Orange School District
Stagecraft
Curriculum Guide 2009 Edition
Grades: 9-12 APPROVED ON: July 14, 2009
Orange High School 2009 Stagecraft/Design
ORANGE TOWNSHIP BOARD OF EDUCATION Patricia A. Arthur President Sharon D. Davis Vice-President
Members Arthur Griffa Maxine G. Johnson Walter A. Smith Rev. Reginald T. Jackson Wynona Samuels
SUPERINTENDENT OF SCHOOLS Ronald C. Lee
ASSISTANT ADMINISTRATIVE ASSISTANT TO SUPERINTENDENT THE SUPERINTENDENT Constance L. Frazier Belinda Scott-Smiley Curriculum and Instructional Services Operations/Human Resources
BUSINESS ADMINISTRATOR Adekunle O. James
DIRECTORS Barbara L. Clark, Special Services Candace Goldstein, Special Programs Candace Wallace, Curriculum & Testing
Committee Revisions and Editing: Candace Wallace, Director of Curriculum & Testing Prepared by: Laura A. Rizzo, Teacher
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Orange High School 2009 Stagecraft/Design TABLE OF CONTENTS
Title Page...... 1
Board Members ...... 2
Table of Contents ...... 3
District Vision Statement ...... 4
District Goals and Guiding Principles...... 5
Course Philosophy...... 6
Course Description...... 8
Course Proficiencies...... 8
Assessment Evaluation and Grading Policy...... 9
Scope & Sequence ...... 13
Matrices...... 15
Recommended Textbook, Reference Texts, and On-line Resources ...... 14
Activities ...... 59
Appendices ...... 80
Appendix I: Vocabulary ...... 80
Appendix II: Glossary ...... 93
NJCCCS Core Curriculum Standards charts...... 91
National Standards Char...... 93
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Orange High School 2009 Stagecraft/Design
VISION STATEMENT
The Orange Public Schools will ensure that all students, parents, and professional and support staff will be empowered to make schools effective places for learning, where students can realize their full potential while becoming confident, caring and articulate members of society, and in turn, foster a better community.
EDUCATIONAL GOALS MISSION STATEMENT
1.To present an educational program that The Orange Public Schools will “dare to will encourage all students to attend school make a difference” believing that all daily, to take pride in their school, and to students will learn in an environment that assume some responsibility for their fosters a comprehensive educational schoolwork, punctuality and attendance. program created for a diverse, urban student population. 2. To have students acquire academic skills and effectively use information The district will prepare students with the pertaining to our rapidly changing knowledge, skills, and intellectual curiosity world. that are associated with learning, allowing them to successfully enter college, 3. To create a climate which fosters high specialized training programs or compete expectations, academic excellence and in the open job market. mutual respect that will encourage and improve students’ self-image/self- To achieve this goal, the Orange Public esteem. Schools are committed to creating an educational climate for students that is 4. To offer opportunities for hands-on conducive to learning, attaining mutual experiences in state-of-the-art computer respect, and caring for one another. and other technological equipment. The district encourages a professional 5. To foster a collegial environment for atmosphere, characterized by collaboration staff members by encouraging and cooperation, which enables staff attendance at educational seminars, members to perform at their optimum level. conferences, and workshops and membership in professional The district will encourage educational organizations. partnerships between the Board of Education, staff members, parents, 6. To provide suitable facilities in which students, the business community, and city teachers can teach and students can government in order to develop specialized learn. and diversified educational programs.
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Orange High School 2009 Stagecraft/Design Orange Board of Education Mission and Goals
The Orange Public Schools will incorporate technology into all areas of the educational process by the infusion of a strengthen curriculum that acquires, applies and evaluates its technology resources to best support the Core Curriculum Content Standards. This endeavor will develop a community of life-long learners that will enable students to:
• Expand their knowledge base. • Become self-directed learners • Reinforce Language Arts and Math Literacy. • Improve their critical thinking, problem solving and decision making skills. • Collaborate with others to effectively complete a task. • Be informed of various professions involving technology. • Use assistive technology to augment the learning process. • Access, analyze, evaluate and communicate information. • Use video to enhance their learning experiences. • Use technology to improve student achievement.
The integration of technology into the curriculum offers the potential to augment student’s learning experience by providing an instructional tool for delivering subject matter in the curriculum. The district’s responsibility to prepare students to access, analyze, apply and communicate information effectively can be achieved by modeling and encouraging the integration of technology that is aligned with the Core Curriculum Content Standards and best practices that support differentiated learning, integration across the curriculum, self-directed learning and the requirements of No Child Left Behind.
Goal 1: All student and teachers will have access to information technology in their classrooms, schools and communities. Goal 2: All teachers will use technology effectively to help students achieve high academic standards. Goal 3: All students will have technology and information literacy skills. Goal 4: Research and evaluation will improve the next generation of technology applications for teaching and learning. Goal 5: Digital content and network applications will transform teaching and learning.
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Orange High School 2009 Stagecraft/Design COURSE PHILOSOPHY
Stagecraft- Why hands on?
I recently had a chance to read an article by Herb Childress called “Seventeen Reasons Why Football Is Better than High School.” The ethnographer spent a year observing students in a high school, noting the contrast between their boredom and discontent in the classroom and their joy and success on the playing field. Quite a few of the reasons he lists resonated with me as a high school teacher and drama director. In football, he wrote,
*Players are considered active participants rather than passive recipients. *The unexpected happens all the time, so there’s no time to coast or be unfocused. *A player can let the team down. *There’s no such thing as “good enough”; we’re always asking players to excel. *The adults who participate are genuinely interested. *A public performance is expected.
I think I’m a pretty good math and science teacher, but the skills that I see students develop when I direct a theatrical production seem to go deeper. Maybe that’s because theater is a lot like football. Students must memorize their lines, the blocking, a repertoire of songs and dances, and the many nuances of the characters they portray. When the curtain rises on opening night, it’s all up to them. It’s their production. And the unexpected happens all the time: Sound recordings don’t work, lights go on the fritz, props break, doors jam, people forget their lines or miss an entrance, and there are wardrobe malfunctions. Actors must be alert and able to adjust to surprises.
As in football, the stakes are high. One actor or technician can let the entire cast and crew down, and, as in football, “good enough” isn’t good enough. There’s always something to be tweaked in a performance, something to be perfected, skills to be improved.
All of these demands give students tremendous life lessons about teamwork and the rewards of hard work. Students learn that what looks effortless on stage is really the result of a lot of sustained effort. In sport, and in theater, what the student is doing is real, about as real as it gets. And if it’s seen as real, it can provide the opportunity for active engagement and effective learning.
Don’t get me wrong: I believe firmly in the value of academics. It’s important to know how to write lab reports, use the quadratic formula, and interpret the Constitution. But in the classroom, just as on stage or on the field, for real learning occur, there has to be some desire on the part of the learner, and a significant part of that desire come from the relevance of the material. When I sit down to create curriculum for my math and science courses, I’ve challenged myself to make my students’ experiences just as real and meaningful as my actors’ experience on stage.
In my environmental science course, for example, this means testing the creek water in the school’s backyard. It’s very rewarding when students read the E. coli levels in water samples and say, “We need to do something about the water quality!” This is real learning with a lifelong impact.
It’s more challenging to ‘keep it real” in math class, but still possible. One approach is to have my math students run an experiment for which they gather data, analyze the statistics and than graph the results and determine the equation of the lines. Students see firsthand work and working with numbers in real life is much messier then solving problems in textbooks. Page | 6
Orange High School 2009 Stagecraft/Design
I can already hear some of my colleagues: “Well, sure your theater kids are happier. They’re in your play by choice. Your math students have to be in class.” And they’re right. When we do something it’s because we’re forced to, our personal investment wanes (just think ‘income taxes”).
It can be hard to find the motivation that leads to honest investment in a difficult task. But that is the teacher’s responsibility: to create experiences for our students that make them active participants rather than passive recipients. With some creativity, flexibility, and research, it is possible. And it’s also more fun-for everyone. The teacher gets the gratification of seeing students develop life skills and confidence that will serve them for the rest of their lives. Students get to experience the excitement of discovery, the frustration of periodic failure, the camaraderie of teamwork, and the jubilation and pride inherent in giving a performance that has meaning.
COURSE LEARNING OUTCOMES
This course will give the student an introduction to various elements of theatrical production. Areas of focus include drafting and engineering of scenery and lighting for the stage. The course is open to all students, but it is geared to the Arts Community theater student, as it prepares the student for involvement in technical production and design work. Thos course will enhance the student’s communication and critical thinking skills as team projects and assignments are a vital part of STAGECRAFT. Likewise, the student will develop practical skills and techniques by working on in class and individual assignments. Essentially, upon the successful completion of this course, the student will be able to:
1. Identify the basic types of theaters, their major differences and respective staging. 2. Express their knowledge of theatrical technology both practically through classroom assignments and in writing through examinations and special research projects. 3. Hand draft with college-level skills and expertise. 4. Use CAD to communicate both scenic and lighting design ideas. 5. Be able to read and understand a complete design package in the areas of scenic, lighting and sound. 6. State the roles and responsibilities of individuals involved in Theatrical production. 7. Use the Internet as a tool for research in technical theater. 8. Read and understand a basic light plot and ground plan-section.
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Orange High School 2009 Stagecraft/Design
VISUAL & PERFORMING ARTS DEPARTMENT COURSE PROFCIENCES STAGECRAFT
Course Description:
This full year course has been designed to provide the student with a well-rounded knowledge base of and hands-on experience in theatre production based upon the NJCCCS for Visual and Performing Arts in the area of Theatre. The skills developed through the study and process of theatrical production are numerous and varied and serve as preparation for any number of careers. Students learn research methods, organizational skills, time management and the skills needed to create everything from posters to props. Most importantly, through their involvement in theatre production, they gain knowledge of how their individual performance positively or negatively impacts the success of a group effort.
Theatre Production is a comprehensive introduction to the world of theatrical production. In the future this course will serve as a link to other theatre arts electives.
Course Goals and Objectives:
The student will be able to: 1. Recognize that theatre is a collaborative art. 2. Understand theatre company hierarchy and theatre traditions/etiquette. 3. Gain an overview of the different responsibilities associated with a theatrical production team. 4. Develop a general understanding of the role of theatrical designers and the design process. 5. Know the performance procedure for each of the major elements of a production: actors, lighting, sound, stage crew, wardrobe/makeup, props and house.
UNITS COVERED:
1. Theatres & Stages 2. Stage Rigging & Curtains 3. Safety 4. Production Staff & Crews 5. Properties 6. Sound 7. Tools 8. Lumber & By-Products 9. Fasteners 10. Scenery Construction 11. Hardware 12. Platforms, Parallels, Steps & Ramps 13. Painting 14. Light Sources 15. Control of Light 16. Lighting Instruments 17. Electricity & Devices
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18. Dimming & Distribution 19. Color & Light 20. Planning Lighting
Text Books/Resources: Stagecraft 1, Stagecraft Workbook 1, Meriwether Publishing Ltd., Woodstock, IL, 2000
Evaluation Techniques: Students will be evaluated by the following criteria: 1. Class participation 2. Quality of work done within the group 3. Class projects 4. Journal 5. Final Project
Grading Rubric: 10% Attendance and Behavior 35% Performance includes: • Preparation/Tests/Written Assignments • Rehearsal • Group work and activities • Individual assignments 35% Journal Entries include: • Organization • Completion of assignments 20% Mid-term & Final Examination • Written Assignment • Performance
Expectations for Artistic Achievement: 1. All classes will be attended. 2. Daily practice beyond the scope of the class period. 3. Respect for fellow actors, director and administration will clearly be exhibited. 4. All performances will be attended.
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Assessment/ Evaluation/Grading Policy: Final grades will be an accumulation of points over the course of a given semester. Points will be assigned relative to rubric rating on each project/assignment. Grades will correspond to percentages of the semester’s total points according to the following scale: -A: 90-100 -B: 80-89 -C: 70-79 -D: 60-69 -F: 0-59
Points will be assigned relative to the following scale (scale is approximate): -Daily Participation (approx. 35%) -Points are issued daily based on the following criteria: -Daily Attendance (Was student here? -Punctuality (Was student on time?) -Preparedness (Did the student have materials? Did the student do their part ahead of time?) -Involvement (Did student take part in the class’ activities?) Engagement (Was the student an active, dynamic participant?)
Rationale: - Skills and awareness only grow through practice and discipline. Athletes drill and watch film, academics study and review, and likewise, theatre artists constantly refine both their approach to their art and their understanding of it. This is a growth process, therefore consistent participation is vital! Performance/ Projects (Approx. 35%) -This course will offer a number of culminating (read: final) projects where students will be able to demonstrate what they’ve learned about the different aspects of theater. Assignments (20%) - There will be a number of activities intended to introduce students to, and develop students’ skills in, the theatre art forms. Outside Viewing (10%) Since everyone needs something new to stir their creative juices on occasion, students are expected to see two live, theatrical productions per semester. One of these can be a Wilson High School production, but the other must be out somewhere in our community. Portland has a wide variety of opportunities from touring Broadway productions to other high school plays. Report-back options can be discussed with teacher prior to seeing the show. Note: Live theatre can be a expensive proposition. There are, however, a number of low-cost options out there. See teacher for ideas! Extra-Credit: -See performed shows (points TBD) Theatre doesn’t exist in a vacuum. See what’s going on in the world! There’s always something to take away that will raise one’s awareness in the theatre arts. Points for attending performances will vary depending on the quality of the response to them.
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Orange High School 2009 Stagecraft/Design Behavioral Expectations: Students will conduct themselves according to the following policies: -All district/campus policies apply, including, but not limited to: -Those things not covered by the school policy will be governed by the following three categories: -Work Hard: In none of the theater arts disciplines is there a way for progress to be made without considerable amount of time and focused work. At all times, do what is necessary to insure you are working hard and that you are enabling other to do the same. -Trust and Be Trustworthy: Any art form, but particularly performance, involves immense personal risk. The only way to insure that, each takes those risks. Model your behavior in such a way that you are a part of making that environment a reality. -Respect yourself and others: As with the above rule, there is a significant risk when it comes to a performance art. There is also an exposure to a number of different cultures and works of art involved, many of which may be foreign to our way of thinking. Keep an open mind to that which is new, and be respectful to the same. Also, show enough respect to yourself not to belittle yourself or not take proper care of you. Don’t be your own worst enemy…many actors are! -I have every expectation that students will be able to control their own behavior (students are young adults, after all). If not, then they will be asked to change that behavior. If they are willing to do so, there will be consequences up to and including administrative intervention…that is, the office will be involved and more serious consequences may follow!
Safety Issues and Requirements:-Students may be exposed to potentially risk tools and environments over the course of their time in Fundamentals of Stagecraft. Students will be instructed in the safe use of said tools and sage action in said environments prior to independent activity. Any student failing to adhere to safety protocols will be barred from participation in those activities.
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Orange High School 2009 Stagecraft/Design
SCOPE & SEQUENCE CORE CURRICULUM STANDERS MARKING PAERIOD I
UNIT TOPIC UNIT 1: 1. Course introduction THEATRES & 2. Theatre parts STAGES 3. Theatre forms CHAPTER 1 4-5. Theatre History 6-7. Stage directions and details Quiz 1 Theatre History UNIT 2: 8. Physical Parts RIGGING & 9. Curtains CURTAINS 10-11. Rigging systems- term and operation CHAPTER 2 12. Rigging Systems- tour Quiz 2. Details of our stage
UNIT 3: 13. General storage areas OUR FACILITY 14. Lighting areas CHAPTER 3 15. Scenery shop 16. Fire and safety Quiz 3 Storage locations, fire 7 safety UNIT 4: 17. Staff Organization WORKING A 18. Staff responsibilities SHOW-STAFF 19. Properties- definition PROPERTIES 20. Properties-operation CHAPTER 4&5 21. Properties- construction Quiz 4 Staff & properties
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SCOPE & SEQUENCE CORE CURRICULUM STANDERS MARKING PERIOD II
UNIT TOPIC UNIT 5: 22. Purpose of sound; pick up devices WORKING A 23. Control & reproducers SHOW-SOUND 24. Set-up of pick up devices CHAPTER 6 25. Facility tour T1 First six week test (Open notes) UNIT 6: 26. Incandescence: Lamps; bases LIGHT SOURCES 27. Lamps: Filaments and bulbs CHAPTER 14-16 28. Fluorescence and electroluminescence 29. Control: absorption 30. Control: reflection and refraction 31. Lighting instruments: Fresnel’s and ellipsoidal 32. Lighting instruments: Floodlights, strip lights, borders 33. Lighting instruments: PAR’s, follow spots Quiz 5 Light sources, control and lighting instruments UNIT 7: 34. Characteristics of electricity ELECTRICITY 35. Conductors and insulators CHAPTER 17 36. Connectors 37. Switches 38. Circuit protection Quiz 6 Electricity and its devices
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SCOPE & SEQUENCE CORE CURRICULUM STANDERS SEMESTER III
UNIT 8: 39. Systems overview-control THEATRICAL 40. Cross connect systems LIGHTING AND 41. Dimmers and distribution CONTROL 42. Our switchboard –details and operation SYSTEMS 43. Other control systems CHAPTER 18 UNIT 9: 44. Terminology of color COLOR AND 45. Methods of color mixture LIGHT 46. Color/Light demonstration CHAPTER 19 47. Color media Quiz 7 Lighting control and color/light UNIT 10: 48. Stage lighting functions PLANNING 49. Stage lighting classification STAGE 50. Planning forms and their use LIGHTING T-2 Second six week test (open notes) CHAPTER 20
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SCOPE & SEQUENCE CORE CURRICULUM STANDERS MARKING PERIOD IV
UNIT TOPIC UNIT 11: 51. Cutting and shaping tools TOOLS 52. Boring tools CHAPTER 7 53. Driving and pulling tools 54. Holding and turning tools 55. Measuring and marking tools Quiz 8 Tools and their uses UNIT 12: 56. Lumber CONSTRUCTION- 57. Lumber by-products MATERIALS 58. Fasteners CHAPTER 8,9,11 59. Scenery hardware Quiz 9 Materials, hardware, tool review UNIT 13: 60. Measuring, cutting joints CONSTRUCTION- 61. Plans METHODS 62. Flat construction CHAPTER 10-12 63. Covering flats 64. Stairways and steps 65. Steps and ramps Quiz 10 Parallels and platforms UNIT 14: 66. Paint: Parts and coat 1 PAINTING 67. Paint: costs 2 and 3 CHAPTER 13 UNIT 15: 68. Drops and curtains SPECIAL 69. Set pieces RIGGING Final 1 Final examination (open notes) CHAPTER 10-12
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Chapter: ______1______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Space and Performance
Skills Area(s): Cooperation, recognizing patterns, observation, listening
Orange High School 2009 Stagecraft/Design
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: recognize the general principles of Class discussion on essential questions: Simple drawings of stage configuration- What innovations and evolutions have the planning, preparation, and organization of the performance http://novaonline Orange High School space and the technical aspects of a led us to the elements and set up of the modern performance space? .nv.cc.va.us/eli/spd130et/stagepresent.htm theatrical presentation. Is there a relationship between space and performance? Tour Resources: hat are some of the staple technical NJ Theatre Alliance theatre elements? What works? What doesn’t? When? Radio City Music Hall Tours Why? How might the basic template(s) NJPAC Tours continue to be improved? Hands on experiment Newark Symphony Hall Tours Work Sheet Lincoln Center Tours- 212.875.5350
SUGGESTED ACTIVITIES • Illustrated timeline • Same show, Different space • Why is it called “upstage”? • Where would you do it? • Patterns in Existing Designs • Field Trips to see Portable Platform Reconfiguration
INTERDISIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS NJCCCS-1.1.A.1. Formulate responses to fundamental elements within an art form, based on observation, using the domain- specific terminology of that art form.
NJCCCS 1.1.A.2. Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and ordinary using appropriate domain specific terminology.
NJCCCS 1.1.A.3. Determine how historical responses affect the evolution of various artistic styles, trends and movements in art forms from classicism to post’- modernism.
Chapter: ______2______Level: ____1______Series: _____1______
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Orange High School 2009 Stagecraft/Design Core curriculum: ______Stagecraft______Concept: Safety Procedures
Skills Area(s): Consumer, family and life skills
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: carry out safety procedures in an emergency situation, Class discussion Shop power lesson plan- and to understand the proper protocol to contact emergency personnel. What are the emergency procedures if an incident should occur? http://www.hstech.org/teachers/l What safety procedures are specific to essons/wallpower.htm which emergency situations? How are they carried out? Gillette, J. Michael. “Safety Tip: Who should I contact if an incident Electrical Hazards,” Designing should occur? Where will I find their with light. US: McGraw-Hill contact information? Publishing, 2007. Page 32. Worksheet Quiz VERTICAL SUGGESTED ACTIVITIES ARTICULATION • Provide and Monitor use of all applicable personal Protective equipment at all times. • Scavenger Hunt for First Aid Supplies Fire Exits, Power Shut-offs, or other applicable safety resources. • Students design and create posters and signage for specific locations in shop, theater, and classroom describing safety precautions and procedures applicable to the location. Post appropriately. • Have students create a file box with emergency procedures, incident reports, emergency agency contact list, and emergency contacts for all students working in shop.
