top of page

What Are You Gonna Do About Possibilities?

An Unconventional Lifestyle, Art & Theatre Blog

Job Roles


This section presents various job possibilities in the creative area. My main interest is working backstage, therefore I will introduce you to roles in theatres. Some of these job roles really interest me and I looked at the needed skills and how my own ones apply to it. I used especially the book “Stage Management” by Gail Pallin, the websites “Creative Skillset” and “Prospects” as guidelines while creating this list. I looked at entry- level jobs and jobs I could see myself working in years ahead from now. Hopefully, this list will help me to evaluate my own strength and weaknesses. It might also lead me on the right track of figuring out, which career path I might want to focus on.
To assess my own skills, I am using a scale from 1 to 5.
1 stands for no experience in this area, while 5 means that I am really competent in this skill area, due to my experience. It should also be said, that I am very critical and I would not rate myself unrealistically with a 5, if I can not guarantee to 120% percent, that I am extremely competent in fulfilling this task.
This should explain my scale further:  
5 = extremely competent, due to high amount of experience
4 = very competent, due to good amount of experience
3 = competent, due to some experience
2 = lacking competence, due to little experience  
1 = not competent, due to missing experience


Art Director (Film)

The art director will realize the vision of the Production Designer. It is the more practical side of the production. It is a hands-on job and really challenging and this is why, I want to see how my skills can be applied to it.

  • good all-round knowledge of interior design and architecture and the history of both (3/5)

  • practical understanding of building and construction (2/5)

  • understand the work of other TV/film departments, such as camera, lighting, sound, props, and to know how your set designs affect their work (2/5)

  • good knowledge of computer budgeting software (1/5)

  • possess a full clean driving licence (5/5)

  • have excellent free-hand drawing, perspective and technical drawing skills (3/5)

  • possess a good eye for decoration and detail (3/5)

  • able to conceptualise ideas (3/5)

  • able to think visually (4/5)

  • methodical approach to work (3/5)

  • strong leadership skills, to motivate and direct a team (4/5)

  • able to see the broader picture and to co-ordinate effectively (4/5)

  • show diplomacy and sensitivity when working with artists and crew (4/5)

  • be willing to work long and irregular hours (5/5)

  • understand the requirements of the relevant health and safety legislation and procedures, particularly relating to potentially hazardous working conditions or materials (2/5)

  • be aware of and sensitive towards different working practices and cultures when working in other countries (4/5)


Art Director Assistant

Before you become an Art Director, you start with several entry-level jobs, such as the Art Director Assistant. I think, working as an assistant has many advantages, because you learn your profession from the ground up and you still have your boss, in case a production requires knowledge, what you are not able to provide on your own just yet. A job as an assistant gets you also in contact with various creative people, who might be future collaborative partner for you, as well.

  • learn on the job (4/5)

  • basic free-hand and technical drawing skills (4/5)

  • basic computer skills (4/5)

  • take direction and work as part of a team (4/5)

  • good communication and people skills (4/5)

  • show initiative and awareness (5/5)

  • stress-resistant (5/5)

  • have a strong visual sensibility (4/5)

  • keen interest in design, architecture and film (4/5)

  • full, clean driving licence (5/5)


Assistant Stage Manager (ASM)
The ASM or ASMs assist the SM and DSM during the entire time period of pre-production and during performances. They should have (it is very likely to be more than one) endless energy, enjoying people’s company and be reliable. They organize the actors, attend fittings and calls while they source/make props, service team and help with setting-ups. The Stage Management- Team will assist with auditions to make sure, that they run smoothly.

It is a time consuming entry-level job, which helps learning about the process backstage and to get in contact with different companies, actors, directors and designers. The job has multiple facets and different challenges are coming up each day. There is no Stage Management Team in german theatres and therefore, the Costume Design Assistant covers the work of the ASM and partly of the DSM, as well.    

  • Passion for the job (5/5)

  • Love of people (4/5)

  • Caring (4/5)

  • Patience and Tolerance (4/5)

  • Understanding of people and their needs (5/5)

  • Ability to work as part of the team (4/5)

  • work on your own initiative (5/5)

  • Ability to take criticism (4/5)

  • punctual and professional (5/5)

  • Flexible and will take initiative (4/5)

  • good organizer (5/5)

  • Neat and tidy worker (4/5)

  • Clear thinker (4/5)

  • Good note taker (3/5) (I am good at note taking, but my handwriting can be challenging to decipher sometimes.)

  • Ability to take instruction (4/5)

  • Understanding of all things technical (3/5)

  • have boundless energy (4/5)

  • be utterly reliable (5/5)




Chief LX

He/she ensures that the electrical equipment will be handled right by training and controlling the assistants. The Chief LX is responsible for the rigging, focussing and plotting in time. He/she is also in charge of the departments budget and has to source, hire everything what is needed for effects.


Company Stage Manager

In large Repertory and Commercial Theatres he/she is responsible for the running of a performance. In pre-production the Company Stage Manager employs production stuff and coordinates different departments. He/she documents the payment of the stuff and controls the sells at the box office via receipts.


Costume Designer

The Costume Designer works closely with the Director, Set & Lighting Designer. It is his/her responsibility to create a visual and stylistic design for the costume, so that they emphasize the characters and serve the intentions of the Director. To ensure that the Wardrobe Supervisor realizes the right design the Costume Designer brings fabric samples, drawings etc. Normally the Costume Designer is in charge of staying in budget with the expenses. He/she oversees the making and hiring of costumes and attends all fittings, technical-, and dress rehearsal and the first night.


Costume Design Assistant

Working as a Costume Design Assistant has the advantage, that you learn about the process backstage and the development of a design, while not the entire responsibility lays on your own shoulder. It is a good way to learn from an experienced designer and to get your foot in the door, through the connections you will make backstage. Nevertheless, it is a challenging job and you should bring all of those skills with you. For the opera Carmélites I worked as a Costume Design Assistant and even though it was tough, I am grateful for the experience and I really enjoyed facing challenges on a daily basis.

