Magic Kingdom Parade
The Magic Kingdom Parade is a large theatrical presentation at the Magic Kingdom in Walt Disney World which dates back to the beginning of the theme park. As of March 9, 2014, the daily parade is called Festival of Fantasy; the early "character parades" were simple in execution, featuring Mickey Mouse leading the Walt Disney World Band, followed by a group of Disney characters and musicians walking or riding vehicles along the parade route. As the years went on, the parades became composed of many floats. Festival of Fantasy Parade Move it! Shake it! Mousekedance it! Character Parade Cavalcade of Characters Move It! Shake It! Dance and Play it! Street Party: Formerly named Move It! Shake It! Celebrate It
Sound design is the art and practice of creating sound tracks for a variety of needs. It involves specifying, acquiring or creating auditory elements using audio production techniques and tools, it is employed in a variety of disciplines including filmmaking, television production, video game development, sound recording and reproduction, live performance, sound art, post-production and musical instrument development. Sound design involves performing and editing of composed or recorded audio, such as sound effects and dialogue for the purposes of the medium. A sound designer is one; the use of sound to evoke emotion, reflect mood and underscore actions in plays and dances began in prehistoric times. At its earliest, it was used in religious practices for recreation. In ancient Japan, theatrical events called kagura were performed in Shinto shrines with music and dance. Plays were performed in medieval times in a form of theatre called Commedia dell'arte, which used music and sound effects to enhance performances.
The use of music and sound in the Elizabethan Theatre followed, in which music and sound effects were produced off stage using devices such as bells and horns. Cues would be written in the script for music and sound effects to be played at the appropriate time. Italian composer Luigi Russolo built mechanical sound-making devices, called "intonarumori," for futurist theatrical and music performances starting around 1913; these devices were meant to simulate man-made sounds, such as trains and bombs. Russolo's treatise, The Art of Noises, is one of the earliest written documents on the use of abstract noise in the theatre. After his death, his intonarumori' were used in more conventional theatre performances to create realistic sound effects; the first use of recorded sound in the theatre was a phonograph playing a baby’s cry in a London theatre in 1890. Sixteen years Herbert Beerbohm Tree used recordings in his London production of Stephen Phillips’ tragedy NERO; the event is marked in the Theatre Magazine with two photographs.
The article states: “these sounds are all realistically reproduced by the gramophone”. As cited by Bertolt Brecht, there was a play about Rasputin written in by Alexej Tolstoi and directed by Erwin Piscator that included a recording of Lenin's voice. Whilst the term "sound designer" was not in use at this time, a number of stage managers specialised as "effects men", creating and performing offstage sound effects using a mix of vocal mimicry and electrical contraptions and gramophone records. A great deal of care and attention was paid to the construction and performance of these effects, both naturalistic and abstract. Over the course of the twentieth century the use of recorded sound effects began to take over from live sound effects, though it was the stage manager's duty to find the sound effects and an electrician played the recordings during performances. Between 1980 and 1988, Charlie Richmond, USITT's first Sound Design Commissioner, oversaw efforts of their Sound Design Commission to define the duties, responsibilities and procedures which might be expected of a theatre sound designer in North America.
This subject is still discussed by that group, but during that time, substantial conclusions were drawn and he wrote a document which, although now somewhat dated, provides a succinct record of what was expected at that time. It was subsequently provided to both the ADC and David Goodman at the Florida USA local when they were both planning to represent sound designers in the 1990s. MIDI and digital audio technology have contributed to the evolution of sound production techniques in the 1980s and 1990s. Digital audio workstations and a variety of digital signal processing algorithms applied in them allow more complicated sound tracks with more tracks as well as auditory effects to be realized. Features such as unlimited undo and sample-level editing allow fine control over the sound tracks. In theatre sound, features of computerized theatre sound design systems have been recognized as being essential for live show control systems at Walt Disney World and, as a result, Disney utilized systems of that type to control many facilities at their Disney-MGM Studios theme park, which opened in 1989.
