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46-549: In 1957, Postgate was appointed a stage manager with Associated-Rediffusion , the company that then held the commercial weekday television franchise for London. Attached to the children's programming section, he thought he could do better with the relatively low budgets of the then black and white television productions. He wrote Alexander the Mouse , a story about a mouse born to be king. Using an Irish-produced magnetic system - on which animated characters were magnetically attached to

92-610: A Welsh steam locomotive who wanted to sing in a choir, based on Postgate's wartime encounter with Welshman Denzyl Ellis, who was once a fireman on the Royal Scot . It was remade in colour for the BBC in the 1970s. This was followed, also in 1959, by Noggin the Nog , their first production for the BBC, which established Smallfilms as a safe and reliable pair of hands to produce children's entertainment, in

138-621: A confection of formulae which have no integrity. No, the mainspring of what we did was because it was fun". Recognising their commissioning audience, Smallfilms purposefully developed storylines that would engage both adults and children. While the storylines and production were remembered by children, the adult jokes, like those about the Welsh in Ivor the Engine , or the fact that the Clangers swore occasionally, gave

184-456: A conventional stop motion animation studio, with Postgate moving the (originally cardboard) characters himself, and working his 16mm camera frame-by-frame with a home-made clicker. As Postgate voiced so many of the productions, including the WereBear story tapes, his distinctive voice became familiar to generations of children. They began in 1959 with Ivor the Engine , a series for ITV about

230-399: A family of penguin -like creatures who lived at the back of a barn on the fictional Berrydown Farm. The Pingwing characters were knitted by Firmin's sister Gloria Wilson, and the animation was achieved using the stop motion technique. Some of the animated sequences were filmed in the open air. Such sequences were often intercut with live-action sequences, featuring Mr and Mrs Farmer and Gay

276-464: A guaranteed audience because of their location. They may be on cruise ships, in theme parks, Las Vegas or at destination resorts. These shows warrant very long-range development and planning and use stage managers to run almost all technical elements in the show, without many of the other traditional crew members, such as sound, lighting and rigging operators. In these cases, show control systems are installed and connected to all other technical systems in

322-542: A later interview the then "gentlemanly and rather innocent" business of programme commissioning thus: "We would go to the BBC once a year, show them the films we'd made, and they would say: 'Yes, lovely, now what are you going to do next?' We would tell them, and they would say: 'That sounds fine, we'll mark it in for eighteen months from now', and we would be given praise and encouragement and some money in advance, and we'd just go away and do it". The only occasion that this informal arrangement caused any real difficulty emerged in

368-468: A painted background, then filmed using a 45 degree mirror - he persuaded Peter Firmin , who was then teaching at the Central School of Art , to create the painted backgrounds. Postgate later recalled that they broadcast around 26 of these programmes live-to-air, a task made harder by the production problems encountered by the use and restrictions of using magnets. After the relative success of Alexander

414-576: A painter to produce the backgrounds, but as the painter was classically Chinese-trained he produced them in three-quarter view , rather than in the conventional Egyptian full-view manner needed for flat animation under a camera. This resulted in Firmin's characters looking as if they were short in one leg, but the success of the production provided the foundation for Postgate and Firmin to start up their own company, solely producing animated children's television programmes, initially for ITV , but soon afterward with

460-489: A strong prejudice against fantasy for its own sake. Once one gets to a point beyond where cause-and-effect mean anything at all, then science fiction becomes science nonsense. Everything that happened was strictly logical, according to the laws of physics which happened to apply in that part of the world". In June 2015, the BBC's Mark Savage reported: "Firmin said the Clangers ' surrealism had led to accusations that Postgate

506-549: A union known as the Actors' Equity Association , which also represents performers. In addition to performing their typical stage management duties (e.g., maintaining the prompt book and calling performances), Equity stage managers are also required to uphold the union's rules and rights for Equity artists. Union stage managers for opera, ballet, and modern dance are represented by the American Guild of Musical Artists and perform most of

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552-432: Is a broad field that is generally defined as the practice of organization and coordination of an event or theatrical production. Stage management may encompass a variety of activities including overseeing of the rehearsal process and coordinating communications among various production teams and personnel. Stage management requires a general understanding of all aspects of production and provides complete organization to ensure

