Thursday, 26 September 2013

task 1 part 2

North West Actors

36, Lord St, Manchester, M26 3BA, Lancashire
“ North West Actors , 36 Lord Street, Radcliffe..."

Oriental Casting Agency Ltd

22, Wontford Rd, Purley, CR8 4BL, Surrey
“actors ethnic actors”
Theatrical Agents
theas are the two companys we are using to aquier our cast for plays such as macbeth and romeo and juliet but in hand they have to be prepaird to do some of our own writen plays ( 2 step)  both are good companys but between them we have acsesx to a range of talented actors that will work well with the dance academy students as professionals 

dancers are gatherd from 

ATTITUDE DANCERS ACADEMY

43, Canons Close, Thetford, IP24 3PW, Norfolk

Dancing Schools
 | 
  • Ballet, Modern, Tap
  • ISTD Examinations
  • Festivals, Shows
  • From 3 Years To Adults
  • Venues At Gt Barton, Thetford
  • Barton Mills, Garboldisham

we like to use dancers from the academy so to kick start as many aspiring dancers as posible 




sound and lighting equipment 

Spring Electrical Ltd

198-202, Kingston Road, Epsom, KT19 0SF, Surrey

  • Lighting , Wiring
  • Cables
  • Sockets & Switches
  • Free Delivery Service
  • Ventilation & Heating
  • Electrical Wholesalers
lighting and sound coverd and they bring it to were ever we are pruforming this gives us an advantage that moast other companys dont have ; we have the use of the same lighitng in every venue this alows us not have to ajust the preformance to the lighting and sound equipment especialy as we preform out side to the public quite often to try to inspier younger audiences , in the way of shakespier .

transport !

Singleton Transport

Meek Street, Oldham, OL2 6HL

Road Haulage Services
 | 
  • UK General Haulage Contractors
  • Transits To 44 Tonne Flat Bed 
  • Curt Insiders
  • Competitive Rates
  • Nationwide Coverage 

  • we use this company to take our own stageing , costume and 
pyrotechnics 
  • as we make all of our own costumes to incorage 
recycling
links " the actors and the lighting companys are equanted so we get a better price on the equipment aslong as we always use them and as we are based in Surrey its not far from these reasorses "

and last but not least the theatre witch is in north London so it is close to the actors and dancers "the poor school studios" there are 3 main work spaces studio theatre  Approximately 13m x 8m. Full lighting deck on request , carpet room Approximately 9m x 7m with plenty of natural light and the mirror room Approximately 9m x 7m with one fully mirrored wall and plenty of natural light

Rates

All studios are £95 per day and £65 per half day or evening. VAT is not chargeable.
Lower rates may be negotiated for longer hires.
Contact Paul on 0207 837 6030

Marigold Costumes Ltd

Unit 10-12 Priority Business Centre, Curran Rd, Cardiff, South Glamorgan, CF10 5ND
  • Tel:  029 2064 4664

About us

95,000 costumes in stock! It's very likely we have what you want. From whole shows to period and modern productions, childrens costumes to WW2 uniforms.
Marigold Costumes Ltd, the largest costumier in Wales, offers over 95,000 costumes and accessories for hire to the TV, Film, Theatre, Education and Fancy Dress markets. Marigold has the potential to take you anywhere in time.
Marigold's history dates back to the 60's, and a theatrical costumier in the Welsh Valleys. Some years later, the company obtained stock from the Costume Studio of Shrewsbury and in 2005, amalgamated with Cardiff Bay Costumes Ltd., whose specialist Film & TV stock added an impressive collection of period costumes.
Marigold today is the fusion of these extensive collections, allowing our customers to select from the most comprehensive and impressive hire stock in Wales.
Marigold: For all your costume needs
•95,000 costumes & accessories
•Fancy dress to hire and buy online
•Original & reproduction period costume
•Uniforms & whole show sets
•Extensive 40's - 70's range
•Adult, childrens' & plus sizes
•Film crewing service & making facilities
•Education workshop
"nen"
using the district council recruit meant agency for waiting staff and for ice creem boy/girl 

 AND FRONT OF HOUSE BETHAN CAVE ! 
ON 12.50 AN HOUR AS SHE WILL BE MANEGING THE OTHER FLOR STAFF AS SHE HAS HAD ALOT OF EXPERIENCE IN THIS DEPARTMENT ; WORKING IN PRUVILLIAN

