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Stagehand Course Curriculum
Alaska Center for the Performing Arts Stagehand Training Effective July 1, 2010 1 Table of Contents Grip 3 Lead Audio 4 Audio 6 Audio Boards Operator 7 Lead Carpenter 9 Carpenter 11 Lead Fly person 13 Fly person 15 Lead Rigger 16 Rigger 18 Lead Electrician 19 Electrician 21 Follow Spot operator 23 Light Console Programmer and Operator 24 Lead Prop Person 26 Prop Person 28 Lead Wardrobe 30 Wardrobe 32 Dresser 34 Wig and Makeup Person 36 Alaska Center for the Performing Arts 2 Alaska Center for the Performing Arts Stagecraft Class (Grip) Outline A: Theatrical Terminology 1) Stage Directions 2) Common theatrical descriptions 3) Common theatrical terms B: Safety Course 1) Definition of Safety 2) MSDS sheets description and review 3) Proper lifting techniques C: Instruction of the standard operational methods and chain of responsibility 1) Review the standard operational methods 2) Review chain of responsibility 3) Review the chain of command 4) ACPA storage of equipment D: Basic safe operations of hand and power tools E: Ladder usage 1) How to set up a ladder 2) Ladder safety Stagecraft Class Exam (Grip) Written exam 1) Stage directions 2) Common theatrical terminology 3) Chain of responsibility 4) Chain of command Practical exam 1) Demonstration of proper lifting techniques 2) Demonstration of basic safe operations of hand and power tools 3) Demonstration of proper ladder usage 3 Alaska Center for the Performing Arts Lead Audio Technician Class Outline A: ACPA patching system Atwood, Discovery, and Sydney 1) Knowledge of patch system 2) Training on patch bays and input signal routing schemes for each theater 3) Patch system options and risk 4) Signal to Voth 5) Do’s and Don’ts B: ACPA audio equipment knowledge and mastery 1) Audio system power activation 2) Installation and operation of a mixing consoles 3) Operation of the FOH PA system 4) Operation of the backstage audio monitors 5) Operation of Center auxiliary audio systems a. -
Making Sense of Metrics in the Music Industries
International Journal of Communication 15(2021), 3418–3441 1932–8036/20210005 Making Sense of Metrics in the Music Industries NANCY BAYM1 RACHEL BERGMANN Microsoft Research, USA RAJ BHARGAVA University of California, Berkeley, USA FERNANDO DIAZ TARLETON GILLESPIE Microsoft Research, USA DAVID HESMONDHALGH University of Leeds, UK ELENA MARIS University of Illinois at Chicago, USA CHRISTOPHER J. PERSAUD University of Southern California, USA This article considers how media workers and organizations make use of the abundance of metrics available in the contemporary online environment. The expansion of audience measurement on digital music platforms, dashboard analytics, and third-party providers raises broad societal concerns about the quantification of culture; however, less attention has been paid to how professionals in the music industries approach, understand, and deploy these metrics in their work. Drawing on survey and interview data, we found that Nancy Baym: [email protected] Rachel Bergmann: [email protected] Raj Bhargava: [email protected] Fernando Diaz: [email protected] Tarleton Gillespie: [email protected] David Hesmondhalgh: [email protected] Elena Maris: [email protected] Christopher J. Persaud: [email protected] Date submitted: 2021-03-26 1 Authors are listed alphabetically; each made equal contributions to the article. Copyright © 2021 (Nancy Baym, Rachel Bergmann, Raj Bhargava, Fernando Diaz, Tarleton Gillespie, David Hesmondhalgh, Elena Maris, and Christopher J. Persaud). Licensed under the Creative Commons Attribution Non-commercial No Derivatives (by-nc-nd). Available at http://ijoc.org. International Journal of Communication 15(2021) Making Sense of Metrics 3419 music workers do not take metrics on faith or reject them out of hand; rather, they make sense of them, deploy them strategically, and narrate their meanings to give themselves rationales to make investments and predictions and to persuade others to do so. -
14Th Annual ACM Honors Celebrates Industry & Studio Recording Winners from 55Th & 56Th ACM Awards
August 27, 2021 The MusicRow Weekly Friday, August 27, 2021 14th Annual ACM Honors Celebrates SIGN UP HERE (FREE!) Industry & Studio Recording Winners From 55th & 56th ACM Awards If you were forwarded this newsletter and would like to receive it, sign up here. THIS WEEK’S HEADLINES 14th Annual ACM Honors Beloved TV Journalist And Producer Lisa Lee Dies At 52 “The Storyteller“ Tom T. Hall Passes Luke Combs accepts the Gene Weed Milestone Award while Ashley McBryde Rock And Country Titan Don looks on. Photo: Getty Images / Courtesy of the Academy of Country Music Everly Passes Kelly Rich To Exit Amazon The Academy of Country Music presented the 14th Annual ACM Honors, Music recognizing the special award honorees, and Industry and Studio Recording Award winners from the 55th and 56th Academy of Country SMACKSongs Promotes Music Awards. Four The event featured a star-studded lineup of live performances and award presentations celebrating Special Awards recipients Joe Galante and Kacey Musgraves Announces Rascal Flatts (ACM Cliffie Stone Icon Award), Lady A and Ross Fourth Studio Album Copperman (ACM Gary Haber Lifting Lives Award), Luke Combs and Michael Strickland (ACM Gene Weed Milestone Award), Dan + Shay Reservoir Inks Deal With (ACM Jim Reeves International Award), RAC Clark (ACM Mae Boren Alabama Axton Service Award), Toby Keith (ACM Merle Haggard Spirit Award), Loretta Lynn, Gretchen Peters and Curly Putman (ACM Poet’s Award) Old Dominion, Lady A and Ken Burns’ Country Music (ACM Tex Ritter Film Award). Announce New Albums Also honored were winners of the 55th ACM Industry Awards, 55th & 56th Alex Kline Signs With Dann ACM Studio Recording Awards, along with 55th and 56th ACM Songwriter Huff, Sheltered Music of the Year winner, Hillary Lindsey. -
