front of house manager

Front of house manager

in the performing arts, front of house is the portion of a performance venue that is open to the public. In theatre and live music venues, it is the auditorium and foyer, as opposed to the stage and backstage areas. In theatre, the front of house manager is responsible for ticket sales, refreshments, and making sure auditorium is set out properly. Front of house is the public areas of a theatre such as the auditorium and foyers. The house manager is responsible for the safety and security of the public at performance times, and all times that the public are on the premises. He/she employs front-of house staff, such as ushers, and orders and controls merchandising sold at performance times. They may also have line management and financial responsibility for the box office. The assistant manager will work with and deputise for the house manager. A FOH assistant is sometimes called an usher or steward.

What the front of house manager does:

• to manage the front-of-house operations of the venue and ensure that the
• reception and box office functions are efficiently managed
• to ensure that events at the venue are adequately staffed with reception / Box Office Assistants, Duty Managers, hosts and other events staff
• to act as Line Manager for all front-of-house staff, as noted above, working within agreed procedures and to appropriate standards; including monitoring work performance, timekeeping and general discipline, ensuring that events are serviced to the appropriate standards
• to work closely with the Venue & Events Manager, to ensure that the building and all events operate smoothly and efficiently and in accordance with licensing authority regulations (the FoH Manager will be a personal licence holder for the venue)
• to act as evening Duty Manager as required and always during key events as well as daytimes as required
• to take responsibility for all Front of House sales, including ordering of stock, design and supervision of sales systems and stock control
• to implement procedures for cashing up and the use of floats in the Front of House and box office operations
• to manage an efficient and effective box office sales service and have a good working knowledge of the Data box office and Artifax event management systems to access information, sell tickets, collect data, provide reports and to train the box office/ reception staff. 
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lighting

Lighting

Stage Lighting is a very important part of theatre. The lighting director must work closely with the technical director and director in order to assure the proper lighting for individual scenes. Every scene may require different lighting techniques in order to convey the feeling of the play. Although the acting can give an idea of the mood, lighting can give an idea of the mood when there are no words spoken.

For the lighting design process to work best the first step that must be taken is to study the production. Gels which are used with individual lights can add colour to your scene. If a specific scene is calm and subdued, you would more than likely try to use cool colours such as blues and greens. The most important part in lighting a play is to make sure that the actors are not in shadows and the shadows that you do have are not distracting to the audience. Stage lighting is the craft of lighting as it applies to the production of theatre, dance, opera and other performance arts. Several different types of stage lighting instruments are used in this discipline. In addition to basic lighting, modern stage lighting can also include special effects, such as lasers and fog machines. People who work on stage lighting are commonly referred to as lighting technicians. Focus is a term usually used to describe where an instrument is pointed. The final focus should place the "hot spot" of the beam at the actor's head level when standing at the center of the instruments assigned "focus area" on the stage. Position refers to the location of an instrument in the theater's fly system or on permanent pipes in front-of-house locations. Hanging is the act of placing the instrument in its assigned position. Within the groups of "wash" and "spot" light, there are other, more specific types of fixtures. These fixtures feature a compound lens which allows the designer to place obstructions within the image path which are then projected. These obstructions could be "gobos" or shutters. A profile is a spot light, but allows for precise focusing.

Runaways" used conventional stage lighting and theatrical fog.

Classical Spectacular used ordinary stage lighting plus special laser effects.

 

director

Theatre Director

Theatre directors take ultimate responsibility for the overall creative and practical interpretation of a text or musical score, whilst maintaining a clear understanding of the physical and budgetary constraints of production. They work closely with producers, performers, the creative team (set designers, costume designers, lighting designers, musical directors, choreographers and/or fight directors) and the production team (production managers, stage management and technicians.

Some directors are also writers and may direct their own authored productions. Most directors are freelance, or they may be employed as artistic directors or resident directors in repertory companies. A theatre director or stage directoris a practitioner in the theatre field who oversees and orchestrates the mounting of a theatre production (a play, an opera, a musical, or a devised piece of work).