Aaron Crowe Photography

2 Reynards Court, Chelmsford, Essex, CM2 7HU
  • Tel:  07517 534017

About us

Modern and natural photography by Aaron Crowe - professional photographer specialising in wedding, event, portrait, boudoir, commercial and stage photography in Chelmsford, Essex
A passionate photographer based in Chelmsford, Essex. Available for all your photography and design needs, providing a personal service, ensuring you receive exactly the photography you wish for, whether relaxed and informal, fun, creative, traditional or reportage. All of my work is presented in the highest standard and quality 
The Poor School
242 Pentonville Road
King's Cross
London
N1 9JY
the home of "2 step theatre"

protecting our actors and dancers 
 "Equity" ; "Equity is a campaigning and organising union with a long track record of taking the things that matter to artists working in the entertainment industry, to parliament and other centres of influence. Equity lobbies governments, employers and others on issues such as funding, agency regulation, National Insurance status of artists, entertainment licensing, venue closures, BBC licence fee, tax structure  for film-makers, credits on television, intellectual property rights and many other subjects that affect our members and in the industry as a whole."
so they will come to our rehearsal space to check up on our work space . they will also inshore that the dancers and actors are not worked for longer than the legal restrictions  and protect them from the tax man by giving our company a insurance agains tax investigations  
thanking yello pages website for the info 



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Thursday, 19 September 2013

task one part one


The costume designer is
responsible for designing all the
costumes to be worn in a
production. This can involve a mix
of designing from scratch, and
sourcing existing items of clothing.

What is the job like?

Costume designers work very closely with the director, and often also the other designers on the show, like the set designer. Your aim as a costume designer is to find a look and feel to complement the vision of a play.

Often you might start by finding appropriate reference materials, such as images, fabrics, textures, and period drawings. You would then devise costumes within the budget available.
This might involve: 
  • going shopping for clothes and accessories such as hats, gloves or jewellery, either from a theatrical costumier or high street shops and markets
  • creating something absolutely new from design to finished product
  • adapting some existing pieces of costuming for the purposes of a new show
  • Overseeing costume fittings and last-minute changes, ready for the dress rehearsal.
As a designer, you might work with a team of people in the wardrobe department with a wide range of skills. As you move through your design career, you might also work in these roles too. 

What jobs make up a costume design

 department?

Many of the costume team may have had specialist art, fashion design or drama school training. However, in some cases people do work their way into the industry without formal training.
  • Wardrobe supervisors handle records of what the wardrobe department already has 'in stock', and help with sourcing new items of costume. 
  • Tailors and dressmakers make new garments. They will often have served an apprenticeship in the clothing industry, and adapted these skills to theatre use.
  • Cutters are assistants to the dressmakers. They cut out patterns ready to be sewn together into costumes. Specialist pattern cutting courses are often available at places like the London College of Fashion.
  • Milliners are hat specialists who design and make headwear. 
  • Dyers 'break down' costumes, shoes or boots before they are seen on stage. Breaking down is the process of distressing a costume, to give it a worn and authentic look.
    For example, jacket sleeves can be tied up with string, sprayed with water and left overnight to get authentic creases. Pockets are made to realistically sag by filling with paper or stones.
    Costumes can also be rubbed with sandpaper or soap to make the garment look worn or greasy. Dyers might also regularly cover boots and shoes with specially made ‘mud’.
  • Dressers help the artists into their costumes when making quick changes. This is a role that can be undertaken by people without previous experience, although often the jobs are often staffed by by experienced people who may have undertaken relevant theatre training, or people who are hoping to move into more qualified wardrobe work.



The 'front-of-house' of a theatre refers to all areas accessed by the public, including the auditorium. Front of house staff look after the public to make sure their visit is safe and enjoyable.

What is the job like?

The front-of-house department look after the day-to-day management of the theatre. Usually there is at least one front-of-house manager who employs other front-of-house staff.

The aim of the front-of-house team is to make the theatre a welcoming place for all visitors, staff and volunteers. The front-of-house manager, is often responsible for:
  • the safety and security of the public at performance time, and all times that the public are on the premises
  • ordering and dealing with the merchandise that is sold at the theatre
  • making sure food and drink sold on the premises is up to standard
  • managing the box office
There is often an assistant manager who acts as a deputy and helps the house manager to run the theatre. 
The front-of-house manager also employs front-of-house assistants to check the audience's tickets, help them to find their seats, and make sure the theatre is safe during the performance. These assistants are often also called 'ushers' or 'stewards'.
Theatre directors take 
responsibility for the overall
 creative production of plays.

What is the job like?

