Quel est votre processus pour résoudre les problèmes lors d’un spectacle vivant ?

Go With The Flow! Public speaking can be terrifying for many people. But equally, all speaking has to be put into context; Is it an earth shattering announcement? Will it change people's lives? Is it being televised to the World? If none of these then relax, be yourself and don't sweat it! Your audience doesn't expect to see an Oscar winning performance but they want to get to know you, your experience and your story. If there are tech problems - don't apologise, wait until they're fixed - if someone asks a difficult question, then just suggest that you talk with them afterwards Summarising - don't apologise for anything - be yourself - share your own experiences at every opportunity - and they will love you!!

The very first thing to do when problem solving during a live performance is to breathe. Next, focus on the problem slowly, of course, during a live performance, that can be problematic, however, it is possible. I once "went up" (forgot my next line) during a performance and instead of allowing the audience see that I was having an issue, I calmly and IN CHARACTER, said to the other actor in that moment, "I have no idea what to say to you." Since the other actor and I knew the play, knew the moment in the scene and knew each other and completely trusted each other, I knew that somehow we would work our way out of my "moment," and we did. He merely improvised something and that brought me back for my next line.

Anticipation of what can happen is part of the vigilance of working live events. You should know your rig and situation and where possible failure points are. You should have contingencies in place to handle the normal kind of things that can happen. Most experienced professionals are aware of what can go wrong and are ready to make a change without the audience even knowing there was an issue. In the case of an unexpected problem being calm and ready to move is key to maintaining the continuity of the program. Figuring out what caused the problem is first and then fixing it is part of the process. Making sure everyone is safe (in some situations) should be first priority, then action to remedy the situation should be the course

Acknowledging the root of the problem is the first step to all that follows. Is it adaptable like a mic going out but you have six other singers near by? Then improvise and adapt! Is something broken and needs to be fixed? Communicate to the management team so you can work with the backstage team to solve it between moments / scenes / etc. Is it urgent / dangerous? Jump straight to a Hold. Part of the battle is deciding how much you can get away with before it starts to impact the overall quality of the production while also keeping everyone else on the team safe, in the loop, and calm. A broken mic is one thing, but a scenic item getting stuck on a fly rail is a whole other beast.

Improvisation is fundamental to Actor training. The three main pioneers of modern improvisation for the theatre in the 20th century are Viola Spolin, (including Paul Sills son of Spolin, together with George Morrison, Mike Nichols) Keith Johnstone and Del Close. From their foundations, improvisation has developed into a professional performed art form in its own right. Spolin and Johnstone are largely responsible for the modern short form improvised performances, which has influenced television shows such as Whose Line Is It Anyway? and Close is recognised as the creator of the Harold, a style of long form improvisation.

Be clear, concise and genuine. Have awareness, empathy and stay calm. Panic or anger is not your friend in situations like these. That's it.

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Aqui estão algumas formas de comunicação que podem ser usadas para resolver problemas durante uma apresentação ao vivo de teatro: Sinais visuais: Como gestos ou expressões faciais, podem ser usados para transmitir mensagens discretas. Por exemplo, um ator pode fazer um gesto para o diretor, indicando que esqueceu o texto. Sinais sonoros: Como toques de sino ou apitos, também podem ser usados para transmitir mensagens. Comunicação verbal: A comunicação verbal é a forma mais direta de se comunicar, mas também pode ser a mais perceptível para o público. Por isso, ela deve ser usada com moderação. É importante que todos da equipe estejam familiarizados com as formas de comunicação que serão usadas durante a apresentação.

People in positions of the event department heads communication is the key to solving a problem during the live event performances

I can remember as a beginer I used to produce without radio set. Communication was quite dfficult among the team. The fact is that once I have decided to solve the problem, I did not only bought radio sets for the team but I also set a communication language among the team. Having a language among the team can help you be efficient.