  • be highly-organised and efficient (5/5)

  • have a good memory (5/5)

  • pay keen attention to detail (4/5)

  • be familiar with costume budgets and estimate costs (4/5)

  • good descriptive abilities (4/5)

  • understand research processes and know how to source information (5/5)

  • demonstrate leadership and managerial skills when overseeing Assistants and Dailies during crowd fittings (575)

  • have good communication skills (5/5)

  • stress- resistant (5/5)

  • have a positive attitude (5/5)

  • creative problem-solving skills (5/5)

  • be flexible (4/5)

  • have stamina (5/5)

  • be experienced in the design process (4/5)

  • know about fabric qualities, clothing cuts, fits and techniques (4/5)

  • be familiar with period costumes (4/5)

  • knowledge of both costume history and contemporary fashion (4/5)

  • have good foundation skills in ironing, steaming, adapting garments, dyeing, hand and machine sewing, alterations, pattern cutting and drawing (5/5)

  • know how to dress Actors in different types of clothes (4/5)

  • gauge clothing sizes at a glance (4/5)

  • put others at ease (when working closely with Actors to dress them) (5/5)

  • know health and safety regulations (2/5)

  • have good IT skills (Mac and PC) (4/5)



The Crew is normally employed on a show-by-show basis. They assist with get-ins, fit-ups, scene changes, flying, following spotting and get-outs. The Production Manager is responsible for the Crew.



They work to make the costumes in time and follow the design made by the Costume Designer. They might attend technical-, and dress rehearsal and first night to take notes of required alterations (if the Head of Costume is not already covering this).




Deputy Stage Manager (DSM)

The DSM prompts during the rehearsals and keeps track of the actor’s moves and cues the show for performances. The DSM can be resident or employed only for one play.

It is necessary that he/she works closely with the director, understand the concept of the play, design and actors. The DSM should be really patient, especially because the DSM makes the “prompt copy” or so-called “bible”. This is a complete record of the entire production and includes every move, pause, action each actor makes, the detailed technical cues and actors calls.

Here are some of the DSM tasks explained:


Blocking: This is the record of performers entrances, exits, moves, gestures, pace and the use of props against the script;

Prompting: If an actor forgets his/her lines, the DSM will give a word or a line to help the actor, remember. Therefore, the DSM needs to speak clearly to guarantee a continuous flow throughout the performance.

Rehearsal Notes: The DSM will write a list about everything what was decided/ changed during a rehearsal and pass this list on to the different production departments. Normally, the Director checks this, before it is send out. The SM and the DSM should meet everyday to discuss priotities and problematic items.

Rehearsal Calls: The DSM posts a Call Sheet on a specific note board every day. These Calls are discussed with the Director.

Contact Sheet: This holds all the contact details of each company member. It inclused names, addresses and phone numbers.

Setting Plots: This regards all props, furniture and dressing on stage and the changes it undergoes during the play.

Running Plot: This Plot will be updated as soon as the Director decided to change something or an item was removed. It is also stated, when this will happen. The Plot includes probably the following cues: beginn, scene changes, handing props to performer, food preparation, live sound cues, cueing performers on stage, strike (remove item from set), set (bring item on stage) and reset (move item from one position to another on stage). The Stage Management Team is normally involved in those.



This role varies depending on the kind of theatre the Director is working for.

In a subsidized theatre he/she will be chosen via application by the board of governors of the theatre. The Director will have specific intentions and a basic approach to art.

In a Repertory Theatre the General Manager and the Director will work very close together to estimate the costs for the production/staff/building.

For a Commercial Theatre the Director will deal with all aspects of a production. He/She will be called in by the Producing Management. Through development of ideas/visions and directing the performers, the Director need to ensure that the entire performance will be a cohesive whole.

The Director in Theatre has the luxury of being involved in nearly every decision and he/she enters many collaborations for a production. The Director is in charge of the creative process and the freedom of “translating” a script into a performance, entails a lot of responsibility. Personally, I always take responsibility for my action and I am not afraid, of taking a risk, if I think that it will enhance the project. The job of a director is multi-faceted and this makes it so appealing. To face and challenge different problems and people with each production, makes and keeps the job interesting over years.

  • creativity (5/5)

  • able to express yourself through talking and writing (4/5)

  • persuasiveness and a willingness to take artistic risks (4/5)

  • negotiation and interpersonal skills (4/5)

  • self-motivation (5/5)

  • inspire and motivate a team (4/5)

  • management and leadership skills (3/5)

  • meet deadlines (5/5)

  • understanding of technical issues (1/5)

  • understanding the process of a theatre, performance and acting (4/5)

  • creative problem solving (5/5)

  • develop innovative ideas and spark initial ideas (5/5)

  • organisational and research skills (5/5)

  • know health and safety regulations (2/5)

  • dedication and enthusiasm (5/5)


Dressers (maintenance)

The Dressers are responsible for costume changes during the technical-, dress rehearsal and during the performance is running. They assist the performers and try to maintain the quality of the costumes throughout the run. In a very small company this might be covered by the Assistant Stage Managers, as well.    

This is an entry-level backstage job, which can help you getting a foot in the door. Through the work of a dresser, you can improve your knowledge regarding costume design, historical costumes and fabric behaviour. You get to know the costume department and the designer and to get an insight into the process, is always helpful.

  • creativity and style (4/5)

  • excellent attention to detail (3/5)

  • the ability to follow instructions (4/5)

  • good organisational skills (5/5)

  • stress-resistant (5/5)

  • calm, tactful and patient manner (4/5)

  • practical skills in hand and machine sewing, pattern cutting and dressmaking (4/5)



Front of House/ Box Office Manager

He/she is responsible for the auditorium, restaurant and bar area and box office. He/she is in charge of training and managing bar/ restaurant/support staff and ushers. The Box Office Manager supervises the observation of health and safety regulations.



Head Flyman

The Head Flyman maintains the fly floor, flying station and ensures a safe rigging, compiles flying plot and operates during a show.



Lighting Designer

He/she works closely with the Director, Set & Costume Designer. The Lighting Designer works out the entire lighting interpretation for the production while remaining in budget. It is his/her decision to make on the right lamps, effects and the required equipment. After the right positions for the lights are found, he/she needs to make a plan which shows this and will be used for the rigging. The Lighting Designer will at least oversee the plotting sessions, technical rehearsal and dress rehearsal.



