The Professional Opinion

During my dissertation as said within my introduction I will be looking at the Academic and Professional opinion to gain a firm argument within the Dissertation I have used the online survey of SurveyMonkey and developed my dissertation by these responses. I have also made an attempt at analysing the responses during the chapter. Below is my third chapter of my dissertation.

Within this part of the Dissertation the research was based upon an online Survey. This part of the dissertation will discuss and evaluate the role of a Deputy Stage Manager from a professional perspective. The software that was used to gather the information was SurveyMonkey which helped gain 7 responses in total.

Fig.1. displays the question of age within the topic this question was raised due to the concern of having responses that wouldn’t be classed as an professional opinion. Statistics show that 57% of participants were aged between 18-25, 29% of participants were aged between 25-35 and 14% of participants were aged between 35-45.

Fig.2. raises the question of how many years have the participants of the survey been in the industry statistics show that 43% of participants have been within the industry below 5 years and between 5-10 years and 14% have been in the industry 15 years +.

Fig.3. raises the question of role within the industry be it Production Manager, Stage Manager, Deputy Stage Manager or etc this was to acknowledge different participants that may have knowledge within the industry. Statistics show that 14% of participants were a Production Manager, 43% were a Stage Manager, 29% of participants were either a Deputy or Assistant Stage Manager and with the same percentage participants selected “Other” within the survey. Those that had selected other stated that they were a Production Electrician and Sound Engineer.

Fig.4. represents different areas of performance be it Acting, Dance, Musical Theatre or Opera within the statistics for this question 43% of participants said that they specialised within Acting shows, 29% of participants specialised within dance shows and 57% specialised within Musicals.

All questions had the intention of gaining knowledge of the individual so that the decision could be made of whether this unknown person was a suitable candidate that could be classed as an industry professional.

During the survey the question was raised of what are the generic skill sets of the Deputy Stage Manager according to Appendices 1 Respondent 1 said that the generic skills of the Deputy Stage Manager are the ability to read music to an indefectible level and they must have the ability to understand the stresses and pressure of each department during the technical rehearsal.

According to Appendices 1 Respondent 2 said that the Deputy Stage Manager must be good at time keeping, have good communication skills, have good punctuation and be organised.

According to Appendices 1 Respondent 3 said that the Deputy Stage Manager must have organisation skills as well as a cool head, understanding of production elements and good communication skills.

According to Appendices 1 Respondent 4 said the Deputy Stage Manager must be comprehensible, punctual, proficient, attentive and genial.

According to Appendices 1 Respondent 5 said that the Deputy Stage Manager must be organised, be good at time management, be honest and academic.

According to Appendices 1 Respondent 6 said that the Deputy Stage Manager must have communication, time management and organisation skills.

According to Appendices 1 Respondent 7 believes that the generic skill sets of the Deputy Stage Manager are as follows Organisation, patience, knowledgeable of all aspect of backstage operations, punctual, passionate, approachable, constantly contactable, and has to have a clear and calm voice.

During Appendices 1 there is the common belief that the Deputy Stage Manager must have organisation skills this belief is shared with Respondents 2,3,5,6 and 7. There is a general census of the Deputy Stage Manager needing to be punctual a belief shared by Respondents 2,4 and 7. Another general belief within this appendices is that the Deputy Stage Manager needs to have good communication skills a belief shared by respondents 2,3,4 and 6.

Appendices 2 looks at the Deputy Stage Manager on an Acting show this is where the survey started to go to specific skill sets of the role in specific shows. According to Respondent 1 the Deputy Stage Manager needs to have an excellent understanding of the script, the ability to understand cueing in ridiculous and unnatural places as well as this they must understand cue timings and they must have a knowledge of technology and detailed paperwork.

According to Appendices 2 Respondent 3 suggests that the Deputy Stage Manager within this show needs to ave good communication and knowledge of performance styles.

According to Appendices 2 Respondent 5 says that the Deputy Stage Manager needs to have good time management and organisational skills on this type of production.

According to Appendices 2 Respondent 6 states that the Deputy Stage Manager on this type of production needs to have an understanding of Acting pieces and the same as generic skills stated in Appendices 1.

According to Appendices 2 Respondent 7 states that the Deputy Stage Manager on this type of production needs to have similar skills to their answer within Appendices 1 as well as being passionate towards acting productions and actors themselves with a good level of respectability.