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS NJCCCS-9.2.F.3. Analyze the occurrence of workplace hazards. NJCCCS-9.2.F.5. Implement safety procedures in the classroom and workplace.
Chapter: ______3______Level: ____1______Series: _____1______
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Core curriculum: ______Stagecraft______Concept: Safety and Emergency Procedures
Skills Area(s): family and life skills
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: identify safety hazards in a given theatrical Class discussion Occupational Safety and Health setting, and to create a list of rules and regulations used for safety measures What are possible safety hazards in a administration given setting? in stagecraft. www.osha.gov
Who might these hazards affect? VERTICAL SUGGESTED ACTIVITIES What safety prevention measures are ARTICULATION already in place? As a class, create a list of general rules for safe behavior and determine • repercussions for breaking them. What are the possible outcomes if
safety procedures are not followed? Post and drill emergency procedures- firs aid, electrical, chemical, etc. •
What can I do to increase my safety? As a class, research emergency procedures guidelines for various • institutions, then create a one specific to the needs of your class. Work sheet
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS NJCCCS-9.2.F.1. Engage in informed discussion about rules and laws designed to promote safety and health. NJCCCS-9.2.D.3. Discuss consequences and sanctions when on-the-job rules and laws are not followed. NJCCCS-2.1.e.1 Evaluate work and leisure situations for perceived and actual risk intentional and unintentional injuries. NJCCCS-2.1.E.2. Develop personal protection strategies to reduce and incidence of injuries and evaluate their effectiveness.
Chapter: ______4______Level: ____1______Series: _____1______
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Orange High School 2009 Stagecraft/Design Core curriculum: ______Stagecraft______Concept: Fundraising and Budget
Skills Area(s): Business and Management, Personal finance
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: apply the different strategies used to anticipate a technical Class discussion (Essential Questions) BMI Theatrical Supply- theater budget and to research how theatrical production materials are acquired by using How does one run an artistic endeavor as different fundraising techniques. a business? bmisupply.com and How does it differ from a more [email protected] traditional business? How is it the same? Main stage Theatrical Supply- Does this add to, or take away from the artistic side of things? www.MTS.com How do you plan for and anticipate budgeting and management concerns for the theater? VERTICAL SUGGESTED ACTIVITIES Where is the theatrical production ARTICULATION materials acquired? • Production staff Work sheet • Fund-raising and Budget Test • Production Meetings- Collaboration • Catalog scavenger hunt
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS NJCCCS-9.2.B.2. Apply project planning and management skills in academic and/or occupational settings. NJCCCS- 9.2.E.4. Prepare and use skills for budget preparation, making predictions about income and expenditures, income tax preparation, and adjusting spending or expectations based on analysis. NJCCCS-9.2.E.5. Use comparative shopping techniques for the acquisitions of goods and services.
Chapter: ______5______Level: ____1______Series: _____1______
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Orange High School 2009 Stagecraft/Design Core curriculum: ______Stagecraft______Concept: Career and Technical
Skills Area(s): Work Skills, Collaboration
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: develop career awareness and develop Class discussion (Essential International Alliance of Theatrical planning employment skills, and gain foundational knowledge Questions) Stage Employees necessary for success in the work place. How can a group of individual artists and technicians work as a team to create work larger than them? VERTICAL ARTICULATION SUGGESTED ACTIVITIES How might these groups most effectively and professionally • The Pitch communicate? • Implement Existing Lighting Plot What are the personal standers for • Cuing tasks learned in class? • Run Spot Hands on experiment • Assemble simple sound set-up Worksheet • Fund-raising and Budgeting • Traffic Flow Sketches • Casting • Working with actor’s • Production meetings- collaboration
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS NJCCCS-9.1. B.5. Demonstrate teamwork and leaderships skills that include student participation in real world applications of career and technical education skills. NJCCCS-9.1.B.2. Communicate and comprehend written and verbal thoughts, ideas, directions, and information relative to educational and occupational settings.
Chapter: ______6______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Arts Management Page | 21
Orange High School 2009 Stagecraft/Design
Skills Area(s): discipline, employability, foundational knowledge
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: design coherent arts management, promotional and Illustration or Graphic Programs and Playbills business plans utilized in the front of house procedures for formal and Class discussion(Essential Questions) Library of congress- What is the non-performance jobs informal theater. Select and utilize appropriate technology in to design involved in theater? How are they htttp://memory.loc.gov/ammem/vs implementation of appropriate projects relevant to management performed? html/vsprgbl.htm occupations. How do you collect the initial funds to mount a production? Where does it Playbill Magazine Official Site come from? Once obtained how it is www.playbill.com managed? Theater Poster Resources How is the front of the house set up and who mages it? http://www.poster.com.pl/theater-posterhtm How can the audience experience be http://www.ntposters.org.uk/ maximized by the venue and its staff? How do you sell a show and get an Justin’s Theater Links audience at the door? http://www.theatrelinks.com/ Quiz VERTICAL ARTICULATION SUGGESTED ACTIVITIES 1. Fund-raising and budget 2. Producing lesson plan 3. Traffic flow sketches 4. Brainstorm Front of house 5. Theater posters INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS NJCCCS-9.1.B.3. Select and utilize appropriate technology in the design and implementation of teacher- approved projects relevant to occupations and/or higher educational settings.
Chapter: ______7______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Careers in the Arts Page | 22
Orange High School 2009 Stagecraft/Design
Skills Area(s): job search, computer technology and foundational knowledge necessary for success in the workplace.
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: research possible career avenues available in the Class Discussion Colleges and University with arts and be evidence for how to achieve possible career goals. Explain how ( Essential Questions) technical theater majors- the roles of creators, performers, and others involved in the production are What are the possible career www.usnews.com/usnews/edu/colle similar to, and different from one another in various arts. avenues available in the arts? ge/majors/brief/major/500502brief. How do I get there? php Must I be an actor to work in the International Alliance of Theatrical arts? Stage Employees- Is there any group or legal support for artists and www.iatseintl.org.home.html technicians? How do you make money, get VERTICAL SUGGESTED ACTIVITIES insurance, save for retirement etc. ARTICULATION • Production staff while working in the arts?
• Production Meetings- Collaboration
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS NJCCCS-1.2.C.5. Outline a variety of pathways and the requisite training for careers in theater. NA-T.9.12.4 Achievement standard students compare the roles and interrelated responsibilities of the various personnel involved in theater, film, television ,and electronic and media productions.
Chapter: ______8______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Design Process and the Impact
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Skills Area(s): problem solving, engineering, technology, design and the environment
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: be introduced to the principles of design, identify Class room discussion Comprehensive info these principles in artwork and utilize these aspects in their personal artwork. (Essential Questions) http://www.controlbooth.com/foru When presented with a problem with ms/glossary/5576-counterweight- no apparent solution, where do you rigging.html start looking for one? The basics of stage lighting How might a given product be http://library.thinkquest.org/21722/ improved? LIGHTING.htmlRange Products Why do you think it was originally sound system interconnection- engineered that way? http:/www.rane.com/note110.html Why is it important to know not only how a system works, but why is it made to work that way/ VERTICAL SUGGESTED ACTIVITIES What is engineered obsolescence? ARTICULATION • Trial and Error task list Why is it employed? • Lighting equipment review Worksheet • Sound equipment review Quiz • Reduction of noise and EQ • Creative prop construction • Traffic flow sketches • Portable platform Re-configuration • Trouble-shot
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS 1. NJCCCS-8.2.B.1. Analyze a given technological product, system, or environment to understand how the engineering design process and design specification limitations influenced the final solution. 2. NJCCCS-8.2.B.2. Evaluate the function, value, and appearance of technological products, systems, and environments from the perspective of the user and the producer.
Chapter: ______8______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Design Process and the Impact Page | 24
Orange High School 2009 Stagecraft/Design
Skills Area(s): problem solving, engineering, technology, design and the environment
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: read, comprehend and follow information gained Discussion (Essential Questions) Theatre Backstage from A to Z, , from technical and instructional manuals. Develop methods and possible Why is important to not only know Trevor R. Griffiths, With solutions of a technical problem using hands on experience and the manuals how a system works but why it was Stagecraft, by Andrew as a guide to technical support. made to work that way? Construction, 2nd Edition, by J. How do you read the manual for the Michael Gillette (Mountain View, lighting board? California: Mayfield Publishing How do you read the manual for the Co., 1992 sound board? Where do you begin to look for a solution of an instrument that is not VERTICAL SUGGESTED ACTIVITIES working properly? ARTICULATION • Students read the manuals .Did the students complete the • Students become the design team activity? • Have each team present their research and preliminary designs Could the class describe the art elements and then describe the mood created?
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS Theatre: NJCCCS - 3.1.G.13. Read, comprehends, and be able to follow information gained from Understand the importance and interrelated nature of sets, lights, sound, and costumes in technical and instructional manuals. telling the drama's story. Envision the environment for a play that will set the mood for the NJCCCS-8.2.B.3. Develop methods for creating possible solutions, and modeling the performance testing solutions, and modifying proposed design in the solution of a technological problem using hands on activities. NJCCCS-8.2.B.5. Create a technological product, system, or environment using giving Language Arts: design specifications and constraints by applying design and engineering principles. Understand the importance of setting for a story. Make visual presentations NJCCCS- 5.4.C.1. Plan, develop, and implement a proposal to solve an authentic, technological problem.
Chapter: ______9______Level: ____1______Series: _____1______
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Orange High School 2009 Stagecraft/Design Core curriculum: ______Stagecraft______Concept: Computer and information literacy
Skills Area(s): Trouble shooting problem solving and logic
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: Use the computer applications to gather and organize Hands on experiment Rane production, Sound system information and to solve problems. Identify problems in diagnoses, and Class discussion Interconnection- (Essential Questions) http://www.rane.com/note110.htmMarv suggest solutions for non functioning technology systems. How can technical information aid in trouble uglio, Tony. (2001) Live Sound Basics. shooting malfunctioning systems- lighting, Miami, Fl: Warner Bros. Publications. sound, rigging? How can knowing the logic on which a ISBN# 549790024 system is based speed recovery. What do you look at first, Second? Third? VERTICAL SUGGESTED ACTIVITIES Why? How has technology increased and ARTICULATION • Reduction of noise and EQ Filters broadened access to art works, materials, and • Calculating Weight Diagrams techniques for the average person. • Trouble-shooting video How has technology increased our ability to create and maintain records of works? • Create graphic theater posters Worksheet • Effects and machines manual
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS NJCCCS-8.1.B.10. Identify, diagnose, and suggest solutions for non-functioning technology systems. NJCCCS-8.1.B.11. identifies a problem in a content area and formulates a strategy to solve a problem using brainstorming, flowcharting, and appropriate resources. NJCCCS-8.1.B.9. Create a manipulate information, independently and/or collaboratively, to solve problems and design and develop products. NJCCCS- 5.4.1. Now that scientific inquiry is driven by the desire to understand the natural world and seeks to answer questions that may or may not directly influence humans, while technology id driven by the need to meet humans needs and solve human problems. NJCCCS-3.2. A.5. Use the computer and word-processing software to compose, revise, edit, and publish a piece. NJCCCS-8.1.B.4. Use the appropriate language when communicating with diverse audiences using computer and information literacy. NJCCCS-3.2.A.4. Review and edit work for spelling, usage, clarity, and fluency.
Chapter: ______10______Level:____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Media and Computers
Page | 26
Orange High School 2009 Stagecraft/Design Skills Area(s): communicating ideas, problem solving, gathering technological information
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: use the computer and word processing software Class Room discussion Programs and Playbills to compose, revise, edit and publish a theatrical media design piece. (Essential Questions)\ Library of Congress How can you reach, consolidate, and organize all of the information Playbill Magazine official site involved in a live arts performance? Justin’s Theater links How can you, the, communicate the http://www.theaterlinks.com/ necessary information to the appropriate people effectively and VERTICAL SUGGESTED ACTIVITIES efficiently? ARTICULATION • Writing a monologue How can technology be used to make the technician and/or • Poster and Press Releases manager’s job easier? Advertising • How has computer and information • Program/Playbill technology changed the creation and • Billboard composition of works of arts? Hands on experiment
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS NJCCCS-8.1.A.1. Produce a multimedia project using text, graphics, moving images, and sound. NJCCCS-8.1.A.2. Produce and edit page layouts in different formats using desktop publishing and graphics software. NJCCCS-3.2B.10. Employ relevant graphics to support a central idea.
Chapter: ____11______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: World/ Historical/Cultural Effects on Arts
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Orange High School 2009 Stagecraft/Design Skills Area(s): making informed judgments and analysis
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: analyze how works of a given period reflect historical and Class discussion History: A history of light and social events and conditions. Students explain how scientific and technological advances How does the world at large affect the lighting: a timeline from have impacted set, lights and costume designs for theater. microcosm that is an individual work of ‘Let there be light!” to DMx512-A art? Brief Outline of the History of Stage How might the world influence large lighting.. moments within an art form? Hartnoll, Phyllis. (1998) The Theater- Why are so many modern works based a concise history. Singapore: Thames on times or works that have come and Hudson. ISBN#0500203121 before? How does that trend influence production design and innovation? What can we learn from viewing or VERTICAL SUGGESTED ACTIVITIES working on these “period” pieces? ARTICULATION • Locate patterns in existing designs Quiz • Research • Designs that Reflect the culture of the Play LP • Why is it called “upstage” • Aging scenery Hollywood-style
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS History NJCCCS-3.1.G.5. Analyze how works of as given period reflect historical World Cultures and social events and conditions. Theater
Chapter: ______12______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Arts’ Effects on World, History, and culture
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Orange High School 2009 Stagecraft/Design Skills Area(s): Historical connections, answer questions, evaluate works of art
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: evaluate the impact of the arts from various Classroom discussion Programs and playbills historical periods of theatrical works stylistically representing the times. ( Essential Questions) Library of Congress How are the arts and the larger world connected and reliant upon Playbill Magazine official site each other for inspiration, Hartnoll, Phyllis. (1998) The innovation, reflection, and overall Theater- a concise history. forward progress? Singapore: Thames and Hudson. What if any, influence have the ISBN#0500203121 arts had on the larger world? VERTICAL SUGGESTED ACTIVITIES What can artistic expressions tell ARTICULATION • Illustrated Time-Line-Campfire to the Greeks to Now us about the people or politics of • Art Foley’s a given time period in history? • Portfolio Resources What do they tell us about today? • Write a design article of the time period Worksheet • Write a theater criticism Quiz
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS NJCCCS-1.5.B.1. Know that scientific inquiry is driven by the desire to understand the natural world and seeks to answer questions that may or may not directly influence humans, while technology is driven by the need to meet human needs and solve human problems.
NJCCCS- 1.5.B.1. Evaluate the impact of innovations in the arts from various historical periods in works of dance, music, theater, and Visual art stylistically representative of the times.
Chapter: ______13______Level:____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Analyzing Design Choices
Page | 29
Orange High School 2009 Stagecraft/Design Skills Area(s): evaluation, defining terms
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: learn how to analyze a script and create a rough Classroom discussion sketch of the floor plan. Become skilled at how to adapt a rough floor plan to (Essential Questions) Library of Congress a scale floor plan rendering finally discover how to adapt a scale rendering to What is involved in the critique a three-dimensional model. process? Lincoln Center Arts What should you know about a Library Draw Perfect Floor plans work beforehand to assist with www.SmartDraw.com/ analysis, interpretation, and evaluation? What are the criteria- 2009utodesk.com/Architectural what are you looking at, or Drawing looking for? How can personal expression be VERTICAL quantified or evaluated? SUGGESTED ACTIVITIES ARTICULATION The scale rendering should be • working of the models graded on neatness, feasibility, two-dimensional rendering to a three-dimensional model • and use of the drafting tools. • floor plans • reviewing all the terms The model should be graded on • examine the rough drawings the presentation, neatness, and how closely it stayed with the scale drawing.
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS NJCCCS-1.4.A.3. Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. NJCCCS-3.1.G.11.Analyze how an author’s use of word creates tone and mood, and how choice of words advances the theme or purpose of the work.
Chapter: ______14______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Reflection and workshop
Page | 30
Orange High School 2009 Stagecraft/Design Skills Area(s): Describe and apply constructive responses to criticisms.
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: rationalize selections of text, interpretation, and Class room discussion www.hsc.csu.edu.au/drama/hsc/ visual and aural artistic choices. (Essential Questions) individual/scriptwriting_criteria How do you know if your work is successful? /exams.htt What are the goals set for a particular piece at conception? Did they change as the process moved forward? If so how? VERTICAL SUGGESTED ACTIVITIES Were the initial and/or amended goals ARTICULATION • Production Meetings- Collaboration met? • Director’s Book What other unintentional successes do you see in your work? Failures? • Where would you do it? What would you change if you were to • The Pitch take on this or similar piece in the • Do a Table Read future? What did you learn from working on a given piece? Hands on experiment INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS EFFECTIVE 6/04 NJCCCS-1.4.B.1 Develop criteria for evaluating art n specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. NJCCCs-1.4.B.2. Provide examples of how critique may affect the creation and/ or modification of an existing or new work of art. NJCCCS- 9.2.A.2.Decribe and apply constructive response to criticism. NJCCCS-3.3.B.3. Analyze, evaluate, and modify group processes. NJCCCsS-3.3.A.2 Support, modifies, or refutes a position in small or large- group discussions. NJCCCS- 3.3.A.3. Assume leadership roles in student-direct discussions, projects, and forums. NJCCCS- 3.3.A.4. Summarize and evaluate tentative conclusions and take the initiative in moving discussions to the next stage.
Chapter: ______15______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Tools and Equipment ID
Page | 31
Orange High School 2009 Stagecraft/Design
Skills Area(s): Recognized different classifications and use of hand tools
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: recognize, categorize by name, and describe the Discussion Group Gillettte, J. Michae. (2007). proper uses(s) of equipment and tools commonly used in the professional (Essential Questions) What are the tools, components, Theatrical Design and Production. technical theater. equipment, and materials utilized most New York: McGraw- Hill often in the technical theater? To what Companies. ISBN# 0073514195 use can each be put? Chapter Which tools, equipment, and materials appear to be specific to one sub- www.costumes.org/ discipline, and which are universal? What might be considered the most basic elements of technician’s arsenal-m VERTICAL SUGGESTED ACTIVITIES those with which many tasks can be ARTICULATION • Shop familiarity Scavenger Hunt accomplished? • Lighting equipment review Are there minimum requirements for successful production? If so, what are • Sound equipment review they? • Rigging intro Material/ Overview Hands on experiment Illustrations or Graphic INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS NJCCCS: 1.1.A Formulate Reponses to fundamental elements within an art form, based on observation using the domain –specific terminology of the art form. NJCCCS: 9.2, E.4. Prepare and use skills preparation making predictions and expenditures and adjusting based o9n analyses.
Chapter: ______16______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Storage, Maintenance and repair
Page | 32
Orange High School 2009 Stagecraft/Design
Skills Area(s): to store equipment and maintain tools properly
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: depict the basic procedures ‘for taking care of hand tools, Class discussions (Essential Questions) General Industry Source- and to clarify how to maintain power tools properly. What principles govern the maintenance, www.technicaltheater.com repair, and proper storage of equipment International Alliance of during and between uses? Theatrical Stage employees- Whose responsibility is it o do so? www.iaste-intl.org.home.html What are the most effective tools and techniques for the core of each element VERTICAL SUGGESTED ACTIVITIES employed in the practice of technical ARTICULATION theater? • Shop familiarity Scavenger Hunt How, Where, how often should these • Lighting unit intro material- Lecture and discussion with samples tasks be done for maximum benefit? • Sound unit intro Material- Lecture and discussion with samples • Rigging intro material/ Overview What should be done • \Rigging Services Worksheet
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS NJCCCS: 3.3 A.4 Summarize and evaluate tentative conclusions and take the imitative in moving discussions to the next step. NJCCCS. 1.3 C. Explain the basic physical and chemical properties interpret I components of technical theater such as light, color, pigment scenic constructing, paint and tools..
Chapter: ______17______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Practical Physics
Page | 33
Orange High School 2009 Stagecraft/Design
Skills Area(s): laws of physics
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: illustrate basic load in safety practices. .Class room discussion www.wikipedia.com ( Essential Questions) How do the laws of physics affect the design and implementation of technical theater elements? What is mechanical advantage, and how can it be used to the advantage of the technician to accomplish otherwise impossible tasks? VERTICAL SUGGESTED ACTIVITIES How and why does a counterweight fly ARTICULATION • Lighting unit intro material- Lecture and discussion with Samples system work? • Sound unit into material- Lecture and discussion with samples How do you predict and control the behavior of elements of the various • Rigging introductory material/ overview technical systems involved in live • Calculating Weight performance, sound, light, • Sound waves LP communication, rigging? • Acoustics, audio basics, cabling LP Worksheets • Mechanical Advantage LP . Hands on experiment
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS NJCCCS-5.3.C.1 Apply mathematical models that describe physical phenomena to predict real world events. NJCCCS-5.7.A.2. Explain that whenever one object exerts a force on another, an equal and opposite force is exerted in the first object. NJCCCS-5.7.A.1. Use quantitative data to show that when more than one force acts on an object at a time, the forces can reinforce or cancel each other producing a net force that will change the speed and/ or direction of the object.
