We have touched on the facility concerns from a macro - design perspective. We are now going to evaluate the jobs and the requirements of running a facility and managing audiences.
While Facility Management, per se, does not have a theatre specific union. It does have a support association: http://www.ifma.org/. Additionally, theatre managers (think rental/touring houses dedicated to that use) are members of APTAM: http://www.atpam.com/. Check out each organization and compare their membership and interests.
Here is an interesting video (UK based but still relevant) http://www.youtube.com/watch?v=kpRjmFnwmQk
What did you find out from her explanation that eluded you in the text?
Check out Center Stage and Round House Theatre (both nonprofit producing theatres that also rent their spaces). What do you find out about policies? fees? etc?
http://www.centerstage.org/Visit/Lobbies-and-Theaters.aspx
http://www.roundhousetheatre.org/about-us/facility-use/
Monday, March 26, 2012
Monday, March 12, 2012
Presenting Organizations
Remember when we were talking about the turn of the century managers and the Theatrical Syndicate? They controlled the tours and the talent stream? The theatre touring/presenting system is no longer working under a monopoly although there are some contributors who control a lot of what we get to see.
This week we are going to investigate who presents, why the present, and how the system works: how do presenters find the work? How do producers of work for tour find the presenters for their shows? How do they coordinate all of these moving pieces?
The national organization that represents presenting organizations, in much the way Theatre Communications Groups represents nonprofit professional theatres, is the Association for Performing Arts Presenters aka Arts Presenters aka APAP. APAP has many services it offers for the field of presenters. It most notable event is its annual conference in NYC in January, a conference that connects people much in the spirit of the turn-of-the-century annual meeting of booking agents scheduling trains and tours across the country. The highlights from the 2012 conference are here -- http://www.apapnyc.org/schedule/Pages/highlights.aspx; Watch one of the videos of presentations.
A similar conference is held each year for international performing arts companies for youth (aka IPAY): http://www.ipayweb.org. Check out their web site to see how they are similar yet different from APAP.
The mid-Atlantic resource is the Mid-Atlantic Arts Foundation: http://www.midatlanticarts.org/ . How are they yet different than APAP and IPAY?
Finally, look at the relationship between Broadway Across America and the Baltimore presenting hub of the Hippodrome/Franc-Merrick Theatre . How are the Hippodrome, the Lyric and Baltimore Theatre Project (all presenting orgs) unique to one another (what niche does each fulfill?)?
This week we are going to investigate who presents, why the present, and how the system works: how do presenters find the work? How do producers of work for tour find the presenters for their shows? How do they coordinate all of these moving pieces?
The national organization that represents presenting organizations, in much the way Theatre Communications Groups represents nonprofit professional theatres, is the Association for Performing Arts Presenters aka Arts Presenters aka APAP. APAP has many services it offers for the field of presenters. It most notable event is its annual conference in NYC in January, a conference that connects people much in the spirit of the turn-of-the-century annual meeting of booking agents scheduling trains and tours across the country. The highlights from the 2012 conference are here -- http://www.apapnyc.org/schedule/Pages/highlights.aspx; Watch one of the videos of presentations.
A similar conference is held each year for international performing arts companies for youth (aka IPAY): http://www.ipayweb.org. Check out their web site to see how they are similar yet different from APAP.
The mid-Atlantic resource is the Mid-Atlantic Arts Foundation: http://www.midatlanticarts.org/ . How are they yet different than APAP and IPAY?
Finally, look at the relationship between Broadway Across America and the Baltimore presenting hub of the Hippodrome/Franc-Merrick Theatre . How are the Hippodrome, the Lyric and Baltimore Theatre Project (all presenting orgs) unique to one another (what niche does each fulfill?)?
Monday, March 5, 2012
Community, College, Stock and Dinner Theatres
The remainder of our "producing theatre" models are thrown in together this week. Most of you have had experience in at least 2 if not more of these models. We will definitely be speaking of your experiences and the unique models for each in class on Thursday.
Today, you get to delve a little deeper into their worlds. Look at the sites below as organizations and exemplars of some of the models.
www.aact.org
www.urta.com
http://www.trinityrep.com/on_stage/current_season/special_performances_3.php
http://dreams.zinzanni.org/
http://www.strawhat-auditions.com/who.htm
http://www.youtube.com/watch?v=8eoDYM0vExQ (summer stock in its heyday and in its idealized state)
Select one area: community theatre, college theatre, summer stock or dinner theatre. How did the models linked above give you a better/deeper understanding of this arena? What questions did it raise in your mind.
As producing, nonprofessional or amateur theatres, how are the different than their for profit siblings? How are they similar yet different from their nonprofit brethren?
Today, you get to delve a little deeper into their worlds. Look at the sites below as organizations and exemplars of some of the models.
www.aact.org
www.urta.com
http://www.trinityrep.com/on_stage/current_season/special_performances_3.php
http://dreams.zinzanni.org/
http://www.strawhat-auditions.com/who.htm
http://www.youtube.com/watch?v=8eoDYM0vExQ (summer stock in its heyday and in its idealized state)
Select one area: community theatre, college theatre, summer stock or dinner theatre. How did the models linked above give you a better/deeper understanding of this arena? What questions did it raise in your mind.
As producing, nonprofessional or amateur theatres, how are the different than their for profit siblings? How are they similar yet different from their nonprofit brethren?
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