Accounting Principles and Health Care Essay Example for Free

Accounting Principles and Health Care Essay There are no formal accounting principles that apply to health care. However, there are five generally accepted guiding principles used in the management of the financial aspects of health care management (Cleverly, Song Cleverly, 2011). Understanding the five guiding principles are important in understanding financial information and managerial accounting and how the principles relate to health care (Cleverly et. al. ). The five principles include, accounting entity, money measurement, duality, cost valuation, and stable monetary unit. Each principle and how it relates to health care is discussed in the following (Cleverly et. al. ). Accounting Entity An accounting entity is the business or corporation that performs clear economic activities, separate from any personal economic endeavors (Accounting Tools, 2010). An accounting entity requires financial records that define financial activities (Cleverly et. al. ). In health care, accounting entities can be hospitals, clinics, or other entities that are part of a larger corporation. See more: Social process essay Accounting is geared to measure and report the financial activities of the entities under consideration. Money Measurement Money Measurement is very simply, a way to keep count and records of the incoming and outgoing revenue of the accounting entity. This is not an easy task and involves consideration of various issues (Cleverly et. al. ). Resources and liabilities have to be considered and calculated to determine accurate money measurement. Resources are also referred to as assets. Scarce resources are things, supplies, money, and other things or resources that are needed by the company in order to generate money. These resources are limited and necessary to the entities operation (Cleverly et. al. ). This may include nursing staff for heath care organizations. Other scarce resources for health care organizations may include buildings, many different kinds of medical supplies, medications, and other supplies to care for patients and maintain the organization. Assets are the resources that the organization has and the money generated. Liabilities are resources that are owed for services, supplies and other things that the organization has acquired. The ideal goal of any business is for the assets to be greater than the liabilities (Cleverly et. al. ). Duality Duality is a simple mathematical equation or rather, it seems simple. The equation states, â€Å"The value of assets must always equal the combined value of liabilities and residual interest, which we have called net assets. † (Cleverly et. al. pg. 185 para. 1) This requires balancing reports about changes in either side of the equation. In health care, for instance, changes such as buying supplies, receiving payment for services, or paying the electric bill are all transactions that require balancing the books, so to speak, so that the equation is still equal. Cost Valuation Cost Valuation can be defined as choosing the right price for services, supplies and other things of value (Hutton, 2005). Choosing the right price may be based on the history of what the entity has paid that is reflected by money measurement or may be based on other measures of what a cost should be (Cleverly et. al. . Market value is a way to assess a cost value. This seems to be favorite way with many organizations. This method is not considered objective, however and can provide different opinions on what an item is worth, making costing difficult (Cleverly et. al. ). Replacement value is another way of choosing the right price. This gives the cost of how much money it would take to replace an item or service (Cleverly et. al. ). In health care for instance, when costing an expensive piece of medical equipment, replacement value makes more sense than market value. The organization may receive different quotes on market value but replacement value should be more consistent and reliable. Stable Monetary Unit The stable money unit is our country is the dollar. The dollar is used in money measurement and other principles that have money values attached. The dollar is always the dollar but the value can change based on the economy and inflation (Cleverly et. al. ). An example of how this might impact health care is, suppose the organization, based on replacement value, has allotted a certain amount of money to purchase an expensive medical devise. Before the purchase has been made, the dollar decreases in value or is unavailable and has to be imported. The value of the dollar has changed; the country from which the item is imported from may have experienced a decrease in the value of the United States Dollar. The dollar is still a stable monetary unit though there may be fluctuations due to inflation or other events. Conclusion There are no specific hard rules that govern accounting; the five guiding principles of accounting are used to help organizations keep track of the entity’s assets and liabilities.  The principles are not perfect but serve as a guide to costing and money measurement. The stable money unit in our country is the dollar. The dollar may experience fluctuations in value but is still considered stable and how the United States measure and pay for any expenses. The five principles seem simple and as one looks into each principle further, it is noted that there are complexities and problems that must remain in the forefront of the accountant’s mind when keeping up with the financial end of any organization.