Term-List-For-Ch4-Asian-Theatre-2
Asian Theatre: India, China, Korea, Japan, Indonesia, & Cambodia Cultural Periods and Events Theatrical Developments Persons Aryan migration & caste system Natya-Shastra (rasas & the Bharata Muni & Abhinavagupta Vedic & Gandhara Periods spectator’s liberation) Shūdraka & Kalidasa Hinduism & Sanskrit texts Islamic invasions actor-manager (sudtradhara) Buddhism (promising what?) shamanic rituals jester (vidushaka) Hellenistic influence court entertainments with string-puller (sudtradhara) Classical Period & Ashoka Jester Ming sheng, dan, jing, & chou (meanings) Theravada & Mahayana wrestling & Baixi men & women who played across gender Gupta golden age impersonations, dances, & women who led troupes Medieval Period acrobatics, sword tricks Guan Hanqing Muslim invasions small plays of song and dance Tang Xianzu Chola Dynasty Pear Garden & adjutant Li Yu Early Modern Period plays Kan’ami & Zeami Mughal Empire red light districts with shite & shite-tsure (across gender), waki, Colonial Period with British East southern dramas & waki-tsure, & kyogen India Company variety show musicals chorus of 8 men, musicians, & onstage British Raj with one star singing per stagehand (kuroko) Dramatic Performances Act act Okuni Contemporary Period complex, poetic dramas onnagata Shang, Zhou, Qin, Han, Jin, kun operas with plaintive Chikamatsu Northern & Southern, Sui, Tang, music & flowing Danjuro I Song, Yuan, Ming, & Qing melodies/dancing chanter, 3 puppeteers per puppet, & Dynasties Beijing Opera (jingju) as shamisen player nationalist & communist rulers -
Concert Promotion and Production
CHAPTER SIXTEEN CONCERT PROMOTION AND PRODUCTION hile the monetization of recorded music has struggled mightily for years, it’s W a different story for live concerts. Although hardly immune to the vagaries of the greater economy, live music has an enormous economic advantage over recorded music. A fan must generally pay hard dollars to enjoy a live performance by a favored act, while an unauthorized shared download or a free streamdistribute puts little or nothing in the artist’s pocket. Music concerts generated $8.2 billion in surveyed 2017 ticket sales in North America, according to industry sources, not including the value of resale of tickets on the secondary market and the many acts that don’t tour nationally. Add to that sum ticket resales, corporateor sponsorships, and the economic spillover for supporting vendors and restaurants, and the vast economic footprint of live music becomes obvious. Besides generating substantial revenue from ticket sales, live concerts boost record sales. Live concerts also increase demand for artist-related licensed mer- chandise, such as T-shirts, posters, jewelry, keychains, and books. Concerts and the sale of ancillary products are so critical that major recording companies are reluctant to sign an act that doesn’t also have a compelling stage presence. And if the label does sign the act, there’s a goodpost, chance it’s part of a broad 360 deal that yields the label a healthy piece of the box office and licensed merchandise income, among other revenue streams. Three key players move and shake the concert promotion industry: the event promoter, the artist’s manager, and the tour-booking agent. -
Stage Lighting Technician Handbook
The Stage Lighting Technician’s Handbook A compilation of general knowledge and tricks of the lighting trade Compiled by Freelancers in the entertainment lighting industry The Stage Lighting Technician's Handbook Stage Terminology: Learning Objectives/Outcomes. Understanding directions given in context as to where a job or piece of equipment is to be located. Applying these terms in conjunction with other disciplines to perform the work as directed. Lighting Terms: Learning Objectives/Outcome Learning the descriptive terms used in the use and handling of different types of lighting equipment. Applying these terms, as to the location and types of equipment a stagehand is expected to handle. Electrical Safety: Learning Objectives/Outcomes. Learning about the hazards, when one works with electricity. Applying basic safety ideas, to mitigate ones exposure to them in the field. Electricity: Learning Objectives/Outcomes. Learning the basic concepts of what electricity is and its components. To facilitate ones ability to perform the mathematics to compute loads, wattages and the like in order to safely assemble, determine electrical needs and solve problems. Lighting Equipment Learning Objectives/Outcomes. Recognize the different types of lighting equipment, use’s and proper handling. Gain basic trouble shooting skills to successfully complete a task. Build a basic understanding of applying these skills in the different venues that we work in to competently complete assigned tasks. On-sight Lighting Techniques Learning Objectives/Outcomes. Combing the technical knowledge previously gained to execute lighting request while on site, whether in a ballroom or theatre. Approaches, to lighting a presentation to aspects of theatrical lighting to meet a client’s expectations. -
