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			{{Short description\|Theatre or event coordination and organization}}
	:''This article is about the craft or profession of stage management. There was also an ] ] ] ] produced by ] named "Stage Manager."''
			{{More citations needed\|date=February 2016}}
			]"]]

			'''Stage management''' is a broad field that is generally defined as the practice of organization and coordination of an event or theatrical production. Stage management may encompass a variety of activities including overseeing of the rehearsal process and coordinating communications among various production teams and personnel. Stage management requires a general understanding of all aspects of production and provides complete organization to ensure the process runs smoothly and efficiently.
	]]]

			A '''stage manager''' is an individual who has overall responsibility for stage management and the smooth execution of a theatrical production. Stage management may be performed by an individual in small productions, while larger productions typically employ a stage management team consisting of a head stage manager, or '''production stage manager''', and one or more '''assistant stage managers'''.
	'''Stage management''' is a sub-discipline of ].

			==History==
	Although a somewhat fluid line of work, in essence the stage management team (which can consist of a production stage manager, several assistant stage managers, and any number of production assistants) is responsible for organizing the production, communicating across different disciplines (''e.g.'', between the director and the backstage crew, or the actors and ]), and keeping everything running smoothly. This refers not only to seamless management of the technical aspects of a production, but of the human aspects as well.

			The title of stage manager was not used until the 18th century, though the concept and need for someone to fill the area of stage management can be seen with the Ancient Greeks. The playwrights were usually responsible for production elements. Sophocles is the first known stage technician, supported by his employment as a scenic artist, playwright, musician, and producer.
	==The responsibilities of stage management==
	The responsibilities and duties of stage management vary depending on the setting of a production, ''i.e.'', rehearsals or performance, and the type of production being presented (theatre, dance, music). Typically in theatre, the stage manager acts as an adjunct to the director in rehearsal, recording the ] and seeing that cast members stay on script, have necessary ], and follow the blocking. As the lighting, sound, and set change ] are developed, the stage manager meticulously records the timing of each as it relates to the script and other aspects of the performance. The stage manager also ascertains that the lighting and sound cues are taken at the right time. As an example, a typical lighting cue might be called as "LX Q 38, stand by" (or , "stand by lx 38"), with the light board operator replying, "standing" (in the UK, "standing by"), and in turn the stage manager's "LX Q 38, go" ("LX 38, go") setting everything in motion at the appropriate time. The stage manager also maintains a prompt book, sometimes called "the bible." which contains all cues, technical notes, blocking and other information pertinent to the show. This book is considered the property of the theatre company.

			In the Middle Ages, there is evidence of a ''conducteur de secrets'', who oversaw collecting money at the door and serving as a prompter on stage. The prompter held the script and was prepared to feed performers their lines; this was a common practice of the time.
	During rehearsals, stage managers are responsible for helping establish the show's rehearsal schedule and then ensuring that rehearsals run on time. Once the house opens, the stage manager essentially takes control, calling the cues for all transitions (this is known as "calling the show"), as well as acting as communications hub for the cast and crew. After a show opens, the stage manager is also responsible for calling brush-up, put in and understudy rehearsals to make sure that the show's quality is maintained. <ref> {{cite book
	\| last = Parker
	\| first = W. Oren
	\| title = Scene Design and Stage Lighting
	\| id = ISBN 0-03-028777-4
	\| publisher = ]
	\| pages = 263
	\| date = ]
	}} </ref> The stage manager is also responsible for seeing that the director's vision is carried out when he or she is no longer attending the shows and giving notes. In a large production, a team of stage managers will work each performance; one will be responsible for calling the show, and others will be backstage ensuring that actors and crew are ready to perform their duties.

			Between the Renaissance and 17th century, the actors and playwrights handled stage management aspects and stage crew. In the Elizabethan and Jacobean theatre there were two roles that covered stage management: stage keeper and bookkeeper. The stage keeper was responsible for the maintenance of the theater, taking props on and off stage, and security of performance space. The bookkeeper was responsible for the stage script, obtaining necessary licenses, copying/providing lines for the performers, marking entrances and exits, tracking props, marking when sound effects come in, and cueing props and sound effects.
	==In the United States==
	Professional stage managers in the United States are represented by the ] and/or the American Guild of Musical Artists (AGMA) and have several prescribed responsibilities. In addition to maintaining the prompt book and calling the performances, Equity stage managers must also uphold the union's rules and rights for the Equity artists.
	Equity has strict rules for how long rehearsals can last, when breaks must be taken, and how many hours per week each artist may work. Under AEA rules, Stage Managers are not allowed to poop in the toilet handle the cast or crew's paychecks, contracts, or closing notices, nor are they allowed to order food for the
	company.<ref>http://www.actorsequity.org/docs/production/aea_sm_packet.pdf</ref>.