According to Appendices 2 there is a general belief that the Deputy Stage Manager must have the same generalised knowledge from Appendices 1 however it is agreed by Respondents 1 and 6 that this role must have a knowledge of different acting styles. It is also a common belief between respondents 1 and 7 that this role must have knowledge of the backstage departments.

Appendices 3 shows the viewpoints for a Deputy Stage Manager on a Dance show Respondent 1 stated that the Deputy Stage Manager must have the essential skill of reading music, must understand musical terminology and mist have a understanding of classical ballet, staging and positions.

According to Appendices 3 Respondent 3 stated that the Deputy Stage Manager of a Dance show must have musical knowledge, a understanding of the show concept and must have communication with a cool head.

According to Appendices 3 Respondent 6 stated that the Deputy Stage Manager on this type of show must have an understanding of the type of dance and a knowledge of reading music this is if the music is live although cueing can be done by timings if the music is recorded.

From appendices 3 there is a general belief that the Deputy Stage Manager on a Dance production must have musical knowledge and be able to read score this si shared by Respondent 1,3 and 6 another belief that is shared with Respondents 1 and 6 is that the Deputy Stage Manager must have an knowledge of the different types of dance styles.

Appendices 4 shows the viewpoint from respondents of what a Deputy Stage Manager needs to have on a Musical/Opera show. According to Respondent 2 the Deputy Stage Manager must have the same skills as stated in Appendices 1.

According to Appendices 4 Respondent 3 stated that the Deputy Stage Manager on a Musical/Opera Show must know how to read musical score as well as a knowledge of show flow and tempo, they must also have good communication skills, have an organised approach to work and have the knowledge of cueing.

According to Appendices 4 Respondent 4 believes that the Deputy Stage Manager on a Musical/Opera show would need to be efficient in reading scripts and musical score.

According to Appendices 4 Respondent 6 believes that the Deputy Stage Manager on this type of show must have an understanding of the concept of the show be it classical or modern and they must have a knowledge of reading music scores.

Within Appendices 4 Respondents 3,4 and 6 have the same belief in that the Dpeuty Stage Manager must have the knowledge of score reading, score reading is music sheet reading within a performance. Respondents 4 and 6 shared the same view that the Deputy Stage Manager must have a knowledge about the show that they are working on.

Appendices 5 shows the beliefs of the respondents on if they believe that the role of the Deputy Stage Manager has changed from their original expectations of the job role. Respondents 2,4 6 and 7 said that they did believe that the role had differed and varied from their original expectations, Respondent 3 stated that the Deputy Stage Manager would need to be adaptable to each situation and stated that every show is different. However, respondent 1 disagreed with the other respondents and believes that the role doesn’t differ or vary from their original expectations.

 

The Academic View

During my Second Chapter of my Dissertation I have looked again at secondary resources and looked at the generalised role of the Deputy Stage Manager this chapter needs to be developed so that there is some analysis for the dissertation itself. The second Chapter is as follows.

According to Bond, D (1991) The Deputy Stage Manager can become the run the Stage as the Stage Manager or become an Assistant Stage Manager if the Stage Manager is on the book, this role can also be referred to as an “First Assistant Stage Manager” and if the Stage Manager is on the book the Deputy Stage Manager can be in charge of props if the Assistant Stage Manager isn’t experienced enough the Deputy Stage Manager needs to have some knowledge of the Technical aspect of the performance and needs to enjoy working with actors and directors.

According to Palmer. S (2000) the Deputy Stage Manager will usually run the show from the prompt copy this will involve cueing the show and will sit in on rehearsals and works closely with the director, during the pre-production period the Deputy Stage Manager will assist the Stage Manager, they will attend meetings and keep up to date with all records in regards to the meetings, they will also prepare the prompt copy as well as doing a cast and crew list, the Deputy Stage Manager will help the Director and Stage Manager when coming up with a rehearsal call sheet, they will attend all rehearsals whilst working closely with the Director they will keep blocking notes for any scene during the rehearsal period, the prompt must be clear and precise during this period the Deputy Stage Manager will also make note on cue positions within the prompt script, during the rehearsal period they will act as a prompt if the cast forget a line this is as required by the director, it is also the responsibility of the Deputy Stage Manager to provide suitable props in the rehearsal room and collect them at the end of each rehearsal, if the director is absent they will run the rehearsal, it is also the responsibility of the Deputy Stage Manager during this time to allocate appropriate breaks to the cast, during this production period they must liaise with the rest of the Stage Management Team, as well as the many responsibilities during this production period the Deputy Stage Manager will provide support to the Director and the cast.

