julia booklet of the arts industry

8/9/2019 Julia Booklet of the Arts Industry

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Julia Johnson Performing Arts Business

Page 2 Julia Johnson

Traditionally circus companies were travelling companies that were run as a self con-tained operation who erected their own venues, which were normally tents shapedin a circle and are called the big top. They showcase specialist talent such as ac-

robats, trapeze artists, animal acts, and human cannon balls; these series of acts

would be choreographed and performed and normally introduced by the ring-master. Clowns are a significant part of the circus act as they are known to becomical and stupid; however they are also performers in the miming aspect andthey interact with audience members. Famous clowns include the 4 time winner ofBest Clown David Knoyot, who has been recognised for his comical mime per-

formances as a clown. Clowns are so notorious as there is a phobia named afterthem which is called Coulrophobia. Circus Companies originated from AncientRome and had been influenced by the Greeks and chariot racing, contemporarycircuses are just one type of circuses created in 1970. Originating from Canadaand London contemporary circus are

combined tradition circus skills with the-atrical techniques to convey a story ortheme. An example of a Circus com-pany would be Cirque du Soleli this

company was funded by two streetperformers in 1984; Guy Lalib-ert and Daniel Gauthier and nowhave just over 5 thousand employersworking in their company.

A film company advertises, distributes and makes movies or television programmes.Some of these companies create original shows, and then approach stations or stu-dios to get their show aired. More established companies are approached by theTV company, a valid example of this is20th Century Fox this company was funded

in 1935, however the company formed in 1915 by William Fox. 20th Century Fox

has produced some of the most famous films in the industry such as Star Wars andthe epic Avatar.

Production companies are companies that put on a diversity of productions and providephysical basis for work, they can be directly responsible for the fundraising of the pro-

duction.

Circus Companies

Film and TV Companies


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Unit 3Page 3

Dance companies are a group of dancers who work as a unit to put on performancesto entertain other individuals, these performances are showcased by these compa-nies who can be choreographed by a specific choreographer or the companycan hire a choreographer to work with them. A appropriate example of this wouldbe the renowned Pineapple Dance Studios funded by Debbie Moore in 1979, Deb-bie set up a dance studios in a warehouse in Covent Gardens in London, their stu-

dios are a primary venue for dance training and rehears-als. There are loads of different classes that can be at-tended including Performing Arts class which helps edu-cate children from the ages of three to adults of any age,

these classes help gain confidence and gain skills into theperforming arts industry. There are many different genresof dance from Latin to Ballet there have been films thathave been themed around these types of genres likeBlack Swan which is a well known Ballet performance in

the industry. In modern times there are also shows thatgive people the opportunity to dance to change your life,

shows like Got to Dance where there are all sorts of dif-

ferent dance companies that apply from street dance, toIrish dancing, and one of the judges Ashley Banjo has his own dance troupe called

Diversity which won another competition show Britain's Got Talent.http://www.youtube.com/watch?v=sQ48Llzyy5s

Theatre companys are a company that

produces different types of plays and

brings together a group of actors and pro-

duction personnel collectively known as a

troupe or a company. There are many di-

verse genres that are performed, which

range from tragedy, comedy and histori-

cal plays and these production are per-

formed by actors putting on the produc-

tion; this could be Shakespearian plays to

musical theatre found in Londons West

End. There are different types of theatre

companies such as improvisational com-panies and repertory companies which are theatre companies which will perform a

number of different plays in a season. Birmingham Repertory theatre company is a valid

example, which was funded in 1913. http://www.birmingham-rep.co.uk/

Dance Companies

Theatre Companies


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Touring companies are very flexible as their venues can vary dramatically,most of the group members of a touring company usually double up

jobs within the company to save money and to decrease the numberefficiently to use of members. For example an actor in the companycould also be the production manager, on the other hand if the tour-

ing company have alreadypracticed in a set venue withtheir play they normally con-dense the performance, castand scenery for a touring ver-sion. An example of would bethe English Touring Theatrecompany and they strife tobring theatre to as diverse an

audience as possible, this com-pany has been running since1993.

Touring Companies

Community arts are groups that apply for funding from local and national

art organisations, for each project they select a target group to work with

this could be a social group, age or ability related. Community arts collabo-

rate with less fortunate people to engage their learning into the creative

arts, there are two different types of community arts community and public

art. These communities focus on social justice and popular informal methods

of educating, online community arts are seen in may ways this is a different

form of community art as it is virtual source. Finally community theatre com-munities create theatre productions and get performed by the community

members attending. They have to collaborate between community mem-

bers and professional artists involved in the arts. Arts Award is a local com-

munity arts programme where teenagers from the ages of 12-18 meet at a

local venue to gain UCAS points and skills; they explore different creative as-

pects of the performing arts industry for the future.

Community


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Education outreach is a department withinthe production company, this area iscompanies that specialise in providingworkshops to accompany areas of studywhich allows insight into areas of profes-sional theatre. These companies are likeWest Yorkshire Fire and Rescue service

this company come into schools andother educational venues to give infor-mation to children in fun and excitingways. When education outreach compa-

nies come to schools they normally puton a play which is based around com-mon affairs related to teenagers;WYFRS try to find innovative ways to en-

gaged their audiences which can be anindividuals to a group of communitymembers.

Education Outreach


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Production venues are places that hold and perform their own

shows at their own venues, there are four different sections in theproduction venue category and these are: Art Centres, Producing

houses, Receiving houses and Entertainment complexes.

Art centres are a different type of organi-sation these centres provide a focuson the art as well as local artists andthese centres showcase their workings.Work that is held at this venue rangefrom art exhibition pieces to resident

theatres or photography exhibitions todance companies with rehearsalspace to practice. An example of thisis the Hazlitt theatre in Maidstone,Gravesend this theatre is named after William Hazlitt who was born inMaidstone. The Hazlitt theatre opened in 1955 and presents a variedprogramme of professional drama and music amongst various others.The Hazlitt theatre produces different forms of art and displays the work

at the Hazlitt venue, this ranges from musicals to partnership projects.

Art Centres


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Producing houses create their own productions in house which means

they perform and produce their own per-formances in their own theatre with theirown material. They control the perform-ance in areas such as costume andscenery workshops which are located onsite, Miskin theatre is an appropriate ex-ample of a producing house as they per-form and control their performances. Thisis Robbie McGovans job as the Artistic

Director he chooses the productions to

put on and runs the show. They put on a wide range of shows such asRun Lola Run a music show to Stalingrad a Theatre In Education per-

formance.