Chapter: ______18______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Electricity (Heat, Lighting, Sound)
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Orange High School 2009 Stagecraft/Design
Skills Area(s): Cognition, Relation to Physics
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: show evidence that moving electric Class discussion(Essential Physics of light and color charges can produce magnetic forces and moving magnets can Questions) www.micro.magnet.fsu.edu/peimer/lightandcolor/ produce electric forces. Depict what is the nature of light and sound. What are the basic physical and chemical elements and How to use stage lighting to enhance the color in principles governing energy scenery, costumes and make up and electricity? www,groups.nothwestern.edu/lovers/docs/lights28.pdf How can they be predicted the basic of stage o8ighting and controlled? http://librarythinkquest.org/21722/Lightinghtml What is the nature of light? What is the nature of sound? VERTICAL ARTICULATION SUGGESTED ACTIVITIES By what chemical and • Lighting unit intro material- Lecture and discussion with Samples physical laws is each • Sound unit into material- Lecture and discussion with samples governed • Lighting equipment review How is energy utilized and • Sound equipment review controlled to create light and • Sound waves LP sound, where, when, and • Acoustics, audio basics, cabling LP’s how is it desired? • Lighting Intro lesson plan Worksheet • Acoustics LP’s Quiz
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS Physical Science NJCCCS-5.3.C.1 Apply mathematical models that describe physical phenomena to predict real world The wave lengths and the amplitude of the wavelengths and the frequency of the events. wave lengths at a certain point and time. NJCCCS-5.7.A.2. Explain that whenever one object exerts a force on another, an equal and opposite The light spectrum. force is exerted in the first object. NJCCCS-5.7.A.1. Use quantitative data to show that when more than one force acts on an object at a time, the forces can reinforce or cancel each other producing a net force that will change the speed and/ or direction of the object.
Chapter: ______18______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Electricity (Heat, Lighting, Sound) 2 Page | 35
Orange High School 2009 Stagecraft/Design
Skills Area(s): observation. creative writing, career connections
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: Define and identify the parts of the atom. Students will be assessed by: The Basics of stage lighting- • Define the terms electron, proton, neutron, electron cloud, Group Discussion (Essential Questions) http://library.thinkquest.org/21722/LIG What are the basic chemical and HTING.html Nucleus, isotope, metals, nonmetals, and metalloids. physical elements and principals Marvuglio, Tony (2001) Live Sound • Describe the organization of the Modern Periodic Table. governing energy and electricity? Basics. Miami, Fl: Marner Bros, • Differentiate between groups and periods on the Periodic Table. How can they be predicted and Publications. ISBN# 5497900241 • Interpret information provided on the Periodic Table pertaining controlled? To atomic mass and atomic number. What is the nature of sound? Mascal Tony 1994 sound check Hal By which chemical and physical laws Leonard Publishing ISBN#073559 are each governed?
Quiz on material taught in lecture on above questions. Project on sound and light displays VERTICAL ARTICULATION SUGGESTED ACTIVITIES • Lighting Intro lesson plan • Acoustic LP’s • Color wheel INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS EFFECTIVE 6/04 Physical Science (Content Standard B) NJCCCS-5.7.A.7. Demonstrate that moving electric charges can be produce magnetic forces and moving Properties and Changes of Properties of Matter magnets can produce electric forces. NJCCCS-5.7.A.8. Recognize that magnetic and electrical forces are different aspects of a single The Physical Setting: 4D The Structure electromagnetic force. of Matter NJCCCS-5.7.B.2. Explain that while energy can be transformed from one form to another, the total ... energy of a closed system is constant. NJCCCS-5.7.B.3. Recognize that whenever mechanical energy is transformed, some heat is dissipated and is therefore unavailable for use. NJCCCS-5.6.A.2. Know that the number of protons in the nucleus defines the element. NJCCCS-5.6.A.8. Know that different levels of energy are associated with different arrangements of electrons. NJCCCS-5.6.A.3. Know that an atom’s electron arrangement, particularly the outermost electrons,
Chapter: ______18______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Electricity (Heat, Lighting, Sound) 3
Page | 36
Orange High School 2009 Stagecraft/Design
Skills Area(s): Evaluate the strengths and weaknesses of claims, argument or data
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: generate scientific questions about the world based on Students will be assessed by: Mascal, Toney (1994) Sound Group Discussion Check Hal Leonard Publishing observation. Design and conduct simple investigations of sound. (Essential Questions) How does atomic structure and theory affect ISBN#079353559X the movement and control of electricity in the Gillette,J. Michael “Safety Tip: form of sound? The teams’ Information Sheet packets are Electrical Hazards.” Designing evaluated for use of critical thinking skills. with light.US: McGraw-Hill Each team is evaluated as to the publishing, 2007 page 32 completeness of their observations of the evidence of vibrations and descriptions of the sounds heard from their sound-makers. VERTICAL Students finish this unit by continuing on SUGGESTED ACTIVITIES with Science Court Trials 2 and 3. ARTICULATION • Students draw a picture of the waves they observe in the slinky activity. They label * At the end of the unit, students have a the parts of the wave: the compressions (compressed parts) and rarefactions formal assessment to evaluate their full (stretched out parts). Then students draw a sound wave, labeling the crest, trough, understanding of sound. amplitude, and wavelength.
• Within the next few days, students learn how the speed of sound is determined by the temperature, elasticity, and density of the medium through which the sound travels. Also, students learn about the properties of sound, including frequency and pitch, amplitude and intensity/loudness, and the Doppler Effect. Students finish by learning about noise and music. Some play their musical instruments if possible.
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS Physical Science . NJCCCS-5.6.A.1. Know that atoms are made of a positive nucleus surrounded All students will ask questions that help them learn about the world; design and conduct by negative electrons and that the nucleus, a tiny fraction of the volume of an investigations using appropriate methodology and technology; learn from books and other atom, is composed of protons and neutrons, each almost 2,000 times more sources of information; communicate their findings using appropriate technology; and massive then an electron. reconstruct previously learned knowledge. NJCCCS-5.6.A.7. Recognize that the properties of matter are related to the structure and arrangement of their molecules and atoms, such as in metallic and nonmetallic crystals and carbon compounds.
Chapter: ______19______Level: ____1______Series: _____1______
Page | 37
Orange High School 2009 Stagecraft/Design Core curriculum: ______Stagecraft______Concept: Tech Theoretical- General
Skills Area(s): Creative writing, speech and dramatics
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: present the nature and importance of the Class discussion The Costumer’s Manifesto- 'environment,' (setting, lights, sound, costumes and props) for a play or a story. (Essential Questions) www.costumes.org/ To help students visualize environments Could the class describe the art General Info- www.sewing.org elements and then describe the mood http://www.strictlyfx.com/index. created? html Could the student artists explain Arts lynx International Arts mood and locale they wanted to Resources (Theatre Design suggest; why they chose the colors, Resources) shapes, lines, textures, images and www.howstuffworks.com objects; and what they symbolized? www.Technicaltheatre.co Venn Diagram: Succeeding Through Team Effort - There's a Job for VERTICAL SUGGESTED ACTIVITIES Everyone in the Arts ARTICULATION • Preparation and creation of the environment box or collage, of the collages or boxes. • Two sessions may be needed so as not to tax student attention span. • Read the Introduction to Environment with the class. Discuss by having the children give examples of environments from plays, videos or films they have seen.
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS Theatre: Understand the importance and interrelated nature of sets, lights, sound, NJCCCS- 1.3. c. 4. Explain the basic physical and chemical properties inherent costumes in telling the drama's story Envision the environment for a play that will in components of technical theatre such as light, color, pigment, scenic set the mood for the performance construction, costumes, electricity, paint, and makeup. Language Arts: Understand the importance of setting for a story Make visual presentations
Chapter: ______20______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Discussing Tech- 1 Page | 38
Orange High School 2009 Stagecraft/Design
Skills Area(s): Compare and contrast
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: explain how scientific advances, technology, and Classroom discussion Arts lynx International Arts media have impacted set design and implementation for theater. (Essential Questions} Resources (Theatre Design Resources)- How do technical elements www.artslynx.org/theatre/design enhance or detract from a NYC Arts Education- production? http://schools.nyc.gov/offices/teachl In what ways are the technical earn/arts/resourcestheatre.html elements the least noticed or the Educational Theater Association www.edta.org/professional- most powerful force in creating a resources/links.aspx cohesive audience experience? Arts Alive Design and Production Is every design a completely new entity or simply a reorganization of things seen before? VERTICAL SUGGESTED ACTIVITIES What is some stock elements ARTICULATION employed over and over in • Fieldtrips • Space Features Test/ Quiz theatrical tech? Since when? • The Steps Project on painting scenery and Locate patterns in existing designs • construction. • Design LP’s • Research and present current and possible future innovations in technical theatre. • Discuss what you would create to add to the designer’s arsenal.
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS Art NJCCCS- 1.3. C. 3. Interpret a script to develop a theatrical production Innovative applications of the elements of art and design concept. . NJCCCS- 1.3. D. 1. Compare and contrast innovative applications of the elements of art and principles of design. NJCCCS- 3.5. C. 3. Recognize that creators of media and performances use a number of forms, techniques, and technologies to convey their messages.
Chapter: ______20______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Discussing Tech- 2 Page | 39
Orange High School 2009 Stagecraft/Design
Skills Area(s): persuasive speech, listening, focusing,
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: read and analyze a play script for required lighting, Group Discussion Educational Theatre design the lighting for a play and produce all the documentation necessary to communicate ( Essential Questions) Association- and implement the design, which includes: · Light plot, What are some of the newest www.edta.org/professional_res · Cue sheet, technical innovations for the ources/links.aspx · Cued script performing arts? Arts Alive: Design and Where is technical theatre Production- technology headed in the http://www.artsalie.ca/en/eth/de future? sign/lighting.html Post Assessment Grading Rubric VERTICAL SUGGESTED ACTIVITIES ARTICULATION • reading the script, • investigating the stage space, • determining the requirements of the play as outlined in the • script, • meeting the production concept as outlined by the • director, • budgeting, • Assessing available resources such as labor, equipment or personnel.
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS Technology Connections: NJCCCS- 3.4. A. 1. Explore and reflect on ideas while hearing and focusing · Students can use computer-assisted lighting design software to create light plots. attentively · Students can use a computer-based spreadsheet to create cue sheets. .NJCCCS- 3.4. A. 3. Demonstrate appropriate listener response to ideas and a · Students can use computer searches to identify standard theatrical format for lighting design persuasive speech, oral interpretation of a literary selection, or scientific or . · Mathematics: Have students calculate the diameter of a pool of light based on the beam educational presentation.\ Angle, beam spread and beam pattern for a variety of theatrical lighting instruments. · Mathematics and Science: Have students calculate the number of foot-candles or . NJCCCS- 3.4. B. 1. Listen to summarize, make judgments, and evaluate. lumens striking an object on stage based on distance and type of theatrical lighting NJCCCS- 3.1. G. 1. Identify, describe, evaluate, and synthesis the separate Fixture. ideas in informational texts.
Chapter: ______21______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Business and Management- Practical Page | 40
Orange High School 2009 Stagecraft/Design
Skills Area(s): research, career connections, budget and fundraising
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: create and reliably implement the various non Class discussion: Programs and Playbills performing jobs necessary to successfully run a production from conception (Essential Questions) Library of Congress to final curtain. What are the non-artistic elements Playbill Magazine and official site of putting up a production? How Gillette, J. Michael (2007) are they performed? By whom? Theatrical Design and Production. New York: McGraw- Hill Who pays for the performance Companies. ISBN# 0073514195- up-front? Who makes/loses Chapter 1 money in the end? What is the business of show business? How is it run? By VERTICAL SUGGESTED ACTIVITIES whom? ARTICULATION • Production Staff What is a producer? What do they • Choosing a Script do? • Fund-raising and Budget Why are there so many types of Traffic Flow and Sketches • “producer” titles? What do they • Brainstorm Front of House all do? • Program/Playbill • Theatre Poster
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS Business NJCCCS:-3.5.C.3. Recognize that creators of media and performance use a Elements of a business plan number of forms and techniques, and technologies to convey their messages. What is your business idea? In what way does it fulfill the criterion of uniqueness? Who are your target customers? What is the value for those customers? What market volume and growth rates do you forecast? What competitive environment do you face?
Chapter: ______22______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Directing and Rehearsal Process Page | 41
Orange High School 2009 Stagecraft/Design
Skills Area(s): creation, performance, and presentation of theatre
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: reveal how directors express their visions through Class room discussion From ify: Chicago by Greg Pack- the work of others. (Essential Questions) http://www.ifvchicago.com/process/ prod_directing_a01.shtml Where does the director fit into the hierarchy of the theatre? How .Indietalk.com- does that change in different http://www.indietalk.com/archive/in productions? dex.php/t-8820.html What does the director actually Clurman, Harold. (1997) On do? How does that change from Directing. US: Simon and Schuster. one medium to the next? ISBN# 0684826224 What director would I make? What would be my style? VERTICAL SUGGESTED ACTIVITIES How do you work with actors? ARTICULATION What else do you get to do? • Director’s Concept • Casting • Working with Actors • Production Meetings- Collaboration • Choosing a Script • Reading (Analyzing) A Script • Research • Creating Artistic Shorthand
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS EFFECTIVE 6/04 NJCCCS- 1.2. C. 2. Interpret a script by creating a production concept with informed, supported, and sustained directorial choices. NJCCCS- 1.2. C. 4. Plan and rehearse improvised and scripted scenes. NJCCCS- 3.3. D. 3. Demonstrate effective delivery strategies (e.g., eye contact, body language, volume, intonation, articulation) when speaking.
Chapter: ______23______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Work Shopping a Script-in- Progress Page | 42
Orange High School 2009 Stagecraft/Design
Skills Area(s): eye contact, body language, volume intonation and articulate when speaking
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: conduct auditions, cast actors, direct scenes, and Students will be assessed by: www.hsc.csu.edu.au/drama/hs conduct production meetings to achieve fabrication goals. Class discussion c/individual/scriptwriting/scri ( Essential Questions) ptwriting_criteria/exams.htm As a writer, how do you know “How to prepare your Stage what’s working before your script Play for the Theatre Market” is actually performed? Playwright’s Foundation. The What are some ways to find out Play Development Process without risking the cost of a full VERTICAL SUGGESTED ACTIVITIES scale production? ARTICULATION • Casting Submission of Scripts and report • Working with Actors and minutes from the production • Production Meetings- Collaboration meeting. • Do a Table Read • Submit Scripts to • Young Playwright’s Festivals
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS EFFECTIVE 6/04 NJCCCS- 3.2. A. 3. Analyze and revise writing to improve style, focus and organization, coherence, clarity of thought, sophisticated word choice and sentence variety, and subtlety of meaning. NJCCCS- 3.2. B. 11. Use the responses of others to review content, organization, and usage of publication.
Chapter: ______24______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Scriptwriting and Production Lit-1 Page | 43
Orange High School 2009 Stagecraft/Design
Skills Area(s): playwriting, storytelling
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: rule out extraneous details, repetitious ideas, and Classroom discussion 1.The Generic radio Workshop: inconsistencies to improve writing of plays. ( Essential questions) Vintage Radio Script Library- How do you tell a story onstage or http://www.genericradio.com/ onscreen? 2.Simply Scripts- What’s the difference between “telling” http://www.simplyscripts.com/radio.ht an audience and “showing” them? ml Which is more effective? 3.The Goon Show- How can you be sure the audience gets http://www.hexmaster.com/goonscript the intended message without sacrificing s/ the entertainment value of the story? What are some of the conventions and innovations of effective scriptwriting? VERTICAL SUGGESTED ACTIVITIES What are some ways of structuring a ARTICULATION • Basic Playwriting script? • Playwriting for Younger Students (applicable to simplify concepts) What is shown? Implied? • Writing a Monologue • Radio Show • Poster and Press- Lesson Plan • Advertising- Lesson Plans • Program/ Playbill
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS NJCCCS- 3.2. B. 8. Foresee readers’ needs and develop interest through strategies such as using precise language, specific details, definitions, descriptions, examples, anecdotes, analogies, and humor as well as anticipating and countering concerns and arguments and advancing a position. NJCCCS- 3.2. C. 2. Demonstrate a well- developed knowledge of English syntax to express ideas in a lively and effective personal style. NJCCCS- 3.2. C. 5. Exclude extraneous details, repetitious ideas, and inconsistencies to improve writing.
Chapter: ______24______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Scriptwriting and Production Lit-2
Skills Area(s): playwriting, teamwork, collaboration Page | 44
Orange High School 2009 Stagecraft/Design
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: comprehend the difference between narrative Group Discussion 1.Programs and Playbills writing and dialogue• participate in and learn about a four-stage process of ( Essential Questions) Library of Congress- writing a play.• demonstrate an understanding of the concepts of beginning, Describe the difference between http://memory.loc.gov/amme middle, narrative writing and dramatic m/vshtml/vsprgbl.html writing with dialogue. 2.Playbill Magazine official What must the main character site- overcome to obtain his or her www.playbill.com greatest wish or need? 3. Trottier, David. (2005). The Name three elements of a play. Screenwriter’s Bible. Silman- Script written by students James. ISBN# 1879505843 VERTICAL SUGGESTED ACTIVITIES ARTICULATION A short folk tale glued onto a postcard (three copies) • Peanuts (one for each student) • A character-profile map (one for each student) • A sheet listing the four stages of playwriting (one for each student)
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS Language Arts NJCCCS- 3.2. D. 1. Employ the most effective writing formats and This is an opportunity to combine the communication work with writing. This strategies for the purpose and audience. draws an explicit connection for students, lets them work with creating characters NJCCCS- 3.2. D. 5. When writing, employ structures to support the (specific work with character development is ongoing in this class), and asks them reader, such as transition words, chronology, hierarchy or sequence and to demonstrate their understanding of both forms, such as heading and subtitles. Communication theory and character work. It also gives an opportunity for teamwork.
Chapter: ______25______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Cross-Disciplinary
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Orange High School 2009 Stagecraft/Design Skills Area(s): Discipline
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: recognize how the various branches within Class discussion Sunday New York Times Arts the arts overlap and inter-relate? How might you go about integrating and Leisure Section different arts into one work? NJ Theater Alliance Is this happening already? Where? By Articles on Interdisciplinary whom? arts from the Lincoln Center How are art and science connected? Arts Library On Line What about Mat, English, History, Foreign language, etc? VERTICAL SUGGESTED ACTIVITIES Why is it important for an artist to be ARTICULATION • Production Meetings- Collaboration educated in other disciplines, need to • Research be well read, etc? • Radio Show: Live Sound FX • Designs that Reflect the Culture of the Play LP • List skills/ knowledge used in stagecraft class, but introduced in other classes. • Lighting, Sound, and Rigging Unit Introductory Material
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS EFFECTIVE 6/04 Art NJCCCS: Discern the value of works of art, based on historical Students integrate several arts and or media in theater ,film, television, significance, craftsmanship, cultural context, and originality using or electronic, media productions appropriate domain technology. Science Students synthesize the creative and analytical principals and techniques of the sciences and humanities.
Chapter: ______26______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Storage, Maintenance, and Repair
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Orange High School 2009 Stagecraft/Design Skills Area(s): equipment maintained, repaired, and properly stored
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: apply proper techniques for inspection, care, Hands on experiment .Stage Rigging Services- repair and storage of all tools, materials, and equipment employed in Illustration and Graphic www.stageriggingservices.com/ technical theater. Class discussion RiggingGlossary.html ( Essential Questions) TS Rigging- How is equipment maintained, www.tsrigging.com/glossary.ht repaired, and properly stored ml during and between uses? Comprehensive Rigging Info- Whose responsibility is it to do http://www.controlbooth.com/fo so? rums/glossary/5576- What are the specific tasks counterweight-riggig.html involved in effectively caring for each different element employed VERTICAL in the technical theatre? SUGGESTED ACTIVITIES ARTICULATION How, where, how often do you • Shop Familiarity Scavenger Hunt perform these tasks? • Troubleshoot (If- Then) • Air Nailer LP
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS NJCCCS: -9.2.F.3.Annalyze the occurrence of workplace hazards. NJCCCS-9.3 Explain the appropriate use and precautions of equipments on the job and off site.