According to Palmer, S (2000) during the production period specifically the get-in th Deputy Stage Manager will assist the Stage Manager, attend the lighting and sound plotting sessions, put in their stand by cues into the prompt copy as well as making sure that the calls and cues are legible within the prompt script and they will also help with scene change rehearsals. During the performance the Deputy Stage Manager will give Front Of House calls if required, they will also make preshow announcements to the cast and crew, they will run the production staying true to the prompt copy, they will control the discipline of crew in the control room and on comms, the Deputy Stage Manager will also time each performance, at the end of each show they will complete a show report sending it to the Stage Manager and the Director.

According to Palmer, S (2000) the Deputy Stage Manager during the get-out will assist the Stage Manager, return all props and furniture, and give the prompt copy to the Stage Manager for filling out.

According to Palin, G (2010) the Deputy Stage Manager will assist with auditions and preparing the rehearsal room, will gather rehearsal props in agreement to the Stage Manager and the Assistant Stage Manager, as well as setting up the rehearsal room they will run a daily rehearsal and keep a log on performance hours, the Deputy Stage Manager will also give advice to the Stage Manager in regards to Health and Safety implications, they distribute the settings and running plots as well as the cue synopsis’.

According to Palin, G (2010) they will cue the show during the technical and dress rehearsals as well as performances, during this time they will write a show report after every rehearsal as well as maintaining discipline in regards to the quality of the performance and technical standards, they will also make sure that the running plots are put into the prompt copy at the end of the run, they will assist with the safe return of props and furniture and can deputise for the Stage Manager.

According to Copley and Killner, S (2001), S the Deputy Stage Manager must have the following qualities: a good understanding of the script, an understanding of the directors and designers intentions of the production, passion for the job, a love and understanding of people patience and tolerance, they are not to be afraid of long hours or of hard work, awareness of others and an ability to laugh at yourself, they must also be a good listen as well as a good speaker and must be a good note-taker.

According to Copley, S and Killner, S (2001) the Deputy Stage Manger must read through the script thoroughly, making any notes in regards to props, they will prepare the prompt copy, they will work very closely with the Stage Manager ensuring that company and creative contact is maintained, the Deputy Stage Manager will also help the Stage Manager to set up the rehearsal room this will include the mark out of the performance space and gathering the props and furniture that are required in rehearsal, the Deputy Stage Manager will run daily rehearsals, as well as delegating tasks to the Assistant Stage Managers, they will keep all paper work up to date, they will make notes on behalf of the Production and Technical Teams this includes settings lists, lighting and sound cues and running lists, they will make sure that the rehearsal room is clear and tidy.

According to Cospley , S and Killner, S (2001) the Deputy Stage Manager will attend the Production Meetings as well as lighting and sound plotting sessions, they will put cues into the prompt copy, they will assist the Stage Management team in the move from rehearsal room to the theatre, they will assist in setting up the prompt desk making sure that the position is correct for cueing the show, they will attend all scene change rehearsals, from the prompt desk the Deputy Stage Manager will run the Technical and Dress Rehearsals as well as running the show, the Deputy Stage Manager will also make a note of what cue lights and headsets needed as well as the correct position of for the sound operator, they will also help the Stage Management team in setting up the wings for the show and they will assist the Stage Management team in the get-out.

According to Meanear P, Hawkins, T and Mayer, D (1991) The Deputy Stage Manager also known as the First Assistant Stage Manager will usually be in charge of the production running it from the Prompt Copy during Technical and Dress rehearsals and the show, if the Stage Manager is on the book they can act as the Stage Manager or Assistant Stage Manager, if the Assistant Stage Manager isn’t as trained as the Deputy the Deputy Stage Manager will take charge of props, the Deputy Stage Manager must have some knowledge of the Technical departments and must enjoy working with actors and directors.

History

Within my dissertation I have commented on the History of Stage Management and this has became the main focal point of my 1st chapter as well as using secondary resources I have attempted to analyse the different writers and periods of history of when a Stage Manager or Deputy Stage Manager would have been needed. The below is what I have written for my first chapter.

