A question came up in the comments about just how much stuff to hang on to from shows you may work on... I started answering there, but it got a tad larger than I expected... So here's the diatribe...
Ahhh... The question of how much stuff to store... Naturally anything you actually create in terms of paperwork and notes is good. Always try to get a few good pictures of the set under the stage lighting with some actors. (rather than just the work lights that are on when the show isn't running) After a while all the shows will blend together, and the picture will bring it all back together mentally. As an stage manager, your binder of stuff would probably already have miniature groundplans, but if there is a full size one available that is nice to hang on to as well since the miniature ones will loose some of their meaning over time. If you have done costumes, then photos naturally, perhaps the designer's rendering if you can get it... Beyond that I'm not sure what a costumer might save... Scenic people (set carps, and scenic artists) photos of the build process, as well as the finished product. Prints, notes, renderings, whatever you used to get the job done. For scenic designers, naturally all the paperwork and drawings, plus renderings, and sometimes the model that they almost always make... Lighting designers keep their renderings, the light plot and paperwork, and usually take the best photos since they are having to archive something intangible... Electricians keep the plot and paperwork, plus whatever rental info they end up with... I've no idea what directors and actors keep (apart from a high opinion of themselves).
What we keep here (since we're a company, rather than an individual) is all the CAD files we develop, the origional designer drawings, paint samples, invoices and quotes, and after each show I do a post-show set of notes. The post show helps us because we often do the same show the next year, but they are good for anything to help you remember what problems you ran across, and their solutions. We also keep a lot of notes on whatever room, or theatre, or arena we are working in since odds are we will be back there at some point.
When you are just starting out, the simplest solution is to keep everything you can. If you are trying to get into a college for theatre, they may ask for your portfolio, which few HS students really have... At that point you can ask them what they would like to see in the portfolio and then throw whatever you have together to meet their desires...
Also, collecting references is almost more important than collecting stuff. (well once you are out of the educational, jump through this hoop type of setting) If you go into production, most of the time you will not get asked for a portfolio. They will want your resume, and references. Designers have to keep their portfolio up to date, and yet be able to customize it to the people, and situation they are interviewing for. (once you build up enough stuff to have a surplus that is)
For some reason, I still have my portfolio from college. The last time I used it was my first job interview for a position at a university. After that, it has sat in my apartment, getting carefully shipped from place to place as I moved, and I expect it will rot apart befor eI ever use it again. (anyone need a portfolio?... I recall paying a pretty penny for that thing, and I hate seeing it not being used)
Posted by Backstage at February 26, 2004 04:51 PM