Stage Manager - Revision history

Satj: /* History */

2021-11-13T03:44:40Z

History

Satj at 18:16, 12 November 2021

2021-11-12T18:16:54Z

Satj: /* History */

2021-11-12T04:32:43Z

History

Satj: /* History */

2021-11-12T04:31:54Z

History

Satj: /* Sources */

2021-11-12T04:24:06Z

Sources

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2021-11-12T04:22:00Z

History

Satj: /* History */

2021-11-12T04:20:51Z

History

Satj: /* History */

2021-11-12T04:20:14Z

History

Satj at 04:19, 12 November 2021

2021-11-12T04:19:50Z

Satj: /* History */

2021-11-12T04:18:56Z

History

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 While the activity of "managing activities on the stage" has itself has been a part of the theatre since its very origins,  the term "[[stage manager]]" only came into in 18th century in England.  This seems to have come about because companies now increasingly hired someone other than actors and a playwright to direct or manage the stage set-up and activities. As theatre practice increased in complexity, notably in the 19th century, the stage manager's responsibilities were eventually split into two more clearly defined positions,   that of: (1) a [[director]] of actors and the overall presentation of a play - a creative responsibility greatly affected by the emergence of new ideas about the very nature of performance, generated by such movements as the Meiningen Company[https://en.wikipedia.org/wiki/Meiningen_Ensemble], founded in Germany by the Duke of Saxe-Meiningen,  and most notably by Konstantin Stanislavski[https://en.wikipedia.org/wiki/Konstantin_Stanislavski]) and (2) that of a technical [[stage manager]],  increasingly important in the light of the many new technologies introduced into venues and performances.
-At times the term thus occurs somewhat ambiguously in 19th century bills and programmes,  with what appears to be a different and wider meaning, possibly also encompassing some more creative responsibilities, such as those we today assume to belong to the [[director]] of a play. For example, in South Africa, the Shakespearean actor/manager [[Thomas Brazier]] is referred to as the "Stage Manager" for productions of Shakespeare plays by the [[Le Roy and Duret]] company in late 1868, and in this case [[F.C.L. Bosman]] (1980, p. 236) suggests that their success could probably be ascribed to the competence of Brazier's "stage management". (The older equivalent [[Afrikaans]] term -  [[toneelmeester]] - is also found with this rather ambiguous meaning in programmes and articles about 19th and even early 20th century theatre, notably productions by touring companies.)
+At times the term thus occurs somewhat ambiguously in 19th century bills and programmes,  and for want of better information appears to have a different and wider meaning in the period, possibly also encompassing some more creative responsibilities, such as those we today assume to belong to the [[director]] of a play. For example, in South Africa, the Shakespearean actor/manager [[Thomas Brazier]] is on occasion referred to as the "Stage Manager" for productions of Shakespeare plays by the [[Le Roy and Duret]] company in late 1868, and in this case [[F.C.L. Bosman]] (1980, p. 236) suggests that their success could probably be ascribed to the competence of Brazier's "stage management". (The older equivalent [[Afrikaans]] term -  [[toneelmeester]] - is also found with this rather ambiguous meaning in programmes and articles about 19th and even early 20th century theatre, notably productions by touring companies.)
 == Sources ==

← Older revision		Revision as of 18:16, 12 November 2021
Line 1:		Line 1:
−	Today the term [[stage manager]] ([[Afrikaans]]: formerly [[toneelmeester]], later referred to as a [[verhoogbestuurder]]) refers to the person literally responsible for co-ordinating and managing all the activities (i.e. sets, lighting, sound, props, communication between departments, performers, management, etc.) that take place '''on and behind the stage''' during rehearsals and the production. In this sense s/he supports the director, actors, designers, stage crew and technicians, making sure that the production runs smoothly, and may often s/he act as the director's representative during performances, especially on tour.	+	Today the term [[stage manager]] ([[Afrikaans]]: formerly [[toneelmeester]] (form the [[Dutch]]), later referred to as a [[verhoogbestuurder]]) refers to the person literally responsible for co-ordinating and managing all the activities (i.e. sets, lighting, sound, props, communication between departments, performers, management, etc.) that take place '''on and behind the stage''' during rehearsals and the production. In this sense s/he supports the director, actors, designers, stage crew and technicians, making sure that the production runs smoothly, and may often s/he act as the director's representative during performances, especially on tour.

	The activity is known as '''[[stage management]]''' ("[[verhoogbestuur]]" in [[Afrikaans]]) .		The activity is known as '''[[stage management]]''' ("[[verhoogbestuur]]" in [[Afrikaans]]) .

