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The Tempest: Creating the Book (backwards!)DURATION: 45 minsOBJECTIVE: To have created a staging page for The Wedding Masque (Act4: Scene 1).KEY LEARNING POINTS: The sound and lighting changes through every part of theperformance, the cues which control these changes are recorded inthe book. The Deputy Stage Manager ‘calls’ the sound and lighting changesduring the performance. The Deputy Stage Manager needs to closely observe all the differentelements of the production during each performance.YOU WILL NEED: The Tempest: The Wedding Masque (Act 4: Scene 1) clip The Stage Management video The Wedding Masque (Act 4: Scene 1) script extract, one perparticipant - see below The Book Staging sheet, two per participant – see below Paper, one per participant Pencils and rubbers, one per participant Rulers, one per participantACTIVITY: This activity follows on from the The Tempest: Marking Blockingexercise. Ask participants to remind you what the book is. Explain that, inaddition to recording the blocking, the book also records the sound,lighting and special effects cues There’s been a leak in the Donmar store and the pages of TheTempest book that relate to The Wedding Masque clip have beendamaged – can you help the team reverse engineer the book byworking out all the cues?. The Deputy Stage Manager (DSM) isworking on the blocking. Can you start to piece together the otherelements? Give each participant a piece of paper, a pencil and a copy of TheWedding Masque script. Split the participants into four groups.o Lightingo Sound created on stageo Recorded soundPage 1 of 7
o PropsExplain that you are going to watch The Wedding Masque clip andwhile the participants are watching they should notice when there isa change that relates to their specialism, make a note of whathappens and mark in the script when it happens. Every group shouldalso look out for the video projection or anything that might not fitinto one of the other categories. Try to capture as much detail as youcan – where do things come in from, what props are used, is there amood that the lighting state creates, is there sound created on stageas well as recorded sound being played?After you have watched the clip, allow the participants to discusstheir findings in their groups and try to agree how many changesthere are, and – as much as they can – where they happen.Introduce how to use the staging sheet. The DSM will have the scripton the left hand side and the staging sheet on the right. They willdraw a line from the exact moment that a change happens in thescript to the ‘cues and calls’ or ‘notes’ columns. Here they will writethe actiono Lighting cue LXQ (number of cue) e.g. LXQ42o Sound cue SoundQ (number of cue), only for recorded soundthat needs cueing. The DSM will note when sound made onstage starts and ends.o Special Effects SFXQ (number of cue) e.g. SFXQ98o Props note down where props enter from, which props enterin the notes columnIn their groups, ask the participants to make a draft of their cues andnotes, with each participant making a copy.Now watch The Wedding Masque clip again with the participantscorrecting and amending their cues, calls and notes.End with a discussion:o What else might the DSM have to add? Calling actors from thedressing room to be ready for a later entrance over the showrelay, need to know how long it takes them to get to thestage. The standby calls – the DSM will get the lighting andsound operators ready for changes by using the cans. Forexample; DSM: Standby LXQ1 Lighting operator: Standing by DSM: LXQ1 Go.o What will we have missed by trying to reverse engineer thebook? (Some light and sound cues will start very small, with along transition time, and we only notice the change after it hashappened.)o Having completed this task, what do you think the qualities ofa good DSM are? Within this section, we can see that the DSMhas to be aware of all of the cues, alongside the monitoring ofactors’ entrances and exits. The DSM is also responsible forreporting any mistakes, which will be recorded on the showreport, so that any repeat mistakes can be rectified. A DSMneeds to be detailed, methodical, calm, focused andobservant.Page 2 of 7
EXTENSION ACTIVITY: You can research books online and look at images of how differentDSMs record the different elements of the show. You could do The Tempest: Show Report exercise.KEYWORDS:Deputy Stage Manager - sits in rehearsals, records the blocking and all thecues in the book. During the performance tells the lighting and soundoperators to make changes, this is referred to as ‘calling the show’.Book (or prompt book) – the up-to-date performance script, a record of theblocking and all sound, light and special effects cues. This the most detailedrecord of the performance.Blocking - the actions and movements of the actors on stage during theperformance.Cue - the trigger for an action, like a lighting change or sound to start orstop, to be carried out at a specific time.Show relay – the backstage intercom system which means that the cast canhear the DSM calling them to stage and can hear the performance as ithappens on stage.Cans – headset and microphone that the stage management and technicalteam wear so they can communicate throughout the performance.Standby – when a lighting or sound operator, or Assistant Stage Manager, isready and waiting for the cue to take their next action.Page 3 of 7
The Tempest (Act 4: Scene 1)Production script, edited by Phyllida Lloyd. With additional words by JadeAnouka.ArielWhat would my potent master? Here I am.ProsperoThou and thy meaner fellows your last serviceDid worthily perform and I must use youIn such another trick. Go bring the rabble,O'er whom I give thee power, here to this place.Incite them to quick motion, for I mustBestow upon the eyes of this young coupleSome vanity of mine art. It is my promise,And they expect it from me.ArielPresently?ProsperoAy, with a twink.Ariel (raps)You know that I’m quick,That I’m fast,I’m flyWith the speed of your thoughtsIn the blink of an eyeWhenever you wantWhatever you needMy Sprites and IWill succeedYou know I can do itYou know we got flowBut do you love me master, no?ProsperoDearly my delicate Ariel.Look thou be true. Do not give dallianceToo much the rein. The strongest oaths are strawTo the fire i' the blood. Be more abstemious,Or else, good night your vow!Well! No tongue, all eyes! Be silent!Wedding SongHonour, riches, marriage-blessing,Long continuance, and increasing,Hourly joys be still upon you!Hourly joys be still upon you!Juno sings her blessings upon you.Page 4 of 7
Earth's increase, foison plenty,Earth's increase, foison plenty,Barns and garners never empty,Vines and clustering bunches growing,Plants with goodly burden bowing;Spring come to you at the farthestIn the very end of harvest!Scarcity and want shall shun you;Ceres' blessing so is on you.Spring come to you at the farthestIn the very end of harvest!Scarcity and want shall shun you;Ceres' blessing so is on you.FerdinandThis is a most majestic vision, andHarmoniously charmingly. May I be boldTo think these spirits?ProsperoSpirits, which by mine artI have from their confines call'd to enactMy present fancies.FerdinandLet me live here ever!So rare a wonder'd father and a wifeMakes this place Paradise.MirandaSweet, now, silence!FerdinandThis is strange: your father's in some passionThat works him strongly.MirandaNever till this daySaw I him touched with anger so distemperedProsperoYou do look, my son, in a moved sort,As if you were dismay'd. Be cheerful, sir.Our revels now are ended. These our actors,As I foretold you, were all spirits andAre melted into air, into thin air:And, like the baseless fabric of this vision,The cloud-capp'd towers, the gorgeous palaces,The solemn temples, the great globe itself,Yea all which it inherit, shall dissolvePage 5 of 7
And, like this insubstantial pageant faded,Leave not a rack behind. We are such stuffAs dreams are made on, and our little lifeIs rounded with a sleep. Sir, I am vex'd;Bear with my weakness; my old brain is troubled.Be not disturb'd with my infirmity.If you be pleased, retire into my cellAnd there repose. A turn or two I'll walk,To still my beating mind.Ferdinand, MirandaWe wish your peace.Page 6 of 7
The Book Staging SheetCues and CallsNotesStaging Notes1423Page 7 of 7
The Book Staging sheet, two per participant – see below Paper, one per participant Pencils and rubbers, one per participant Rulers, one per participant ACTIVITY: This activity follows on from the The Tempest: Marking Blocking exercise. Ask participants to remin
