Please click on the title of the workshops for more information.
WSD 2022 registration is required to reserve or purchase tickets to workshops unless stated otherwise. You can find information about reserving or purchasing tickets to workshops on our Schedule page here.
DerRic Starlight “Lights, Camera, Puppets!”
DerRic Starlight was trained by in Hollywood by “The Jim Henson Company” 2021. DerRic Starlight will demonstrate what he learned from The Henson Studios on how to perform puppets on camera and stage. DerRic can also help the audience learn about voice acting and how to create characters on stage. During the workshop there will be audience participation and they will have their hands full with puppets.
DerRic Starlight is a Comedian Puppeteer, Writer, Director and Pro Wrestling Promoter. Starlight has been performing with puppets all throughout his life. In Jr. High DerRic was writing and performing his own plays and producing his own Wrestling Shows filming everything with his Camcorder. At the age of 17 DerRic set foot on his way to stardom starring as an extra and one liner parts on the hit TV show “North of 60”. DerRic went to many schools, starting with Vancouver’s film and acting school. Comedy training at “Starr Theater” in Scottsdale Arizona USA. DerRic has also trained at “The Second City Toronto” Training Facility. At a young age DerRic has also been involved in promoting the famous Hart Family wrestling promotion in Calgary. For the past 25 years DerRic has been successful entertaining children and adults alike in nationwide live performances and film with his puppets. DerRic is now a published children’s book author in Alberta. Starlight is a Gemini award winner for his voice work on APTN’s Wapos Bay TV Series. As a young child DerRic was teased and bullied for trying to follow his dream to work in television with The Muppets. In the year of 2021 DerRic Starlight’s lifelong dream came true, to train and perform for “The Jim Henson Company” in Hollywood California and he became a puppeteer on The NEW Fraggle Rock TV Series airing on Apple TV.
Designing and Performing Through the Materials and their Engineering Properties
In this workshop participants will learn how to come in contact with a material, discover it by consciously spending time with it and improvise to produce wearable prototypes. Those wearables are encouraged to be created on the living body and in relation to its movement. This is an opportunity to learn new open ways of designing costumes for performance and at the same time realise the intrinsic relationship of costumes’ performativity in relation to a performing action.
This workshop will show you how a material can be a stimulus for performance making.
- Olga Ntenta
- Fanis Sakellariou
Olga Ntenta is an experimental scenographer that has been trained in engineering at the National Technical University of Athens and in scenography at the Royal Central School of Speech and Drama in London. As artist and researcher she has a particular interest in Ancient Greek Tragedy and its contemporary significance. In particular, she is seeking for new readings on Tragedy through experimental scenographic practices. Those practices intersect with science, engineering, architecture and dance.
Fanis Sakellariou is a performance artist, director and sound designer. He graduated from Empros Drama School, Athens, East 15 Acting School, London, and University of the Arts, London: Central Saint Martins (MA Performance Design & Practice, Distinction). He has produced works in theatre, performance, installations and film since 2010 in London, Berlin, Athens, Prague, Ancona and Tokyo. His work revolves around visual physical theatre and performance, based on the themes of ritual, post-humanism and symbols.
Devising and Mapping Image for Performance
This workshop is for those with little to no experience in image creation and projection. It will require focused work; mature children can attend if accompanied by an adult. Design students welcome.
Part one – Participants will explore motion image creation through the use of low-tech live content creation using transparencies, shadow play, and overhead projectors.
Part two – Layering low-tech accessible content through digital video capture. The content can then be layered through mapping in multi-projector output.
The focus of Karyn’s creative practice is designing sets, costumes and multi-media projections for live performance. Her work in these areas has been seen in theatres across Canada and abroad. A major focus of Karyn’s work has been designing for new plays in development as well as site-responsive design. Karyn continues to explore the designer’s role in devised theatre and design-driven performance.