Movie: Whats Eating Gilbert Grape Essay -- essays research papers

Movie: What's Eating Gilbert Grape "What's Eating Gilbert Grape", as directed by Lasse Hallstrom, is a comedy, drama, romance, all wrapped up into one grand movie. Leonardo DiCaprio plays a mentally impaired boy with a caring brother, who always took care of his brother until the love of his life came to town, proposing the essential question: What is a boy willing to sacrifice in order to be with the one he loves? Johnny Deep plays Gilbert Grape whose father left when he was little, causing his mother to become depressed and never leave the house again. Gilbert referees to her as a â€Å"beached whale† because she has gained so much weight. One afternoon a silver camper had engine trouble, forcing them to stay in town for a few weeks until it is fixed...

The Relationship Between Incarnation and Creation

Incarnation and creation are some of the most discussed subjects in the field of theology and religion. This is a subject area in which God as a source of inspiration, man, and the world the actual nature of the relationship exists between different theologies. Meanwhile creation comes in the mind when we think of the old earth and the new earth. Old earth in a sense states that God created it and then filled it with animals and plants. Meanwhile, the new earth is all about the new creation when Jesus became incarnate because of our relationship with God.In this essay, the intention is to try and find out how incarnation is related to creation in the biblical doctrines. What really is the incarnation and how does it come out clearly from the biblical point of view. What is creation which we see in the opening books of the bible and how is it related to the birth of Jesus Christ. This paper is bound to define the terms appropriately while looking at the relationship between incarnatio n and creation. Books in focus will be by T. F. Torrance who based his research on Christian theology.According to Gunther Pratz in his paper the relationship between incarnation and atonement in the theology, Thomas Torrance believed that Niceno-constantinople creed with its central place accorded to Jesus Christ seemed to be the prime and most valid starting point for discussion in Christology [1]. The Greek patristic theology will be our concern in this paper. The word incarnation was adopted during the 12th century from the Norman-French, which in turn had taken the word over from the Latin ‘incarnatio’ [2].This word ‘incarnatio’ corresponds to the Greek sarkosis or ensarkosis from the gospel according to John 1:14 and the word was made flesh. Surely this mystery lies beyond human investigation and are believed on the strength of God’s word. The word was in place and the word became man is the biblical mystery which the gospel according John expl ains vividly. Torrance seems to share the view as the Greek Fathers and their non-dualistic theology in which incarnation and atonement are very inseparable. Christ is the beginning ‘The Alpha’, ‘The first’.His person is itself the source of creation. Just as the word as indicated in the Gospel according to John that the word became flesh, it is indeed true that Jesus is eternally other from the Father and the foundation for all else that is other than Him. The bible in Genesis does talk about God in plural meaning He the triune God existed before, during creation and after creation and hence the incarnation. God simply uses the word WE without telling it openly of who he is with at the time of creation.But when finally He becomes flesh, then it becomes truth that He was and his word has become flesh. It is therefore true to say that Christ is nature and forever from the Father in the spirit. This shows that the spreading of goodness of the triune God, whos e being is outwardly curled. God became flesh simply because he wanted to reveal himself to the sinful nature of man. He wanted man to realize that he was the truth to believe in at all times in-order to be saved.The incarnated God who is the son would be the mediator between God and men, the man being Christ Jesus who gave himself to liberate man from sin and to renew the broken relationship of man with God. Karl Barth writes, â€Å"If we understand eternity as pre-time – and we must understand in this way too – we have to recognize that eternity itself bears the name Jesus Christ. † [3] Torrance believes that this relational coherence and oneness of the Father and the Son in the Spirit of God as fundamental to knowing God for who He truly is [4].He writes in The Trinitarian Faith, ‘Thus, they (the Nicene fathers) rejected any idea that the Son is from a being other than God, or that he is Son of God only through partaking of God, and stated quite definit ely and unambiguously that the Son is of the very being of God and is God in precisely the same sense in which the Father is God, for he is uniquely and completely one with him [5]. While looking at this issue, I noticed that Athanasius also believed in the incarnation. He looks at it from the point of the creeds which drew much attention in the early years of the world.Torrance points out with Athanasius