These features were incorporated into the MIDI Show Control specification, an open communications protocol used to interact with diverse devices. The first show to utilize the MSC specification was the Magic Kingdom Parade at Walt Disney World's Magic Kingdom in September, 1991; the rise of interest in game audio has brought more advanced interactive audio tools that are accessible without a background in computer programming. Some of such software tools feature a workflow that's similar to that in more conventional digital audio workstation programs and can allow the sound production personnel to undertake some of the more creative interactive sound tasks that would have required a computer programmer. Interactive applications have given rise to a plethora of techniques in "dynamic audio" that loosely means sound that's "parametrically" adjusted during the run-time of the program; this allows for a broader expression in sounds, more similar to that in films, because this way the sound designer can e.g. create footstep sounds that vary in a believable and non-repeating way and that corresponds to what's seen in the picture
Stage lighting is the craft of lighting as it applies to the production of theater, dance 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 include special effects, such as lasers and fog machines. People who work on stage lighting are referred to as lighting technicians or lighting designers; the equipment used for stage lighting are used in other lighting applications, including corporate events, trade shows, broadcast television, film production, photographic studios, other types of live events. The personnel needed to install and control the equipment cross over into these different areas of "stage lighting" applications; the earliest known form of stage lighting was during the early Grecian theaters. They would build their theatres facing east to west so that in the afternoon they could perform plays and have the natural sunlight hit the actors, but not those seated in the orchestra.
Natural light continued to be utilized when playhouses were built with a large circular opening at the top of the theater. Early Modern English theaters were roofless, allowing natural light to be utilized for lighting the stage; as theaters moved indoors, artificial lighting became a necessity and it was developed as theaters and technology became more advanced. At an unknown date, candlelight was introduced which brought more developments to theatrical lighting across Europe. While Oliver Cromwell was ruling Britain, all stage production was suspended in 1642 and no advancements were made to English theaters. During this theatrical famine, great developments were being made in theaters on the European mainland. Charles II, who would become King Charles II witnessed Italian theatrical methods and brought them back to England when he came to power. New playhouses were built in their large sizes called for more elaborate lighting. After the refurbishing of the theaters, it was found that the "main source of light in Restoration theaters to be chandeliers" which were "concentrated toward the front of the house, over the forestage".
English theatres during this time used dipped candles to light sconces. Dipped candles were made by dipping a wick into hot wax to create a cylindrical candle. Candles needed frequent trimming and relighting regardless of what was happening on-stage because "they dripped hot grease on both the audience and actors". Chandeliers blocked the view of some patrons. There were two different types of Restoration theaters in England: Restoration commercial theaters and Restoration court theaters. Commercial theaters tended to be more "conservative in their lighting, for economic reasons" and therefore used "candle-burning chandeliers" primarily. Court theatres could afford to "use most of the Continental innovations" in their productions. Theaters such as the Drury Lane Theatre and the Covent Garden Theatre were lit by a large central chandelier and had a varying number of smaller stage chandeliers and candle sconces around the walls of the theaters. Two main court theaters, built between 1660 and 1665, were the Hall Theatre.
Chandeliers and sconces seemed to be the primary lighting sources here but other developments were being made at the Hall. By the 1670s, the Hall Theatre started using footlights, between 1670 and 1689 they used candles or lamps, it can be noted that by the end of the 17th century, "French and English stages were similar". There is not much written on theatrical lighting in England at the end of the 17th century and from the little information historians do have, not much changed by the middle of the 18th century. Gas lighting hit the English stage in the early 1800s beginning with the Drury Lane and Covent Garden theaters. In the 1820s, a new type of artificial illumination was developed. In this type of illumination, a gas flame is used to heat a cylinder of quicklime. Upon reaching a certain temperature, the quicklime would begin to incandesce; this illumination could be directed by reflectors and lenses. It took some time from the development of this new Limelight before it found its way into theatrical use, which started around 1837.
Limelight became popular in the 1860s and beyond. Lighting advances made in English theaters during this time frame paved the way for the many lighting advances in the modern theatrical world. Stage lighting has multiple functions, including: Selective visibility: The ability to see what is occurring on stage. Any lighting design will be ineffective if the viewers cannot see the characters, unless this is the explicit intent. Revelation of form: Altering the perception of shapes onstage three-dimensional stage elements. Focus: Directing the audience's attention to an area of the stage or distracting them from another. Mood: Setting the tone of a scene. Harsh red light has a different effect than soft lavender light. Location and time of day: Establishing or altering position in time and space. Blues can suggest night time while red can suggest a sunrise or sunset. Use of mechanical filters to project sky scenes, the Moon, etc. Projection/stage elements: Lighting may be used to project scenery or to act as scenery onstage.