Master Carpenter

He/She is responsible for building the set in time. The Master Carpenter also trains and controls the work which was done by assistants and checks the health and safety regulations. The budget of the set lays also in his/her hands and the safe delivery of the set. Overall the Master Carpenter is responsible for ensuring the quality of the set.





The Producer works in the commercial sector of the theatre and he develops the idea of the production of a certain text with possible actors in a likely place. To make profit the chosen place will need to be large enough to actually do so. The producer will take this bundle (play/actors/place) to possible investors. These are often called “Angels”. As soon as the finances are guaranteed, the production can start. To ensure that the original idea behind the production will not be lost, the producer will find a director and designers who understand the core. If the liaison of this collaboration is successful and the producer is satisfied, it is more than likely that he/she will work with the same team of director and designers again. It is also the Producer’s job to clarify that the text is not protected by copyright, that the performers/staff/venue is booked and the publicity is commissioned.

The producer is the head of a production and has complete freedom in finding collaboration partners and he/she has the last word on each decision. The producer can implement his/her ideas in each faculty. Many directors start producing, as well. As a producer, you will not need to constantly justify your decision and I think this is a really liberating feeling.

  • experience of working in the industry (2/5)

  • good business sense (3/5)

  • good understanding of finance (2/5)

  • good creative vision (4/5)

  • self-motivated (5/5)

  • good at negotiating (3/5)

  • good at motivating people (4/5)

  • good at problem-solving (5/5)

  • Understand the creative processes (4/5)

  • able to secure finance for the production (1/5)

  • prepare and control the production budget (2/5)

  • excellent communication skills (4/5)

  • stress-resistant (5/5)

  • motivate the production team (4/5)

  • compliance with regulations and codes of practice (1/5)

  • knows health and safety regulations (2/5)


Production Designer

This profession combines the roles of a Set and Costume Designer.

The Production Designer in Film and TV works closely with the Director and is responsible for creating the look and the right atmosphere. This jobs combines many tasks, which I absolutely love doing. First, it is about reading the script and interpreting the characters. Second, you enter a collaboration with, mostly the Director, but also with a lot of other very creative and inspiring people. Third, your design will be realized and to see your ideas coming to live, is just magical. In general, I enjoy creating things, because you have something completely different or nothing and then you end up with your vision being build. The Production Designer is normally free-lanced and therefore works at many different locations. To organize one’s own transport and timetable, is challenging and requires a huge amount of independence. Through my various journeys, I have gained this skill and I never step away from a fascinating challenge. Each production also requires a different background knowledge and because I love research, I enjoy broaden my horizon about various, relevant topics.  

  • visual awareness and design skills (3/5)

  • knowledgeable regarding art and design-related subjects (3/5)

  • inspire and motivate a team (4/5)

  • able to use CADS (1/5)

  • management and leadership skills (3/5)

  • prioritize (4/5)

  • meet deadlines (5/5)

  • diplomatic (4/5)

  • self-motivation (5/5)

  • creative problem solving (5/5)

  • develop innovative ideas and spark initial ideas (5/5)

  • know health and safety regulations (2/5)


Production Manager

In commercial and subsidized theatres the Production Manager plans the technical side of a production and checks the overall cost effectiveness. He/ She should have a good knowledge about scenery construction, costumes, lighting, sound and stage management. The Production Manager advises and has an eye on the technical work of others, while be aware of the costs and schedule.


Prop Maker

When I helped a final year Film and Animation Student building the props for her film, I realized how much I love prop making. I gained some experience in model making before, but working accordingly to a drawing, is something completely different. It was great to have the freedom to choose from a wide range of materials and colours to create an objects, which matches the design. To be able to create the required look, I do like to research. My research enables me to evaluate the different possibilities and to arrive at a decision, which will work best for this certain build.

  • wide knowledge of the basics of prop making (3/5)

  • knowledge of computer design packages (2/5)

  • work safely with materials like fibreglass, latex, foam and polystyrene (3/5)

  • work with a variety of different machinery and tools (4/5)

  • specialist skills such as sign writing, upholstery, sculpture, casting, furniture making (2/5)

  • flexible and versatile (4/5)

  • imagination and ingenuity (5/5)

  • creative problem solving skills (5/5)

  • open to new ideas (4/5)

  • open to learn new skills and techniques (5/5)

  • deadlines (5/5)

  • work on your own initiative (5/5)

  • good eye for detail and accuracy (3/5)

  • good communication skills (4/5)

  • working in a team (4/5)

  • know health and safety regulations (2/5)


Props Master

The Props Master is responsible for the props budget and has to deliver the needed props in time. To ensure this, he/she checks that the props shop is running smoothly. The prop makers might handle dangerous substances and equipment, that is why the Props Master need to know the health and safety regulations very well, to ensure that no one will be harmed.


Publicity Manager

He/she is in charge of selling the show and raising the public’s awareness. The Publicity Manager works closely with General Manager and Artistic Director. To raise funds he/she seeks and wins sponsors. The Publicity Manager produces posters, leaflets and any kind of advertisement. He/she arranges press and photo calls with performers.   




Resident Stage Manager

This profession can be found for venues, where touring companies stop and perform. The Resident Stage Manager’s know how includes technical aspects and show staffing. The position is normally hold by someone who worked for the theatre for a long time and therefore knows everyone and everything. It is advised to ensure a solid working relationship with the Resident Stage Manager, while he/she can make your life easier or harder.


It is an entry-level job, which helps you understand the process of a production. Throughout the job you get in contact with various people and you can experience and see, if the buzzing film and TV world, is something you want to be part of.

  • flexible and well organised (4/5)

  • able to think on your feet (4/5)

  • good communication skills (4/5)

  • able to take orders(4/5)

  • tactful and diplomatic (4/5)

  • punctual (5/5)

  • enthusiastic (4/5)

  • stress-resistant (5/5)

  • good IT skills -  Word and Excel (4/5)

  • organisational and administrative skills (3/5)

  • work self-sufficient (5/5)

  • willing to learn (4/5)



Scenic Artist

I really enjoy using my creativity to create a painting or drawing. The job is also fascinating, because you learn to work with different materials and to apply various techniques. As a scenic artist, you can build up your portfolio with different skills and start proving your use- and resourcefulness to a company. It also combines theoretical knowledge with a practical performance and this makes this job very appealing.