that this shows a dual movement from God to humanity and from humanity to God which is concerned in the mediation of Christ Jesus. The gospel is very clear that Christ is really God having become human like. Jesus Christ is God’s act which is God acting personally and immediately as man through him and thus at once in a celestial and in person manner. Torrance goes on to say that even though Jesus comes as human being, he does not indeed combine the two realities of being divine and at the same time being human.But he admits that we must rather think of Christ as God coming to us as human. It is therefore true to say that God the creator has come to His own creation as one of the creatures he has made but at the same time remains the creator, the creating and underneath force behind everything. Yet I wish to make it clear that even though he came down as one of the creatures, he never stopped being divine. Because of whom Jesus is and what He mediates is one and the same, we must be aware that He is not just an agent of that mediation to us but is the mediator of a divine revelation and reunion.He is in his own personal identity and reality. It is because of this that the gospel witnesses to us that Jesus Christ does not just come to us by bearing the word of God but as being the word of God. Torrance believes that if we agree to separate the Person and the word or work of Christ Jesus, our way of appreciating the gospel will diminish and finally break down at the end. I have taken the pain of exploring what incarnation could be before taking the issue s about creation which would actually be the beginning of my paper.This I did because I believe that incarnation is the core of Christian beliefs and the center of many discussions. Torrance who follows the lead of Athanasius, understands the atoning redemption to happen within the meditorial life and Person of the incarnate Christ Jesus. Athanasius believes that Jesus Christ came to save the whole human being, body and soul including human affections and mind, that Jesus Christ, the incarnate son of God, came to redeem by becoming fully human being himself which in the end effected our salvation in and through the very humanity he appropriated from us.So God becoming human being was for a reason that the broken relationship be once again be mended. He has made our sin and death his own that we may partake of his divine life and righteousness. However it is true to say that if everything He did including appropriating from us our body and soul making them his own were incomplete and inferior, then everything that Christ did by offering himself as a sacrifice for our sake would be meaningless.â€Å"We can see that, like the Greek Fathers, Torrance closely links the personal and the ontological in his account of the incarnational redemption. † By making himself one with us and through the incarnation, Jesus Christ did not just correct our human nature to himself but indeed took our lost state which is headed for conviction and death. His main intention was to take our place of sin and substitute it by discharging our debts and also by presenting Himself in atoning sacrifice to God for us.He hence crushed the power of sin and its strongholds in death and redeemed man from its control. Torrance in his on conviction and the convictions of the Greek fathers insisted that incarnation and atonement have to be thought together in terms of their intrinsic coherence in the divine-human Person of the mediator. May I now turn to the discussion on creation which is s uperbly the basis of our being here on earth. Without creation, we cannot discuss incarnation and without incarnation we may not have power to discuss atonement that I have touched on shallowly.Creation is hence not a floating reality which has no ground but something beginning in the son, crafted by Him, joins together in Him and headed towards Him as His inheritance. While God’s being reaches out towards the other which is simultaneously a being that draws the other in bonds of love. Some theories about the making of the universe and the creation of all things have emerged over the years. For example some people say that all things were self-originated and disorganized. Among the people are Epicureans who deny that there was a mind behind all this.This is very opposite to all experiences which may include their existence. For if everything came the way they say, then everything would be in one form and without distinction. Others take the view of Plato who said that God mad e everything out of pre-existence and uncreated matter, just as carpenter makes things only out of wood that already exists. The Gnostics simply closed their eyes to the obvious meaning of scripture. An example is when God reminded the Jews of the statement in Genesis, â€Å"He who created them in the beginning made male and female and because of that they should leave their parents and cleave to one another.Gen. 2:23ff. What therefore God has put together let no man separate. The gospel according to St. John says that â€Å"All things became by Him and without Him came nothing into being. † How then can the artificer be different other