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A theatrical cue is the trigger for an action to be carried out at a specific time. It is generally associated with theatre and the film industry. They can be necessary for a lighting change or effect, a sound effect, or some sort of stage or set movement/change.
Cues are generally given by the stage manager as a verbal signal over the headset system or backstage intercom, by a signal with a 'cue light' or by a show control system. There are 3 types of cues given. Warning, Standby, and Go.
There are several common methods for the stage manager to call warning, standby and go and each stage manager has their own method. The important thing is that they can be heard and understood. Here is an example of a way a stage manager might call for Light Cue #24
The words 'warning' and 'standby' both come before the department and cue number, but the word 'go' comes after. This is because as soon as the word 'go' is heard the crew will execute the cue. It is important that no crew member use the word 'go' in any way while speaking into the intercom system, including casual use of the word 'go' by the stage manager. When discussing cues, many stage managers and crew members will substitute the phrase "the G word" or "G-O"for the word 'go'.
If there are multiple cues right in a row, rather than calling warnings, standbys and go's, a stage manager might say: "Warning Lights 26 through 30, Standby Lights 26 through 30, Lights 26 Go, Lights 27 Go, Lights 28 Go, Lights 29 Go, Lights 30 Go."
The technician(s) or sound and board ops who are to take the cue are expected to respond so that the stage manager knows they have heard and understood them. A typical response could be, "Standing by", "Thank you, Sound", "Standby Rail," or simply "Lights."
Many types of cues are not apparent to the stage manager, or are subtle. In this case the technician who executed the cue usually responds with a taken note; e.g. "Rail cue 11 taken."
The stage manager may ask for the operator to say when the cue is completed. For this, it will be said:
Sometime either the warning or the standby is omitted. This is common if, for example a number of cues are close to each other and don't require preparation. Sometimes, in amateur or British theaters, a single warning or standby cue is consistently given about 30 seconds before the 'Go.'
Cues have established numbers, generally starting from 1 and progressing in integers. If an extra cue is added after the initial list is set, it may be divided by a decimal or a letter. for example, a sequence may go 37, 37.3, 37.7 or 51A, 51B, 51C. It is rare for two decimal digits to be used (like 12.45, 12.46,) particularly as some lighting boards only allow one decimal digit. Show control systems, however, allow and frequently use multiple decimal places as well as digits especially since MIDI Show Control allows an almost unlimited number. An example is 12.46.128.39.
In some systems, lighting, sound, and rail, etc. cues each have their own sequence. In this case, a stage manager would call, for example, Lights 1, Sound 1, Lights 2, Rail 1, Lights 3, etc. In other systems, the cues are arranged together, so that what the stage manager calls is sequential. In this system they might call Lights 1, Sound 2, Lights 3. It is acceptable in this system for there to be gaps in one discipline's cue stack. In this system, it is sometimes also acceptable for a single cue to control two or more separate actions. For example, a stage manager may call "Lights and sound 45" if the two are supposed to go simultaneously. Many show control systems are also easily capable of this sort of simultaneous cueing ability.
Often followspot operators do not take their cues from stage managers. This is generally because the timing of actors' entrances and exits and other movements may vary from night to night, and because calling every followspot cue could become too complicated and interfere with the calling and execution of other cues. However, if there is a problem with the actor appearing on stage, the stage manager will notify the followspots of this over headset. More commonly, a stage manager may only call very specific followspot cues, like a blackout—frequently on a blackout cue there is a light cue, a sound cue, a followspot cue and sometimes even a set cue, so it is very important that everything happens all at the same time. Aside from this, followspot operators take their own cues and follow their own cue sheet, or take direction from the lighting board operator on a communications subsystem dedicated to lighting cues.
(If a stage manager were to call every cue for a follow spot operator, it might sound something like this: "Spot 1, pick up <actor name>, spot 2 iris down, spot 1 switch to color frame #4, spot 3 douse out, spot 4 pick up <actor name>, spot 2 switch to color frame #2.")
Cue lights are sometimes used for backstage cues when a headset for communications is impractical, such as when an actor needs to make an entrance, or if there is a cue needed on stage when the crew needs to be silent. The cue light is a system of one or more light bulbs, controlled by the stage managers using a switch the same way that they would call audio cues over the headset. The cue lights usually use traffic light colours: a solid red light indicates a 'warning' cue; an optional yellow light or a flashing red light indicates "standby"; a green light signals "go." No light at all can represent that no cue is pending. Depending upon the protocol used, a solid red light may indicate that the standby has been acknowledged, or that no cue is pending. An alternate scheme with only one lamp uses "on" as a standby cue and "off" as the cue. Some cue light systems allow the actors or crew to acknowledge back to the Cue Light Operator that the cue has been received.
Many sound operators prefer cue lights to headsets so that they can hear the house sound accurately. Alternately, they will use a headset with a call light, rather than continually wearing it.
A cue sheet is a form usually generated by the deputy stage manager or design department head that indicates information about the cue including execution, timing, sequence, intensity (for lights), and volume (for sound). The board operators, running and deck crews may have copies of the cue sheet with just the information dealing with their department. The stage manager keeps a master list of all the cues in the show and keeps track of them in the prompt book.