Digital Costume: A Workshop Experimenting With Digital Design Methods
In this experimental workshop, participants explore digital costume design methods and develop understanding of different themes and theoretical views which are involved in digital costume design. Participants learn how portable tablets or cell phones can be utilized as a creative sketchpad in costume sketching process and learn theoretical concepts related to digital sketching. They also experiment the basics of in digital costume design, such as how digital patterns turn to three dimensional digital garments by using the Clo3D program. Participants also learn views of the perceptive understanding of material textures and design communication in digital projects.
- Maarit Kalmakurki
- Heli Salomaa
- Kirsi Manninen
Dr Maarit Kalmakurki
Dr Maarit Kalmakurki is a scenorapher, researcher and educator. Since 2004 she has collaborated as a costume and set designer in multiple theatre, opera and film productions. Maarit is an award-winning scholar and her research interests combine stage and film costume history, dress history and the use of technology in design process. Her pioneering doctoral research investigated digital character costume design in computer-animated feature films and she continues to implement digital design methods in research.
Heli Salomaa is a digital costume designer specialized in video game characters, with 12 years experience in dressing up physical and digital bodies on stage, screen and VR. Her thesis on digitalizing analogue methods of costume design was awarded three acknowledgements for pioneering Master’s research 2018 (Aalto University). Currently, Salomaa is developing a new education program in digital fashion and costume design for Victoria University Wellington, while continuing her practice and research on two international game productions.
Kirsi Manninen, MA, is a Helsinki-based costume designer, teacher of digital character creation and doctoral candidate at Aalto University. Her professional credits include designing more than one hundred productions for television, theatre and film. She is one of the pioneers in the development of digital technologies for costume sketching methods. She has taught digital character creation in several institutions in Finland and abroad. In 2020, she was awarded Artist of the Year in Helsinki.
Holistic sustainability for the performing arts
Discover Ecostage’s approach to placing ecological thinking at the heart of creative practice in this introduction to the Ecostage toolkit. The team will present their own practises and case studies, providing user-friendly, living examples of the connection between individual creativity and sustainability. Find out about the site’s key features, the Ecostage global community, and the power of pledging for collective momentum. The mini workshop and discussion offer opportunities on how to put the Ecostage principles into action to co-create sustainable new narratives for the future of our society and the planet. www.ecostage.online
- Paul Burgess
- Andrea Carr
- Mona Kastell
- Ruth Stringer
Paul is a set, costume and video designer. He’s worked in venues from Accra and Novosibirsk to Hanoi and New York, as well as around the UK. He’s artistic director of Daedalus Theatre Company, co-director of Scale, and has taught at universities including Goldsmiths and National College of Arts, Pakistan. A long-term green activist, he co-ordinates the Society of British Theatre Designers Sustainable Design Group and is a co-director of Ecostage.
Andrea Carr is an eco-scenographer, artist and performance maker. She works across a broad spectrum of the performing arts bringing vitality to ecological and social themes. Her work has been included in the SBTD ‘Designers Lead’ section of Staging Places at the V&A exhibiting Stuck by HOAX 2020, and in the UK representation of World Stage Design, Taipei 2017 with Ionesco’s The Chairs produced by Extant. She co-founded Ecostage Pledge 2015.
Mona Kastell is a passionate ecoscenographer and consultant with a strong interest in socially and ecologically conscious design. Using the notions of Permaculture and ecological systems in her work, Mona’s sustainable practice and research aim to engage and empower whole people to contribute to a healthy society and planet. She places Nature, interconnectivity and authentic community engagement at the heart of her creative process, using natural materials and found objects.
Ruth Stringer is a set and costume designer, based in Wales. She designs for theatre, site-specific productions, opera, dance, and installation. Ruth is interested in the relationship between design and ecological thinking, and her aesthetic is guided by taking design inspiration from repurposed objects and materials. She has designed for several outdoor site-specific performances, and is passionately committed to projects that communities with their local environment through performance.
