Theatre Management Technicians - Free Essay Example

Sample details Pages: 11 Words: 3291 Downloads: 7 Date added: 2017/06/26 Category Art Essay Did you like this example? Investigating Arts Management Practice This report will look into technical jobs in the theatre industry. Looking at the people who work as technicians. Do they have a technical theatre degree or did they get into the job by gaining ‘hands on experience. Don’t waste time! Our writers will create an original "Theatre Management Technicians" essay for you Create order The report will show if there are specific requirements for technicians e.g. to have a degree to work in the west end on a ‘high profile show or if to work in a regional theatre that has a variety of small scale shows, would ‘hands on experience be preferred, as they would not just be working in one area on a show, they will need the knowledge to work in all areas of backstage in a theatre. Research was compiled by emailing questions to production and touring theatre companies, interviewing the technical managers of two regional theatres, and from sourcing information from job adverts in ‘The Stage, on careers advice websites and on theatre forums specifically for theatre technicians. The findings show that technicians who work in the regional theatres mainly started out as casuals who then gained experience and applied to the job full time, where as the production and touring theatre company do not necessarily look for people with degrees but if they are appl ying for a manager or head of department job then it would only help their application, or if they were wanting to work as a stage manager then preferably studying a specific stage management course at a drama school would also be benifical. To conclude although a degree is not needed to get into the industry if you were wanting to go into a management position then having a degree could help you application as the company would know that you would have had some level of ‘paper based learning which would have involved for example financial studies. Introduction This report is based on the question: ‘To work in the theatre industry is it necessary to gain a technical theatre degree or is experience preferred This subject has become an increasingly talked about topic within the theatre industry. Older theatre managers nowadays never had the chance to gain a qualification, as there was no such thing, some still feel that it is a waste of time to go the academic route as the job is practical and this is the way to learn it. This topic is discussed a lot on the technical forum ‘Blue Room. Where technicians can speak to each other asking questions about the jobs backstage, or how to get into the industry. One member of the forum answers a similar question about which university courses give the best training to get into the industry: ‘I dont believe the best way to get involved in this industry is to take an academic course production/sound is a very practical hands on job that benefits more from experience than t eaching. ‘Gareth Young, Freelance lighting designer sound engineer This is the way a lot of people think in the industry but as there is now more choice of specific courses to study to get into theatre, a lot of people are taking these up. ‘The industry is changing as there are now more and more specific technical courses. I think that the non-University route is a valid one and I know many people who have been successful without going to Uni. ‘3Pens Blue Room After speaking to the technical manager at the regional theatre Wycombe Swan, who did study a degree in drama said on the topic ‘It helps to get a degree if you want to go into teaching, but 10 years ago the industry laughed at people who went the university route, but people are slowly beginning to realise that it might be a good idea, not necessarily to become a technician but if they ever wanted to become a technical manager Sebastian Petit Technical Manager at the Wycombe Swan Literature Review When researching this topic a lot of information was found on the technical theatre forum ‘Blue Room (bringing backstage online). This is where people who are specifically interested in the backstage jobs of a theatre can talk to other people about any questions they have or just have a general chat. Topics include general chats about productions, non-technical chats about insurance, working overseas etc, technical forums for each technical area, stage management, lighting, props etc and another for training and qualifications, ‘A forum for the discussion of Training and Education issues. This is where the research information was sourced. Many people have joined this forum asking question such as ‘Interested in the industry – Where to start? These questions are usually asked by younger aged people deciding what to do after GCSEs or people who are at the age to go to university and are asking what is the best option to get into the industry, a degree or experience? In one of the forums ‘Industry Training, Interesting comment from LS International ‘Paulears talks about an article that was printed in the monthly journal ‘Lighting and Sound International added 22 April 2007. One thing that I am very keen to do is head off as many kids as I possibly can from taking the college route. We do have quite a few people here from LIPA and Liverpool Community College, but they will all tell you, more or less, they have wasted three years of their life attaining a piece of paper that, when they walk in here or anywhere else in the industry, isnt worth anything at all. They might be able to give me a brilliant description of the polar pattern of a microphone but they cant even put up a mic stand properly or wind a cable. ‘Andy Dockerty, the Managing Director of Liverpools Adlib-Audio This shows that in his company experience is preferred, that although the student could explain technically they couldnt do the job practically, therefore would have to gain the experience after gaining the degree, setting them back 3 years that they could have had that experience. This topic has also been discussed in the weekly newspaper ‘The Guardian. In the guardian education, there was an article ‘Playing in the mud This article is discussing ‘the future of live events is threatened by a lack of technicians Step up the new skills academy. They are discussing the future of the live music business: ‘No Glastonbury festival, no Radiohead tours and no Brit Awards that could be