Receiving houses are types of producing venues, this area can also becalled Roadhouse this means that organisa-

tions do NOT put on their own productions. In-

stead they hire other touring companies toperform at their venues; receiving house com-panies book theatre spaces and pay a higherfee to perform at this venue and usually thetheatre then take a percentage of the ticketsales. Some companies make a deal to spilt

ticket sales money each bringing different re-sources to the production process. The WestEnd located in London is the most valid exam-

ple to use for the receiving house area, thereare many venues in the West End that hirecompanies to perform at their theatre. In 1576the first public playhouse known at thetheatre was built by James Burbage, in mod-

ern times the theatres collectively engage au-diences of more than 13 million which was theestimated number in 2007. Since then in thelate 1990s an increase in numbers of audiences have attend West End

shows such as We Will Rock You and Les Miserables

Producing Houses

Receiving Houses


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Entertainment complexes are made up of various entertainmentbusinesses this could include performance spaces in theatres

to studios or cinemas bars and clubs. This area of producingvenues are designed to be a place of entertainment andamusement for people to enjoy with the many various areasof businesses in which they offer. The O2 Arena is an appro-

priate example of an enter-tainment complex as thisvenue explores the different

various ranges of businessavailable, such as concertvenues, restaurants andclubs. There are also exhibi-tions that are held in order tointeract audiences to explorethe different areas of per-

forming arts. The O2 area construction was finished in 1999

however the venue wasn't officially opened until 2007; this pro-ject took 600 million to develop as it was formally built as themillennium dome. As a celebration for the 3rd millennium the

dome got transferred into an entertainment complex for thepublic.

Entertainment Complexes


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Arts administration companies also known as arts admin, arecompanies that are involved in the paperwork side of the indus-

try. They are responsible for facilitating the daily operations to

fulfil their missions.

Agencies are organisations that provide a service which offers

the opportunity for performers to apply to get in agencies

books. This means that if the agency gets a call asking for a

certain type of persons char-

acteristics or qualities theylook though their books and

tell these performers about

the auditions. Agencies nor-

mally don't ask for any money

to sign people to their books,

this is because if their mem-

bers get the job they take apercentage of their earnings.

There are different agencies

for different areas in the in-

dustry such as performing arts and modelling. Spotlight is a

UK casting agency and a valid example of this area within

arts administration.

Agencies


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Funding Bodies

Funding bodies are organisations that provide funding for

disadvantage people, this is so that they can becomemore familiar with the performing arts industry in a fun

and interactive way. This organisation also provides the

disadvantaged with research grants, scholarships orfund-

ing bodies as part of the Arts Administration category.

The Arts Council of England is the main funding body in

England and the most appropriate example of this area.

On their website they express that their mission is to offergreat art to everyone and they claim to achieve this by

Campaigning and distributing public money from the

government to achieve their goal.

Unions

Unions are organisations which provide guidance to groups of

people who are in the same industry and field of work as

one another. Unions tend to look after their members best

interest, this organisation as part of the art admin groupprotect the members professional identify; this can mean

that their stage name is not copy righted. An example of

this would be the Actors Equality Association. This labour

union represents live theatrical performers and this union

was funded in 1913 and is located in New York City, Amer-

ica. Within this union there are over49,000 members in stage

actors and stage management.


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Services companies are organisations that hire their services

out to clients these are normally people who want to hire out

tools. Professionals from this organisation include hire, design

and construction or ticket companies.

Hire Companies

Hire companies are organisations where people pay to hire anduse these companies equipment, afterwards the clients haveto return the hired equipment back usually within a period oftime, such as having stage rental for 48hrs. This can becheaper than buying the equipment yourself in the short term.If your equipment is faulty or has a technical fault the com-pany that are responsible forthe equipments upkeepshould take care of the tools ifsomething were to go wrong.Equipment that can be hiredcould be for lighting, soundand costume. The equipment

you hire can be transported ashire companies should providethis service. Transportation is asignificant element in the in-dustry as the products need to

be delivered so that the companies are able to set up for theirperformances. The Hire Company is an appropriate example

of this, established in 1991 this hire company provide clients

with the service of hiring out a wide range of equipment sucha high tech cameras and lighting.


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Arts Administration and Production Companies

Arts Administration liaise with production companies in many ways for example theatre

companies will need to liaise with agencies; this is because theatre companies will need

assistance to know where there are auditions and where to go for these. This is an impor-

tant friendship within the industry because without this partnership actors would not have

the information they would need to know where to go and when for auditions. For exam-

ple Creation Theatre are a theatre company that produce and perform shows, this

company have been going science 2000 and they liaise with an agency called

Freeman Christie.

Another friendship between Production companies and Arts Administration would be

funding bodies and education outreach organisations, this is a useful friendship because

funding bodies give money to help set up groups of people to become more familiar

with the performing arts industry and education outreach focus specifically on targeting

groups of teenagers. This brings education to students in a innovative way, these two as-

sociates liaise with one another in the industry, so that the education outreach can get

funding so they can continue to circle schools and bring performing arts knowledge to

the youth. Bigfoot is an outreach education company and is a valid example of thisand they are the UKs major contributor in mainstreaming in schools and have been go-

ing since 2000, an example of a funding body

would be the British Council who supply

scholarships and funding.

Finally within the friendships of the Arts Admini-

stration and Production Companies; Unions

liaise with dance companies so that the em-

ployees within this organisation are part of a

union. This means that the dancers that are

part of the Union have their identity protected

like their stage name for example. The unions

tend to look after the dancers best interests,

The American Guild of Musical Artists is a un-

ion designed for dancers and was funded in

1936, and had around 7,000 members in 2006

and an example of a dance company would

be Rambert Dance Company which startedin 1888 and is located in Warsaw.


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Service Companies and Production Companies

Service companies liaise with many different organisations within Production

services such as Circus companies and design and construction. This is a very

useful friendship within the performing arts industry because design and con-

struction offer the services of many things including: costume which is where

the Circus companies come in as they could need handmade measured cos-

tumes that they want in a specific design and the employers of the service

company will work and send it off to the circus company. The Circus of Hor-

rors is an organisation that will buy and liaise with design and construction

companies or people such as Julie Taymor; this assures them that they can

get their costumes and anything else they may need made for their produc-

tions.

Another example of a performing arts industry friendship between service and

production companies would be touring companies and ticket booking or-

ganisations these two companies would liaise with each other because the

touring company would need tickets to be sold and for their production andthey would need a ticket organisation to be able to put their tickets up for

sale to the public. This is a significant friendship because without the ticket

company tickets wouldnt be sold and there would be no audiences for tour-

ing companies. An example of this would be Ticketmaster with Michael

McIntyres Comedy Road Show.

Finally film and TV companies liaise with service companies in the hire department;

this is another main partnership that is needed within the performing arts industrybecause without hire companies the film and TV companies would not get the re-

sources they would need to film. An appropriate example of this would be Kudos

a film and television production company which got funded in 1992, this company

would liaise with such hire companies as The Hire Company.