			Between the Renaissance and the 16th century, actors and playwrights took upon themselves the handling of finances, general directorial duties, and stage management.<ref>{{cite book
	Notable American Stage Managers include; Tom Bartlett, Kim Vernace, Gregory Victor, Travis DeCastro, Marian Wallace, and Sam Ellis.
			\| last = Thomas
			\| first = James
			\| title = The art of the actor-manager: Wilson Barrett and the Victorian theatre
			\| isbn = 0-8357-1492-6
			\| publisher = UMI Research Press
			\| pages = 203
			\| date = 1984
			}}
			</ref> Stage management first emerged as a distinct role in the 17th century during Shakespeare's and Molière's time. During Shakespeare’s time the roles of stage management were left to apprentices, young boys learning the trade. There is still evidence of a prompter at this time.

			It was not until the 18th century in England that the term ''stage manager'' was used. This was the first time a person other than actors and playwright was hired to direct or manage the stage. Over time, with the rise in complexity of theatre due to advances such as mechanized scenery, quick costume changes, and controlled lighting, the stage manager's job was split into two positions—'' director'' and ''stage manager''.<ref name="Fazio">{{cite book\| last = Fazio\| first = Larry\| title = Stage Manager: The Professional Experience\| ISBN = 0-240-80410-4\| publisher = ]\| pages = 367\| date = 2000}}</ref>
	==In Britain==
	In Britain, professional stage managers are represented by the British union ], which also represents performers. The division of a British stage management team varies according to the type of production, but can consist of stage manager (overseeing the smooth running of the show, scene changes and so on), deputy stage manager (commonly called DSM, doing the job of an American stage manager, as above) and assistant stage manager (commonly called ASM, generally working in the props and scene change area of the show, sometimes operating sound (recorded or live) or lighting as well). A ] show may employ one stage manager to carry out the tasks of an entire team. A ] show in London might employ multiple stage managers, DSMs and ASMs. The ] in London divides the work of a stage management team in a slightly different way to regional theatres.

			Many playwrights, directors, and actors have previously worked as assistant stage managers. Writer and director ], for example, was employed as an ASM on ]'s production of '']'' at the age of 16 and a half:
	==Show Control based venues==
	Many live shows around the world are produced with the forehand knowledge that they will have a very long run, often measured in years. These are usually known quantities that are very expensive productions and have a guaranteed audience because of their location. Typically, they are on cruise ships, in theme parks, Las Vegas or destination resorts such as Branson, Missouri. These shows warrant very long range development and planning and use stage managers to run almost all technical elements in the show, without benefit of many of the other traditional crew members, such as sound, lighting and rigging operators. In these cases, ] systems are installed and connected to all other technical systems in the theatre, which are specifically designed to be controlled by show control and to operate safely with minimal supervision. Stage managers working these shows usually have the additional responsibility for programming the show control system, and often the other control systems as well.

			<blockquote>When one is responsible for giving an offstage cue, even the simplest ones, like the ring of a telephone or a birdcall, demand considerable sangfroid, and the job is nerve-wracking. One is very much aware that everything depends on the delivery of the cue at exactly the right microsecond. One stands there, knees slightly bent, breathing heavily...<ref>{{cite sturges}}, p. 123-24</ref></blockquote>
	== References ==
	<references/>

			Sturges didn't last long in this job, due to his calling for thunder and then lightning instead of lightning and then thunder, but 16 years later ] hired him as an ASM on ]'s production of ''Goin' Home'', which led to the first mounting of one of Sturges' plays on Broadway, '']'', in 1929.<ref>{{cite sturges}} pp. 239-245</ref>
	==External links==

	*
			]'s prompt-book for ]'s '']'' at the Washington Theater in 1861]]
	*

	*
			== Regional differences ==
	*

	*
			=== United States ===
			In the United States, ''stage manager'' is a generic title that may be applied to anyone who performs stage management functions. On small shows, one person typically performs all the tasks of stage management, and is simply referred to as ''the stage manager''. Larger shows often need two or more stage managers. In such cases the head stage manager is titled ''production stage manager'' (commonly abbreviated PSM), and working under the PSM is one or more ''assistant stage managers'' (commonly abbreviated ASM). Shows that employ three stage managers have a PSM and two ASMs, though the program credits may list them as ''production stage manager'' (first or head stage manager), ''stage manager'' (second stage manager), and ''assistant stage manager'' (third stage manager).<ref name=Fazio />

