International Alliance of Theatrical Stage Employees
The International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States, Its Territories and Canada, known as simply the International Alliance of Theatrical Stage Employees (IATSE /aɪˈɑːtsi/[2] or IA[3] for short), is a North American labor union representing over 168,000 technicians, artisans, and craftspersons in the entertainment industry, including live theatre, motion picture and television production, broadcast and trade shows in the United States, its territories, and Canada.[4] It was awarded the Tony Honors for Excellence in Theatre in 1993.
Abbreviation
IATSE
July 17, 1893[1]
New York City, New York, US
- United States
- Canada
168,000
Matthew Loeb
James B. Wood
Overview[edit]
IATSE was founded in 1893 when representatives of stagehands working in eleven cities met in New York and pledged to support each other's efforts to establish fair wages and working conditions for their members. IATSE has since evolved to embrace the development of new entertainment media, craft expansion, technological innovation and geographic growth.
Today, IATSE members work in all forms of live theater, motion picture and television production, trade shows and exhibitions, television broadcasting, and concerts as well as the equipment and construction shops that support all these areas of the entertainment industry. IATSE represents virtually all the behind the scenes workers in crafts ranging from motion picture animator to theater usher.
During a period when private sector union membership has been in sharp decline, IATSE has continued to grow. Since 1993, IATSE's membership has increased from 74,344 to 160,000 which it attributes to its willingness to adapt its structure to protect traditional jurisdiction and accommodate new crafts.[5]
History[edit]
1886–1987[edit]
In 1886, members of the Theatrical Protective Union of New York went on strike in New York City. After producers filled the positions of strikers with less skilled strikebreakers, actors refused to work due to sets falling apart.[6] With the support of the actors behind the strikers, they succeeded in most of their requests.
In 1893, representatives of stagehands from eleven cities met in New York to discuss working conditions for their peers. They vowed to support each other in the effort to create an industry that would allow for fair wages and better working conditions. On June 17, 1893, the representatives officially formed the National Alliance of Theatrical Stage Employes.[7] In 1895, "home rule" was established. The alliance defined home rule as "22 New York theatres for New York local members, Chicago theatres for Chicago (and so forth)... and no other members of locals allowed to work within the jurisdiction of other locals without (their) consent."[8]
The Los Angeles Theatrical workers union (which had independently formed in 1891) joined NATSE in 1896.[9] By 1898, the NATSE had welcomed two Canadian locals into the alliance: Montreal Local 56 and Toronto Local 58. In 1902, the alliance adopted "International" into its title.[10]
In 1912, the union began a system that allowed individuals traveling with attractions to send basic information such as the size and length of time the local crews would be needed ahead to the next destination. This assured that there would be enough people to staff each theatre, and helped ensure these were union crews. The system is still in process today, and is referred to as the "yellow card system".[11]
IATSE was quickly becoming the preeminent theatrical union in North America after the Canadian Department of Labour listed theatrical locals in New Brunswick, Quebec, Ontario, Manitoba, Calgary, Saskatchewan and Vancouver in 1928.[12]
In June 1933, President Roosevelt signed legislation into law affecting all US workers: the National Recovery Act, creating the National Recovery Administration (NRA). The NRA's first mission was to create a uniform system of codes to cover all of industry in the United States.
For months, the alliance participated in hearings to create an industrial code for the entertainment industry. Eventually, four different codes were established: Code of Fair Competition for the Motion Picture Industry; Code of Fair Competition for the Legitimate Full Length Dramatic and Musical Theatrical Industry; Code of Fair Competition for the Burlesque Theatrical Industry; and the Code of Fair Competition for the Motion Picture Laboratory Industry. The NRA shortened working hours to spread the work around, and set the first minimum wage level for stagehands.[13] In 1938 the Fair Labor Standards Act was passed, including a provision that required studios to rearrange production schedules to fit the agreed-upon 44-hour work week (to be reduced to 40 over the following three years).[14]
In 1940 the Canadian Picture Pioneers organization was formed, "dedicated to the support and well-being of all members of the motion picture industry in Canada".[15][16]
Membership[edit]
The membership process of the IATSE varies widely depending on each local. In order to become a member, interested applicants must contact the appropriate local union in their jurisdiction that covers their particular craft.[65] Once accepted, members work under union contracts that guarantee certain wages, hours, benefits, safety guidelines, and other agreements, and gain opportunities to upgrade skills and master new technologies relating to their craft. Additionally, IATSE members enjoy benefits from Union Plus, a program created by the AFL-CIO to provide savings and discounts to union members.[66]
