188 terms

Stage Management 2- FINAL EXAM

This set has a combination of all the terms from our quizzes and the questions from the quizzes too.
Emphasis placed on the action or phrase of a play by lighting or staging technique
American Federation of Television Radio Artist
In on, two, etc
'In one' is the area on stage just upstage of the curtain line. 'In two', is upstage of the first leg but downstage of the second leg, etc.
Important components of a safe and consistently operating mechanical system. 1) Soft limits are set in the show control computer and tell the item which of many different positions to track to during the show. 2) Hard limits are switches somewhere close to the end of the safe working travel of the scenic piece so that if the computer fails the piece will stop safely before incident.
Show deck
A custom built stage floor that will be installed over an existing sub-floor with a certain height to accommodate show action equipment.
1) A slot cut into the stage floor/ show deck to allow for scenery to be driven on to stage mechanically. 2) A sideways movement of a flying piece or flown actor. 3) Separate audio recording channel. 4) A position learned by an actor that has a start to finish role throughout the show.
To fasten to the floor or other strong or heavy locations.
Adversary of the hero or protagonist.
Form of stage where the audience are seated on at least two sides of the whole acting area.
Ornamentation cut from one material and applied to another
Arc Spotlight
Spotlight in which the source of light is an arc of electric current jumping a small gap between two carbon sticks.
A batten supporting a curtain.
Dramatic device in which the character speaks directly to the audience while the other characters on stage supposedly do not hear him or her.
Baby Spot
small spotlight, usually 100,250, or 400 watts.
Backing Unit
Any piece or pieces of scenery placed behind an opening (door, window, etc) to limit the view from the audience of the offstage areas.
Borders (Teasers)
A narrow horizontal masking piece (flattage or cloth), normally of neutral colour (black) to mask the lighting rig and flown scenery from the audience, and to provide an upper limit to the scene. Often used in conjunction with LEGS.
Metal or wood screen used to prevent light spill.
1) Diffused light that has been reflected from lighting this curtain, walls, cyc etc.
2) Describes the fast in/out movement of "bouncing" flown house tabs, used during curtain calls. This can also apply to the fast blackout/lights up cues that happen at curtain calls.
Metal hardware use for securing flat.
1) Anything in position before the beginning of a scene or act (ex. Props placed on stage before the performance, lighting state on stage as the audience are entering.)
2) An independently controllable section of a manual lighting board which allows the setting up of a lighting state before it is needed. E
Prompt Corner
Area, traditionally on the stage left side of the stage, from which the stage manager controls ("prompts") the performance, from the prompt desk.
Clip Cues
To speak one's lines before the preceding actor has had time to finish the cue phrase. This usually destroys the meaning and effectiveness of the final worlds.
Concert Border
Lights mounted on the first pipe upstage of the proscenium.
Contour Curtain
A curtain that is gathered up I scallops.
Visual Cue
A cue taken by a technician from the action on stage rather than being cued by the stage manager.
Corner Plate
A triangle of 3/16" or ¼" plywood used to reinforce corner of flats in scenery construction.
1) the standard unit for measurement of electrical current passing through a circuit.
2) sound equipment that converts the low voltage, low current signal from a tape deck, mixer etc. into a higher current signal suitable for driving speakers.
Analogue Signal
A continuously variable signal that can have any value over a given range.
1) In lighting: an analogue voltage within the range 0 to 10 Volts can have values of 0, 2, 8.785 or any value between.
2) Sound: An analogue recording will record the exact waveform of the original sound, simply converting it to an electrical signal at the microphone, and back into air movement at the speaker..
Fuseable Links
High heat sensitive metal link that when temperatures reach a certain level split in two and allow the fire curtain to come in automatically.
A permanent plaster cyclorama
A strip of material, usually muslin, about three inches wide, which is used to cover cracks where flats meet
Velvety cotton fabric.