@@ Line 5: / Line 5: @@
 == History ==
-While the activity of "managing activities on the stage" has itself has been a part of the theatre since its very origins,  the term "[[stage manager]]" only came into in 18th century in England.  This seems to have come about because companies now increasingly hired someone other than actors and a playwright to direct or manage the stage set-up and activities. As theatre practice increased in complexity, notably in the 19th century, the stage manager's responsibilities were eventually split into two more clearly defined positions,   that of: (1) a [[director]] of actors and the overall presentation of a play - a creative responsibility greatly affected by the emergence of new ideas about the very nature of performance, generated by such movements as the Meiningen Company founded in Germany by the Duke of Saxe-Meiningen [https://en.wikipedia.org/wiki/Meiningen_Ensemble] and most notably by Konstantin Stanislavski[https://en.wikipedia.org/wiki/Konstantin_Stanislavski]) and (2) that of a technical [[stage manager]],  increasingly important in the light of the many new technologies introduced into venues and performances.
+While the activity of "managing activities on the stage" has itself has been a part of the theatre since its very origins,  the term "[[stage manager]]" only came into in 18th century in England.  This seems to have come about because companies now increasingly hired someone other than actors and a playwright to direct or manage the stage set-up and activities. As theatre practice increased in complexity, notably in the 19th century, the stage manager's responsibilities were eventually split into two more clearly defined positions,   that of: (1) a [[director]] of actors and the overall presentation of a play - a creative responsibility greatly affected by the emergence of new ideas about the very nature of performance, generated by such movements as the Meiningen Company[https://en.wikipedia.org/wiki/Meiningen_Ensemble], founded in Germany by the Duke of Saxe-Meiningen,  and most notably by Konstantin Stanislavski[https://en.wikipedia.org/wiki/Konstantin_Stanislavski]) and (2) that of a technical [[stage manager]],  increasingly important in the light of the many new technologies introduced into venues and performances.
 At times the term thus occurs somewhat ambiguously in 19th century bills and programmes,  with what appears to be a different and wider meaning, possibly also encompassing some more creative responsibilities, such as those we today assume to belong to the [[director]] of a play. For example, in South Africa, the Shakespearean actor/manager [[Thomas Brazier]] is referred to as the "Stage Manager" for productions of Shakespeare plays by the [[Le Roy and Duret]] company in late 1868, and in this case [[F.C.L. Bosman]] (1980, p. 236) suggests that their success could probably be ascribed to the competence of Brazier's "stage management". (The older equivalent [[Afrikaans]] term -  [[toneelmeester]] - is also found with this rather ambiguous meaning in programmes and articles about 19th and even early 20th century theatre, notably productions by touring companies.)

@@ Line 5: / Line 5: @@
 == History ==
-While the activity of "managing activities on the stage" has itself has been a part of the theatre since its very origins,  the term "[[stage manager]]" only came into in 18th century in England.  This seems to have come about because companies now increasingly hired someone other than actors and a playwright to direct or manage the stage set-up and activities. As theatre practice increased in complexity, notably in the 19th century, the stage manager's responsibilities were eventually split into two more clearly defined positions, namely that of a [[director]] of actors and the overall presentation of a play (a creative responsibility greatly affected by the emergence of new ideas about the nature of performance, generated by such movements as the Meiningen school in Germany and most notably by the Stanislavsky) and that of a technical [[stage manager]] (in the light of the many new technologies introduced into venues and performances).
+While the activity of "managing activities on the stage" has itself has been a part of the theatre since its very origins,  the term "[[stage manager]]" only came into in 18th century in England.  This seems to have come about because companies now increasingly hired someone other than actors and a playwright to direct or manage the stage set-up and activities. As theatre practice increased in complexity, notably in the 19th century, the stage manager's responsibilities were eventually split into two more clearly defined positions,   that of: (1) a [[director]] of actors and the overall presentation of a play - a creative responsibility greatly affected by the emergence of new ideas about the very nature of performance, generated by such movements as the Meiningen Company founded in Germany by the Duke of Saxe-Meiningen [https://en.wikipedia.org/wiki/Meiningen_Ensemble] and most notably by Konstantin Stanislavski[https://en.wikipedia.org/wiki/Konstantin_Stanislavski]) and (2) that of a technical [[stage manager]],  increasingly important in the light of the many new technologies introduced into venues and performances.
 At times the term thus occurs somewhat ambiguously in 19th century bills and programmes,  with what appears to be a different and wider meaning, possibly also encompassing some more creative responsibilities, such as those we today assume to belong to the [[director]] of a play. For example, in South Africa, the Shakespearean actor/manager [[Thomas Brazier]] is referred to as the "Stage Manager" for productions of Shakespeare plays by the [[Le Roy and Duret]] company in late 1868, and in this case [[F.C.L. Bosman]] (1980, p. 236) suggests that their success could probably be ascribed to the competence of Brazier's "stage management". (The older equivalent [[Afrikaans]] term -  [[toneelmeester]] - is also found with this rather ambiguous meaning in programmes and articles about 19th and even early 20th century theatre, notably productions by touring companies.)