			Some professional stage managers on plays and musicals may choose to be represented by a union known as the ], which also represents performers. In addition to performing their typical stage management duties (e.g., maintaining the prompt book and calling performances), Equity stage managers are also required to uphold the union's rules and rights for Equity artists. Union stage managers for opera, ballet, and modern dance are represented by the ] and perform most of the same duties as their counterparts in plays and musicals. The ] also represents variety performers, dancers and stage managers. Any show that is employing members of these unions must hire at least one stage mnaager that is also a member of that union.


			===United Kingdom===
			In the UK, the structure of a stage management team depends on the type and size of the production. It can consist of stage manager (overseeing the running of the show), deputy stage manager (commonly called DSM), and assistant stage manager (commonly called ASM). A ] show may employ one stage manager to carry out the tasks of an entire team, whereas a ] show in London might employ multiple ASMs. Professional stage managers are represented by the ], which also represents performers.


			====Deputy stage manager====
			The DSM prompts actors and will usually cue technical crew members and sometimes cast, while following the orders of the director and stage manager. The DSM calls actors to hold while technical problems are sorted out during rehearsal, and determines where in the script to restart halted scenes.<ref>Pallin, p. 81</ref> The deputy stage manager (DSM) is a separate position in some theatres, while in others the responsibilities of the DSM may be assumed by the stage manager or assistant stage manager.<ref>Bond, p. 15</ref>

			====Assistant stage manager====
			The assistant stage manager (ASM) has varied responsibilities, which are assigned by the stage manager. The ASM assists in finding and maintaining props during rehearsals and the run of the show. The ASM may take attendance or estimate audience size, may manage the backstage technicians, may act as a liaison between crew, cast and management, and may call some cues. Mundane tasks such as mopping the stage and brewing coffee or tea may fall to the ASM. If the stage manager is unable to perform his or her duties, the ASM must be able to fill in.<ref>Bond, pp. 15–16</ref> The assistant may also be in charge of one wing of the stage, while the stage manager is on the other wing.

			===South Korea===
			Due to the recent global rise in popularity of K-POP and mainstream cultural arts, Korean stage planners are playing a significant role worldwide. Typically, stage planners determine the timing and venue of performances and take responsibility for the entire process leading up to the completion of the event, acting as overall directors. They conduct thorough analyses on what performances people desire, whether similar events have already taken place, and if the emotional expression aligns with the intended message. Successful performances are scrutinized for the strategies used to captivate the audience. Those responsible for bringing the performances planned by stage planners to life on stage are the staff. Consequently, stage planners organize various staff members responsible for directing, choreography, music, stage design, lighting, costumes, makeup, etc. They also oversee the preparation process, secure the necessary funds, check preparations, and guide the director in staging scenes.


			One of the most notable Korean stage planners is Kim Sang-wook, the CEO of PLAN A, who has orchestrated numerous performances, including the 'Love Yourself' tour by ].

			==Show control based venues==
			{{unreferenced section\|date=July 2018}}
			Many live shows around the world are produced with the foreknowledge that they will have a very long run, often measured in years. These are usually known quantities that are very expensive productions and have a guaranteed audience because of their location. They may be on cruise ships, in theme parks, Las Vegas or at destination resorts. These shows warrant very long-range development and planning and use stage managers to run almost all technical elements in the show, without many of the other traditional crew members, such as sound, lighting and rigging operators. In these cases, ] systems are installed and connected to all other technical systems in the theatre, which are specifically designed to be controlled by show control and to operate safely with minimal supervision. Stage managers working these shows usually have the additional responsibility for programming the show control system, and often the other control systems as well.

			== Different areas of stage management ==
			{{unreferenced section\|date=July 2018}}
			The role of stage manager evolved from an amalgamation of various positions in theater over several centuries and is still generally known for its integral relationship with theater. Many other types of productions and events have incorporated the position of stage management, however. Some of the most common are opera, music and dance concerts, film and television.

			For music concerts, stage management includes a large variety of responsibilities depending on both the venue and the size and expertise of the musical group coming into the venue. Some of the responsibilities of a concert stage manager include overseeing the schedule for load in and out of equipment, seeing to the comfort of the group which can include arranging refreshments and or transportation, sometimes arranging how and where merchandise is to be sold at the venue, and above all, as with all areas of stage management, watching out for the safety of all participants in the experience including performers, audience, and any crews required.