Book Flat
Two-fold piece of scenery. They are free-standing when angled open, allowing quick setting and compact storage.
A narrow horizontal masking piece
Settings painted to represent outdoor scenes.
Decorative trim, painted or applied around doors, windows, flats, etc.
Rope used with block and tackle
Tab Curtain
Two pieces of which over lap at the center. Lines are attached to the onstage edges near the bottom and when pulled rise diagonally offstage and a draped opening is achieved.
Tie Lines
Relatively short, thin black rope that is permanently attached to the curtain through the grommets in the jute webbing used for tying curtains to battens.
Flash Pot
A box device in which a smoke or flash effect is created, also called a flash box.
Drops that may be painted in one part with opaque paints and in another part with dyes, so that varying the lighting from front to back may create two completely different scenic effects.
Fill light
Addition of light to blend areas or reduce shadows.
A small piece of scenery hinged to a larger flap.
Bi- amplification
A way of optimising the efficiency of a speaker system by separately amplifying the High Frequency (HF) and Low Frequency (LF) portions of the sound signal (after the crossover) and sending them down two pairs of cables to the speaker.
Floor Plate
Metal plate with ring used for tying lines to the floor.
1) Vertical scaffolding pole (usually 48mm diameter) on which horizontal boom arms can be mounted, carrying lanterns. A light tree mounted upstage of a Tormentor is known as a Torm Tree.
2) An arm mounted on a microphone stand.
To apply the foot to the bottom rail of the flat or the base of a ladder so that another stagehand can raise it.
PZM- Pressure zone mic
A microphone mounted on a flat plate which acts as a reflective surface directing sound into the mic capsule
Breakout Box
A connection at the end of a multicore cable which allows the connection of many items to it.
Translucent gel used to defuse light.
Click Track
Technique for reinforcing the live sound of a musical or band with recorded sound from one track of a tape
Generic name for a grouping of loudspeakers hung in a performance space.
Lighting bar positioned just downstage of the proscenium arch
Balcony Rail
A permanent front of house lighting position in older proscenium theatres
A streak of light that leaks from some light source and falls where it is not wanted.
Barn Doors
A rotatable attachment consisting of two or four metal flaps (hinged) which is fixed to the front of a Fresnel or PC type lantern to cut off the beam in a particular direction(s).
Grand Valance
The first drapery border in front of the main act curtain, usually the same material.
Bench Focus
Process of aligning the lamp into the best, centered position in the reflector for maximum light output.
1) A route leading from one side of the stage to the other, out of the audiences view.
2) An electronic filter in a sound system that routes sound of the correct frequency to the correct part of the speaker system. Different speakers handle high frequencies (tweeters) and low frequencies (woofers).
To install or refocus lighting instruments
A leakage between two audio circuits
Iris Shutter
A manually operated shutter for varying the size of the light beam emitted from a lighting instrument.
The process of copying a sound from one medium to another (eg onto videotape) or for backup purposes, or simply copying sound tapes.
The process of adjusting the tonal quality of a sound
A vertical slider which is used to remotely set the level of a lighting or sound channel.
A power supply to a piece of equipment or installation.
1. To take an article off a set. 2. To extinguish lights or stop sound effects or other effects.
1) Vertical scaffolding pole on which horizontal boom arms can be mounted, carrying lighting fixtures. 2) An arm mounted on a microphone stand.
Box Booms/Trees
Term for a front of house vertical lighting position (predominantly sidelight) often recessed into the side walls over the aisles.
Top of platform or ceiling
Dressing Cable
Process by which all cables are neatly attached to their hanging position
Drop Boxes
Local electrical boxes that provide a few patchable circuits of power to or near a lighting position.
1) The level of amplification given to a signal or of a system.
2) A control of the amount of pre-amplification given to a sound signal on its way into a mixer.
1) An overall control on a lighting or sound control board. The Grand Master takes precedence over all other controls.
2) An original (e.g. Master tape, master plan) which should be used only to make a copy from which to work.
