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this week we finalised the running order and made sure that there wouldn't be any issues with the running order.
we also looked at what we had made and if we needed to by anything in the next couple of weeks.

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Costume list for HNC/HND showcase

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Back to black costume

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Dorian gray costume

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Email - costume request

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Jess choreography costume

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ballet costume

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Choreography costume

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Choreography costume

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Ballet costume

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some of the costumes used for the acting showcase

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Acting showcase costume

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acting showcase costumes

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This week we finalised the program and went through it with a fine tooth comb and made any final decision before we sent it off, once we did this we then sent an email to Steph with the final program to be sent off to the printers. we decided to go with rink way printers.

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This week we met up with Abi so that we could go through the program with her, we also looked at the pictures that been taken and had decided which photos we would like in each sections. We also made sure that all of the pictures in the collage wasn't the same dance and that all of the pictures were distributed evenly.

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This week was our cake sale date, we organised the room for the cake sale, everyone had bought something different so we laid everything out in the room and we started selling at 12:15, lunch time, once lunch was done we decided that we would go round the rest of the college to sell what we had left in our CPP lesson, so we met in the class room and seen what we had left, we created mini platters that we could go round in groups to sell around the college. We managed to sell most of what we had left, which meant that the cake sale was successful.

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This week we carried on designing the program, Abi sent us what she had done so far and we began making changes to anything before it gets printed. Some of the things we changed was the names being highlighted in red some of the tutors role titles were wrong so we needed to change them to the correct one. We also finalised the fundraising dates for the cake sale and began creating poster to advertise around the college.

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This week we met with the designer, Abi, to share our ideas for the program and give any feedback and changes that program needed. we also gave her a rough idea when they need to be ready by so that we were able to send the finished program to the printers. We also discussed printer quotes that we all received and discussed which one would be best for us to use. On the
14th march is when we will be getting our photos done, that will be included in the program. we then decided that w would like the programs to be printed by the 18th.

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As we only had £150 from the college we decided that we would fund raise and try and make as much money as we could for costume, props and refreshments.
some of the ides we came up with were
Cakesale
Halloween makeup
PJ day
pie a teacher

We then spread out these events over the rest of the time we have.

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This week we were meant to work with Abi to look at the program but she didn't turn up so we made us of the lesson, and figured out how meant students were a part of fleet street

Level one - there are 5 students
Level two - there are 10 students
Level three year 1 - 28 students
Level three year 2 - 18 students
Level four - 7 students
Level five - 8 students

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This wee steph came back to us to tell us the budget we had from the college, we got told that it would be £150 which was to be shared between the actors and the dancers.

we were then told that steph would bring another he student that was in graphics and that she would design our program.

As this was happening we then proceeded to design the program and give her a visual mock up of the program so when she came it would be easier to explain what we wanted.

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What budget do we have for the showcase?
Is there anything specific that it needs to be allocated for?
Is there a HE budget?
Is the budget set at a specific amount per performance?
Is there anyone you can approach to help us to create the programmes and take photos?
What is the evacuation procedure with an audience?

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This week we began by talking about who is going to do which job role and what will need to be done before the show and during the show. This was so that we could start researching into our individual job role so that we would have a better understanding of what i needed to do before the show.

we then had to organise a meeting to find out if we had a budget from the college or if we needed to raise money to spend on stuff we might need for the performance. we came up with a list of questions we wanted to ask steph.

Once this was discussed we then moved on to what we wanted to include in the show (dances) and what need to plan over the next few weeks so that we have a timeline of when things needed to be completed by and what needed to be done in preparation for the show.
we then began brainstorming ideas for the program, what  we wanted it to look like, what needed to be in the program.    the program ta we wile selling at the show

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Payscale.com. (2019). Wardrobe Supervisor Salary | PayScale. [online] Available at: https://www.payscale.com/research/US/Job=Wardrobe_Supervisor/Salary [Accessed 29 Mar. 2019].

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The average salary for a Wardrobe Supervisor is $49,135. Visit PayScale to research wardrobe supervisor salaries by city, experience, skill, employer and more.

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CareerBliss. (2019). Wardrobe Assistant Salaries | CareerBliss. [online] Available at: https://www.careerbliss.com/wardrobe-assistant/salaries/ [Accessed 29 Mar. 2019].

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Wardrobe Assistant Salaries | CareerBliss

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3 Wardrobe Assistant salaries direct from real employees! Find out the average salary of a Wardrobe Assistant.

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Careers In Film | Film Schools & Colleges. (2019). Become a Costume Designer | Job Description & Salary. [online] Available at: https://www.careersinfilm.com/costume-designer/ [Accessed 29 Mar. 2019].

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Careers In Film | Film Schools & Colleges

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How to Become a Costume Designer in Film/TV

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The Costume Designer creates costumes to tell a story about the characters. They are the artistic head for all costume decisions on a set.

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Davies, D. (2005). Managing financial information. London: Chartered Institute of Personnel and Development.

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Moran, n. (2007). Performance lighting design. Bloomsbury Publishing.

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Moran, n. (2007). Performance lighting design. Bloomsbury Publishing.

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Filmreference.com. (2019). Responsibilities - Direction - film, director, producer, music, scene, role. [online] Available at: http://www.filmreference.com/encyclopedia/Criticism-Ideology/Direction-RESPONSIBILITIES.html [Accessed 22 Jan. 2019].

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In the business of film production, the designation of "director" is a somewhat enigmatic title. Comparatively speaking, most of the other principal creative personnel involved in filmmaking hold titles that give a fairly clear indication of their professional responsibilities. Generally, one individual is responsible for overseeing the labor that is relevant to a single facet of production, whether it be cinematography, writing, editing, music, sound, production design, or costumes. With the notable exception of the producer, however, the range of the director's tasks is quite broad, and involves coordinating innumerable creative activities throughout the course of developing, shooting, completing, and marketing a film.

It shall be assumed here that the director is the individual who actively oversees the realization of a film from shooting script to finished product, harmoniously coordinating the creative activities of the key personnel involved in the production processes. He or she will liaise with each of these artists, deliberate over various expressive and/or technical options to be implemented, and arrive at a decision that is commensurate with the requirements of the developing work. Correspondingly, the director will also be answerable to the executive body that finances and/or distributes the work and therefore must ensure that production runs smoothly and within an allotted budget. The director's job, then, is twofold: to maintain a consistency of style and quality throughout production and ensure that the production itself proceeds efficiently and economically.

In other words, before one considers the director's position in evaluative terms (as a potential author), one must come to a more objective understanding of the director's position in descriptive terms (as an effective delegate). Serving as the funnel through which all of the decisions affecting a film's form and style are exercised, a director's primary task is to cultivate and coordinate the creative contributions of a production company's principal artists. In the interests of specificity and demystification, it is worth enumerating the various duties assigned to the director during all three stages of filmmaking: preproduction, production, and postproduction.

During the preproduction stage, the director's responsibilities can be divided into four principle tasks: (1) collaborating with the writer(s) on the development of the script; (2) assisting the casting director in hiring appropriate actors, and conducting rehearsals; (3) cooperating with the producer(s) in developing a practical shooting schedule; and (4) planning the overall visual "look" of the film with the production designers and the director of photography (DOP). The extent of a director's involvement in each of these phases varies according to production context and the director's personal working habits. A director may insist on meticulously preplanning a film before beginning to shoot, which is the method preferred by Satyajit Ray (1921-1992), or, the director may treat the film organically, allowing it to develop spontaneously during the process of shooting. Wong Kar-wai (b. 1958), for example, frequently devises and shoots several different versions of a loosely scripted scenario before settling on one that will become the "official" film.

Throughout the actual shooting of the work, the director must multitask efficiently, ensuring that all tasks are executed effectively, solving any unforeseen complications that may arise during production. First, the director and the DOP will supervise the electricians and grips in the lighting of a set-ensuring the correct placement of lights, cutters, and nets. Second, all camerawork-including framing and composition, lens selection, and tracking shots-must be reviewed and potentially rehearsed with the DOP, camera operator, and focus puller. Third, he or she will consult the head carpenter, set dresser, and assistant director (AD) to ensure that there are no logistical problems with the staging of a scene. The director and the AD must also properly block and coach any extras appearing in the scene. Fourth, the director confers with the sound crew regarding the proper placement of microphones and any additional sound equipment. Finally, the director will provide the actors with instructions and suggestions, guiding them through the playing of a scene based on decisions agreed upon during rehearsals. Practical directions will be given to ensure that the actors stay in frame and compensate for any camera movement, but less concretely, the director will also coach actors through improvisations, modulating the "tone" of their performances.

It is at the completion of a take that the director's most crucial decision emerges: whether or not the photographed action will be printed. If all of the above elements have been fulfilled to his or her satisfaction, the director will order the shot to be taken to the lab for processing. The processed shot will most likely appear in the final cut of the film after being carefully scrutinized at the daily rushes by the principal crewmembers. Given the enormous amount of work required during the production stages, the average amount of time needed to shoot a modestly budgeted, 120-minute film is about forty days. Independent directors working with a small crew on a shoestring budget will usually take considerably less time. For example, while working for AIP Productions, Roger Corman (b. 1926) was able to shoot eighty-minute exploitation films, such as Little Shop of Horrors (1960), in three days. By contrast, Frances Ford Coppola (b. 1939) required over sixteen months to shoot the problem-laden art-house blockbuster, Apocalypse Now (1979).

