2. Contents
• Production Design
• Audition Production
• Production Real Time Organization, Communication Support
• Production on Final Location,
• Event Period
– Avant-premiere
– Photos
5. Auditions: policies and procedures
Auditions Preparation
• Definition of time and venue
Among many venues that were examined on the spot, Alkmini Theatre was
chosen for reasons of availability and cost reduction.
The dates were chosen so as not to coincide with dance schools exam period.
Announcement preparation
• Application letter
• VanDog site preparation
• Poster preparation – text
• A new e-mail account was created especially for the auditions
• Committee recommendations, choreographer consultation and unofficial feedback
• Committee - initial idea was, a committee of at least 3 people to participate and
have an consulting role to the audition procedure. At the end of the preparation
period it was concluded that it was not possible).
• Audition running sheets
• Letters of rejection and approval
• Letter for rejection and scholarship
• Call for auditions
6. Branding of auditions
• Branding of audition area, last minute print adjustments due to wall damage on the
same day.
• Branding elements
– Audition room back drop
– CCL refrigerator with products
– Banner 2,5 X 1m
– Poster placement
– Placement of plexiglass curtain stands in lobby
7. Auditions production
• Applications
85 applications where received:
- 45 professional dancers
- 40 amateur dancers
• Program for auditions
A full program was sent to all the participants with date-time-lessons.
• Duration
The auditions lasted 3 days. From the 85 dancers that sent the application the
80% came to the audition.
Saturday 1/3/2008 : 16 dancers
Sunday 2/3/2008 : 17 dancers
Monday 3/3/2008 : 24 dancers
Total number of dancers participating : 57
Total number of auditions applications : 85
8. • Call back
Call back audition was scheduled upon request of the choreographer
The duration was only for one day.
Dancer attended: 20
• Participants’ evaluation
14 dancers where chosen (originally the program was made for maximum 10
dancers participation to the project).
8 where professional and 6 new talents
1 MC dancer
1 Virtual dancer (part of the creative team)
All participants where informed by e-mail on the audition results.
3 letters where prepared (1 for those who succeded – 1 for those who didn´t make it
– one for those who didn´t make it, but fit the criteria for the scholarship). All
participants were asked to fill in an evaluation form regarding the audition procedure.
Auditions call back
and participants evaluation
9. Auditions’ survey: Service quality and
message distribution channels effectiveness
• Auditions’ Survey Results
• 17 people out of 80 people population answered the survey (21%).
• People who did not attend the auditions (4 out of 17) reached the 24% of the total
sample
• 6% find out about the auditions from posters, 13% from internet, 43% from a dance
school and 38% from a friend (word of mouth)
• From a managerial standpoint, 23% found the auditions average organized (just like
all other auditions in the market), 62% found it very organized and, the rest 15%
found it more than organized.
• People who did not managed to participate claimed personal and family reasons
along with morning regular jobs.
11. Communication Support
• Performance concept and coordination with choreographer, feedback and
adjustments
• Television filler, 1 production
• Feedback / choreographer on all communication material – Press releases, posters,
radio spots, radio fillers.
• Information update and data from performance
• Interview arrangements – (how many?)
• Press kit data collection
• Press conference invites and dance community (20)
• Photograph feedback / choreographer / ideas
• Site update
12. Καλλιτεχνικός προγραμματισμός
• 84 αιτήσεις συμμετοχής χορευτών
• 20 ώρες auditions
• 480 ώρες πρόβων
• 14 χορευτές