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D

eputy

Stage

M

anager

Assistant

Set

Designer

Assistant

Sound

Designer

Assistant

Make-Up

Designer

Assistant

Costume

Designer

Assistant

Light

Designer

Assistant

Stage

M

anager

Set

Constru

cterSound

Operator

Make-Up

Artist

Co

stume

M

aster/

M

istress

Light

Oper

ator


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Stage Manager

Stage managers job role involves organisation and coordinating skills to produce

theatrical productions. Stage managers have the overall reasonability of the

management of the smoothness of the production and is in-control of stage man-

agement, this job is a key element to the production of a play, because theymanage rehearsals, actors, technicians, props and costume fittings. This job needs

to have a good understanding of artistic and technical elements of the perform-

ance; typical jobs carried out by a stage manager would be; distributing informa-

tion to other theatre departments. Hours that stage managers have to work can

vary as rehearsals normally take up the day and evening, however when the pro-

duction gets closer to the date stage managers will work full time as they are a

key element to the smooth running of the event. The salary that stage managers

work for can vary depending on experience 10-15 years, managers can get paid

up to 20,00-40,000. To become a professional qualified stage manager the de-grees you may need to obtain would include performing arts, drama/theatre

studies and music; your chances could be increased if you train with organisations

such as National Council for Drama Training (NCDT). Within the stage managers

job role they also look for experience in the theatre industry, skills such as atten-

tion to detail, computer skills and awareness of current technologies will help the

chances of employment.

Deputy Stage Manager

Deputy stage managers are assistants to the stage manager, this role is filled to

ensure that rehearsals run smoothly and if the stage manager falls ill then it is

up to the deputy to make sure that everything the stage manager would ac-

complished is dealt with. Deputy stage managers helps in every aspect of the

show, from making sure actors are present and in rehearsals to cueing the pro-

duction. This job role also works similar hours to a stage manager from pre pro-

duction to the final curtain; closer to the time of the event the deputy stage

manager normally will work full time. The salary that a deputy would earn

would be between 17,000-18,000 this is due to the fact that stage managers

are more experienced and qualified. On the other hand the entry require-

ments that you would need to obtain to become a deputy stage manager

would be to have knowledge in subjects such as theatre, music or drama at a

BTEC, HND or Postgraduate level. However a deputy would also need to have

certain skills that are appropriately needed for this job role such as problem

solving and thinking on your feet as if the stage manager is unavailable it will

be down to the deputy to apply this skill, as well as people skills in communica-tion to work with others in the industry efficiently so that everyone knows what

they are doing and have a clear understanding.


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An assistant stage managers job role involves making sure everything runs

smoothly, they assist the deputy and stage manager in their jobs if they may

need to be fulfilled. A stage manager assistant is supposed to alone or accom-panied help set up rehearsal spaces prior to rehearsals, this amongst other jobs

such as being responsible for the clean up of the rehearsal spaces afterwards.

During the shows production the assistant stage manager prepares and cleans

the backstage areas. Assistants in this category normally work the same hours

as a deputy and stage manager as when they work if they are in need of assis-

tance. This job will need to be available so the hours will vary from pre perform-

ance to the actual production, however the salary that an assistant stage

manager will earn around 16,000 as this job role is considered to be the an en-

try level job, however the skills and qualifications that an assistant stage man-ager must obtain are very similar. These could include: Bachelor arts degree in

theatrical production, but apprenticeships are also a useful training to have

because it gives one experience within the industry but this job also requires

skills and qualities such as remaining calm in a chaotic situation.

Assistant Stage Manager

Set Designer

A set designers job in-tales designing sets for theatrical productions and nor-

mally liaises with the director of that certain production and consults them on

what their interpretations of the set should look like. A set designer researches

what they need to look into deeper detail about and what the set must look

like; for example if it was Victorian time the set designer would have to re-

search the appropriate construction and architecture for this design. Set de-

signers need to design and illustrate the design concept and estimate costs

and budgets for the project; keeping this is mind set designers work very hard

hours this could extend to evenings or even weekends just to met deadlines.The regular hours that set designers work are similar to stage managers as com-

ing up to the show this role normally works full time and usually stays for the first

run of the production to see if anything about the set or props need to

change. The salary that designers earn ranges from 24,000 to about 35,000;

however most set designers work freelance which means that they are their

own boss with this in mind rates could vary. To become a set designer you

would need to have a high degree in design skill and creative vision. Subjects

that you can study at BTEC, HND and degree level would include: interior de-sign, fine art, 3D design and architecture all these subjects would be of help of

a set design.


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Assistant Set Designer

An assistant set designers job is to generally help out, give advice and assistant the set

designer. The assistant helps out with the communication with others departments within

the production and gets information to help with the research for the design of the set.

The assistant set designers job role is to prepare charts to indicate where items such as

curtains will be hung so that they are more organised to where items will be placed; this

is to ensure that the set that is constructed and will be placed in an appropriate place

which wont interfere with any other furnishings. The hours that assistant set designers work

hours are similar to a set designer as they assist them and if they are in need of any help

therefore this means that during the first runs of the production the assistant could com-

pletely move on to help another project or attend periodically. The salary that a set de-

signer earns is around 18,000 which is slightly lower than a set designer. This is because

this job role is less experienced than a set designer, on the other hand the qualifications

and skills that need to be obtained by an assistant set designer are similar to that of a setdesigner as the jobs are very similar in the fact that you become an assistant before an

actual set designer. Skills that an assistant set designer must have would be along the

lines of having good imagination and creativity as well as being a good communicator.

Set Constructer

Set constructers build sets this could range from the space to underwater these

sets are built for all sorts of productions like theatre, television, advertising and

motion pictures. The set constructer reports directly back to the set designer

about the work that they are constructing and producing; this is a key partner-

ship within the departments as without this friendship the constructer wouldn't

be aware of what the client wants. Some set constructers work on the produc-

tion or administration elements as well, another job that is expected within the

job role of a set constructer is requesting and looking into renting equipment

ready for the productions and rehearsals. After the productions are done with

the set constructers responsibility is to safely dissemble the props and equip-ment. This is amongst others jobs such as estimating budget costs on how

much it will cost to hire the equipment and build, but the hours in a set con-

structers job can vary as if the set needs to be constructed from scratch then

there will be a lot of work needed to be done, this could include evenings and

weekend work. Overtime might be appropriate in some cases as deadlines

might be scheduled and just before the production there might be some

tweaks that need to be made or during the run. An average salary that a set

constructer earns comes around the 20,000 to 50,000 mark. Skills that set con-

structers would have to uphold would be within the reign of setting up stages,

with constructing skills as well as obtaining a BTEC level in production arts or a

foundation degree in set design and prop making.


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The sound designers job involves creating sound effects or music for the pro-

duction, there are certain categories that the music should be classed under,

such as live music or recordedthis during the production will be played

though a sound system. Sound designers normally have a background in elec-tronics and recording; typical tasks that a sound designer must complete in-

clude: being responsible for the duty of maintaining the sound equipment as

well as the security. This amongst other jobs including balancing levels be-

tween dialogue and music and other effects so its not overpowering one an-

other. Sound designers usually work demanding hours so that they have work

completed to the standard that is required to meet deadlines, hours that this

job can work vary as the sound designer needs to know where the appropriate

places are to apply the sound effects or music; therefore this means that the

sound designer would need to be present though-out the production and re-

hearsals. The sound designer would also need to be present for the first run

though of the live performance in case there is aspects about the sound ef-

fects that would need tweaking. Sound designers earn around 48,500. Quali-

fications required for a sound designer could be in a HND, BA or post graduate

level as well as this helpful skills include: organisation skills and financial skills, to

excellent communication skills.