Once actual filming has finished, the director must preside over the completion of the work during postproduction. Again, the degree of a director's involvement in these stages varies according to historically determined production contexts and individual practice. Before 1940, for example, a Hollywood director often had literally no input in the cutting of a film; the footage was sent directly to the editing department, and the director might not even see it again until a rough cut was completed for previewing. By contrast, the contemporary digital manipulation of images has increased to such a degree that the director's close involvement in postproduction stages is often a necessity. Indeed, digital filmmaking has significantly blurred the distinction between filmic creation and modification, and has therefore expanded the director's postproduction role dramatically.

As in preproduction, there are four principal post-production areas in which a director's input is necessary: (1) editing, (2) visual effects, (3) music, and (4) sound. In most cases, an editor and director will develop the film's pace and rhythm, reinforce continuity between shots, trim moments of unwanted excess, and ensure that the montage generally serves to reinforce the work's intent. The visual effects category encompasses the manipulation of the raw footage by color timers, processing technicians, special effects designers, and an array of digital artists, compositors, and animators. Broadly speaking, a director will convey instructions to supervisors in each of these groups, indicating the specific "look" the director wishes to convey. Such post-filmic "treatment" affecting the overall appearance of a work can range from Robert Altman's (b. 1925) decision to "preflash" the negative of The Long Goodbye (1973) in order to amplify the washed-out pastels of its hazy Los Angeles milieu, to Robert Rodriguez's (b. 1968) development of the entirely digital, black-and-white cityscape of Sin City (2005). The director will oversee a film's aural elements as well. In working with the composer, he might intimate how the score reinforces the affective intent of key sequences, accentuates notable action, or even organizes the structure of the montage. The director may also specify to the sound designer how various audio cues will function, indicate the expressive intent of ambient noise, and/or explain the interplay between aural effects and edits. A favorite composer might be relied upon-as in Danny Elfman's recurring scores for Tim Burton (b. 1958)-or in some rare cases, a director might personally compose the film's music (as Charlie Chaplin [1889-1977] did for his features), or co-design the sound (as David Lynch [b. 1946] often does).

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In the business of film production, the designation of "director" is a somewhat enigmatic title. Comparatively speaking, most of the other principal creative personnel involved in filmmaking hold titles that give a fairly clear indication of their professional responsibilities.

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Projections, C. and Dancers and Choreographers: Career, S. (2019). Dancers and Choreographers: Career, Salary and Education Information. [online] Collegegrad.com. Available at: https://collegegrad.com/careers/dancers-and-choreographers [Accessed 22 Jan. 2019].

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Dancers and Choreographers: Career, Salary and Education Information

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Dancers and choreographers express ideas and stories, using dance. There are many types of dance such as ballet, tango, modern dance, tap, and jazz.

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This gives an over view of what lighting for  performance is about and why lighting is used in a performance and how it effect it.

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ProductionBase Community. (2019). How To Become a Costume Assistant | ProductionBase Community. [online] Available at: https://www.productionbase.co.uk/blog/2017/11/14/become-costume-assistant/ [Accessed 27 Mar. 2019].

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ProductionBase Community. (2019). How To Become a Costume Assistant | ProductionBase Community. [online] Available at: https://www.productionbase.co.uk/blog/2017/11/14/become-costume-assistant/ [Accessed 27 Mar. 2019].

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Giving tips on how to get a job as a costume assistant. having the right experience will help as there is many different tasks that need to be done as an costume assistant

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What is a Costume Assistant?
A lot of film productions, depending on the genre and the setting, rely on their costume department for an accurate representation of the setting, period and story. For this reason, the department involves many different roles and a variety of tasks that need to be smoothly carried out during pre-production.

Costume Assistants take care of lots of smaller, daily, or last-minute tasks to help Costume Designers complete their job with the best possible result. This entry-level job is also the perfect way to kickstart a career in the Costume Department.

Costume Assistants help Costume Designers break down the script, in order to identify all the costumes needed by different characters throughout the story. They also assist in research into clothing styles, design and fabrication methods.

They are responsible for the set-up and organisation of workrooms, ordering supplying and tidying up during production.

Costume Assistants usually take actors' measurements and sometimes help by performing the basic stages of costume-making.

They are the go-to person for Actors when it comes to costumes. They often dress actors on set and explain the details of clothes and accessories. They are responsible for monitoring costumes, ensure their good condition and making last-minute repairs if necessary.

If costumes have to be bought, the Costume Assistant may be put in charge of dealing with Costumiers and placing the orders. The same goes for shipping costumes to overseas locations.

Key Skills
As an Assistant in such a busy department, attention to detail, organisation, memory and efficiency are the main requirements for this role. They will need IT skills and good research capabilities to carry out both inventory and record-keeping operations and research.

People skills are also mandatory as Costume Assistants have to deal with their own team and supervisors, as well as all the actors and crew on set. They are in charge of communication between the whole Costume Department and the film cast, so they need to be clear, concise, and be able to accommodate others' requests.

Also, obviously, they need to be interested and informed about period costume as well as contemporary fashion, and also have some knowledge of fabrics and tailoring techniques.

How to Get Work as a Costume Assistant
The role is entry-level, so with the necessary skills and knowledge you should be able to start as a Trainee or assistant and start progressing through the costume department.

Education & Training
Qualifications are not required for this role. However, a degree or foundation course in a relevant subject, such as Fashion, Costume Design or Performing Arts, would be beneficial.

Where can it take you?
After gaining enough experience in the department, you can expect to earn a promotion to Assistant Costume Designer, before becoming a Costume Designer and possibly progressing to managerial roles within the Costume department.
Become a Costume Assistant today
If you are ready for the next step in your career, why not take a look at the latest Costume Assistant vacancies on our jobs board? You can view our latest vacancies here.

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How To Become a Costume Assistant | ProductionBase Community

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What is a Costume Assistant? A lot of film productions, depending on the genre and the setting, rely on their costume department for an accurate representation of the setting, period and story. For this reason, the department involves many different roles and a variety of tasks that need to be smoothly carried out during pre-production.

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Meeting with Steph

For PPP we have to organise our own showcase which spreads across two days, Dance and Acting. As part of the unit they have to assign themselves job roles as part of the unit.

What budget do we have for the showcase?

Is there anything specific that it needs to be allocated for?

Is there a HE budget?

That’s to cover their own choreographies, if we run from a budget we are able to keep the costumes and props used rather than students using their maintenance to pay for them separately. We could use what we’ve already got and embellish them. Typical lyrical costume is between £20-£30.Materials for sets for acting are non existent. This unit ties in with the marketing unit, and fundraising has began to start creating a budget for programmes etc. (Admin)

Budget needed is mainly for costume, set and props.

Is the budget set at a specific amount per performance?

It is dispersed by the amount of budget the college has and then separated in terms of what is needed. Maintenance, Materials etc.. But it will be a set budget that you can work with. Students need to sit and work out what is needed in what areas, set, costume, paint... Split between the two shows. Try and get the most of what you’ve got and purchase things that are flexible/ reusable. Rather than purchasing consumables that can only be used one. Be clever with the resources you’ve already got to try and minimise excessive/un-necessaryspending.

Is there anyone you can approach to help us to create the programmes and take photos? To start building the programmes with information on pieces and artists in residence.

What is the evacuation procedure with an audience? “We’re not expecting any fire alarms tonight, but if the alarm is sounded then this is the procedure.” Initial announcement (What’s expected, no filming of the pieces etc.. )

Meeting 2 set for 23/01/19 to answer questions and arrange for graphics design to discuss programmes. Approach marketing to get quotes as well as asking for quotes elsewhere.

Printing.com

Rink print

Pintrest (create a style board)

Need to know how many pages (4pp) 4 pages = 8 sides

Size

Paper stock (glossy, uncoated, matte)

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This we we had chosen jobs roles for HNC:
Criag & Lyidia - stage manager
Shar - lighting/ sound
Louise & dawn - front of house
Lauren - funding officer
Costume - me & Lucy

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We enjoyed how the quote that was a part of the performance was over a picture of the piece.

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As a group we decided that we like the pictures over the top and underneath the text.

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What I like about this is the collage of pictures of the performance in the program

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Page 17

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Page 15-16

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Page 13-14

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Page 11-12
choreography bios and pictures

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Page 9-10
collage of photos of the pieces

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Page 7-8

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Page 5-6
actors quote and picture

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pages 3-4
head shot and bio
running order

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Page 1-2
tutors head shot and bio

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Front cover - dance

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Cssd.ac.uk. (2019). What is a Costume Designer? | The Royal Central School of Speech and Drama. [online] Available at: https://www.cssd.ac.uk/content/what-is-a-costume-designer [Accessed 27 Mar. 2019].

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What is a costume designer?

A costume designer is a person who works very closely with the director to look at the subject of the play and decide what the actors are going to be wearing on stage. They will produce a range of costume designs that might be a traditional hand drawn design, painted design, a photoshopped design or a collage, it also might be a number of sourced costume references that people can work from to create those costumes. The important role of the designer is coming up with the initial idea of what everybody on stage is going to be wearing; together with the director they are creating the world of the play.