Chapter: ______27______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Use of tools, materials, and techniques- 1
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Orange High School 2009 Stagecraft/Design
Skills Area(s): proper tool usage, hand eye coordination
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: demonstrate mature, mechanically correct form Class discussion (Essential Questions) .BMI Theatrical Supply- How do you select and safely operate the and control when combining and modifying movement skills in applied most appropriate tool and/or piece of bmisupply.com and settings. equipment for a given task? [email protected] How do you choose, acquire, and apply the most appropriate materials for a given task? If the most appropriate tool, piece of Bentley’s Bedlam: Stagecraft equipment, or materials is unavailable how Guide to Resources you might improvise safely to solve problems and challenges, using what is at hand? VERTICAL SUGGESTED ACTIVITIES What are the basic skills, procedures, and ARTICULATION safety practices inherent in the use and • Shop Familiarity Scavenger Hunt operation of each tool? How are they • Trial and Error Task List performed? • Catalog Scavenger Hunt How can current personal practices and skills levels be improved? • Reduction of Noise and EQ Results of scavenger hunt • Lumber Sizes scavenger hunt • Materials List/requisition LP • Soldering Course On-line • Soldering LP
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS NJCCCS- 1.2. A. 1. Demonstrate technical proficiency and artistic application of anatomical and kinesthetic principles and performance. . NJCCCS- 2.5. A. 1. Demonstrate mature, mechanically correct form and control when combining and modifying movement skills in applied settings.. NJCCCS- 2.5.A.2. Use information from internal and external sources to detect, analyze, and correct errors in movement skills and patterns used in applied settings.
Chapter: ______27______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Use of tools, materials, and techniques- 2
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Orange High School 2009 Stagecraft/Design Skills Area(s): proper tool usage
OBJECTIVES ASSESSMENT RESOURCES
Students will be able to: follow safe procedures for lifting heavy objects. Group Discussion Brown, Marc. D.W. Rides Again. ( Essential Questions) Little, Brown, & Co., 1996.Dann, What are the characteristics of different Penny; Loewn, Nancy; and Steiner, raw materials? Rudolf. Bicycle Safety. Child’s What are some of the tricks of the World, 1996.Gibbons, Gail. The trade? Bicycle Book. Holiday House, used hand signals correctly put on 1999.Henkes, Kevin. Chester’s equipment correctly demonstrated an Way.Greenwillow Books, understanding of the safe equipment and 1988.Henkes, Kevin. Julius,The technical crew behavior they presented Baby of the World. Greenwillow created a clear presentation of a safe Books, 1990. bike behavior in comic strip format VERTICAL SUGGESTED ACTIVITIES ARTICULATION • Load battens and re-weight arbors. • Run fly rail and performance. • Stretch Cyclorama. • Assemble band-shell. • Set up band/ choral risers. • Run follow- spot. • Shoot with hand-held video/film camera
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS NJCCCS- 2.5. A. 3. Apply and analyze the use of momentum, force, and torque to enhance or change the performance of movement skills during physical activity. NJCCCS- 2.5. A. 4. Transfer specialized movement skills that use similar patterns from one movement activity to another.
Chapter: ______28______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Tech- Practical Application
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Orange High School 2009 Stagecraft/Design
Skills Area(s): Technical operations
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: collaborate in the design and production of a Class discussion www.howstuffworks.com theatrical work. How are the technical operations 1.The Basic of Stage Lighting 2.Rane Products: Sound System of a production actually Interconnection performed? 3.Stage Rigging Services How is safety concerns 4.TS Rigging integrated? 5.Comprehensive Rigging Info What is it like to work in different positions on a live production? Display proper types o knots and VERTICAL ARTICULATION SUGGESTED ACTIVITIES general technical tasks given to • Implementing Existing Lightning Plot • Cueing groups • Run Spot • Assemble Simple Sound Rig • Knots • Calculating Weight • Rigging Travelers • Creative Construction • General Tech Task • Hanging Lights LP
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS NJCCCS-1.2. C.3. Collaborate in the design and production of a theatrical work. NJCCCS- 1.2. A. 3. Collaborate in the design and production of a dance work.
Chapter: ______29______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: ______Set Painting
Skills Area(s): Reading, writing, computers Page | 50
Orange High School 2009 Stagecraft/Design
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: create individual projects by viewing Van Gogh, Class discussion http://www.strictlyfx.com/index.html Matisse, and Eric Carle examples. Each student completes a garden painting What resources are out there? Carter, Paul and George Chiang What is the most appropriate method or (III.). (1997). The Backstage using various techniques and medium while learning about artists, insects, technique to complete a given task? Handbook. US: Broadway Press. and flowers. Projects are mixed media incorporating different art techniques. How and why would you choose one ISBN# 091174729X Guide students in critiquing theirs and others artwork. over another? Fernald, Mary and E. Shenton. Has this been done before? If so, how? (2006) Historic costumes and How to By whom? Are there solutions make them. Dover Publications. applicable to your situation? ISBN# 0486449068 Where would you find ideas, suggestions, or instructions for techniques unknown to you?
How do you determine when it is worth spending part of your budget to get a VERTICAL SUGGESTED ACTIVITIES more experienced practitioner to assist ARTICULATION you? Enlarging Images: Gridding and projections • Critiquing final project Theatre Posters • When complete, display projects in • Line drawings cafeteria or hallway. • Perspective drawings • Set Panting
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS All projects can be integrated with Science, Reading, Writing, and Computer NJCCCS- 1.2. D. 2. Perform various methods and techniques used Skills. in the production of works of art.
Chapter: ______30______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Practical Design skills 1
Skills Area(s): understanding design Page | 51
Orange High School 2009 Stagecraft/Design
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: use geometric models to represent real world Class discussion (Essential Questions? .Simple drawings of stage situations and objects and to solve problems using models. How do you balance form and function configurations (artistic and practical, idealistic and reality)? How do you “see” the finish product before it Holden, Alys E., Ben Sammler is assembled? and Brown is law Hammler. How does one represent a three dimensional Structural Design for the piece in two dimension, on paper? Stage. US: 3Elsevier Science How is it possible to solve three dimensional and Technology Books. problems in two dimensional representations? How it the design concept articulated aurally 024080354X and visually, to the technicians implementing General Infowww.sewing.org it? VERTICAL SUGGESTED ACTIVITIES ARTICULATION • Skeletons • Form Follows Function: • Guggenheim Museum • Framing • Diagonal bracing • Platform Cut- List • Ground Plans LP • Line Drawings LP • Ground Plans • Set Elevations LP • Perspective Drawing LP
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS NJCCCS 4.2.A .1. Use geometric models to represent real-world situations and objects and to solve problems using those models (e.g. use the Pythagorean theorem to decide whether an object can fit through a doorway)
Chapter: ______30______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Practical Design skills 2
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Orange High School 2009 Stagecraft/Design Skills Area(s): proper measurements
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: add subtract multiply and divide whole numbers Class discussion http://www.instructorweb.com/ without a calculator to measure measurements used in the construction and Can you anticipate and predict solutions basicsskills/wsp/measurealLasp to practical challenges before those design of a theatrical set. specific stages are reached in real-time Online Math Worksheet production? How? Generator How do you determine appropriate http://themathworksheetsite.co degrees of precision for pieces to be m/read_tape.html built? What is considered? What measurements are needed for various applications, and how are they collected and/ or predicted Hands on experiment VERTICAL ARTICULATION SUGGESTED ACTIVITIES Illustration/ Graphic Scale Rule Graph Paper LP
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS EFFECTIVE 6/04 Math NJCCCS 4.2. A.3. Apply the properties of geometric shapes (parallel lines- transversal, alternative interior angles, corresponding angles; Triangles) Theater NJCCCS 4.2. E. 1. Use techniques of indirect measurements to represent and solve problems (similar triangles; Pythagorean theorem; right triangle trigonometry- sine, cosine, tangent.) NJCCCS 4.2. E. 2 Use a variety of strategies to determine perimeter of strategies to determine perimeter and area of plain figures and surface area and volume of 3d figures (approximation of area using grids of different sizes; estimation of area, perimeter, volume, and surface area. NJCCCS 4.2. D. 2. Choose appropriate tools and techniques to achieve the specified degree of precision and error needed in a situation (degree of accuracy of a given measurement tool)
Chapter: ______30______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Practical Design skills 3
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Orange High School 2009 Stagecraft/Design Skills Area(s): taking measurements, following directions, working in groups
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: determine, add, and subtract fraction of inches and feet. Ask students to complete data chart Follow directions and work cooperatively with their groups. and turn it in to the teacher. Reference Materials In groups, have students discussed Anglo-Saxon Weights and Measures questions and concerns. Math2.org (formerly Dave's Math As a whole group, share ideas and Tables) problems. How Many? A Dictionary of Units of Asses each Measurement Measurement(Rowlett) Masterpiece by checking for Metric System/International System of Units (SI) accurate measurement and correct Metric System and Unit Conversion addition. SI - The International System of Share ideas and estimates with their Units groups, and the class as a whole. Review components of VERTICAL measurement. SUGGESTED ACTIVITIES ARTICULATION • Cut List LP • Partial Inch Worksheets • Worksheet Generator • Shop Math LP
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS English Measuring system: student should already recognize units in the English system. If NJCCCS: 1.2.D.2 Perform various methods and techniques used in the you have ever measured anything with a ruler or traveled in a car then you have used the production of works of art. English system. NJCCCS: 9.1.B.2 Communicate and comprehend written and verbal thoughts The English system measures length by inches, feet, yards, and miles. and ideas directions and information relative to educational and occupational settings
Chapter: ______31______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Script Analysis, Research, and Design Concept- 1
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Orange High School 2009 Stagecraft/Design Skills Area(s): Understanding the script
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: understand how to color stage lighting to enhance Class discussion (Essential Questions) “How to color Stage Lighting to the color in scenery, costumes and makeup. What is this script really about? Enhance the Color In Scenery, How that might be reinforced visually, Costumes, and Make-Up” aurally? What are the givens specifically denoted www.groups.northwestern.edu/lo in the script-practical, historical, cultural, and visual? vers/dots/Lights28.pdf Who has denoted them? Are they set in stone? Artslynx International Arts What are the practical needs/ limitations Resources of this production- , budget, cast, director’s concept, available equipment, and laws/rules, etc.?
What has been affected in past productions of this or similar works? VERTICAL SUGGESTED ACTIVITIES How will topographical elements be ARTICULATION addressed? Researched? And • “Reading” (Analyzing) A script information • Script Analysis LP Worksheet • Lighting Analysis and design LP • Director’s Concept • Prop List • Design Concept LP • Designer for a Day LP
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS NJCCCS 1.2. C. 2. Interpret a script by creating a production concept with informed, supported, and sustained directorial choices.
Chapter: ______31______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Script Analysis, Research, and Design Concept- 2
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Orange High School 2009 Stagecraft/Design Skills Area(s): Writing, learning, enjoyment, persuasion, and the exchange and information
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: Use their critical thinking skills to develop a new Group Discussion (Essential Questions) Gillette, J. Michael. (2007) vocabulary for discussing and critiquing plays. What information is needed? Theatrical Design and Production. Where will it be located? New York Develop evaluative and analytic skills by applying this new terminology to a Once researched, what information is McGraw-Hill Companies. ISBN# scene in both classroom discussions and writing. valuable to this application? 0073514195 Participate as knowledgeable, reflective, creative, and critical persons in How do you separate it out? Portfolio Resources respectful dialogue with one another during class discussions and while What else, if anything must be known to http://www.dmoz.org/Arts/Performin working in cooperative groups effectively convey this piece to a g_Arts/Theatre/Stagecraft/Lighting_a modern audience? nd_Electrics/Designers/ Ask students to reflect on what they have learned from the lesson in their VERTICAL journals. They can do this freely or using SUGGESTED ACTIVITIES the following prompts: ARTICULATION • Research List at least one way you view films • First Person Narrative differently as a result of this lesson. Design Collage LP Have you enjoyed sharing your opinions • and ideas with your classmates? Why or • Costume Collage LP why not? How did creating your own film segment help you to understand movies better?
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS NJCCCS 3.1. H. 1. Select appropriate electronic media for research and evaluate the quality of the information received. NJCCCS 3.1. H. 3. Develop increased ability to critically select works to support a research topic.
Chapter: ______31______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Script Analysis, Research, and Design Concept- 3
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Orange High School 2009 Stagecraft/Design Skills Area(s): interpreting theme, recognize symbolism used in two dimensional art
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: team up with designers and actors to develop What is the production (as Braun & Shneider. (1975) . aesthetically unified costume concepts for formal ad informal theater opposed to this script) really Historic Costumes and Pictures. productions. going to be about? Dover Publication. ISBN# What does that sound like? Feel 048623150X like? Look like? Leventon, Melissa. What People How does one tie all of these Wore When? (2008) St. elements together? What is the Martin’s Press. 0312383215. through- line? VERTICAL SUGGESTED ACTIVITIES How would this be carried ARTICULATION • Set Design LP through the entire production? • Prop Design LP Are there times it should be • Costume Board w/6 Lesson Plans broken? Why? What does it look • Costume Design LP like? • Make-Up Design LP Would the production create its • Additional Design LP’s own short-hand?
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS NJCCCS-1.2. D. 1. Interpret themes using symbolism, allegory, or irony through the production of two or three dimensional art.
Chapter: ______32______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Aesthetic Skills
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Orange High School 2009 Stagecraft/Design Skills Area(s): Unlocking the underlying symbolism and themes of and dramatic works.
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: explore the traits of a character in detail. Class discussion (Essential Questions) Theatre Poster Resources Gallery Identify symbolism and themes in a play. Participate in active learning, Have the students discuss the characters in the http://www.footlightsgallery.com/ play in detail. Ask the students: What time Poster.com taking the responsibility for making meaning of text. appropriate clothing would have been worn http://www.poster.com.pl/theatre- by the characters? Are the characters outside, posters.htm inside, traveling, working, or resting? Is it National Theatre- UK cold or warm? Is the character an important http://www.ntposters.org.uk/ person? Would the character wear this costume for the duration of the play? Have the students respond with ideas. Take notes and work together to develop a list of costumes VERTICAL SUGGESTED ACTIVITIES for each character. ARTICULATION • Creating Artistic Shorthand • Director’s Concept • Designs that Reflect the Culture of the Play • Theatre Posters • “Reading” (Analyzing) a Script
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS NJCCCS- 1.1. B. 1. Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies. NJCCCS-9.2. A. 3. Apply the use of symbols, pictures, graphs, objects, and other visual information to a selected project in academic and/or occupational settings.
Chapter: ______33______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: History and Observation of Design
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Orange High School 2009 Stagecraft/Design Skills Area(s): _____Collaboration and team work in design______
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: be introduced to theatrical concepts by creating Class discussion ( Essential Questions) Costumes time and character appropriate costumes for their original theatrical What have designers done before? Braun & Shneider. (1975). What has been effective? Ineffective? Historic Costumes in Pictures. production. The Elements of Art and Principles of Design will be further Why? Dover Publications. ISBN# explored and reinforced through the prop construction process. Compile a list of basic elements that 048623150X should be considered when designing for Leventon, Melissa. What People the stage. Wore When? (2008). St. Martin’s Are there agreed-upon conceits that Press. 0312383215 make up an existing “vocabulary” or “shorthand” in theoretical design? If so, what are some of the elements and VERTICAL SUGGESTED ACTIVITIES how are they used to simplify the ARTICULATION Locate Patterns In Existing Designs communication of otherwise complex • design ides? • Research How have passed designers balanced • Illustrated Time-Line practical needs and aesthetic/artistic • Where did I see it before? considerations?
Worksheet
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS NJCCCS: 1.2.C.3.Collaborate in the design and production of theatrical work. NJCCS -1.2-A.3. Collaborate in the design and production of dance and theatrical works.
Chapter: ______34______Level: ____1______Series: _____1______
Core curriculum: ______Stagecraft______Concept: Technical Theater Terms
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Orange High School 2009 Stagecraft/Design Skills Area(s): __Vocabulary______
OBJECTIVES ASSESSMENT RESOURCES Students will be able to: distinguish the value of works of theater, based Students will be assessed by: Simple Drawings Of Stage on historical significance, craftsmanship, cultural context, and originality Class discussion Configurations- using the appropriate area specific terminology. What innovations and evolutions have http://novaonline.nv.cc.va.us/eli/sp led us to the modern performance space? d130ed/StagePresent.htm Is there a relationship between space and performance? NJPAC Tours What are some of the staple technical Newark Symphony Hall Tours theatre elements? Lincoln Center Tours What works? What doesn’t? When? Why? VERTICAL SUGGESTED ACTIVITIES How might the basic template(s) ARTICULATION • Illustrated timeline continue to be improved? Same show, Different space Worksheet • Quiz on vocabulary terms. • Why is it called “upstage”? • Where would you do it? • Patterns in Existing Designs • Field trips • Portable Platform Re- Configuration
INTERDISCIPLINARY CONNECTIONS NJ VISUAL ARTS STANDARDS NJCCCS-1.1. A. 1. Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. NJCCCS- 1.1. A. 2. Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. NJCCCS-1.1. A. 3. Determine how historical responses affect the evolution of various artistic styles, trends and movements in art forms from classicism to post- modernism.
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ACTIVITY PAGES
THE PERFORMANCE SPACE
Illustrated Time-line - Campfire to the Greeks to Now - May be done individually, in groups, or as a class. - Research the evolution of performance spaces, stock scenic elements, and production techniques. - Plot out major events and changes on a timeline. Include illustrations and captions. - Notate possible reasons for turning points/changes o Technological Advances o Artistic shifts o Cultural Shifts (economic, geographic) o Historical Events o Specific Artists or Works
Same Show, Different Space - Choose a show (drama, music, performance art, etc) - Read and analyze the script - Conjecture how the production would change if performed in different spaces - Create models, drawings, power point presentation, etc. illustrating differences - Research the types of spaces it has actually been performed in, and how successful the production(s) was. - Present finding to class and discuss.
Why is it called “upstage?” A History of Theatrical Vocabulary – adding context to language - Students research the origins of specific theatrical vocabulary terms and present findings
Other Resources - Study Stack: Theatre Vocabulary - http://www.studystack.com/menu-101657 - Justin’s Theater Links (terms) - http://www.theatrelinks.com/?page_id=149
Where would you do it? Matching space to script, discipline, production concept - Read a selection of short plays - Students select the type of space they believe would be most appropriate for each (arena, thrust, proscenium, black box, etc) o Simple drawings of configurations - http://novaonline.nv.cc.va.us/eli/spd130et/StagePresent.htm - Students create drawings, models, or prosaic descriptions to explain their choice - Students present projects, then discuss and justify choices with peers
Where did I see it? - Recall and critique 3-5 specific past theatre experiences briefly in writing - Consider the performance space - How might the experience have differed in a differently configured space? - Discuss
Field Trips - Visit various performance spaces in the area
Orange High School 2009 Stagecraft/Design - Include tour, if possible - Before going: As a class, create a list of specific items for discussion upon return from space - Newark: Symphony Hall, NJPAC, Essex County College, Rutgers-Newark Black Box, Prudential Center -
- Local: Dream catcher Rep, Luna Stage, The Bickford, Paper Mill Playhouse, The Union County Theatre Project, John Harms Center - New York: Radio City, Lincoln Center, Carnegie Hall, Broadway or Off-Broadway Theatres Tour Resources: NJ Theatre Alliance - http://www.njtheatrealliance.com/whatisplaying.php Lincoln Center Tours - 212.875.5350 Radio City Music Hall Tours – www.radiocity.com/tours/index.html NJPAC Tours - http://www.njpac.org/load_screen.asp?screen=tours Newark Symphony Hall Tours - www.newarksymphonyhall.org/about-contact.shtml Paper Mill Playhouse Tours -
Portable Platform Re-Configuration - identify the different stage configurations at: http://novaonline.nv.cc.va.us/eli/spd130et/StagePresent.htm - Use portable platforms and folding chairs to create the different configurations - If possible, have small groups present short scenes on each different configuration - Audience members should change viewing locations during each presentation - Discuss both audience and performer experiences in the different configurations - Are there conclusions you can draw as a class regarding different spaces, their use, and effectiveness?
Features Test/Quiz - Have students identify, by name and use, the features and terms discussed in class - i.e. proscenium, orchestra, pit, house, wings, US, DS, SL, SR, apron, fly, main drape, masking, tormentor/ leg, teaser/ border, sky curtain vs. cyclorama, fire curtain, trap, revolve, tracks, flat, platform, step unit, electrics, fly rail, control booth, spot op locations, etc.
THE DESIGN PROCESS
The Steps - Use the Gillette textbook to introduce the 7 seven steps of the Design Process (Chapter 2) o Commitment, Analysis, Research, Incubation, Selection, Implementation, Evaluation - Discuss by applying the steps to a mock-design process in class. Have students identify which activities correspond to which steps. - Begin applying the steps to an actual production (for class or school), stopping periodically to reflect on the effectiveness or ineffectiveness of this process.
Locate patterns in existing designs - Research and view a selection of photos, films, drawings, etc of existing production designs - Look for patterns of any sort within and between productions (elements, symbols) - Conjecture justifications for recurrences and discuss Portfolio Resources: o http://www.dmoz.org/Arts/Performing_Arts/Theatre/Stagecraft/Lighting_and_Electrics/Designers/ o http://www.aladin.wrlc.org/gsdl/collect/ftpp/ftpp.shtml o http://www.theatrelinks.com/?page_id=8
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Orange High School 2009 Stagecraft/Design “Reading” (Analyzing) a Script - In one sitting, read script once. Write down initial reactions. - In one short sentence – Beyond what is provided on the page, what do you want your contribution to this piece to say?