the future of the live music business, according to research for the National Skills Academy for the creative and cultural industries Allan Glen – The Guardian The popular live music industry has bought major opportunities both for the education sector and the live music industry. Thus allowing a variety of courses to be set up, but there are some strong views about this within the music in dustry What you dont want is someone breezing in waving a degree and telling everyone how to do their job. Geoff Ellis, director of DF Concerts, The company behind T in the Park festival and the Glasgow venue King Tuts Wah Wah Hut. This is how the technical manager at The Civic Centre Aylesbury feels, as he doesnt have a degree, he feels that people do not have the practical knowledge to do the job, even with the ‘piece of paper. Also mentioned in the article was Chris Hill, director of Wigwam Acoustics, who launched ‘the companys Charlie Jones sponsorship programme at the School of Sound Recording in Manchester. Talking about the company he works for, and the school he set up: All the CVs we receive from kids on music courses go straight in the bin, our programme at least allows students to be taken seriously by prospective employers. Chris Hill The general vibe of the article is that going down the education route does not gain you any idea of what it is li ke to actually work in the industry, it is no good knowing that you have to do something, but not actually be able to do it. Andy Reynolds a university lecture and a tour manager explains, â€Å"The live event production industry is very sceptical of graduates, they are often not prepared for the reality of what they will be doing, which is cleaning mud off speaker boxes that have been at Glastonbury for a week. Frazer Mackenzie who also works as a lecture in music management and production feels that If the industry feels graduates leave university without the necessary skills, it should contribute more actively to the education process, Due to this the government are speeding up the opening of the National Skills Academy (NSA) for live entertainment and the DCMS are to launch an apprentice scheme. The course will concentrate on courses in lighting, sound and backstage skills, therefore allowing students to get the ‘piece of paper as well as learn the skills prac tically. The idea of bringing back apprenticeships gives everyone to do both routes, whether they are academic or not. Methodology To conduct this study my idea was to look at two regional theatres and two London theatres. The two regional theatres that were researched were the Wycombe Swan and Aylesbury Civic Centre, these venues are receiving, so they have a variety of performances by different production companies. Their technicians are not hired to do a specific job, for example stage management; they need to have the knowledge to work in all areas of technical. To find out if their technicians have experience or degrees, they were interviewed, simply asking about their technicians, and how they got into theatre. To find out if technicians in the west end had degrees, e-mails were sent out with these questions: If  people who enquire to you about work have either the qualification or experience, If the majority of people who work for you have  a degree or have gained the experience instead? But with no reply, contacts were then made with a production company, who contract staff to theatres for the run of a show and a touring theatre company. Information was also gathered from collecting programmes from the west end venues that have biography of the lighting and sound operators; these were then used to see if they had attended university. ‘The Stage a newspaper for the performing arts industry was also used a source, where adverts for technicians are placed, these describe what their person specification is, what they want from an employ. Research was also done by looking at careers website for example learndirect and prospects. Finding and Discussions I wanted to find out if technicians in either regional or London theatres have degrees or experience. From the interviews that were conducted with the technical managers of the regional theatres it showed that none of their technicians had done the educational route. At the Wycombe Swan many of the technicians were casuals while at school, then became full-time once finished. At the Aylesbury Civic Centre all of the technicians are older, a couple of them came from other theatres, one whom used to work in London loading and unloading the trucks for shows, the others just applied with no theatre experience. Because e-mails were not sent back from the two London theatres that were contacted, contact was then made with production companies that contract our staff to these venues. Companies that were contacted and replied were PSL â€Å"one of the leading rental and event production companies based in the UK†. Darren Glossop, a director of the company answered: †˜Generally we are not bothered whether people have degrees or not as mostly they are irrelevant to what we want. What is important is the drive and the enthusiasm to be successful and of course fit the job profile, which is the most important thing. So long as people are organised, are intelligent, motivated and have common sense that is good enough. For education generally we look for English and Maths GCSEs. We have taken on graduates but not because they had degrees but more because they were the right fit for the business. This shows that for their company a degree is not necessary needed, they just need to be able to show that they can do the job. For another side of the industry contact was made with the Northern Ballet touring theatre company, the same e-mail was sent out and this was the response from Diane Tabern, PA to the Directors: ‘For some areas of theatre work, e.g. lighting, stage, wardrobe etc. degrees are less important than practical experience though these can only add strength to an application as Heads of these departments need to balance budgets, manage staff etc. as well as the practical work involved.   