Ive researched a well-know theatre director called Sir Peter Halls he is an English theatre and film director. Peter founded the Royal Shakespeare Company (1960–68) and directed the National Theatre (1973–88). He has also been prominent in defending public subsidy of the arts in Britain. He was born november 22rd 1930. Hall attended The Perse School in Cambridge.

make up artist

Theatre Make-Up Artists

Theatrical makeup refers to makeup that is used to assist in creating the appearance of the characters that actors portray during a theater production. Make-up artists prepare hair and make-up for presenters, performers and models appearing in front of a camera or a live audience. This could be for film and television, theatre, music concerts and photographic shoots. They could create anything from a natural look for a presenter, to complex period make-up and wigs or special effects make-up.

Make-up artists can work alone, as an assistant to a more senior colleague or as part of a make-up design team. Some are freelance, some are employed by bigger theatres and companies. Lighting controls makeup to a high degree. Makeup can lose its effectiveness due to incorrect stage lighting. Conversely, skillful lighting can greatly aid the art of makeup. Close communication between the lighting director and the makeup artist is crucial for the best possible effect.

Understanding light's effect on makeup and various shades and pigments is important when designing a performer’s makeup. The following are among the basic rules of light: nothing has color until light is reflected from it; an object appears black when all of the light is absorbed; an object appears white when all of the light is reflected. If certain rays are absorbed and others are reflected, the reflected rays determine the color.


old make up for theatre founded on youtube

 

how to create a ingery using make up founded on youtube

 

 

Light's effect on makeup

• Pink tends to gray the cool colors and intensify the warm ones. Yellow becomes more orange.
• Flesh pink flatters most makeup.
• Fire red ruins makeup. All but the darker flesh tones virtually disappear. Light and medium rouge fade into the foundation, whereas the dark red rouges turn a reddish brown. Yellow becomes orange, and the cool shading colors become shades of gray and black.
• Bastard amber is flattering because it picks up the warm pinks and flesh tones in the makeup.
• Amber and orange intensify and yellow most flesh colors. They turn rouges more orange. Cool colors are grayed.
• Green grays all flesh tones and rouges in proportion to its intensity. Green will be intensified. Yellow and blue will become greener.
• Light blue-green lowers the intensity of the base colors. One should generally use very little rouge under this type of light.
• Green-blue washes out pale flesh tones, and will gray medium and deep flesh tones, as well as all reds.
• Blues gray most flesh tones and cause them to appear more red or purple.
• Violet causes orange, flame, and scarlet to become redder. Rouge appears more intense.
• Purple affects makeup like violet lighting, except reds and oranges will be even more intense, and most blues will look violet

costume designer

Costume design

The costume designer is responsible for designing all the costumes to be worn in a production. This involves close liaison with the set designer and the director to find a look and feel to complement their vision of a play. This tends to begin with finding appropriate reference materials – images, fabrics, textures, and period drawings – then devising costumes which achieve that within the budget available.

The answer may be to go shopping: clothes and accessories such as hats, gloves or jewellery may be readily available from a theatrical costumier, or high street shops or markets. Alternatively, it may mean creating something absolutely new. The designer leads a team of people in the wardrobe department with a wide range of skills including tailoring, dressmaking, millinery, and dyeing. Then comes the costume fitting, and last-minute changes ready for the dress rehearsal

One of the more prominent places people see costumes is in theatre, film and on television. In combination with other aspects, theatrical costumes can help actors portray characters' age, gender role, profession, social class, personality, ethnicity, and even information about the historical period/era, geographic location and time of day, as well as the season or weather of the theatrical performance. Often, stylized theatrical costumes can exaggerate some aspect of a character.

how rolls in theatre connect/compelment/contrast each other

 

 

 

 

Shown in these diagrams is what the roles do, who they work with, why and how it effects

a show. for example lighting choose needs  to be distust with costume designer, set designer and the director, to compelment or contrast the

idea of the show, the mood, colure,set, year and style.

 

 

 

 

http://www.getintotheatre.org/careers-in-theatre