- Consider what your personal role is in this production (director, lighting design, set design, etc.) What elements are you responsible for? - Read again, keeping that in mind. Highlight all practical information that applies to your job o Conceptual: time-period, location, time of day, weather, etc o Practical: furniture, props, scenes, dance numbers, specific costume pieces, special effects, sound effects o Descriptions: characters often describe what is seen, heard, smelled, in dialogue - Is there a lighting or costume plot, scene/set/prop breakdown, elevation/ground plan provided? o How much detail is included in the stage directions? o Are the stage directions provided by the author or simply the stage manager for an earlier (often original) production? - Read a third time. On a separate sheet of paper, begin breaking down by scene, notating all pertinent information. o Remember clues may be in stage directions, dialogue references, song lyrics, etc., so pay attention to everything. o Include personal notes and observations for your impending design - Review your one short sentence of what you want your contribution to this piece to say. Has it changed? - Read this article: www.umass.edu/fac/livelyarts/assignments/The%20Essential%20Theatre.pdf - Start applying your concept to the given needs of the piece. - Write down, then explain and defend a preliminary production concept with your peers. May include collage, thumbnail sketches, etc. - Continue with Gillette’s steps to fill out your design. Simplified lesson plan version and starter questions - http://www.hstech.org/teachers/lessons/script.htm
Research - Once the script has been analyzed, the designer begins to research. There is no one way to do this – each production has unique needs, but to start… - Use your analysis notes to come up with questions and topics that might be helpful to you in the design process. o Time period of action (or of writing), location, season, unfamiliar words/phrases, special needs/effects/furniture, other productions, etc. - As research moves forward, collect pertinent information in one central location (a director/designer’s “book”) - Periodically review collected information to re-evaluate search direction. Focus on topics specifically denoted in script and that interest you as a designer. - Step back and organize – tables, graphs, Venn diagrams, collage, outline, sketches/doodles, chart, album - Look for patterns and themes that interest you and inform what you want your design to say. - What’s missing? This question will guide your continued research until you have all you need.
1st Person Narrative - After having read through the script, list the various locations notated - Using the given information, write a 1st person narrative as if you were walking through the locations needed. o What do you see? Hear? Smell? Feel? o What colors do you see? o Describe the color and quality of the light. o Is it a realistic atmosphere? Theatrical? Surreal? Page | 63
Orange High School 2009 Stagecraft/Design
The Pitch - Once students have come up with a design concept, they must present it in a way that others can understand - Each design will have unique needs for adequate expression - Drawings, Collage, Model - Students should experiment with how best to express their design - Once a medium has been chosen, models can be built, drawings can be done, collages can be constructed, etc o Models – best for three-dimensional pieces and/or more conceptual pieces (materials will vary greatly, based on design needs) . Clay or paper Mache is fine for expressing the idea, but realistic framing may be necessary to express feasibility . Foam core is great for two-dimensional flats and simple platforms, but has limitations in 3-D . Simple cardboard can be effective, if painted well . Materials should ultimately reflect full-size materials in some way o Drawings – work well for more traditional sets o Collages – great for initial presentations of concept, sometimes difficult for producers to “get” - Students should prepare a brief presentation to accompany their piece o Remember, they are, in essence, selling their idea - Presentations should be made to the group. May be done as part of the mock-production meeting process
Creating Artistic Shorthand - Once a basic concept has been settled on, begin to consider recurring elements o Symbols, colors, set pieces, props, locations, costumes, musical themes, sound effects - Are there elements in the design that can be purposefully repeated to invoke subliminal reactions from the audience? - Do characters, locations, situations have themes? (visual, aural, musical, etc) - Can these themes be elaborated to enhance the design and solidify the overall cohesiveness of the production? Resources: Opera, Hitchcock films
Lighting Design Lesson Plan - https://dnet01.ode.state.oh.us/ims.itemdetails/lessondetail.aspx?id=0907f84c80532014
Creating Stage Designs that Reflect the Culture of the Play Lesson Plan - http://artswork.asu.edu/arts/teachers/lesson/drama/drama8.htm
Design Concept Lesson Plan - www.geocities.com/Shalyndria13/enp.htm
Designer for a Day – The Winter’s Tale - http://www.milwaukeeshakespeare.com/education/lessonPlans/TheWintersTaleLesson.doc
Costume Collage (easily applied to other design roles) - www.geocities.com/Shalyndria13/costume.htm
Ground plans - http://www.hstech.org/teachers/lessons/gp.htm
Line Drawings - http://www.hstech.org/teachers/lessons/drawwireframe.htm Page | 64
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Simple Set Design Lesson Plan - http://tedb.byu.edu/Lesson/show?id=302
Modifying Existing Design Lesson Plan - http://tedb.byu.edu/Lesson/show?id=308
Set, Light, Prop, Costume, Make-up Design lesson plans - http://tedb.byu.edu/Unit/show?id=48
CONSTRUCTION
Shop Math Lesson Plan - http://www.hstech.org/teachers/lessons/tapemath.htm
Cut list Lesson Plan - http://www.hstech.org/teachers/lessons/cutlist.htm Resources: Partial Inch Worksheets . http://www.instructorweb.com/basicskills/wsp/measureall.asp . Online Math Worksheet generator - http://themathworksheetsite.com/read_tape.html Musically-inclined students may also be able to relate partial inches to 4/4 musical notation (1/8 notes to 1/8”, etc.)
Ground plan Lesson Plan - http://www.hstech.org/teachers/lessons/gp.htm
Use Line Drawings Lesson Plan to create simple set elevations - http://www.hstech.org/teachers/lessons/drawwireframe.htm
Scale-rule Lesson Plan - http://www.hstech.org/teachers/lessons/scalerule.htm
Indirect Measurement Lesson Plans: - http://school.discoveryeducation.com/lessonplans/programs/conceptsInGeometry/ - www.learningpt.org/pdfs/mscLessonPlans/roush2.pdf - http://www.lessonplanspage.com/MathMeasurement-StandardsIndirectUnitsOfMore911.htm
Graph Paper Review Lesson Plan - http://www.teachervision.fen.com/harry-potter/lesson-plan/2696.html (applicable to school, classroom, set, etc)
Simple Perspective Drawing - http://www.hstech.org/teachers/lessons/drawwireframe.htm
Shop Familiarity Scavenger Hunt - Provide students with a list of important tools in the shop - Have them use drawings in the textbook and their own previous knowledge to locate and identify their locations - When all groups have finished, have groups conjecture the uses of each tool. - Discuss actualities of use, qualifying test requirements, and safety precautions for each
Trial and Error task list - Break students into small groups - Assign simple shop tasks (attaching two pieces of wood, rounding an edge, cutting to a specific size or shape, etc) - Have teams walk around shop and brainstorm solutions and tools - Teams present solutions - As a class, test all solutions that seem feasible and safe Page | 65
Orange High School 2009 Stagecraft/Design - Discuss better ways to accomplish each task - What if you didn’t have a …? What if instead you had to…?
Catalog scavenger hunt - Provide a materials requisition and various theatrical supply catalogs (BMI, Rose Brand, Musson, A to Z, Syracuse Scenic, MTS, Hogles, PTS)
- Have students locate materials and price out from various sources - Students then create order forms for individual companies (include shipping and handling and tax) - Cheapest for equal quality wins
Lumber Sizes Scavenger Hunt - http://www.hstech.org/teachers/lessons/lumbersizes.htm
Materials list/requisition Lesson Plan - http://www.hstech.org/teachers/lessons/shoplist.htm
Framing Diagonal Bracing lesson plan - http://www.hstech.org/teachers/lessons/diagbrac.htm Platform Cut-list Lesson Plan- http://www.hstech.org/teachers/lessons/platcutlist.htm
Skeletons - Students choose everyday objects, and attempt to draw out underlying frame - Discuss form vs. function, esp. with oddly-shaped objects (shape advantage?) - Consider the role of sheathing material. A form of framing? - Identify structural elements vs. trim. Do they sometimes do both? o Draw a simple sketch of the framing for a flat and a platform (include measurements, based on specific wood sizes) o - or - o Use glue and Popsicle sticks to solve framing problems . Specify form (chair, bridge, platform) and function (weight requirement, size, shape
Air Nailer - http://www.hstech.org/teachers/lessons/nailer.htm
General Practical Construction Opportunities - Construct set pieces for various productions, as needed - Assemble and place band-shell. - Set up and place band/choral risers.
LIGHTING Lighting Unit Intro Material – Lecture and Discussion with samples
Primary Source: J. Michael Gillette textbook, Theatrical Design and Production – chapter 12-15
- Atomic Theory, Electricity o Gillette textbook o Technology Lesson Plans - http://www.teach- nology.com/teachers/lesson_plans/science/physics/electricity/
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Orange High School 2009 Stagecraft/Design o Battery and a Bulb Lesson Plans: . http://www.iit.edu/~smile/ph9508.html . http://www.iit.edu/~smile/ph9406.html - The Nature of Light and Controllable Qualities o Physics of Light and Color - www.micro.magnet.fsu.edu/primer/lightandcolor/ - Angles, Colors, and Intensity (Gillette textbook) o Uses o Psychological effects o Color mixing . “How to color stage lighting to enhance the color in scenery, costumes, and makeup” - www.groups.northwestern.edu/lovers/docs/Lights28.pdf - Vocabulary o Equipment . Instruments – par, leko, Fresnel, scoop, cyc, strip, other • leko’s and fresnels lesson plan - www.geocities.com/Shalyndria13/light.htm . Lenses . Power – cabling, dimmers . Control – digital and analog boards, manual control, intelligent lighting Resources: Lighting Intro Lesson Plan - http://tedb.byu.edu/Lesson/show?id=303 The Basics of Stage Lighting - http://library.thinkquest.org/21722/LIGHTING.html Gillette, J. Michael. (2007). Designing With Light. US: McGraw-Hill. ISBN# 0073514152. Tom Baldwin’s Lighting Glossary - http://business.virgin.net/tom.baldwin/glossary.html Lighting Glossary from Lowell Light - www.lowel.com/glossary.html History: A History of Light and Lighting: a timeline from “Let there be Light!” to DMX512 - www.mts.net/~william5/history/hol.htm A Brief Outline of the History of Stage Lighting - www.northern.edu/wild/litedes/ldhist.htm
Lighting Equipment Review Students simply identify equipment by name and use. (Instruments, connectors, dimmers, control equipment, etc.)
Simple Lighting Plot Lesson Plan- http://tedb.byu.edu/Lesson/show?id=304
Wire a plug - Provide each team of students with a stage-pin to twist-lock adaptor pigtail and a screwdriver - Students remove outer casings and draw a diagram of how the two plugs are wired, using colors, symbols (+, -), etc. - Students then loosen connecting screws to remove cable from plug - If excess cable is available, students can strip the ends of excess cable and attach plugs correctly - If not, students can trade stations, and correctly re-wire each others plugs - Students should check each other’s work, and instructor should double-check before outer casings are replaced.
Implement Existing Lighting Plot - use key provided to hang, circuit, focus, gel, patch a designer’s plot Resources: - J. Michael Gillette textbook, Theatrical Design and Production - Gillette, J. Michael. (2007). Designing With Light. US: McGraw-Hill. ISBN# 0073514152. Page | 67
Orange High School 2009 Stagecraft/Design - http://www.hstech.org/teachers/lessons/hangingunits.htm
Cuing - Students select a short piece of music, poetry, drama, etc - Students write lighting cues to augment and support piece chosen - Program cues into board and save (or record on paper for an analog board) - Save all sequences - Practice running sequence - Present for class
Trouble-shoot (If-Then) - Students should diagnose simple lighting problems using logic - Work through components one at a time, starting with the most accessible, until problems are located - Repair, if possible
Run Follow Spot - Run follow-spot for a performance - Notate and follow pick-ups and fade-outs in script - Follow all stage-manager instructions
General Practical Lighting Opportunities - Design and Implement Lighting for various productions, as needed
SOUND
Sound Unit Intro Material – Lecture and Discussion with samples Primary Source: J. Michael Gillette textbook, Theatrical Design and Production – chapter 19
- The Nature of Sound (waves) o Sound waves Lesson Plan (Lab) - http://school.discoveryeducation.com/lessonplans/programs/soundwaves/ - Electricity: Signals vs., Sounds . Marvuglio, Tony. (2001) Live Sound Basics. Miami, Fl: Warner Bros. Publications. ISBN# 5497900241. - Vocabulary . www.controlbooth.com/forums/glossary/5368-glossary.html . www.electronixwarehouse.com/education/glossary/ . http://harada-sound.com/sound/handbook/glossary.html - Equipment (microphones, mixers, amplifiers, plugs, speakers, speakers, effects, noise reduction) . Marvuglio, Tony. (2001) Live Sound Basics. Miami, Fl: Warner Bros. Publications. ISBN# 5497900241. . Stark, Scott H. (2004). Live Sound Reinforcement. US: Course Technology Inc. ISBN# 1592006914. - Safety
Sound Equipment Review Students simply identify equipment by name and use. Page | 68
Orange High School 2009 Stagecraft/Design (Speakers, plugs, amplifiers, microphones, effects units, etc)
Assemble simple sound set-up - Provide a group of students with a collection of sound equipment (enough to go from microphone to amplified sound). - Assign space and specific amplification task (track, mics, band, singer, drums, etc). - Students collect appropriate cables and assemble appropriate working sound rig, testing individual elements as they go. - Closely monitor progress to avoid equipment damage due to incorrect cabling. - Test system as a class. - Conjecture as to what could be improved with equipment provided or by adding additional equipment - Test “improvements” if equipment is available. Resources: - Rane Products: Sound System Interconnection - http://www.rane.com/note110.html - Marvuglio, Tony. (2001) Live Sound Basics. Miami, Fl: Warner Bros. Publications. ISBN# 5497900241. - Lessons on Acoustics, Audio Basics, Cabling - www.prosoundweb.com/index.php/lsiuni/
Ambient Sound - Students choose 2 locations in or around the school – one that they think of as being loud, and the other as being quiet - Students sit quietly in each location for 10 minutes, eyes closed for the first 2 minutes - After the first 2 minutes, students record every sound they hear for the remaining time in a notebook - Back in classroom, students compile lists for each location o Which was louder?
o What sounds were specific to each location? o Which might be considered representative of the specific location? (Sounds you would not hear anywhere else) - Conjecture as to how one might go about creating a soundtrack for the space o Implemented independently (no scenery, costumes, etc), could the soundtrack place a scene in this specific location for an audience? o How might film/TV soundtracks differ from live performance? o What other senses might be used similarly? (Smell? Touch?) - Students choose another location and conjecture what sounds they might include in their soundtracks for that location Follow-up: - Have students bring in scenes from films or CD’s that they think have very specific/effective ambient soundtracks and share with the class. - Radio Show assignment
Radio Show: Live Sound FX - Students choose or create a radio show - Students research and create appropriate sound effects using found materials
Resources: - The Art of Noise: Tony Palermo's Sound Effects Closet - http://www.ruyasonic.com/sfx_closet.htm - Sound Effects by Jack French - http://www.old-time.com/sfx.html Page | 69
Orange High School 2009 Stagecraft/Design - Audio Theater - http://www.audiotheater.com/SFXhowto.html - The Art of Foley - http://www.marblehead.net/foley/specifics.html - Make your own sound effects article - http://www.videomaker.com/article/9027/ - The Generic radio Workshop: Vintage Radio Script Library - http://www.genericradio.com/ - Simply Scripts - http://www.simplyscripts.com/radio.html - The Goon Show - http://www.hexmaster.com/goonscripts/
Reduction of noise and EQ (filters, effects, etc) - Assign specific “effects” to small groups of students (noise gate, compressor, reverb, eq, chorus, etc) - Groups research use and operation of each - Groups experiment with practical use, creating a presentation that show-cases what the “effect” does - Groups present to class, including practical demonstration - As a class, experiment with patching different combinations through a mixer - How might these devices be most effectively applied in real-world situations? Resources: Wikipedia provides good general overviews o most effects. Most manufacturers also have on-line guides for their products
Wiring and Soldering Plugs - Students can utilize older equipment to practice wiring and soldering skills in repairing/reinforcing wires and plugs - Students can also construct necessary cables using used and new pieces o Heavy-duty orange extension cords can be used for speaker wires by correctly connecting ¼“ plugs (consult wiring diagram) o Properly wired short pigtails and uncommon cables (i.e. double-male or double female) are always useful to make with extra parts Resources: - Soldering Course On-line - www.qualitysoldering.com/lesson.shtml - Lesson Plan - www.texastandi.unt.edu/curriculum/lessons/electronics_05/soldering06/soldering06_plan.pdf - Rane Products: Sound System Interconnection - http://www.rane.com/note110.html
General Practical Sound Opportunities - Design and Run Sound for various Productions, as needed
KNOTS AND RIGGING
Introductory Material/Overview Primary Source: J. Michael Gillette textbook, Theatrical Design and Production – chapter 19
- Physics and Mechanical Advantage . “Lever” – www.wikipedia.com . http://library.thinkquest.org/CR0210120/Mechanical%20Advantage.html o the theory of the counterweight fly system, - parts of system o names, uses, capabilities . Stage Rigging Services - www.stageriggingservices.com/RiggingGlossary.html . TS Rigging - www.tsrigging.com/glossary.html - Safety
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Orange High School 2009 Stagecraft/Design o Verbal signals o Hand signals o Spotters o Cue Sheets - Maintenance of System o Daily checks o Periodic maintenance Resources: Comprehensive Info - http://www.controlbooth.com/forums/glossary/5576-counterweight-rigging.html Carter, Paul and George Chiang (Ill.). (1997). the Backstage Handbook. US: Broadway Press. ISBN# 091174729X
Glerum, Jay O. (2007). Stage Rigging Handbook. Illinois: Southern Illinois University Press. ISBN# 0809327414. Texas Scenic Counterweight Rigging Manual - www.texasscenic.com/rigmanual.pdf Lessons Rigging: ProSoundWeb.com - www.prosoundweb.com/index.php/lsiuni/ Article - http://stage-directions.com/index.php?option=com_content&task=view&id=493&Itemid=39 Knots - Why are there so many knots? - What does one do that another can’t? - Choose the five most valuable knots for stage purposes, and conjecture possible implementations - Learn and practice knots using on-line guide, then test in conjectured scenarios Resources – Knots on the Web - www.earlham.edu/~peters/knotlink.htm The most useful rope knots for the average person to know - http://www.layhands.com/Knots/Index.htm
Calculating Weight - Using a simple scale, experiment with calculating weight of various objects to be flown - Use same scale to weigh different sizes of stage weight - After a while, have students guess-timate weights of objects and weights, and see how close they can come - Experiment with hanging and appropriately re-weighting arbors on a single batten using relatively light objects (masking, 3-5 lighting instruments, etc) - Follow safety procedures and hand-signals
Rigging Travelers - Discuss what a traveling curtain needs to do. - Lay out the basic hardware and the soft-goods one would need to rig the curtain (this will depend upon what is available) - Have students work in groups to brainstorm the rope and knot configuration - Groups should draw out their solutions on paper - Look at all solutions as a class, and choose the one or two that seem most promising - Work as a group to try the student solutions - Reflect on what worked and what didn’t - Look at a published diagram of the standard rigging and compare it to your model - Challenge students to create solutions for other curtain-rigging problems that you (or they) make up Resources: Carter, Paul and George Chiang (Ill.). (1997). the Backstage Handbook. US: Broadway Press. ISBN# 091174729X Glerum, Jay O. (2007). Stage Rigging Handbook. Illinois: Southern Illinois University Press. ISBN# 0809327414
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General Practical Rigging Opportunities - Rig and Run Fly-rail for Various Productions, as needed
PAINTING
Surface Prep and Materials - www.bmisupply.com - Basic Scenic Paint from Rose Brand
Color Mixing Lesson Plans http://www.princetonol.com/groups/iad/lessons/middle/Carolyn-fauves.htm http://www.learnnc.org/lp/pages/3131 http://elizabethchudick.com/lessonplan.php?planID=3http://www.ket.org/painting/self_unit3.htm
Painting Scenery http://www.set-painting.com/ www.magicschool.org.uk/school/simple.htm Interview - http://www.bl.uk/projects/theatrearchive/anderson.html Aging scenery Hollywood-style: SIMPLE SCENERY AGING - HOLLYWOOD STYLE by Donna Wymore, Colorado...
Enlarging Images: Gridding and Projecting - Since so much of theatrical painting is on a very large scale, images generally are designed small and enlarged - Students should choose or draw an appropriate image for the intended use. - Image should either be copied onto overhead projector paper, or a grid drawn over it in pencil - If on overhead, simply project and draw out major proportions. Details can be done freehand. - If gridded, a grid must be drawn or projected onto larger surface o Drawing can be transferred square-by-square o Or by marking intersection lines and connecting them. Again, detail work should be done freehand.