The Government are currently looking into Creative Skills Apprenticeships for such areas and hopefully this would lead to academic/practical courses for each area. For other departments e.g. Stage Stage Management degrees do exist already so naturally having one would put you above a candidate who only had practical experience. I would imagine in our technical departments most have gained experience in their chosen field rather than degrees. This answer shows that degrees are not needed to become a technician but if they are wanting to progress into management then they would be needed to strengthen their application, she also mentioned about the apprenticeships that were said before in the guardian article, mentioned in the literature review, thus showing that this would be a better option for people to ge t into this industry as it gives you both the experience and the academic side of job role. Also mentioned was that the technicians that already worked for the company had fallen into the job and gained the experience rather then the study route, suggesting that they are probable of an older age. This company shows that they do accept people with degrees, rather then at the regional theatres who would prefer people who had gained the experience practically as they have to be able to do the variety of backstage jobs, whereas the production and touring company only have people for specific roles, for example if they are hired to be a sound engineer then this is all they will do, they wont need to know about lighting or stage as they will not work in them areas. From looking at ‘The Stage job vacancies you can see that there is only one (Appendices 1.0) that is advertising for a theatre technician. This specifically asks for the person applying ‘to be educated to a good standard and need ‘relevant experience. This shows that they are looking for someone who has a degree, or at least a level of higher education, with relevant experience that would have been gained while doing this. From the other job vacancies (Appendices 2.0) you can see that the majority of these are for technical manager jobs, for a deputy chief electrician, and a theatre technician. This asks for ‘a minimum of one years experience and to be ‘multi-skilled in all aspects of technical theatre. All of the others say ‘previous experience is essential or with ‘a minimum of three years experience This shows that they are looking for someone who has experience rather then a degree, as they would have gained more experience working. If someone has a degree this would then mean having to gain three years experience after three years studying, where people who have studied for the degree would then no want to start at the bottom gaining the exp erience which they could have been doing instead of the degree. Looking at the careers advice websites you can see that for technical crew jobs it says that you do not need any formal qualifications to become one ‘You would often start as a casual technician Learndirect https://www.learndirect-advice.co.uk/helpwithyourcareer/jobprofiles/profiles/profile695/ It does say that if you want to progress into technical and production roles, for example specifically stage management you could enrol in a technical theatre or stage management course at a university or drama school. This shows that although you do not need the degree to get work in a theatre, you may find it useful to study a specific stage management course to get into that job role. From the prospects careers advice website it states the following entry requirements for a technical stage manager: It is still possible to enter theatre stage work from any degree discipline, but candidates with relevant qua lifications are often preferred. If you are interested in technical theatre, you should ensure that your degree has considerable practical content. Prospects –https://www.prospects.ac.uk/cms/ShowPage/Home_page/Explore_types_of_jobs/Types_of_Job/p!eipaL?state=showoccidno=463pageno=3 This suggests that it is better to get into the job with a degree, but preferably with a relevant one, that has a practical content. These are usually best from a drama school, or a university with facilities to support the practical content, for example a theatre. It also states that it is possible to get into the job without the degree, but practical experience is needed. Entry without a degree or HND is sometimes possible. Practical experience of performance-related work and technical skills in sound, lighting or carpentry can be helpful. Some stage managers come through acting or writing route. Prospects htttp://www.prospects.ac.uk/cms/ShowPage/Home_page/Explore_types_of_jobs/Types_of_Jo b/p!eipaL?state=showoccidno=463pageno=3 Conclusion From the research I undertook to answer the question ‘To work in the theatre industry is it necessary to gain a technical theatre degree or is experience preferred it was shown from the interviews I had with the technical managers of the two regional theatres that their technicians were not a degree level, and had ‘fallen into the job by starting as a casual technician, gaining experience then starting full time, thus showing the company that they are competent at working, and already have the skills to do the job. From the e-mails that were sent back from the production company and touring Theatre Company it was shown degrees are not looked for when a person is applying for the job, that they are less important then practical experience but for the touring theatre company if they were applying for a head of department role, or specifically a stage management role then a degree would strengthen their application. From these results and the adverts that were placed in the stage the report shows that it is not necessary to gain a technical theatre degree to get work in the industry, but if someone did want to progress into technical management then a degree could only help. This could be because there is a significant amount of paper based learning when studying a degree where the applicant would have these skills, for example most technical theatre degrees have a module of touring their own show. In this module they have to put together a budget, and know about licensing issues, and although this could eventually be learnt ‘on the job they would already have some knowledge of this from going the academic route. Also seen from the results if someone wanted to go specifically into a stage management role it seems that they would be better off studying a specific course for example at a drama school. This could be because the job, although ‘hands on, it is also a management position, where you will have control of a stage and technical team beneath you. This job also involves knowledge of budget and licensing issues, which are taught in university and drama school modules.

