The evolution of Western cultural and artistic expression underwent a significant revolution during the Renaissance. During this time, which started in Italy in the 14th century and spanned the subsequent two centuries, there was a resurgence of interest in classical art and culture, as well as in naturalism and the human figure. The Renaissance had a significant and lasting influence on Western art and culture, which is being felt today (West). The evolution of classical and artistic expression goes hand in hand with the evolution of Western stagehands, whose impact and advancement can be traced from the Renaissance to the modern era. A stagehand serves behind the scenes in films, television programs, movie theaters, or live events. They are entrusted with installation, additional effects, lighting, sound, and scenic setup for a theatrical production. A stagehand’s skill set often includes rigging, costumes, sound, video/projection, woodworking skills, stage electrics, and lighting. Stagehands are frequently in charge of controlling the systems during performances or filming, fixing, and maintaining the gear. Although most stagehands are generally knowledgeable about every performance aspect, they often specialize in one or two areas(McKinney and Butterworth). Stagehands can be employed in various locations, such as conference centers, outdoor areas, movie sets, music halls, television studios, and big and small standard theaters. Competent stagehands can assist in productive operations in various theaters and other locations (West). This paper will explore the evolution and impact of Western Stagehands from the Renaissance to the Modern Era.
When the entertainment industry was limited to the theater in 1893, a few brave stagehands in New York joined forces and campaigned for their liberties. They were furious and unhappy with the progressively harsh working conditions that theater managers and directors imposed on them (McKinney and Butterworth). As property managers and electricians joined forces with stagehands to become one of America’s most prestigious craft unions, the organization eventually expanded throughout the country. At the start of the new century, Canadian stagehands and artisans, confronting comparable issues, teamed up with the Americans to establish the International Alliance. Film projectionists received union privileges for the first time in 1908, a few years after the motion picture business was founded. By 1926, the union and filmmakers had finalized the first Studio Basic Agreement, a genuine commitment to discuss terms such as hours worked, pay, benefits, and complaint arbitration. It was more than just a single contract. Film distributors across the United States and Canada and craftspeople at Hollywood studios were soon protected by union legislation.
The advent of television advertisements in the late 1940s marked the beginning of an era of rapid advancement in technology that resulted in the development of wiring, transmission via satellite, and the Age of Video. A growing number of stagehand crafts were created in response to emerging, and progressively specialized employment roles were needed to handle these advancements. The stage crew replied as usual, exhibiting their capacity to adjust to constantly shifting circumstances. From 1500 stage workers in 1893, the stagehands association expanded to over 550 locals, representing an estimated 100,000 exceptionally competent employees in the multibillion-dollar entertainment business in the US and Canada(McKinney and Butterworth). With the same assurance that kept the company so well-represented in the past and present, the stagehand union looked to the future as emerging innovations transformed the workplace. Since its founding by a small group of stagehands in New York, the Western Stagehands organization has grown to such an extent that its name is now more symbolic than realistic of its diverse range of operations (West).
According to McKinney and Palmer, contemporary knowledge and stagehands have transformed modern filmmaking, improving every aspect from conception to distribution. Digital cameras have substantially advanced cinematography techniques, allowing stagehands to record excellent footage more flexibly and economically. The introduction of equipment like the RED and ARRI Alexa in the latter half of the 2000s revolutionized the cinematography industry by providing producers with an exceptional degree of variation in brightness and high-quality pictures. Sound technology for movies has also come a long way in recent years (McKinney and Palmer). Audio transcription and editing innovations such as digital audio workstations (DAWs) like Pro technologies have also made capturing and adjusting audio features easier throughout final editing. The emergence of high-end audio technologies like surround sound and Dolby Atmos has improved the cinematic viewpoint. Post-production has also seen an explosion in digital technology since the release of publicly accessible tools such as Adobe Premiere Pro and DaVinci Resolve. Extensive editing, graphical effects, and color grading options formerly limited to advanced projects are now possible due to these technological advancements. The Western Stagehands’ creative capabilities are further expanded by the progressively seamless integration of computer-generated images (CGI) with live-action video (McKinney and Palmer)
Stagehands are the core of every contemporary movie or television production. Highly recognized performances can only exist with a well-oiled production team driven to create the ideal environment and seize that distinctive, trophy-winning moment. They act with the awareness that they are not the “talent.” However, they succeed, frequently creating professions with more motion pictures, TV series, and other business material than any actor, producer, or director could dream of. Directors and performers who depend on a suitable setting benefit significantly from the excellent skill, efficiency, and competence that an accomplished production team provides (McKinney and Palmer). Years of experience have allowed experienced stagehands to refine their talents, enabling them to do jobs accurately and solve problems that may arise during production. Their knowledge of established procedures guarantees seamless operations, reducing expensive delays and maintaining the project’s timeline and cost.