What's the difference between costume design and costume construction?

A costume isn't like a piece of streetwear clothing it's very specific to the need of that piece, it has to help to tell the story that's very important. The costume constructor works very closely with the costume designer to create the costumes. The costume designer might not know how to make those costumes - they might but generally they are dependent on the costume maker to decide how that costume is going to be made. They will share their research and decide on the fabric for that costume, the costume constructor will draft a pattern and will make that costume from scratch, several costume fittings will take place and here the designer and costume maker will continue to develop the design with some input from the actor/performer. Sometimes costume makers are given a garment to alter but generally, the role of the costume constructor is to start all the garments of the costume from scratch.

Costume constructors will make costumes for women and men, it might be a period costume, contemporary costume, or fantastical. The costumes might involve corsetry, tailoring, surface decoration or working with different fabrics such as stretch fabrics or leather. As well as those who specialise in certain areas such as period costume or tailoring there are costume constructors who will specialise in millinery and hat making, there will also be other people that specialise in dying painting, distressing, all those different elements that make a costume believable.

Why do you think there is a confusion between a costume maker and costume designer?

Historically (and originally), if you designed the costume, you would make the costume, dress the actors and possibly maintained that costume throughout the run as well. Of course, now those roles have all become quite separate and within the costume department there are all those roles there is the costume constructor or in some plays it might be called costume design interpreter there is also the costume supervisor who works really closely with the designer.

What opportunities are there for a career in costume?

The opportunities are very diverse in costume, absolutely. Our graduates do go out far and wide and there are lots and lots of opportunities for costume making, and I do believe that those opportunities are becoming bigger. More recently we have had several graduates who work in film, they have made costumes for the recent Disney and Universal films.

Costume Supervisors ensure that all the costumes are there ready for the technical rehearsal, they will be buying costume as well as organising people to make those costumes and all the accessories that go with it as well which includes footwear, the jewellery and underwear etc.

The Wardrobe Manager who is the person who takes over from the costume supervisor as soon as we get into technical rehearsal and beyond so they will be looking after all the costumes and managing a team of costume dressers to make sure that the production runs smoothly. Within technical rehearsal it is the wardrobe manager that is testing and trying out all the dressing and quick changes, they organise how things are going to be set up back stage so everything is pre-set ready to go. They are also responsible for the laundry and maintenance of the costumes.

We really value all those roles on BA Costume Construction because our graduates will go to work in these roles, we have people who are dressing on Aladdin and Book of Mormon, we do have a graduate who is the Wardrobe manager for Kinky Boots, we also have graduates who are working at the National Theatre costume department making costumes in the women's department and we have people in the royal opera house making costumes in the ballet department.

If we think about what's happening out there, even though there isn't a huge amount of money about, performance is happening in a variety of places now as well as the traditional theatres, for example there's a lot of immersive theatre using very exciting performance spaces all over the country, such as 'Teddy' which performed at the London Vaults and Secret Cinema which includes audience participation too. The important thing to remember in all those instances is that your audience is incredibly close so they're looking at the detail of the costume which is really important.

Cosplay

I mention cosplay because a lot of people who come onto the course have a background of taking part in cosplay and of course that is an international area of performance. We don't make for cosplay on the course however I know that a lot of the students and the graduates do work in those areas and we've got one student graduating this year who's set up an amazing business to support cosplayers that includes wigs making and prosthetics as well as the costume.

Fashion

We have a graduate who specialised in embroidery and surface decoration who is going to work as a freelancer for a high profile fashion company this summer. We also have a graduate who from doing the theatrical tailoring skills on the course developed her tailoring even further and now works on Saville Row. It's unusual for people to go from theatre to fashion but it can happen.

Find out more

If you'd like to find out more about being a Costume Maker, take a look at our Costume Construction BA.

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A costume designer is a person who works very closely with the director to look at the subject of the play and decide what the actors are going to be wearing on stage.

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Myworldofwork.co.uk. (2019). Costume designer | My World of Work. [online] Available at: https://www.myworldofwork.co.uk/my-career-options/job-profiles/costume-designer [Accessed 27 Mar. 2019].

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On a large production, you would lead a team to design, make and hire costumes for everyone on stage or screen. You'd manage and oversee the work of costume makers, wardrobe supervisors and wardrobe assistants.

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Careers In Film | Film Schools & Colleges

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How to Become a Costume Designer in Film/TV

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The Costume Designer creates costumes to tell a story about the characters. They are the artistic head for all costume decisions on a set.

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Ltd, A. (2019). Agent Job Description | AllAboutCareers. [online] Allaboutcareers.com. Available at: https://www.allaboutcareers.com/careers/job-profile/agent [Accessed 26 Jan. 2019].

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Job Description

If you fantasise about becoming the next Ari Gold (Vincent Chase's agent in Entourage), you're in the right place! Get ready to find out about the professional life of a talent agent.

Agents are the absolute charmers who represent actors, television presenters, authors, scriptwriters, directors, producers, musicians, voice-over artists, singers, models and other professionals in the entertainment industry.

Acting as a liaison between talented individuals and casting directors, film studios, production companies, ad agencies and photographers, agents help their clients to build a successful career in the entertainment industry.

Essentially, talent agents use their knowledge and network of contacts to promote the talented people on their client roster to different film studios, record labels, production companies, theatre companies and other organisations in the entertainment industry. They also negotiate financial deals and contract terms on behalf of their clients.

Agents put in the legwork to make things happen: arranging auditions, submitting headshots, show reels, demos, comp cards and portfolios, and generally spending time on the phone and attending meetings to strike deals and promote their clients to potential employers.

Networking is a huge part of an agent's job, which means attending swanky parties and other events. Every job has its perks!

Agents also spend a lot of time scouting for fresh talent, which means attending gigs, going to shows and tracking down new, exciting performers.

Finally, agents act as mentors to their clients, offering advice and guidance on decisions that will potentially change their career, e.g. taking certain jobs or not.

When offering advice like this, agents must be honest and make sure that the credibility and reputation of the artist is taken into account, even when there is the potential for massive financial gain.

Salary & benefits

Talent agents tend to earn a basic salary in the range of £15,000 to £35,000 per annum. However, talent agents also earn commission for finding their clients work. Typically, agents receive around 10% of what the client is paid.

If you work as a freelance agent, you will get the entirety of this payment. However, if you work for an established agency, your company will get 10% and you will receive a percentage of the commission money based on your level of experience and responsibility.

Entry

There are no specific academic requirements for entry into this industry. However, it may help if you have an undergraduate degree in a relevant subject such as PR, marketing, business studies, management studies, law, performing arts or economics.

Most people get their foot in the door via an internship and then by working as an agent's assistant.

Training & progression

The majority of your training will be done on-the-job, and it's likely that you will be dropped in at the deep end. You will either sink or swim.

If you are able to work with a rising star, it can be a quick route to the top; if not, you will need to prove you have consistently good judgment in the clients you choose and you must provide a steady stream of work for them.

Artist representation and management is full of confident people who have a mastery of communication in all forms. If you can understand the needs of your clients and you have top notch communication skills you will be in a great position to go far in this line of work.

Many successful agents go freelance once they have gained sufficient experience and have established a long list of industry contacts. You might even start your own talent agency and employ other agents to work for you.

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If you fantasise about becoming the next Ari Gold (Vincent Chase's agent in Entourage), you're in the right place! Get ready to find out about the professional life of a talent agent. Agents are the absolute charmers who represent actors, television presenters, authors, scriptwriters, directors, producers, musicians, voice-over artists, singers, models and other professionals in the entertainment industry.

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Careers, A., Television, F. and Agent, T. (2019). Talent Agent. [online] Sokanu.com. Available at: https://www.sokanu.com/careers/talent-agent/ [Accessed 26 Jan. 2019].

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A talent agent is someone who represents professional actors, writers, performers, musicians, artists and athletes. Talent agents work on behalf of their clients to promote and represent their interests, and will typically handle the majority of all interactions between their client and the employer.

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Many artists experience enormous frustration when it comes to advertising themselves and selling their work. The business side of the art world can be an intimidating place, even for experienced and marketing savvy artists, so more often than not, artists everywhere are wishing for someone that'd handle the branding, promotion, and sale of their art for them.

In this article, we're going to explore the subject of an Artist Agent, touching on the reasons to have or not to have one, how to find an artist agent and select the one that's right for you, and offer some tips on how to work with an artist agent.

What is an artist agent?

An artist agent is any professional who works on behalf of an artist to represent, promote, and sell their work. In many ways, they represent the business interests of the artist, whether by pursuing individual sales, licensing deals, publicity, or opportunities like teaching, events, or commissions for artists.

An artist agent might be a private art dealer, an art consultant, a gallery, or even just a professional with the right connections, like a publicist or marketing consultant.

Do you need an agent?

This is a debate that artists have been having for as long as the idea of agents has existed. Certainly, having an artist agent has its pros and cons.

Reasons to have an art agent:

1. For their connections. Artist agents professionally sell art and represent artists, so they will be bound to have more connections with collectors, event organizers, press, and other art professionals than the average artist.