The Leadership Objectives And Needs Of The West Texas Fire

The leadership objectives and needs of the West Texas Fire Department (WTFD) differ from those of the West Fertilizer Company (WFC). For the WFC, the goal is not based upon employees performing beyond their own expectations; thus, they are provided a structured environment in which they are evaluated on the ability to perform assigned tasks. No more, or no less. In emergency response, firefighters will always be challenged to go above and beyond the call of duty. Because of the challenge to constantly increase firefighter performance, the WTFD should implement a transformational leadership plan. A transformation leader is one who stimulates and inspires subordinates to achieve extraordinary outcomes (Robbins and Coulter, 2007). This†¦show more content†¦Individualized consideration involves the process of identifying and supporting the needs of subordinates (Alyn, n.d.). In addition to organizational goals, leaders seek to help followers meet individual goals (Alyn, n.d .). 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Sexual Discrimination in the Workplace Free Essays

Canada is composed of people from all walks of life and from every race, color,creed and ethnic background imaginable. Despite our varied lifestyles and beliefs, we areall equal and are entitled to the same treatment before the law and in the workplace. Although we have this diversity, discrimination is something that unfortunately, mostpeople have to deal with it at some point in their lives. We will write a custom essay sample on Sexual Discrimination in the Workplace or any similar topic only for you Order Now Provincial human rights codes tryto prevent this unpleasantness, by prohibiting any type of discrimination in service,accommodations and employment. Zero tolerance grounds are based on Discrimination by: race, gender, ancestry, place of origin, color, citizenship, creed, sexual orientation,age, family status and handicap. Discrimination can also include harassment based on both race, and ethnic origin, as well as sexual harassment. Despite these codes, discrimination is not guaranteed to never occur. In fact,everyday people lose their jobs or promotions because of discrimination, and women areharassed at work or people with disabilities are denied opportunities. Harassment, whether by a supervisor or co-worker, creates a barriere to equality by demeaning its victims, interfering with their ability to work effectively and, in some instances, even forcing them to resign. Eventhough there is plenty of publicity surrounding this issue, studies consistently show that women continue to face harassment in the workplace. No organization can afford to lose the talent of its female staff because of outdated attitudes, the imposition of higher standards for women, or a failure to give women the opportunity to acquire relevant experience in key areas of the organization. There is a need for employers to take a hard look at lingering stereotypes and misconceptions and to ensure that high-potential women benefit equally with men from career-enhancing. Although it is not often spoken of, there are occasionally occurrences of sexual discrimination against men. Imagine a day-care center where 12 women and one male work. You are a first time mother and for the first time you are leaving your two year old child in the care of someone else for an entire day. Many women would be likely to ask for their child to remain in the care of strictly some females, due to their loving caring nature and maternal instincts. If you think about this it is obvious how males could getdiscriminated against by women, it is just not reported as often because most men do not want all that attention, and feel it would be better to just forget about it. Employers have a responsibility to: I) provide a working environment that is free from harassment and discrimination; and, ii) deal effectively, quickly and fairly with any situations involving claims of harassment or discrimination that come to their attention. Employers could be held liable by a court or tribunal if they or their managers do not act to put an end to discrimination or harassment in their workplaces. There are several questions that are not allowed to be asked of an employee not only surrounding gender. For example questions about or relating to physical characteristics such as color of eyes, hair, height, weight, or requests for photographs. Questions about speaking English or French fluently, unless to do so is a reasonable and bonafide requirement for the position are also strictly prohibited. Questions about or relating to religious affiliation, religious institutions attended, religious holidays, customs observed,willingness to work on a specific day which may conflict with requirements of a particular faith (e. . Saturday or Sunday Sabbath days)are also against the law. The human rights laws however do come in handy as a way for victims to fight back. How a human rights complaint is handled varies from country to country. In Ontario an individual who believes he or she has been the victim of