Scene Shop Foreman/Instructor

Total Page：16

File Type：pdf, Size：1020Kb

Scene Shop Foreman/Instructor Department: School of Creative and Performing Arts Type: Full-time, 10 months Reports To: Director of Production This 10-month position serves as shop foreman/stage supervisor for all SCAPA productions. Manages scene shop including the construction and installation of all scenic elements, manages inventory and student crews. Working knowledge of VectorWorks. Responsible for following and promoting all safety procedures and practices along with problem solving technical issues that may arise in the scene shop or stage areas. Teach introductory stagecraft and in other areas of expertise (eg: sound, scenic, projections) Responsibilities: Essential duties and responsibilities include the following. Other duties may be assigned. 1. Manage the daily operation of scene shop 2. Leads or assists construction, load-in and strike of all theatre productions (6 mainstage and 4 student productions annually) 3. Order and maintain supplies at required levels 4. Responsible for general and basic maintenance of scene shop 5. Works in concert with the Director of Production on all scene shop assignments and scheduling 6. Manage scene shop, coordinate construction schedules to meet production deadlines; organize and supervise student workers and scene shop techs to meet deadlines set by Director of Production. develop construction drawings; procures supplies for set construction; coordinates with outside vendors and other duties as assigned by the Director of Production 7. Collaborate with design team to plan, install and ensure proper operation of scenery and stage equipment, manage and train student crews, adhere to safety standards in the mounting, operation and strike for each production. 8. Teach 7-8 credit hours per academic year including stagecraft and scenic design 9. Opportunity to design in areas of expertise 10. Summer employment possible at Stephens College Summer Theatre Institute or Okoboji Summer Theatre Qualifications: 1. MFA in Theatre Design or Technical Theatre preferred or commensurate professional experience 2. Evidence of successful professional design work 3. Preferred successful teaching at the University/College level 4. Evidence of communication and collaboration skills, demonstrated commitment to working with a multicultural population and awareness of issues effecting women and minorities 5. Must meet and maintain Stephens Driver Qualification and Vehicle Safety Policy Stephens College offers excellent benefits, including vacation/holiday/sick pay, health/dental/life insurance, tuition waiver and College-paid retirement plan. To Apply: Qualified applicants must complete an on-line Stephens College application with the following: -A cover letter -Current Resume/Curriculum Vitae -Names of at least three references with contact information Employment will require a criminal background check. EOE. A diverse community on campus is valued. | Smoke-free campus .

Copy Link

Recommended publications

LED Lighting in a Performing Arts Building at the University of Florida
LED Lighting in a Performing Arts Building Host Site: University of Florida, Gainesville, Florida July 2014 Prepared for: Solid-State Lighting Program Building Technologies Office Office of Energy Efficiency and Renewable Energy U.S. Department of Energy Prepared by: Pacific Northwest National Laboratory PNNL-23514 LED Lighting in a Performing Arts Building at the University of Florida Final report prepared in support of the U.S. DOE Solid-State Lighting Technology Demonstration GATEWAY Program Study Participants: Pacific Northwest National Laboratory University of Florida NJ Miller SM Kaye1 PM Coleman2 AM Wilkerson TE Perrin GP Sullivan3 July 2014 Prepared for the U.S. Department of Energy under Contract DE-AC05-76RL01830 Pacific Northwest National Laboratory 1 Professor of Lighting Design, Head of the Graduate Lighting Design Program, University of Florida, Gainesville FL. 2 Graduate Assistant, Lighting Design, University of Florida, Gainesville FL. 3 Principal, Efficiency Solutions, Inc., Richland WA Preface This document is a report of observations and results obtained from a lighting demonstration project conducted under the U.S. Department of Energy (DOE) GATEWAY Demonstration Program. The program supports demonstrations of high-performance solid-state lighting (SSL) products in order to develop empirical data and experience with in-the-field applications of this advanced lighting technology. The DOE GATEWAY Demonstration Program focuses on providing a source of independent, third-party data for use in decision-making by lighting users and professionals; this data should be considered in combination with other information relevant to the particular site and application under examination. Each GATEWAY Demonstration compares SSL products against the incumbent technologies used in that location.
