Spiegelworld’s Post

About career transition📈📚 When HR hears that i was stage manager in Israel Opera, he/she really doesn't understand what does it means and what happens in the theater. This is understandable because for many people the performance happened by itself. So let's talk about it. 🎤 What i did there? 🎭 I started as a props operator, within a year I became an assistant director and one years later I became a deputy chief stage manager. I'm really proud of it and I'm a fast learner.🙇🏻♀️ Where is there data?📊 Imagine how much information from all these departments exists in different formats. I have to analyze all the data of production and make it suitable specifically for our stage, for each cast. Which version of the director's idea is best suited for a particular cast, how to optimize the work of 200 and sometimes more people. Utilized data analysis to track production progress and identify areas for improvement. Communication🗣️ During the preparation of the performance during rehearsals and then during the show, many departments take part of it: soloists, choir, ballet, extras, technical team, stage mechanics ,lighting ,sound, props, state managers, wigs&hair, make up, costume department. They shouldn’t know what’s going on with others, but I should have. I was the person who is responsible for their communication and transmission of information to make the show work. Accuracy, precision and attentiveness 👀 I worked in musical theater, which means that I worked with musical scores. In my main book, I personally wrote down all the information and I knew what was happening at every moment on stage with every person who was there, what he was wearing, what he was holding in his hands and where he will go after that. The performance lasts 3 hours and there can be more than 100 people on the stage itself, add the same number working behind the scenes and their plan is also described in my book. Quick adaptation and ability to work under stress. 🙀➡️😁 In musical theater there is also an orchestra. And in fact it all depends on the conductor. Each time he will play differently. Today the accents are here, tomorrow is faster, the day tomorrow is slower. I led and call the show in real time and managed the entire performance without pauses or second chances in conditions where every day everything will be a little different. But i think the most importantly, this work gives you the opportunity to make and admit mistakes, be able to correct them and take responsibility.✅ This is short and without subtleties. So when a person comes to you from an area unknown to you, think about the possibility that he is unique, and only he has such skills and experience and your company can acquire an incredible employee. Don’t be afraid of us, to do something really good you need to have knowledge in more than one area . And everything that I wrote above it seems to me the great skills that i can apply to data field👩🏻💻

AUDITIONS Everybody has their own approach, and all companies have different reasons for holding their own style of auditions. PEEL.. The Peel Entertainment Group We purposely do not hold many, if any, open dance auditions. We do not have large numbers of dancers in the studio at any one time either.
We will have numerous rounds throughout the day and are happy to have long days for our casting panel, with dancers arriving at different times. WHY? Our internal philosophy and belief system as a company. 💫 If you're an amazing contemporary or street dancer, and we need musical theatre actor/dancers, then we as a company are purposefully not helping you on your journey to landing your dream job. 💫 We feel that for dancers, attending lots of auditions—especially when they're not the right ones for them—soon has harsh financial implications. 💫 The negative impact of turning up for an unclear dance audition, especially when you're not going to get the job, is something we want to avoid. Why put somebody through this? 💫 Auditions are hard enough without being stuck at the back of the room behind 80 other people. 💫 We believe a good choreographer or casting director needs the opportunity to view each and every dancer fairly. 💫 We are passionate about making sure everyone has a chance to be seen and shine based purely on their skills!

Hey Fellow Dancers 👊, Tired of the same old audition grind, hustling for opportunities that barely pay off? Ever experienced one of these: - Spotting auditions too late to apply? - Wasting time & money in auditions with no real opportunities. - Asked to pay to audition. -Dealing with confusing and unfair agreements. - Juggling too much, leaving no time for your own creations. - Getting endless rejections: Wondering what choreographers really want. - Inconsistent payments and gigs that barely cover your expenses. - Feeling isolated in the dance world. Navigating the dance industry without guidance. Imagine this – We've got your back for your next auditions, like the one coming up @Syracuse City Ballet is Searching for Male and Male-Identifying Dancers. If you vibe with our values and think you've got the chops, hit us up here. 𝙋𝙎: Stay in the loop with auditions tailored for you. Subscribe to our Newsletter now!