Indigenous Presence within Performance and Stage Design
Karen and Sharon (sisters) will draw upon their extensive cultural grounded experience from both a performance and design perspective for contemporary Indigenous cultural expression. This presentation will contrast and consider how Indigenous expression can be embraced ethically within stage and performance design, with specific considerations of the Anishinaabe Shiibaashka’igan (Jingle Dress). The Shiibaashka’igan (Jingle Dress) is symbolic of healing and gained international attention during the initial George Floyd political activism in June 2020 in Minnesota – Anishinaabe territory. Authenticity, as well as appropriation, remains a provoking topic as a quasi-pop culture resurgence is a current phenomenon. Within the storytelling format of this session, Karen and Sharon will share beliefs, philosophies, and present Indigenous conceptions for performance design to critically engage for pragmatic approaches in navigating how to bring Indigenous credence to their own performance design expressions. Included in this presentation will be a preliminary overview of design considerations, experiential learning, and discussion and/or defining appropriation versus appreciation for stage design.
- Sharon Lavallee
- Karen Pheasant-Neganigwane
Sharon Lavallee, n’dizinikaaz, Wikwemikong, Ontario n’doonjbaa. (My name is Sharon Lavallee from Wikwemikong, Ontario). I am Ojibway/Odawa. Sharon has always been a contributing member to her nation, as well many fine contributions that promote a positive sense of Indigenous identity. She is a retired classroom teacher of over twenty-five years and presently working on her master’s degree in education. Her highlights include: graduating from a Theatre Arts program in which she took a keen interest in the wardrobe department; she played “Marie Adele” in Thomson Highway’s production, ‘The Rez Sisters’; she spearheaded the participation of thirty youth to participate in the social and cultural program for the Annual Assembly of First Nations in 2012 which commemorated the War of 1812 “Honouring our Traditions” the events for the week included the theatre production of Herbie Barnes, ‘Sovereign Alliances’; she was commission by the Smithsonian Museum to demonstration how to make native regalia; she has been a fancy dancer, jingle dress dancer and traditional dancer in the powwow circle. Sharon is a strong advocate on behalf of youth and amongst her teaching, sewing projects, she has coordinated activities which will encourage youth participation for them to flourish, understand cultural and traditional practices to enhance cultural identity.
Karen is a current board member of Indigenous Performance Artist Alliance (IPAA) and former Chairperson of the National Aboriginal Dance Collective and actively advocates for the preservation of cultural integrity and authenticity within Aboriginal cultural expression of dance. Her gift of storytelling and her dance style techniques has led her to teach at distinguished Aboriginal Arts programs such as Banff Center for Arts and Creativity (Alberta), The Centre for Indigenous Theatre/CIT (Toronto), Debajehmujig Native Theatre Company (Manitoulin Island), En’owkin Centre, Women in the Arts (Toronto) and the Wikwemikong Heritage Organization. In the summer of 2003, she facilitated the dance revival of one of Canada’s oldest dance forms, the Blackfoot Prairie Chicken Dance, at Eastern Canada’s oldest cultural festival gathering in Wikwemikong. In the summer of 2004 at The Debajehmujig Theatre she fulfilled a lifelong dream by choreographing and presenting “The Promise” the story of how the Anishinaabe dance – the Jingle Dress continues to bring healing to the dancers of the dress.
PANDEMIC MASK LANDSCAPE
This outdoor workshop has been conceived to bring together ritual and storytelling by creating a giant landscape made from COVID masks that protected us during the Pandemic. Workshop participants will be asked to bring 1, 2, or 3-meter square pieces with masks attached to sturdy backing. There can be empty spaces between the masks. 3-D pieces are encouraged. These pieces will be attached together with grommets and lashing resembling a landscape. The hope is to have about 20 pieces to assemble – the more pieces, the larger the mountain. There will be additional masks on hand for those still creating.