			== Stage managers and unions ==
			{{unreferenced section\|date=November 2021}}
			Stage managers often ensure safe working conditions in the theatrical space by working closely with theatrical unions to keep rehearsals and performances on time, safe, and efficient.

			=== Actors' Equity Association ===
			Commonly referred to as ], AEA is the American union for stage managers and actors.<ref>{{Cite web\|title=Actors' Equity Association\|url=http://www.actorsequity.org/\|access-date=2021-11-26\|website=www.actorsequity.org\|language=en}}</ref> The AEA works to negotiate and provide performers and stage managers quality living conditions, livable wages, and benefits.

			=== Related Unions ===
			American stage managers work closely with the following unions. Stage managers often have an in depth knowledge of their sister unions:

			* ]: The union representing theatrical stage hands. IATSE also represents other crafts including makeup and hair designers, costume designers, child-actor guardians, and the film industry crafts.
			* ]: American entertainment industry union. In theatre they represents the scenic crafts.
			* ]: Union representing American musicians and laborers
			* ]: Labor union representing transportation professionals
			* ]: Union representing film and television directors and stage managers
			* ]: Labor union representing media professionals including film and television actors

	==See also==		==See also==
	*]		*]
	*]		*]
	*]
	*]
	*]		*]
			*]
			*]
			*]
			*]

			== References ==
			'''Notes'''
			{{reflist}}

			'''Bibliography'''
			* {{cite book \|last=Pallin \|first=Gail \|title=Stage Management: The Essential Handbook \|publisher=Nick Hern Books \|location=London \|date=25 April 2003 \|edition=2 \|isbn=1-85459-734-5}}
			* {{cite book \|last=Bond \|first=Daniel \|title=Stage management: a gentle art \|publisher=A & C Black \|location=London \|year=2002 \|edition=3 \|isbn=0-7136-5983-1}}
			* Stern, Lawrence (2016). Stage Management (11th ed.). New York. <abbr>9781138124462.</abbr>
			* https://prezi.com/iwbxre6keo5d/stage-management-history/

			<!--spacing, please do not remove-->

	{{Running crew}}		{{Running crew}}
			{{Stagecraft}}

			]
	]		]
	]		]
	]		]
			]

			]
	]
			]
	]
	]		]
			]

Latest revision as of 16:07, 23 December 2024

Theatre or event coordination and organization

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed.
Find sources: "Stage management" – news · newspapers · books · scholar · JSTOR (February 2016) (Learn how and when to remove this message)

Stage management is a broad field that is generally defined as the practice of organization and coordination of an event or theatrical production. Stage management may encompass a variety of activities including overseeing of the rehearsal process and coordinating communications among various production teams and personnel. Stage management requires a general understanding of all aspects of production and provides complete organization to ensure the process runs smoothly and efficiently.

A stage manager is an individual who has overall responsibility for stage management and the smooth execution of a theatrical production. Stage management may be performed by an individual in small productions, while larger productions typically employ a stage management team consisting of a head stage manager, or production stage manager, and one or more assistant stage managers.

History

The title of stage manager was not used until the 18th century, though the concept and need for someone to fill the area of stage management can be seen with the Ancient Greeks. The playwrights were usually responsible for production elements. Sophocles is the first known stage technician, supported by his employment as a scenic artist, playwright, musician, and producer.

In the Middle Ages, there is evidence of a conducteur de secrets, who oversaw collecting money at the door and serving as a prompter on stage. The prompter held the script and was prepared to feed performers their lines; this was a common practice of the time.

Between the Renaissance and 17th century, the actors and playwrights handled stage management aspects and stage crew. In the Elizabethan and Jacobean theatre there were two roles that covered stage management: stage keeper and bookkeeper. The stage keeper was responsible for the maintenance of the theater, taking props on and off stage, and security of performance space. The bookkeeper was responsible for the stage script, obtaining necessary licenses, copying/providing lines for the performers, marking entrances and exits, tracking props, marking when sound effects come in, and cueing props and sound effects.

Between the Renaissance and the 16th century, actors and playwrights took upon themselves the handling of finances, general directorial duties, and stage management. Stage management first emerged as a distinct role in the 17th century during Shakespeare's and Molière's time. During Shakespeare’s time the roles of stage management were left to apprentices, young boys learning the trade. There is still evidence of a prompter at this time.