Assistant sound designers have a similar job description to that of a sound de-

signer this job is to ensure that the sound designer is assisted in any little jobs

they are in need of help with. Assistant sound designers usually work closely

and liaise with other members of the production, this is because if there are

certain jobs that need to be attended to then there will be members of the

production that would need to be informed so there are no interruptions. Orthey might need to co-operate with members to insure that they are aware of

rehearsals with sounds and this responsibility is given to the assistant sound de-

signer. Assistant sound designers normally work a similar amount of hours that a

sound designer works as the assistant needs to be on hand to help the sound

designer. Salary can vary for an assistant sound designer which is around the

10,000-20,000 mark. Within this job description there are certain skills and

qualifications similar to a sound designer that an assistant would need to pos-

ses, this could be the understanding of acoustics and obtaining qualifications

in a HND or Post graduate degree.

Sound Designer

Assistant Sound Designer


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The sound operators job is to maintain and operate the

technical equipment in any department from recording

to enhance and amplifying. Sound operators must iden-

tify the sound requirements for a given task or situation.

There are many different types of sound operators whocan be required at a range of different positions within

the industry such as film and TV, audio recordings, and

live performances such as theatre. Typical jobs that a

sound operator must complete are split into two sections

of the production which involves recoding on location

and the post production which includes mixing and edit-

ing audios. Production activities could include: testing

the acoustics in the performance area and selecting,

positioning and adjusting the operating equipment. Postproduction actives would involve the sound operator

balancing speech effects and music, this alongside oth-

ers jobs such as creating and altering sound effects for

the performance. According to the demands of the pro-

duction hours can vary to what a sound operator works,

this could be early starts and late nights. Sound opera-

tors normally come into the production about 2 weeks to

1 month prior performance to liaise with other depart-

ments of the production. They work full time during the

run of the production and this means therefore that the

sound operators earnings figure to about 18,000-

25,000 yearly! Qualifications that a sound operator

would require could include, certificate or diploma level

in sound and music techniques. Subjects that one could

study in order to become a sound operator could in-

clude media in a foundation degree to sound engineer-

ing, music technology and technical theatre.

Sound Operator


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Make-up designers research every character within the production and create

appropriate make-up and hair designs and normally liaise with the costume

designers so that they are aware of the colour palate being used for the char-

acters. The research would need to be very detailed so that the make-up

matches the characters brief and the theme like the Georgian era or Victorian

London. The type of hours that a Make-Up artist will work will depend when

they get called in as during the running up weeks to the production they will

work part-time, however for dress rehearsals they will need to be available if

there is any need for their service, they need to be flexible. During the final pro-

duction, the Make-Up artist will need to be present for the whole of the pro-

ductions and this could vary the hours from early mornings and late nights de-

pending on the time of the shows. Therefore the type of salary that this jobwould earn would be around 26,000. This means that the appropriate qualifi-

cations that a make-up artist would need to obtain would include a degree in

tech styles, fashion design, or beauty this could be a degree in a vocational or

postgraduate level.

Assistant make-up designers job isn't that different from what a make-up de-

signer does, this is because the assistant helps the make-up designer on any-

thing they may need assistance on. They help them with their research into the

characters they need to find information about and will also liaise with the per-

formance job roles, so that they are aware on what look they are going to

achieve and if there will be any changes being made. This means that the

hours are similar so what a Make-Up designer works as they will need to beavailable to assist the designer; this means that the hours will vary from early

mornings to late evenings and that the assistant will work part-time during the

post production stage but full-time for when it comes to the running of the final

performance. This means the salary is less than what a make-up designer earns

because they are higher authority meaning that the type of money that a as-

sistant will earn will be around the 18,000 mark. The type of skills and qualifica-

tions that an assistant would need to possess are the same to what an make-

up designer much acquire these include: BTEC, HND or postgraduate degree

in beauty or tech styles fashion.

Make-Up Designer

Assistant Make-Up Designers


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A make-up artist job is to ensure that models, performers are well presented

and have suitable hair and make-up styles to fit the brief they have been

given. Make-up artists are very flexible in their working environments as the

spacing can change from backstage dressing rooms to open photography

shoots. Make-up artists interpret clients requirements to create the correct rep-

resentation the client envisions, make-up can vary from simple basic make-up

for people such as TV presenters to complex, bold make-up for people such as

performers and models. Being a make-up artists involves creating characters

though the medium of make-up, prosthetics and hair according to the brief

that has been given to the artist though the client; typical jobs that an make-

up artist must accomplish includes: communication with clients to ensure the

clarity of the vision on the brief, as well as maintaining an up-to-date knowl-

edge of available make-up and beauty products. A make-up artists hours can

vary like any other job in the industry depending on their involvement, make-up artists normally work between 2 weeks to 1 month post production. This

could be for dress rehearsals, however when the production is up and running

make-up artists hours can be irregular according to performance times. This

means therefore that this job could be working early hours to late at night,

keeping in mind the make-up artists contract. The salary rates for a make-up

artist can be from 200 to 3,000 weekly. This means that the required qualifica-

tions that a make-up artist would need to ensure a job could include: founda-

tion degree or diploma in photography make-up and fashion.

Make-Up Artist


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A costume designers job is to oversee the overall look of the clothes and cos-

tume in productions like theatre or television. Costume designers also research

and design costumes and in most productions lead a team in the costume de-

partment, there are two types of productions that costume designers work in

and they are small and large. Within the large productions the costume de-

signers will create ideas and deliberate the practical work needed for it, on the

other hand within small productions costume designers concentrate on the

practical skills required and research for the project. Typical jobs that a cos-

tume designer would carry out include: sketching costume ideas as well as

making sure the wardrobe items are available at the appropriate times. Hours

within this job description can be long as deadlines have to be met and made

in order for the production to be on schedule, this means long days and eve-

nings. An average income that a costume designer would earn starts at18,000 and could increase to about 28,000. Being a costume designer also

means that you have to met the right requirements with qualifications, training

and skills this would include: BTEC, HND, postgraduate degree in costume de-

sign, fashion theatre design or performing arts production. As a costume de-

signer the skills that one would need to gain would be having a creative vision,

attention to detail and good communication skills.

Costume Designer


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Assistant costume designers help the costume designer with their work load

and to assist them in any other aspects of the job they require. There are vari-

ous fields in which an assistant costume designer could take this includes:graphics, set or interior design. Within these areas there are certain jobs that

need to be fulfilled such as, attending meetings to take notes on the project to

make clarity of the brief, as well as developing solutions if there are any prob-

lems that occur. The hours that an assistant will work are similar to that of a cos-

tume designer as the assistant has to be on hand if any problems occur and to

help them at any given time. However this means that the salary can vary as

an assistant costume designer works to earn an average income of 15,000.

