Here's how you can enhance your career by cross-training in various theatrical production aspects.

I took lighting design during my post graduate studies but by using technology things are different today..design ideas can be realized easier

La iluminación es un lenguaje y como tal tiene sus códigos. Conocerlo como productor teatral te permite dialogar con el responsable de esa función en cualquier proyecto. Mi curiosidad en el tema me llevó a tomar el desafío de dise?ar dos puestas de luces. en una convocado por un director y en la otra, siendo parte de la compa?ía como actor la directora me ofreció cumplir ese rol también en esa producción. Como productor el conocer del tema ayuda a coordinar con las salas el día y las horas de puesta de luces y su corrección en el ensayo general.

Yes, understanding the different lighting techniques is somehow important not only, it communicates with the mood and emotions of the story but also the placement of the lighting plays a major role in enhancing the texture and features of the talents' make up or the set and props.

Learn some basics of lighting design! Lighting design is often forgotten unless its obviously bad. Dark spots or attention seeking cues are easily noticed, but lighting can do subtle bad things as well if design team and director communication breaks down. Costume and/or scenic colors appearing muddy unintentionally, emotional scenes that are too bright or peppy, or improper pacing can give a sour feel to a show that's not as obviously the lighting design's fault. Much of this can be attributed to the language of the lighting design differing too much from the design language of the entire show. Learning what to ask of the lighting designer can better create a show that's a cohesive whole rather than fractured design elements on display.

For me in my experience as a lighting designer, lighting and sound are an energy exchange between each other and the audience. The intensity, color, and movement of lighting can very easily compliment or clash with the sound designs intentions. Learn the basics of sound design so you can better communicate intentions of your own design to make well thought out and collaborative designs.

Cross-training in sound not only enhances the show's auditory landscape but it is also able to set the tone of the genre, it could be creating a realism, fantasy or musical and many more. Finding a perfect sound that matches the set and lighting design would elevate the narrative of the story.

Más allá de lo que suma a la producción del espectáculo conocer los elementos creativos de la escenografía; como productores requerimos manejar información sobre materiales y costos, volúmenes de escenografía para ingresos y espacios de guardado en salas, descripciones precisas de escenografía para festivales y giras, etc. El conocimiento del productor en este punto es crucial

Costume is one of the elements that can indirectly characterize the timeline of the story and the personality of the characters. For example, in a show with medieval times roughly 5th to late 15th century, actors and actresses would either be wearing noble and royal-ish clothes, knight, or peasants or common folks that represent the timeline and immediately characterize each character.

In my experience in Ballet/Dance. working with a costume designer is quite important, but that's true everywhere. You want all elements of design, especially costumes to be seen how they are intended. Studying how the fabric reacts under different light, how the colors mesh, how the fabric moves all can help inform your design choices be it scenic or lighting.

As I transitioned into wearable technology and integrating LEDs, I have very little sewing experience. Learning basic terminology and techniques allows me to communicate with wardrobe staff, both during creation of stitching and dressers getting artist into costumes, while creating costumes that are durable and can handle the rigors of nightly shows that adhere to the design by hiding electronics.

Haber ocupado ambos roles (director / productor) fue una experiencia enriquecedora para ambas funciones. La interacción de las dos áreas es compleja pero suma mucho al avance del proyecto un buen dialogo entre ellos. Así los requerimientos artísticos del director pueden amalgamarse con las posibilidades presupuestarias del proyecto, ajustando prioridades, revisando costos de la producción de alguna parte del espectáculo, lo central y lo accesorio de la puesta, el costo de determinado efecto escénico, etc.

Cuando creas una obra de teatro tienes que tener en cuenta que como director de escena, eres la base de todo, es importante tener muy clara la idea. Yo comienzo con una premisa y un estilo, de ahí empiezo a bajar todo lo que necesito para empezar, como una lluvia de ideas, me gusta tener muy claro visualmente y a nivel de narrativa que es lo que va a pasar. Posteriormente bajo el proyecto en términos de recursos (materiales, humanos, temporales), a continuación hago pruebas, lo voy mostrando, necesito ver huecos en el proyecto, cosas que no he visto. Antes de empezar a hacer el montaje siempre ten visualizado o acordado donde se va a presentar, siempre, no empieces a montar sin eso, es un consejo clave, sobre todo en la parte artística.

In both undergraduate and graduate school we were encouraged to take every course we could, even if it wasn't in our speciality, so that we could understand how our colleagues thought. The farthest afield was taking Welding Engineering 101 as a grad student at Ohio State next to one of our undergraduate actresses, who was a much better welder than I.

To add on this discussion I think that attending different workshops to do with theatrical practice is an added advantage. In these workshops, people, facilitators, trainers, will take about things you probably already know but in another perspective and/or contest that can help you as a theatre practitioner horn tour skills more.