than the Father of Christ? There is need to understand that by faith the world s were framed by the word of God so that the things we see did not come into being out of things that had previously appeared . Creation being the genesis of everything on earth gives the opening connotation that everything begun from then.The way of life and how m an was given the power of dominion over all the creatures of the earth is the source of our base of argument. Biblical creation in Genesis, tells us how God did his things. One would ask if it is true that the six days of creation was the normal counting days we believe in today. But the Bible is very straight in stating to us that God’s time is not our time. The bible may have meant that one thousand years represented one day. Creation in the book of Genesis can be hence being termed as both physical and spiritual.The relationship between incarnation and creation comes in place on several occasions. They are closely intertwined and cannot be separated easily. Incarnation is the new creation when God becomes incarnate. The word becomes flesh and so a new beginning for the walk of life. God comes in flesh to die for the sins of the world and hence making the way for new creation. Incarnation opens the doors to the new creation which is the formation of the Kingdom of God. Man becomes a child of God when he surrenders to follow Christ in His fullness.God fulfills his new covenant with man by becoming incarnate to redeem man from the bondage of sin. The old covenant was with Abraham when He called him to go to the land of promise. This does not end here but brings clearly what God wanted us to go through when He brings out the Israelites from slavery in Egypt through Moses. But this does end here; the presence of Jesus Christ is felt even at the time of Babylon’s opposition to God. The presence of God in every walk of life right from the beginning brings a clear understanding of I AM sayings in the New Testament.When we are face to face with Jesus Christ when reading the bible, we are actually face to face with God. This means that the triune God or the trinity of God is the basis on which the Christian faith is embedded upon. The I AM sayings from the gospel according is the authority God asserts when He speaks to us to show us that He is in Jesus Christ and in Christ He lives and dwells. These sayings are as a result of His need that we know vividly about his coming and how He lived in our midst. The story does not end here but gives an account of how he died ad later resurrected.Whilst it is true to say that this sayings were mystery, they were indeed the truth that God is Who He was and Who HE is now and forever. The incarnation makes it clear that He is indeed Lord of Lords. John McKenna says â€Å"The eternity of the world and the temporal nature of our kind at the center of the cosmos was an enigma to be resolved by learning to cavort with the heavenly and changeless forms, by leaving the morass of the temporal and saving all appearances in the eternity of a creator's heavens†. This forms the basis of Messianic hope.He is indeed the light of the world during the time in the Old Testament but also during the time in the New Testament where the bible gives the background of where Jesus is coming from. In the gospel according to Matthews, the opening of the text begins by explaining the ancestors of Jesus. This implies that God brings us the His history to help us know of the new creation or the new Adam. Jesus comes from the house of David and of Abraham. Christ confronts the Jews his people because he comes from within and so he knows the way of life here.This makes it easy for him to talk them from their perspective without fear. The bible goes on to say in various texts for instance in the letter of Paul to Corinthians that in 2 Corinthians 4:4-6 we read: The god of this age has blinded the minds of unbelievers, so that they cannot see the light of the gospel of the glory of Christ, who is the image of God. For we do not preach ourselves, but Jesus Christ as Lord, and ourselves as your servants for Jesus' sake. For God, who said ‘Let light shine out of darkness.Made his light shine in our hearts to give us the light of the knowledge of the glory of God in the face of Christ. His beco mes the light that shines in the world to bring His glory. He is the beginning, the ‘Alpha’ and has lived now and shall live forever ‘Omega’. He is the almighty at all costs and has the key to every door. Apocalyptic text in the bible which is Revelation draws it statements from the fact that there will be neither sun nor moon in the city of God since it does not need them.Work citedMichael Green, The Truth of God Incarnate (Grand Rapids: Wm. B. Eerdmans, 1977), ed. , pp. 36-39.Ibid, pp. 39-41.Clement of Alexandria, toward the close of the 2nd cent. A. D. cites diverse views concerning the date of Christ’s birth among early churchmen (Stromata, Bk. 1, Ch. 21).Leon Morris, The Gospel According To John, (Eerdmans, 1971), p. 365, 473-4.Karl Barth, Church Dogmatics, II. 1, p. 622.T. F. Torrance, The Christian Doctrine of God, One Being, Three Persons (T & T Clark, 1996), pp. 118-127.