It was not until the 18th century in England that the term stage manager was used. This was the first time a person other than actors and playwright was hired to direct or manage the stage. Over time, with the rise in complexity of theatre due to advances such as mechanized scenery, quick costume changes, and controlled lighting, the stage manager's job was split into two positions— director and stage manager.

Many playwrights, directors, and actors have previously worked as assistant stage managers. Writer and director Preston Sturges, for example, was employed as an ASM on Isadora Duncan's production of Oedipus Rex at the age of 16 and a half:

When one is responsible for giving an offstage cue, even the simplest ones, like the ring of a telephone or a birdcall, demand considerable sangfroid, and the job is nerve-wracking. One is very much aware that everything depends on the delivery of the cue at exactly the right microsecond. One stands there, knees slightly bent, breathing heavily...

Sturges didn't last long in this job, due to his calling for thunder and then lightning instead of lightning and then thunder, but 16 years later Brock Pemberton hired him as an ASM on Antoinette Perry's production of Goin' Home, which led to the first mounting of one of Sturges' plays on Broadway, The Guinea Pig, in 1929.

Regional differences

United States

In the United States, stage manager is a generic title that may be applied to anyone who performs stage management functions. On small shows, one person typically performs all the tasks of stage management, and is simply referred to as the stage manager. Larger shows often need two or more stage managers. In such cases the head stage manager is titled production stage manager (commonly abbreviated PSM), and working under the PSM is one or more assistant stage managers (commonly abbreviated ASM). Shows that employ three stage managers have a PSM and two ASMs, though the program credits may list them as production stage manager (first or head stage manager), stage manager (second stage manager), and assistant stage manager (third stage manager).

Some professional stage managers on plays and musicals may choose to be represented by a union known as the Actors' Equity Association, which also represents performers. In addition to performing their typical stage management duties (e.g., maintaining the prompt book and calling performances), Equity stage managers are also required to uphold the union's rules and rights for Equity artists. Union stage managers for opera, ballet, and modern dance are represented by the American Guild of Musical Artists and perform most of the same duties as their counterparts in plays and musicals. The American Guild of Variety Artists also represents variety performers, dancers and stage managers. Any show that is employing members of these unions must hire at least one stage mnaager that is also a member of that union.

United Kingdom

In the UK, the structure of a stage management team depends on the type and size of the production. It can consist of stage manager (overseeing the running of the show), deputy stage manager (commonly called DSM), and assistant stage manager (commonly called ASM). A fringe theatre show may employ one stage manager to carry out the tasks of an entire team, whereas a West End theatre show in London might employ multiple ASMs. Professional stage managers are represented by the British Actors' Equity Association, which also represents performers.

Deputy stage manager

The DSM prompts actors and will usually cue technical crew members and sometimes cast, while following the orders of the director and stage manager. The DSM calls actors to hold while technical problems are sorted out during rehearsal, and determines where in the script to restart halted scenes. The deputy stage manager (DSM) is a separate position in some theatres, while in others the responsibilities of the DSM may be assumed by the stage manager or assistant stage manager.

Assistant stage manager

The assistant stage manager (ASM) has varied responsibilities, which are assigned by the stage manager. The ASM assists in finding and maintaining props during rehearsals and the run of the show. The ASM may take attendance or estimate audience size, may manage the backstage technicians, may act as a liaison between crew, cast and management, and may call some cues. Mundane tasks such as mopping the stage and brewing coffee or tea may fall to the ASM. If the stage manager is unable to perform his or her duties, the ASM must be able to fill in. The assistant may also be in charge of one wing of the stage, while the stage manager is on the other wing.

South Korea

Due to the recent global rise in popularity of K-POP and mainstream cultural arts, Korean stage planners are playing a significant role worldwide. Typically, stage planners determine the timing and venue of performances and take responsibility for the entire process leading up to the completion of the event, acting as overall directors. They conduct thorough analyses on what performances people desire, whether similar events have already taken place, and if the emotional expression aligns with the intended message. Successful performances are scrutinized for the strategies used to captivate the audience. Those responsible for bringing the performances planned by stage planners to life on stage are the staff. Consequently, stage planners organize various staff members responsible for directing, choreography, music, stage design, lighting, costumes, makeup, etc. They also oversee the preparation process, secure the necessary funds, check preparations, and guide the director in staging scenes.

One of the most notable Korean stage planners is Kim Sang-wook, the CEO of PLAN A, who has orchestrated numerous performances, including the 'Love Yourself' tour by BTS.