[Show full text]
PH-PAC Technical Specs
Port Huron High School Performing Arts Center 1 Technical Information Contact info…………………………………………..………….. 3 General………………………………………………..…………. 3 Stage…………………………………………………....………… 3 Dressing rooms/green rooms……………………..…………….. 4 Scene shop……………………………………………………….. 4 Load in………………………………………………...…………. 4 Rigging………………………………………………...…………. 4 Line set schedule……………………………………...…………. 5 Sound…………………………………………………...….…….. 6 AC power………………………………………………...……… 7 Lighting…………………………………………………....…….. 7 Video……………………………………………………….…….. 11 2 SpecialSpecial effects effects……………………………………………………………………………………………………………………………………………………………………….……………..……………… 11 MMiscMisc………isc……………….......…………………………………………………….…………………………………………………………………………………………………………………..…………………………………………….. 1111 StaStagege diagrams....diagdiagrams....………………………………………………rams....……………………………………………………………………………………………………………………………..………………….. 1212 CoContaContactntactct infooinf PortPort HuronHuron HighHigh SchoolSchool PerformingPerforming ArtsArts CenterCenter 2215 Court Street, Port Huron, Michigan, 48060 Phone: (810) 984-2611 x281 PortPort HuronHuron AreaArea SchoolsSchools AdministrationAdministration Jamie Cain – Superintendent Web: www.phasd.us 2720 Riverside Drive, Port Huron, Michigan, 48060 Phone: (810) 984-3101 Dee nnii ssee SSeeell b y,y, P A C GGeeennneeerr alal M anananageageagerr E-Mail: [email protected] Brandon Kovatch, PAC Technical Manager E-Mail: [email protected] General The Performing Arts Center is a conventional proscenium auditorium built in 2005, with a capacity of 640 seats in two sections. The
[Show full text]
(Purple Masque) Scenic Design Checklist
SECOND STAGE (PURPLE MASQUE) SCENIC DESIGN CHECKLIST MANDATORY ATTENDANCE AT: All director/designer meetings Minimum of two meetings with Faculty Scenic Designer: one prior to preliminary deadline, and one prior to final deadline. All production meetings Minimum of one run-through rehearsal prior to crew watch Crew watch All technical and dress rehearsals Strike Any conflicts with attending the above meetings/rehearsals must be cleared ahead of time with the faculty designer and the director. IMPORTANT INFORMATION There is a very limited time frame for installation and painting of scenery in the masque. Therefore, it is extremely important for you to be organized prior to your load in date. Some things to consider: You will be working late nights/weekends during load in and tech, so plan ahead to have papers/homework/studying done ahead of time. “I had to write a paper so the set didn’t get done until opening night” is not a valid excuse. EVERYTHING needs to be built prior to load in. It is best if you can paint pieces beforehand, also. If you are building a large unit, make sure it will fit through all doors. Large units in pieces should be “dry fit” in the scene shop to make sure they assemble as planned. Make sure you arrange for help ahead of time. People will be more willing to assist you if they know a week or two beforehand. This is not just your show. Having the scenery unfinished not only affects the actors, but the lighting and costume designs as well. ROUGH DESIGNS Rough designs will include research image boards of conceptual, architectural and detail inspirations for the set.
[Show full text]
Jigs and Fixtures for the Scene Shop
Jigs and Fixtures for the Scene Shop By: John McCullough A Thesis Submitted to the faculty Of the Yale School of Drama Department of Technical Design and Production In Partial Fulfillment of the Requirements For the Degree of Master of Fine Arts in Drama From Yale University May 2009 ©2009 by John McCullough. All rights reserved. Contents Introduction 1 Jigs and Fixtures for the Scene Shop 2 What are Jigs and Fixtures? 2 Adding Jigs to a Manufacturing Process 3 How to use this Book 9 Jig and Fixture Construction 11 Safety 15 Fences and Guards 17 Featherboards 20 Push Sticks 22 Table Saw 23 Zero Clearance Plate 25 Dado Blade Width Guage 26 Template Jig 27 Multi-Angle Miter Guage 29 Tenon Jig 30 Cross-cut Sled 32 Radial Arm Saw 37 45° Miter Jig 39 Stop Block 40 Band Saw 41 Band Saw 42 Band Saw Template Jig 43 V-Block Splitter 45 V-Block Cross-cut Sled 46 Band Saw Circle Jig 47 Routers and Router Tables 49 Circle Edging Safety Board 51 Circle Jig 52 Fractionating Baseplate 53 Routing Guide 54 Circular Saw 55 Rip Fence 57 Belt-Disc Sander 59 Dowel Pointing Guide 61 Chamfer Sanding Guide 62 Jigs Around the Shop 63 Pocket Miter Box 65 Jig Blocks 66 90° Stop Block 67 Board Bender 68 Story Stick 69 The Next Step 71 Appendix A 73 Bibliography 75 INTRODUCTION 2 Jigs and Fixtures for the Scene Shop Jigs and Fixtures for the Scene Shop This thesis seeks to promote safety and efﬁ ciency in the scene shop by presenting commonly used and popular jigs and ﬁ xtures for the scene shop.