Plot: A lighting event may trigger or advance the action onstage and off. Composition: Lighting may be used to show only the areas of the stage which the designer wants the audience to see, to "paint a picture". Effect: In pop and rock concerts or DJ shows or raves, colored lights and lasers may be used as a visual effect. Ligh
Magic Kingdom is a theme park at the Walt Disney World Resort in Bay Lake, near Orlando. Owned and operated by The Walt Disney Company through its Parks and Products division, the park opened on October 1, 1971, as the first of four theme parks at the resort; the park was designed by WED Enterprises. Its layout and attractions are based on Disneyland Park in Anaheim and are dedicated to fairy tales and Disney characters; the park is represented by Cinderella Castle, inspired by the fairy tale castle seen in the 1950 film. In 2017, the park hosted 20.450 million visitors, making it the most visited theme park in the world for the twelfth consecutive year and the most visited theme park in North America for at least the past eighteen years. Although Walt Disney had been involved in planning the Florida Project, he died before he could see the vision through. After Walt's death, Walt Disney Productions began construction on Magic Kingdom and the entire resort in 1967; the park was built as a larger, improved version of Disneyland Park in California.
There are several anecdotes regarding some of the features of Walt Disney World, Magic Kingdom specifically. According to one story, Walt Disney once saw a Frontierland cowboy walking through Tomorrowland at Disneyland, he disliked that the cowboy intruded on the futuristic setting of Tomorrowland and wanted to avoid situations like this in the new park. Therefore, Magic Kingdom was built over a series of tunnels called utilidors, a portmanteau of utility and corridor, allowing employees or VIP guests to move through the park out of sight; because of Florida's high water table, the tunnels could not be put underground, so they were built at the existing grade, meaning the park is built on the second story, giving Magic Kingdom an elevation of 108 feet. The area around the utilidors was filled in with dirt removed from the Seven Seas Lagoon, being constructed at the same time; the utilidors were not extended as the park expanded. The tunnels were intended to be designed into all subsequent Walt Disney World parks, but were set aside because of financial constraints.
Epcot's Future World and Disney Springs' Pleasure Island each have a smaller network of utilidors. Magic Kingdom opened as the first part of the Walt Disney World Resort on October 1, 1971, commencing concurrently with Disney's Contemporary Resort and Disney's Polynesian Village Resort, it opened with twenty-three attractions, three unique to the park and twenty replicas of attractions at Disneyland, split into six themed lands, five copies of those at Disneyland and the Magic Kingdom exclusive of Liberty Square. The Walt Disney Company promised to increase this number with a combination of replicas and unique attractions. While there is no individual dedication to Magic Kingdom, the dedication by Roy O. Disney for the entire resort was placed within its gates; the only land added to the original roster of lands in the park was Mickey's Toontown Fair. The land opened in 1988 as Mickey's Birthdayland to celebrate Mickey Mouse's 60th birthday; the land was renovated as Mickey's Starland and to Mickey's Toontown Fair.
The land was home to attractions such as Mickey's Country House, Minnie's Country House, The Barnstormer at Goofy's Wiseacre Farm, Donald's Boat. It closed on February 2011, to make way for the expansion of Fantasyland; the Walt Disney World Railroad station in Mickey's Toontown Fair, which opened with Mickey's Birthdayland in 1988, was closed for the duration of the construction. In 2012, the space where Mickey's Toontown Fair sat reopened as a part of Fantasyland, in a sub-land called the Storybook Circus, where the Dumbo the Flying Elephant was relocated; the Barnstormer was re-themed to The Great Goofini. Since opening day, Magic Kingdom has been closed temporarily because of seven hurricanes: Floyd, Frances, Wilma and Irma; the only non-hurricane related day the park has closed is on September 11, 2001, due to the terrorist attacks that day. In addition, there are four "phases" of park closure when Magic Kingdom exceeds capacity, ranging from restricted access for most guests to full closure for everyone cast members."Magic Kingdom" was used as an unofficial nickname for Disneyland before Walt Disney World was built.