Gridding On-line Lesson Plans http://www.kent.k12.wa.us/staff/ChristopherLouck/lessons/Art/Week3/2.13.06.doc With a cool Mondrian twist: http://www.lessonplanspage.com/ArtMondrianStyleGridEnlargedPointillismPainting912.htm
PROPS AND FURNITURE
Prop List - Read a script - Make a list of every hand-prop and piece of furniture mentioned o Include act, scene, character, use, and status (prop/functional) - Review list for accuracy - Show list to director or stage manager for approval - Locate all props on list. Include prices and vendors. - For those unable to be located, research possibilities for building and price materials - Submit proposal. - If budget allows, collect and build as many as possible
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Creative construction - As a class, read a play and come up with a prop list - Break into groups and choose one item on list - Price real item, and brainstorm/research ways to create a fake one. - Create a fake prop appropriate for use intended in script.
Simple Prop Design Lesson Plan - http://tedb.byu.edu/Lesson/show?id=305
Resources: How to Create Props on a Shoestring - www.foe.co.uk/resource/how_tos/cyw_21_props_shoestring.pdf
“How to…” videos on www.Youtube.com
General Practical Painting Opportunities - Design and Paint Scenic Elements for Various Productions, as needed
COSTUMES, MAKE-UP, AND WARDROBE
Costume Board w/6 lesson plans - http://tedb.byu.edu/Unit/show?id=18 Costume collage - www.geocities.com/Shalyndria13/costume.htm Design lesson plans: - Costumes - http://tedb.byu.edu/Lesson/show?id=306 - Make-up design - http://tedb.byu.edu/Lesson/show?id=307
Hand-sew costume repairs. Machine-sew simple seams.
Other Resources: The Costumer’s Manifestó - www.costumes.org/ www.sewing.org www.Youtube.com“How to…” videos
General Practical Costuming and Make-up Opportunities - Create, Implement, and Maintain Costumes and Make-up Needs for Various Productions, as needed
FX
Resources: - View documentary films included as special features on any of hundreds of DVD’s. - Examples include: The Matrix films, Pan’s Labrynth, The Fountain, Star Wars, 300. - For Live Performance: Criss Angel: Mindfreak, Cirque De Soleil. - Catalogs and Websites: http://www.strictlyfx.com/index.html Dozens of links listed under “Notable special effects companies” on Wikipedia page, keyword(s) “Special Effect” http://www.theatrefx.com/ http://www.instructables.com/ Search Keywords: Theater Effects,
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Orange High School 2009 Stagecraft/Design
General Practical F/X Opportunities - Design, Create, and Implement F/X for Various Productions, as needed
PRODUCING
Production Staff - As a class, use a program from a professional production to make a list of notable production personnel - Select and research individual roles and responsibilities of each - As a group, create a chart of hierarchy and responsibilities (example in Gillette textbook, chapter 1). - Possible follow-ups: o Write a “day in the life” narrative for the position that interests you most. o Conduct an interview with a current professional in one or more positions o Guest speaker in class o Find job listings for one or more Lesson plan - http://www.hstech.org/teachers/lessons/prodpositions.htm
Choosing a Script - Read a selection of short scripts - Discuss elements that might lead a producer to choose one over another o audience, space, money, time, director, actors, personal preference, theme, etc - Create mock-scenarios as a group, and select appropriate scripts
Fund-raising and Budget - Choose a project - Research all aspects and create a mock budget (space, actors, set, advertising, insurance, staff, etc) - Where does the money come from? Discuss options, and create a realistic fund-raising plan.
DIRECTING
Director’s Concept - Read a script once. Write down initial reactions. - Read again. What stands out? What is the narrative about? What is the script saying, as a whole? - Read a third time. Begin breaking down locations, characters, time period, language, etc. - In one short sentence - What do you, as a director; want to say with this piece? - Read this article: www.umass.edu/fac/livelyarts/assignments/The%20Essential%20Theatre.pdf - Write down, explain and defend a production concept with your peers.
Director’s Book - compile a director’s book, as you work through directing a scene or short play - Every director has a unique style for collecting their ideas - Book includes all script and concept notes, as well as blocking ideas, casting, design ideas, etc - Includes drawings, final blocking, rehearsal notes - Use book while evaluating final production and production process
Casting - Breakdown script, writing short descriptions for each character Page | 74
Orange High School 2009 Stagecraft/Design - Discuss the roles of Casting Director’s , Agents, Managers, Headshots/Resumes, Unions (AFTRA, SAG, AEA, AGVA, CSA) - Hold real or mock Auditions and Callbacks for a production
Working with Actors - Research the directing process - Think about how you think you might like to work as a director - Choose a short scene - Research the piece, as necessary - Cast the parts - Experiment working with actors to achieve your vision for the scene Resources: Bruder, Melissa ET. Al. A Practical Handbook for the Actor. NYC: Knopf, 1986. Clurman, Harold. On Directing. US: Simon & Schuster, 1997. From ifv: Chicago by Greg Pack - http://www.ifvchicago.com/process/prod_directing_a01.shtml Indietalk.com - http://www.indietalk.com/archive/index.php/t-8820.html
Production Meetings - Collaboration - Research the roles of the various attendees (designers, directors, managers, etc) of production meetings - Students choose roles they’d like to play - Choose a script - Prepare to play chosen roles in meetings - Hold a series of mock production meetings PLAYWRITING
Comprehensive Lesson Plans for Basic Playwriting - http://www.youngplaywrightstheater.org/Resources/TeacherResource/index_E.html Playwriting for Younger Students (applicable to simplify concepts) - http://www.childdrama.com/lpplay.html Writing a monologue - www.geocities.com/Shalyndria13/playwrit.htm
HOUSE
Traffic Flow Sketches – consider space, tendencies, non-verbal cues – Draw out including barriers, ushers, signage, etc. – implement
Brainstorm Front of House - list audience considerations, based on personal experience and visualization - lights, temperature, curtain speech, communication with backstage, handicapped access, fire exits, first aid, rest rooms, concessions, ticket pick-up, late arrivals, celebrities, friends of performers, dissatisfied customers, security, etc. - discuss available personnel and official responsibilities of each – house manager, ushers, tickets, concessions, custodial, security - brainstorm solutions and outline plan considering house and audience needs – policies, regulations, procedures, responsibilities - Special considerations for specific spaces? – Outdoors, make-shift spaces, dinner theatre, wait service, schools, churches, awards shows, etc. Page | 75
Orange High School 2009 Stagecraft/Design - * assist or run front of house for actual production*
LIT
Poster and Press - Lesson Plan at http://www.artsedge.org/content/2190/
Program/Playbill - Research existing programs and Playbills on-line o Library of Congress - http://memory.loc.gov/ammem/vshtml/vsprgbl.html o Playbill Magazine official site - www.playbill.com - Outline patterns in structure, elements, info - Create a general template as a class - Create a rubric as a class that allows artistic freedom, yet provides structure and specific expectations - Students create an original Playbill for a real or imaginary performance (using publishing software, if available)
Advertising - What is appropriate advertising now – in the 21st Century? For this production, in this venue? - Lesson Plans available at - http://42explore.com/advertis.htm - Easily applicable to theatre, dance, etc
Theater Posters - View examples of theatre posters - Discuss strengths, weaknesses - List personal preferences - Create original poster for real or imagined production
Theatre Poster Resources - http://www.footlightsgallery.com/ - http://www.poster.com.pl/theater-posters.htm - National Theatre – UK - http://www.ntposters.org.uk/
Additional Lesson Plan Resources – Painting, scenery construction, shop safety, make-up, management, tech intro, set and lighting design units - http://tedb.byu.edu/unit
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Orange High School 2009 Stagecraft/Design
Glossaries
General: Rigging:
Theatrecrafts.com Stage Rigging Services www.theatrecrafts.com/glossary/glossary.shtml www.stageriggingservices.com/RiggingGlossary. - glossary of technical theatre terms html - rigging glossary Lighting: TS Rigging Tom Baldwin’s Lighting Glossary www.tsrigging.com/glossary.html http://business.virgin.net/tom.baldwin/glossary.h - rigging glossary tml Costuming: Lighting Glossary from Lowell Light www.lowel.com/glossary.html Tracey Theatre Originals www.tracytheatreoriginals.com/PDF/glossary.pdf Physics of Light and Color - glossary of costume terms www.micro.magnet.fsu.edu/primer/lightandcolo r/ Sewing Web - concept glossary www.sewingweb.com/dictionary/ - sewing dictionary and glossary Sound: Playwriting: Control Booth www.controlbooth.com/forums/glossary/5368- Ink to Pixel glossary.html www.playwriting101.com/glossary - practical glossary – primarily sound - playwriting terms terms Acting: Electronics Warehouse www.electronixwarehouse.com/education/gloss Fundamentals of Acting Glossary – vtheatre.net ary/ http://act.vtheatre.net/dict.html - a glossary of audio terms
The Sound Glossary by Kai Harada http://harada- sound.com/sound/handbook/glossary.html Page | 77
Orange High School 2009 Stagecraft/Design
RECOMMENDED TEXTBOOKS/RESOURCES
PRIMARY TEXTBOOK LORD, H., WILLIAM~ (2007) STAGECRAFT 1 STUDENT TEXTBOOK NEW YORK, Dramatic Publishing Co. ISBN: #9781566080620
TEACHER REFERENCE TEXTS
Braun & Schneider. (1975). Historic Costumes in Pictures. Dover Publications. ISBN# 048623150X. Bruder, Melissa et. al. A Practical Handbook for the Actor. NYC: Knopf, 1986. Carter, Paul and George Chiang (Ill.). (1997). The Backstage Handbook. US: Broadway Press. ISBN# 091174729X Clurman, Harold. (1997) On Directing. US: Simon & Schuster. ISBN# 0684826224. Gillette, J. Michael. (2007). Designing With Light. US: McGraw-Hill. ISBN# 0073514152. Fernald, Mary and E. Shenton. (2006). Historic Costumes and How to Make Them. .Dover Publications. ISBN# 0486449068. Glerum, Jay O. (2007). Stage Rigging Handbook. Illinois: Southern Illinois University Press. ISBN# 0809327414. Hartnoll, Phyllis. (1998) The Theatre – a concise history. Singapore: Thames and Hudson. ISBN# 0500203121 Holden, Alys E., Ben Sammler and Bronislaw Hammler. Structural Design for the Stage. US: Elsevier Science and Technology Books. 024080354X. Ionazzi, Daniel A. (1996). The Stagecraft Handbook. Cincinnati, Betterway Books. ISBN# 1558704043 Leventon, Melissa. What People Wore When: A Complete Illustrated History of Costiume…. (2008). St. Martin’s Press. 0312383215. Marvuglio, Tony. (2001) Live Sound Basics. Miami, Fl: Warner Bros. Publications. ISBN# 5497900241. Mascal, Tony. (1994). Sound Check. Hal Leonard Publishing. ISBN# 079353559X. Parker, W. Oren and R. Craig Wolf. (2008). Scene Design and Stage Lighting. United States: Wadsworth. ISBN# 0495501905. Stark, Scott H. (2004). Live Sound Reinforcement. US: Course Technology Inc. ISBN# 1592006914. Trottier, David. (2005). The Screenwriter’s Bible. Silman-James. ISBN# 1879505843
RECOMMENDED ON-LINE RESOURCES (For Glossary Resources, See Appendices)
GENERAL - Artslynx International Arts Resources (Theatre Design Resources) - www.artslynx.org/theatre/design.htm - Musicals101.com – The Cyber Encyclopedia of Musical Theatre, TV, and Film - www.musicals101.com/index.html - NYC Arts Education - http://schools.nyc.gov/offices/teachlearn/arts/resourcestheater.html - Educational Theater Association - www.edta.org/professional_resources/links.aspx - Arts Alive: Design and Production - http://www.artsalive.ca/en/eth/design/lighting.html - Bentley’s Bedlam: Stagecraft Guide to resources - http://www.betsyda.com/etc/stagecraft.html - Justin’s Theatre Links - http://www.theatrelinks.com/ - Simplified tech explanations – www.howstuffworks.com Page | 78
Orange High School 2009 Stagecraft/Design - General Industry Source - www.Technicaltheater.com - Colleges and university with technical theater majors (links included) - www.usnews.com/usnews/edu/college/majors/brief/major_50-0502_brief.php - International Alliance of Theatrical Stage Employees - www.iatse-intl.org/home.html - BMI Theatrical Supply- bmisupply.com and [email protected]
THE PERFORMANCE SPACE - Study Stack: Theatre Vocabulary - http://www.studystack.com/menu-101657 - Justin’s Theater Links (vocabulary) - http://www.theatrelinks.com/?page_id=149 - Simple drawings of stage configurations - http://novaonline.nv.cc.va.us/eli/spd130et/StagePresent.htm - Tour Resources: o NJ Theatre Alliance - http://www.njtheatrealliance.com/whatisplaying.php o Lincoln Center Tours - 212.875.5350 o Radio City Music Hall Tours – www.radiocity.com/tours/index.html o NJPAC Tours - http://www.njpac.org/load_screen.asp?screen=tours o Newark Symphony Hall Tours - www.newarksymphonyhall.org/about-contact.shtml
THE DESIGN PROCESS - Design Article: www.umass.edu/fac/livelyarts/assignments/The%20Essential%20Theatre.pdf - Portfolio Resources: o http://www.dmoz.org/Arts/Performing_Arts/Theatre/Stagecraft/Lighting_and_Electrics/Designers/ o http://www.aladin.wrlc.org/gsdl/collect/ftpp/ftpp.shtml o http://www.theatrelinks.com/?page_id=8
CONSTRUCTION - Partial Inch Worksheets o Online Math Worksheet generator - http://themathworksheetsite.com/read_tape.html o http://www.instructorweb.com/basicskills/wsp/measureall.asp
LIGHTING - Physics of Light and Color - www.micro.magnet.fsu.edu/primer/lightandcolor/ - “How to color stage lighting to enhance the color in scenery, costumes, and makeup” - www.groups.northwestern.edu/lovers/docs/Lights28.pdf - The Basics of Stage Lighting - http://library.thinkquest.org/21722/LIGHTING.html - Tom Baldwin’s Lighting Glossary - http://business.virgin.net/tom.baldwin/glossary.html - Lighting Glossary from Lowell Light - www.lowel.com/glossary.html - History: o A History of Light and Lighting: a timeline from “Let there be Light!” to DMX512 - www.mts.net/~william5/history/hol.htm o Brief Outline of the History of Stage Lighting - www.northern.edu/wild/litedes/ldhist.htm
SOUND - Vocabulary . www.controlbooth.com/forums/glossary/5368-glossary.html
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Orange High School 2009 Stagecraft/Design . www.electronixwarehouse.com/education/glossary/ . http://harada-sound.com/sound/handbook/glossary.html - Rane Products: Sound System Interconnection - http://www.rane.com/note110.html
LIVE EFFECTS o The Art of Noise: Tony Palermo's Sound Effects Closet - http://www.ruyasonic.com/sfx_closet.htm o Sound Effects by Jack French - http://www.old-time.com/sfx.html o Audio Theater - http://www.audiotheater.com/SFXhowto.html o The Art of Foley - http://www.marblehead.net/foley/specifics.html o Make your own sound effects article - http://www.videomaker.com/article/9027/ o The Generic radio Workshop: Vintage Radio Script Library - http://www.genericradio.com/ o Simply Scripts - http://www.simplyscripts.com/radio.html o The Goon Show - http://www.hexmaster.com/goonscripts/
KNOTS AND RIGGING - “Lever” – www.wikipedia.com - Mechanical Advantage - http://library.thinkquest.org/CR0210120/Mechanical%20Advantage.html - Stage Rigging Services - www.stageriggingservices.com/RiggingGlossary.html - TS Rigging - www.tsrigging.com/glossary.html - Comprehensive Info - http://www.controlbooth.com/forums/glossary/5576-counterweight-rigging.html - Texas Scenic Counterweight Rigging Manual - www.texasscenic.com/rigmanual.pdf - Rigging Overview Article, “Defying Gravity” - http://stage- directions.com/index.php?option=com_content&task=view&id=493&Itemid=39 - Knots on the Web - www.earlham.edu/~peters/knotlink.htm - “The most useful rope knots for the average person to know” - http://www.layhands.com/Knots/Index.htm
PAINTING - Materials - www.bmisupply.com - Rose Brand - Basic Scenic Paint from Rose Brand - Set Painting - http://www.set-painting.com/ - Set Painting - www.magicschool.org.uk/school/simple.htm - Interview - http://www.bl.uk/projects/theatrearchive/anderson.html - Aging scenery Hollywood-style: SIMPLE SCENERY AGING - HOLLYWOOD STYLE By Donna Wymore, Colorado ...
PROPS AND FURNITURE - How to Create Props on a Shoestring - www.foe.co.uk/resource/how_tos/cyw_21_props_shoestring.pdf - “How to…” videos on www.Youtube.com
COSTUMES, MAKE-UP, AND WARDROBE - The Costumer’s Manifesto - www.costumes.org/ - General info. - www.sewing.org - “How to…” videos - www.Youtube.com - Braun & Schneider. (1975). Historic Costumes in Pictures. Dover Publications. ISBN# 048623150X. - Fernald, Mary and E. Shenton. (2006). Dover Publications. ISBN# 0486449068. Page | 80
Orange High School 2009 Stagecraft/Design - Leventon, Melissa. What People Wore When. (2008). St. Martin’s Press. 0312383215.
FX - Catalogs and Websites: http://www.strictlyfx.com/index.html - Dozens of links listed under “Notable special effects companies” on Wikipedia page, keyword(s) “Special Effect”
DIRECTING - From ifv:Chicago by Greg Pack - http://www.ifvchicago.com/process/prod_directing_a01.shtml - Indietalk.com - http://www.indietalk.com/archive/index.php/t-8820.html
CONSUMER LIT - Programs and Playbills o Library of Congress - http://memory.loc.gov/ammem/vshtml/vsprgbl.html o Playbill Magazine official site - www.playbill.com - Theatre Poster Resource o http://www.footlightsgallery.com/ o http://www.poster.com.pl/theater-posters.htm o National Theatre – UK - http://www.ntposters.org.uk/
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Orange High School 2009 Stagecraft/Design
Appendices Vocabulary
Act Drop: Victorian stretched framed and painted canvas. Used as a visual stimulation during scene changes, and to indicate that there was more to come (the end being indicated by the HOUSE TABS). There are believed to be only two operational today-an original one at Gaiety Theater, Isle of Man, and a 1996 reproduction at Her Majesty’s Theater, Balart, Victoria, Australia. Term now used to refer to any front cloth or tabs lowered during intervals. especially pantomime and musicals.
Aniline Dye: A type of deep penetrating natural dye originally made from coal tar. Water-based alcohol-based dyes are available. As the product will stain anything it comes in contact with, protective gloves and eye protection should be used.
Arbor: US equivalent of CARADLE in a counterweight flying system.
Artic: Short for Articulated Lorry. Lorries of 40 feet length (or more) are used to transport sets, costumes, props and sound and lighting equipment from venue. A number of companies specialize in moving theatrical and musical tours around the country/ world.
Autocad: Industry-standard CAD program for architects and designers. WYSIWYG contains a cut-down version of Auto CAD, along with visualization tools.
A vista: A Vista: A change of setting/scenery unhidden from the audience. This technique is increasingly popular due to modern advances in scenic automation, where entire se changes can be accomplished in seconds.
Backcloth: See cloth.
Backdrop: See cloth.
Back flap: Hinge frequently used in Scenic construction.
Backing: 1) Scenic piece which goes behind an opening in the set to hide the technical areas beyond. Also known as a backing flat. 2) The money invested in a commercial production (by a backer).
Bandwagon: A wheeled platform.
Banjo: (US) Horizontal rail along which a curtain runs (also known as a Banjo Track).
Battens: 1) Timber at the top and bottom of a cloth. A sandwich batten is used to carry a hanging cloth. It comprises two plat pieces to timber screwed together with the edge of the cloth between them. 2) Timber used for joining flats together for flying. 3) Compartmentalized floodlights set up so as to allow color mixing. See also Ground row. Low voltage battens are commonly used as light curtains and for color washes. Known as the US as a Strip light. 4)US term interchangeable with PIPE for a flying bar.
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Orange High School 2009 Stagecraft/Design Billy Block: A pulley on a short length of rope used to divert the pull of a working rope, or to suspend a single item in storage.
Block: Frame in which on or more pulley wheels are mounted.
Block Pulley: To be defined.
Bo’ Sun’s Chair: A small seat or cradle rigged on a rope over a pulley whereby a technician may be hoisted to work at an otherwise inaccessible position.
Book Flat: Two-fold piece of scenery. Book flats are free-standing when angled open, allowing quick setting and compact storage. Booking describes the action of opening and closing a book flat.
Border: A narrow horizontal masking piece, normally of neutral color to mask the lighting rig and flown scenery from the audience, and to provide an upper limit to the Scene. Often used in conjunction with LEGS.
Boss Plate: Metal plate fixed to the stage floor into which a bolt can be screwed for fixing scenery.
Bottle screw: Threaded device which is used to tension a wire, or to provide an adjustable link n a cable, to fine-tune the height of flown scenery.