The qualifications on the other hand that an assistant costume designer would

need to obtain to enter the industry would be similar again to that of a cos-tume designer, these qualifications and skills could include: having a high skill

and degree in theatre design or costume design. There are certain require-

ments that an assistant must meet in order to enter the industry this could be

building a portfolio that shows ones potential employer ones practical skills and

experience of your previous achievements.

The costume master or mistresses job is to be available during all the perform-

ances so if there is a wardrobe malfunction that the costume master or mistress

is to be present for the running of the production this is so that they can mend

the costume or make repairs. Costume masters are a significant part to the

running of a production as without them costumes wouldn't be repaired or

fixed which would be more work for costume designers to produce costume

after costume. Hours that a costume master or mistresses work is mostly part

time because they are only needed during rehearsals or the running of the fi-

nal production, which means they then work full time as they will be needed

for all the performances taken place. This could mean late evenings and early

starts and even weekend work if a costume is needed to be mended with the

appropriate equipment that could take time and skill. This means that the sal-

ary that a costume master/mistress earns is about 21,000 weekly. Therefore

meaning that the qualifications and skills that a costume master/mistress would

need to obtain could include having experience within the industry and being

able to keep calm under pressure, employers may look for grades such as vo-cational or postgraduate in subjects such as tech styles, sewing and repairing,

or fashion.

Assistant Costume Designer

Costume Master/Mistress


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Within a lighting designers job description this job has to

take responsibility for overseeing all aspects of the light-

ing production this may include keeping up the mainte-

nance of the lighting systems. This job normally has abackground in electronics or have gained skills in techni-

cal theatre or stage management courses. This job role

liaises with the lighting manager as they need to relay

ideas about the design and technicality of the lighting

and how this can be accomplished; lighting designers

can work in large or small theatre productions and are in charge of the deci-

sions made about the equipment used how it will be rigged and operated dur-

ing the performance. The hours that a lighting designer works like any other job

in the industry can vary as during the running weeks or month up to the pro-

duction this job role will work full time to when the event is up and running. The

type of salary that a lighting designer earns is about 4,000 to 8,000 monthly.

Therefore qualifications that may come in handy for a lighting designer to ac-

quire could be in a postgraduate , A-Level or vocational level in subjects like

electronics or science and training in fire hazards and safety would be useful

for this type of job.

An assistant light designers job isn't that different from what a lighting designer

does the main difference is that an assistant is on had to help the lighting de-

signer at any given time they may require their help. This job role means that

they attend meetings with stage managers and liaise with lighting managers so

that they know the lighting is appropriate for the type of production that is go-

ing to be performed. The assistant takes notes and helps the lighting designer

with any work load, research or assistance if they may require it, assistant lightdesigners are on hand if for any reason the lighting designer is away the assis-

tant fills in for that job role knowing what needs to be done. The hours again

and very similar to that what a lighting designer works as the assistant is by the

lighting designers side with any assistant they may need; this means that the

running weeks up to the show and when the production is up and running this

job role will work full time. However the salary that an assistant earns is lower

than a lighting designer meaning that assistants earns around 900-2,000

monthly. The qualifications however again aren't that different for what a light-ing designer requires this could include and degree in electronics, science in a

BTEC,HND, A-Level or postgraduate level.

Lighting Designer

Assistant Light Designer


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Light operators set up and operate the lighting for the production this could be

in television, film or theatre. Lighting creates the correct atmosphere that is

needed for the performance and this is what the lighting operators specialise

in to make the mood of the production by the lighting. This demonstrates a

high-level of skill in creative and technical, this job role can also be known as

best boy which is commonly seen on the end credits of films and televisionprogrammes. Typical actives that a light operator may need to complete

could include establishing lighting requirements as well as pursuing and hiring

the suitable equipment for the production. The hours that a light operator must

work can vary during the period running up to the performance to the actual

production and during this period of time light operators must work full time un-

til the end of the production as then they can work part-time of visit the pro-

duction periodically. The salary that a light operator earns could be around the

25,000 mark meaning that the qualifications that could be required for this job

could be a degree in lighting design, lighting technology, theatre arts, or light-ing and sound operation in a postgraduate, specialist or HND degree. Light op-

erators have to undergo training or experience in areas such as light techni-

cian workshops and these are areas in which employers look at.

Light Operator


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Assistant Director

DirectorDirectors are in charge of the overall look of the production and direct as well as

give directions to the actors on how they vision the performance should be con-

veyed. A director takes responsibility in all the stages of the production from de-

sign to pre-production and rehearsals then the final performance. Directors like

from the musical production of Wicked and Joe Mantello. Directors have to havea good sense of artistic vision and communication as they normally liaise with the

heads of all the other departments. Typical work activates include conduction

auditions for productions and helping publicise the production by giving inter-

views and leading discussions. Hours can vary in a directors job as they are

needed for however long the production is on for and the rehearsals as they are

present during every section of the production; this could mean late evenings

coming up to the performance and usually after the first run of the production the

director depending on their contract could move on completely or periodicallyattend. Directors salary can widely vary as some directors are freelance which

means they work from themselves, the regular income for a director to earn a

week would be around 900 to 1,300. The qualifications that one would need to

acquire would be English literature, drama and theatre studies, languages and

music; all o these subjects if you were to gain a qualification in would increase

your skill and knowledge ready to meet the entry requirements for this job. The

type of grades you would have to achieve would be a foundation degree to

HND.

Assistant directors role ensures that the director is always assistant in every stage of

the production. Assistants also have the responsibility of running rehearsals if the

director is not present within the allotted time schedule, daily jobs that an assistant

director would have to carry out could include: attending preview performances

and preparing detailed notes for the cast and the creative production teams. This

amongst other jobs such as managing time and organising people and their

spacing; assistant directors work for just as long as directors do as they have to be

by their side helping and organising the production and assisting the director in

any aspects they may need help in. The regular income that an assistant director

could earn ranges from 700 to 900. Training that may come in useful for an assis-

tant director could be among Nations Council of Drama Training (NCDT) this is a

course that is available at some drama schools specially targeting the course to

the directors and gaining skills in stage management and technical theatre.

Qualifications that would be helpful for your position as assistant director are

among the same courses of that a director trains for including languages and

drama studies.