The official tagline for Disneyland is "The Happiest Place On Earth", while the tagline for Magic Kingdom is "The Most Magical Place On Earth". Up until the early 1990s, Magic Kingdom was known as Walt Disney World Magic Kingdom, was never printed without the Walt Disney World prefix; this purpose was to differentiate between the park and Disneyland in California, is commonly referred to as the Magic Kingdom. In 1994, to differentiate it from Disneyland, the park was renamed Magic Kingdom Park, but is still known as Magic Kingdom or sometimes The Magic Kingdom. Like all Disney theme parks, the official name of the park does not start with an article, though it is referred to that way. Alcoholic beverages had been prohibited from the park since its opening, but this policy has changed in recent years. In 2012, the Be Our Guest restaurant opened selling beer for the first time; this was the only place in the park where alcohol was permitted until December 2016 when four additional restaurants began selling beer and wine including Cinderella's Royal Table, Liberty Tree Tavern, Tony's Town Square Restaurant, the Jungle Navigation Co. Ltd.
Walt Disney World
The Walt Disney World Resort called Walt Disney World and Disney World, is an entertainment complex in Bay Lake and Lake Buena Vista, Florida, in the United States, near the cities Orlando and Kissimmee. Opened on October 1, 1971, the resort is owned and operated by Disney Parks and Products, a division of The Walt Disney Company, it was first operated by Walt Disney World Company. The property, which covers nearly 25,000 acres, only half of, used, comprises four theme parks, two water parks, twenty-seven themed resort hotels, nine non-Disney hotels, several golf courses, a camping resort, other entertainment venues, including the outdoor shopping center Disney Springs. Designed to supplement Disneyland, in Anaheim, which had opened in 1955, the complex was developed by Walt Disney in the 1960s. "The Florida Project", as it was known, was intended to present a distinct vision with its own diverse set of attractions. Walt Disney's original plans called for the inclusion of an "Experimental Prototype Community of Tomorrow", a planned community intended to serve as a test bed for new city-living innovations.
Walt Disney died on December 1966, during construction of the complex. Without him spearheading the construction, the company built a resort similar to Disneyland, abandoning the experimental concepts for a planned community. Magic Kingdom was the first theme park to open in the complex, in 1971, followed by Epcot, Disney's Hollywood Studios, Disney's Animal Kingdom. Today, Walt Disney World is the most visited vacation resort in the world, with average annual attendance of more than 52 million; the resort is the flagship destination of Disney's worldwide corporate enterprise and has become a popular staple in American culture. In 1959, Walt Disney Productions began looking for land to house a second resort to supplement Disneyland in Anaheim, which had opened in 1955. Market surveys at the time revealed that only 5% of Disneyland's visitors came from east of the Mississippi River, where 75% of the population of the United States lived. Additionally, Walt Disney disliked the businesses that had sprung up around Disneyland and wanted more control over a larger area of land in the next project.
Walt Disney flew over a potential site in Orlando, Florida – one of many – in November 1963. After witnessing the well-developed network of roads and taking the planned construction of both Interstate 4 and Florida's Turnpike into account, with McCoy Air Force Base to the east, Disney selected a centrally-located site near Bay Lake. To avoid a burst of land speculation, Walt Disney World Company used various dummy corporations to acquire 30,500 acres of land. In May 1965, some of these major land transactions were recorded a few miles southwest of Orlando in Osceola County. In addition, two large tracts totaling $1.5 million were sold, smaller tracts of flatlands and cattle pastures were purchased by exotically-named companies such as the "Ayefour Corporation", "Latin-American Development and Management Corporation" and the "Reedy Creek Ranch Corporation". Some are now memorialized on a window above Main Street, U. S. A. in Magic Kingdom. The smaller parcels of land acquired were called "outs".