Box Set: Naturalistic setting of a complete room built from flats with only the sides nearest the audience missing.
Brace: 1) Angled strengthening timber within a flat. 2) Support for scenery on stage. 2a) Extendable, hooking into a screw eye on the flat and being weighted to the floor. B) French, right-angled adjustable triangular frame, made from timber, and attached to the flat with pin hinges. Often swung flush to the flat for storage or flying.
Brace Weight: Slotted cast iron weight placed on foot of extendible for French brace to prevent movement. Often referred to as “Stage weight”.
Build: 1) During lighting plotting, to construct a state from blackout, or to add to an existing state. 2) An increase in light or sound level. See Check. 3) A period of set construction (“The Build”)
Bump Out: See get out.
Bunraku: Style of Japanese puppetry where the puppet operator carries the puppet onstage and is visible throughout the performance. The puppeteers are highly skilled and respected in Japan, and provide the voice as well as the movements for the incredibly detailed puppets.
Cable Grip: A u-shaped clip and saddle used for terminating wire rope, Also known as a Bulldog, Dog Grip or Wire Rope Clip.
Cad: computer- Aided design. Using a computer to help with 2D plans and drawings, or increasingly for 3D visualization of how a set will look, and how the lighting will affect it. See also WYSIWYG.
Castors: The wheels on a truck or underneath a revolve.
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Orange High School 2009 Stagecraft/Design Centre Line: Imaginary line running down the stage through the exact centre of the proscenium opening. Marked as CL on stage plans. Normally marked on the stage floor and used as a reference when marking out or assembling a set. Known as the US as Center Line. See also setting line.
Chain pocket: Fabric pocket along the width of the bottom of a cloth or tab holding a chain which weighs the bottom of the cloth down.
Chiaroscuro: In lighting or scenic design, Chiaroscuro means the use of contrasts of light and shade, especially in order to enhance the depiction of character and for general dramatic effect. Many painters are said to be masters of Chiaroscuro. From the Italian words chiaro’ clear, bright and oscuro ‘dark’. From the Random House Word of the day website.
Dead Hang: A rigging point direct to the grid/beams above the stage, not to a flying bar.
Dead Hinge: A hinge used as a right-angle bracket.
Deck: 1) Stage/ rostrum floor. 2) Type deck/Record deck.
Door flat: Scenery item consisting of wall containing a working door.
Doughnut revolves: See revolve.
Décor: See set designer.
End on: Traditional audience seating layout where the audience is looking at the stage from the same direction. This seating layout is that of a Proscenium Arch theater. See also Thrust, in the round, traverse.
Entrance: 1) A part of the set through which actors can walk on stage. 2) The act of an actor walking onto the stage.
Exit: 1) A part of the set through which an actor can leave the stage. 2) The act of an actor walking off the stage.
False perspective: A scenic design technique that makes a building or set appear larger than it actually is. The scale of objects that are supposed to be further from the observer is reduced to make them appear further away.
False Proscenium: A framed formed by scenic canvas or vertical flat stage within the proscenium arch. Used to reduce the size of the opening when putting a small set onto a large stage.
False stage: A special stage floor laid for a production. For example to allow trucks guided by tracks cut into this false floor, to be moved by steel wires running in the shallow void between the false floor and the original stage floor. A false stage is also required for putting a revolve onto a stage.
Fireplace flat: Scenery item consisting of a partial wall and a fireplace. Another backing flat is placed behind the fireplace to mask sightlines.
Flipper: Narrow flat hinged to a wider one.
Float: 1) The action of letting a large flat fall from vertical onto it’s face so that it’s cushioned by the air it displaces. Care must be taken when floating on dusty stages, as particles can get blown around as the flat lands. 2) See floats.
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Fly bars: The metal bars to which scenery and lanterns are attached for flying above the stage.
Fly floors: High working platform at the sides of the stage from which the flying lines are handled. Often are also the site for socket panels for connecting flown lighting apparatus to dimmers, and also sometimes a lighting position. Known in the US as a Fly Gallery.
Fly Rail/Fly-rail: Originally, this was the structure where the flying line/ ropes were tied off to hold scenery and other flown equipment in position. With the advent of counterweight systems, this refers to the area where the flying system is operated. Also known as the Pin Rail or in the UK, Fly Floor.
Fly Towers: Extension of the stage walls up to allow scenery to be flown up until it is out of sight of the audience, and to support the GRID. Known as the flies. The ideal fly tower should be more than twice the height of the pros. Arch, and is said to have full flying height. The load on the gird is transferred to the ground via the walls of the theatre. Known in the US as the Fly Loft.
Flying Harness: Worn by actors who have to “fly” as part of the action of the play. The flying harness is expertly fitted to the actor, and is fully tested and certified as safe before use. Cables attached to the harness normally are at the hip, or the middle of the back, via a quick release locking snap hook mechanism. There are companies who specialize in this sort of wire work, and there’s no excuse for not using the professional at all times. See also Kirby Wire.
Flying Irons: Rigging hardware- More information coming soon.
Foot: 1) The action of bracing the bottom of a ladder while a colleague climbs it. 2) Holding the bottom edge of a flat with your foot while a colleague raises the top of it to a vertical position.
Fourth Wall: The imaginary wall of a box through which the audience see the stage.
French Brace: See brace.
French Drape: To be defined.
French Flat: A scenic flat which is flown into position, usually with French braces. Consists of a number of flats fixed together with battens. Also known as a Frenchman.
Front Cloth: A cloth flown well downstage in front of which short scenes are played while big scene changes are ‘silently’ carried out upstage.
Fullers Earth: Hydrous aluminum silicate, used in chemistry as a filter and as a binder when mixing powder paint for use on textiles.
Fullness: Draperies made up with deep ‘gathering’ having fullness- usually requiring not less than 50% additional fabric, measured at head and foot.
G-clamp: Ironmongery fitting for clamping two items into position together. See also hook clamp.
Gate: 1) The point of focus in a profile spot where the shutters are positioned and where an iris or gobo can be inserted. 2 A single base section of a folding rostrum system. 3) See noise gate.
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Orange High School 2009 Stagecraft/Design Gauze: Cloth with a relatively coarse weave. Used unpainted to diffuse a scene played behind it. When painted, gauze is opaque when lit obliquely from the front and becomes transparent when the scene behind it is lit. Many different of gauze are available; Sharks tooth gauze is the most effective for transformations, because it is the most opaque. Vision gauze is used for diffusing a scene and for supporting cut cloths. Also known as a scrim.
German masking: See masking.
Get-in: The process of moving set, props and other hardware into a theatre prior to the fit-up and bump in.
Get-offs: A means for an actor to get off a rostrum, high level etc. out of view of the audience. Usually treads. Also known as Escape stairs.
Get-out: Moving an entire production out of venue, and onto either a large waste-disposal skip, or into transport. Usually preceded by the strike.
Glass Fiber: A combination of a glass mat and a resin which can be formed into a strong shelf. Used in prop-making.
Glaze: Glossy finish applied as a final coat to a painted stage floor.
Green Baize: Prior to 17th century actors dying on stage, a green baize cloth was laid down on the stage to save their costumers from needing cleaning. This was also a useful anticipation builder for the audience, especially if the cloth was laid during the interval halfway into the performance. See also green room.
Gridded: Any flying piece raised as high as possible into the fly’s, i.e. to the limit of travel of the flying lines, is said to have been gridded.
Ground plan: Scaled plan showing the exact position of all items standing on the stage floor and indicating the position of items suspended above. Typical scales are 1:24 or, metrically 1:25. Venues have a base plan showing proscenium, walls, seating etc on which individual set and lighting plans can be drawn.
Ground row: 1) A long piece of scenery positioned at the base of a backcloth usually to mask the very bottom of a cloth or lanterns lighting a cloth. 2) Compartmentalized floodlight battens at floor level used to light the bottom of sky cloths etc.
Hanging Iron: Ironmongery fitting fixed at the bottom of the back of a flown flat to which the suspension wire is secured.
Hardboard: To be defined.
Heads on stage: A shouted warning for staff to be aware of activity above them. Also used when an object is being dropped from above.
Hemp: A type of rope used for flying, made from fibers found within the bark of the cannabis plant.
Hemp set: The simplest flying system consisting of a series of hemp ropes threaded through pulleys on the grip, and tied off on the fly floor on a cleat. The usual arrangements are for three ropes to be attached to a flying piece, named by their position relative to the fly floor. These names are used when leaving the flying piece, and giving it a dead. The three ropes are pulled or let in together, sometimes requiring more than one person to operate. A theatre using a hemp flying system is known as a hemp house.
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Hinge: See pin hinge, back flap hinge, Marie tempest hinge.
Hollywood: A Hollywood is a double-sided timber flat with a much wider edge than normal. Hollywood flats are mainly used in film/ TV business. The thicker edge gives the flat extra stability, and looks more like a real wall on camera.
Hydraulic: A system of controlling machinery or moving scenery using oil or water under pressure to move a piston or ‘ram’. Used in many large-scale shows to automate scene changes.
In the round: Theater in the round is a form of audience seating layout where the acting area is enclosed on all sides by seating. There are often a number of entrances through the seating. Special consideration needs to be given to onstage furniture and scenery as audience sightlines can easily be blocked. Stage managers and directors often use the idea of a clock face to describe actor positions on stage. See also thrust, end on, traverse. Inset: A small scene set inside a large one.
Isora: A plastic CYCLORAMA, used because of it’s light transmission properties. When lit from behind, the source of light is not visible through the plastic, making complex silhouette work possible. When used in conjunction with a bounce cloth very smooth coverage is possible.
Italian Masking: See masking.
Jack: 1) Segmented audio connector. Mono jacks have two connection-tip and sleeve, and are unbalanced stereo jacks have three connections-tip ring and sleeve. B-type jacks: were originally designed for use in telephone exchanges and provide a high quality connection in jack fields. A-type are cheaper and more common, but more fragile. A type jacks are available in 2 sizes: quarter inch and eight inch. 2) Us A hinged brace. In the open position, it holds up a flat or other unit of scenery. A tip jack is a combination of a jack and castors so scenery can be supported or rolled. When it is in position, it is tipped to vertical. When rolling, it leans backwards.
Kabuki Drop: Method for dropping a cloth from a flying bar. It consists of a bar which attaches to a standard flying bar, and is able to spin around. The bar has prongs welded to it on which the drop is hung. Normally these prongs are above horizontal, so the drop stays hung. On cue, the pole is rotated so that the prongs point downwards, and the drop is consequently falls.
Kirby wire: Wire used to fly an actor. Named after George Kirby, who devised the first pendulum artiste flying system. In His company Kirby’s Flying Ballet is till supplying flying equipment now. See also flying harness.
Lauan (US): A three layer plywood made form coarse grained tropical woods. Suitable for backing, filler or light duty bracing; not suitable for structural uses or where a smooth paintable finish is desired. Also known as Philippine Mahogany.
Legs: Drape set as masking piece at the side of the acting area. Usually set up in pairs across the stage and used in conjunction with borders to frame the audience view. One of many possible origins of the phrase; Break a leg’ meaning to take an extra encore from the legs after a successful performance.
Load Strap; See ratchet strap.
Loading Bay: Access onto the theater of scenery and other equipment. Also called Get In.
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Orange High School 2009 Stagecraft/Design Luan (US): See Lauan.
Mahl-stick: A short stick by scenic painters to steady the hand by resting its padded end against the surface being painted.
Marie tempest hinge: Door hinge that has been reinforced by a screw lever to keep the door from opening by itself on a raked stage. Named after the sctress Dame Marie Tempest (1864-1942)
Masking tape: Paper sticky type used to mark out the boundary of a surf ace to be painted or sprayed.
Masking: Neutral material or designed scenery which defines the performance area and conceals the technical areas. German Masking: Consists of 3 sets of flats or drapes lining the edges of the performance space. This type of masking is sometimes known as ‘up and down masking’ as it runs up-and down stage. This term seems to be rarely used now.
MDF: Medium Density Fiberboard. Dust masks must be used when cutting MDF, as the resins used for binding the board can be dangerous.
Model: A scale model provided by the set designer to help all the technical departments to co-ordinate and plan a production. Used as a reference when building, painting, dressing and lighting the set. The first stage of model-making is the white card model which shows the form of the set, but not the detail of painting/ texture/ color. When that’s been approved by the director, and has been roughly budgeted, the final model is produced which should look identical to the finished set on stage. This is used as a reference by scenic artists and lighting designer etc.
Model Box: 1) Wooden box representing the walls of a theater space in which cardboard scale models can be placed by the set designer. See also model.
Monkey Pole: A stick threaded at one end with the line used to cleat two adjacent flats together, enabling the flats to be quickly and silently joined or separated. The stick remains attached to the line and flat of which it forms part.
Mouse: Moving part of a scenic automation system. Mice run on cables under the stage floor, and can be made useful by inserting a metal spade through a wheeled piece of scenery into the mouse, which then pushes or pulls the scenery with it. The Scenery sometimes has additional guide pins which move in guide tracks which allow the scenic piece to move in more complex directions.
Oistat: International Organization of theatre Stenographers, Technicians and Architects.
Out: In flying, means up.
Outrigger: An extendable leg to increase the stability to access equipment.
Paint frame: Large vertical wooden frame from which cloths are hung for painting. The frame is often wichable for easy access.
Parallel: 1) The folding frame that forms the base of a readily portable platform. 2) The opposite of series when referring to wiring two loads into one outlet. The two loads share the available current, but are both given the same voltage.
Periaktoi: Term for three-sided slats mounted on a rotating base. Used in rows to produce easily changed backings.
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Orange High School 2009 Stagecraft/Design Pin Hinge: Hinge with removable pin used to join two pieces of scenery together.
Pipes: Us term for the bars on which scenery and lanterns are flown.
Plan: A scale drawing showing a piece of scenery, the whole set, lighting layout etc from above. Lighting plans are usually drawn onto the theatre’s ground plan. A view from the sides of the set is known as an elevation.
Ply: Short for plywood.
Polystyrene: Also known as Breadboard or Styrofoam, this lightweight synthetic material id ideal for carving rough shapes for use on stage. It should be treated with a fire-proofing product before being used on stage. Products such as Rosco, Foam coat add this fireproofing as well as providing a primed surface which is ready for painting.
Portal: An archway made by combining wings/legs and border. Also a decorative framing, columns and pediments or filigree or other that frames the stage.
PPE: Abbreviation of personal protective equipment. More information coming soon.
Practical: Any object which appears to do onstage the same job it would do in life, or any working apparatus. Light fittings which have to light up on the set are called Practical’s.
Profile: 1) A type of lantern with at least one Plano-convex lens which projects the outline of any chosen shape placed in its gate, sometimes with a variable degree of hardness/softness. Profiles include four beam-shaping metal shutters, a gate to take an iris or gobo and an adjustment to make the beam smooth and even or hot in the center. See Bifocal spot, Zoom Profile. 2) Shaped piece of scenery added to the edge of a flat instead of a straight edge. Also known as a cutout.
Properties: See props.
Propping: The task, usually performed by stage management, of going around finding/borrowing/buying props for the production.
Props: Furnishings, set dressings, and all items large and small which cannot be classified as scenery, electrics or wardrobe. Props handled by actors are known as hand props, props which are kept in an actors costume are known as personal props.
Rag: Main set of tabs at the proscenium arch.
Rail: 1) See flat. 2) Same as fly rail.
Ratchet strap: Woven strap with a ratchet tensioned used for securing a load in lorry. Also known as Load strip.
Return; 1) Flats joined to the DS edge of flats of a set or unit that return onto the wings. They help mask and also keep the DS edge of a set from looking raw. 2) A financial report given to theater management staff by the box office manager on a daily or weekly basis setting out the takings for performance. 3) Route for an auxiliary signal into a sound mixer.
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Orange High School 2009 Stagecraft/Design Reveal: A return which is at right angles to a flat, and suggests the thickness of a window, wall, doorway etc.
Revile: A turntable built into the stage floor on which scenery can be set and then driven into view. Can be electrically revolve with a stationary centre section is known as a Doughnut revolve.
Rig: 1) The construction or arrangement of lighting equipment for a particular production. 2) Installing lighting, sound equipment and scenery etc for a particular show.
Rigging: Coming soon.
Riser: 1) Any platform on stage, for instance, the series of platforms for choral presentations are called choral risers, the rostrum on which a drumkit and drummer is positioned is the drum riser. 2) The vertical portion of a step which gives a set treads its height. 3) A microphone which can be raised through a small trap in the stage floor to a convenient height for an actor. Usually positioned just upstage of the footlight position, center stage.
Roll Drop: Cloths flown on rollers.
Roller: A system whereby cloths can be rolled up/down instead of flying in/out in a theatre where there is no fly tower, or limited flying height.
Rostrum: A portable platform, usually in the form of a collapsible hinged framework with a separate top.
Ruche: 1) A pair of curtains parting in the center and moving horizontally, particularly those used in a downstage position in variety and revue productions. 2) Persons employed as production assistants to do odd jobs and errands during a production period. 3) Strips of carpet used backstage to silence actors shoes during performance.
S.W.L: Sake working load. The maximum weight that should be put onto a lifting device or suspension point.
Sand Bag: Attached to an unused spot line to stop it running back through the pulleys, and to enable it to fly in without fouling adjacent equipment.
SBTD: Society of British Theatre Designers.
Scenery: To be defined.
Scenic paint: Traditionally, a mixture of glue size, water and pigment. Modern practice has also adopted PVA as a bonding medium which can be used when scenery has got to be washed and used again.
Stenography: See scenographer.
Screw Eye: A threaded metal ring screwed to the rear of a flat for securing a stage brace.
Scrim: 1) Course gauze. 2) A fine metal mesh used to reduce the intensity of light from TV lanterns without affecting color temperature.
Section: See elevation.
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Set: 1) to prepare the stage for action. 2) The complete stage setting for a scene or act.
Set Designer: Member of the artistic team for a show who works with the director to create the scenic look for the stage throughout the show and any accompanying props.
Set dresser: Member of production staff is responsible for the props and furniture that are required on the set.
Set dressing: See dressing.
Setting line: Imaginary line running across the width of the stage, in line with the proscenium arch, which is marked on the ground plan and is used as a reference when planning furniture layouts etc.
Sheave: The wheel in a pulley block which carries the wire or rope.
Show Cloth: Front cloth painted with a design specific to a particular show, sometimes containing the show logo or title.
Snap hook: A plastic or metal s hook used to hang tabs etc. A sprung catch prevents the hook becoming detached.
Snap line: Chalked piece of string which, when stretched tight and snapped is used for marking straight lines on stage or on scenery as a painting aid.
Snow bag: Long narrow cloth bag fixed between two flying bars filled with artificial snow. When one of the bars is flown in and out the snow is shaken out onto the stage.
SNUB: We term. To seize the lines on a flying piece to prevent it’s movement, either with another rope or with a mechanical line locking device.
Spade: Thick metal blade which is inserted through a piece of moving scenery into a mouse to allow the movement of the scenery to be controlled by an automation system.
Span set: Sling and safety equipment manufactured, whose name is often generically used for a round ling. Spanset were the originator, and popularized the modern day rounds ling.
Spotter: Member of the fly crew whose responsibility is to check it’s safe to fly an item on cue. Sometimes the role is taken by the fly man/fly operator him/herself.
Stage Brace: See brace.
Stage Dressing: To be defined.
Stage left/right: Left/right as seen from the actor’s point of view on stage. Stage right= OP French: Cot, Jar din, Netherlands: Toneel links. Stage left: PS French: Cot, Court, Netherlands: Toneel Rechts.
Stage plan: To be defined.
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Orange High School 2009 Stagecraft/Design Stage weight: See brace weight.
Stand by: 1) A warning given to technical staff by management that a cue is imminent. The member of the stage management team calling the cues will say ‘Stand by Cue 12’. 2) A member of the cast of musical or play who understudies one of the principle roles, but is not also in the chorus. A stand by often won’t even be required to be at the venues at each performance unless he/she is called in to perform in the role for which he/she is an understudy.
Stock Scenery: Standard items of scenery used in a number of different performances. Many theaters have a stock of flattage or roster platforms which are reconfigured for many different productions.
Swatch: A sample of fabric to demonstrate the material to use on a costume or set design, or a sample of lighting gel. A catalogue of all the gel colors made be a particular manufactured is called switch book.
Tab-Track: Track for suspending and operating horizontally moving curtains. May be hand or winch operated.
Tabs: Originally tableaux curtains which drew outwards and upwards, but now generally applied to any stage curtains including a vertically flying front curtain and especially a pair of horizontally moving curtains which overlap at the centre and move outwards from the center.
Tallescope: A retractable alloy vertical ladder on an adjustable wheeled base. The platform at the top is just large enough to hold one person.
TAT: Small off cuts of cloth or wood.
Teaser: Border, usually black, set behind the proscenium and linked with tormentors to forms an inner frame to the stage, and to mask lighting bars and the upper parts of the fly tower.
Thimble: Protective metal or plastic loop used to reinforce and protect the eye at the end of the wire rope.