OISTAT Costume Sub-Commission
- Laura Crow
- Lise Klitten
- Tina Louise Jones
- Sue Prescott
- Joy Rago
- Margaret Mitchell
- Rosane Muniz
- Yoshi Tanokura
- Heli Salomaa
- Maarit Kalmakurki
- Snezana Pesic
- Aleksandar Kostic
- Ingrid Proos
- Bacchus Lee
- Antoaneta Tica
In Tribute to the Trees
In Tribute to the Trees will bring together the people of the world to learn and work as one community—learning first from the Blackfoot Nation, then sharing individual nation’s tree traditions. Individual participants—unique to themselves—will join with the spirit of a chosen tree, then, multiplied by each of the other trees and their participants, will create a kind of energized, spirit-charged arboretum.
Throughout the 3-day workshop, examinations of semiotic meaning and materiality will prevail as clothing for the trees develop. Materials used will be recycled and transformed, laced onto the trees without changing or harming them.
Pulp Action – Pulp Fiction. How to Use Pulp Sheets instead of Glass Fiber
The material for this workshop has been generously provided by .Kruger Inc., Kamloops Mill.
The sustainable pulp sheets from the lumber and paper industry can be used in scenography to replace glass fibre objects. Working with pulp is safe and non-toxic and does not require any special protective equipment or workplace. The pulp can be formed so hard that performers can stand on it. In the workshop participants will become familiar with the material and learn its use. Participants will form small sculptures and objects as well as some material samples they can take with them when dried.
You can choose to POP IN to either the morning or afternoon session of this workshop. Minimum attendance is 1-hour, or you can choose to stay for the entirety of either 3-hour session.
The Finnish OISTAT Centre
- Tapio Säkkinen
- Kimmo Karjunen
- Raisa Kilpeläinen
- Vespa Laine
- Kirsi Manninen
- Veera-Maija Murtola
The Toledo Panorama, A Symphony in Colour and Sound
WORKSHOP & INSTALLATION DESCRIPTION:
This workshop is part of WSD 2022 Living Legends Activities.
Pamela Howard has designed this devised artwork workshop for emerging designers and student participants; inspired by El Greco’s painting “The Plan and View of Toledo’ and writings from the period through today. The artwork will explore ‘the universality of displacement’, looking at immigration/refugees and how art gives the dispossessed the ability to triumph over their personal circumstances.
Known for her playful drawing techniques, Pamela will mentor students who will work in teams of two to apply her methods of image creation that synchronize colour, sound and word. Participants will paint, sketch and collage one section of a two metre high by sixty metre long assemblage diorama that will provide a continuous narrative about immigration, identity, events, and ancestry. Each team will be responsible for building an image that illustrates a part of the story, but they must also address transitions from the panels before and after, requiring highly collaborative skills. Simultaneously, a small group of musicians will be rehearsing a musical score that will integrate with the visual storytelling.
The final presentation of the Toledo Panorama will be before an audience, presented as a Promenade Concert.
Pamela Howard OBE
Pamela Howard OBE is a practicing director, scenographer, curator, educator and writer. Her book What is Scenography? is now in 7 languages, 3rd edition, published in 2019. Her most recent works include the creation of the original Sing-Spiel, Charlotte –a Tri-Coloured Play with Music, (Canada and Hong Kong), a Public Arts Commission from Arts Dream Selsey to create a large scale Mural Out of the Ashes and an original music theatre Sing-Spiel, The Ballad of the Cosmo Café in the Insiders/Outsiders Festival. International Chair in Drama Royal Welsh College of Music and Drama, Visiting Professor Arts University Bournemouth, Professor Emeritus University of the Arts London, Honorary Fellow Hong Kong Academy of Performing Arts. Most importantly, she was the creator of Scenofest, which is embedded in both World Stage Design and the Prague Quadrennial.
Portrait drawing by Heather Bowing.