• 1 digital performer
• 13 άτομα καλλιτεχνικοί συντελεστές (creative team)
• 12 σπονδυλωτές ενότητες / 1 παράσταση
• 6 παραστάσεις έκθεση στο ευρύ κοινό (14-18/5)
• 15 μουσικές ενότητες / 3 ζωντανές ηχογραφήσεις (session musicians)
• 30 ώρες video shooting πρωτότυπου υλικού
• 150 ώρες video editing
• 150 ώρες για την σχεδιασμό / ανάπτυξη και συγχρονισμό των προβολών (visual
platform design)
15. TIME PLAN BY 14.3.08 10 - 16/3
17-
23/3
24 -
30/3
31/3 -
6/4
7 -
13/4
14 -
20/4
21 - 27/4 ΠΑΣΧΑ
WEEK
28/4 -
4/5
5 - 11
May
12 - 14/5
15 -
18/5
Technical rider for rehearsal Παρ 14/3
Dancers evaluation 16-Μαρ
1 period of rehearsals - Alkmini Theatre
Δευ
17/3
20-
Απρ
2nd
period rehearsal – venue of
presentation
20-
Απρ
Τετ 14/5
Technical rider and needs by technical
director along with Sakis needs for
equipment
10-
Απρ
Contract sign with creative team -
dancers
7-
Απρ
Final set arrangments
7-
Απρ
Set production
13-
Απρ
20-
Απρ
Set material ready by subcontractor
Δευ
14/4
Tickets printed last dealine
Δευ
14/4
tickets to Eforia
Τρι
15/4
Tickets ready from Eforia
Παρ
18/4
Bump in set material στο venue /
bump in team in to realtime venue - 56
Κυρ
20/4
First lighting plot by Sakis Δευ 24/4
Part of costumes ready for last video
shooting by Makarouni ready
23-
Απρ
Prefinal tech set up in venue bump in
(best case scenario, worst case 2-may)
Τρι
29/4
General action plan
16. TIME PLAN BY 14.3.08 10 - 16/3 17-23/3 24 - 30/3 31/3 - 6/4
7 -
1
3
/
4
14 - 20/4 21 - 27/4 28/4 - 4/5 5 – 11/05 12 - 14/5 15 - 18/5
Final music composition by Stavros
ready
Τετ 30/4
Final costume by Makarouni ready Τετ 30/4
Presale period Παρ 2/5 Τρι 13/5
Prefinal tech set up (φώτα / ηχος /
σίδερα) in venue ready (best
case scenario, worst case
scenario 6-may)
Παρ 2/5
Final tech set up ( projectors) in venue
bump in
Τρι 6/5
Final tech set up in venue ready Τρι 6/5
Περάσματα full play Τετ 7/5 Τετ 14/5
ΗΜΕΡΟΜΗΝΙΕΣ ΠΑΡΑΣΤΑΣΕΩΝ
Αθηνοραμα παραστάση
Avant
premiere
Έναρξη παράστάσεων SHOW
Λήξη παραστάσεων SHOW
Set bump out 19-Μαϊ
General action plan continued
17. Ticketing policy (1)
Ticket price : 15€
We chose a price friendly to the audience and also we could not have much difference
with the prices of «Μήνας Χορού».
Printings:
We printed 2 kind of tickets:
– 1400 tickets with the price on for 4 shows
– 800 tickets without price for the invitations
Presale :
We made presale to the following points:
• IANOS
• Metropolis( Panepistimiou-Kolonaki-Kifisia )
• Ticket Net.gr ( e-tickets)
Quantities :
• Ianos 400 tickets
• E-tickets 250 tickets
• Metropolis
– Panepistimiou 250 tickets
– Kolonaki 250 tickets
– Kifisia 250 tickets
18. Ticketing policy (2)
• IANOS
Their percentage was 2% from each ticket
.
• Metropolis
Their percentage is 3% from each ticket
• www.ticketnet.gr (the same company for Badminton Theatre)
Their percentage was 1,5% from each ticket
• Taxes :
• VAT: 9%
• ΑΕΠΙ – Author RightsCompany : 7%
- Presale started 3 weeks before the performance and we stopped it the first day of the
show on 15th of May .
- The audience could buy though tickets from the internet and also phone call reservation
were made the last week of the project.
20. 6 παραστάσεις (1 πρόβα, 1 αθηνόραμα, 1 επίσημη πρεμιέρα, 4 με εισιτήριο)
520τμ πλατό (40μ πλάτος / 13μ βάθος σκηνής)
70 παλετοδεξαμενές ώς το βασικό σκηνικό
240τμ επιφάνεια προβολών (40μ πλάτος χ 6μ ύψος)
9 synchronized projector
60 lighting heads (35 moving / 25 steady)
230 μ truss support system
14 moters / 4 τόνοι αναρτημένος εξοπλισμός από την οροφή
6 subwoofer + 12 δορυφόροι / 15 kw ένταση sound system
40 άτομα τεχνική υποστήριξη για ανάρτηση, λειτουργία και αποξήλωση εξοπλισμού
18 προμηθευτές τεχνικού εξοπλισμού
60 προμηθευτές για τη διαμόρφωση των σκηνικών
25 προμηθευτές για τη διαμόρφωση των κουστουμιών
5 άτομα σχεδιασμός + επιμέλεια για 5 μήνες (Ιανουάριος – Μάιος)
15 άτομα / εκτέλεση παραγωγής κατά τη διάρκεια των παραστάσεων
Production planning: Facts & figures
