SHOW TRAINING

Glossary, definition, role and mission.

Stage manager (theatre)

In the theater, the stage manager fulfills the delicate function of preparing, coordinating, executing a specific part or the entire material implementation of a performance.

• Le régisseur général, qui coordonne l'ensemble des régies spécifiques, est le collaborateur immédiat du directeur technique. Il est aussi l'interface entre l'équipe de création (metteur en scène, décorateur...), tous les techniciens intervenant sur une production et l'administration (budget, embauche d'intermittents...).
• Le régisseur de plateau organise avec le chef machiniste le travail des machinistes et veille à la préparation du plateau, au montage et au démontage du décor.
• Les régisseurs lumière et son font de même en ces domaines.

Décorateur (théâtre)

The theater designer is a specialist, who is responsible for decorating the stage space (the decor of the play). His role is similar to that of the production designer in the cinema. He is responsible for the scenography of a play. He is therefore sometimes also called a “scenographer”. » Some renowned painters or artists have created sets for plays, ballets or operas.

The set designer must, when imagining a set, reconcile the director's requirements with his own artistic conception to create the framework in which the actors will evolve. From the text of the play he will create an environment (furniture, objects, colors) intended to create an atmosphere and highlight the characters.

He not only designs the sets, but must monitor their construction and assembly. It is up to him to choose the materials and techniques used. To the theater management, the set designer is responsible for meeting deadlines and the budget. He remains in constant contact with the director, and works in a team with other entertainment professionals.

Respecting deadlines - the decor must be ready for the general - often leads him to work in a hurry.

Each year, during the Nuit des Molières, a decorator is rewarded with the Molière decorator scenographer award for the design and creation of the set for a play (or an opera) created during the year.

There are several training courses designed for those who want to prepare for this profession:

training in a higher art school: National School of Dramatic Art of Strasbourg (ESAD-TNS), National School of Theater Arts and Techniques (ENSATT) in Paris, School of the National Drama Center of Saint-Étienne, School of architecture from Clermont-Ferrand etc. university training at the European Foundation for Image and Sound Professions (FEMIS) in Paris. training in private establishments: ESAT-School of Arts and Techniques: Groupe Hourdé in Paris, INFAC-Brussels middle class training center. training at the Ecole Nationale Supérieure des Arts Décoratifs in Paris (ENSAD).

Some famous decorators:

André Barsacq (1909-1973)

Jean Bazaine (1904-2001)

Émile Bertin (1878-1957)

Jacques Gable

Roger Harth (1927-1982)

Richard Peduzzi (1943- ...)

Nicky Rieti (1927- ...)

Eric Ruf (1969- ...)

Raymond Sarti (1961- ...)

Nicolas Sire

Louis Touchagues (1893-1974)

Laurette theater recommends La Filière, national professional training center for performance techniques (CFTPS) and Institut Supérieur des Techniques du Spectacle (ISTS)

AdministrationDecor and AccessoriesTechnical Management and ManagementLightsStageRisk PreventionSoundVideo

The vast majority of theater staff come from or are training at the CFPTS (Paris) or the ISTS (Avignon).

Theater

Theater is both the art of performing drama, a particular literary genre, and the building in which theater performances take place.

Jadis, le mot désignait également la scène ou le plateau, c'est-à-dire toute la partie cachée du public par le rideau.

Au sens figuré, « théâtre » désigne un lieu où se déroule une action importante (par exemple, un théâtre d'opérations militaires).

Aujourd'hui, à l'heure des arts dits pluridisciplinaires, la définition de l'art du théâtre est de plus en plus large (jusqu'à se confondre avec l'expression spectacle vivant), si bien que certains grands metteurs en scène n'hésitent pas à dire que pour qu'il y ait théâtre, il suffit d'avoir un lieu, un temps, un acte et un public.

Il s'agit de spectacles dans lesquels des acteurs, mis dans les circonstances et les situations créées par un texte et la vision d'un metteur en scène/réalisateur, incarnent des personnages pour un regard extérieur (le public), dans un temps et un espace limités. Les dialogues écrits sont appelés pièces de théâtre, mais il peut y avoir également du théâtre sans texte écrit ou même sans aucune parole. Dans la création contemporaine, les frontières entre les différents arts de la scène (théâtre, mime, cirque, danse...) sont de plus en plus ténues, si bien que certains professionnels n'hésitent pas à remplacer le mot théâtre par les mots spectacle pluridisciplinaire ou spectacle vivant, mettant ainsi l'accent sur le métissage des disciplines.

Two spectacles were interrupted

An intermittent worker in the entertainment industry is a person who works intermittently (alternating periods of employment and unemployment) for entertainment companies (cinema, television, theater or other live entertainment).