  • excellent, comprehensive artistic and scenic skills (3/5)

  • know about basic scenic painting techniques, layout and paint application skills, and colour mixing (4/5)

  • talented in the fine art skills of sketching, rendering, and painting (3/5)

  • skilled in techniques such as marbling, ragging, wood graining and texturing (2/5)

  • good understanding of art history, period styles, motifs and architecture (3/5)

  • interpret Designers' small-scale ideas and develop them into full-scale reproductions (4/5)

  • handle scenic painting materials safely (4/5)

  • work independently but also as part of a team (4/5)

  • work to deadline (5/5)


Scenic Painter

A Scenic Painter is responsible for the painting off all element of the set in the allocated time frame and oversees that the paint shop is running smoothly. The budget for the painting lies in his/her hands. And while observing health and safety regulations all the time, the Scenic Painter also ensures that the assistants get trained.


Set Designer

To conceive the visual, stylistic elements of the set, props and furniture the Set Designer has to work closely with the Director to create a suitable design for the vision of the Director. He/she will build a set model in the scale 1:25, produces ground plan and creates drawing to visualize his/her ideas. Aside the liaison with the Director, the Set Designer works closely with the Costume Designer and Lighting department. To make sure that the design stays within the budget a teaming with the Production Manager is inevitable. The Set Designer will supervise the building, painting, fit-ups, technical and dress rehearsal.


Sound Designer

He/she needs to work closely with the Director and Musical Designer to design the sound for a production. In collaboration with the Production Manager will the Sound Designer decide on the types and positions of speakers, monitors and mixers. The Sound Designer needs to guarantee the quality of sound and that it is balanced. He/she attends technical- , and dress rehearsal and first night to check that the design equals the original intentions.


Sound Technician

The Technician checks that the in-house equipment has a high standard and needs to order and hire if something is missing for a production. If required, the Sound Technician will record sound effects and he/she operates the sound during the entire run of a production.


Stage Manager (SM)

The SM works to the Production Manager. He/she is responsible for the running of rehearsals, overviewing the finding of props and later services the show during performances.



Technical Stage Manager

The Technical Stage Manager is in charge for all moving elements on the set and works closely with Production Manager, Lighting Designer and Flyman. He/she manages crew, plans scene changes, trains and equips staff and applies health and safety regulations. During the production week and the run, he/she monitors all technical on-stage work.



Visual Merchandiser

Visual Merchandising is kind of similar to production design. It is key to create a matching atmosphere and/or a complete new world in which the customer can completely indulge in.

  • talent for design, colour and style (4/5)

  • creative flair and imagination (4/5)

  • strong interest in current and future design trends (4/5)

  • visual/spatial awareness (4/5)

  • effective communication and negotiation skills (4/5)

  • engaging and working well with a range of teams (4/5)

  • able to work with constructive criticism (4/5)




Wardrobe Supervisor/ Head of Costume

He/she is in charge of ensuring that everything in this department runs smoothly and needs to deliver all costumes in time and controls budget. The Head of Costume supervises the making and hiring of costumes and orders the needed materials. The Wardrobe Supervisor runs fitting and costume call and checks back with the performers to see that they are comfortable. He/she attends technical-, and dress rehearsal and first night.



In this section you will find companies, which are either linked to one of the practitioners or to one of the shows I reviewed. Some theatres are listed, because they had an impact on the development of life performance. Other companies produced shows, which I really want to see in future.


Acosta Danza

  • founded by Carlos Acosta in 2015

  • classical and contemporary dances

  • Acosta Danza (21.10.2017 at the Hippodrome in Birmingham)

  • The choreographies of his company moved me deeply and evoke an emotionally responds on a level, where language cannot reach any human’s mind. To experience that the loss of language can be an advantage and worked in a compelling performance, is astonishing,  




Bread and Puppet Company

  • american group

  • founded 1963

  • counts to environmental theatre

  • use of puppets to protest

  • name heritage: they served bread to the audience at the end of each performance

  • I like their idea that theatre is as essential to our lives as bread; using performances to actively raise awareness of wrong doings gives them a more impactful purpose   



Bridge Theatre


Brunskill and Grimes

  • puppetry company

  • founded by Jimmy Grimes and Andy Brunskill

  • meet 2010

  • worked as Associates on War Horse in London

  • offer workshops for theatre companies and students



Casson Mann

  • exhibition and interior design company

  • London based

  • internationally known and award-winning

  • they take exhibition design on a new level and include technology to enhance the experience for the visitors





Crucible Theatre


Dante or Die

  • site-specific theatre

  • feature contemporary storylines and they focus on the “magical” bits in our everyday lives

  • This company is mentioned in this list, because I found an article at “20 Bedford Way”, which presented this and various other immersive theatre companies.”


Darling & Edge

  • immersive events studio

  • designed the entrance of Alice Underground Adventure

  • Huge paper like paintings greeted the visitor and welcomed everyone to Wonderland, even before the experience even started.



David Ian Productions


Difference Engine

  • interactive and immersive theatre company

  • founded in 2014 by Jon Cooper & Andrew Somerville

  • HEIST was their breakthrough

  • combines theatre, technology and gaming

  • This company is mentioned in this list, because I found an article at “20 Bedford Way”, which presented this and various other immersive theatre companies.”




  • new theatre company

  • site-specific theatre

  • The Langham Hotel is used as a location for the performance of “The Hotel Plays”

  • This company is mentioned in this list, because I found an article at “20 Bedford Way”, which presented this and various other immersive theatre companies.”



Donmar Warehouse

Dream Think Speak

  • immersive theatre company

  • created site responsive work (for example, in a Co-op shop)

  • Tristan Sharps is the artistic director

  • This company is mentioned in this list, because I found an article at “20 Bedford Way”, which presented this and various other immersive theatre companies.”