Show control based venues

This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2018) (Learn how and when to remove this message)

Many live shows around the world are produced with the foreknowledge that they will have a very long run, often measured in years. These are usually known quantities that are very expensive productions and have a guaranteed audience because of their location. They may be on cruise ships, in theme parks, Las Vegas or at destination resorts. These shows warrant very long-range development and planning and use stage managers to run almost all technical elements in the show, without many of the other traditional crew members, such as sound, lighting and rigging operators. In these cases, show control systems are installed and connected to all other technical systems in the theatre, which are specifically designed to be controlled by show control and to operate safely with minimal supervision. Stage managers working these shows usually have the additional responsibility for programming the show control system, and often the other control systems as well.

Different areas of stage management

The role of stage manager evolved from an amalgamation of various positions in theater over several centuries and is still generally known for its integral relationship with theater. Many other types of productions and events have incorporated the position of stage management, however. Some of the most common are opera, music and dance concerts, film and television.

For music concerts, stage management includes a large variety of responsibilities depending on both the venue and the size and expertise of the musical group coming into the venue. Some of the responsibilities of a concert stage manager include overseeing the schedule for load in and out of equipment, seeing to the comfort of the group which can include arranging refreshments and or transportation, sometimes arranging how and where merchandise is to be sold at the venue, and above all, as with all areas of stage management, watching out for the safety of all participants in the experience including performers, audience, and any crews required.

Stage managers and unions

This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2021) (Learn how and when to remove this message)

Stage managers often ensure safe working conditions in the theatrical space by working closely with theatrical unions to keep rehearsals and performances on time, safe, and efficient.

Actors' Equity Association

Commonly referred to as Equity, AEA is the American union for stage managers and actors. The AEA works to negotiate and provide performers and stage managers quality living conditions, livable wages, and benefits.

Related Unions

American stage managers work closely with the following unions. Stage managers often have an in depth knowledge of their sister unions:

IATSE: The union representing theatrical stage hands. IATSE also represents other crafts including makeup and hair designers, costume designers, child-actor guardians, and the film industry crafts.
USA: American entertainment industry union. In theatre they represents the scenic crafts.
AFM: Union representing American musicians and laborers
Teamsters: Labor union representing transportation professionals
DGA: Union representing film and television directors and stage managers
SAG-AFTRA: Labor union representing media professionals including film and television actors

References

Notes

Thomas, James (1984). The art of the actor-manager: Wilson Barrett and the Victorian theatre. UMI Research Press. p. 203. ISBN 0-8357-1492-6.
^ Fazio, Larry (2000). Stage Manager: The Professional Experience. Focal Press. p. 367. ISBN 0-240-80410-4.
Sturges, Preston; Sturges, Sandy (adapt. & ed.) (1991), Preston Sturges on Preston Sturges, Boston: Faber & Faber, ISBN 0-571-16425-0, p. 123-24
Sturges, Preston; Sturges, Sandy (adapt. & ed.) (1991), Preston Sturges on Preston Sturges, Boston: Faber & Faber, ISBN 0-571-16425-0 pp. 239-245
Pallin, p. 81
Bond, p. 15
Bond, pp. 15–16
"Actors' Equity Association". www.actorsequity.org. Retrieved 2021-11-26.

Bibliography

Pallin, Gail (25 April 2003). Stage Management: The Essential Handbook (2 ed.). London: Nick Hern Books. ISBN 1-85459-734-5.
Bond, Daniel (2002). Stage management: a gentle art (3 ed.). London: A & C Black. ISBN 0-7136-5983-1.
Stern, Lawrence (2016). Stage Management (11th ed.). New York. 9781138124462.
https://prezi.com/iwbxre6keo5d/stage-management-history/

v t e Running crew
Call boy Production manager Stage manager Stagehand Technical director Theatrical technician Carpenter Fly crew Electrician Light board operator Lighting technician Spotlight operator A2 Sound operator Property master Dresser Wardrobe supervisor

Stagecraft and scenography

Scene shop

Theatrical
scenery

Fields	Set construction Scenic painting Scenic design Rigging Technical direction
Hardware	Batten Curtains Flats Fly system Platforms Scenery wagons Weights

Stage lighting

Fields	Lighting design Lighting technician Master electrician
Hardware	Barn doors C-clamp Color gel Color scroller Cyclorama Gobo Lighting control console Socapex connector Snoot Stage pin connector Top hat Theatrical smoke and fog
Instruments	Beam projector Ellipsoidal reflector spotlight Fresnel lantern Intelligent lighting Parabolic aluminized reflector light Scoop Striplight Spotlight Accessories