[Show full text]
Production Handbookfinaldraft
PRODUCTION HANDBOOK SCHOOL OF THEATRE AND DANCE KENT STATE UNIVERSITY 2010-2011 TABLE OF CONTENTS INTRODUCTION 1 Mission of The School of Theatre and Dance 1 PROFESSIONAL BEHAVIOR 1 A Code of Ethics for Theatre Professionals 1 PRODUCTION FACULTY AND STAFF 3 Contact Information 3 ORGANIZATION OF THE SCHOOL OF THEATRE AND DANCE 5 The Faculty and Staff Production Organization 5 Faculty and Staff Production Positions 5 Producing Director/School Director (Administrative Staff) 5 Managing Director (Professional Staff) 5 Production Manager (Professional Staff) 5 Director 5 Artistic Director (Dance Concert) 6 Choreographer (Dance Concert) 6 Choreographer (Theatre Production) 6 Vocal Coach 6 Fight or Movement Coach 6 Resident (Faculty) Designers 7 Resident (Faculty) Set Designer 7 Resident (Faculty) Costume Designer 7 Scene Shop Supervisor 8 Costume Shop Supervisor 8 Lighting and Sound Supervisor 8 Marketing Coordinator (College of the Arts Administrative Staff) 9 School Administrative Assistant (Classified Staff) 9 SCHOOL OF THEATRE AND DANCE PRODUCTION POLICIES AND PROCEDURES 10 Participation Policies 10 Auditions 11 Casting Policies 11 Conflicts 11 Computer Lab Policies 12 Key Policies 12 Theatre and Rehearsal Space Policies 12 Rehearsal Policies 13 Theatre and Dance Space Policies 13 Matinee and Touring Production Policies 15 Purchasing Policies and Procedures 15 School Charge Accounts 15 Production Spread Sheet 15 Petty Cash 16 Expense Reimbursements 16 School of Theatre and Dance Box Office Policies 16 i School of Theatre and Dance Complimentary
[Show full text]
Department of Theatre and Dance
Theatre and Dance Department MANUAL FOR UNDERGRADUATE STUDIES This manual is a guide for applicants, students, and faculty members in matters related to undergraduate studies in the School of the Arts: Department of Theatre and Dance. As such, it complements the Samford University academic catalog. The catalog and manual together are binding on candidates for undergraduate degrees in theatre and dance. Questions about the manual or about undergraduate studies in music should be addressed to the Department Chair in Theatre and Dance. Andrew Westmoreland President J. Bradley Creed Provost Joseph Hopkins Dean, School of Performing Arts Don Sandley Chair, Department of Theatre and Dance 1 CONTENTS SAMFORD UNIVERSITY STATEMENT OF PURPOSE…………………………………....5 SCHOOL OF THE ARTS DEPARTMENT OF THEATRE AND DANCE DEPARTMENTALSTRUCTURE/MISSION STATEMENT………..............................…6 OBJECTIVES …………………………………………………………………………....………7 APPLICATION FOR ADMISSION………………………………………....………………….8 SCHOLARSHIP INFORMATION………………………………………..……………………8 ADVISORY PROGRAM……………………………………….………………..………………8 ACADEMIC REQUIREMENTS………………………………………………………….…….9 ACADEMIC INTEGRITY…………………………………….………………………..……….9 OUTCOME ASSESSMENTS……………………………………………….…………….……10 CHANGE IN MAJOR AND/OR ADVISOR……………………………………….………….11 PLAY SELECTION POLICY……………………………………………...……………….….11 PRODUCTION REQUIREMENTS…………………………….………………..….………...11 SAMFORD UNIVERSITY ATTENDANCE POLICY……………………………………….12 CAPSTONE REQUIREMENTS……………………………….……………………………....13 Acting……………………………………………………………………….……………14 Directing…………………………………………………………………………………15
[Show full text]
Scene Shop-General Safety
SCENE SHOP – GENERAL SAFETY WHAT THIS SHEET APPLIES TO All people using the Runnals Union Scene Shop in any way and anyone doing related work in an associated performance space. RISKS INCLUDE Scrapes, cuts & punctures, eye injuries, hearing damage, bruises, burns, falls, electrical shock, exposure to toxic chemicals, overexertion, projectiles, and repetitive motion injuries. GUIDELINES, RULES, & PROCEDURES All persons working in the Scene Shop must have the approval of the Department of Theater & Dance Technical Director or Design Faculty. The Scene Shop is closed from 12:00am until 6:00am. There are no exceptions to this rule. Know the locations of the first-aid kit, and fire alarm pull boxes. Know the locations of all fire extinguishers and how to use them. Know where the emergency electrical cut off switch is and how to use it. Use of powered tools or equipment (electric or air) requires certification on proper operational procedures by the Department of Theater & Dance Technical Director or Design Faculty. No tool with a circular rotating blade (table saw, hand held circular saw, radial arm saw, or power miter saw) may be used without the direct supervision of the Department of Theater & Dance Technical Director, Design Faculty, or Costume Shop Manager. When using powered tools or equipment (electric or air) there have to be at least two certified persons in the shop. Under no circumstances shall someone work alone using powered tools. Lift heavy objects with your legs while keeping your back as vertical as possible. When spray painting, welding, cutting Styrofoam, or using other applications causing fumes or excessive dust, wear an approved mask or respirator and turn on the exhaust fan.