Economic Insight 20
Economic Insight Issue 20 04.08.10 www.prsformusic.com/economics Adding up the UK music industry for 2009 In the summer of last year we published the appreciate the international context and ‘Adding up the Music Industry for 2008’ to recognise the value of music to UK plc on the explain how much the entire UK music world stage. To do this, we’ve offered three industry was worth, and more importantly new areas of analysis: (i) the role of UK Prepared by Will Page and Chris Carey, how it all hangs together. Our hope is that songwriters and publishers as net exporters PRS for Music, London this work will become a valuable reference of repertoire (ii) the divergence between the document for the industry and all of its signs of stabilisation in the UK and stakeholders to understanding and pessimism being expressed in the US and (iii) appreciate all of the rights, relationships and the role of music in driving tourism in the revenue streams that UK music generates. current economic climate. This year we have revisited the same ‘adding Whilst the overall picture is one of up’ exercise with more evidence, improved stabilisation, any talk of green shoots should analysis and a better understanding thanks be tempered by stressing caution over to constructive and collaborative feedback complacency. To quote the late Thomas from across the media sector. The principle Edison, “we shall have no better conditions motive for this work remains the same: the in the future if we are satisfied with all those better we understand the true makeup of which we have at present”. -
Careers in the Music Business
Careers in the Music Business Careers in Music Business/Management Personal Manager (or Artist Manager, Agent) Personal managers represent one or more musical groups or artists and oversee all aspects of an act's career. They deal with and advise the act(s) on all business decisions, as well as many of the creative decisions an artist must make, and attempt to guide the artist's rise to the top. Booking Agent (or Talent Agent) Booking agents work to secure performance engagements for musical artists and groups. They work to find talent to book and may be involved with developing the talent toward a goal. They must possess good communication skills to sell talent and develop contacts in the music industry. They often work closely with an act's manager and may be involved in setting the fee and negotiating with promoters or clubs. A booking agent is paid a percentage of the negotiated fee for an act's performance. Concert Promoter The concert promoter presents, organizes, advertises, and in many cases, finances concerts at performance venues such as arenas, festivals, clubs, church buildings, auditoriums, etc. The promoter often secures money for the concert by finding others to share in the profits/expenses. However, it is often times the concert promoter who absorbs all the financial risk. Independent Radio Promoter The independent radio promoter (IRP) has a similar role as that of a promotional staffer at a record label, except the IRP is usually employed by an independent radio promotions company or works freelance. Often, a record label, artist/band, or manager will hire the services of an independent radio promotions company to generate airplay of a particular song or record. -
Disco Breaks Incorrectly Reported That Elektra Artist Suzi Lane's New LP Was Entitled
Labels Look At Roller Discos (continued from page 8) prominently displayed in all 15 roller rinks. DISCO (continued page BREAKS from 38/ label promoter. The owner, Clarence When patrons ask where they can buy the ques in a Rolls Royce cortege. Other prizes include a disco album Anderson, supplies the DJ with product, records played library and $9000 worth at the rink, Del Rey and rink of clothing, which works out to quite purchased retail, and bases his purchases a lot of grass skirts. The winners will be selected for employees direct them to Licorice Pizza. dancing talent, poise and style. on songs he hears on the radio. Requests Other promotional efforts by Del Rey in- HOT NEW ACT - In a stunning, SRO week of performances at Studio One's Backlot in from patrons also influence his buying. On clude listening parties at the roller rinks and West Hollywood, disco trio Hodges, James & Smith revealed their heretofore Saturday nights, the facility is turned into a American Bandstand hidden -type dance con- talents as a first rate cabaret act. Backed only full-fledged disco and skates are not al- by piano, bass guitar and synthesizer, the certs, hosted by the young promoter. group discarded their "studio" sound lowed. Nevertheless, DJ Keith and delivered beautifully conceived ballads, pop and Owens is not The Sherman Square roller rink in R&B tunes. Standing ovations from the audience frequently stopped an otherwise fast - a member of any pool, nor is he serviced by Reseda, Calif., is one of 15 serviced by Del paced show. -