3) A Department Head (e.g. Master Carpenter, Master Electrician).
Mic Level Signal
Low level audio signal produced by circuitry in microphone.
Make Fast
To tie off securely or fasten any line
A desk comprising a number of input channels where each sound source is provided with its own control channel through which sound signals are routed into two or more outputs.
Unit of electrical resistance
1) An onstage speaker which allows a performer to hear the output of the PA system, or other members of a band.
2) A video display screen (not normally able to receive broadcast TV pictures) used with a CCTV system or a computer.
A unit of illumination.
Ghost Light
A light left burning overnight on stage to keep friendly spirits illuminated and unfriendly spirits at bay
Non-climbable structure in the shape of a ladder from which lighting fixtures can be hung in a vertical "stack".
What the un-initiated call a light bulb. Various types of light sources consisting of a metal filament or electrodes of some sort sealed inside a glass envelope
1) The electrical power rating, in Watts, of the equipment connected to a particular lighting dimmer. 2) The equipment connected to a dimmer.
A collapsible frame support for the stage platform.
Pay Out
Order to allow rope to pass through hands.
Patch Panel
A board consisting of rows of sockets into which plugs can be connected to route sound signals or power for lighting circuits.
a three-sided revolving apparatus painted with scenery.
Language in which signal is sent from control to dimmers.
Circular heart-resisting glass color media
A finely woven material through which light may or many not be seen, depending on how it is lit. Also called "Gauze
Set of Lines
A unit group of ropes hanging from the gridiron used to fly scenery.
To change scenery and properties from one setting to another.
Stage Screw (peg)
A large, tapered screw with a handle used to secure stage braces to the floor.
Distance between lighting instrument and surface to be lit.
Long, narrow curtains or flats, upstage on either side of the proscenium arch, used to mask the wings.
Martingale or multiple connector. Two female plugs spliced into one male plug in order to plug two lighting instruments into a single cable.
T/F? One of the most important functions of the Stage Manager is to assist in getting the most productive results out of the time allotted to each rehearsal.
D. All of the above
The textbook suggest the stage manager assists the director by:
a. Having the crew set the rehearsal furniture in place.
b. Keeping the director on task to ensure they accomplish what was on the schedule.
c.Relieving the director of concerns for the mechanics of the production
d. All of the above
T/F? The stage manager should be extremely proficient in his or her own area before offering a director advice in another.
T/F? Once the show is turned over to the stage manager by the director the stage manager can and should fix things that are not working.
T/F? The textbook recommends a preset diagram be developed for the set and for props so they can be placed exactly where they should be.
The text book suggests you write what for this line note--Call For
The text book suggests you write what for this line note--Paraphrased
The text book suggests you write what for this line note--Bobbled
The text book suggests you write what for this line note--Late
The text book suggests you write what for this line note--Pronunciation
The text book suggests you write what for this line note--Jumped Cue
The text book suggests you write what for this line note--Handle
The text book suggests you write what for this line note--Sequence
T/F? Generally Stage Managers are not responsible for noting exact movement of dancers and fighter.
T/F? The textbook suggests the last official voice that every actor should hear as they leave is the stage manager.
T/F? If an actor is late the rehearsal should halt for a while to find out why they were late and then brief them on what has taken place to this point and then proceed.
T/F? The stage manager should assign the duty of giving calls as there are often far more important issues for the stage manager to take care of.
T/F? Every theatre is unique in the way it operate and the stage manager is expected to fit into the process.
T/F? Since the stage manager reports to the director it is up to the director to tell the SM to whom she or he is responsible.
C. The desires of the stage management team
Which of the following is not a factor in determining the distribution of duties between the stage manager and the technical director as outlined in the textbook?
a. will of the producer or director
b. tradition of the particular theatre
c. the desires of the stage management team
d.number of people available
e. layout of the theatre
f. personality of the individual filling the slots.