Sollten Sie als Speaker oder Experte für einen Vortrag eingeladen sein und Ihnen unterläuft ein Fehler, dann können Sie diesen auch ganz klar adressieren. Je nach dem ob es sich um einen kleinen Versprecher oder einen größeren inhaltlichen Fehler handelt, müssen Sie die Situation bewerten und improvisieren. Bei einem Blackout als Expert*in oder einem Problem während einer Vorstellung als Schauspieler*in oder in einer anderen Performance, ist der richtige und einzige Weg die Spannung zu halten. In Ihrer Energie und Rolle zu bleiben und diese zu halten. "In die Pause klafft der Geist" - Unterbrechungen während Vorträgen und Auftritten sind unerlässlich, um dem Publikum die Möglichkeit zu geben, dass Gehörte und Gesehene zu verarbeiten!

It's called 'going with the flow', or 'go with what you get', and it doesn't only apply when a so-called problem arises. In a live, scripted performance you are always listening and responding to what is going on, in the present moment. This might mean improvising a way to communicate to your partners a way to get back on track, but it rarely involves changing the script.

As a Street Performer, you must expect to be heckled, and have some comebacks prepared. "Show us your t**s!", "Show us your brain!" I did not expect a teenaged boy to try to steal my stockwhip, I stayed in character, used my umbrella as a shield, and demanded he return my whip. After that, I didn't use to whip to define my performing space. He could have taken someone's eye out with that thing. Your street performing character has to be tough, or at least have a tough edge. I also had lines for when the organised beggars invaded the pitch at Covent Garden. I would stop my performance until the beggar/s left my hard sought audience alone. I learned through experience that your skills were not enough, you had to be prepared for anything.

Adaptação e improviso no teatro: habilidades essenciais. No teatro, imprevistos são inevitáveis. Pode chover no meio da apresentação, um ator pode esquecer o texto ou o cenário pode quebrar. É por isso que a capacidade de se adaptar e improvisar é essencial para qualquer ator ou produtor teatral. Aqui estão algumas dicas para desenvolver essas habilidades: - Seja flexível e esteja preparado para o inesperado. - Tenha um plano B para qualquer situação. - Seja criativo e não tenha medo de experimentar. A capacidade de se adaptar e improvisar é uma habilidade valiosa que pode ser usada em qualquer área da vida. No teatro, essas habilidades são essenciais.

Como mencioné anteriormente, la escucha es fundamental. Y no me refiero solo a la escucha de oído sino también a que los artistas escénicos estamos entrenados a escuchar con todos nuestros sentidos, y gracias a ellos podemos adaptarnos a diferentes contextos y actuar (o reaccionar) de la manera más adecuada para continuar con el espectáculo sin empeorar las cosas. Incluso, en muchas ocasiones, las dificultades han originado nuevo hallazgos que nutren de manera positiva a la obra y al crecimiento de la misma, a lo largo de la temporada.

It's not enough to include mention of a mistake in a post-show report. Everyone involved and impacted should be made clearly aware of the problem - the root of the problem - and the ideal way to resolve it. Then, have this be communicated clearly. Having consistent issues? Reinforce at the start of the show to remember that if ABC happens, do XYZ. Actors and crew have so much to think about during a production that reminders are helpful!

Aunque no sea la situación ideal, resulta beneficioso enfrentar contratiempos. Esto impulsa a salir de la zona de confort y revisar procesos que parecían infalibles. Aunque suene cliché, "de los errores se aprende", y puedo asegurar, por experiencia propia, que una vez que enfrentas un imprevisto, la lección queda grabada para siempre.

In all aspects of life, be prepared. Do the work, don't wait and don't wing it. Like I tell my kids, "It's better to have it and not need it, than to need it and not have it." Meaning it's better to be more over prepared, than under prepared. Of course check your props, costumes and blocking pre-show and more importantly, don't be late. Lateness is disrespectful to your colleagues and patrons. Remember, early is on time, on time is late, and late is unacceptable.

What to do if something goes wrong during a live performance? Number 1- Stay calm cool n collected so you can think clearly and not let the talent know something is wrong quite yet… Number 2- fix it.

Always have back-up plans. The key to solving problem especially during live performances is to anticipating all challenges and provide best possible scenarios and assess any potential risks. The failure to plan is a plan to fail. Never underestimate the value of forward planning.