Throw line: A rope used to hold flats together as one via cleats.
Tormentor Tease: To be defined.
Track: 1) Metal structure with rails on which curtain runners are placed to enable curtains to open and close smoothly. 2) A side ways movement of a flying piece, or flown actor.
Traveler: A motorized horizontally moving belt at stage level used for moving scenery or actors on / off stage. Direction and speed are easily controlled.
Traverse: Form of staging where the audience is on either side of the acting area.
Traverse Curtain: To be defined.
Upstage: The part of the stage furthest from the audience.
Usitt: United States Instituted of Theatre Technology.
West coast: In theatres with reduce flying height; West coasting is the act of building up a cloth or backdrop and tying it to a fly bar so that it can be flown out of sight.
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Wing flats: Flats with mask the entrance at the sides of the stage.
Working Drawings: Plans from which carpenters and other technicians can build the scenery.
Wysiwyg: Acronym of What You See IS What You Get. Mainly used in the context of a software tool lighting design and production administration.
Zarges: German manufactured of a range of ladders. Commonly refers to the 3- part leader used on many stages around Europe.
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NJCCCS – New Jersey Core Curriculum Content Standards
Introduction
In the development of curriculum, three approaches are generally used; vertical alignment, horizontal organization, and cross content integration. Vertical alignment means that content and skills are arranged in scope and sequence so that they build on one another. This is the method that was used to develop and refine the New Jersey Core Curriculum Content Standers (CCCS) for the Visual & Performing Arts. Cumulative progress indicators (CPIs) were developed under strand titles at the K-2, 3rd -4th, 6th-8th, and 9th through 12th grade band clusters; however, the numbering of CPIs did no necessarily follow in order from grade level to grade level. Horizontal organization relates to scope sequence or a side-by-side organization of the elements. The document that follows uses a horizontal approach to organize the visual and performing arts strands and CPIs. The concepts that are explored and the activities that are called for are aligned to the general sequence of cognitive and physical development of students. In a “spiral curriculum,” concepts may be introduced on a simple level in the early grades, and then revisited with increasing complexity and application later on. Principles of sequence include 1) simple complex; 2) deterring prerequisites; 3) whole to part learning; and 4) chronological sequencing (historical). Blank boxes in early elementary grades indicate that certain skills and/or content is not introduced until later grades, when it is more developmentally appropriate. A blank box at the upper end of the grade band spectrum indicates that no new concept or skill is introduced, but the instruction should continue, building on previously introduced concepts or skill sets. The progress indicators in the horizontal rows are connected through common themes that build sequentially to become increasingly rigorous throughout the progression of grades. Cross-Content Integration describes the connections between and among the content and learning experiences in the curriculum. The arts are a catalyst for curriculum integration and learning. Recent emphasis on integration in the various schools reform efforts has been brought about as a way to help improve learning outcomes and to provide more authentic and relevant learning experiences for the learner. Examples of cross-content integration are modeled among the visual and performing arts framework sample activities. (An example of a thematic approach to integration can be found on page 17 of the Visual & Performing Arts Frameworks Sample Activities; A Day at the Beach). These activities are meant to serve as springboards for appropriate instruction; rather than embedded curriculum. Neither the horizontal design nor the CCCS are a curriculum. The development of relevant standers-based curriculum is the purview of local school districts and should focus on the “essential concepts,” of all the arts standards; and not a select few. For additional visual and performing arts education curriculum recourses, you may consult the New Jersey Department of Education web site at: www.state.nj.us/eduaction.
Visual and Performing Arts
Standard 1.1 (Aesthetics) All students will use aesthetic knowledge in the creation of, and in response to, dance, music, theater, and visual art.
A. Knowledge 1. Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. 3. Determine how historical responses affect the evolution of various artistic styles, trends and movements in art forms from classicism to post-modernism. B. Skills Page | 94
Orange High School 2009 Stagecraft/Design 1. Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies.
STANDARD 1.2 (Creation and Performance) All students will utilize those skills, media, methods, and technologies appropriate to each art form in the creation, performance, and presentation of dance, music, theater, and visual art.
A. Dance
1. Demonstrate technical proficiency and artistic application of anatomical and kinesthetic principles in performance. 3. Collaborate in the design and production of a dance work.
C. Theater 2. Interpret a script by creating a production concept with informed, supported, and sustained directorial choices. 3. Collaborate in the design and production of a theatrical work. 4. Plan and rehearse improvised and scripted scenes.
5. Outline a variety of pathways and the requisite training for careers in theater.
D. Visual Art 2. Perform various methods and techniques used in the production of works of art.
STANDARD 1.3 (Elements and Principles) All students will demonstrate an understanding of the elements and principles of dance, music, theater, and visual art.
C. Theater 3. Interpret a script to develop a theatrical production concept. 4. Explain the basic physical and chemical properties inherent in components of technical theater such as light, color, pigment, scenic construction, costumes, electricity, paint, and makeup.
D. Visual Art 1. Compare and contrast innovative applications of the elements of art and principles of design. 2. Analyze how a literary, musical, theatrical, and/or dance composition can provide inspiration for a work of art.
STANDARD 1.4 (Critique) All students will develop, apply and reflect upon knowledge of the process of critique.
A. Knowledge 3. Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer.
B. Skills 1. Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. 2. Provide examples of how critique may affect the creation and/or modification of an existing or new work of art.
STANDARD 1.5 (History/Culture) All students will understand and analyze the role, development, and continuing influence of the arts in relation to world cultures, history, and society.
B. Skills
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Orange High School 2009 Stagecraft/Design 1. Evaluate the impact of innovations in the arts from various historical periods in works of dance, music, theater, and visual art stylistically representative of the times.
National Standards for Arts Education http://www.education-world.com/standards/national/arts/index.shtml
NA-M.9-12.8 UNDERSTANDING RELATIONSHIPS BETWEEN MUSIC, THE OTHER ARTS, AND DISCIPLINES OUTSIDE THE ARTS Achievement Standard Advanced: - Students explain how the roles of creators, performers, and others involved in the production and presentation of the arts are similar to and different from one another in the various arts (e.g., creators: painters, composers, choreographers, playwrights; performers: instrumentalists, singers, dancers, actors; others: conductors, costumers, directors, lighting designers)
NA-D.9-12.7 MAKING CONNECTIONS BETWEEN DANCE AND OTHER DISCIPLINES - Students demonstrate/discuss how technology can be used to reinforce, enhance, or alter the dance idea in an interdisciplinary project
NA-T.9-12.1 SCRIPT WRITING BY PLANNING AND IMPROVISING, WRITING AND REFINING SCRIPTS BASED ON PERSONAL EXPERIENCE AND HERITAGE, IMAGINATION, LITERATURE, AND HISTORY Achievement Standard: - Students construct imaginative scripts and collaborate with actors to refine scripts so that story and meaning are conveyed to an audience Achievement Standard Advanced: - Students write theatre, film, television, or electronic media scripts in a variety of traditional and new forms that include original characters with unique dialogue that motivates action
NA-T.9-12.3 DESIGNING AND PRODUCING BY CONCEPTUALIZING AND REALIZING ARTISTIC INTERPRETATIONS FOR FORMAL AND INFORMAL PRODUCTIONS Achievement Standard: - Students explain the basic physical and chemical properties of the technical aspects of theatre (such as light, color, electricity, paint, and makeup) - Students analyze a variety of dramatic texts from cultural and historical perspectives to determine production requirements - Students develop designs that use visual and aural elements to convey environments that clearly support the text - Students apply technical knowledge and skills to collaboratively and safely create functional scenery, properties, lighting, sound, costumes, and makeup - Students design coherent stage management, promotional, and business plans Achievement Standard Advanced: - Students explain how scientific and technological advances have impacted set, light, sound, and costume design and implementation for theatre, film, television, and electronic media productions - Students collaborate with directors to develop unified production concepts that convey the metaphorical nature of the drama for informal and formal theatre, film, television, or electronic media productions
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Orange High School 2009 Stagecraft/Design - Students safely construct and efficiently operate technical aspects of theatre, film, television, or electronic media productions
- Students create and reliably implement production schedules, stage management plans, promotional ideas, and business and front of house procedures for informal and formal theatre, film, television, or electronic media productions
NA-T.9-12.4 DIRECTING BY INTERPRETING DRAMATIC TEXTS AND ORGANIZING AND CONDUCTING REHEARSALS FOR INFORMAL OR FORMAL PRODUCTIONS Achievement Standard: - Students develop multiple interpretations and visual and aural production choices for scripts and production ideas and choose those that are most interesting - Students justify selections of text, interpretation, and visual and aural artistic choices - Students effectively communicate directorial choices to a small ensemble for improvised or scripted scenes Achievement Standard Advanced: - Students explain and compare the roles and interrelated responsibilities of the various personnel involved in theatre, film, television, and electronic media productions - Students collaborate with designers and actors to develop aesthetically unified production concepts for informal and formal theatre, film, television, or electronic media productions - Students conduct auditions, cast actors, direct scenes, and conduct production meetings to achieve production goals
NA-T.9-12.5 RESEARCHING BY FINDING INFORMATION TO SUPPORT CLASSROOM DRAMATIZATIONS Achievement Standard: - Students identify and research cultural, historical, and symbolic clues in dramatic texts, and evaluate the validity and practicality of the information to assist in making artistic choices for informal and formal productions Achievement Standard Advanced: - Students research and describe appropriate historical production designs, techniques, and performances from various cultures to assist in making artistic choices for informal and formal theatre, film, television, or electronic media productions
NA-T.9-12.6 COMPARING AND INTEGRATING ART FORMS BY ANALYZING TRADITIONAL THEATRE, DANCE, MUSIC, VISUAL ARTS AND NEW ART FORMS Achievement Standard: - Students describe and compare the basic nature, materials, elements, and means of communicating in theatre, dramatic media, musical theatre, dance, music, and the visual arts - Students determine how the non-dramatic art forms are modified to enhance the expression of ideas and emotions in theatre - Students illustrate the integration of several arts media in informal presentations Achievement Standard Advanced: - Students integrate several arts and/or media in theatre, film, television, or electronic media productions
NA-VA.9-12.2 USING KNOWLEDGE OF STRUCTURES AND FUNCTIONS
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Orange High School 2009 Stagecraft/Design - Students create multiple solutions to specific visual arts problems that demonstrate competence in producing effective relationships between structural choices and artistic functions
NA-VA.9-12.3 CHOOSING AND EVALUATING A RANGE OF SUBJECT MATTER, SYMBOLS, AND IDEAS Achievement Standard: Students apply subjects, symbols, and ideas in their artworks and use the skills gained to solve problems in daily life Achievement Standard Advanced: - Students evaluate and defend the validity of sources for content and the manner in which subject matter, symbols, and images are used in the students' works and in significant works by others
NA-VA.9-12.5 REFLECTING UPON AND ASSESSING THE CHARACTERISTICS AND MERITS OF THEIR WORK AND THE WORK OF OTHERS Achievement Standard: - Students identify intentions of those creating artworks, explore the implications of various purposes, and justify their analyses of purposes in particular works - Students describe meanings of artworks by analyzing how specific works are created and how they relate to historical and cultural contexts Achievement Standard Advanced: - Students correlate responses to works of visual art with various techniques for communicating meanings, ideas, attitudes, views, and intentions
NA-VA.9-12.6 MAKING CONNECTIONS BETWEEN VISUAL ARTS AND OTHER DISCIPLINE Achievement Standard: - Students compare the materials, technologies, media, and processes of the visual arts with those of other arts disciplines as they are used in creation and types of analysis Achievement Standard Advanced: - Students synthesize the creative and analytical principles and techniques of the visual arts and selected other arts disciplines, the humanities, or the sciences
National Center for Construction Education and Research
BASIC SAFETY (MODULE 00101-00) 1. Explain the role that safety plays in the construction crafts. 2. Describe what job-site safety means. 3. Explain the appropriate safety precautions around common job-site hazards. 4. Demonstrate the use and care of appropriate personal protective equipment. 5. Follow safe procedures for lifting heavy objects. 6. Describe safe behavior on and around ladders and scaffolds. 7. Describe fire prevention and fire fighting techniques. 8. Define safe work procedures around electrical hazards.
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Orange High School 2009 Stagecraft/Design INTRODUCTION TO CONSTRUCTION MATH (MODULE 00102-00) 1. Add, subtract, multiply, and divide whole numbers, with and without a calculator. 2. Use a standard ruler and a metric ruler to measure. 3. Add, subtract, multiply, and divide fractions. 4. Recognize some of the basic shapes used in the construction industry and apply basic geometry to measure them.
INTRODUCTION TO HAND TOOLS (MODULE 00103-00) 1. Recognize and identify some of the basic hand tools used in the construction trade. 2. Use these tools safely. 3. Describe the basic procedures for taking care of these tools.
INTRODUCTION TO POWER TOOLS (MODULE 00104-00) 1. Identify commonly used power tools of the construction trade. 2. Use power tools safely. 3. Explain how to maintain power tools properly.
INTRODUCTION TO BLUEPRINTS (MODULE 00105-00) 1. Interpret and use drawing dimensions.
BASIC RIGGING (MODULE 00106-00) 1. Identify and describe the use of slings and common rigging hardware. 2. Describe the basic inspection techniques and rejection criteria used for slings and hardware. 3. Describe the basic hitch configurations and their proper connections. 4. Describe basic load-handling safety practices.
COMMUNICATION SKILLS (MODULE 00107-04) 1. Demonstrate the ability to understand information and instructions that are presented in both written and verbal form. 2. Demonstrate the ability to communicate effectively in on-the-job situations using written and verbal skills.
EMPLOYABILITY SKILLS (MODULE 00108-04) 1. Demonstrate critical thinking skills and the ability to solve problems using those skills.
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Suggested Readings Braun & Schneider. (1975). Historic Costumes in Pictures. Dover Publications. ISBN# 048623150X. Bruder, Melissa ET. Al. A Practical Handbook for the Actor. NYC: Knopf, 1986. Carter, Paul and George Chiang (Ill.). (1997). the Backstage Handbook. US: Broadway Press. ISBN# 091174729X Clurman, Harold. (1997) On Directing. US: Simon & Schuster. ISBN# 0684826224. Fernald, Mary and E. Shenton. (2006). Historic Costumes and How to make them. Dover Publications. ISBN# 0486449068. Gillette, J. Michael. (2007). Designing With Light. US: McGraw-Hill. ISBN# 0073514152. Gillette, J. Michael. (2007). Theatrical Design and Production. New York: McGraw-Hill Companies. ISBN# 0073514195Glerum, Jay O. (2007). Stage Rigging Handbook. Illinois: Southern Illinois University Press. ISBN# 0809327414. Hartnoll, Phyllis. (1998) The Theatre – a concise history. Singapore: Thames and Hudson. ISBN# 0500203121 Holden, Alys E., Ben Sammler and Bronislaw Hammler. Structural Design for the Stage. US: Elsevier Science and Technology Books. 024080354X. Ionazzi, Daniel A. (1996). the Stagecraft Handbook. Cincinnati, Betterway Books. ISBN# 1558704043 Leventon, Melissa. What People Wore When? (2008). St. Martin’s Press. 0312383215. Marvuglio, Tony. (2001) Live Sound Basics. Miami, Fl: Warner Bros. Publications. ISBN# 5497900241. Mascal, Tony. (1994). Sound Check. Hal Leonard Publishing. ISBN# 079353559X. Parker, W. Oren and R. Craig Wolf. (2008). Scene Design and Stage Lighting. United States: Wadsworth. ISBN# 0495501905. Stark, Scott H. (2004). Live Sound Reinforcement. US: Course Technology Inc. ISBN# 1592006914. Trottier, David. (2005). The Screenwriter’s Bible. Silman-James. ISBN# 1879505843
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]On-Line Lesson Plans
THE DESIGN PROCESS Design LP - http://www.hstech.org/teachers/lessons/script.htm
Lighting Design LP - https://dnet01.ode.state.oh.us/ims.itemdetails/lessondetail.aspx?id=0907f84c80532014 Designs that Reflect the Culture of the Play LP - http://artswork.asu.edu/arts/teachers/lesson/drama/drama8.htm Design Concept LP - www.geocities.com/Shalyndria13/enp.htm Designer for a Day LP - http://www.milwaukeeshakespeare.com/education/lessonPlans/TheWintersTaleLesson.doc Design Collage LP - www.geocities.com/Shalyndria13/costume.htm Ground plans LP- http://www.hstech.org/teachers/lessons/gp.htm Line Drawings LP - http://www.hstech.org/teachers/lessons/drawwireframe.htm Set Design LP - http://tedb.byu.edu/Lesson/show?id=302 Modifying Existing Design LP - http://tedb.byu.edu/Lesson/show?id=308 Design LP’s - http://tedb.byu.edu/Unit/show?id=48
CONSTRUCTION Shop Math LP - http://www.hstech.org/teachers/lessons/tapemath.htm Cut list LP - http://www.hstech.org/teachers/lessons/cutlist.htm Partial Inch Worksheets . http://www.instructorweb.com/basicskills/wsp/measureall.asp . Worksheet generator - http://themathworksheetsite.com/read_tape.html Ground plan LP - http://www.hstech.org/teachers/lessons/gp.htm Set Elevations LP - http://www.hstech.org/teachers/lessons/drawwireframe.htm Scale-rule LP - http://www.hstech.org/teachers/lessons/scalerule.htm Indirect Measurement LP’s: - http://school.discoveryeducation.com/lessonplans/programs/conceptsInGeometry/ - www.learningpt.org/pdfs/mscLessonPlans/roush2.pdf - http://www.lessonplanspage.com/MathMeasurement-StandardsIndirectUnitsOfMore911.htm Graph Paper LP - http://www.teachervision.fen.com/harry-potter/lesson-plan/2696.html (applicable to school, classroom, set, etc) Perspective Drawing LP - http://www.hstech.org/teachers/lessons/drawwireframe.htm Air Nailer LP - http://www.hstech.org/teachers/lessons/nailer.htm
Lumber Sizes scavenger hunt - http://www.hstech.org/teachers/lessons/lumbersizes.htm Materials list/requisition LP - http://www.hstech.org/teachers/lessons/shoplist.htm Framing Diagonal Bracing LP - http://www.hstech.org/teachers/lessons/diagbrac.htm Platform Cut-list LP- http://www.hstech.org/teachers/lessons/platcutlist.htm
LIGHTING Lighting Intro Lesson Plan - http://tedb.byu.edu/Lesson/show?id=303 Lighting Plot LP- http://tedb.byu.edu/Lesson/show?id=304 Hanging Lights LP - http://www.hstech.org/teachers/lessons/hangingunits.htm
SOUND Page | 101
Orange High School 2009 Stagecraft/Design Sound waves LP (Lab) - http://school.discoveryeducation.com/lessonplans/programs/soundwaves/ Acoustics, Audio Basics, Cabling LP’s - www.prosoundweb.com/index.php/lsiuni/ Soldering Course On-line - www.qualitysoldering.com/lesson.shtml Soldering LP - www.texastandi.unt.edu/curriculum/lessons/electronics_05/soldering06/soldering06_plan.pd KNOTS AND RIGGING Mechanical Advantage LP - http://library.thinkquest.org/CR0210120/Mechanical%20Advantage.html
PAINTING Color Mixing Lap’s http://www.princetonol.com/groups/iad/lessons/middle/Carolyn-fauves.htm http://www.learnnc.org/lp/pages/3131 http://elizabethchudick.com/lessonplan.php?planID=3 http://www.ket.org/painting/self_unit3.htm
Painting Scenery LP’s http://www.set-painting.com/ www.magicschool.org.uk/school/simple.htm Aging scenery Hollywood-style: SIMPLE SCENERY AGING - HOLLYWOOD STYLE By Donna Wymore, Colorado... Gridding On-line LP’s http://www.kent.k12.wa.us/staff/ChristopherLouck/lessons/Art/Week3/2.13.06.doc With a cool Mondrian twist: http://www.lessonplanspage.com/ArtMondrianStyleGridEnlargedPointillismPainting912.htm
PROPS AND FURNITURE Prop Design LP - http://tedb.byu.edu/Lesson/show?id=305
COSTUMES, MAKE-UP, AND WARDROBE Costume Board w/6 lesson plans - http://tedb.byu.edu/Unit/show?id=18 Costume Collage LP - www.geocities.com/Shalyndria13/costume.htm
Costume Design LP - http://tedb.byu.edu/Lesson/show?id=306 Make-up Design LP - http://tedb.byu.edu/Lesson/show?id=307
PRODUCING Lesson plan - http://www.hstech.org/teachers/lessons/prodpositions.htm
PLAYWRITING Comprehensive Lesson Plans for Basic Playwriting - http://www.youngplaywrightstheater.org/Resources/TeacherResource/index_E.html Playwriting for Younger Students (applicable to simplify concepts) - http://www.childdrama.com/lpplay.html Writing a monologue - www.geocities.com/Shalyndria13/playwrit.htm
LIT Poster and Press - Lesson Plan at http://www.artsedge.org/content/2190/ Advertising - Lesson Plans available at - http://42explore.com/advertis.htm
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