The productions of these companies are most often by nature limited in time, which leads them to contract with artists, technicians, workers, over defined periods, even if they possibly employ "permanent" staff, on permanent contracts, Moreover. They can also hire an artist or technician, as part of a production, for a contract of one day or more.

In France, they are employees, and do not work as independent workers, contrary to what is increasingly practiced in other European countries such as Germany or Great Britain.

This particular situation of succession of fixed-term contracts, alternation of periods of employment and unemployment, has led the social partners sitting at Unedic to develop specific measures regarding their accessibility to unemployment benefit rights (see below).

If this accessibility depends on criteria defined by Unedic, the intermittent position of the show does not confer any particular status and does not depend on this accessibility. Indeed, due to these criteria, certain intermittent workers do not fall under these provisions, although they actually exercise an entertainment profession on an intermittent basis.

History:

In 1936, the intermittent employee scheme with multiple employers was created for cinema technicians and executives. In 1969, performers were integrated into the intermittent scheme, then live performance technicians. On June 26, 2003, a memorandum of understanding between the MEDEF and three trade union centers is signed, during which the annexes (8 and 10) are modified. Since then, 507 hours of work over 10 months are necessary to be compensated for 8 months.

The purpose of these agreements is to adapt to the unemployment insurance agreement in force the provisions of the annexes to the agreement of January 1, 1997. In addition, these agreements contribute to the restoration of the financial balance of the unemployment insurance system. The CGT contests the content of these agreements, considering that they degrade the conditions of compensation for intermittent workers in the entertainment, film production and audiovisual sectors, without contributing to the restoration of the balance of the unemployment insurance system, nor remedy the numerous abuses and frauds which, according to her, are the essential cause of the growing gap between the contributions paid by these professions and the benefits paid. It calls on public authorities to fully exercise their responsibilities in this area. Finally, these agreements were allegedly negotiated under unfair conditions and signed by minority organizations. A negotiation took place between François Chérèque (CFDT) and the Prime Minister at the time, Jean-Pierre Raffarin, by “exchanging” more favorable conditions for nurses against the abandonment of intermittent workers. Force Ouvrière also denounces the absence of measures to combat abuse and precariousness of work, as well as a reflection linking the employment situation with the method of financing the unemployment insurance system. It asserts that these agreements would be incompatible with the legislative and regulatory provisions relating to the determination of the daily allowance, the financial balance of the unemployment insurance system, as well as the sanctions which may be imposed against employers. not respecting the obligations provided for in terms of contributions. These arguments were also raised in the numerous observations which were addressed to the Ministry of Social Affairs, Labor and Solidarity, following the publication in the Official Journal of the notice initiating the approval procedure for these agreements.

Legislation:

Annexes 8 and 10 of the unemployment insurance convention establish the rules concerning unemployment benefits for intermittent workers in the entertainment industry. Appendix 8 concerns workers and technicians in sound recording editing, film and audiovisual production, radio, broadcasting and live entertainment. Appendix 10 concerns performing artists: actors, musicians, dancers, etc.

To benefit from unemployment benefits (granted by Assedic), which is an Interprofessional Solidarity Fund, the intermittent worker must justify a certain number of hours at least in a given period. Currently — as of January 1, 2006 — you must have worked 507 hours (i.e. approximately 3 months of work at 8 hours per day) during

Last 319 days for artists Last 304 days for workers or technicians

That is approximately 10 months (For comparison, the general Assedic regime requires 910 hours worked over the last 22 months - to update, it seems that it is 610 hours over the last 28 months, since February 19, 2009 -) . This legislation is regularly renegotiated within Unedic in an equal manner by the social partners (the organizations and unions representing employers - including the MEDEF and the CGPME - and employees, including the CGT entertainment federation).

Controversy:

This regime, almost unique in the world, allows a certain vitality of artistic creativity, but it is criticized for certain differences, seen as privileges for some. In fact, the supposed privileges have led our councilors to a plan such that, for example, 99% of intermittent workers will have a pension lower than the minimum old age. The new calculation of rights over approximately 10 months (instead of the annual calculation which existed until in 2003) eliminates a large number of artists from this specific regime, in an arbitrary manner for some. Certain entertainment companies, particularly in the television sector, are accused of abusing the system, by multiplying intermittent contracts in detriment of full-time employment contracts. This regime is sometimes imposed on precarious technical or administrative employees (switchboard operators, maintenance, etc.). The reform of intermittent work does not plan to put an end to these practices, despite protests from artists and technicians. In February 2008 the court of accounts revealed several irregularities in the entertainment leave fund for intermittent workers.

Source Wikipedia

How were intermittent entertainment workers harmed by their professional fund? The Court of Auditors singles out management which has increased the number of irregularities. The world