Joe Aveline’s book is an in-depth guide to the role of the Production Manager, and includes real-life practical examples and ‘Aveline’s Fables’ – anecdotes of his experiences with real messages behind them.
Joe Aveline commenced his career in theatre at the Bristol Hippodrome in 1957, moving to the National Theatre season at Chichester Festival Theatre in 1964 by way of the Bristol Old Vic Theatre School and the Bristol Old Vic Theatre Company. He rejoined the National after a spell at the Theatre Royal E15 and later moved to the ICA where he became general manager. Large scale project management followed prior to his involvement in technical theatre training "to escape from behind a desk". He has played a leading role in the development of national qualifications for stage technicians and is currently working on an inter-partner recognition project with colleagues in the European Union.
Chapters in Production Management include the Role of the Production Manager, Relating to Designers, Production Managers and Technical Crew, Production Managers and Contractors, Production Managers and Performance, Money, and Critical Path Analysis.
Simon Corder states in his Prologue: "In this book Joe shares nearly half a century of experience and teaching, and draws the conclusion that Production Management is a proper job. The Production Manager has a responsibility to his employer, to deliver product on time and on budget; to his staff and crew, to provide a safe and well organized workplace; to suppliers, to make realistic deals and fair contracts; and to the artists, to proactively work with them to relate visions and dreams, while keeping a tight grasp on all the forgoing."
Production Management provides an essential insight into this linchpin position for anyone considering a career as a theatrical Production Manager.
"synopsis" may belong to another edition of this title.
Joe Aveline started work in 1957 at the Bristol Hippodrome. After gaining practical experience, he took the technical training course at the Bristol Old Vic Theatre School. He came to the West End with the Bristol Old Vic Theatre Company and stayed on to work as a property master, electrics dayman and, briefly, master carpenter.
He was property master for the 1964 National Theatre season at Chichester, which included Olivier’s ‘Othello’ and the premier of ‘Royal Hunt of the Sun’. Later that year he became Production Manager at the Theatre Royal E15, doing lighting design as well. Subsequently, he re-joined the National Theatre and was responsible for the technical management of UK tours, foreign tours and West End transfers. He moved to the production dept and took charge of its new productions as well, including the first UK production to be designed and built using the metric scale and the early application of chain hoists in performance.
He became Gallery Manager and, later, General Manager of the Institute of Contemporary Arts (ICA). He supervised the building of the ICA Theatre – a complex project in a Grade I listed building in The Mall, adjacent to the royal approach to Buckingham Palace. He also learned the wholly different parameters of mounting large exhibitions.
Large scale project management followed – production management with lots of knobs on – using both theatre and gallery experience.
He became involved in technical theatre training partly to escape from being behind a desk, and has been pleased to see many of his protégés doing well in the profession. He played a leading role in the development of national qualifications for stage technicians and is currently working on an inter-partner recognition project with colleagues in the European Union. He has lectured in Israel, Finland, France, Malta, Holland, Croatia and Massachusetts, as well as for many drama schools and colleges in the UK and is a member of the Board of Management, Arts & Entertainment Technical Training Initiative (AETTI).
Simon Corder states in his Prologue: \223In this book Joe shares nearly half a \
century of experience and teaching, and draws the conclusion that Production Ma\
nagement is a proper job. The Production Manager has a responsibility to his em\
ployer, to deliver product on time and on budget; to his staff and crew, to pro\
vide a safe and well organized workplace; to suppliers, to make realistic deals\
and fair contracts; and to the artists, to proactively work with them to relat\
e visions and dreams, while keeping a tight grasp on all the forgoing.\224
"About this title" may belong to another edition of this title.
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