Furthermore, a crew with expertise understands the specifics of production life and communicates with various departments efficiently and harmoniously, creating a positive and cooperative work atmosphere. Their extensive background and wealth of expertise may act as a beacon, assisting in raising the production’s caliber to industry standards and frequently beyond the producers’ and directors’ original intentions (West). A skilled crew is essential to producing compelling, profitable movies and TV shows. Besides, by giving myths and cultural heritage life and making them more accessible to a larger audience through films, stagehands contribute significantly to their preservation. They also help in visual presentations by vividly portraying customs, festivals, outfits, settings, and architectural wonders that would otherwise be hard to witness or comprehend (West).
Western Stagehands have also helped preserve and advertise cultural inheritance by presenting these examples on a giant screen. With good film production, these stagehands offer mediums through which myths, legends, and historical events can be reinterpreted and told in new ways. In addition, stagehands keep these tales alive as they reenact them into movies that a new generation can watch. This causes a feeling of common ancestry and preserves historical mythology in many cultures. The Western Stagehands apply the film to capture everyday norms, customs, cultural traditions, and traditional artistic expressions (McKinney and Butterworth). These elements are shown on screen in cinematic and anthropological films, so they can no longer be damaged or lost for future generations. The film moves beyond the country’s borders to reach audiences from different countries. The films that are used to pass the mythological view and tradition of people open the viewers’ minds to other customs, worldviews, and historical events. Through this exposure, the stagehand teams promote mutual respect and admiration and stimulate cultural interaction with the artistic past, which leads to the mixture of customs and myths among the people.
Over the period from the Renaissance age to the modern epoch, stagehands have witnessed and contributed to some saga-like processes, leading to many thought-provoking features that involve futuristic technologies like machine learning and artificial intelligence (AI). In the future, AI algorithms can support screenplays in interpretation and product choice and even automate low-complexity post-production tasks (McKinney and Butterworth). Professionals will presumably be more accurate when focusing on the most appropriate clients by using learning algorithms while processing large data sets, such as historical box office sales analytics, which allows marketers to discover and adjust their marketing strategies and conveniently target their demographics. Expert knowledge of virtual reality (VR) and augmented reality (AR) could bring a tectonic change in the stagehand professional life. Through augmented reality AR, the actual world is expanded with digital machinery, which could not happen in the real world.
On the other hand, it is in virtual reality VR that one may get wholly immersed in a virtual or theatrical appreciation of 360 degrees. Using this technology, they can build a better narration and a more exciting experience for those events. Besides the new technologies, businessmen and women now know of the trends that will help them give better theatre services, how to stay safe while serving their clientele, and more inventions for the impending future.
McKinney, Joslin, and Philip Butterworth. The Cambridge Introduction to Scenography. Cambridge University Press, 19 Nov. 2009.
McKinney, Joslin, and Scott Palmer. Scenography Expanded. Bloomsbury Publishing, 29 June 2017.
West, William N. Renaissance Drama. Vol. 40, What Is Renaissance Drama? Evanston, Ill., Northwestern University Press; London, 2013.