← Older revision		Revision as of 04:24, 12 November 2021
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	https://en.wikipedia.org/wiki/Stage_management		https://en.wikipedia.org/wiki/Stage_management
		+
		+	[[F.C.L. Bosman]]. 1980. ''Drama en Toneel in Suid-Afrika, Deel II, 1856-1916''. Pretoria: [[J.L. van Schaik]].

	Go to [[ESAT Bibliography]]		Go to [[ESAT Bibliography]]

@@ Line 5: / Line 5: @@
 == History ==
-While the activity of "managing activities on the stage" has itself has been a part of the theatre since its very origins,  the term "stage manager" only came into in 18th century in England.  This seems top have come about because companies now increasingly hired someone other than actors and a playwright to direct or manage the stage set-up and activities. As theatre practice increased in complexity, notably in the 19th century, the stage manager's responsibilities were eventually split into two more clearly defined positions, namely that of a [[director]] of actors and the overall presentation of a play (a creative responsibility greatly affected by the emergence of new ideas about the nature of performance, generated by such movements as the Meiningen school in Germany and most notably by the Stanislavsky) and that of a technical [[stage manager]] (in the light of the many new technologies introduced into venues and performances).
+While the activity of "managing activities on the stage" has itself has been a part of the theatre since its very origins,  the term "[[stage manager]]" only came into in 18th century in England.  This seems top have come about because companies now increasingly hired someone other than actors and a playwright to direct or manage the stage set-up and activities. As theatre practice increased in complexity, notably in the 19th century, the stage manager's responsibilities were eventually split into two more clearly defined positions, namely that of a [[director]] of actors and the overall presentation of a play (a creative responsibility greatly affected by the emergence of new ideas about the nature of performance, generated by such movements as the Meiningen school in Germany and most notably by the Stanislavsky) and that of a technical [[stage manager]] (in the light of the many new technologies introduced into venues and performances).
 At times the term thus occurs somewhat ambiguously in 19th century bills and programmes,  with what appears to be a different and wider meaning, possibly also encompassing some more creative responsibilities, such as those we today assume to belong to the [[director]] of a play. For example, in South Africa, the Shakespearean actor/manager [[Thomas Brazier]] is referred to as the "Stage Manager" for productions of Shakespeare plays by the [[Le Roy and Duret]] company in late 1868, and in this case [[F.C.L. Bosman]] (1980, p. 236) suggests that their success could probably be ascribed to the competence of Brazier's "stage management". (The older equivalent [[Afrikaans]] term -  [[toneelmeester]] - is also found with this rather ambiguous meaning in programmes and articles about theatre.)

← Older revision		Revision as of 04:19, 12 November 2021
Line 1:		Line 1:
−	A [[stage manager]] ([[Afrikaans]]: formerly [[toneelmeester]], later referred to as a [[verhoogbestuurder]]) is the person literally responsible for co-ordinating and managing all the activities (i.e. sets, lighting, sound, props, communication between departments, performers, management, etc.) that take place '''on and behind the stage''' during rehearsals and the production. In this sense s/he supports the director, actors, designers, stage crew and technicians, making sure that the production runs smoothly, and may often s/he act as the director's representative during performances, especially on tour.	+	Today the term [[stage manager]] ([[Afrikaans]]: formerly [[toneelmeester]], later referred to as a [[verhoogbestuurder]]) refers to the person literally responsible for co-ordinating and managing all the activities (i.e. sets, lighting, sound, props, communication between departments, performers, management, etc.) that take place '''on and behind the stage''' during rehearsals and the production. In this sense s/he supports the director, actors, designers, stage crew and technicians, making sure that the production runs smoothly, and may often s/he act as the director's representative during performances, especially on tour.

	The activity is known as '''[[stage management]]''' ("[[verhoogbestuur]]" in [[Afrikaans]]) .		The activity is known as '''[[stage management]]''' ("[[verhoogbestuur]]" in [[Afrikaans]]) .