Training the Eye: colour palettes for diverse skin colours
ADC presents Training the Eye as part of World Stage Design 2022
Supported by The Canada Council for the Arts
Sponsored by IATSE Local 212, IATSE International, IATSE Local ADC659, Rosco and Christie Lites
Associated Designers of Canada is presenting Training the Eye: 2 ½ days of design labs to develop skills in colour interaction in theatrical environments, within a safe and inclusive learning space. The inspiration is that heart-sinking comment at the production desk “why can’t we see their faces?” Using a tool-kit of design elements anchored in light and pigment-vision colour theory, emerging and established theatre creators will develop solutions by lighting various scenarios of inclusive skin tones, makeup, costume, and digital and built scenery, and the implications for digital capture. Prior experience with colour theory is not required. Our preference is for everyone to attend all sessions.
Aug 7 Session 1 : Colour theory for pigment and incandescent light
Aug 7 Session 2 : Colour theory for pigment and LED light; Stage makeup fundamentals
Aug 8 Session 3 : Colour palette scenarios with skin tones, costumes, and lighting, with rear projection
Aug 8 Session 4 : Colour palette scenarios with skin tones, costumes, and lighting, with painted backdrops
Aug 9 Session 5: Implications and adjustments for digital capture
Associated Designers of Canada
- Sholem Dolgoy
- Rachel Forbes
- Carla Orosz
- Dinesh Yadav
Sholem Dolgoy (MA)
Sholem Dolgoy (MA) is a lighting designer, nationally and internationally, in theatre, dance, opera, corporate, museum exhibit, special event, and some film & television. Understanding colour is central to his art and his teaching. He is Associate Professor Emeritus at (soon-to-be-renamed) Ryerson Univerity. Many former students are respected and cherished colleagues. He is a charter member of IATSE ADC 659 and a member of CITT.
Rachel Forbes is an award-winning, Toronto-based Set and Costume designer creating for theatre, dance, opera and film. Her designs have been seen on stages and site specific locations all across Canada and she is a board member for the Associated Designers of Canada. Much of her work centres stories of the African diaspora in North America and beyond. Rachel is particularly interested in the development of new works, interdisciplinary explorations, experimental creation methods and designer-led theatre projects.
Carla Orosz is an Associate Professor of Theatre Design at the University of Saskatchewan She has been designing sets, costumes and lighting for theatre full- time since 2006 when she completed a MFA in Theatre Design at the University of Victoria. Her work can be found throughout Saskatoon at Persephone Theatre, Shakespeare on the Saskatchewan and Live Five. She is a member of ADC, IASTE Local 300 and CITT. She is a proud mother of 2.
Dinesh Yadav (Ph.D.)
Dinesh Yadav (Ph.D.) is a Scenographer, Performance Maker and develops interdisciplinary research. He directs for theatre and design for performances, theatre, installation, events, museums, and media. His works are shown in theatres, galleries, and public spaces in festivals, exhibitions, and events around the globe. At present he is Assistant Professor of Theatre (Design) and Technical Director at the University of Wisconsin-Green Bay. He is the current chair of Lighting Design Sub-Commission of OISTAT and Chair of KCACTF-ASPIRE for Region-3, USA.
ADVANCED SKILLS IN-PERSON WORKSHOPS
FROM STAGE TO FILM: Transition Notes for Stage Designers
In this talk Eloise Kazan will examine the differences in the design process for stage VS. film, analyze language distinctions and compare production tools in these two disciplines. She will share her notes on the challenges stage designers face when venturing into film for the first time. The class is aimed for stage designers, theatre and other art students, as well as theatre and film buffs in general.
Eloise Kazan studied fine arts at the San Carlos Academy of Fine Arts in Mexico City and in 1999 she graduated from a postgraduate design course at the Bristol Old Vic Theatre School in the UK. She has worked internationally as a designer on more than sixty productions including theatre, dance, opera, interior architecture and film. Her credits include costume design for the Royal Shakespeare Company production of A Soldier in Every Son directed by Roxana Silbert (2012), costume design for the critically acclaimed play The Good Canary directed by John Malkovich (2008) and the production design for award winning director Deborah Kampmeier’s independent feature film Split, released in 2016. She was a recipient of the top prize for costume design at the Prague Quadrennial 2007 and she was a member of the internationally jury of PQ 2015 and World Stage Design 2017.