598-426: Is still generally known for its integral relationship with theater. Many other types of productions and events have incorporated the position of stage management, however. Some of the most common are opera, music and dance concerts, film and television. For music concerts, stage management includes a large variety of responsibilities depending on both the venue and the size and expertise of the musical group coming into

644-588: The BBC . Postgate's initial BBC career was not solely concerned with Smallfilms. To gain experience, he accepted a contract as a television director in the BBC Children's Department in 1960, on a show entitled Little Laura , another animated series made on film, written and drawn by V. H. Drummond . The series continued in production until 1962, with Postgate credited also as animator on the 1962 series. He also wrote serials for long-running BBC children's programmes Blue Peter and stories for Vision On . Setting up

690-461: The 1965 series The Pogles , which BBC management felt was too frightening for the intended audience, and led to their asking for a change of direction: resulting in a revised show, and a change of name to Pogles' Wood . Postgate had strict views regarding storylines, which perhaps limited the possibilities for series development. When asked if the Clangers adventures were quite surreal sometimes, Postgate replied: "They're surreal but logical. I have

736-574: The Goat. In this way the Pingwing family interacted with their neighbours on the farm. The series was in fact filmed partly "on location": since Peter Firmin and his wife lived in an old farmhouse, and the Smallfilms film studio was located in a disused barn adjacent to it, all the exteriors needed for the series were available literally on their doorstep. The series was captured on 16mm black-and-white film. All of

782-513: The Mouse , Postgate agreed a deal to make his next series on film, for a budget of £175 per programme (a minuscule amount even at that time). Making a stop motion animation table in his bedroom, he wrote the Chinese serial The Journey of Master Ho : a formal Chinese epic, about a small boy and a water-buffalo. This was intended for deaf children, a distinct advantage in that the production required no soundtrack, which reduced production costs. He engaged

828-455: The affection in which this classic brand is held". However, in the event it was Smallfilms itself that returned the classic shows to production, agreeing a deal with the BBC in 2014 to produce a new series of The Clangers for broadcasting in 2015 on CBeebies , which the company also pre-sold in the United States. Light Chaser Animation Studios Stage manager Stage management

874-486: The business in a disused cowshed at Firmin's home in Blean near Canterbury , Kent, Postgate and Firmin made children's animation programmes, based on concepts that mostly originated from Postgate. Firmin did the artwork and built the models, whilst Postgate wrote the scripts, did the stop motion filming, and voiced many of the characters. Smallfilms was able to produce two minutes of TV-ready film per day, twelve times as much as

920-521: The days when the number of UK television channels was restricted to two. Noggin the Nog was also remade in colour in 1982. However, only six episodes were produced, due to the BBC believing that Smallfilms’ work was “old-fashioned”. In 2000, Postgate and his friend Loaf set up a small publishing company called The Dragons Friendly Society, to look after Noggin the Nog , Pogles' Wood and Pingwings . After Postgate's death in December 2008, Smallfilms

966-528: The door and serving as a prompter on stage. The prompter held the script and was prepared to feed performers their lines; this was a common practice of the time. Between the Renaissance and 17th century, the actors and playwrights handled stage management aspects and stage crew. In the Elizabethan and Jacobean theatre there were two roles that covered stage management: stage keeper and bookkeeper. The stage keeper

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1012-428: The emotional expression aligns with the intended message. Successful performances are scrutinized for the strategies used to captivate the audience. Those responsible for bringing the performances planned by stage planners to life on stage are the staff. Consequently, stage planners organize various staff members responsible for directing, choreography, music, stage design, lighting, costumes, makeup, etc. They also oversee

1058-571: The experience including performers, audience, and any crews required. Stage managers often ensure safe working conditions in the theatrical space by working closely with theatrical unions to keep rehearsals and performances on time, safe, and efficient. Commonly referred to as Equity , AEA is the American union for stage managers and actors. The AEA works to negotiate and provide performers and stage managers quality living conditions, livable wages, and benefits. American stage managers work closely with

1104-401: The films an instant parental engagement, and a later nostalgic revival amongst former children re-watching their favourite programmes. From October 2008 until 2013, production company Coolabi held the merchandising and distribution rights to a number of the Smallfilms productions. Coolabi hoped to introduce Bagpuss to a new generation, saying that there was "significant potential to build on