Preparation is the key. It is more than important to have a to-do-list and make a survey of the needs. Most importantly, make sure that all is checked before the D day. It is helpful, if working in a team, to share responsibilities. You can then supervise the execution and let the team members suggest solutions in case there is an issue

Fehler können auch bei der akribischsten und penibelsten Vorbereitung geschehen. Das sollte jedem Menschen bewusst sein, der sich auf eine Bühne oder vor ein Publikum begibt. Im Zusammenspiel von mehreren Menschen plus Technik ist eine 100% Vermeidung ausgeschlossen. Und auch die eigene Kapazität kann an manchen Tagen nicht vollends abrufbar sein. Diese Ungewissheit sorgt jedoch auch für den Spannungsmoment und den Adrenalinausstoß, den alle Profis in diesen Bereichen so lieben. Nichtsdestotrotz zeichnen sich alle diese Menschen auch durch ihre Vorbereitung aus. Entweder weil sie Experten in ihrem Fach sind, ihr Bühnenhandwerk gelernt haben oder sich mit gezielter Vorarbeit und Übungen auf die jeweilige Challenge vorbereiten.

In my experience always remembering in a crisis slow down dont speed up get a good quick assessment before moving to problem solving often when we speed up to solve an immediate problem we risk actually compounding the underlying overarching problem therefore making it more difficult to identify the source problem and provide a correct solution

Problems, or 'things going wrong' are some of the most invigorating parts of presenting theatre. It's become so ubiquitous that there's an entre genre of productions (see: Mischief Theatre and The Play That Goes Wrong). Enjoy thinking on your feet, and don't beat yourself up about a decision you make - if anything, at least you'll have a story you can laugh about at afterparties for years to come.

A produção teatral é uma atividade desafiadora. os produtores precisam lidar com uma série de desafios, como: -Orçamento: A produção teatral pode ser uma atividade cara. -Equipe: A produção teatral é um trabalho de equipe, e é importante saber trabalhar em conjunto com outras pessoas. -Imprevistos: São inevitáveis na produção teatral, e é importante estar preparado para lidar com eles. Apesar dos desafios, a produção teatral é uma experiência muito gratificante. -Aprenda com seus erros: Os erros são inevitáveis, mas eles podem ser uma oportunidade de aprendizado. - Seja flexível: A capacidade de se adaptar a mudanças é essencial para a produção teatral. - Seja resiliente: Imprevistos são inevitáveis, mas é importante não desistir.

Este é um ponto essencial, especialmente em peças em que a teatralidade e a fidelidade ao conteúdo textual nao precisam ser seguido à risca (comédias contemporâneas, releituras interpretativas e similares): apesar da grande responsabilidade de uma equipe teatral em ser fiel ao conteúdo que se quer passar à plateia, os erros acontecem e estes devem ser tratados com naturalidade e muito respeito ao publico. Use os eventuais deslizes para encontrar novos sentimentos, chegar a novos lugares que surpreendam a plateia e seus parceiros de palco. Encontre novas soluções e crie uma nova experiência. Erros no teatro podem levar a lugares incríveis desde que tratados com respeito e por atores comprometidos com o espetáculo - como deve ser.

Never panic….panic never solved any problem. Asses the true source of the problem….. then do …solve the problem. Don’t be afraid to innovate . I once played the part of a merchant, being sold by his brothers. One of the servants I had in my entourage, had forgot the ropes to bind Joseph when we took possession of him. He was about to run backstage and fetch it, breaking the third wall, when I stopped him, and suggested he take off the rope around his gunny sack styled costume and use that! The audience didn’t see through our careful blocking him from view while all this was accomplished! The scene went off without a hitch.

Vou dar um exemplo aparentemente banal, mas que vale a reflexão. Trabalho muito com peças de improviso focado em humor onde atuo e também dirijo, e em muitos casos (arrisco-me a dizer que na maioria deles) os erros, quando tratados naturalmente por profissionais bem treinados na arte do improviso podem gerar uma reação ainda mais positiva e arrancar mais gargalhadas da plateia do que o improviso que fora arriscado na cena. É crucial que o ator acolha o erro e o transforme em algo produtivo para a cena, é essencial que o parceiro de palco esteja aberto para aceitar reviravoltas e que ambos treinem muito para lidar com estas reviravoltas de modo a transformá-las em risadas.