[Show full text]
Scene Shop Supervisor Department: Production Reports To: Technical Director
Job Description Position: Scene Shop Supervisor Department: Production Reports to: Technical Director The Scene Shop Supervisor (a full-time hourly position), with other staff, is responsible for construction of all assigned scenery pieces for all shows/events; also load-in, set-up, and strike. Under the direction of the Technical Director and the Assistant Technical Director, the Scene Shop Supervisor constructs all scenery to drawings and specifications provided. In addition the position serves as a mentor for interns and students in the Technical Theatre Conservatory. PCPA values excellence and professionalism in all aspects of its company and public life. Integral to this position is the demonstration of practical initiative; respectful, courteous and cooperative relationships; affirmative, efficient and ethical working practices. Successful PCPA employees derive deep personal fulfillment from the exemplary completion of their duties, and in the flexibility required to respond to emergent challenges and opportunities, in accomplishment of the evolving work of the theatre and its training programs. PCPA expects a strong commitment to the mission of the theatre in service to task, colleague, company and community. Examples of Duties: Constructs scenery; understands working drawings and elevations, cut lists, construction methods (e.g. welding, pneumatics, hand tools, power tools, adhesives, foam construction plastic, etc.) Maintains a safe, healthy and clean work/shop environment. Takes an active role in load-in, tech, and strike of all productions. Maintains tools, equipment and materials inventory Assists with supervising Conservatory Technical Theatre Training students and interns in the Scenery lab classes. To perform other related work as required. Qualifications: Working knowledge of all aspects of the theatre process – production and technical as well as performance.
[Show full text]
Technical Information
Northshore Performing Arts Center TECHNICAL INFORMATION Information for Theatre Usage and Rentals Table Of Contents ● House Rules ● Technical Information of Theatrical Equipment ● Rental Questionnaire for Technical Requirements Season: 2011 –2012 Page 2 Welcome To The Northshore Performing Arts Center This booklet is designed to assist in your preparation for a successful and productive presentation at the new Northshore Performing Arts Center. The McAuliffe Green Room , NPAC lobby, necessary for any Seats in the main theatre wholly sponsored and furnished performing arts center. by the McAuliffe Family. Added Enhancements to the NPAC from the NPAC Foundation Attractive lobby to create the "theater experience," includ- ing ticket office and ample restroom facilities. Upgraded high-quality seats for greater comfort and ex- tended life. Premium theater lighting and acoustics for optimum audi- ence enjoyment of various program offerings. Expanded orchestra pit with automatic lift. Recording studio with capability for state of the art, pro- fessional-quality recordings. Modifications to the drama classroom for its use as a ver- satile "black box theater" to accommodate a variety of theatrical, educational events. (Not available for rent with the theater at this time.) Performers' green room, additional dressing rooms and additional storage. This year’s enhancement will be adding more lines sets to the rigging and further enhancements to the sound. Northshore Performing Arts Center Page 3 Table of Contents House Rules 4-5 Break Schedule 5 Theatre Safety 6-7 Stage Dimensions 8 Rigging System 8 Strike List 9 Soft Goods 10 Musical Instrument Inventory 10 Sound System 11-13 Electrics 13-16 Ground plan and Side Elevation 17-19 Production Requirements 20-23 Line Sets 24 Rental Questionnaire 25-36 From Your Technical Staff Dear Friends, We look forward in assisting you with your performance or presentation at our beautiful facility.