The director comes up with the 'vision' for a production, and leads the cast, technical crew and design staff to deliver the finished show.
On larger productions they may also work with choreographers, musical directors and fight arrangers. Different directors have different ways of working, and even the same director might vary their approach from play to play.
At all times, you also have to bear in mind the constraints of production. Your vision needs to be possible in the space it is being shown in, and you need to make sure your project doesn't run out of money. 
Some directors are also writers, and may direct their own authored productions. Most directors are self-employed. They may also be employed as artistic directors or resident directors in particular theatres, or be attached to a particular theatre company. 
In many ways the director is the key figure in a theatrical production, coordinating everything from the casting to the final performance. As a director you are crucially responsible for the artistic interpretation of the play. If it’s a new play, you may also spend a lot of time working with the playwright on the script and the best way to stage it.
The director is the key figure in a theatrical production.
Directors may also spend time working as assistant directors. This means being part of the core creative team on a production, and working closely with the director.
It can mean simply being a sounding board for ideas, or keeping tabs on key moves in rehearsals. On a big production, it can mean directing whole sections of the script.
"http://getintotheatre.org"
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Thursday, 12 September 2013

pab baby pab task 1 unit 1 baby reasearch


Arts Jobs


Lighting Designer, Inside Intelligence

London Closes Friday 13 September 2013 Paid (£10k-15k pro rata) Part time Artform: theatre  Contact: Robert Shaw robert@inside-intelligence.org.uk
    

Description

Inside Intelligence requires a lighting designer for our production of Children of Fate by Juan Radrigan, translated by Robert Shaw.  The Royal Court Theatre Local in Peckham plays host to the UK premiere of this classic of Chilean theatre, exposing the devastating social effects of Thatcherite economic policies and unjust land reforms on a society already brutalised by years of the Pinochet dictatorship.
Rehearsing from 7 October, exclusive during production week from 28 October, production meetings as necessary before and during rehearsals.
Not Equity minimum, but complies with National Minimum wage.  Profit share in addition to fee.

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Production & Stage Manager, Kouban Productions LTD

London Closes Wednesday 2 October 2013 Paid (£10k-15k) Full time Artform: theatre  Contact: James Oban Contact@KoubanProductions.com
    

Description

The appointed stage manager will coordinate all aspects of a theatre production to ensure the successful delivery of the performance.
You will need to have a good understanding of both the technical and artistic elements of a performance, ensuring delivery exactly to the director's and producers’ requirements. The stage manager will be involved from the rehearsal stage through to the live performances, being on hand to deal with any emergencies or issues that may hinder the show.
We are looking for a flexible, confident person who is good with people and experienced in a similar role, preferably with an interest in new musical theatre. The successful candidate will need to be available to work in November and December in London.
Duties include:
  • Setting up and maintaining the rehearsal space.
  • Responsible for cleanliness of rehearsal and performance spaces, including dressing
    rooms, backstage area and the stage.
  • Obtaining all costumes, props, furniture and set dressings.
  • Assisting in set construction.
  • Arranging costume and wig fittings.
  • Distributing information to other theatre departments within the production.
  • Managing the set, costume and props budget and liaising with the Producer regarding
    costs.
  • Running the sound and lighting desk during performances.
  • Ensuring the company's welfare and maintaining a good working knowledge of all
    relevant health and safety, legislation and good working practice.
  • Liaising with the director and other artistic or technical departments.
  • Calling actors for rehearsals and performances.
  • Ensuring each show starts on time.
  • Maintaining call-sheets and actors’ hours logs.
  • Any such duties that may be agreed on from time to time.
             Essential:
  • Experience of working in stage lighting and sound.
  • Experience of working in a Production Manager and/or Stage Manager role previously.
  • First Aid Training
    Pay rate: £6.31 per hour (All artists and production team members are paid the National Minimum Wage as this is a fringe production).
    To apply for the above position or request further information:
    Please send a CV with a covering letter to

    Deputy Head of Lighting, Royal Exchange Theatre, Manchester

    North West Closes Friday 20 September 2013 Paid (£20k-25k) Full time Artform: theatre  Contact: Jan-Louise Blyth jan.blyth@royalexchange.co.uk
        

    Description

    ROYAL EXCHANGE THEATRE
    Require a DEPUTY HEAD OF LIGHTING
    to join a team of four responsible for our own productions and visiting companies in the Royal Exchange Theatre and Studio.
    Knowledge of ETC EOS and ION lighting desks and moving lights is essential.
    For more information and an application pack, visit www.royalexchange.co.uk/jobs
    Closing Date   12.00 noon on Friday 20thSeptember 2013
    The Royal ExchangeTheatre is strongly committed to the principles and practice of equal opportunity. We particularly welcome applications from those underrepresented in our organization.


     lighting designer
     
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    The lighting designer
    Lighting designers know how to make the best use of the subtle and powerful medium of light, creating effects that can be changed at will to match the mood of the action.