During this section of this section of the dissertation will discuss the history of Stage Management using references such as Fazio. L (2000), Hodgson, T (1989) and Maccoy, P (2004) who have written brief histories of this part of the Technical Theatre and Production industry this will go back to the Medieval Pageant, Elizabethan and Jacobean period going onto the 18th, 19th and 20th centuries defining what it was to be a part of the Stage Management team during these parts of history,  this section will define different roles such as Actor-Manager, Book-Keeper/Book-Holder, Prompter and etc. it will define throughout the different parts of history what could be related to as a Stage Management role within the different time periods and different people’s approaches to the role and what each author refers to as key moments of how the role developed and what defined the role within itself.

According to Maccoy. P (2004) evidence of Stage Management dates back to as early as the Medieval Pageant where a term that is used throughout modern theatre came about this term was “keeping the book” or prompters. During the Elizabethan period was then referred to as the “Book-Keeper” or the “Book-Holder” there are some contemporary accounts that suggest that someone kept a book for the Shakespeare Company which in modern terms could be referred to as the prompt copy. When the custom-built playhouse came about in the Elizabethan and Jacobean period the role of “Book-Keeper” expanded from recording moves, timing of effects and keeping the text up-to-date to getting necessary licencing which was drawn up by the Master of the Revels, copying out parts for individual members of the cast, saying who was needed when in the book, recording the entrances and exits which was referenced backstage during the performances as well as noting what sound effects and props were needed and making sure that they was in the right places during the performance.

Within this period of history we can see a majority of duties that a modern day Deputy Stage Manager would have such as recording moves which in a modern term would be blocking notes, times of effects would be saw as cueing the show and keeping the text up to date could relate to a modern day Deputy Stage Manager as any changes to the script would be a Director decision however, the Deputy Stage Manager would have to make any changes to the script known the rest of the Technical and Production teams.

According to Maccoy. P (2004) During the 19th century Stage Managers were distinguished but with a different title the “actor-manager” for example William Charles Macready during this time rehearsal period were very short due to the actors having many different parts and performing different shows each night. The earliest mention of Stage Management was during this period where the roles of producer or director didn’t exist so a principal actor would take both these roles and direction was referred to as Stage Management but it is also believed that the Stage Manager and Prompter took on this responsibility when a change of cast occurred during the rehearsal period. In the 1880s there was a Stage Manager known as Harry Loveday his role focused on special effects which became a very important part of late Victorian Theatre Loveday’s role can quite possibly be referred to as today’s Residential Stage Manager who looks after the co-ordination of Stage Management  and Technical matters.

During this time period we can see the that Stage Management has started to form in how we see it today although not totally defined we can start to see that the Stage Manager and the Deputy Stage Manager roles have started to form as one of the responsibilities of the Deputy Stage Manager in modern terms is to prompt an actor during rehearsal if he/she requires it so in a way the “Prompter” would be the start of this role during the 19th Century.

According to Maccoy. P (2004) vast Stage Crews were needed to be employed during the 19th Century as theatre drastically moved on creating fly towers, scenery becoming more spectacular and technology becoming more advanced these Stage Crews would be under direct leadership from the Stage Manager. In the late 19th century the theatre industry created the director role however back then it was known as the “Producer” role Adolphe Appia a producer at the time recognised that they needed a director that could be a managing artist who conducted the concept of art work from written work to the stage Appia saw this as a key extended function of the Stage Manager under this vision the Stage Manager would have to be a master of the art and science involved during this process. In an article known as On the Art of Theatre (1911) Edward Gordon Craig was another person to define the attributes of the Stage Manager regarding them as the highest title within theatre saying that the Stage Manager had to be able to run rehearsals and be capable of designing and supervising scenic and costume elements of the production at hand as well as looking at the lighting that would be used. Whereas in The Expemplary Theatre (1922) Harley Granville-Barker said that the Stage Manager would have not only have to have an interest in the play itself but to watch actors and understudies and to also keep the general artistic vision of the play in full stead.

At this part of the 19th century we can start to acknowledge that the Stage Manager is given more and more responsibility of what we would see the Stage Manager as today such as running the rehearsal space co-ordinating Stage Crews and as well known in today’s modern concept we see that people are referring the highest position in theatre however, in the modern concept this isn’t entirely true in regards to the Stage Management team the Stage Manager is the highest position so there for in some respects this statement is true.