  • producers

  • live entertainment company; act as Producers, Promoters, General Managers, Talent Managers

  • Alice Underground Adventure



Edinburgh Fringe Festival


Ex Machina

  • founded by Robert Lepage

  • multidisciplinary production company

  • aim to become laboratory to develop theatre further

  • team exists of various types of artist/technicians



Forced Entertainment

  • Tim Etchell is the creative director; and  he is currently holding different art exhibitions in one of my home towns

  • the company itself: collaboration between 6 artists in Sheffield

  • exists since 1984

  • aim at creating a dialogue with the contemporary audience



House of MinaLima

  • gallery and shop in London where the Graphic Art of the Harry Potter Films is displayed

  • founded by Miraphora Mina and Eduardo Lima

  • only through details, a film can bring an entire magical world to life and to display all those bits, which contributed to the success, is an amazing idea





  • Independent Street Art Network

  • aims at bringing together the outdoor arts sector

  • I learned about ISAN, when I researched “Dear Lido” and I think they found a broad and interesting niche, which is worth supporting.



Jamie Wilson Productions

  • Jamie Wilson founded his firm in 2008

  • already staged over 50 shows world-wide

  • collaboration with the Watermill Theatre

  • they produced “Crazy for You”, which I saw October 2017 at the Birmingham Hippodrome





Les Enfants Terrible

  • theatre company

  • founded by Oliver Lansley in 2001 and now run by Lansley and James Seager since 2005

  • Alice Underground Adventures (2017 London Vaults)

  • This immersive experience was truly the first adventure I have ever been to and I have never seen something like this. It was set in the Vaults of London and used the space in the tunnels to create Alice’s wonderful world. Especially the place of the Mock Turtle was my favourite and I could have stayed there far longer.  



London Theatre Consortium


Mainzer Staatstheater

  • built between 1829-1833 by Georg Moller

  • since 2014 Markus A. Müller is leading the theatre

  • in 2015 I was involved in the production of the opera “Carmélites” and I learned a lot during my time backstage;



Marcus Hall Props


Milk Presents

  • company shift perception of gender and identity

  • Produced „Joan“

  • Lead by Ruby Glaskin, Adam Robertson, Lucy J Skilbeck

  • Associate company of Derby Theatre and The Bush Theatre


Mischief Theatre

  • british theatre company

  • founded 2008 by a group of students from the London Academy of Music and Dramatic Art

  • performed for the West End, across the UK, in Europe and Asia

  • won Olivier Award with “The Play that goes wrong”



Motley Theatre Design Group

  • founded by Margaret and Sophie Harris, Elizabeth Montgomery Wilmot

  • worked with John Gielgud during the 1930s

  • won the Tony Award for best costume design twice and were nominated several times

  • 1966 the Motley Theatre Design Course was founded

  • The Motley Theatre Design group proved that success often evolve alongside a “happy” collaboration. Through the design course many notable alumni found inspiration and spread the ideas of the Motley Theatre Design Group.  





National Theatre

  • offers various workshops for students/pupils

  • National Theatre Company gave under Laurence Olivier their first show

  • 1976 moved to this building at South Bank with Peter Hall

  • at least 20 new productions are staged per year




Playful Productions

  • one of the largest independent theatre production companies

  • formed 2010

  • team of 25 producers and managers

  • international and national work

  • staged “Wicked”



  • formed in 2000

  • create Site-sensitive, environmental theatre

  • Non verbal and non linear

  • audience is wearing masks

  • I have heard quite a lot of things about punchdrunk and I want to attend an experience to see, if they really keep up with their promises




Rhum and Clay

  • young and dynamic company

  • most of the actors trained at L’École Internationale de Théâtre Jacques Lecoq

  • offer workshops

  • tell stories in a cinematic way

  • This company is mentioned in this list, because I found an article at “20 Bedford Way”, which presented this and various other immersive theatre companies.”


Royal Opera House


Royal Shakespeare Company

  • theatre ensemble founded by Peter Hall

  • in Stratford-upon-Avon

  • new building opened 2016

  • since its founded, the RSC became a cultural centre and a cardinal element of artistic development; through the huge amounts of successful practitioners, the RSC helped shaping and developing the theatrical “landscape” of today




Sadler’s Well

  • world leading dance house

  • specific for dancing

  • Lilian Baylis vision shaped the Sadler’s Well at the beginning; it became the location for dancing, while the Old Vic staged dramas

  • Alistair Spalding is the new Creative Director since 2005;

  • developed it into a producing theatre  



Stafford Gatehouse Theatre

  • theatre in Stafford

  • in 2017, I was part of the Stafford Shakespeare Festival, featuring the play “The Tempest”, and even if I cannot provide many background information regarding the  theatre itself, I definitely have to mention it here.

  • The theatre received amazing feedback and comments from many acknowledged sources for “The Tempest” production and the hard working team can enjoy their earned laurels.



Secret Cinema

  • company started in 2007

  • in their performance they fuse film, music, art, theatre, and dance,

  • create unique spaces for social encounters, adventures and discoveries

  • kind of are bringing films to life

  • This company is mentioned in this list, because I found an article at “20 Bedford Way”, which presented this and various other immersive theatre companies.”