2. For sales, publicity, and event opportunities. Well, this is the point of an artist agent. Ideally, an agent will get you all of these and more. A good agent with the right connections might also help you secure financing for future projects, introduce you to potential sponsors and important people in other industries, opening up a world of opportunity.

3. To save time. When an artist agent is working on your behalf, you can spend your time focusing on creating art. And, let's face it, isn't that why you really became an artist?

4. If your business skills are lacking. If you are not comfortable networking or connection-building, then an agent may be worth the cost. Artists are often known for being introverts, and there's no shame in it.

Agents are particularly beneficial for well-established artists who have consistent sales and high profit. If this is the case for you, your priority should be creating more artwork; you can afford to, and should, shoulder up the commission to have somebody else deal with the business end of things.

Reasons not to have an artist agent:

1. It can cost a lot. As you know, selling artwork can be hard and time-consuming. For this reason, fine art agents will make their money by either charging a commission or an upfront salary for representation. For some artists who are just starting out, the prices of their artwork cannot bear this burden.

2. To make your own connections. If an agent is working on your behalf, then he or she is the one dealing with collectors, reporters, or other art professionals. You might end up missing out on the benefit of making these connections for yourself, as these people may help you later on in your art career.

3. Agents may be stretched too thin. Unless you are your agent's only client, they are working just as hard to promote other artists as well as yourself. While a professional agent wouldn't stretch his or herself too thin, there's always that chance that, when talking to a collector, your agent might mention another of their artists and not you.

If, after reading this, you've decided that you want an agent, read on to learn how to find, select, and work with the right agent.

If you've decided that you would be better off without an agent and would rather represent yourself, check out our other articles on promoting your own art:

Our Art Marketing category contains a few helpful articles on the essentials of self-promotion.

Our Social Media category will go over the important how-tos of social media exposure.

How to Find an Artist Agent

So you're interested in finding an agent to represent your art. Well, fortunately, agents are as interested in finding new clients as artists are in finding agents. They often attend art events, like exhibitions, fairs, and open studios. They also look for artists by searching the internet - so be sure that your website is attractive, up to date, and is strong in SEO.

Still, you can't just have a nice website and expect the agent to do all the work. There aren't many artist agents out there, so if you are looking for somebody to help with your business you have to be active about it.

Find agents through buyers. A great way to find a reputable agent is to ask former or potential collectors if they ever work with any agents. This way, not only are you getting the name of an agent, you're also aware that this particular agent does work with art collectors - and, particularly, the kind of collectors who have interest in your work!

Find agents through other artists. Sharing information with other artists is a great way to learn about new opportunities while also learning about new trends in the art world and getting exposed to amazing art. Fellow artists at events and exhibition may be able to offer you some great recommendations for potential agents.

Search the web. Just like some agents are finding artists on the web, you can find your next agent through a simple online search. Start local, looking for artist agents in your area. You can search "artist representative," "private art dealer," or "fine art representation" with your city or zip code to get some great results.

[pullquote align="full" cite="" link="" color="" class="" size=""] Important! Be vigilant when searching the web and remember to approach things with a cool head. If something sounds too good to be true or, on the flip side of the coin, looks shady, then it probably is. Be careful not to sign up with the wrong website or take a too-good-to-be-true offer, you can end up wasting a lot of time and money on an unproductive relationship. [/pullquote]

Friends and family. Many of the artists that Agora Gallery works with were first introduced to us by their spouses, parents, children, or friends. You don't need a fancy degree to be an agent, and many artists have a support network full of people who are happy to help them out. Just don't impose on your loved ones; wait for them to offer their help before demanding it of them.

Galleries as agents. Some galleries, like Agora Gallery, operate like agents for artists. You can research 'representational galleries' - just be sure to keep an eye out for vanity galleries. Unlike Agora Gallery, these are galleries that simply charge for the opportunity to hang your artwork on their walls. They do not offer any services, and may often hide your art away in some corner, essentially stealing your money. Be sure to do your research, inquire about sales, look at the other artists they represent, and, when possible, visit them in person to make sure they are legitimate.

How to Select an Artist Agent

Artist agents do not require any license to represent artists. Additionally, agents who charge an up-front fee may end up costing you more than they make for you. Before hiring an agent, make sure to do your research, particularly when it comes to the results that you want. You'll want to be sure that they have experience selling the type of art that you create and, just as important, they sell it consistently.

Find reviews from other artists. You can ask the agent what other artists they represent and seek out their advice. Not only should you be looking into the success rate of the agent, you also want to see what type of art they typically deal in. For example, a landscape photography specialist might not have the resources to sell figurative sculptures.

Meet them in person. One of the best ways to tell if this particular artist agent is right for you is to see them face-to-face. A nice, long conversation about your expectations and values is sure to make clear whether you can have a working relationship with this person or not. This will also help you avoid online scams or disreputable agents.

Find out what, if any, exclusivity policies the agent has. Certain agents' contracts may specify that they are entitled to a commission regardless of how the work sells, or they might limit you from selling artwork on your own. Make sure that your potential agent's policies are something you can live with for the term of their employment.

Other Tips for Working with Artist Agents:

Don't commit yourself immediately. If you are just starting a relationship with an agent, limit the contract to one year or even 6 months. That way, if things aren't working out with this agent, you won't be set back too much. The term will end, and you can look elsewhere.

Communicate regularly. Don't leave them alone for months without checking in, and don't hover too closely. Make a point of checking in once every few weeks. You can let them know about new developments in your art, or simply just ask if they have any updates. However - if you check in too often, you can end up distracting your agent, annoying them, and creating a negative relationship.

Be clear about your goals. Are you more interested in exhibiting your work? Selling to private buyers? Getting publicity? Your agent isn't a mind-reader, so be sure to explain exactly what you are looking for.

Be open. Tell your agent what they need to know in order to sell your work. Be willing to talk about your work, your process, and your background. If your agent has questions, answer them clearly, so they can become a you-expert and sell your art.

[pullquote align="full" cite="" link="" color="blue" class="" size=""]Looking for gallery representation? Agora Gallery connects artists with New York audiences while offering amazing PR services. Visit our Gallery Representation And Artist Promotion page for more information.[/pullquote]

Have you worked with agents before? We'd love to hear about your experiences. Be sure to share your comments and questions in the comments below.

This post is also available in:

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A Guide To Artist Agents - Agora Gallery - Advice Blog

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Many artists experience enormous frustration when it comes to advertising themselves and selling their work. The business side of the art world can be an intimidating place, even for experienced and marketing savvy artists, so more often than not, artists everywhere are wishing for someone that'd handle the branding, promotion, and sale of their art for them.

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Job, R., Job, R., Job, R. and Bilici, A. (2019). A Guide To Artist Agents - Agora Gallery - Advice Blog. [online] Agora Gallery - Advice Blog. Available at: https://www.agora-gallery.com/advice/blog/2016/04/26/guide-artist-agents/ [Accessed 26 Jan. 2019].

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Definition of agent: Party that has express (oral or written) or implied authority to act for another (the principal) so as to bring the principal into contractual relationships with other parties. An agent is under the ...

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skills, C. and careers, J. (2019). TV/film/theatre set designer: job description. [online] TARGETjobs. Available at: https://targetjobs.co.uk/careers-advice/job-descriptions/279539-tvfilmtheatre-set-designer-job-description [Accessed 26 Jan. 2019].

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What does a set designer do? Typical employers | Qualifications and training | Key skills

A set designer is in charge of designing and creating the sets that appear in films, on television programmes as well as in the theatre. The role involves working and communicating with directors, producers, costume designers and other members of staff.

Typical responsibilities include:

reading scripts

producing plans, drawings and models of sets

preparing estimates of set costs

managing budgets

viewing possible outside broadcast sites

planning

attending rehearsals/film takes

meeting with and commissioning set construction companies.

Theatres

Film and video production companies

Terrestrial, satellite, digital, cable and independent television companies

Advertising agencies

Music video production companies

Experienced designers (particularly film set designers) commonly work on a self-employed/freelance basis.

Vacancies are advertised online, in national newspapers and in specialist publications including The Stage newspaper, Broadcast, The Knowledge, Ariel (for BBC jobs) and Screen International as well as their online equivalents.

Although there are routes into this profession for both university graduates and school leavers, employers will prefer candidates with degrees in theatre studies, creative or performing arts, drama, fine or visual arts, graphic or 3D design, illustration, architecture and landscape architecture.

The ability to demonstrate a genuine interest in, knowledge or experience of visual arts, culture and television, film or theatre is essential, and often more important than academic qualifications.

Job shadowing and unpaid/vacation work experience can be helpful. It is essential to make speculative applications - directories such as the British Theatre Directory, KFTV, Broadcast Production Guide, Kays Production Manual, the Guardian Media Directory, and Contacts contain useful contact information.

To find out how to get into a career in this area via a school leaver route, visit the media section of TARGETcareers, our website aimed at school leavers.

Stamina

Creativity

Enthusiasm

Determination

Perseverance

Imagination

Adaptability

Working well under pressure

Good spatial awareness

Technical skills

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TV/film/theatre set designer: job description

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What does a set designer do? Typical employers | Qualifications and training | Key skills A set designer is in charge of designing and creating the sets that appear in films, on television programmes as well as in the theatre. The role involves working and communicating with directors, producers, costume designers and other members of staff.

