook Handbook. New York,New:York 10036 :Washington, D.C.: U.S. Bureau 1 of Labor Statistics. Variety 154 West 46th'Street -TOpportunities in Acting Careers. New York, New.York 10036 Dick Moore. louisville,.Ken- tucky:f Vocational Guidance

, Manuals; Inc., J975: Preliminary ExplOration of Occu- pations it the Arts and Human- ities, A. Cambridge, Massachu- setts: Technical Education -Research Centers,'197S.c

*U.S. GOVERNMENT PAINTING OFFICE:1976-A-0703/62 J:cmvartan Documents, in his CarebrEXplorationSeries:

Student GuideboOks

EXPLORING DANCE CAREERS EXPWRING MUSIC CAREERS EXPLIEIRING VISUAL ARTS AND CRAFTS CAREERS EXPLORING WRUING CAREERS EXPLORING CAREERS IN THE HUMANITIES

'Materials for Teachers and Counselors

.? 391 WAYS 11) EXPLORE ARTS AND HUMANITIES CAREERS: CLASSROOM ACTIVrTIES'IN DANCE, MUSIC, THEATER AND MEDIA, VISUAL ARTS AND CRAFTS, WRITING, ANDI HUMANITIES

CAREER GUIDANCE IN THE ARTS AND HUMANITIES: ACTIVITIES,- INFORMATIONAND RESOURCES FOR GRADES 7-12

EXPLORING ARTS AND HUMANITIES CAREERS IN A PROGRAM PLANNING GUIDE

AN:ANNOTATED:BIBLIOGRAPHY OF SELECTED CURRICULUM. MATERIALSIN THE ARTS AND'HUMANITra

A PRELIMINARY EXPLORATION OF-,OCCUPATIONS IN:THE ARTS- AND:HUMANITIES