Sharp Cookies

  • made film for 4d experience of the Blackpool Tower


Theatre du Fust

  • french puppetry company

  • since 2009, they are called Compagnie Emilie Valantin

  • made puppets out of ice, which melt during performance

  • Since my own puppet project, I am obsessed with puppetry and I love the idea of creating something, which melts away during the performance. Obviously, the company offers now a vide range of performances, where the puppets stay in the same consistency



The Watermill Theatre

  • 1967 turned into a theatre

  • producing theatre

  • was a corn and paper mill before

  • theatre with a fascinating backstory; including up’s and down’s

  • the continuous development and the vision of people drives it forward



  • Vox Motus

  • Candice Edmunds and Jamie Harrison are the Artistic Directors

  • explore taboos and extreme behaviour in the contemporary world

  • collaborate with composers, designers, illustrative artists, choreographers and digital editors

  • read about it in The Stage


Concepts and Practices


In this section I have a look at different movements, concepts and terms of performances. I created this little glossar, because some of these movements are essential for the development of theatre and need to be mentioned. There are some terms, which I want to explain here, because I used them in the practitioner's section:  


Aesopian language

  • used in russian literature to outsmart the harsh censorship of tsarist russia

  • appeared not politically orientated towards outsiders

  • hold an sub contextual meaning for insiders



  • intellectual and art movement

  • related to symbolism

  • art should be pretty and a purpose is not necessary


Angry Young Man

  • produced “kitchen sink” dramas after the 2nd world war ended




  • dissolved meaning of language

  • social protest, nihilism and language criticism are the main reasons

  • art became senseless and purposelessness

  • language cannot be exploited or used against someone, if it is senseless


Dear Lido

  • site-specific dance theatre performance

  • takes place around a public swimming pool

  • Rosie Whitney- Fish created the pilot for the Wandsworth Art Festival




  • german literary movement

  • rationalism is the foreground of this movement

  • individual is in the focus of literature and culture

  • optimistic epoch; through progress

  • introduction of the copyright law made it possible for writer’s to live through their art

  • birth of reading circle


Epic Theatre

  • developed by Bertold Brecht

  • breaks down the 4th wall by talking directly to the audience

  • audience is changed from being voyeurs to active members, which should evaluate the play

  • Brecht wanted the audience to think and constantly challenge his plays



  • literary movement

  • featured crisis of purpose comes from industrialisation, war, anonymisation, urbanisation

  • melancholic elements were used





  • tried not to explain work; only call attention to it





  • philosophical theory that our world is mentally constructed and can therefore be influenced

  • Kant shaped transcendental idealism and influenced many thinkers and writers



  • here: movement in literature

  • perception of the subject is in the foreground

  • details are key

  • similar to Symbolism



  • literary movement after 1900

  • radicalised Realism

  • tried to depict reality as she is and not how she should be


New Objectivity

  • movement in german art

  • arose during 1920s

  • reaction against expressionism

  • industrial- urban society in foreground

  • awareness of desillusion

  • processing of war experiences


New Subjectivity

  • literary tendency in Germany in 1970-1980s

  • collective ideas collapsed

  • social withdrawal

  • individual problems became main topics

  • relationship and communication issues, careerism, pressure to perform, work-related and technical acceleration




  • evolved from prehistoric figures

  • related to masks, idols and dolls

  • used for honor different gods in the antique and performed for entertainment

  • 6 main types: Hand/ Glove Puppet, Marionettes, Rod Puppet, Body Puppet, Shadow Puppets, Bunraku- style dolls

  • puppets can do what actors cannot: be underwater, accommodate the dead, pointing out social issues without facing charges

  • used in western avantgarde to escape realism




  • Henrik Ibsen is encountered as father of realism

  • aesthetic concept

  • literary movement from 1848 until 1880

  • aimed at representation of an idealistic concept of reality

  • mainly supported by middle class



  • time period which included the german literary movements of Biedermeier, Young Germany and early Realism

  • censor made publishing difficult

  • artist wished for revolution (young Germany) or resigned (Biedermeier)



  • literary movement from 1793-1830

  • religious motives became en vogue again

  • poetry, feelings, dreams, longings are main topics




  • german literary movement

  • comes from the english word “sentimental”

  • it was inspired by Laurence Sterne’s book “A Sentimental Journey”

  • followed the rationalism of emotions

  • moral judgements should be made based on feelings

  • enlightened, modern theory

Sturm and Drang/ Storm and Stress

  • german artistic and literary movement

  • title from Maximilian Klinger’s play

  • progressed the Enlightenment

  • start of industrialisation in England

  • american revolution showed the possibilty of change

  • absolutism exploited citizen

  • art is experienced as work from geniuses




  • french artistic movement

  • influenced by Sigmund Freud

  • the unconsciousness was put into the limelight



  • started in France

  • aim: absolute poetry

  • featured escapism

  • difficult to decipher and mysterious

  • sound and aesthetic are most important elements



Theatre in the Victorian Era

  • 1837 to 1901 when Queen Victoria was in power

  • theatre flourished and not restricted to classes

  • plays full of mistaken identities and coincidences

  • moved from Rationalism towards Romanticism and Mysticism


Theatre of Cruelty

  • developed by Antonin Artaud

  • meant to prevent violent behaviour of the audience through experience it on stage

  • inspired many practitioners


Theatre of the Absurd

  • term “absurd” comes from a musical term “out of harmony”

  • there is no real movement; playwrights have a lot in common

  • term “Theatre of the Absurd” comes from Martin Esslin’s essay

  • strength of symbolic plays: they can be understood on an unconscious level

  • San Francisco Theatre Workshop successfully performed “Waiting for Godot” in a prison

  • absurd plays were normally condemned due to the snobbery of the theatre-goers

  • counts: Samuel Beckett, Arthur Adamov, Eugène Ionesco


Theatre of the US

  • based on Western tradition

  • before english colonization: mainly spanish drama and native’s who performed

  • 1752 Lewis Hallam’s troupe arrived in Virginia

  • 1716 the first theatre was built in Williamsburg

  • the repertoire was brought from London

  • 1812 the first performance was staged

  • during westward expansions:many troupes used boats to travel

  • 1821 William H. Brown established the third and most successful African- American Theatre; until it was shut down 1832

  • only in 1920 with the Harlequin Renaissance African- American theatre returned

  • theatre culture was not culturally accepted; it was associated with hedonism

  • after WW 2 american playwrights became world known

  • Roosevelt’s Federal Theatre Project helped promote theatre and provided jobs for actors

  • after 1990s musicals developed around disney and theatre started borrowing from film



The Showboat

  • 1927 musical was premiered by Jerome Kern and Oscar Hammerstein

  • story is based on Edna Ferber’s novel: “The Show Boat”

  • origin from the floating theatres, which traveled along the waterside of the US to bring culture and entertainment to people




  • variety entertainment

  • many different acts combined in one show

  • included musicals, singers, dancers, comedians, acrobats, magicians etc.

