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Job Profiles
Acting
The art of creating living, breathing characters from the printed page.
Unlike the closed gates of the professional theatre scene in Germany,
the University Players open their arms and welcome any aspiring
thespians, regardless of their theatre background, to test their gait
and feel the renowned resonance of our stage. Some UP alumni were so
overwhelmed with theater fever that they decided to attend acting
school.
Direction
Directing is an extremely time consuming activity that demands
patience, creativity, and highly developed sensitivity for that which
happens on stage. These abilities go hand in hand with
experience. Therefore, we recruit our directors primarily from a
pool of members who have collected experience as an actor and perhaps
more importantly, as an assistant director. Lastly, due to the
fact that our plays are performed in English, it is essential that our
directors have a strong command of the English language.
Assistant Directing
The prejudices are true. Assistant directors may as well be
called “director’s maids.” They’re responsible for keeping
director’s notes, creating the rehearsal schedule with help of the
director, which is an administrative hurdle every week! They’re
the ones who run around calling actors who should be at
rehearsal. And yes, from time to time they may brew some
coffee. This position is also a time consuming one, nonetheless
it provides an excellent opportunity to watch the director at work and
to make note of his/her structure and methods.
Prompter
Just through this person’s presence the actors’ confidence is boosted
every night. The prompter should be at as many rehearsals as
possible before the performance period begins, so that there’s always
someone there to immediately read out the correct line. Also,
it’s critical that he/she can differentiate between a dramatic pause
and an actor’s black out.
Stage Design
This area demands improvisational talent and skilled craftsmanship due,
in large part, to the fact that the Audimax has to be transformed into
a stage. Our budget does not allow us to create technical and
aesthetic wonder. However with a little ingenuity and the
occasional loan from other theatres in Hamburg, we are successfully
able to create a whole new world in the largest lecture hall of the
university.
Costumes
Improvisational talent is also required for the acquisition of
costumes. Sewing skills are not necessarily required, however they are
certainly more than welcome. What is important, however, is the
capability to translate the director’s desires and ideas into reality
when in the wardrobe.
Masks
Under the beams of 1000 watt lights, even the purest skin can look like
a cosmetic disaster. Hence the need for actor’s make up. Make up
is a diverse field which ranges from the application of false beards to
the combing of wigs to creating drunks’ noses and mortal wounds.
Props
Members who work in Props have to be inventive and rummage around at
home to find the most unusual objects which might serve a purpose. In
this manner, a fancy meal dome can be made out of a globe cut down the
equator, and the staff of a ceremonial authority figure can be made out
of a broomstick. Crew members in Props buy food and drinks, if there is
anything that is to be eaten or drunk on stage. They are also
responsible for making sure that all of the props are in their
respective places at the right times before, during and after the
performance.
Stage Manager
Once the final rehearsals have begun, the stage manager makes sure that
all of the performances run smoothly until the production is over. In
order to do this, the stage manager is responsible for coordinating the
technical side of production preparation, assigning crew members to
make appropriate and timely scene changes, preparing the stage for the
performance, and making sure actors do not miss their entrances. The
stage manager is also responsible for taking care of all backstage
technical and medical emergencies during the show.
Lights
Similar to the challenge involved in stage design, the technicians
setting up lights essentially need to turn the Audimax into a theatre.
To do this, lights need to be rented out, assembled, and positioned, so
that an atmosphere is created that will support the entire concept. In
order to maintain the continuity of the atmosphere from one performance
to the next, a technician will be required to test the programming of
the lights before each show begins. He/she will also be required to
stay situated in the light booth during the run, so that he/she may
monitor the accuracy and timing of light cues.
Sound
The productions can require more or less complicated sound effects, if
nothing else than music for pre-show, scene changes and the
intermission. Prior to each performance, and during, the sound
equipment needs to be set up, tested and monitored, often in
cooperation with stage management and lighting crew members.
House Management and Ticket Sales
Every evening, three hundred theatre goers want to buy tickets, be let
into the theater and buy drinks. The House Manager manages everything
that happens at the door, helps volunteers with tickets and
refreshments, investigates any potential interruptions to the show
(barking dogs, etc.), and assists backstage with first aid, when needed.
Public Relations
This is a wide field. We send announcements and theatre programmes to
Hamburg schools, and we try to convince newspapers, radio and t.v.
stations to report on us. We have posters printed and hang them up
around town. We distribute flyers, and on especially optimistic days,
we look for sponsors. We also look for companies who would like to
advertise in our programme.
The Programme
This is a time consuming and versatile product containing articles
which look at the piece from varied perspectives. The editor is
responsible for deciding which articles can be written and how the
various articles are proceeding. He/she also makes technical and
contextual corrections. Finally, the editor supervises the layout.
Programme Writers
These writers are responsible for creating quality articles for the
editor of the programme. Each article should be written with a literary
eye; although they need not be thesis papers. The articles should be
interesting, well written and ready for the editor to add to the
programme. One of the writers may be asked to help review the articles,
looking for any grammar or contextual errors.
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