http://rm.usitt.org/documents/blocking%20key.pdf

2. http://dramcost.wordpress.com/stage-management-resources/production-area-lists-per-script/new-sample-list-per-script-from-2-one-act-plays/http://dramcost.wordpress.com/stage-management-resources/production-area-lists-per-script/new-sample-list-per-script-from-2-one-act-plays/

3. http://rm.usitt.org/documents/blocking%20key.pdf http://rm.usitt.org/documents/BlockingKeySample.jpg

4. When does WHICH SM work happen??

5. STAGES of Stage Management: Preparation: Rehearsal: Technical Rehearsal Prep and the Tech: Performances: P / R / T / P

6. STAGES of Stage Management: Preparation: Script, Meetings, Charts, Lists, Designs, Theatre, Rehearsal space Prep., Schedules, Community info., Safety,… Rehearsal: Daily Prep, Schedules, Notes, Communications, Resources, Recording, Policies, Meetings, Receipts, Spikes, … Technical Rehearsal Prep and the Tech: Scene changes, Prop presets, Paper Cueing, Scheduling, Quick changes, Safety, Communication, Cue Lights, … Performances: Schedules, Presets, Running lists, Actor Notes, Publicity, Strike Planning, Maintenance,….

7. SM Resources: CHARTS / Scene Breakdowns (Preparation Stage) • Grid: Use Excel, Numbers, or Word Table • Actor Names (Made up by you) on one axis • Act / Sc / Page on OTHER axis • CHARACTER names from script in ‘boxes’ • (Tom) means they do not speak, but they are there. • Header : Include a Full Header (See Previous PPT) • Print Grid Lines • Set Print Area • Fictional Producing Company, Theatre Space , dates etc. • You are SM • Adjust column width • Use Side Ruler to move top of chart down • French scenes. (Moliere) : when the speakers change or the focus of the conversation changes.

11. SCENE BREAKDOWN NOTES: • SM Resources/ CHARTS / Scene Breakdowns (Preparation Stage) • Grid: Use Excel, Numbers, or Word Table • Actor Names (Made up by you) on one axis • Act / Sc / Page on OTHER axis • CHARACTER names from script in ‘boxes’ • (Tom) means they do not speak, but they are there. • Header : Include a Full Header (See Previous PPT) (Use date that makes sense in relationship to other assigned document dates. • Print Grid Lines • Set Print Area • Fictional Producing Company, Theatre Space , dates etc. • You are SM • Adjust column width • Use Side Ruler to move top of chart down • French scenes. (Moliere) : when the speakers change or the focus of the conversation changes.

12. What other Prep is there to do?? (See prev. slide showing the 4 stages) Days 1 – 4 or 5 ALONE: -Prompt Book: Lines Numbers, Highlighting -Lists per script WITH OTHERS: -Learn about: Keys, Rehearsal space, Theatre space, Designs, Staff and Theatre Contact info, Callboards, Company info policy, Procedures of theatre, Other shows playing, Community resources for Actors (Gym), First Day welcoming, Safety Procedures, Communication expectations, Tech overview, Rehearsal Overview, Performance Schedule, Actor Accommodation, Pay date info, Local Banking, Box Office and Comp Policies, Parking, Medical resources, Health Food Store, Coffee break supplies policy, Publicity routines, Dressing rooms, Rehearsal props and Furniture, Rehearsal costumes, Washrooms, Custodian-type Cleaning expectations, Copier code or rules, Petty Cash forms, Stationery Policy, Rehearsal supplies eg Tissue, Kleenex & Pencils, Scripts, Find out Script pronunciations and odd terms. ALONE: - Using details gather as above, create documents specific to this production for any topic that needs communication. - Distribute and post as needed. - Develop BLANKS for Rehearsal Reports, Show Reports, DAILY Rehearsal Schedules,. Save blanks, ready to complete. Day 5 or 6 WITH ASMS : - Train on Safety and Rehearsal procedures, Tape Floor, Set up rehearsal items, water jugs, tables, kleenex, pencils, asm tables.

13. REHEARSAL STAGE: • What do Stage Managers & ASMs DO in rehearsals???? • One area is : Rehearsal Observations: • An actor spending a good deal of time on their knees. • Actor asking what they wear in this scene. • Director telling 2 actors to both stand on the same bench during a scene. • Actor spending a good deal of time running and jumping. • Actor pretending to smoke during a scene. • Actor produces a wallet for a scene. • Actor lays-down across 4 rehearsal chairs that are being used for a sofa. • Director tells an actor to come in the door right after the thunder. • Director tells an actor to look out a window. • Actor crumples a paper item during a scene. • Actor turns on lights during a scene. • Director tells an actor to come in the door right after the other actor sits down. • THEN: What do they DO with this information??

14. Also in Rehearsal: Take BRIEF Actor Notes: -These are ACTING notes that were ‘given’ by the director, that you noticed that the actor may need reminding of. It may be something they often forgot in rehearsal. -The best thing is to note a word actually ‘said’ by the director that will trigger a memory of the director giving that note. Use the Director’s words not your own. -The SM needs to note these to help the cast keep the performances be the way the director wanted them. -During the run of performances, when the SM notices that the actor is changing things, the SM can remind the actor how the director wanted it. -Put these notes in the margin between the line numbers and the edge of the paper. Examples: Jane: “Show your kindness” (Mood) Ed: “ Maintain intensity” (Emotion) Diane: “ Keep the momentum” (Pacing) Peter: “LOUDER” here! (Volume) Dave: “Cross DS of the suitcase” (Blocking)

