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SHOWMANSHIP
by
LLOYD C. LITTON, A. P. S.
In our mad scramble to adjust ourselves to the addition of Sound to our projection equipment we have been so busy studying Sound Amplification, Reproduction and all the technical things that go with it that we have overlooked what I consider the greatest asset any projectionist can be endowed with, showmanship!
To even attempt to define the word “showmanship” is a bigger job than I care to tackle, because, it covers a multitude of qualities in various lines of theatrical endeavor. I do believe however, that I know what qualities it covers in a projectionist.
To begin with, a high grade Projectionist must possess several qualifications, he must have a thorough knowledge of mechanics to be able to recognize the effects of wear and maladjustment by analyzing the projected picture, he must be quite a skilled mechanic also to be able to service and maintain a moving picture projector properly, he must understand optic projection and have a good working knowledge of lenses and their application to moving picture projection, his knowledge of electricity, since the coming of sound amplification systems, should border on Engineering, to say nothing of what he should know about Theatre acoustics, etc., etc., yet possessing all these qualities does not mean that his work as a Projectionist will be the best, it is only when he combines all these qualities with a sense of Showmanship, that he becomes the real Projectionist.
I would say that a Projectionist is developing a sense of showmanship when he begins to realize that the results of all his skill and knowledge go for one thing only, the entertainment of others.
LLOYD C. LITTON. President Oakland Chapter No. 12, A. P. S.
It is then that he begins to work from an Audience point of view, he develops smoothness and ease of operation in handling the equipment, curtains close, lights come up, effects go on, change overs are made with clocklike precision, emergencies are covered with calm judgment instead of distraction, in short, the show goes on with smooth continuity and nothing happens to detract from the entertainment value of the performance.
His work becomes a pleasure instead of a nerve wracking job, he discovers there is technique in the handling of spots, floods and effects on prologues, overtures and stage reviews, his own personality creeps into his work and is reflected if the audience applauds an act or an overture they are not only applauding the particular performer or leader, but they are also applauding everything that went into making their performance a success, gives him a thrill of pleasure at their appreciation of his own contribution.
His jealousy of another’s ability and success gives way to admiration and he secretly applauds a well executed piece of work, in short, he becomes a real CRAFTSMAN instead of just a tradesman.
Sixteen