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El. knyga: Beginner's Guide to Opera Stage Management: Gathering the Tools You Need to Work in Opera

  • Formatas: 224 pages
  • Išleidimo metai: 30-Nov-2022
  • Leidėjas: Routledge
  • Kalba: eng
  • ISBN-13: 9781000786941
Kitos knygos pagal šią temą:
  • Formatas: 224 pages
  • Išleidimo metai: 30-Nov-2022
  • Leidėjas: Routledge
  • Kalba: eng
  • ISBN-13: 9781000786941
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The Beginners Guide to Opera Stage Management is the first book to cover theatrical stage management practices specifically for opera productions, providing an invaluable step-by-step guide.

Beginning with a brief history of opera and detailing its difference from musical theatre, the book covers stage management best practices through prep, rehearsals, tech, performance, and wrap up. From the moment a manager accepts a contract, right through to archiving paperwork, this essential toolkit covers each step of a stage managers journey. Working with a score, reading music, working with singers, conductors, and musicians, basic duties of a stage manager versus an assistant stage manager, and other tasks specific to opera are also included in this comprehensive guide. This book is full of tips and tricks, as well as the good, bad, and ugly stories from opera stage managers, sharing both their experiences and mistakes.

This is the perfect how-to book for the professional or emerging stage manager looking to work in opera, or to expand their existing stage management skillset.
Foreword ix
Dean Anthony
Preface xi
Acknowledgments xiii
Introduction 1(2)
Chapter 1 Opera Background
3(4)
What Is Opera?
3(1)
Brief History
3(3)
Top Ten Operas to Know
6(1)
Chapter 2 Document Design
7(14)
Who Is the Document Going To?
7(1)
How Is My Document Prepared and Where Is it Stored?
8(1)
Color and Shading
9(2)
What's in a Name?
11(4)
The Breakdown on Headers and Footers
15(1)
Continuity
16(3)
To PDF or Not to PDF, That Is the Question?
19(2)
Chapter 3 Prep Week
21(40)
Resources to Begin With
22(1)
Who Does What
23(4)
PSM Prep
27(7)
ASM Prep
34(12)
Scores and Translations
46(6)
Putting Together Your Book
52(7)
Questions to Ask
59(2)
Chapter 4 Rehearsal
61(28)
Setting Up the Rehearsal Room
61(3)
Crash Course on Taping
64(4)
Adding the Finishing Touches
68(1)
Types of Rehearsal
69(4)
Who's Who in the Room
73(2)
In the Room
75(14)
Chapter 5 Rehearsal Paperwork
89(28)
Stage Management Paperwork
89(14)
Assistant Director Paperwork
103(3)
The Anatomy of a Cheat Sheet
106(1)
Assistant Stage Management Paperwork
106(11)
Chapter 6 Tech
117(50)
Designer Run
117(3)
Paperwork
120(6)
After the Final Room Run
126(1)
Loading into the Theater
127(8)
Rehearsal During Tech Week
135(11)
What about the ASM Calling Stations?
146(3)
Lighting and Cuing
149(1)
Types of Cues and Their Names
150(9)
Cue Lights
159(2)
Placing Cues in the Score
161(1)
Maestro Cam
161(3)
Rehearsal Reports During Tech
164(1)
Days Off
165(2)
Chapter 7 Performance
167(26)
Finalizing the Pre-Show Routines
167(3)
Performance Schedule and Calls
170(5)
Opera and Subs
175(1)
Working with Front of House
176(1)
Top of Show Sequence
177(4)
Performance Report
181(1)
Passing the Baton
182(3)
Brush Ups and Cover Rehearsals
185(2)
Emergency Plans
187(1)
Bows
188(1)
Opening Night
189(4)
Chapter 8 Archiving
193(6)
Archived Checklist
193(1)
Why Archive Your Work?
194(2)
What to Archive?
196(2)
Final Advice
198(1)
Appendix 199(8)
Index 207
Danielle Ranno has worked in opera for over a decade, both regionally and internationally. Credits include Lincoln Center, Seattle Opera, The Glimmerglass Festival, Opera Columbus, On-Site Opera, International Summer Opera Festival of Morelia, Lakes Area Music Festival, Brevard Music Center, Opera Grand Rapids, Tri-Cities Opera, and The Castleton Festival. She also regularly works on Broadway plays and musicals, including the Tony Award winning play, The Lehman Trilogy, Six, and &Juliet. Danielle has a BA in Communications, with a concentration in Public Relations from Florida Gulf Coast University and an MFA from Mason Gross School of the Arts at Rutgers University in Stage Management. She is a proud member of The Actors Equity Association and American Guild of Musical Artists.