15. Also in the Rehearsal Stage: • Prompt : When and How? Using? • Record Timings: Why, When Where? • Reset Props: When? • Record Props and Furniture Presets : Who, When, Where? • Spike Furniture locations for ASMs and for ACTORS. • Record Props Movements : Where for ASM, Where for SM • Record Blocking: When, How? • Schedule the next day - DAILY • ProduceRehearsal Report each day

16. SM Resources / B – BLOCKING NGM Mini Plans for SM

17. Blocking: Use lower case letters ex Stg Dir. Leave CAPITALS for those and character initials. (Streetcar : STEVE / STANLEY / STELLA = ST, SY, SA ) US,DS, SR, CC, UL, DR, etc x = Crosses en = enters ex = exits Arrow up = rises or stands Arrow down = lowers or sits @ = at Music Fermata = pause p/u = pick up p/d = puts down br = breaks, breaks away from someone or something, shifts position t/o = take off p/o = puts on kn = kneels tow = towards

19. http://uhaweb.hartford.edu/striff/skint/skintprompt.htm

20. Cueing: BLOCKING AND CUEING / Recording Blocking and Cueing Three INNER columns (Not actually divided or numbered) 1) What you observe, see, here. The condition that tells you it’s time to call the cue. 2) WHAT you actually SAY. “LQ34GO” 3) What should happen in response. Eg: Lights on the door go up. 1 2 3 Put line from word to your written repeat of the word.

21. Other Notes about cueing in general: 1) Teach your ASMS and techs how to respond to your headset communication. See # 5 also. No Chit-chat. EG “ LX Standing BY.” “ASM Quick-change Standing By”. 2) Use VIS or eyeglasses or other for VISUAL cues. 3) Use FBY or IMM for cues that come right after. 4) NO Line Numbers. 5) Do Stand By GROUPS of CUES when they are close together. EG: SB LQ4, SQ7 and Actor Willis USL Entrance. The replies should be in that same order. 6) When a Cue is near the top of a page, put the corresponding SB near the bottom of the previous page, or a warning. 7) Teach actors how to work with you for light-switches. 8) Leave about ¼ to ½ a page between Standby and Go cues. 9) ALWAYS use correct order: SBLQ6, LQ6GO. WHY??

23. http://dramcost.files.wordpress.com/2012/11/schedules.pdf

24. ASM Blank Page for NGM | dramcost

25. Drama 240 Anne Redish, Inst. Course Notes Stage Management Assignment Page 1 of 3 PROPS TRACKING You are to MAKE UP, invent or create props tracking notes that make some sense with the stage directions that are given. Sometimes there will be a gap in the stage directions and you will be on your own to invent how and when something gets from place to place. Do not fret about the directorial or artistic sense of your choices. Make them possible, and record them as below. Read ahead before noting the prop movement, to be sure that it links up well with the next text or stage directions. THEORY: Main Purposes of Props Tracking: • To have a reference document that tells where all props are at all times and who handles them. • To have a reference document so you know where the props are if you start rehearsal in the middle of the play or a scene. • To have a reference document that helps you make a Props Preset list for both onstage and offstage. • Blocking tracks the moves of the characters, and prop tracking is done with a different perspective. The main focus of props tracking is the prop. Yes, there is duplication and overlap, but they are done differently. Who does this job: • Someone from the Stage Management team does this. • If an ASM is available, and if that ASM will be the one backstage for performances, then that will be the right person to do this. They will not be tracking cues and blocking with as much detail as the S.M., so they can have more room, and can have a larger map for this. • If the Stage Management person is usually alone at rehearsals, or is the sole Stage Management staff, then it would be done as we are doing it, with little space to track everything. PRACTICE: (Also see example inserted chart below) Main Points: • Pencil. Sharp pencil. Keep it sharp throughout. • All props items will be written in the Props Column in FULL CAPITALS. This does NOT apply to props mentioned in the blocking column. • There are NO LINE NUMBERS needed.

26. Pg 2 of 3 • Write the prop COMPACTLY in the prop column approximately ACROSS from where on the script page it is used, like the line numbers for blocking. They will correspond to the blocking numbers approximately. • Determine WHO is moving the prop. Write this in lower case (except for the first letter) beside the prop. • Determine WHERE the prop is coming from. Write this in lower case beside the prop CHARACTER name. • Write “to“ beside that. • Determine WHERE the prop ends up. This may be farther down the page. Write this beside the “to”. If it stays in the person’s hand for a while, write “hand”. • KEEP THIS ON ONE LINE. Write compactly. EG: BRIEFCASE Jane floor to hand • When the prop is put down, treat that as a new prop movement. EG2: BRIEFCASE Jane hand to table • If an item is put INTO or ONTO another prop, ONLY the item being tracked is in CAPITALS. EG3: PAPER Jane briefcase to table NOTES: • OPTIONAL***** Some people like to put “from” after the character name before the first location. If you like that, and IF it helps, you CAN do it that way. It does take up more room. EG4: BRIEFCASE Jane from hand to table • Be as specific as reasonable. • Sometimes a group of props can be treated as a unit. Eg from various plays include: Food. Clothing. Tools. Files. Books. In these cases, a note in the KEY, or elsewhere can clarify that certain items will be treated as a group, unless otherwise noted.

27. Pg 3 of 3 Sample, with two props tracking, threeblockings, and 1 lighting cue and the related stand-by. 10 J 10 J x UL 5 st

28. TO COME: Cueing: Top and end of show. For LAB : Read slides from POOCHWATER 2) REHEARSAL REPORTS : In Preparation for this, consider how a rehearsal report might be different at various stages of the rehearsal process. 3) SHOW REPORTS : In Preparation, consider what stage of the performance run this report is from.