1150-413: The first mounting of one of Sturges' plays on Broadway, The Guinea Pig , in 1929. In the United States, stage manager is a generic title that may be applied to anyone who performs stage management functions. On small shows, one person typically performs all the tasks of stage management, and is simply referred to as the stage manager . Larger shows often need two or more stage managers. In such cases

1196-539: The following unions. Stage managers often have an in depth knowledge of their sister unions: Notes Bibliography Pingwings Pingwings is an animated black-and-white children's television series , comprising 18 ten-minute episodes, broadcast in the United Kingdom on ITV in three series of six programmes each, between 1961 and 1965. It first aired on Southern Television . Created by Oliver Postgate and Peter Firmin of Smallfilms , it starred

1242-454: The handling of finances, general directorial duties, and stage management. Stage management first emerged as a distinct role in the 17th century during Shakespeare's and Molière's time. During Shakespeare’s time the roles of stage management were left to apprentices, young boys learning the trade. There is still evidence of a prompter at this time. It was not until the 18th century in England that

1288-578: The head stage manager is titled production stage manager (commonly abbreviated PSM), and working under the PSM is one or more assistant stage managers (commonly abbreviated ASM). Shows that employ three stage managers have a PSM and two ASMs, though the program credits may list them as production stage manager (first or head stage manager), stage manager (second stage manager), and assistant stage manager (third stage manager). Some professional stage managers on plays and musicals may choose to be represented by

1334-550: The preparation process, secure the necessary funds, check preparations, and guide the director in staging scenes. One of the most notable Korean stage planners is Kim Sang-wook, the CEO of PLAN A, who has orchestrated numerous performances, including the 'Love Yourself' tour by BTS . Many live shows around the world are produced with the foreknowledge that they will have a very long run, often measured in years. These are usually known quantities that are very expensive productions and have

1380-463: The process runs smoothly and efficiently. A stage manager is an individual who has overall responsibility for stage management and the smooth execution of a theatrical production. Stage management may be performed by an individual in small productions, while larger productions typically employ a stage management team consisting of a head stage manager, or production stage manager , and one or more assistant stage managers . The title of stage manager

1426-472: The run of the show. The ASM may take attendance or estimate audience size, may manage the backstage technicians, may act as a liaison between crew, cast and management, and may call some cues. Mundane tasks such as mopping the stage and brewing coffee or tea may fall to the ASM. If the stage manager is unable to perform his or her duties, the ASM must be able to fill in. The assistant may also be in charge of one wing of

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1472-547: The same duties as their counterparts in plays and musicals. The American Guild of Variety Artists also represents variety performers, dancers and stage managers. In the UK, the structure of a stage management team depends on the type and size of the production. It can consist of stage manager (overseeing the running of the show), deputy stage manager (commonly called DSM), and assistant stage manager (commonly called ASM). A fringe theatre show may employ one stage manager to carry out

1518-445: The script to restart halted scenes. The deputy stage manager (DSM) is a separate position in some theatres, while in others the responsibilities of the DSM may be assumed by the stage manager or assistant stage manager. The assistant stage manager (ASM) has varied responsibilities, which are assigned by the stage manager. The ASM assists in finding and maintaining props during rehearsals and

1564-520: The stage, while the stage manager is on the other wing. Due to the recent global rise in popularity of K-POP and mainstream cultural arts, Korean stage planners are playing a significant role worldwide. Typically, stage planners determine the timing and venue of performances and take responsibility for the entire process leading up to the completion of the event, acting as overall directors. They conduct thorough analyses on what performances people desire, whether similar events have already taken place, and if

1610-595: The tasks of an entire team, whereas a West End theatre show in London might employ multiple ASMs. Professional stage managers are represented by the British Actors' Equity Association , which also represents performers. The DSM prompts actors and will usually cue technical crew members and sometimes cast, while following the orders of the director and stage manager. The DSM calls actors to hold while technical problems are sorted out during rehearsal, and determines where in

1656-516: The term stage manager was used. This was the first time a person other than actors and playwright was hired to direct or manage the stage. Over time, with the rise in complexity of theatre due to advances such as mechanized scenery, quick costume changes, and controlled lighting, the stage manager's job was split into two positions— director and stage manager . Many playwrights, directors, and actors have previously worked as assistant stage managers. Writer and director Preston Sturges , for example,