A film crew is a group of people, hired by a production company, for the purpose of producing a film or motion picture. The crew is distinguished from the cast, as the cast are understood to be the actors who appear in front of the camera or provide voices for characters in the film. The crew is also separate from the producers, as the producers are the ones who own a portion of either the film studio or the film's intellectual property rights. A film crew is divided into different departments, each of which specializes in a specific aspect of the production. Film crew positions have evolved over the years, spurred by technological change, but many traditional jobs date from the early 20th century and are common across jurisdictions and filmmaking cultures.
Stage lighting is the craft of lighting as it applies to the production of theater, dance, opera, and other performance arts. Several different types of stage lighting instruments are used in this discipline. In addition to basic lighting, modern stage lighting can also include special effects, such as lasers and fog machines. People who work on stage lighting are commonly referred to as lighting technicians or lighting designers.
Stage management is a broad field that is generally defined as the practice of organization and coordination of an event or theatrical production. Stage management may encompass a variety of activities including overseeing of the rehearsal process and coordinating communications among various production teams and personnel. Stage management requires a general understanding of all aspects of production and provides complete organization to ensure the process runs smoothly and efficiently.
In theatre, a lighting designer works with the director, choreographer, set designer, costume designer, and sound designer to create the lighting, atmosphere, and time of day for the production in response to the text while keeping in mind issues of visibility, safety, and cost. The LD also works closely with the stage manager or show control programming, if show control systems are used in that production. Outside stage lighting, the job of a lighting designer can be much more diverse, and they can be found working on rock and pop tours, corporate launches, art installations, or lighting effects at sporting events.
An electrical lighting technician, or simply lighting technician, are involved with rigging stage and location sets and controlling artificial, electric lights for art and entertainment venues or in video, television, or film production.
In theatre, the running crew are members of the technical crew who supervise and operate ("run") the various technical aspects of the production during a performance. While the "technical crew" includes all persons other than performers involved with the production, such as those who build and take down the sets and place the lighting, the term "running crew" is generally limited to those who work during an actual performance.
A spotlight is a powerful stage lighting instrument which projects a bright beam of light onto a performance space. Spotlights are controlled by a spotlight operator who tracks actors around the stage. Spotlights are most commonly used in concerts, musicals and large-scale presentations in which highlighting a specific mobile individual is critical. Spotlights are sometimes located overhead on catwalks. In some theatres, they may also be located in the control booth or purpose-built "spot booths" in addition to the catwalk.
A lighting control console is an electronic device used in theatrical lighting design to control multiple stage lights at once. They are used throughout the entertainment industry and are normally placed at the front of house (FOH) position or in a control booth.
The light board operator, is the electrician who operates and may even program the light board. They are considered part of the "Electrics" Department or LX Department. All non-design elements of lighting will be handled by the LX Department, i.e. electricians. Light board operators mainly are responsible for decoding the light designer's ideas from paper to opening night ready. In some cases, the light board operator is also the light designer.
Television crew positions are derived from those of film crew, but with several differences.
A stagehand is a person who works backstage or behind the scenes in theatres, film, television, or location performance. Their work include setting up the scenery, lights, sound, props, rigging, and special effects for a production.
Intelligent lighting refers to lighting that has automated or mechanical abilities beyond those of conventional, stationary illumination. Although the most advanced intelligent lights can produce extraordinarily complex effects, the intelligence lies with the human lighting designer, control system programmer, or the lighting operator, rather than the fixture itself. For this reason, intelligent lighting (ILS) is also known as automated lighting, moving lights, moving heads, or simply movers.
Stage lighting instruments are used in stage lighting to illuminate theatrical productions, concerts, and other performances taking place in live performance venues. They are also used to light television studios and sound stages.
The spotlight operator or followspot operator is a theatrical technician who operates a specialized stage lighting instrument known as a followspot. A followspot is any lighting instrument manually controlled by an operator during a performance. Generally a followspot will be a dedicated, large lighting instrument designed to pan and change size, beam width, and color easily by hand.
The technical rehearsal or tech rehearsal is a rehearsal that focuses on the technological aspects of the performance, in theatrical, musical, and filmed entertainment.
A theatrical technician, also known as a theatrical tech, theatre technician, or theatre tech is a person who operates technical equipment and systems in the performing arts and entertainment industry. In contrast to performers, this broad category contains all "unseen" theatrical personnel who practice stagecraft and are responsible for the logistic and production-related aspects of a performance including designers, operators, and supervisors.
In theatre, an electrician is a person who works with the various aspects of lighting. Some of the positions among electricians include the lighting supervisor, master electrician, deck electrician, light board operator, moving light programmer, followspot operator, as well as simply electricians. This group is generally known as the "Electrics" Department or LX Department.
The control booth, control room, lighting box, technical booth, tech booth, or just booth used by television, film or theatrical technicians is the area designated for the operation of technical equipment, lighting controls and sound board. Often one or two followspots may be located in the booth as well. In a theater, it is generally an enclosed space with a large sliding window with a good view of the stage centered in the back of the house. It may be on the ground floor or at the balcony level. In a film or television production, it might be in a trailer or other space near the studio.
The following outline is provided as an overview of and topical guide to stagecraft:
Stage lighting accessories are components manufactured for conventional (non-automated) stage lighting instruments. Most conventional fixtures are designed to accept a number of different accessories designed to assist in the modification of the output. These accessories are intended to either provide relatively common functionality not originally provided in a fixture, or to extend the versatility of a lighting instrument by introducing features. Other accessories have been designed to overcome limitations or difficulties some fixtures present in specific applications.
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