They were 5-acre lots sold to investors. Most of the owners in the 1960s were happy to get rid of the land, swamp at the time. Another issue was the mineral rights to the land. Without the transfer of these rights, Tufts could come in at any time and demand the removal of buildings to obtain minerals. Disney's team negotiated a deal with Tufts to buy the mineral rights for $15,000. Working in secrecy, real estate agents unaware of their client's identity began making offers to landowners in April 1964 in parts of southwest Orange and northwest Osceola counties; the agents were careful not to reveal the extent of their intentions, they were able to negotiate numerous land contracts with some including large tracts of land for as little as $100 an acre. With the understanding that the recording of the first deeds would trigger intense public scrutiny, Disney delayed the filing of paperwork until a large portion of the land was under contract. Early rumors and speculation about the land purchases assumed possible development by NASA in support of the nearby Kennedy Space Center, as well as references to other famous investors such as Ford, the Rockefellers, Howard Hughes.
An Orlando Sentinel news article published weeks on May 20, 1965, acknowledged a popular rumor that Disney was building an "East Coast" version of Disneyland. However, the publication denied its accuracy based on an earlier interview with Disney at Kennedy Space Center, in which he claimed a $50 million investment was in the works for Disneyland, that he had no interest in building a new park. In October 1965, editor Emily Bavar from the Sentinel visited Disneyland during the park's 10th-anniversary celebration. In an interview with Disney, she asked him if he was behind recent land purchases in Central Florida, his reaction, combined with other research obtained during her Anaheim visit, led Bavar to author a story on October 21, 1965, where she predicted that Disney was building a second theme park in Florida. Three days after gathering more information from various sources, the Sentinel published another article headlined, "We Say:'Mystery Industry' Is Disney". Walt Disney had planned to publicly reveal Disney World on November 15, 1965, but in light of the Sentinel story, Disney asked
OCLC Online Computer Library Center, Incorporated d/b/a OCLC is an American nonprofit cooperative organization "dedicated to the public purposes of furthering access to the world's information and reducing information costs". It was founded in 1967 as the Ohio College Library Center. OCLC and its member libraries cooperatively produce and maintain WorldCat, the largest online public access catalog in the world. OCLC is funded by the fees that libraries have to pay for its services. OCLC maintains the Dewey Decimal Classification system. OCLC began in 1967, as the Ohio College Library Center, through a collaboration of university presidents, vice presidents, library directors who wanted to create a cooperative computerized network for libraries in the state of Ohio; the group first met on July 5, 1967 on the campus of the Ohio State University to sign the articles of incorporation for the nonprofit organization, hired Frederick G. Kilgour, a former Yale University medical school librarian, to design the shared cataloging system.
Kilgour wished to merge the latest information storage and retrieval system of the time, the computer, with the oldest, the library. The plan was to merge the catalogs of Ohio libraries electronically through a computer network and database to streamline operations, control costs, increase efficiency in library management, bringing libraries together to cooperatively keep track of the world's information in order to best serve researchers and scholars; the first library to do online cataloging through OCLC was the Alden Library at Ohio University on August 26, 1971. This was the first online cataloging by any library worldwide. Membership in OCLC is based on use of services and contribution of data. Between 1967 and 1977, OCLC membership was limited to institutions in Ohio, but in 1978, a new governance structure was established that allowed institutions from other states to join. In 2002, the governance structure was again modified to accommodate participation from outside the United States.
As OCLC expanded services in the United States outside Ohio, it relied on establishing strategic partnerships with "networks", organizations that provided training and marketing services. By 2008, there were 15 independent United States regional service providers. OCLC networks played a key role in OCLC governance, with networks electing delegates to serve on the OCLC Members Council. During 2008, OCLC commissioned two studies to look at distribution channels. In early 2009, OCLC negotiated new contracts with the former networks and opened a centralized support center. OCLC provides bibliographic and full-text information to anyone. OCLC and its member libraries cooperatively produce and maintain WorldCat—the OCLC Online Union Catalog, the largest online public access catalog in the world. WorldCat has holding records from private libraries worldwide; the Open WorldCat program, launched in late 2003, exposed a subset of WorldCat records to Web users via popular Internet search and bookselling sites.
In October 2005, the OCLC technical staff began a wiki project, WikiD, allowing readers to add commentary and structured-field information associated with any WorldCat record. WikiD was phased out; the Online Computer Library Center acquired the trademark and copyrights associated with the Dewey Decimal Classification System when it bought Forest Press in 1988. A browser for books with their Dewey Decimal Classifications was available until July 2013; until August 2009, when it was sold to Backstage Library Works, OCLC owned a preservation microfilm and digitization operation called the OCLC Preservation Service Center, with its principal office in Bethlehem, Pennsylvania. The reference management service QuestionPoint provides libraries with tools to communicate with users; this around-the-clock reference service is provided by a cooperative of participating global libraries. Starting in 1971, OCLC produced catalog cards for members alongside its shared online catalog. OCLC commercially sells software, such as CONTENTdm for managing digital collections.