T/F?The general principle to keep in mind is to treat everyone with respect and the function they perform for the theatre or production.
T/F? The textbook suggests you know where the circuit breakers are located in your theatre and that you keep a current in your tool kit.
D. All of the above
At auditions stage managers should be prepared to:
a. Move the actors through an interview-audition procedure.
b. Be prepared to greet the actors and make them feel comfortable before auditioning
c. Be with the director, choreographer and staff in the audition
d. All of the above
D. All of the above
Throughout the process the stage manager should:
a. Maintain a healthy respect for the actors
b. Be prepared to greet the actors & make them feel comfortable before.
c. Assist actor to get the most out of the rehearsal process
d. all of the above
D. All of the above
As the producer's foreman and the director's principal assistant the stage manager is expected to:
a. When posting a schedule or making an announcement the stage manager is giving a direct order.
b. When supervising a shift the cast is expected to yield the right of way.
c. Actors should do their utmost to cooperate with stage management directions
d. All of the above
T/F? Actors know the stage manager is responsible for the smooth running of the show so it goes without saying because everyone in the theatre knows this fact.
T/F? If the stage manager shows they are anxious to get the show on efficiently and you are obviously helping them they are willing and eager to cooperate with you when you exert you authority.
B. The follow spot operators
Which of the following could best do without a copy of the script?
a. The designer
b. The follow spot operator
c. The understudies
d. The publicity person
T/F? The company manager must sign-out all scripts to the company including those issued to the stage managers and are legally responsible for the scripts return.
T/F? The testbook suggests the script for the prompt script have increases in the size of the margins to allow for writing cures and warnings.
D. Policies may differ depending on the publisher
Copyright laws include:
a. No photocopy for any reason
b. Copying is permitted for the exclusive use of the stage manager
c. Once purchased the script owner can make as many copies as they wish
d. Policies may differ depending on the publisher
T/F? A neat, well-made prompt script is an asset but no critic will ever review it.
C. The prompt script is available as a courtesy but only looked at with permission.
The stage manager prompt script should be made available:
a. To anyone who needs information so it must always be available.
b. Designer can adjust cues or other issues on an needed bases.
c. The prompt script is available as a courtesy but only looked at with permission.
d. Actors can continuously check their building whenever needed.
T/F? It is best plan to have every aspect of the production in its final shape all at the same time.
A. Technical deadlines
Which of the following should not be included in the rehearsal schedule?
a. Technical deadlines
b. Line memorization deadlines
c. Dress rehearsals
d. Tentative rehearsal schedule
T/F? if there is a good reason for a company rule the stage manager should make the reasons clear to the cast members.
B. Close to the stage door so everyone can see it come in and going out
The callboard should be located?
a. Close to the dressing rooms so actors can take their time reading it.
b. Close to the stage door so everyone can see it come in and going out.
c. Near the stop so the crew feel included in the company.
d. Outside the entrance that most of the cast and crew enter
D. All of the above
The target audience for the textbook is:
a. Amateur and community theatre stage managers
b. Educational theatre stage managers
c. Professional theatre stage managers
d. all of the above
T/F? You will become a stage manager does not change.
T/F? The stage manager's specific duties could be totally different from one production to another but the function of the stage manager does not change.
T/F? The stage manager has responsibility for making the entire production run smoothly, on stage and backstage, in pre-rehearsal, rehearsal, performance, and post-performance phases.
B. Leadership and influencing skills
A primary quality of a good stage manager are:
a. They have lots of electronic equipment
b. Leadership and influencing skills
c. Makes sure everyone knows they are the boos,
d. Keeps themselves away from cast and crew so they can be objective.
D. All of the above
The attributes of a good stage manager are:
a. They assume responsibility
b. Keeps their cool
c. Keeps their mouth shut and eyes and ears open
d. all of the above
D. All of the above
A good stage manager:
a. Think ahead and its always considerate
b. Is well organized and efficient
c. Is punctual and dependable
d. all of the above
T/F? A cheerful stage manager tends to let cast and crew get away with doing things they shouldn't.