According to Maccoy. P (2004) During World War 2 the Stage Management team formed of a Stage Director, Stage Manager and one or two Assistant Stage Managers and in repertory theatres there was quite possibly a student Stage Manager, during this time period Assistant Stage Managers would be expected to have an acting role and this became one of the many routes into going into acting at this time meaning that these acting Assistant Stage Managers weren’t actually interested in being in Stage Management and just wanted to be an actor. However, once the show had opened the Stage Director would be in charge of the show which would include staff and cast and making sure that the technical and production side ran smoothly and the Stage Manager would be in charge of the book and run what was known as the corner, Assistant Stage Managers would also be likely to operate on Sound with record players also known as a panatrope and giving calls to the actors as well as acting themselves. At this time things like props and setting would be down to venue staff also under Stage Management supervision. As history dictates many men and women were at war so theatre was didn’t thrive as much so they had to rationalise roles and create what we know as today as the Company Stage Manager.

During the Second World War we can start to see a firm formation of the Deputy Stage Manager within this section also known as the Stage Director this is known as the Deputy Stage Manager once the house is open runs the show from the Technical element of the production if there is a part of the show where cues for example lighting cues need to missed due to a Technical fault as an example the Deputy Stage Manager would let his or her operator know what cues would be missed and why. We can also see the formation of the Assistant Stage Manager In Role a role that can be used within some productions if need they are designated to the Stage Management team in a modern concept however this role will go onto stage in costume this can be for a scene change that needs to be done within a scene that is going on at the same time as the change.

According to Fazio, L (2000) there was no actual evidence until the Shakespearian and Molerè period of theatre where there was a Stage Manager and a Director during this period was when gas and lime light was developing within theatre the Stage Manager was hired to direct or manage the stage but was a different person from the Playwright and Actors. During the 18th Century the Stage Manager was used instead of the Director Fazio also has said that this was the first person to  be separate from the Playwright and Actors within this time of theatre history, this was when set and costume changes were becoming bigger within theatre and the Stage Manager role came into practice.

This is where opinions can differ within historical documentation due to Maccoy. P (2004) believe that the first ever Stage Manager was within the Medieval Peageant and Fazio. L (2000) believing that there was no evidence until the Shakespearian period we will never actually know when the first Stage Manager was within history as Stage Management is very rarely documented during any production phase.

According to Hodgson, T (1989) The Actor Manager was an actor who was a theatre manager, the role started in 1606 with Sir William Davenant ending in 1905 with Sir Henry Iriving this role was responsible for attending rehearsals, attending every play, attending readings of every new play, the ordering of new cloaths, to direct and oversee Painters, Machinists, Musicians, Singers and Dancers and to have a watch over Doorkeepers who tended to be servants and officers at the time.

Again here we can see the formation of a modern day Stage Manager as according to Hodgson, T (1989) the Actor Manager had to attend rehearsals order new cloaths and direct, all traits of a modern Stage Manager as in the Directors absence the Stage Manager or Deputy Stage Manager can run a rehearsal and the Stage Manager is in charge of the budget for the team so could potentially order anything from props to new curtains for the theatre if desired.

Introduction

During my 3rd year at Hull College I have had to write a dissertation I will be showing the development of the dissertation over the next few months. as follows this is my introduction for my Dissertation

Theatre has been around for centuries dating back from as early as the Greeks the history of theatre is not a subject that can be found quite easily especially in the areas of the people who work backstage such as the Stage Management team this part of the theatre industry is known as the unspoken sector of theatre. According to Maccoy, P (2002) and Fazio, L (2000) Stage Management dates back to as early as the Elizabethan/Jacobean period we could start to see the formation of the Stage Manager however this was never acknowledged as this role but as the Book Keeper. Theatre vastly moved on since then when this industry started to say there is a Stage Manager and an Assistant Stage Manager periods such as the Second World War. Now within modern times there is the Stage Manager, Deputy Stage Manager and Assistant Stage Manager.

The question when thinking about this team is where did they come from? How did they form? What specifically does this industry do? These types of questions are usually answered within books, Youtube videos and surveys but when audiences step foot into the theatre they are guilty of never thinking of the backstage teams. The ones that without them the show couldn’t be performed within a theatre space the ones that make sure that the cast and crew are there on time that the paperwork is done on time and all Health and Safety issues are addressed. The ones who look after the show in the dark, yes a lot of people visit the theatre but will never understand what happens within the backstage industry unless they study the topic due to the backstage being so hidden so unspoken about but why is this? Why is theatre generally so unspoken about?.