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Actors jobs are to express a character or situation though speech or mime, body

language or movement. Actors usually work alongside and collaborate with the

writers and directors of the production. This is so that the actor is more familiar and

aware of the character they will need to interpret and portray though their per-

formance. The type of production that actors perform in can vary incredibly fromlive performances to soap operas, TV and film to radio. An actors career can

have periods of unemployment, part-time and full-time; typical work actives that

an actor would have to complete could include: job seeking to look for available

jobs, as well as preparing and undertaking research actives to help prepare them

for the character role they will convey. The typical hours that an actor works can

vary as leading up to the production the would work part-time while all of the

technical side is being looked. Actors may need to attend rehearsals, towards the

performance, actors and other performance jobs will be asked to attend rehears-

als such as dress rehearsals and run thoughts of the shows to ensure the light andsound is correct. While the performance is up and running the actors will be

scheduled to work full time, meaning that the salary that actors earn can vary

dramatically depending on what type of production they are performing in, this

can range from 180,500 to 1million. Qualifications that an actor would need to

acquire to become a professional in the performing arts industry would mean

that the an actor would need to specialise in drama, dance or performing arts;

this can be in a vocational level or postgraduate. Employers also look for experi-

ence in the industry and skills including: team working skills, as well as having a

flexible and having an optimistic approach to working in the industry.

Actor/Actress


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A choreographers job role takes responsibility for being in charge of all the move-

ment in the production, they create and arrange original routines that performers

perform to. Choreographers work on all different forms of dance such as ballet to

street dance; however some choreographers may specialise in a certain form of

dance. This job normally works long daytime hours as this job teaches the perform-

ers the routines during rehearsals; this could extend to evenings as choreogra-

phers might need to stay behind for run thoughts to check the routines and move-

ments or chance any last minute details. This also includes the first run this means

that the choreographer will attend the first couple of run thoughts of the whole

production while it is live to the to the public and afterwards they can occasion-

ally attend or completely leave the production depending on their contract. The

regular rate that choreographers earn can be up to 40,000!! This means that the

entry requirements that this job will need to achieve could include a high level ofdance training and experience; other grades could include: three year degree/

diploma or one year postgraduate diploma in professional dance or musical

theatre. Skills that choreographers would also have to obtain would be to have

good communication skills and teaching; as well as patients, stamina and con-

centration.

Choreographer

Assistant choreographers help and assist the main choreographer in their daily

routine rehearsals to the main production. They help within rehearsals and com-

municate with certain other heads in the departments, for example costume as

this would be an important partnership to have in the industry and production as

they need to liaise with one another to be aware on how restricting the costumescan be for the performers. The hours that assistants works are similar to that of the

choreographer as their jobs have only minor differences and one is the authority,

so wherever the main choreographer is the assistant must be there to support the

choreographer in all their decisions they must make. The qualifications that could

be needed for an assistant choreographer to become professional within the in-

dustry wouldn't be that different from a choreographer, diploma levels in dance

and performing arts.

Assistant Choreographer


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Dancer

Within the job description of a dancer it claims that this profession involves lots of

movement, gestures and body language to portray a character, story or situation.

Most dancers learn and interpret the routines from the choreographers or in somecases improvisation. These choreographed pieces can be to any genre such as

ballet or jazz and are usually performed in-front of live audiences or performance

in television, film or music videos. Typical actives that dancers would complete in-

clude: preparation for auditions or casting sessions, looking after their own cos-

tumes or accessories, as well as discussing and interpreting the routine with the

choreographer. Hours that dancers work are similar in the performance depart-

ment as they work part time when the show is in pre-production and this job role

only comes in if they are needed until the running up to the production about 1

week to 1 month before the performers start to work full time. This could meanearly starts and late evening rehearsals. The income that a dancer earns would

be around the 150,000 to 180,500 mark and this can vary depending on the

dancers hours and the time they work for. This means therefore that the qualifica-

tions that dancers could acquire could be in a postgraduate or vocational level

which would then lead to a job, their are all sorts of places in further education

that supply this resource such as universities, college or sixth form. Common sub-

jects that dancers would train in would be dance and performing arts.


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Music Director

Within a music directors job description their responsibility as a basic function is to

create the music possible for the production and to know what appropriate music

is allowed to be used within the performance. Music directors create and con-

duct a musical ensemble, which are used for most shows or concerts; there will be

rehearsals that will need to be conducted by the music director and it will be the

music directors responsibility to conduct this process. Their main priority is to look

after all of the performers within the music department and oversee every aspect

of the music content of the production. The average hours that a musical director

would work would be full time during the production of the show as well as the

running up weeks to the performance. The regular income that a music director

would earn would be around the 34,000 mark; to be able to earn this amount of

money the type of qualifications that this job role would need to acquire would

be degrees such as HND, Postgraduate or a vocational level. This could be

achieved by going into further education weather its sixth form, college or univer-

sity. This job would require a background in the art of music and having the knowl-

edge on the technical side of this part of the industry.


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Assistant Music Directors

An assistant music directors job entails the same type of responsibilities of that

which a music director does. They help run and take notes in rehearsals this is in

case the music director isnt present, therefore it would be up to the assistant to

take over and know what is happening and what needs to be done. In order sothis department does not hold up the production. Assistant music directors assis-

tant and are on hand for the music directors if they are in need of any help with

workload or opinions for the production. An assistant works similar hours to what a

music director does and this is because they need to be on hand and by the side

of the music director in case any problems arise. The assistant as well as the musi-

cal director need to work full time so that the production is on time and not de-

layed. The regular income that an assistant will work for is lower than a music di-

rector and is around about 18,000. Like a music director the training and qualifi-cations that are needed to achieve to become a professional in the industry are

similar to what a music director would train for, so this includes BTEC, HND or foun-

dation level in music performing and music tech.

Singer

In a singers job description they produce and perform music that is either live or

recorded, they can either been known as a solo artists or work with a band, for ex-

ample Florence Welsh is the lead singer of her band named Florence and theMachine. Some singers work free lance and are very flexible within where they

work as this could vary from wedding singing in small venues to large scale pro-

ductions at the west end. This can depending on the singers specialist genre

which could decide on what type of performers they are, genres such as classi-

cal, pop, rock or indie. Singers typical job activities could include: practicing regu-

larly, seeking out and liaising with new venues in which they seek to perform, this

amongst other regular jobs such as handling administration and business actives.

Therefore the hours that a singer must work can vary just like any other perform-

ance job in the industry, this means that if there is a show or performance the sing-ers will need to attend rehearsals or light and sound checks and well as run

thoughts of the performance. This means that the salary can also vary alongside

the work hours meaning that the typical salary that a singer would earn is similar to

that of a musician, varying from 620 to 45,000. This can also depend on the

venue and the performance such as Glastonbury a famous festival to the

Beacon Court in Gillingham. The qualifications and skills that a singer would have

to obtain to enter the industry are similar to a musician, meaning that they would

need to acquire a degree in music weather its in a BTEC, HND or postgraduate

degree these will all ensure a job in the future. Skills that an employer will look atfor a dancer to gain would include: attention to detail and a wide repertoire of

music.


