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Permalink Reply by Rick Reid on August 9, 2010 at 11:00am

There are a few basics in the "human resources" field.

Responsibility: for various areas, other people, overall goals. Such as an E1 could run a crew to hang a plot. An E2 might be in charge of maintenance. E3 is in charge of himself and does what he is told.

Danger and Safety training: Climbing into weird places would be only for higher levels. Working with feeders, and frying equipment should limited.

Technical Skills: Not any one skill, but needing a range to move up. Keep in mind that performance skills requiring timing and aesthetics (followspot, board op) are very differant than pure tech. (dimmer repair, bench focusing, board programming)

With any luck, others here have access to job descriptions for similar operations.

So what kind of theater is it?

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Permalink Reply by John Rutledge on August 9, 2010 at 12:08pm

I haven't ever really heard anyone use the terms E1, E2, and E3.

Normally you are a Master Electrician, and Electrician or and Assistant Electrician.

A master should be comfortable working with the big stuff and be able to be insured to do that job. He is the one who "ties in" or connects the mains power and is responsible for the safe and adequate distribution of all of the main power. He has final say on "powering up" any circuit on the stage or in the venue and has the final say on all things electric.

An "electrician" should be able and qualified to perform the jobs asked of them by the master electrician with a minimum of supervision. They should understand electricity and the "electrics" position skills, and duties, well enough to supervise and train any electrician assistant that may work with them.

And finally anyone who needs to be supervised and have their work checked by more experienced technician should be considered an assistant.

Obviously any maintenance should be done by qualified electricians. The master electrician should determine what and how the maintenance should be scheduled and accomplished. Often part of the training for assistant electricians consists of helping with this sort of work.

Working at height is only fort those that want to do this work and are comfortable. While it helps your job possibilities to be able to do high work, it is not an absolute requirement for the job. Only those who are comfortable working off the ground should consider doing so.

Perhaps these comments will help.
Peace,
John Rutledge

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Permalink Reply by Derek Bever on August 9, 2010 at 3:36pm

I've got experience both as an electrician at various 'levels' as well as a designer in charge of one or more electricians, so here's my thoughts on the matter.

Anyone in an 'electrician' role (perhaps your e3?) should probably have, as a basic set of skills, the ability to hang, focus and troubleshoot common conventional fixtures form the last two or three decades, as in my experience these make up the bulk of many theater's inventories. Familiarity and comfort with wiring at least low-voltage practicals is definitely a plus at the basic levels. Comprehension of DMX topology and addressing schemes, as well as familiarity with at least a few light boards wouldn't hurt. Experience with some basic effects like fog machines? Reading plots as part of a hang crew is definitely a big one, as well as documenting circuits used.

The next 'level' I guess (AME? e2?) would have to involve intelligent fixtures. Their operation, maintenance and so programming. Familiarity with wiring of 120v practicals. A wider knowledge of effects, and their implementation. Ideally the AME can help the ME maintain paperwork, as an electrics crew that doesn't maintain good instrument/dimmer schedules is next to worthless, in my opinion. Comfort working at heights, with ladders and lifts definitely becomes important at this level. The job requires precarious positions sometimes.

The ME (e1?) should have all of these skills as well as the ability to supervise a crew during a hang and focus, as well as being capable of programming the board, either for things like patching or while the LD is giving verbal directions.

To be honest I'm not sure of the merits of trying to force some kind of 'classification' into the field. Typically the work in theater isn't so regimentalized that it seems necessary to me. The traditional layout of "ME, AME, Elec" seems functional enough to me, and is reflected in most of the other fields of theater. "Technical director, shop foreman, carpenter," and so forth.

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Permalink Reply by James Lockhart on August 10, 2010 at 9:03am

True we are not really trying to force people into positions/ levels just see what other professional roadhouses are using for to plan out the crew call with instead just calling people on a list and hope they can do the job that we need to that day. Thanks for all input so far

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Permalink Reply by Kristi R-C AKA MissWisc on August 11, 2010 at 1:59pm

On Broadway tours in the USA, the A1 is the head of the sound department and typically runs the board during the show. The A2 is his assistant and takes care of the mics as well as things backstage during the show. Similarly the E1 is the head electrician who typically runs the board during the show. S/he will have one or two assistants (E2 and E3) who take care of the front of house/spotlight and backstage/onstage needs during the show. It's expected that each position has the skills to cover for each other position as needed.

In educational and regional theatre, the Master Electrician, Board operator, Assistant titles seem to be most commonly used.

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Permalink Reply by Scott Walsh on September 9, 2010 at 5:32pm

Types Of Stagehand

* Professional Stagehands
* Audio engineer A1
* Assistant audio A2
* Electricians
* Light board operator
* Followspot operator
* Carpenters
* Theatrical technician
* Property Master/Mistress

Stagehands are usually skilled in multiple disciplines, including rigging, carpentry, stage electrics, stage lighting, audio/projection, and props. Stagehands are often responsible for operating the systems during shows or taping and also for the repair and maintenance of the equipment. Most stagehands have a general knowledge of all the phases of a production, but tend to develop specialties and focus on specific areas.

I also think you might break it down by department:
carp, pusher, loader, lights, audio, pyro/f-x, video, backline, etc.

Just my 2 cents,
Scott Walsh
http;//www.stagehand.us

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