Theatre Management Technicians - Free Essay Example

Sample details Pages: 11 Words: 3291 Downloads: 7 Date added: 2017/06/26 Category Art Essay Did you like this example? Investigating Arts Management Practice This report will look into technical jobs in the theatre industry. Looking at the people who work as technicians. Do they have a technical theatre degree or did they get into the job by gaining ‘hands on experience. Don’t waste time! Our writers will create an original "Theatre Management Technicians" essay for you Create order The report will show if there are specific requirements for technicians e.g. to have a degree to work in the west end on a ‘high profile show or if to work in a regional theatre that has a variety of small scale shows, would ‘hands on experience be preferred, as they would not just be working in one area on a show, they will need the knowledge to work in all areas of backstage in a theatre. Research was compiled by emailing questions to production and touring theatre companies, interviewing the technical managers of two regional theatres, and from sourcing information from job adverts in ‘The Stage, on careers advice websites and on theatre forums specifically for theatre technicians. The findings show that technicians who work in the regional theatres mainly started out as casuals who then gained experience and applied to the job full time, where as the production and touring theatre company do not necessarily look for people with degrees but if they are appl ying for a manager or head of department job then it would only help their application, or if they were wanting to work as a stage manager then preferably studying a specific stage management course at a drama school would also be benifical. To conclude although a degree is not needed to get into the industry if you were wanting to go into a management position then having a degree could help you application as the company would know that you would have had some level of ‘paper based learning which would have involved for example financial studies. Introduction This report is based on the question: ‘To work in the theatre industry is it necessary to gain a technical theatre degree or is experience preferred This subject has become an increasingly talked about topic within the theatre industry. Older theatre managers nowadays never had the chance to gain a qualification, as there was no such thing, some still feel that it is a waste of time to go the academic route as the job is practical and this is the way to learn it. This topic is discussed a lot on the technical forum ‘Blue Room. Where technicians can speak to each other asking questions about the jobs backstage, or how to get into the industry. One member of the forum answers a similar question about which university courses give the best training to get into the industry: ‘I dont believe the best way to get involved in this industry is to take an academic course production/sound is a very practical hands on job that benefits more from experience than t eaching. ‘Gareth Young, Freelance lighting designer sound engineer This is the way a lot of people think in the industry but as there is now more choice of specific courses to study to get into theatre, a lot of people are taking these up. ‘The industry is changing as there are now more and more specific technical courses. I think that the non-University route is a valid one and I know many people who have been successful without going to Uni. ‘3Pens Blue Room After speaking to the technical manager at the regional theatre Wycombe Swan, who did study a degree in drama said on the topic ‘It helps to get a degree if you want to go into teaching, but 10 years ago the industry laughed at people who went the university route, but people are slowly beginning to realise that it might be a good idea, not necessarily to become a technician but if they ever wanted to become a technical manager Sebastian Petit Technical Manager at the Wycombe Swan Literature Review When researching this topic a lot of information was found on the technical theatre forum ‘Blue Room (bringing backstage online). This is where people who are specifically interested in the backstage jobs of a theatre can talk to other people about any questions they have or just have a general chat. Topics include general chats about productions, non-technical chats about insurance, working overseas etc, technical forums for each technical area, stage management, lighting, props etc and another for training and qualifications, ‘A forum for the discussion of Training and Education issues. This is where the research information was sourced. Many people have joined this forum asking question such as ‘Interested in the industry – Where to start? These questions are usually asked by younger aged people deciding what to do after GCSEs or people who are at the age to go to university and are asking what is the best option to get into the industry, a degree or experience? In one of the forums ‘Industry Training, Interesting comment from LS International ‘Paulears talks about an article that was printed in the monthly journal ‘Lighting and Sound International added 22 April 2007. One thing that I am very keen to do is head off as many kids as I possibly can from taking the college route. We do have quite a few people here from LIPA and Liverpool Community College, but they will all tell you, more or less, they have wasted three years of their life attaining a piece of paper that, when they walk in here or anywhere else in the industry, isnt worth anything at all. They might be able to give me a brilliant description of the polar pattern of a microphone but they cant even put up a mic stand properly or wind a cable. ‘Andy Dockerty, the Managing Director of Liverpools Adlib-Audio This shows that in his company experience is preferred, that although the student could explain technically they couldnt do the job practically, therefore would have to gain the experience after gaining the degree, setting them back 3 years that they could have had that experience. This topic has also been discussed in the weekly newspaper ‘The Guardian. In the guardian education, there was an article ‘Playing in the mud This article is discussing ‘the future of live events is threatened by a lack of technicians Step up the new skills academy. They are discussing the future of the live music business: ‘No Glastonbury festival, no Radiohead tours and no Brit Awards that could be