We may forget about the Stage Manager who works on schedules so with the Production Manager so that the show can be completed on time for the first night working within the Stage Management budget for props to be used within rehearsal spaces and on the stage or the Deputy Stage Manager without who the lighting, automation effects or the sound wouldn’t happen on time, the person who sits in on rehearsals watching the performance grow from day 1 to the last show marking down the movement of anyone on stage to assist the Director. But this is where this study will help those who don’t quite understand the Stage Management team very well.

This dissertation will look at the Technical and Production Arts industry specifically Stage Management the first chapter will help the reader understand the history of Stage Management how the team formed as it is important to see how such a team formed throughout history this subject was chosen for that reason alone as this will define the different roles within Stage Management throughout different periods of history and will look at how modern day team formed from the “Book Keeper” to the Deputy Stage Manager

Divulging further into the team the second chapter will be an examination of the Deputy Stage Manager this chapter will be looking from an academic perspective looking into books and YouTube videos in order to comprehend the role of a Deputy Stage Manager from generic skill sets using sources such as Palmer. S. (2002) The Essential Guide to Stage Management Lighting & Sound, Palin. G (1989) Stage Management The Essential Guide and etc from these sources we can understand the generic attributes of the role in question this will aid in the study of how the Stage Management team specifically the Deputy Stage Manager works.

After the examination of the Deputy Stage Manager from an academic view the dissertation will elaborate and examine the role from a professional view using a online survey as the main focus point for professionals such as Production Managers Stage Managers, Deputy Stage Managers and etc to fill out the survey, going from generic skill sets to greater depth looking at the role from different types of theatre and what skills are needed within Musicals for example. Once this has been established the argument can form by evaluating the academic opinion and the professional opinion and collating them together this will be in order to see the differences in opinions and be able to form an argument on which source is more reliable to people that are going out into our industry.

Dissertation Topic

During the initial stages of my Dissertation I have had many ideas the orginal concept for this was to do Stage Managemennt in the UK and the USA this would look at the Stage Manager, Deputy Stage Manager and Assistant Stage Manager and the American equivalent of Company Stage Manager, Production Stage Manager and Stage Manager the ideas for this was too look at the individual roles at what they did within there roles I was also going to look at how the different teams differed and look at the different terminology with the 2 countries. This idea was dropped after talking to the dissertation tutor as there was no arguement within the essay.

My second topic of discussion was going to be the differences in Reciving and Production House Theatres, Reciving Houses have companies that use the theatre space and put on there productions at the theatre,  where as Producing Houses are more internal and put on their own productions and have their own departments. I was told after putting this idea forward to look at the history of theatre and this could be the starting point and my arguement for the essay, could be which type of theatre makes more money.

My third and final topic which I am now happy with is the role of the Deputy Stage Manager my first chapter will be the formation of the Deputy Stage Manager and the role in the modern day. The second and third chapters would be looking at the academic and the professional point of view of what skill sets are needed to become a Deputy Stage Manager this will look at Dance, Musicals and Acting performances this is where the arguement will lie which will be my conclusion will sum up with the arugment being what the academic side and the professional side says are the skill sets for the Deputy Stage Manager.

For academic research I will look at Stage Management books and Youtube videos on the role whereas professional view point will come from meetings with professional Deputy Stage Managers and surveys which can be sent out by the Stage Management Assoscation, who have agreed to help me get responses to the survey if needs be.

Research 

Today in our dissertation class we looked at the difference between Quantative and Qualitative research the difference being that quantitative is when you know exactly what you want to research, when you want to statistically prove something, when you need more certainty and can be a testing product this type of research can be done through a meetings, emails, telephone calls and etc. Qualitative is when you are less certain about opinions and want to explore more, are open to ideas, can be used for complex subjects and if you are wanting to get a general “feel” about a subject, this type of research is used for group meeting of 6 to 8 people or can be done I a one to one meeting. We also took part in looking at questions and discussing what category out of the 2 research types they belonged too and if there was any issues with the questions. We also had a chance to discuss what we felt would help us the most with out subject.

I think that the use of primary and secondary resources would benefit me the most primary being an online survey that I complete myself and hopefully will get emails of the contacts that do this survey and secondary being out of text books and YouTube videos. I have chosen to study the subject of the differences of Stage Management in the UK and the USA for this subject meeting professionals and having text books will help me with research into the practices and terminology with each team.