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Ltd, A. (2019). Set Designer Job Description | AllAboutCareers. [online] Allaboutcareers.com. Available at: https://www.allaboutcareers.com/careers/job-profile/set-designer [Accessed 26 Jan. 2019].

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Set Designer Job Description | AllAboutCareers

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A set designer's job is to create the overarching look of any given set on television, in film or in the theatre. This means that the role is a slightly unique combination of creativity and practicality, as you have to conceptualise an idea, design it and then do your best to make it a reality with the team of people around you.

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Prospects.ac.uk. (2019). Production designer, theatre/television/film job profile | Prospects.ac.uk. [online] Available at: https://www.prospects.ac.uk/job-profiles/production-designer-theatre-television-film [Accessed 26 Jan. 2019].

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Production designers are responsible for the visual concept of a film, television or theatre production

As a production designer, you'll identify a design style for sets, locations, graphics, props, lighting, camera angles and costumes, while working closely with the director and producer.

Once the concept is decided, you'll usually appoint and manage an art department, which includes a design and construction team. You'll often form a strong partnership with a particular director, who they'll then work with on many productions.

Designers tend to specialise in film, television, or theatre, although there is some overlap. In the theatre, production designers are also called stage or set designers.

Responsibilities

Most production designers work as freelancers and so an important part of their work is marketing their skills and experience, making contacts and briefing agents.

In addition to this, you'll generally need to carry out the following tasks:

agree on a project, and if freelance agree an appropriate fee and timescale - this may be carried out by an agent

clarify the brief which may be written or given orally

read scripts to identify factors indicating a particular visual style

meet the producer and director to discuss concepts and production requirements

research art history, background politics, historical information and produce design ideas

plan and monitor the design budget

provide scale drawings or models for studio or theatre sets

produce design ideas for costumes, wigs, props, special effects, make-up and graphics

identify and assess potential studios and locations

source appropriate materials and research effects

present ideas to others involved in the production, such as actors and camera operators

research, estimate and prepare a property list

hire and manage an art department team or teams (depending on the size of the production)

instruct the set construction company, scenic artists and special effects specialists and monitor their work

liaise with the costume designer and the director of photography, as well as the props, lighting and sound directors

attend progress meetings, rehearsals and filming to advise on visual presentation

check sets and locations during filming to make sure requirements are met and to deal with any queries.

Salary

Production designer is not typically an entry-level position. Those breaking into the field usually start as art department runners, assistants, junior draughtspeople or set designers.

Pay varies hugely between the different roles in design production, across theatre, television and film. There are further variations depending on the budget of each production. Most roles are freelance, so it is best to check the current agreed rates with Bectu ( Broadcasting Entertainment Cinematograph and Theatre Union). You can check theatre rates with UK Theatre.

Rates increase as roles become more senior and at the higher levels can reach over £3,000. This can only be achieved with extensive experience. At production designer level, rates tend to be negotiated on an individual basis.

Salaries may vary a great deal from one production to the next and your income will depend on the nature and number of contracts you take on. If you're on a low income, you might consider supplementing your earnings with other activities, such as teaching, model-making and exhibition design.

Only a few designers command high salaries. Those fortunate enough to work on West End productions may receive a percentage of box office takings or royalties.

Income figures are intended as a guide only.

Working hours

Working hours can be long and typically include regular unsocial hours and weekends.

The nature of contract work often results in intensely busy periods interspersed with inactivity if no work comes in.

Part-time work is unlikely, although freelancers can control their workload by deciding which contracts to accept. The length of contracts varies according to the nature of the production and its budget. Career breaks are possible.

What to expect

The working environment varies. You may work in theatre workshops, television and film studios, in a design office, at home or away on location.

Work is mostly available in cities where studios and theatres are located, although location work means that you must also be prepared to be away from home, for long periods of time, at short notice, either in the UK or overseas.

You may also be required to travel frequently within a working day.

Employment may be insecure, and flexibility is required.

Time and budget constraints and working with demanding personalities can be stressful, but the work can also be very stimulating and exciting.

Study at a top London drama school

Masters degrees available in acting, producing or writing

Qualifications

Relevant degree and HND subjects include those related to art and design. The following subjects in particular are most likely to provide relevant skills and knowledge:

architecture

creative, performing or technical arts

drama or theatre studies

fine art or visual art

graphic design or illustration

interior design

landscape architecture and design

theatre or performance design

3D design.

A design qualification is good preparation for work in production design as it will allow you to build up a portfolio, which you can use to demonstrate your imagination, technical ability and strong sense of spatial understanding.

Some courses have been approved by ScreenSkills, the skills body for the screen industries. Relevant courses include degrees in TV and film set design and a Masters in production design.

Specialist postgraduate qualifications may be useful and could help you to make valuable contacts in the industry.

Entry without a degree or HND is sometimes possible, but you would usually need an excellent design portfolio and to have worked your way up from a craft-level job in the industry.

Skills

You'll need:

a flair for generating original creative ideas

the ability to communicate ideas through technical drawing and model making

a good working knowledge of the visual arts and production processes

a critical view of film, television or theatre, and familiarity with the work of specific designers

persistence to follow up leads and gain work

good teamwork skills

to be able manage a design project from start to finish, to tight deadlines

to be resourceful and adaptable and be able to solve practical and conceptual problems

the capability to work independently

the confidence and ability to appoint and supervise a design team or art department.

Work experience

As with most jobs in the creative industries, competition is fierce. Getting involved with student theatre, film or music societies will enable you to make contacts, gain experience of working on a production and build up your portfolio with examples of spatial design.

Finding and entering competitions is another good way to put yourself ahead, as successful entrants have the chance to work with leading British companies on opera, theatre or dance productions. Competitions sometimes give short-listed designers the opportunity to exhibit their models and designs.

ScreenSkills runs a one year trainee scheme, Trainee Finder, which places successful candidates in film or high-end TV projects. Trainees will also be required to attend training events including health and safety, finance for freelancers, carbon literacy, branding and networking as well as industry masterclasses to improve their employability in the industry. Trainees also can gain access to an industry mentor.

You could start by working as an assistant to an established freelancer, who might take on an extra pair of hands for a particular project if timescales are short.

In film, an accepted route to gaining practical experience of the production process is to start as a runner in the art department, progressing through design assistant to art director.

In theatre, some new entrants assist experienced designers with model-making. Working on fringe productions is also a good way into the theatre scene, enabling you to showcase your work to potential employers.

Most designers start with irregular contracts and low wages, and this can be difficult to manage if you have financial commitments. However, a move across from a related area, such as interior design or architecture, may be possible mid-career.

Employers

In the UK television industry, production designers are employed (usually on a freelance basis) by independent production companies and the BBC.

There are also openings in cable and satellite companies, though these have limited in-house production design opportunities of their own.

The principal organisations responsible for developing the UK film industry are the British Film Institute (BFI) and the various screen agencies operating across specific regions as well as nationally.

Theatre designers work for national theatre and opera companies, in regional repertory companies based mainly in large towns and cities in the UK, and for smaller theatre or dance companies based all over the country.

There may be occasional opportunities to work as a resident designer in national or repertory companies. Rare but prestigious opportunities arise for designers to work on West End productions and musicals.

Look for job vacancies at:

Specialist directories are available that provide contacts useful for making speculative applications. They include:

Theatre designers who work regularly as assistants and are members of The Society of British Theatre Designers can add their details to the Society's assistant designer register.

Professional development

After completing a degree or postgraduate course, you'll likely start in an entry-level position. You'll be expected to learn on the job, picking up the necessary skills and experience to eventually progress after many years to production manager level.

Because you'll be working to tight deadlines and on more than one project at once, opportunities for further training may be limited due to conflicts of time. Also, if you're working freelance, any professional development will be self-funded, which may present an obstacle.

You may decide that you want to learn or update specific technical skills, e.g. in computer-aided design (CAD), and could enrol on local part-time or evening courses.

Supply companies offering specialist lighting, materials or effects may run product demonstration days, which can help you to expand your repertoire.

If you work in theatre, details of courses and information about degree exhibitions and relevant shows are available from The Society of British Theatre Designers.

Useful careers information on production design, details of training courses and relevant publications are available from ScreenSkills.

Career prospects

To reach the position of production designer, you must have extensive experience built up over many years.

It's common, in the early stages of your career, to work across more than one genre, to maximise your chances of finding work, and to develop skills. It's also quite common to work in exhibition design, museum design or design for corporate events to begin with.

Once you start to get paid work as a production designer, you build up your portfolio, contacts and expertise on an ongoing basis. This may take a substantial amount of time, but as your career develops you may be able to command higher rates and work on higher-profile productions. At this point, many designers choose to employ an agent to negotiate on their behalf.

As your career progresses, you may become more involved in the conceptual aspect of a project. Bigger productions with larger budgets often have art department staff who do much of the practical realisation work, while the production designer focuses on the design ideas and concepts.

You may decide to shift your career direction slightly by moving into teaching on foundation, degree or postgraduate courses in art and design. Alternatively, you could begin directing your own productions.

A similar but alternative career option is that of costume designer. Also working in television, film and theatre productions, costume designers liaise with the director, lighting and set designers to establish the right look and feel for the costumes for a production.