T/F? Communication skills are a key ingredient for success in stage management, business, and in life.
T/F? Delegating authority while retaining responsibility is the hardest part of stage management.
C. Keeping the show as good as it was on opening night
The textbook suggest that in a long-running production the most difficult problem is:
a. Finding replacement actors
b. Keeping yourself from getting boarded
c. Keeping the show as good as it was on opening night
d. Having to write the endless reports
T/F? The textbook suggest that the director should remind the cast members that the stage manager will be "giving notes" after opening night.
E. All of the above
The textbooks suggest that the stage manager cannot control absolutely an actor's performance ultimately live theatre belongs to the actors.
a. Don't overreact
b. Get it out in the open
c. Don't act elated when others are depressed
d. Keep you own personal morale high
e. All of the above
T/F? The textbook suggest that in planning the strike that the stage manager have each department submit a plan as to how they are going to effectively strike and move their department out of the theatre.
T/F? The textbook states that in union situations that cast members do not participate in the strike.
B. Have all the tools and transportation ready as well as boxes and bags for props and costumes.
The textbook suggest in a nonunion situation it is best to accomplish the strike:
a. As soon after curtain as possible and a plan in place so everybody knows what to do
b. Have all the tools and transportation ready as well as boxes and bags for props and costumes
c. Cleaning supplies so the theatre will ready for the next production
d. all of the above
T/F? To set a good example the stage manager should take on a very repetitive manual task during the strike and keep at it until it is complete.
T/F? The textbooks highly recommends issues related to safety while involved with the strike and time should be taken to caution everyone about the most basic of potential dangers.
T/F? The textbook suggest that new stage manager thinks of the running of the show as the most difficult and most demanding part of the job.
T/F? Most experience stage managers agree that running the show is by far the most challening.
A. Placed in prompt script as the first page and following the last page
The pre-curtain, intermission and post production check list should be:
a. Placed in prompt script as the first page and following the last page.
b. Carried on your person at all times.
c. Continuously changed and adjusted
d. Should be brief as possible.
T/F? The textbook suggests that by using check lists you will not continuously be asking yourself: "What have I forgotten?"
d. The stage manager
The textbook suggests that sweeping the stage, backstage, and walkways are the responsibility of
a. The stage crew
b. The custodian
c. Props on stage and costume department backstage
d. The stage manager
D. All of the above
The textbook suggests you use the following when writing show cues:
a. Light pencil to call during rehearsal
b. Pinpoint them with guidance of the director
c. Bold marking pen line when you confirm the final cues.
d. all of the above
T/F? The textbook states- "Calling cues is another of your sacred duties... do not delegate it!"
e. All of the above
The textbook suggests that if there is a missed cue:
a. don't panic
b. did the technician recognize and execute the sue you gave?
c. is there a mechanical failure?
d. is there anything you can do to alleviate the problem?
e. all of the above
T/F? The textbook suggests if you do not read music but you can possible use a stopwatch.
T/F? Curtain calls are pretty much out of the hands of the stage manager as it is put off until the last minute and need to be kept simple. Like all other cues in the show the director will set the timing and how often the curtain or lights goes up. Many time the actors stepping upstage is a signal for bringing in the main drape.
T/F? The function of the house manager is to ensure the audience's safety and comfort prior to a performance, during the intermissions and after the performance.
T/F? The stage manager and the front of house manager have very little to do with one another expect as to staring the performance.
a. Seating audience members when a scene is in process
Some of the issues that need to be defined as being both the responsibility of the stage manager and the front of house manager:
a. Seating audience members when a scene is in process
b. If an audience member is not satisfied with the production and request a refund.
c. audience member talking during the performance
d. Audience member using of record devices during the performance
T/F? The textbook states that California law states that employer designates and employee (States Manager) to be responsible for implementation of first aid/blood-borne pathogen control.