In the performing arts sector, we excel at drawing new audiences to our venues to revel in our captivating performances and exhibitions. However, as you may see within your own org, there is a serious gap when it comes to these patrons returning. It’s easy to label these guests as 'churned,' 'attrited,' or 'lapsed' because to us, it feels like there's been a break in our relationship with them if they miss a season. But what if post-pandemic behavior patterns have shifted? What if it naturally takes longer for people to come back for their second or third visit? What if they still think they are engaged, and of your venue as their theatre, orchestra, ballet, opera, etc.? Our latest research at TRG Arts reveals that first-timers might take as long as 18 to 24 months to return. During this period, they still consider themselves actively connected to your community. Join us for a Deeper Dive on July 25th, where Eric Nelson (featured in this video) alongside Kate Hagen, will delve into the Rhythm of Repeat Attendance. Eric and Kate will share insights on how your messages and marketing can resonate deeply with these patrons, nurturing a bond that embraces their sense of connection. Don't miss this opportunity to transform how you engage with your audience and foster enduring patron loyalty. Let’s learn to love our lapsed together! 🔗 https://hubs.li/Q02GLpbv0

🎤 Spotlight on Skills: Back-Up Dancer & Singer 🎤 With Taylor Swift’s record-breaking Eras Tour making headlines (and $100M+ in crew bonuses!), let’s shine a spotlight on the unsung heroes who helped make it a sensation: the Backup Dancers & Singers. These professionals bring energy, artistry, and teamwork to create unforgettable performances. 🌟 🔹 Performance Art: Whether it’s nailing intricate choreography or harmonizing on a powerful ballad, mastering dance and singing is at the heart of this role. 🔹 Artistic Support and Collaboration: Backup Dancers & Singers work hand-in-hand with lead performers and production teams to deliver a cohesive and dynamic show. 🔹 Fitness Training and Conditioning: High-energy routines require stamina, strength, and endurance to keep the momentum going through long rehearsals and even longer shows. 💡 Looking Ahead: Being a Backup Dancer & Singer isn’t just about talent; it’s about teamwork, resilience, and a deep love for the craft. If you’ve got rhythm, drive, and passion, this could be your spotlight moment. ✨ Want to see the full range of skills for this role? Sign up with SkillsEngine to explore: https://lnkd.in/guC3UZT2 #SkillsSpotlight #PerformingArts #EntertainmentIndustry #SkillsDevelopment #ErasTour

If there's a show about dancing, then it's always on my 'watch' list, so I was excited when Dance Life was released earlier this year. It chronicles the real-life experiences of dancers going through their final year at Sydney's Brent Street dance studio. The sheer talent of the dancers is breathtaking, but what impresses me is the teamwork. They rely on each other to do well—both individually and collectively. They practise hard, support and encourage each other, and focus on their role and do it to their absolute best. They also place complete trust in each other, throwing themselves off staircases and performing routines where they are at serious risk of injury if their dance partners don't play their roles. But it's more than that. The dancers are genuinely happy when their dance friends do well, even though they know their friend is likely vying for the same spot on a routine or to be noticed by an agent or choreographer. Watching the show made me think about corporations and organisations that spend a lot of time discussing teams and teamwork but don't come close to emulating the type of teamwork demonstrated on this show. Instead, it's a faux style of teamwork. It's a team in name only. There might be posters on the wall extolling the team's values, but no one lives up to them. There's a lack of care, connection and interest. It feels competitive and draining. When a team is humming, connecting and working well, it's visceral. You can feel it. You can see it, too, in terms of the outcomes and results. But most of all, you feel it. It feels so good. I've worked in teams like that, and it is the ultimate working environment. I've also worked in teams where the teamwork was surface-level only, and it was hard and exhausting. There are warning signs to be alert to...and here are my top eight. What signs would you add to the list? #leaders #teams #culture #influence Find me on Linktree | https://lnkd.in/dKEbrHFs