  • heavy influence on film production later on

  • disappeared nowadays




Weimar Classicism

  • german literary movement from 1790-1805

  • featured harmony and humanity

  • antique art was main inspiration

  • cosmopolitanism became desirable

  • the function for art was to educate human beings

  • Goethe and Schiller lead this movement

Job Roles
concepts and practices
Watch and Visits



These are shows or places I would like to see/ visit in future.


  • Omeleto Short Films

  • Kubo

  • Pina (film)

  • The Greatest Showman




Immersive Theatre

  • ​punchdrunk performance

  • Rhum and Clay

  • You Me Bum Bum Train

  • Secret Cinema

  • DreamThinkSpeak

  • Defibrillator

  • Dante or Die

  • Difference Engine



  • Aladdin; London

  • Mathilda, London



  • Transition Dance Company, The Old Rep

  • Translunar Paradise, Patrick Center

  • The Nutcracker; Birmingham Royal Ballet



  • ​Cinderella, Panto, Birmingham Hippodrome


Puppetry/ Masks

  • ​101 Dalmatians; Birmingham REP

  • A brave face at the MAC


  • ​Saul; Staatstheater Mainz



  • War Horse

  • Our Country's Good at Birmingham REP

  • Tartuffe by Moliere Staatstheater Mainz

  • The Jungle Book, The Old Rep

  • Mischief Theatre

  • the lion, the witch and the wardrobe; Crescent

  • The Way of the World, Crescent



  • Disney Classic Concert, Hamburg

  • Crescent Unplugged 2017/18


Exhibitions/ Events

  • Black Country Living Museum

  • playback; MAC

  • Yorkshire Sculpture Park

Placements and Workshops

Placements & Workshops


This section is quite straightforward. I note down placements and workshops, I am interested in and which would definitive enhance my skills.

  • BBC Tour

  • Studio to Stage; Birmingham Royal Ballet (24th + 25th January)

  • sculpture (Wednesdays); the independent art school; 55 per month

  • life drawing (Mondays); the independent art school; 49 per month

  • wood and metal workshop introduction, BCU

  • to get the Adobe Certificate




This is my on-going have-to read list:  
  • ralph koltai’s “designer for stage”


  • The Stage

  • “The Filmmaker’s Handbook”

  • “Playmaking” William Archer

  • “Depth Philosophy of Art”

  • “A blink of an eye”

  • “Sculpture Vol.2” (730.9 Dub)

  • “Cirque du Soleil” (791.3 Bab)

  • “Film Architecture” (791.43025 Fils)

  • “The Art of Film Funding” (791.9430081 Dea)

  • “Presentation of Self in Everyday Life” Erving Goffman

It is worth to keep an eye on these websites, because they publish theatre-related informations:

-> presents interesting immersive theatre companies in London; when I have read it, I have probably some more companies to look at;

-> theatre funding guide

  • presents people working in the arts sector

  • contacts for speculative applications are available in the yearbook, as well

-> offer rate cards

  • website which shows jobs in the arts sector

  • presents gigs and events and promote courses

  • show job vacancies in theatres

  • show job vacancies in theatres

  • newspaper which is up-to-date with the latest shows, reviews and upcoming productions

  • show job vacancies in theatres

Suppliers and Theatre Unions

Theatre Unions, Suppliers & Funds


It is always good to be prepared and to be aware of various sources for material. This is the reason, why I created this section.

Theatre Unions



Musicians Union

Writers Guild

The Amercian Society of Cinematographers:




  • Davies Timber

  • Great Barr Sawmill

  • Travis and Perkins



  • Keatleys Metal

  • Edwards Metal

  • A. E. Harris



  • Powder Coatings Ltd


Plastics (online)

  • Plastic Shop

  • Hobarts Laserables



  • Bently Chemicals

  • Silex Silicones Ltd.


  • Polyfibre

  • Acuflow

Construction Materials and Tools

  • B&Q

  • Screwfix

  • Bullring Markets

  • Latifs


Actors and Crew Members




Art Supplies

  • CassArt

  • Harris Moore (Picture Framing, Canvases & Professional Painting Supplies)

  • Vesey Arts and Craft

  • Wilko (has spray paint and stone spray)

  • Hobbycraft



  • Fancy Silk Store

  • Bullring Rag Market

  • Barry’s Fabrics

  • EU Fabrics

  • Guthrie & Ghani

Funding Bodies & Foundations


  • Arts Council Grants (from £1,000 to £100,000)

  • The Fenton’s Arts Trust

  • Foyle Foundation

  • Stage One

  • The Oxford Samuel Beckett Theatre Trust Award

  • The Odin Charitable Trust

  • Creative Industries Federation


Crowd Funding Websites

Action Plan

Action Plan


In this section I concretized my plans and I decided to visit different places, take part in various activities and watch some fascinating performances. As you can see in my "Watch & Visits" section, there are a lot of possibilities and it was not easy to narrow myself down to a realistic amount of events I could visit next term. This Action Plan is part of my module "Investigating Industry Practice". I will write a review and post it into my blog, when I have fullfilled my task and finished my visit.

08. Jan.- 14. Jan.

101 Dalmatians; REP; 15 Pounds --- Debbie Isitt adopted the children story for the stage. The story includes 101 dogs and I really want to find out, how they managed to stage those. The pictures at the website showed puppets as dogs and, because I admire puppetry, I want to see this performance. 

Playback; MAC; exhibition --- Playback is an interactive exhibition, which showcases over 200 short films. Since we produced our short film "half-time", I am intrigued with the dramatic structure and style of shorts. The best way to learn more about the medium, is watching various ones and learn about the artists thoughts and inspirations. backgrounds.

15. Jan.- 21. Jan.

Opera, V&M; London --- This exhibition was recommended by a tutor and I am a huge fan of operas anyway and would not like to miss such a great opportunity to broaden my horizon.

The Play that goes wrong, Duchess Theatre, 22 Pounds, London --- This play is staged by the Mischief Theatre. In the Companies section of my blog, you will find them listed, as well. It is inspiring that such a young company has success and I want to see their award winning play.