It offers the bibliographic discovery system WorldCat Discovery, which allows for library patrons to use a single search interface to access an institution's catalog, database subscriptions and more. OCLC has been conducting research for the library community for more than 30 years. In accordance with its mission, OCLC makes its research outcomes known through various publications; these publications, including journal articles, reports and presentations, are available through the organization's website. OCLC Publications – Research articles from various journals including Code4Lib Journal, OCLC Research, Reference & User Services Quarterly, College & Research Libraries News, Art Libraries Journal, National Education Association Newsletter; the most recent publications are displayed first, all archived resources, starting in 1970, are available. Membership Reports – A number of significant reports on topics ranging from virtual reference in libraries to perceptions about library funding. Newsletters – Current and archived newsletters for the library and archive community.
Presentations – Presentations from both guest speakers and OCLC research from conferences and other events. The presentations are organized into five categories: Conference presentations, Dewey presentations, Distinguished Seminar Series, Guest presentations, Research staff
Stage management is a broad field, defined as the practice of organization and coordination of an event or theatrical production. Stage management may encompass a variety of activities including the 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 offers organisational support 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 employ a stage management team consisting of a head stage manager, or production stage manager, one or more assistant stage managers; 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 responsible for production elements. Sophocles is the first known stage technician, supported by his employment as a scenic artist, playwright and producer. Moving into the Middle Ages there is evidence of a Conducteurs 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 playwright handled stage management aspects and stage crew. During the Elizabethan and Jacobean Theatre there were two roles that covered the stage management: Stage Keeper and Book Keeper; the Stage Keeper was responsible for the maintenance of the theater, taking props on and off stage, security of performance space. The Book Keeper 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, cueing props and sound effects.
Between the Renaissance and the 16th century and playwrights took upon themselves the handling of finances, general directorial duties, 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. Though it wasn't 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, controlled lighting, the stage manager's job was split into two positions—director and stage manager. Many playwrights and actors have worked as an assistant stage manager. 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 the simplest ones, like the ring of a telephone or a birdcall, demand considerable sangfroid, the job is nervewracking.
One is much aware that everything depends on the delivery of the cue at the right microsecond. One stands there, knees bent, breathing heavily... Sturges didn't last long in this job, due to his calling for thunder and lightning instead of lightning and thunder, but 16 years 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. Pre-Rehearsal Preparation: Create a contact sheet with information on everyone in the production Collect all conflicts to create a Rehearsal Schedule Send out that Rehearsal Schedule to the actors and creative team Knowing the rehearsal and stage layout Understanding the ground plan of the set Should acquire all rehearsal props that are needed in rehearsals First Rehearsal Have the actors fill out emergency contact forms and other information needed by the production team Assigning scripts to everyone in the production Make detailed notes on the blocking of the production Make sure the production team members who need to explain the set, actors equity association reps, directors concept, more First read through of show SM reads the stage directions Responsible for the wellbeing & safety of everyone and should have basic first aid kit at all rehearsals Rehearsal Period Responsible for any questions or changes the director thinks of during rehearsal to bring up during Production Meetings SM’s are responsible for following along the script, prompting when actors forget their lines and taking line notes Monitor time to make sure company get their breaks at specific intervals Noting any changes or edits to the script Responsible for creating the running script that includes tech cues that are used by the SM Writing daily rehearsal reports that detail what happened in rehearsal that day and what notes, if any, the Sm/director have for the production team.
Distributing distribute it to all production team members Collecting the bios for the actors and production team for the show’s programs Responsible for contacting anyone, running late to rehearsal without notifying the SM Most rehearsals are closed, meaning no one outside of the production is welcome, it is the SM’s job to enforce this Creating a callboard for the actors to sign in during tech rehearsals and performance Creating cue sheets for everyone taking cues from the SM during the show (Sound makes it own