IMDB profile: imdb.me/eloisekazan
Matter Performing Gathering
This event is in two parts; panel and workshop.
We will build on some of the points raised by the ‘Community and Ritual Performance: materiality, culture and meaning’ panel held on 7th August, together with movement practices focused on making performance through its materiality in two parallel workshops, one in person and one online that will meet at three points during the day. The workshop leaders, Donatella Barbieri, Nadia Malik (both in person in Calgary) and Peta Lily (online from London), will explore with participants the role that ritual plays in creative making and moving with and through matter. This creative process will engage issues that impact beyond the personal to wider contexts, via threshold-crossings and through being and becoming via matter. Porous boundaries explored in motion will be between object / space, body / space, body / object. At the core of this workshop is movement generated through material interactions, and in group work, to create emotion and meaning through collective transformations.
Community and ritual performance: materiality, culture and meaning
This event is in two parts, panel and workshop.
This panel, convened and chaired by Donatella Barbieri (PhD) London College of Fashion / UAL, will focus on practices of rituality and communal performances from significant practice-based researchers gathered from across the globe.
Leroy Little Bear, professor emeritus at the University of Lethbridge and founding member of the first Native American Studies Department, has decades of influential writing and advocacy work behind him that is ongoing; Deepsikha Chatterjee, dance director for New York based Indo American Arts Council whose research and writing is in intangible heritage performance in India and Nepal through tangible masks and costumes; Babatunde Allan Bakare, Assistant Professor at Obafemi Awolowo University in Nigeria whose research on Yoruba Egungun performances is situated in the context of socio-political change in Africa; and Fausto Viana, Professor at San Paolo University, Brazil, whose research is around complex identities in South America which pre-exist colonization, has published extensively on performance, costume and culture.
- Donatella Barbieri
- Nadia Malik
- Peta Lily
Donatella Barbieri (PhD) award winning researcher whose practice investigations are at the intersection between cultures, communities, bodies, materialities, performances, and ethics. She believes that through participatory movement practices, in embodied experiences in groups and with materials, renewed understandings of being in the world can materialise and be performed. Previous workshops include Wearing Space, Material Interactions and Moving Drawing Mattering for contexts including past WSD and Prague Quadrennials. She wrote Costume in Performance: Materiality, Culture and the Body (2017) created works and events for the V&A, British Library and WSD17, teaches graduates and supervises PhDs at London College of Fashion.
Nadia Malik – Through my PhD candidacy at Aalto University, Helsinki, I investigate Knowledge Exchange processes and projects which connect students with performance practitioners in order to engage in two-way creation and communication of performance as a social and non hierarchical practice. As a designer, educator and researcher from mixed Asian and European heritage, connection, community and collaboration have been a natural part of my creative, personal and professional journey leading to my current position as the Programme Director for the Performance courses at London College of Fashion.
Peta Lily Award-winning performer, theatre maker, workshop leader,creative mentor and director – well-known for her insightful solo shows including Wendy Darling, Beg, Topless, Midriff, Invocation, Chastity Belt and Imperfection. Lily teaches vibrant theatre courses where people learn loads and unlock their performative energy. Her teaching style reflects a synthesis of a rich range of influences in her training which includes Jacques Lecoq, Philippe Gaulier, Monika Pagneaux, Theatre du Mouvement (Corporeal Mime), Yoshi Oida, Carlo Boso (Commedia dell’Arte), Sankai Juku and Natsu Nakajima (Butoh Dance), as well as training in directing with Mike Alfreds. Peta leads designers as movers through workshops on the MA Costume at London College of Fashion.