the future of the live music business, according to research for the National Skills Academy for the creative and cultural industries Allan Glen – The Guardian The popular live music industry has bought major opportunities both for the education sector and the live music industry. Thus allowing a variety of courses to be set up, but there are some strong views about this within the music in dustry What you dont want is someone breezing in waving a degree and telling everyone how to do their job. Geoff Ellis, director of DF Concerts, The company behind T in the Park festival and the Glasgow venue King Tuts Wah Wah Hut. This is how the technical manager at The Civic Centre Aylesbury feels, as he doesnt have a degree, he feels that people do not have the practical knowledge to do the job, even with the ‘piece of paper. Also mentioned in the article was Chris Hill, director of Wigwam Acoustics, who launched ‘the companys Charlie Jones sponsorship programme at the School of Sound Recording in Manchester. Talking about the company he works for, and the school he set up: All the CVs we receive from kids on music courses go straight in the bin, our programme at least allows students to be taken seriously by prospective employers. Chris Hill The general vibe of the article is that going down the education route does not gain you any idea of what it is li ke to actually work in the industry, it is no good knowing that you have to do something, but not actually be able to do it. Andy Reynolds a university lecture and a tour manager explains, â€Å"The live event production industry is very sceptical of graduates, they are often not prepared for the reality of what they will be doing, which is cleaning mud off speaker boxes that have been at Glastonbury for a week. Frazer Mackenzie who also works as a lecture in music management and production feels that If the industry feels graduates leave university without the necessary skills, it should contribute more actively to the education process, Due to this the government are speeding up the opening of the National Skills Academy (NSA) for live entertainment and the DCMS are to launch an apprentice scheme. The course will concentrate on courses in lighting, sound and backstage skills, therefore allowing students to get the ‘piece of paper as well as learn the skills prac tically. The idea of bringing back apprenticeships gives everyone to do both routes, whether they are academic or not. Methodology To conduct this study my idea was to look at two regional theatres and two London theatres. The two regional theatres that were researched were the Wycombe Swan and Aylesbury Civic Centre, these venues are receiving, so they have a variety of performances by different production companies. Their technicians are not hired to do a specific job, for example stage management; they need to have the knowledge to work in all areas of technical. To find out if their technicians have experience or degrees, they were interviewed, simply asking about their technicians, and how they got into theatre. To find out if technicians in the west end had degrees, e-mails were sent out with these questions: If  people who enquire to you about work have either the qualification or experience, If the majority of people who work for you have  a degree or have gained the experience instead? But with no reply, contacts were then made with a production company, who contract staff to theatres for the run of a show and a touring theatre company. Information was also gathered from collecting programmes from the west end venues that have biography of the lighting and sound operators; these were then used to see if they had attended university. ‘The Stage a newspaper for the performing arts industry was also used a source, where adverts for technicians are placed, these describe what their person specification is, what they want from an employ. Research was also done by looking at careers website for example learndirect and prospects. Finding and Discussions I wanted to find out if technicians in either regional or London theatres have degrees or experience. From the interviews that were conducted with the technical managers of the regional theatres it showed that none of their technicians had done the educational route. At the Wycombe Swan many of the technicians were casuals while at school, then became full-time once finished. At the Aylesbury Civic Centre all of the technicians are older, a couple of them came from other theatres, one whom used to work in London loading and unloading the trucks for shows, the others just applied with no theatre experience. Because e-mails were not sent back from the two London theatres that were contacted, contact was then made with production companies that contract our staff to these venues. Companies that were contacted and replied were PSL â€Å"one of the leading rental and event production companies based in the UK†. Darren Glossop, a director of the company answered: †˜Generally we are not bothered whether people have degrees or not as mostly they are irrelevant to what we want. What is important is the drive and the enthusiasm to be successful and of course fit the job profile, which is the most important thing. So long as people are organised, are intelligent, motivated and have common sense that is good enough. For education generally we look for English and Maths GCSEs. We have taken on graduates but not because they had degrees but more because they were the right fit for the business. This shows that for their company a degree is not necessary needed, they just need to be able to show that they can do the job. For another side of the industry contact was made with the Northern Ballet touring theatre company, the same e-mail was sent out and this was the response from Diane Tabern, PA to the Directors: ‘For some areas of theatre work, e.g. lighting, stage, wardrobe etc. degrees are less important than practical experience though these can only add strength to an application as Heads of these departments need to balance budgets, manage staff etc. as well as the practical work involved.   