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Musician

There are different types of musicians they can be composers or instrumentalists

who perform music which can be live or pre-recorded; this can be as a soloist orin a musical ensemble. Some musicians usually specialise in a certain area of mu-

sic this could be indie or opera, this job requires a high level of skill dedication and

expertise. General tasks that musicians would need to complete would include:

performing in concerts, learning new musical pieces, as well as setting up the in-

strument and maintaining it, as well as making sure that it is in tune and ready for

the performance. Regular hours that a musician would need to work would be full

time during the performances, depending on how long that production is on for

as there may be daytime and evening performances which could vary the hours.

However the running up weeks and months to the production the musicians

would work part-time and only arrive to the venue when required. The typical sal-

ary that a musician will work for can vary as some musicians work freelance

meaning they are their own boss and will get the full amount of money they have

earned; other musicians regular salary would be between 22,000 and 45,000.

This means that the qualifications required to become a professional musician

would include: BTECs HND or post graduate degrees in music performance they

would also need to gain skills and experience with working within the music indus-

try.


36/40


Directors liaise with other performance job roles in the performing arts industry

like dancers, actors and musicians but they also liaise with the production

team such as the lighting designer. This relationship within the industry is impor-

tant as without this partnership the director would not know what the lighting

states are and it might not be his vision and create atmosphere that is neededto make the performance. An example of this friendship would be director

Robin Herford and lighting designer Kevin Sleep of the Woman in Black play

which has been successfully running since 1989! The director need to liaise with

all areas of production from costume to construction to make sure the produc-

tion is going well and what they want, meetings are set up where all areas of

the production team come together to discuss their progress and what needs

to be done, these are called production meetings.

Production Jobs

Another significant partnership that takes place within the industry would be

between the director and the set designer, this is a significant relationship be-

cause without this partnership the director wouldnt be aware of what props

would be used. This as well as knowing the staging of the production and what

it will look like, this will ensure the director can rehearse with the actors and be

aware of that departments decisions. If they did not know until days before theproduction they would have to alter their directions according to the set de-

sign, another reason to why this partnership is important within the performing

arts industry is because the communication between the other production job

roles would mean that the set designer would be aware of the brief and what

they would need to be produced. This would be needed from them to know

what will be appropriate for the performance and that it wont interfere with

the performers and the directors intentions. An example of this partnership

would be the famous director of Sweeny Todd: The Demon barber of Fleet

Street (film) Tim Burton and the set designer Francesca Lo Schiavo these twoproduction jobs roles would have liaised while the in the production of the film

when it was being made in 2007.


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Performance Jobs

Another important partnership within the industry between production andperformance job roles would be the director and choreographer, these jobs

work in perfect harmony together as the director will also instruct the dancers

on where to enter the stage and how they exit in order for the performers to

gain better spacing. This partnership within the industry is important because

the choreographer has to liaise with the director, because they need to be

knowledgeable about their surroundings of the set and if the dances are ap-

propriate to the production; as well as making sure that the vision of the direc-

tors is still intact with what the actors are producing. A valid example of this

would be the West End Musical Chicago with director Walter Bobbie and

choreographer Ann Reinking; a production that has been going since 1979.

Within the production job roles as director this role would liaise with other per-

formance job roles such as actor/actresses, this partnership plays a significant

part within the performing arts industry. This is because without the communi-

cation between the actor and director the performing role would not have

any guidance on where they would need to be or invasion the directors view

on how they want this character portrayed. Without actors their rarely would

be a performance and its the directors job to ensure that the actors can take

direction well to produce the directors vision on how the performance should

be perceived. An example of this partnership within the performing arts indus-

try would be with director Marc Webb from 500 Days of Summer (film) and

Actor Joseph Gordon Levitt produced in 2009.


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A production and performance job role within the performing arts industry that

work well with one another would be the costume designer and choreogra-pher. These two job roles would need to liaise with one another in order to

know what type of dances are being constructed so that the costume de-

signer would know what type of outfits would need to look like to be appropri-

ate for the routine. This is also to ensure that the costume designer knows

weather they cant be restricted or not or even to what material would be ap-

propriate to use. This partnership plays a significant part within the industry with-

out it the production could be jeopardised as the choreographer would have

to change certain movements of the routine so that the costume would not

get damaged, or if they did then it would be a job for the costume master to

mend them all. An valid example of this would be the musical Lion King with

costume designer Julie Taymor and choreographer Garth Fagan.

Performance Jobs

Actors are connected to costume designers as a costume designers job is to

research the type of costumes that will be appropriate for this part; this means

that the actor will have to liaise with this production job role to ensure the re-

search is deeply looked into with the characters qualities and characteristics.

Another reason to why actors and costume designers liaise with one another

would be because the costume designer overseas the final designers for all of

the costume department, therefore checking that everything in is order for the

production. Actors collaborate with this job role to ensure that their costume is

fitted and made to the certain brief. This is an important partnership to have

within the performing arts industry because without these two job roles the ac-

tor would have nothing appropriate to wear or would not be fitted. The cos-tume designer wouldn't be aware of the character that actor are playing and

what research and precautions would need to be taken in order to produce

the work. An example of this would be within the television film production of

Worried About the Boy with Actor Douglas Booth and costume designer An-

nie Symons.


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Production Jobs

Another important partnership within the performing arts industry would be be-

tween the costume designer and the make-up designer. These two job roles

work in perfect harmony as the costume designer needs to designer the cos-

tumes for the performing roles and make them to the appropriate brief and

what research has been done into that character. This goes for the make-updesigner as well as for example if the production was set in the Georgina era

then the make-up and costume designer would need to research what type

of clothing and make-up was warn in those days to make the production look

as realistic and possible. These two production jobs liaise with each other to dis-

cuss their ideas on how the character should look and also make decisions on

the colour pallet needed for that character. This partnership is important be-

cause without these two production jobs liaising then there could be issues

such as miss matched make-up and costume and the colour of the costume

and make-up could clash and wouldnt look realistic. An example of this part-

nership would be the 2008 Georgina era set film The Duchess with costume

designer Michael OConnor and make-up designer Daniel Phillips.

The costume designer also liaises with the production role of lighting designer,

this is to ensure that the lighting does not ruin or wash the colours out of the

costume designed for the production. The lighting designers job is to oversee

all aspects of the lighting and to make sure that the lights are not to dim that

the actors and not seen but not too bright so that the audience and actors are

blinded. Their job is also to make sure that the lighting is appropriately placed

within the theatre and to acknowledge when the lights should be turned on

and off. This is a significant friendship to have within the performing arts industry

because the costume designers communication with the lighting designer en-

sures that all of the research and work into the costumes will pay off. As well as

the characters being recognisable and the colours wont be damaged by the

lighting and what coloured lights will complement this element of the perform-

ance. A valid example of this would be the musical production of We WillRock You exampling the partnership of lighting designer Willie Williams and

costume designer Tim Goodchild.