New Directions for Kabuki Performances in America in the 21St Century
Portland State University PDXScholar Dissertations and Theses Dissertations and Theses 4-2-2019 New Directions For Kabuki Performances in America in the 21st Century Narumi Iwasaki Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Part of the Japanese Studies Commons Let us know how access to this document benefits ou.y Recommended Citation Iwasaki, Narumi, "New Directions For Kabuki Performances in America in the 21st Century" (2019). Dissertations and Theses. Paper 4942. https://doi.org/10.15760/etd.6818 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. New Directions For Kabuki Performances in America in the 21 st Century by Narumi Iwasaki A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Japanese Thesis Committee: Laurence Kominz, Chair Suwako Watanabe Jon Holt Portland State University 2019 ©2019 Narumi Iwasaki i Abstract Transitions from the first kabuki performance abroad in Russia in 1928 to the recent performances around the world show various changes in the purpose and production of kabuki performances overseas. Kabuki has been performed as a Japanese traditional art in the U.S. for about 60 years, and the United States has seen more kabuki than any other country outside of Japan. Those tours were closely tied to national cultural policy of both Japan and the USA in the early years (Thornbury 2–3). -
Roselle Public Schools High School Drama Curriculum Unit Overview
Roselle Public Schools High School Drama Curriculum Content Area: Performing Arts Unit Title: Unit 1: Theatre vs. Theater: Team Bonding & Improvisation Target Course/Grade Level: Drama Grades 9-12 Approximate Length of Unit: 6-8 weeks / ongoing Primary interdisciplinary connections: Chorus, Physical Education, Technology, & English Unit Overview In order for students to feel comfortable performing in front of the class; develop access to their emotions; free their body and their voice for a variety of character interpretations; and feel confident taking risks during the creative process, they must develop a bond and trust with their classmates and feel confident in their abilities. The students will develop communication skills through personal exploration and social interaction. The student will develop an awareness of and better understanding of his/her own impulses and instinctual behavior through improvisational games. Students will be able to independently articulate and demonstrate the many facets of the theatre and theater including the following: aesthetics, elements of, terminology, safety procedures, parts of a theater, theatrical jobs/roles, and actor-audience relationships. 1 2018 Roselle Public Schools High School Drama Curriculum New Jersey Student Learning Standards: Visual and Performing Arts (NJCCCS) Standards: 1.1 The Creative Process: All students will demonstrate an understanding of the elements and principles that govern the creation of works of art in theatre. 1.3 Performance: All students will synthesize those skills, media, methods, and technologies appropriate to creating, performing, and/or presenting works of art in theatre. Content Strand: 1.1C The Creative Process: Theatre 1.3C Performance: Theatre CPI# 1.1.8.C.2 Determine the effectiveness of various methods of vocal, physical, relaxation, and acting techniques used in actor training. -
360° Deals: an Industry Reaction to the Devaluation of Recorded Music
360° DEALS: AN INDUSTRY REACTION TO THE DEVALUATION OF RECORDED MUSIC SARA KARUBIAN* I. INTRODUCTION In October of 2007, Radiohead released In Rainbows without a record label. The band’s contract with record company EMI had been fulfilled in 2003, and Radiohead did not bother finding a new deal as they began recording their seventh album.1 Radiohead then made the album available at www.inrainbows.com, where fans were instructed to “pay-what-you- want” for the digital download.2 Shortly after the album’s release, the band’s front man, Thom Yorke, said “I like the people at our record company, but the time is at hand when you have to ask why anyone needs one. And, yes, it probably would give us some perverse pleasure to say ‘F___ you’ to this decaying business model.”3 It was no surprise that Radiohead received critical acclaim for the artistic merits of the album,4 or that millions of fans found a way to acquire the music. Its financial success, however, was less predictable. Radiohead declined to release statistics related to its pay-what-you-want model, but a conservative estimate suggests that the band’s profits from this digital release exceeded six and a half million.5 Furthermore, when Radiohead contracted with iTunes and a distributor to sell the album on iTunes and in stores, its high sales pushed it to the top of traditional album charts6 in early * J.D. Candidate, University of Southern California Law School, 2009; B.A. University of California Berkeley, 2006. A special thank you to Gary Stiffelman, Professor Jonathan Barnett, and Professor Lance Grode.