Scenofest Common Design Project
The Scenofest Common Design Project is an initiative to bring design students around the world together to discuss their work with their peers and professional designers during Scenofest 2022. Applicants will create a design based on the script antigone lives*, a new play by Canadian playwright, Susanna Fournier. antigone lives* will be part of Scenofest at WSD 2022 in Calgary, Canada and will include a hybrid (physical artifacts and digital) exhibit. Students and emerging designers are invited to participate in critical discussion with each other and with prominent international artists in a combined in-person and online format. The participants will have the chance to talk with the playwright of antigone lives* at the University of Calgary.
- Marina Raytchinova
- William Kenyon
- Christine Brubaker
- Anat Mesner
Storytelling through Models
The workshop will demonstrate set designer Daniel Pinha’s utilization of scale models as a representation of theatre when they closed during the pandemic. As a result, through dialogue and hands-on experience, this workshop gives a voice and space to all participants who seek a path to storytelling through design. Stories created by participants during the workshop will be animated through stop motion technique in scale models. The workshop will consist of three segments: development of stories, model making and animation.
- Daniel Pinha
- Stella Pugliesi
- Caique Cunha
A native of Rio de Janeiro, Brazil. Daniel has a bachelor’s degree in Set Design from the Federal University of Rio de Janeiro, Brazil and a MFA in Theatre Design from the University of Maryland, USA. He has worked extensively in Theatre, Film and Television throughout the globe. His most recent work includes a set design for the Park Avenue Armory in New York. Daniel is an Associate Professor at Loyola University Maryland.
Brazilian set designer and architect graduated from the Federal University of Juiz de Fora in Architecture and Urbanism. She has worked in Brazilian television for over 10 years on soap operas and series. Currently she is an architect in Curaçao and works remotely on theatre productions and exhibitions around the world.
Brazilian visual artist that uses photography as a means of self-expression and self-knowledge. His works explore political narratives and everyday life from a contemporary viewpoint. Caique Cunha has shown his works at School of Visual Arts in Manhattan and numerous art galleries in Brazil. He was the manager of photo operations during the 2016 Olympic and Paralympic Games and is currently the director of Studio Rico, an art gallery in Rio de Janeiro.
Hands On with Propared Production and Event Management Software
Schedule Software for World Stage Design 2022 Provided by Propared.
Join Propared creator, Ryan Kirk, as he demonstrates the Production and Event Management software Propared. Ryan will show how Propared can be used at an organizational level to manage productions, projects, and venues to speed up workflow, improve communication, reduce logistics mistakes, and improve work-life balance. Ryan will conduct a brief demonstration of Propared and show how to assemble a project timeline, coordinate spaces, schedule people, calculate show costs and labour budgets, and track inventory. He will then show how to communicate a range of instantly updated information via weblinks including calendars & schedules, contact lists, rehearsal & performance reports, inventory lists, client budgets, and other customizable documents. A fully unlocked training license will be given to all attendees to use for 30 days. This session is recommended for anyone involved in production management, scheduling, budgeting, resource management, and staffing who are interested in improving their workflow. Prior knowledge in using Propared is not required.
After attending this presentation, attendees will be able to (objectives, outcomes): Understand how Propared can be applied at an organizational level in a variety of live entertainment, event, and production applications.
For more information on the in-person session, please visit the CITT/ICTS Rendez-vous schedule here: https://www.citt.org/rendez-vous-schedule.html
Ryan is the co-founder and CEO of Propared. Previously, he held management positions in theater, TV, fashion, corporate events, and venue operations for 20 years. Ryan also co-founded Tinc Productions, a Broadway production management company based in New York City. He served as president for 10 years taking it from a small group of freelance managers who wanted to do shows the right way to one of the major production companies in NYC. Ryan holds a BA in Theatre Arts from Virginia Tech and a MBA from NYU. He cherishes the time he spends working with arts organizations to improve their workflows; enabling them to continue their missions. Ryan also loves to cook, ski, play piano, and travel