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http://en.wikipedia.org/wiki/Rambert_Dance_Company

http://en.wikipedia.org/wiki/Kudos_(production_company)
http://en.wikipedia.org/wiki/List_of_clownshttp://en.wikipedia.org/wiki/Circushttp://en.wikipedia.org/wiki/Cirque_du_Soleilhttp://en.wikipedia.org/wiki/Production_companyhttp://www.google.co.uk/webhp?sourceid=chrome-instant&ix=sea&ie=UTF-8&ion=1#hl=en&sa=X&q=dance+companies&tbs=dfn:1&tbo=u&ei=pLpLT5PNHMaN0AXendizDg&ved=0CCAQkQ4&bav=on.2,or.r_gc.r_pw.r_qf.,cf.osb&fp=bf56d27dba7e0d1b&ix=sea&ion=1&biw=1280&bih=709http://www.google.co.uk/webhp?sourceid=chrome-instant&ix=sea&ie=UTF-8&ion=1#hl=en&sa=X&q=dance+companies&tbs=dfn:1&tbo=u&ei=pLpLT5PNHMaN0AXendizDg&ved=0CCAQkQ4&bav=on.2,or.r_gc.r_pw.r_qf.,cf.osb&fp=bf56d27dba7e0d1b&ix=sea&ion=1&biw=1280&bih=709http://www.google.co.uk/webhp?sourceid=chrome-instant&ix=sea&ie=UTF-8&ion=1#hl=en&sa=X&q=dance+companies&tbs=dfn:1&tbo=u&ei=pLpLT5PNHMaN0AXendizDg&ved=0CCAQkQ4&bav=on.2,or.r_gc.r_pw.r_qf.,cf.osb&fp=bf56d27dba7e0d1b&ix=sea&ion=1&biw=1280&bih=709http://www.google.co.uk/webhp?sourceid=chrome-instant&ix=sea&ie=UTF-8&ion=1#hl=en&sa=X&q=dance+companies&tbs=dfn:1&tbo=u&ei=pLpLT5PNHMaN0AXendizDg&ved=0CCAQkQ4&bav=on.2,or.r_gc.r_pw.r_qf.,cf.osb&fp=bf56d27dba7e0d1b&ix=sea&ion=1&biw=1280&bih=709http://en.wikipedia.org/wiki/Pineapple_Dance_Studioshttp://www.pineapple.uk.com/about_us/performingarts.aspxhttp://en.wikipedia.org/wiki/Theatrehttp://safety.fhwa.dot.gov/ped_bike/education/http://www.westyorksfire.gov.uk/community-outreachhttp://en.wikipedia.org/wiki/Hazlitt_Theatrehttp://en.wikipedia.org/wiki/Receiving_househttp://en.wikipedia.org/wiki/West_End_theatrehttp://en.wikipedia.org/wiki/The_O2_(London)http://www.theo2.co.uk/inside/inside-the-o2.htmlhttp://en.wikipedia.org/wiki/Funding_bodyhttp://en.wikipedia.org/wiki/Arts_administrationhttp://www.artscouncil.org.uk/http://en.wikipedia.org/wiki/Actors_Equity_Associationhttp://www.spotlight.com/http://www.thehireco.co.uk/http://www.creationtheatre.co.uk/business-buddies/business-friendshttp://www.bigfoot-theatre.co.uk/about-bigfoot/http://en.wikipedia.org/wiki/American_Guild_of_Musical_Artistshttp://en.wikipedia.org/wiki/American_Guild_of_Musical_Artistshttp://en.wikipedia.org/wiki/Julie_Taymorhttp://en.wikipedia.org/wiki/Julie_Taymorhttp://www.ticketmaster.co.uk/Michael-McIntyre-tickets/artist/1351485http://www.ticketmaster.co.uk/Michael-McIntyre-tickets/artist/1351485http://www.ticketmaster.co.uk/Michael-McIntyre-tickets/artist/1351485http://en.wikipedia.org/wiki/Julie_Taymorhttp://en.wikipedia.org/wiki/American_Guild_of_Musical_Artistshttp://www.bigfoot-theatre.co.uk/about-bigfoot/http://www.creationtheatre.co.uk/business-buddies/business-friendshttp://www.thehireco.co.uk/http://www.spotlight.com/http://en.wikipedia.org/wiki/Actors_Equity_Associationhttp://www.artscouncil.org.uk/http://en.wikipedia.org/wiki/Arts_administrationhttp://en.wikipedia.org/wiki/Funding_bodyhttp://www.theo2.co.uk/inside/inside-the-o2.htmlhttp://en.wikipedia.org/wiki/The_O2_(London)http://en.wikipedia.org/wiki/West_End_theatrehttp://en.wikipedia.org/wiki/Receiving_househttp://en.wikipedia.org/wiki/Hazlitt_Theatrehttp://www.westyorksfire.gov.uk/community-outreachhttp://safety.fhwa.dot.gov/ped_bike/education/http://en.wikipedia.org/wiki/Theatrehttp://www.pineapple.uk.com/about_us/performingarts.aspxhttp://en.wikipedia.org/wiki/Pineapple_Dance_Studioshttp://www.google.co.uk/webhp?sourceid=chrome-instant&ix=sea&ie=UTF-8&ion=1#hl=en&sa=X&q=dance+companies&tbs=dfn:1&tbo=u&ei=pLpLT5PNHMaN0AXendizDg&ved=0CCAQkQ4&bav=on.2,or.r_gc.r_pw.r_qf.,cf.osb&fp=bf56d27dba7e0d1b&ix=sea&ion=1&biw=1280&bih=709http://www.google.co.uk/webhp?sourceid=chrome-instant&ix=sea&ie=UTF-8&ion=1#hl=en&sa=X&q=dance+companies&tbs=dfn:1&tbo=u&ei=pLpLT5PNHMaN0AXendizDg&ved=0CCAQkQ4&bav=on.2,or.r_gc.r_pw.r_qf.,cf.osb&fp=bf56d27dba7e0d1b&ix=sea&ion=1&biw=1280&bih=709http://www.google.co.uk/webhp?sourceid=chrome-instant&ix=sea&ie=UTF-8&ion=1#hl=en&sa=X&q=dance+companies&tbs=dfn:1&tbo=u&ei=pLpLT5PNHMaN0AXendizDg&ved=0CCAQkQ4&bav=on.2,or.r_gc.r_pw.r_qf.,cf.osb&fp=bf56d27dba7e0d1b&ix=sea&ion=1&biw=1280&bih=709http://www.google.co.uk/webhp?sourceid=chrome-instant&ix=sea&ie=UTF-8&ion=1#hl=en&sa=X&q=dance+companies&tbs=dfn:1&tbo=u&ei=pLpLT5PNHMaN0AXendizDg&ved=0CCAQkQ4&bav=on.2,or.r_gc.r_pw.r_qf.,cf.osb&fp=bf56d27dba7e0d1b&ix=sea&ion=1&biw=1280&bih=709http://en.wikipedia.org/wiki/Production_companyhttp://en.wikipedia.org/wiki/Cirque_du_Soleilhttp://en.wikipedia.org/wiki/Circushttp://en.wikipedia.org/wiki/List_of_clowns

julia booklet of the arts industry

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