1702-405: The theatre, which are specifically designed to be controlled by show control and to operate safely with minimal supervision. Stage managers working these shows usually have the additional responsibility for programming the show control system, and often the other control systems as well. The role of stage manager evolved from an amalgamation of various positions in theater over several centuries and

1748-410: The venue. Some of the responsibilities of a concert stage manager include overseeing the schedule for load in and out of equipment, seeing to the comfort of the group which can include arranging refreshments and or transportation, sometimes arranging how and where merchandise is to be sold at the venue, and above all, as with all areas of stage management, watching out for the safety of all participants in

1794-540: The voices were provided by Oliver Postgate and Olwen Griffiths. A short sequence of Pingwings is available on the CD accompanying Oliver Postgate's autobiography, and a DVD of the 18 episodes is also available, from the Dragons' Friendly Society . The music for the series was composed by Vernon Elliot , and performed by him with the oboist Sidney Sutcliffe . Series One Series one was broadcast from August to September 1961 and

1840-510: Was broadcast from August to September 1965 Episode 13: " A Game of Spoonball " Episode 14: " Moving House " Episode 15: " Buying and Selling " Episode 16: " Ice Cream for Tea " Episode 17: " A Proper Kitchen " Episode 18: " Mrs Pingwing's Entertainment " Mr Pingwing The father figure, portrayed as less than bright but loves his family. Mrs Pingwing The archetypal mother figure, she wears an apron. Paul Pingwing The eldest child. Technically minded and overconfident, he wears

1886-706: Was employed as an ASM on Isadora Duncan 's production of Oedipus Rex at the age of 16 and a half: When one is responsible for giving an offstage cue, even the simplest ones, like the ring of a telephone or a birdcall, demand considerable sangfroid, and the job is nerve-wracking. One is very much aware that everything depends on the delivery of the cue at exactly the right microsecond. One stands there, knees slightly bent, breathing heavily... Sturges didn't last long in this job, due to his calling for thunder and then lightning instead of lightning and then thunder, but 16 years later Brock Pemberton hired him as an ASM on Antoinette Perry 's production of Goin' Home , which led to

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1932-477: Was inherited by his son Daniel. Universal took the distribution rights to the works of Smallfilms. Any such agreement does not include the materials published through The Dragons Friendly Society. In 2014, Daniel collaborated with Firmin on the production of a new series of Clangers , with Daniel writing many of the episodes. Postgate and Firmin recognised that their product was not sold to children, but to commissioning television executives. Postgate described in

1978-560: Was not used until the 18th century, though the concept and need for someone to fill the area of stage management can be seen with the Ancient Greeks. The playwrights were usually responsible for production elements. Sophocles is the first known stage technician, supported by his employment as a scenic artist, playwright, musician, and producer. In the Middle Ages, there is evidence of a conducteur de secrets , who oversaw collecting money at

2024-529: Was repeated from November 1962 to January 1963. Episode 1: " The Happy Event " Episode 2: " The Ice Cream Tree " Episode 3: " The New House " Episode 4: " Baby Pingwing " Episode 5: " The Sorry Birds " Episode 6: " The Seaside " Series Two Series two was broadcast from January to February 1963 Episode 7: " Robinson Pingwing " Episode 8: " The Fish " Episode 9: " Mrs Pingwing " Episode 10: " The Flying Birds " Episode 11: " The Rag Doll " Episode 12: " Visitors " Series Three Series three

2070-453: Was responsible for the maintenance of the theater, taking props on and off stage, and security of performance space. The bookkeeper was responsible for the stage script, obtaining necessary licenses, copying/providing lines for the performers, marking entrances and exits, tracking props, marking when sound effects come in, and cueing props and sound effects. Between the Renaissance and the 16th century, actors and playwrights took upon themselves

2116-485: Was taking hallucinogenic drugs". Firmin told Savage: "People used to say, 'Ooh, what's Oliver on, with all of these weird ideas?' And we used to say, 'He's on cups of tea and biscuits'". The Smallfilms system was reliant on the company's two key employees, Postgate and Firmin, and was devoid of modern considerations and essentials, as Postgate pointed out: "[We were] excused the interference of educationalists, sociologists and other pseudo-scientists, which produces eventually

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