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Discover what it takes to be a Production designer, theatre/television/film. Find out expected salary, working hours, qualifications and more.

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Helpage.org. (2019). [online] Available at: https://www.helpage.org/silo/files/programme-funding-officer-2017.pdf [Accessed 26 Jan. 2019].

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Venturetrust.org.uk. (2019). [online] Available at: http://www.venturetrust.org.uk/media/uploads/files/FundingOfficer_150420.pdf [Accessed 26 Jan. 2019].

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Study.com. (2019). Choreographer: Job Description, Duties and Salary Info. [online] Available at: https://study.com/articles/Choreographer_Job_Description_Duties_and_Salary_Info.html [Accessed 26 Jan. 2019].

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Essential Information

Choreographers, who are often former professional dancers, create new dance routines and performances. They can find work in various creative venues, including ballets, musicals, parades, gymnastics and dance shows. Although there are usually no formal educational requirements for this position, some aspiring choreographers might benefit from a bachelor's degree program in performing arts or dance.

Required Education
No formal education requirements, though a bachelor's degree in performing arts or dance is optional

Other Requirements
Significant experience in dance

Source: *U.S. Bureau of Labor Statistics

Job Description

Choreographers create routines for individual performers, competitions, musical performances, marching bands, ballets and other spectacles. They create dance and movement routines, sometimes by revising or combining existing routines. Former dancers sometimes transition into choreography careers after their bodies have had enough of the physical demands involved in dancing.

Job Duties

Before creating a new routine, choreographers typically meet with the director to learn more about the production and begin brainstorming ideas. Choreographers want the dances or movements to complement the story. Directors and choreographers also might work together to select music, wardrobe, set design and effects. Choreographers also attend auditions to help select qualified candidates.

After researching the production, choreographers begin working to either create a new routine or tweak an existing one. Additional research is sometimes done as choreographers look for influential dances or performances that help them create new moves. Some choreographers write steps down or sketch out moves that they then teach to the performers.

After the routine is created, the choreographer teaches the steps to the performers at rehearsals. Choreographers often demonstrate routines by performing the dance themselves. After showing the dancers the steps, the choreographer helps them perfect the movements, technique and timing. During rehearsals, a choreographer might make changes to the routine and then instruct the performers in performing the changed routine.

Because choreographers typically need to demonstrate each routine, they must remain in excellent physical condition. Exercising, stretching and attending classes are often how choreographers keep their skills sharpened.

Salary

As of May 2015, the BLS reported that dance choreographers made a median annual salary of $45,940. Choreographers who belong to a union usually have some benefits, such as a retirement fund and health insurance. Non-union choreographers are typically responsible for their own retirement and insurance.

Choreographers are usually former dancers. They create dance routines and incorporate music and movement for performances. They are not required to have any formal postsecondary training, although a degree may increase job prospects for those entering this field.

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Choreographer: Job Description, Duties and Salary Info

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Choreographers, who are often former professional dancers, create new dance routines and performances. They can find work in various creative venues, including ballets, musicals, parades, gymnastics and dance shows. Although there are usually no formal educational requirements for this position, some aspiring choreographers might benefit from a bachelor's degree program in performing arts or dance.

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Careers, A. and Arts, P. (2019). Choreographer. [online] Sokanu.com. Available at: https://www.sokanu.com/careers/choreographer/ [Accessed 26 Jan. 2019].

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Choreography is an artistic opportunity to express one's personality through the creation of dance. A choreographer designs and directs routines used in dances and performances. They love movement and the art of dance, but most of all love to inspire others by sharing their creative ideas.

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Work.chron.com. (2019). What Skills Do Choreographers Need?. [online] Available at: https://work.chron.com/skills-choreographers-need-13015.html [Accessed 26 Jan. 2019].

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Choreographers work on set for films, on stage for musical productions, with dance companies or at performing arts schools. They coordinate all dance routines and physical movements associated with a performance -- working with dancers, actors, directors and producers, among other production staff. Choreographers possess a specific skill set that is based on their natural talent and many years of dancing and performance experience.

Dance Technique

A choreographer must have a thorough knowledge of dance steps, styles and routines. Directors rely on choreographers to pull together dance routines that are stylistically appropriate for the production and that best express the story ideas in the production. The choreographer must also know what to look for in dancers to audition and cast them in appropriate roles. Dance concepts such as rhythm, balance, coordination, and musicality are familiar to a choreographer. Choreographers also teach dance techniques to members of the dance companies they lead, as well as their students at performing arts schools.

Leadership

Choreographers must have strong leadership skills, because groups of dancers and actors depend on them for the execution of their routines. They are responsible for physically demonstrating routines for dancers to learn. Choreographers communicate decisively and assertively, and must be able to enforce the rules of routines that they create. Providing clear direction and helping dancers work together as a team are part of the leadership a choreographer must provide.

Creativity

Choreographers must have creative talent because they rely on their own ideas to choreograph dance routines. They must be able to translate ideas into physical movements. They exercise their creativity when deciding on music, dance steps, body movements, costumes and cast placements to ensure that performances are seamless. A willingness to experiment with new ideas, if original ideas don't pan out, is borne out of the choreographer's artistic ability.

Discipline

Choreography involves many long, tedious hours of rehearsing to get dance moves right. Audiences pay a lot of money to see film, dance company and musical productions, and a lot of pressure weighs on the choreographer to ensure total success. To achieve this, choreographers must be disciplined, persistent, and not afraid to demand that dancers and actors try and try again until they get every move perfect. Physical stamina is also an essential component to a choreographer's skill at remaining disciplined.

Photo Credits

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About the Author

Anna Windermere started her writing and editing career in 1993, upon graduating from the University of Florida's esteemed journalism school with a bachelor's in journalism. Ms. Windermere, a senior-level copy editor, has appeared in mastheads of newspapers and magazines as copy chief, writer and proofreader, including "Sun-Sentinel," "Miami Herald," "City Link," "New Times," "NewBeauty," "Luxe," "Florida Alligator," "Orange & Blue," and more.

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What Skills Do Choreographers Need?. Choreographers work on set for films, on stage for musical productions, with dance companies or at performing arts schools. They coordinate all dance routines and physical movements associated with a performance -- working with dancers, actors, directors and producers, among other ...

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Anon, (2019). [online] Available at: https://aact.org/stage-manager [Accessed 26 Jan. 2019].

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" Stage Manager

Stage managers typically provide practical and organizational support to the director, actors, designers, stage crew and technicians throughout the production process. They also are the director's representative during performances, making sure that the production runs smoothly.

The role of the stage manager is especially important to the director in rehearsals. Here the director and the stage manager work side by side, with the stage manager recording the director's decisions about blocking and notes for the actors, keeping track of logistical and scheduling details and communicating what goes on in rehearsals to the rest of the team. This enables the director to concentrate his or her full attention on directing.

Stage managers have several key responsibilities and tasks to perform in each phase of a production, including:

scheduling and running rehearsals

communicating the director's wishes to designers and crafts people

coordinating the work of the stage crew

calling cues and possibly actors' entrances during performance

overseeing the entire show each time it is performed

In conjunction with the director, the stage manager determines the scheduling of all rehearsals and makes sure everyone involved is notified of rehearsal times, meetings, costume/wig fittings and coaching sessions. During the rehearsal phase, stage managers also:

mark out the dimensions of the set on the floor of the rehearsal hall

make sure rehearsal props and furnishings are available for the actors

attend all rehearsals

notify the designers and crafts people of changes made in rehearsal

In rehearsals the stage manager also records all blocking, plus all the light, sound and set change cues, in a master copy of the script called the prompt book. The information in the prompt book also allows the stage manager to run the technical rehearsals, calling each technical cue in turn to determine precisely how it needs to be timed to coordinate with the onstage action.

The stage manager and the technical director also work out a smooth and efficient plan for the stage crew to follow during set changes. Furniture and prop plans for complicated sets are drawn up by the stage manager and technical designer to show exactly where the furniture and props are to be positioned on stage at the beginning of each scene and sometimes in the wings.

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

Sample Job Description & Duties

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Assistant Stage Manager

Often needed in larger productions, when the stage manager is out in the house, the ASM is often stationed just offstage to facilitate communication between the stage manager, crew and actors, as well as ensuring safety. The ASM often helps with complex set changes, quick changes offstage, or preparing the stage for performance.

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" Stage Manager Stage managers typically provide practical and organizational support to the director, actors, designers, stage crew and technicians throughout the production process. They also are the director's representative during performances, making sure that the production runs smoothly. The role of the stage manager is especially important to the director in rehearsals.

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Stagemanagementassociation.co.uk. (2019). What is Stage Management? | The Stage Management Association. [online] Available at: https://www.stagemanagementassociation.co.uk/about/what-is-stage-management [Accessed 26 Jan. 2019].

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What is Stage Management? | The Stage Management Association

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This brief description gives an idea of the variety and responsibility of the job. The company must trust their stage management team and they must be able to cope with being the people with whom the buck stops.

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Prospects.ac.uk. (2019). Theatre stage manager job profile | Prospects.ac.uk. [online] Available at: https://www.prospects.ac.uk/job-profiles/theatre-stage-manager [Accessed 26 Jan. 2019].