[Show full text]
Glossary of Theatre Terms
GLOSSARY OF THEATRE TERMS Excerpted from these books: High School Theatre Operations The High School Theatre Lighting Rep Plot High School Theatre Lighting for Architects Other books available: High School Theatre Safety Manual High School Theatre Signs and Documents You can find these books at: http://www.presett.org/helpful-books.html * indicates that the definition of this term can be found in the Glossary. Spelling: you will see hyphens and spaces and compound words used interchangeably. For example: off-stage, off stage, offstage or stage-right, stage right or stageright. APRON The part of the stage deck* that is downstage* of the proscenium*. APRON STRIP LIGHTS This is a band of lights – usually blue - that goes from one side of the stage to the other, just upstage of the stage deck that covers the pit, so that when the pit is open they warn a performer (who can be blinded by the production lights shining in their eyes) where the edge of the stage is. Some apron strip lights have a small red light in the middle, which dancers can use for spotting, and to let all performers know where the center stage line is. ARBOR The framework that holds the pig irons* that counter balance the weight of anything hung on the battens* in the counterweight system*. ARM The strip of stage deck* that protrudes out along the wall of the house* alongside the front part of the seating. BACKSTAGE The area of the stage deck* that is hidden from the audience’s view, either by drapes* or set pieces.
[Show full text]
Set Design – from Concept to Working Drawings
SET DESIGN – FROM CONCEPT TO WORKING DRAWINGS A LANGHAM COURT THEATRE WORKSHOP September 17 and September 24 Presented by Bill Adams 1 SET DESIGN – FROM CONCEPT TO WORKING DRAWINGS INTRODUCTION: WHY THIS WORKSHOP. A SET DESIGNER; YOU ARE A PRODUCER OF A PRODUCT; WHO ARE YOUR CUSTOMERS? a) THE DIRECTOR b) THE ACTORS c) THE LIGHTING DESIGNER d) THE AUDIENCE e) THE THEATRE COMPANY f) THE SET BUILDING CREW The primary focus of this workshop is to concentrate on what you need to provide to the set builders so that their task is as well-defined, unambiguous and stress free as you can make it. Often the set building crews available to various theatre companies are made up of enthusiastic volunteers with varying degrees of experience and skills working with limiting time lines and on a limited budget. Professional companies such as Pacific Opera Victoria have the luxury of a huge, well equipped scene shop and professional builders earning union wages. The set designers for those productions often provide astoundingly massive and complex designs, and the drawings and other information they provide to the builders is very detailed, very specific and complete in such a way that the builders don’t have to guess what the designer had in mind. All set designers, professional or amateur, should aspire to this. The builders need a detailed, unambiguous design. We’ll get to what that means in a bit. But first, let’s look at items ‘a’ thru ‘d’. YOUR OTHER CUSTOMERS: THE DIRECTOR – Here are some considerations. 1) The director will have a stylistic vision of the play a) It will usually be specific regarding date or era, (Victorian, 17th century, contemporary, etc.) b) It will usually be specific regarding location, (Mansion interior, 18th C ship hold, modern kitchen, etc.) c) It may have multiple settings and the director needs major scene changes to accommodate this.
[Show full text]
Assistant Technical Director/Scene Shop Foreman the Assistant Technical Director Facilitates the Work of the Technical Director
Tickets: (208) 885-7212 Office: (208) 885-6465 [email protected] www.uitheatre.com www.facebook.com/uitheatre Assistant Technical Director/Scene Shop Foreman The Assistant Technical Director facilitates the work of the Technical Director. Responsibilities • Familiarize yourself with the script and all set construction plans, drawings, sketches, renderings and models. • Assist the T.D. with the formulation of working drawings for the shop. • Assist the Technical Director in the budgeting of scenery. • Help the T.D. generate a production schedule for scenery construction • Establish an appropriate work schedule with the Technical Director, in accordance with normal shop hours. • Communicate regularly and clearly with the Technical Director and other shop supervisors • Assist the T.D. with the appropriation of materials for the scene shop. • Maintain the safety and cleanliness of all workspaces. • Enforce safe work habits in all workplaces. • Drive the shop truck when necessary • Assist the Technical Director and Master Carpenter with construction of the scenery for the production (in- cluding, but not limited to: welding, carpentry work, rigging, painting, etc.). • Assist with the training and instruction of lab students and all other shop personnel. • Assign appropriate tasks to the work crews; supervise crews on the construction site. • Assist the Technical Director with all load-ins and set-up of all set pieces • Assist the Technical Director/ATD with problem solving during all phases of the production. • Assist with the technical elements of the production during technical rehearsals. • Make repairs during the run of the show • Coordinate the strike of all scenic elements with the Technical Director • Supervise a crew during strike and make certain that tools and materials are stored properly.
[Show full text]