22. Jan.- 28. Jan.

Studio to Stage, Birmingham Royal Ballet, 10 Pounds --- Another student mentioned in her presentation that a "sign language" exists behind the movements of a ballett dancer. Since I have acknoledged this fact, I want to learn more about how to decipher this symbolic "language". 


Coming Out; Museum of Art --- Coming out is a big new exhibition at the Museum of Art and I have not seen a very good contemporary art exhibition since "Night in the Museum" (curator: Ryan Gander) at the Gas Hall. So I go, because I have my hopes up and I really want to experience another cleverly curated, fascinating art exhibition.

29. Jan.- 04. Feb.

Translunar Paradise, Patrick Center; Hippodrome, 15 Pounds --- This is an award-winning production by Theatre AdInfintum. I was intrigued when I saw that they are using masks during the performance and after I have seen the trailer, I cannot wait to experience it. It appears like a cleaverly made show with a non-linear timeline. The story of the two lovers switches between the memorable past to the unglamourous presence.

05. Feb.-11. Feb.

IKON --- On one hand, I want to see Thomas Bock's skilled drawings and learn more about the convict artist, who portrayed various people in a very realistic style. On the other hand, the exhibition of the artist Edmund Clark probably carries political and social critiscism and will give the visitors food for thoughts.

12. Feb.- 18. Feb.

Brief Encounter, REP, 10 Pounds Matinee --- This famous love story was inspired by Noel Coward's film. Coward is well-known for his wit and I want to see if this play keeps its promise. 

19. Feb.- 25. Feb.

The Winslow Boy, REP, 5 Pounds --- This play was created by Terrence Rattigan and I am especially looking forward to see how the intrigues and personal sacrifications will unfold in front of the audience's eyes. I will try to pay close attention to the dramtic build-up of the play and how the actors manage to bring the Edwardian society back to life. I expect historical costumes and a realistic setting.

26. Feb.- 04. Mar.

First Friday, Digbeth --- Every First Friday of a month, the art galleries in Digbeth open their doors to showcase their art and to probably shock their audience. There are normally inexplicable life performances involved and everytime when I go, I am ready to experience a surprise and I am amazed by the inventiveness of the artists. 


05. Mar.- 11. Mar.

Sleeping Trees, Western? The Old Joint Stock 12 Pounds --- The description of the play did not give away much, so I do not know what to expect from it. The main reason, why I want to go, is the place. I have never been to a theatre, which is included in a bar and I feel, that I have to experience such a life performance at least once in my life.


12. Mar.- 18. Mar.

Pina (Film) --- The film is made in memory of the german dancer and choreographer Pina Bausch and the trailer looks promising and inspiring. What I have seen so far from Pina's work was deeply emotional and I want to learn more about her.


19. Mar.- 25. Mar.

IKON --- The exhibition "Internet Giants" deals with the Information Age and the big global technology companies in a critical way. Since I have read the book "The Circle", I am more away of the meaning "being transparent" and I am constantly trying to evaluate for myself how much the modern technology makes our lives easier, compared to the enormous influence they gain about us - through us.


Throughout this time period I would like to attend a Life Drawing Course, to improve my drawing skills. Drawing a constantly moving person, forces you be fully concentrated and practices the way you perceive things visually.

Furthermore, I am going to train myself in various Adobe Programs, so that I am capable of using these tools confidently.




Allain, P. & Harvie, J. 2006, The Routledge companion to theatre and performance, Routledge, Abingdon.

Bargainnier, E. (1981). 10 women of mystery. Bowling Green, Ohio: Bowling Green State University Popular Press.

Becker, F. (2010). Abi-KompaktWissen Deutsch: Literaturgeschichte. Stuttgart: Klett-Lerntraining.

Blumenthal, E. 2005, Puppetry and puppets: an illustrated world survey, Thames & Hudson, London.

Brook, P. 2008, The empty space, Penguin, London.

Collins, J. and Nisbet, A. (2012). Theatre and Performance Design. Hoboken: Taylor and Francis.

Currell, D. 1992, An introduction to puppets and puppet-making, Apple Press, London.

Egri, L. (2011). The art of dramatic writing. [Rockville, Md.]: Wildside Press.

Erlich, V. 1975, Twentieth-century Russian literary criticism, Yale University Press, London;New Haven;.

Esslin, M. (2014). The theatre of the absurd. London [etc.]: Bloomsbury

Eyre, R. and Wright, N. (2001). Changing stages. New York: Knopf.

Grossvogel, D. (1975). Four playwrights and a postscript. Westport, Conn.: Greenwood Press

Hingley, R. (1950). Chekhov. London: G. Allen and Unwin.

Lecoq, J., Carasso, J., Lallias, J. & Bradby, D. 2002, The moving body: teaching creative theatre, Methuen, London.

Pallin, G. (2010). Stage management. London: Nick Hern Books

Roznowski, R. and Domer, K. (2009). Collaboration in theatre ;A practical guide for designers and directors. Basingstoke: Palgrave Macmillan

Styan, J. (2004). Modern drama in theory and practice. Cambridge: Cambridge University Press

Talburt, N. and Montgomery, L. (1975). A Mystery reader. New York: Scribner.




Anon, (2017). [online] Available at: [Accessed 25 Nov. 2017]. (2017). Kenton Yeager. [online] Available at: [Accessed 25 Nov. 2017]. (2017). Albert Camus. [online] Available at: [Accessed 25 Nov. 2017]. (2017). Idealism. [online] Available at: [Accessed 25 Nov. 2017]. (2017). Lajos Egri. [online] Available at: [Accessed 25 Nov. 2017]. (2017). Peter Hall (director). [online] Available at: [Accessed 25 Nov. 2017]. (2017). Rudolf von Laban. [online] Available at: [Accessed 25 Nov. 2017]. (2017). The Nobel Prize in Literature 1934. [online] Available at: [Accessed 25 Nov. 2017].

Revolvy, L. (2017). "Motley Theatre Design Course" on [online] Available at: [Accessed 25 Nov. 2017]. (2017). Efter Tunç « World Stage Design 2013 World Stage Design 2013. [online] Available at: [Accessed 25 Nov. 2017].

bottom of page