T/F? During the tech rehearsal the stage manager probably moves from the director's side to their work area.
T/F? The purpose of the technical rehearsal is to make a final confirmation and integration of all light and sound cues, special effects, scene changes, and curtain pulling. Every mechanical effect that should happen at the technical rehearsal, and just the way it is to happen in performance.
D. All of the above
The textbook points out that during tech generally the actors:
a. Stand around holding positions while lights are refocused
b. Endlessly repeating cue line
c. Rehearsals run long and tempers run short
d. All of the above
T/F? The textbook suggest that actors tend to be very understanding when crew are unable to things right the first time.
T/F? The textbook suggests holding a separate crew only rehearsal of all cues and scene changes prior to the tech "sometimes called a paper tech" where many of the problems can be ironed out.
C. Finish up the design and devise effects
The tech rehearsal should not be:
a. Time to coordinate and integrate lights, sound, effects and scene changes.
b. To fine tune and adjust the timing of cues
c. Finish up the design and devise effects
d. none of the above
T/F? The textbook states that the perfect tech is one in which that actors can have the benefits of a run-through while all the technical aspects are polished as play is in process, or during the breaks and intermissions.
T/F? The textbooks states that the perfect tech is best for the director, TD, designers and staff members not talk to the stage manager during tech so that things will go smoothly.
T/F? The textbook states that the director should accept the fact that the tech is not the time to re block or polish acting performances.
T/F? Prior to tech it is a good idea to have a backstage safety inspection.
B. Let everyone in the theatre know before the blackout test
When doing a blackout check it is a good idea to:
A. Be in the audience area to look for unwanted spill
B. Let everyone in theatre know before the blackout test.
C. Be sure no one is in grid and work lights are out.
D. All of the above
T/F? The textbook suggests that "things are suppose to go wrong and it is nobody's fault."
D. All of the above
The textbook suggests the stage managers should:
a. This is a stressful time and making fun of it is now wise
b. Make sure there is food and other conveniences at tech
c. It is a challenge for people to stay calm and accept that people will blow up
d. All of the above
B. In the scene dock and prop area so the crew can use it
The textbook suggests that the shift plot charts include:
a. Be posted on the call board
b. In the scene dock and prop area so the crew can use it
c. In the backstage area such as on the backs of flats
d. None of the above
T/F? The textbook suggests that at the "take-in" the stage manager should handle each piece.
T/F? The textbook suggests that the stage manager should as few hands as possible for the take-in to save money so it can be used for more important things such as the tech rehearsals.
T/F? The textbook suggests that during the shift you and the ASM should stay clear of the stage as you might be in way.
D. All of the above
The textbook suggests that if time runs out in a union situation the producer may not opt to:
a. Putting the cast and orchestra on overtime but sending the crew home.
b. The stage manager carries out scene shifts with any hands available.
c. Performing the actual shifts with any hands available
d. All of the above
T/F? The textbook suggests following the take-in the stage manager should make a chart by cutouts of paper for the set pieces moving the paper set pieces.
A. A clock with orchestra being 12:00
What type of recommendation does the textbook suggest when working theatre in the round?
a. A clock with the orchestra being 12:00
b. A clock with the orchestra being "A"
c. A compass with the orchestra pit being north
d. Depending on how the aisles are north.
D. All of the above
The textbook suggest that in addition to having a sense humor the stage manager should:
a. List goals for each day of tech
b. Make sure each crew member has their running sheet
c. The ASM has sheets with all entrances and exits
d. All of the above
C. The stage manager must provide a clear voice of the leader giving call times and keeping things moving
The textbook advice for educational theatre is:
a. Great time for students to have fun and experience making a show happen
b. Since many of the individuals are use to working there are few problems with communications
c. The stage manager must provide a clear voice of the leader giving call times and keeping things moving
d. All of above