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As a theatre stage manager, you'll manage rehearsals, actors, technicians, props and costume fittings, and liaise with front-of-house staff and the director

You'll need to have a good understanding of both the technical and artistic elements of a performance so you can ensure its delivered exactly to the director's requirements. Being involved from the rehearsal stage through to the live performances, you'll be on hand to deal with any emergencies that may arise.

Larger productions typically have a stage manager supported by a deputy stage manager and one or two assistant stage managers. For smaller shows, you're likely to work on your own.

Responsibilities

As a theatre stage manager, you'll need to:

set up and run rehearsal schedules

procure props, furniture and set dressings and, in small companies, assist in set construction

arrange costume and wig fittings

distribute information to other theatre departments

manage the props, and possibly the design budgets, liaising with the production manager regarding costs

supervise the 'get in' to the theatre, when the set, lighting and sound are installed, and the 'get out', when all the equipment is removed

compile and operate prompt copy - also known as the 'prompt script' or 'the book', which notes actors' moves and cues, and the requirements for props, lighting and sound

make alterations to the set between scene changes, prompt actors and cue technicians

take charge of the show once is starts, running the backstage and onstage areas during performances

make sure that what is supposed to happen during a performance happens and handling any problems that occur

liaise with the director, stage personnel and other technical departments, such as costume, lighting and sound

call actors for rehearsals and performances

during a long run, maintain and replace props and costumes as required

liaise with resident staff at other performance venues (if touring)

ensure the company's welfare and maintain a good working knowledge of all relevant health and safety legislation and good working practice.

Salary

Starting salaries for assistant stage managers and stage managers tend to range from around £18,000 to £22,000.

With experience, you can earn around £25,000 to £35,000.

Salaries for highly experienced senior stage managers with an established reputation can rise to in excess of £45,000.

The Independent Theatre Council (ITC) negotiates minimum rates of pay for its members. For current ITC/Equity weekly rates, see ITC Rates of Pay. The membership organisation UK Theatre also has rate cards for stage management in commercial theatrical productions. The Society of London Theatre (SOLT) also has rate advice for stage managers in West End theatrical productions.

Salary levels can vary significantly depending on a range of factors including your level of experience, the type of theatre company you work for and your location. Additional payments, such as touring allowances, may be available.

Income figures are intended as a guide only.

Working hours

You must be prepared to work long and unsociable hours including evenings, weekends and bank holidays.

What to expect

The work is based in theatres and other arts venues. Conditions backstage can be hot, dusty or dark, although this depends on the age and size of the venue. Open-air theatres may be the opposite of this.

The work can be physically demanding as you may be expected to help move or lift props, especially when working for smaller theatres.

You may also need a good head for heights. You'll be expected to 'muck in' and apply your skills to any given priority, especially at the beginning of your career.

Jobs are available in most areas of the UK, and there are also opportunities to work overseas. Self-employment or freelance work is possible. Experienced stage managers may opt to work freelance in order to gain more varied experience and earn higher rates of pay.

Occasionally, you may need to travel during the day. If you're in a touring company, you may spend long periods away from home.

Study at a top London drama school

Masters degrees available in acting, producing or writing

Qualifications

Although it's possible to get into theatre stage management with any degree, foundation degree or HND if you have experience, the following subjects are particularly relevant:

drama or theatre studies

music

performing arts

stage management

theatre production

theatre professional practice.

Members of the Federation of Drama Schools provide conservatoire style vocational training for students who want to be theatre makers, technical theatre practitioners and performers. See the list of member schools. Learn more about conservatoires.

Other relevant qualifications include the Level 3 Diploma and Extended Diploma in Performing and Production Arts and the Level 4 Professional Diploma in Technical and Production Practice for the Creative Industries. For more information see University Arts London - Qualifications.

You can enter the profession without a degree or HND at a more junior level such as a member of the stage crew or theatre technician. You may then be able to work your way up to the role of assistant stage manager and then progress further.

Although a postgraduate qualification isn't essential, a postgraduate degree in stage management or theatre may be useful, particularly if your first degree is in an unrelated subject. Search postgraduate courses in theatre studies.

Skills

You'll need to have:

excellent communication and organisational skills

a sharp eye for detail

the ability to stay calm in a crisis

people skills: persuasiveness, patience, tact and an understanding of the pressure performers are under

computer skills and awareness of current technologies

the ability to work under pressure, especially in the run-up to a performance

problem-solving skills and the ability to think on your feet

confidence, decision-making ability and negotiation skills

stamina in order to cope with long hours during technical and dress rehearsals, and for touring

administration skills, business awareness and the ability to manage a budget - will be needed if your role involves managing the business side of the theatre and for handling your own tax affairs

a driving licence can be very useful in this role.

Work experience

Competition for jobs is fierce and you'll need to have practical experience of theatre work. Try to gain this through student, community or amateur theatre groups and get involved in as many different areas of the theatre as possible. This can help to build up contacts, which may lead to future job opportunities.

Experience as a casual stagehand in local theatres can be useful. Arrange to speak to the stage manager at your local theatre to talk about possibilities.

If you're studying a relevant degree, such as stage management, make the most of work placements to establish a network of contacts.

Try to vary your work experience so you get a feel for how different types of company operate and how sets can differ. Also, watch as many different kinds of productions as you can and attend talks about different productions.

Reading specialist press, such as The Stage, will also help you keep up to date with what's happening in the profession and show your commitment.

Employers

There are theatre stage manager jobs in all parts of the UK. Employers range from small touring companies to medium-sized repertory companies and large-scale commercial theatres, such as those in London's West End.

Other employers include:

alternative, community, prison and children's theatre

fringe theatre

regional theatre

theatre-in-education companies

touring theatre.

There are also opportunities with national theatre, opera and dance companies, although these represent only a fraction of the opportunities available.

In addition to theatre work, stage managers can also work at open-air music concerts, festivals and theme parks.

Look for job vacancies at:

The Stage Management Association circulates Freelist every month, a list of members who are currently available for work.

Contact local stage managers for advice and to find out about any available work. Networking is a key factor in getting a job - many vacancies are filled through contacts made while working - so keep a log of any contacts you make in the field and stay in touch on a regular basis. You can also send targeted applications, via CV and cover letter, to theatre companies.

Professional development

Most of your training is likely to be on the job. Few venues or companies can afford to fund in-service training, so you'll be expected to take responsibility for your own continuing professional development (CPD).

It's important to keep your skills and knowledge up to date throughout your career. The SMA is the professional body that supports and represents stage management in the UK. It runs a range of short training courses aimed at enhancing your skills.

The association also arranges networking events, backstage tours and talks, which are good for building contacts and keeping up to date with industry news.

Organisations such as the Independent Theatre Council (ITC) and UK Theatre also provide courses, events and conferences. See ITC - Training Timetable and UK Theatre - Training & Events for more information.

Career prospects

You'll typically start as an assistant stage manager and, after gaining skills and experience, may progress to deputy stage manager. With further experience, your next step is to become a stage manager and then company stage manager, although this is usually only the case in larger theatres.

Some stage managers remain as assistants or deputies for their entire career, especially in larger organisations. Others may move between companies, filling roles as assistant, deputy or stage manager as required.

Geographical mobility will help your career development as you move between theatres, or travel with a touring company, to broaden your experience and skills.

It's possible to develop your skills to move into specialist roles, such as theatre lighting director, sound manager or wardrobe manager. This involves developing the technical or design skills you'll have learned through stage management roles through further training and experience.

You may have the opportunity to become a theatre manager or producer (sometimes called a production manager or production director). This involves working in larger theatres, running significant budgets and coordinating the whole physical production of a play. With experience and further training, some stage managers go on to become theatre directors.

You may be able to use the skills and experience you gain in the theatre to move into production jobs in television or film, where you could potentially work in roles including trainee floor manager. You could also move into stage management of large-scale music concerts or become an events manager.

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Discover what it takes to be a Theatre stage manager. Find out expected salary, working hours, qualifications and more.

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BBC Bitesize. (2019). BBC Bitesize - GCSE Drama - Theatre design - Revision 1. [online] Available at: https://www.bbc.com/bitesize/guides/z39x34j/revision/1 [Accessed 26 Jan. 2019].

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skills, C. and careers, J. (2019). TV/film/theatre set designer: job description. [online] TARGETjobs. Available at: https://targetjobs.co.uk/careers-advice/job-descriptions/279539-tvfilmtheatre-set-designer-job-description [Accessed 26 Jan. 2019].

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What does a set designer do? Typical employers | Qualifications and training | Key skills

A set designer is in charge of designing and creating the sets that appear in films, on television programmes as well as in the theatre. The role involves working and communicating with directors, producers, costume designers and other members of staff.

Typical responsibilities include:

reading scripts

producing plans, drawings and models of sets

preparing estimates of set costs

managing budgets

viewing possible outside broadcast sites

planning

attending rehearsals/film takes

meeting with and commissioning set construction companies.

Theatres

Film and video production companies

Terrestrial, satellite, digital, cable and independent television companies

Advertising agencies

Music video production companies

Experienced designers (particularly film set designers) commonly work on a self-employed/freelance basis.