some form of discrimination asserts his or her rights by filing a complaint with the human rights commission. The complaint is then investigated by an officer of the commission who will try to reach a settlement with the parties involved. If the officers attempts to arrive at a settlement fail and it is concluded that the complaint has merit, a recommendation will be made to the Minister of Labor to appoint a board of inquiry. The board will then conduct a formal hearing, where both parties have the opportunity to present their cases. In Ontario, the board of inquiry has the authority to direct the offending party to do anything necessary to comply with the code, such as ordering restitution for monetary loss and awarding up to $10 000 for mental anguish. When a formal complaint to the human rights commission is made, it can get very expensive an time consuming for the company. As a general rule, the commission publishes settlements and awards that are viewed as having a public education value, thus damaging the company†s reputation. Aside from both the cost and the damage to the company†s reputation employers should recognize that promoting an equal opportunity work place can also help motivate employees and improve a company†s performance. Apart from the adverse publicity, human rights laws have penalties such as a monetary awards, public apologies, reinstatement of employees or orders of financial compensation for lost time, expenses incurred, and damages to professional or personal reputation and fires. Human rights officials can also order companies to make a job offer to a complainant, begin an affirmative action program in the company or sen staff to the discrimination awareness seminars. If a company has a government contract , the board may even seek cancellation of that contract. To avoid the above consequences there are five steps that can be followed to ensure equal opportunity in any workplace. The first step is to make a clear corporate commitment to human rights. Senior executives should declare their commitment and be accountable at each tier of the management structure. There should be a written policy on discrimination distributed to every member of the company. The second step is to examine recruiting procedures. Employers should look for anything that may offend the aw, such as unusual language or physical requirements, unless it can be proven essential to the job. Application forms should be reviewed and interviews should avoid any conduct or comments that could be perceived as discriminatory. The third step is to monitor the workplace. Management has an obligation to intervene if there is any evidence of harassment or discriminatory behavior. Consider providing a hotline whereby employees can report to. Harvey†s, which is operated by CARA limited, has a fairly complex yet easy to follow policy, that other companies could follow. It is five page typed policy that was last updated in May of 1995. It defines sexual harassment as â€Å"deliberate and unsolicited and can be offensive sexual comments, gestures or physical contact that are unwanted or offensive either on a first time basis or as a continuous series of incidents. It may also involve favours, promises of favours, advantages in return for giving in to sexual advances or, the threat of revenge for refusing them. It states that flirtation, or a workplace romance between two consenting persons is not harassment. (Cara Operations limited, 1) Teammates who feel that they are being sexually harassed should immediately SAY NO!!!!! The employee is responsible of immediately making sure that the offender is out of line and that the behaviour is totally inappropriate. 2) The employee is encouraged to approach his or her supervisor and/or a member of the Human Resource Team for guidance. 3) The employee is encouraged to immediately file a complaint with the Human Resource Department. There are also five steps that management guarantees they will take when a complaint of harassment is filed. First they will ensure than an examination of the complaint will take place immediately. Next they will advise the alleged person that a complaint has been lodged. Then an interview with all persons involved will take place. Interviews will be taken with any witnesses followed by a clearly, accurately filled out document. On the final page of the policy, there is a section entitled â€Å"corrective action†. It basically states that is an offender is found guilty he/she will be terminated. It also states that if it is found that someone has intentionally wrongfully accused someone then he/she will be terminated as well. Other methods of corrective action that are stated are suspension, or loss of responsibilities. As you have seen sexual discrimination and harassment are two acts that go hand and hand, and unfortunately they are both issues that are delt with much too often. If all workplaces joined together and made similar policies that are strictly enforced, perhaps our world would be a little more equal, and discrimination would be unheard of. How to cite Sexual Discrimination in the Workplace, Essay examples