    At its most basic, stage lighting functions to make the actors and their environs visible to the audience. But it can also be used to:
    • Evoke the appropriate mood
    • Indicate time of day and location
    • Shift emphasis from one stage area to another
    • Reinforce the style of the production
    • Make objects on stage appear flat or three dimensional
    • Blend the visual elements on stage into a unified whole
    The Designer's work
    The lighting designer begins by reading the script to be produced noting the type of light it calls for in each scene. Designer and director share their ideas about how light could be used to enhance the production concept at their first meeting. Early meetings with the set designer are also important because the set and lighting designers must collaborate on how to achieve the desired "look" for the play. The plan for the set may influence the placement and direction of the necessary lighting instruments, so flagging any potential problems in this area as early as possible makes sense.

    Lighting designers attend rehearsals to get a feel for the lighting cues and to plan how to light the actors as they move from place to place on stage. When the blocking is set, the lighting designer can start to work out which lighting instruments will be used and where each one will be located.

    Planning tools
    The planning tools lighting designers use include:
    • Paintings and photos showing the mood and style of specific lighting techniques and are gathered through research
    • A lighting plot: a scale drawing of the stage and set as seen from above showing the planned layout of each lighting fixture to be used
    • A vertical section plot: a cross-section of the stage and set drawn to scale showing the vertical sightlines and the height and position of each instrument
    • An instrument schedule: a chart that lists each lighting instrument separately along with the details of its type, wattage, purpose, filter color, the dimmer it will be plugged into and the ciruit that will control it
    • A cue sheet: a complete list of the various lighting effects the designer has planned for the show and when they occur
    Light control
    Lighting designers usually combine both direct and indirect light to illuminate the actors and objects on stage. Direct lighting comes from a definite location and illuminates specific areas; indirect lighting washes over the entire area to be lit and doesn't appear to come from any one specific location.

    The amount of light needed to clearly illuminate an object on stage depends on the object's:
    • Reflective properties
    • Color
    • Contrast with its surroundings
    • Size
    • Distance from the person looking at it.
    There are four properties lighting designers can control to create a vast array of effects:
    • Intensity. The brightness of light. Everything in the range from the faintest dim glow to the most blinding glare can be created with stage lighting. Contrast has a great impact on how bright a light will appear to be to the audience, with a single flashlight on an otherwise dark stage appearing to be bright, while a strong spotlight shining on an already brightly lit stage may appear dim.
    • Color. The color an object on stage appears to be is determined both by its actual hue and by the color of the light that illuminates it. Filters or gels on lighting instruments make it possible for designers to tint stage lighting in colors that flatter the actors' faces, cast a warm glow over an entire set or heighten the colors of scenery and costumes.
    • Distribution. Light can be distributed in different ways on stage. The form of light may vary from a soft unfocused glow to a sharply defined beam that casts dramatic shadows. The beam of light from an instrument may be directed through a piece of metal called a gobo that shapes it into a pattern such as the broken effect of light coming through the leaves of tress. Light may also be directed at an object from any angle, giving rise to an infinite variety of light and shadow combinations, each with a different look and feel.
    • Movement. The intensity, color and distribution of light can be noticeably altered as quickly or slowly as the lighting designer and director deem fit while the play is being performed. For example, a scene that starts in the diffuse and rosy light of dawn can end in the brilliant golden beams of full morning light. This capacity for change over time is called the movement of light. It offers a kind of flexible expressiveness that is unmatched by any of the other visual elements of production.
    Collaboration
    The lighting designer will meet with the director and the design team (set, costume, lighting and sound designers), to discuss the details of the set and the director's interpretation of the play. The set, costume and lighting designers also meet and work together to ensure the creation of a unified look and feel for the production. A lively exchange of initial ideas and first impressions helps clarify the steps that each person needs to take in this intensely collaborative process.

    Once the show opens, the designer's work is essentially complete. Now it's normally the job of the stage manager and light crew to make sure that every aspect of the production runs just as the designer intended, time after time, until the production closes.

    Master Electrician
    The ME is responsible for taking the lighting plot and making sure that all lighting units on the plot are hung in the correct locations and actually work. Coordinating the numbers of lights and circuits and allocating cabling, gels, and other accessories are the most important aspects of this role. In many theatres, the lighting designer often ends up sharing many of the typical ME roles, so the job gets done by both.


    http://www.creative-choices.co.uk
    http://www.nationaltheatre.org.uk
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