Here are nine lessons I learned working as a professional dancer and choreographer that translate into business: #1 Commercial works for most people; with real depth, you won't have a mass audience but true fans. You choose which game to play. #2 You cannot create a touching performance if the performers are unwilling to be vulnerable. The performer needs to open up for the audience to open up. #3 Comparison kills creativity. Comparing yourself makes you more alike than unique. And it kills the fun in practice. #4 The best dancers I know are always dancing. They use their everyday movement to practice dance. They see all movement as part of dancing. #5 A great dance is built of absolute mastery of movement yet total surrender to the flow. #6 The best dancers are mixing disciplines. #7 There is a constant interplay between practice and play; the greatest dancers can't tell the difference. #8 There is no such thing as what is best in dance or what will perform best. I spent time in performances where I could fall asleep, and others would totally celebrate it. 9# Doing what everyone does will give you momentary acceptance. Following your interest for long enough will develop your unique style, which makes you valuable in the long term.

In our entertainment world, there’s a lot more in maximasing IP than just putting a logo on a T-shirt. It's about taking the stories and characters we love and bringing them to life in new and exciting ways… from big stage musicals to the smaller, intimate settings of corporate events or dinner shows, themed parties, there's so much potential. What's really interesting is how different audiences can be. Some prefer the classic opera or ballet, and others might be all about the high-energy vibe of a Vegas-style show. The beauty of this new format is in finding a middle ground for everyone’s taste, plus bringing additional revenue and buzz to the IP. Corporate events offer a smart angle too. They're cost-effective, requiring less in terms of production and cast, yet they still deliver the fun and immersive experiences our audiences seek. #ip #entertainmentindustry #eventsmanagement #eventproduction #industrytrends #corporateevents

Hey Fellow Dancers 👊, Tired of the same old audition grind, hustling for opportunities that barely pay off? Ever experienced one of these: - Spotting auditions too late to apply? - Wasting time & money in auditions with no real opportunities. - Asked to pay to audition. -Dealing with confusing and unfair agreements. - Juggling too much, leaving no time for your own creations. - Getting endless rejections: Wondering what choreographers really want. - Inconsistent payments and gigs that barely cover your expenses. - Feeling isolated in the dance world. Navigating the dance industry without guidance. Imagine this – We've got your back for your next auditions, like the one coming up @URGENT: BD Art Company is Looking for a Male Ballet Dancer. If you vibe with our values and think you've got the chops, hit us up here. 𝙋𝙎: Stay in the loop with auditions tailored for you. Subscribe to our Newsletter now!

In the performing arts sector, we excel at drawing new audiences to our venues to revel in our captivating performances and exhibitions. However, as you may see within your own org, there is a serious gap when it comes to these patrons returning. It’s easy to label these guests as 'churned,' 'attrited,' or 'lapsed' because to us, it feels like there's been a break in our relationship with them if they miss a season. But what if post-pandemic behavior patterns have shifted? What if it naturally takes longer for people to come back for their second or third visit? What if they still think they are engaged, and of your venue as their theatre, orchestra, ballet, opera, etc.? Our latest research at TRG Arts reveals that first-timers might take as long as 18 to 24 months to return. During this period, they still consider themselves actively connected to your community. Join us for a Deeper Dive on July 25th, where Eric Nelson (featured in this video) alongside Kate Hagen, will delve into the Rhythm of Repeat Attendance. Eric and Kate will share insights on how your messages and marketing can resonate deeply with these patrons, nurturing a bond that embraces their sense of connection. Don't miss this opportunity to transform how you engage with your audience and foster enduring patron loyalty. Let’s learn to love our lapsed together! 🔗 https://hubs.li/Q02GxLN30