United Scenic Artists Standard Design Agreement

1 Lee Simonson is best known for his work for the players of Washington Square and Theatre Guild, for his monumental creations for Lilliom (1921), Back to Methuselah (1922), Dynamo (1929) and Roar China (1930) and his history of the world stage The Stage Is Set (1932). Jo Mielziner`s contribution and influence on post-war American design were significant, from Street Scene (1929) and Winterset (1935) to A Streetcar Named Desire (1947), Death of a Salesman (1949) and Guys and Dolls (1950). SOUND DESIGNER Create acoustic environments in combination with other production design elements, including the selection and implementation of sound effects and music. NEW YORK CITY: Off-Broadway League and United Scenic Artists, Local USA 829 IATSE have negotiated the first contract for creators and artisans working off Broadway. Organizations call the agreement „historic” because it will establish standard pay scales and work rules for these workers. The agreement was reached on March 4. Details of the tariffs and rules have not been made public. This most basic UPA is a one-sided agreement that covers a specific job for an employer that is not covered by a CBA. A rider can be added and is part of the agreement as long as the conditions are acceptable to the Union.

9 The term „scenic designer” is itself the result of the emergence of design as a paid professional category in the 1910s. Before New Stagecraft, artists who make stage design would be called stage artists, decorators or architects. Most of our CBAs in live performance design require individual agreements to be submitted for designers and assistant designers on forms provided by the Union, called Cover Sheets. The coverage works with the CBA and contains details such as the name of the project, fees or rate of pay, the manufacturer and information about the event location. 4 Previous stories became aware of the new union design contract in the 1920s, but tend to be seen either from the point of view of painters in the Union or as a mere administrative springboard to the designer`s artistic dominance with the New Stagecraft movement. For more design union stories in time see Larson, Orville K., Scene Design in the American Theatre from 1915-1960 (Fayetteville: University of Arkansas Press, 1989) Google Scholar; Philip A. Alexander, „Staging Business: A History of the United Scenic Artists, 1895-1995” (Ph.D. diss., Theatre, CUNY Graduate Center, 1999); and Essin, Christin, Stage Designers in Early Twentieth-Century America (Houndmills, Basingstoke, UK: Palgrave Macmillan, 2012)CrossRefGoogle Scholar.