The Government are currently looking into Creative Skills Apprenticeships for such areas and hopefully this would lead to academic/practical courses for each area. For other departments e.g. Stage Stage Management degrees do exist already so naturally having one would put you above a candidate who only had practical experience. I would imagine in our technical departments most have gained experience in their chosen field rather than degrees. This answer shows that degrees are not needed to become a technician but if they are wanting to progress into management then they would be needed to strengthen their application, she also mentioned about the apprenticeships that were said before in the guardian article, mentioned in the literature review, thus showing that this would be a better option for people to ge t into this industry as it gives you both the experience and the academic side of job role. Also mentioned was that the technicians that already worked for the company had fallen into the job and gained the experience rather then the study route, suggesting that they are probable of an older age. This company shows that they do accept people with degrees, rather then at the regional theatres who would prefer people who had gained the experience practically as they have to be able to do the variety of backstage jobs, whereas the production and touring company only have people for specific roles, for example if they are hired to be a sound engineer then this is all they will do, they wont need to know about lighting or stage as they will not work in them areas. From looking at ‘The Stage job vacancies you can see that there is only one (Appendices 1.0) that is advertising for a theatre technician. This specifically asks for the person applying ‘to be educated to a good standard and need ‘relevant experience. This shows that they are looking for someone who has a degree, or at least a level of higher education, with relevant experience that would have been gained while doing this. From the other job vacancies (Appendices 2.0) you can see that the majority of these are for technical manager jobs, for a deputy chief electrician, and a theatre technician. This asks for ‘a minimum of one years experience and to be ‘multi-skilled in all aspects of technical theatre. All of the others say ‘previous experience is essential or with ‘a minimum of three years experience This shows that they are looking for someone who has experience rather then a degree, as they would have gained more experience working. If someone has a degree this would then mean having to gain three years experience after three years studying, where people who have studied for the degree would then no want to start at the bottom gaining the exp erience which they could have been doing instead of the degree. Looking at the careers advice websites you can see that for technical crew jobs it says that you do not need any formal qualifications to become one ‘You would often start as a casual technician Learndirect https://www.learndirect-advice.co.uk/helpwithyourcareer/jobprofiles/profiles/profile695/ It does say that if you want to progress into technical and production roles, for example specifically stage management you could enrol in a technical theatre or stage management course at a university or drama school. This shows that although you do not need the degree to get work in a theatre, you may find it useful to study a specific stage management course to get into that job role. From the prospects careers advice website it states the following entry requirements for a technical stage manager: It is still possible to enter theatre stage work from any degree discipline, but candidates with relevant qua lifications are often preferred. If you are interested in technical theatre, you should ensure that your degree has considerable practical content. Prospects –https://www.prospects.ac.uk/cms/ShowPage/Home_page/Explore_types_of_jobs/Types_of_Job/p!eipaL?state=showoccidno=463pageno=3 This suggests that it is better to get into the job with a degree, but preferably with a relevant one, that has a practical content. These are usually best from a drama school, or a university with facilities to support the practical content, for example a theatre. It also states that it is possible to get into the job without the degree, but practical experience is needed. Entry without a degree or HND is sometimes possible. Practical experience of performance-related work and technical skills in sound, lighting or carpentry can be helpful. Some stage managers come through acting or writing route. Prospects htttp://www.prospects.ac.uk/cms/ShowPage/Home_page/Explore_types_of_jobs/Types_of_Jo b/p!eipaL?state=showoccidno=463pageno=3 Conclusion From the research I undertook to answer the question ‘To work in the theatre industry is it necessary to gain a technical theatre degree or is experience preferred it was shown from the interviews I had with the technical managers of the two regional theatres that their technicians were not a degree level, and had ‘fallen into the job by starting as a casual technician, gaining experience then starting full time, thus showing the company that they are competent at working, and already have the skills to do the job. From the e-mails that were sent back from the production company and touring Theatre Company it was shown degrees are not looked for when a person is applying for the job, that they are less important then practical experience but for the touring theatre company if they were applying for a head of department role, or specifically a stage management role then a degree would strengthen their application. From these results and the adverts that were placed in the stage the report shows that it is not necessary to gain a technical theatre degree to get work in the industry, but if someone did want to progress into technical management then a degree could only help. This could be because there is a significant amount of paper based learning when studying a degree where the applicant would have these skills, for example most technical theatre degrees have a module of touring their own show. In this module they have to put together a budget, and know about licensing issues, and although this could eventually be learnt ‘on the job they would already have some knowledge of this from going the academic route. Also seen from the results if someone wanted to go specifically into a stage management role it seems that they would be better off studying a specific course for example at a drama school. This could be because the job, although ‘hands on, it is also a management position, where you will have control of a stage and technical team beneath you. This job also involves knowledge of budget and licensing issues, which are taught in university and drama school modules.