Vacancies are advertised online, in national newspapers and in specialist publications including The Stage newspaper, Broadcast, The Knowledge, Ariel (for BBC jobs) and Screen International as well as their online equivalents.

Although there are routes into this profession for both university graduates and school leavers, employers will prefer candidates with degrees in theatre studies, creative or performing arts, drama, fine or visual arts, graphic or 3D design, illustration, architecture and landscape architecture.

The ability to demonstrate a genuine interest in, knowledge or experience of visual arts, culture and television, film or theatre is essential, and often more important than academic qualifications.

Job shadowing and unpaid/vacation work experience can be helpful. It is essential to make speculative applications - directories such as the British Theatre Directory, KFTV, Broadcast Production Guide, Kays Production Manual, the Guardian Media Directory, and Contacts contain useful contact information.

To find out how to get into a career in this area via a school leaver route, visit the media section of TARGETcareers, our website aimed at school leavers.

Stamina

Creativity

Enthusiasm

Determination

Perseverance

Imagination

Adaptability

Working well under pressure

Good spatial awareness

Technical skills

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TV/film/theatre set designer: job description

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What does a set designer do? Typical employers | Qualifications and training | Key skills A set designer is in charge of designing and creating the sets that appear in films, on television programmes as well as in the theatre. The role involves working and communicating with directors, producers, costume designers and other members of staff.

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Technical Director. (2019). Technical Director. [online] Available at: https://theatreanddance.appstate.edu/scenery-and-props/technical-director [Accessed 26 Jan. 2019].

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Description

The technical director is responsible for purchasing construction materials, supervising the building of scenery, transporting set pieces from the shop to the theatre stage, mounting the scenery onstage, overseeing the work of the scenic crews during rehearsals and performances, and maintaining the shop's equipment and supplies. To order the materials and build the scenery the technical director reads scale plans supplied by the scenic designer. These drawings may have to be supplemented with plates that the technical director draws that show the construction details and techniques that will be used to build the scenery. (Based on the description in J. Michael Gillette's Theatrical Design and Production, 6th ed.)

Expectations

1. Meet with the departmental technical director so that you fully understand the rules, regulations, and protocol to follow during the build of your show. This is an important step to ensure everyone's safety.

2. Meet with the departmental technical director to receive and discuss designer drawings, budget information, and any other special considerations that your show or the shop may need.

3. You must attend all production meetings. During these meetings you will discuss the progress of the build as a whole and the show budget. Meet with the departmental technical director before every meeting to discuss progress and challenges.

4. Attend the design presentation, as this will give you an idea of what the designer is trying to create and help you when you start to think about the construction.

5. Work through the drawings and create a scenic component break down. At this point you should complete a structural analysis of all set pieces.

6. After you have isolated the components of the show begin to think about their construction and the materials that you will need. Compile a list of all materials.

7. Meet with the departmental technical director to discuss these choices and the desired format of the cost-out. At this point you will receive a list of preferred vendors.

8. Contact vendors and get current prices on all materials needed. Complete cost out.

9. Meet with the departmental technical director to discuss cost out, and then schedule a time to meet with the scenic designer to discuss cost out.

10. If the set is over budget, the scenic designer and departmental technical director will discuss with you ways to cut the cost of the show or other materials that will be cheaper. Once the set is under budget and meets the approval of both the scenic designer and departmental technical director you will be given permission to proceed.

11. Submit all material orders to the departmental technical director including delivery dates and any other specifics that you may have.

12. Verify the quantity and quality of all material shipments received.

13. Meet with the departmental technical director, paint charge, and props master and discuss a build schedule. This schedule will include scenery or properties start, finish, paint, and complete dates. This only includes properties that will need shop assistants in accomplishing. It is important that all shops are on the same page and continue to communicate as things often get behind and sometimes can get ahead.

14. Create working drawings for each scenic component specifying the way you would like it constructed. Meet with the departmental technical director to discuss all working drawings before they go to the shop for construction. The construction drawings must have the departmental technical director's approval before anyone will begin to construct them. Construction drawings should be clear and communicate all information to correctly build each unit.

15. Be at the shop on time every workday to answer questions that arise. Clearly walk through the workday with the departmental technical director. It is their responsibility to distribute daily tasks, as they are there all day to ensure the timely construction of your show, and your schedule may not allow you to do the same. Coordinate with other scenic production team members as needed.

16. Coordinate with all production team members to discuss potential challenges associated with the build and load-in. Remember that unlike many other theaters, the Valborg and I.G. Greer are used as classrooms and rehearsal spaces each day, and as such the theaters and scene shop must be "hardware-proof" at the end of each workday.

17. Build and load in. Remember to remain flexible, as things will come up, and do not get frustrated.

18. Once primary construction is finished and the show is loaded in, concentrate on set dressing and detail work.

19. Attend crew watch night (usually the Thursday before the first tech rehearsal) to perform a walk-through with stage management and the cast. During this walk-through you will give them the "cans and can nots" of the set. Be specific and point out everything they should watch for.

20. Attend all tech rehearsals. Every night before call, work through the additions and deletions with the stag manager, so that they can inform the cast.

21. Take specific and detailed notes during tech rehearsals. Sit near the scenic designer or meet with them afterwards to get their notes as well.

22. At the end of each tech rehearsal there will be a production meeting to discuss the needs of every department. This will allow the production team to gauge the schedule for the next workday. Record the schedule that is decided.

23. After this meeting, meet with the scenic designer and departmental technical director to verify notes and then prioritize. Remember all actor impedance and safety notes must go to the top of the list. Ensure that they are organized in a way that you can take care of the designer's priorities as well.

24. Discuss the next workday with the departmental technical director, and email or leave a typed list of your notes with them. Take time to discuss every note in detail so that it may be accomplished during the limited workday. Be specific.

25. Once the build is complete, meet with the departmental technical director to discuss strike. Decide what will be saved and what will be thrown away, along with specific storage needs.

26. Meet with production team members to create a strike schedule that will allow for everyone's needs. Depending on the production calendar you may need to include members of the next production as well.

27. Supervise the strike of the set. Strike is complete once the departmental technical director approves the space.

Online application for this position.

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DescriptionThe technical director is responsible for purchasing construction materials, supervising the building of scenery, transporting set pieces from the shop to the theatre stage, mounting the scenery onstage, overseeing the work of the scenic crews during rehearsals and performances, and maintaining the shop's equipment and supplies.

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ScreenSkills. (2019). [online] Available at: https://www.screenskills.com/education-training/job-profiles/content-creation/producer/ [Accessed 26 Jan. 2019].

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Bushtheatre.co.uk. (2019). [online] Available at: https://www.bushtheatre.co.uk/wp-content/uploads/2017/09/PRODUCER-Job-Description-Sept-2017.pdf [Accessed 26 Jan. 2019].

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Ltd, A. (2019). Television/Film Producer Job Description | AllAboutCareers. [online] Allaboutcareers.com. Available at: https://www.allaboutcareers.com/careers/job-profile/television-film-producer [Accessed 26 Jan. 2019].

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Television/Film Producer Job Description | AllAboutCareers

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If you become a television/film producer, you won't be clocking off at 5pm every day. You should expect to work long, irregular and unsociable hours on a regular basis. The nature of television and film production means that your expertise may be required at any time of the day.

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Prospects.ac.uk. (2019). Television/film/video producer job profile | Prospects.ac.uk. [online] Available at: https://www.prospects.ac.uk/job-profiles/television-film-video-producer [Accessed 26 Jan. 2019].

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Television/film/video producer job profile | Prospects.ac.uk

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Discover what it takes to be a Television/film/video producer. Find out expected salary, working hours, qualifications and more.

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Adctheatre.com. (2019). [online] Available at: https://www.adctheatre.com/media/1234/job-description-front-of-house-support-staff.pdf [Accessed 26 Jan. 2019].

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Bushtheatre.co.uk. (2019). [online] Available at: https://www.bushtheatre.co.uk/wp-content/uploads/2017/07/FRONT-OF-HOUSE-ASSISTANT-Job-Description-Aug-2017.pdf [Accessed 26 Jan. 2019].

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Alchin, J. (2019). Front-of-house work | Creative & Cultural Skills. [online] Ccskills.org.uk. Available at: https://ccskills.org.uk/careers/advice/article/front-of-house-work [Accessed 26 Jan. 2019].

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Front-of-house work | Creative & Cultural Skills

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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.

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Zionponderosa.com. (2019). [online] Available at: https://www.zionponderosa.com/pdf/FrontofHouseManagerJobDescription.pdf [Accessed 26 Jan. 2019].

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Dca.org.uk. (2019). [online] Available at: https://www.dca.org.uk/assets/general/Box_Office_Supervisor_Job_Description.pdf [Accessed 26 Jan. 2019].

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Governmentjobs.com. (2019). Box Office Assistant. [online] Available at: https://www.governmentjobs.com/jobs/1550772-0/box-office-assistant [Accessed 26 Jan. 2019].

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This position is primarily responsible for customer service, ticket sales and assisting the part-time patron services staff. Responsibilities include fielding and responding to all patron service related inquiries and concerns, processing of all ticket orders, lobby and telephone reception duties, and placement and presentation of current marketing and promotional materials in the entry and lobby areas.