CriticalDance Forum

probably not a 'PC' thread title, but.......it's all i can come up with right now....<P>babs and jeff: do you ever work with technically challenged dance teachers, who want to present a 'show' - but who only know about dance teaching, choreography and running a small business? it seems to me there must be a great number of such people....<P>the end-of-the-year concert pressure demands as high-quality an entertainment as each teacher can muster, but usually the teachers have no training whatsoever in production matters, and next to no money to employ people. additionally, even when they are obliged by a theatre's hiring policy to employ certain technical staff, they don't know what to tell them, or how to use them....<P>what would your advice be for such people, starting at the <B>absolute basics</B>....?<P>i'd be more specific if this applied to me, but i keep my 'parent demonstrations' deliberately SO small as to avoid this whole challenging area - at least so far i have....<P>clever, eh?

Less is more.<P>Say it with me:<P>Less is more. Less is more. Less is more. Less is more. Less is more. Less is more. Less is more. Less is more. Less is more. Less is more. Less is more. Less is more. Less is more. Less is more. Less is more.<P>First thing, and most important thing I think <I>I</I> would do is hire a good dance production manager sort of person...someone well versed in all areas of the production. Whatever salary you negotiate will be worth it's weight in gold. It takes the pressure off of you having to know, or even pretend to know, about things you may not yet. And you will learn! First time is always the scariest.<P>And what if you can't afford the production person, but you still have to use the theatre's crew. Well, if you haven't brought in your own person, you are at the mercy of these people's experience, as well as their interest in helping out. Unfortunately, if no one is directing them, and you don't know what to direct them to do, you are relying on their input exclusively. And, you night very well meet your new production person this way! Someone who is engaged by your group, or performance...who seems helpful and knowledgeable. Keep your eyes and ears open.<P>To me, in order of importance, the following things need to be dealt with:<P>- A safe, debris and obstacle-free space onstage and off. No stubbed toes<BR>- The dance floor. It must be well laid.<BR>- The lighting. You must have some sort of light to illuminate not only your performers, but the performance area for them to be able to see what they are doing.<BR>- The sound. Your dancers have to hear it. Your audience has to hear it.<P>And after that, everything is icing, in my opinion. <P>I'd be curious what others say, before we go into other options.<P><p>[This message has been edited by BabsLights (edited November 20, 2000).]

<BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR><I>what would your advice be for such people, starting at the absolute basics....?</I><HR></BLOCKQUOTE><P>Read my article (available on my web page) entitled, "How to Work with a Lighting Designer".<BR><P>------------------<BR>=-=-=-=-=-=-=-=-=-=-=<BR>Jeffrey E. Salzberg, Lighting Designer<BR>Online portfolio, now including "This Day in Arts History":<BR><A HREF="http://www.suncoast.quik.com/salzberg" TARGET=_blank>http://www.suncoast.quik.com/salzberg</A> <P><BR>

<----------totally technologically challenged. <P>I once was in a production (I was a contracted dancer and had no part in the design of the production) in which slides were shown on a backdrop. It was very well done - so it was not at all a distraction. The slides were not "flashed" but stayed on for quite some time - just a couple for each dance. And each was suited to the particular dance. It was not expensive and was really effective.

Slides! a very interesting solution to the no set problem! That sound great.<P>I have to say, however, that I, hate slides from a technical stand point. You know how some people always trip on things, or have things fall around them, or seem to be followed by bad luck no matter how hard they try to get it right? That's me and projections. <P>I look at a dissolve unit and suddenly, it's HAL from 2001, making it's own show. Must be my magnetic personality <p>[This message has been edited by BabsLights (edited November 20, 2000).]

Salzberg, I think you should provide a direct link to that article! It's great!<P>:::::muttering to self:::::: Why didn't I think of that for my site? ::::::::mutter mutter::::::<P>Run, do not walk to that article.<P>Even if he does refer to himself and all designers as masculine <P>Funny, I always thought they were women <P>

I believe I explain (in the article) <I>why</I> I use the masculine pronoun.<P>Feel free to copy or link to the article. The more choreographers who read it, the better we all are.<BR>

Here's Salzberg's wonderful treatise:<P><BR><B><A HREF="http://www.suncoast.quik.com/salzberg/articles.htm" TARGET=_blank>How to Work with a Lighting Designer</A></B><BR><I>How to communicate effectively with your lighting designer</I><BR>By Jeffrey E. Salzberg

:::::psssst::::: I was trying to create intrigue<P>Yes, he does explain. But you'll have to read it!<P>You left out an important part...how bringing chocolate to the discussions help. Also helps at the tech table.<P>

Azlan! I purposely didn't put in the direct link! I wanted them to look at the rest of the site, too!.<P>(Jeff goes into the corner to pout now)<P>------------------<BR>=-=-=-=-=-=-=-=-=-=-=<BR>Jeffrey E. Salzberg, Lighting Designer<BR>Online portfolio, now including "This Day in Arts History":<BR><A HREF="http://www.suncoast.quik.com/salzberg" TARGET=_blank>http://www.suncoast.quik.com/salzberg</A> <P><BR><p>[This message has been edited by salzberg (edited November 20, 2000).]

Wait a minute, Jeff! Didn't you say we could link directly to that article?<P>I am confused!<P>And, btw, your site is already advertised in every post you make, right below your name...

Yeah, Azlan, I'm just raggin' on you.<P>. . .And you can <I>never</I> advertise too much.<P>. . .And my site isn't advertised in <I>every</I> post I make.<P>. . .Although it <I>is</I> advertised in <B>this</B> one.<P><BR>------------------<BR>=-=-=-=-=-=-=-=-=-=-=<BR>Jeffrey E. Salzberg, Lighting Designer<BR>Online portfolio, now including "This Day in Arts History":<BR><A HREF="http://www.suncoast.quik.com/salzberg" TARGET=_blank>http://www.suncoast.quik.com/salzberg</A> <P><BR><p>[This message has been edited by salzberg (edited November 21, 2000).]

Two books that may prove very useful to any one involved in putting dance on stage:<P>Cooper, Susan (1998) Staging Dance, London: A & C Black ISBN 0 7136 4489 9<P>Schlaich, Joan & Battu DuPont, editors (1998) Dance The Art Of Production (3rd Edition), Dance Horizons Book, ISBN 0-87127-207-5<P>

Someone should write a book on this topic..like you know that whole series they have now: "Personal Finance for dummies", etc. :<P>"Technical Production for Dummies"<BR>or "Lighting Design for Dummies" or some such thing!

i would also like to recommend this article at jeff's site, about sound reproduction (see jeff - i DID look around!):<BR> <A HREF="http://www.suncoast.quik.com/salzberg/audiodan.htm" TARGET=_blank>http://www.suncoast.quik.com/salzberg/audiodan.htm</A> <P>i always make multiple copies, but i probably break every other rule of yours, due to lack of finances - i.e. poor sound system is all i can afford, CD's are just as likely to have come from K-Mart (actually, i've never done that, but i'm not in a position to be able to judge the recording quality of a CD...) at least, at this stage, my tapes are rarely ever reproduced on a fully professional sound system which would expose all their inadequacies.<P>thanks for this advice jeff - i'll remember to return to it if/when i have to meet these more elevated production demands.