Stagecraft Syllabus
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Musical Theatre Performance
REQUIREMENTS FOR THE BACHELOR OF FINE ARTS IN MUSICAL THEATRE WEITZENHOFFER FAMILY COLLEGE OF FINE ARTS THE UNIVERSITY OF OKLAHOMA CREDIT HOURS AND GRADE AVERAGES REQUIRED Musical Theatre For Students Entering the Total Credit Hours . 120-130 Performance Oklahoma State System Minimum Overall Grade Point Average . 2.50 for Higher Education Minimum Grade Point Average in OU Work . 2.50 B737 Summer 2014 through A grade of C or better is required in all courses taken within the College of Fine Arts. Bachelor of Fine Arts Spring 2015 Bachelor’s degrees require a minimum of 40 hours of upper-division (3000-4000) coursework. in Musical Theatre OU encourages students to complete at least 32-35 hours of applicable coursework each year to have the opportunity to graduate in four years. Audition is required for admission to the degree program. General Education Requirements (34-44 hours) Hours Major Requirements (86 hours) Core I: Symbolic and Oral Communication Musical Theatre Performance (14 hours) Musical Theatre Support (14 hours) ENGL 1113, Principles of English Composition 3 MTHR 2122, Auditions 2 MTHR 3143, History of American 3 ENGL 1213, Principles of English Composition, or 3 MTHR 3142, Song Study I 2 Musical Theatre (Core IV) EXPO 1213, Expository Writing MTHR 3152, Song Study II 2 MTHR 4183, Capstone Experience 3 MTHR 3162, Repertoire 2 (Core V) Foreign Language—this requirement is not mandatory if the 0-10 MTHR 3172, Roles 2 Musical Theatre Electives (six of these 8 student successfully completed 2 years of the same foreign MTHR 3182, Musical Scenes I 2 eight hours must be upper-division) language in high school. -
FOUR YEAR PLAN | THEATRE: MUSICAL THEATRE This Is a Sample 4-Year Plan
FOUR YEAR PLAN | THEATRE: MUSICAL THEATRE This is a sample 4-year plan. Students are required to meet with their Academic Advisor each semester. YEAR ONE FALL SEMESTER SPRING SEMESTER Course # Course Name Units Course # Course Name Units THEA 107 Acting I 3 THEA/KINE 133C Musical Theatre Dance I 1 THEA 200C Intro to Theatre 3 SOCI 100C/ANTH 102C/ PSYC Intro to Sociology/Cultural Anthropology/ 3 THEA 134 Musical Literacy for Theatre 2 103C General Psychology CORE 100C Cornerstone 1 NT 101C New Testament Survey 3 THEA 110/106/116 Beginning Costume/Set/Scenic Construction 1 THEA 244 Beginning Musical Theatre Audition 3 ENGL 120C Persuasive Writing 3 THEA 135 Beginning Theatre Movement 2 MUSI 101 OR 102 Basic Voice 1 THEO 101C/103C Foundations of Christian Life/Intro to Theology 3 MUSI 100 Recital Attendance 0 THEA 108A Theatrical Production I 1 THEA 108B Theatrical Production I 1 THEA 132A Theatrical Performance I (if cast) 1-2 THEA 132B Theatrical Performance I (if cast) 1-2 TOTAL 16-18 TOTAL 15-17 YEAR TWO FALL SEMESTER SPRING SEMESTER Course # Course Name Units Course # Course Name Units THEA 320 Lighting Design (must be taken this semester) 3 THEA 309 Costume Design 3 THEA 202C History of Theatre I 3 THEA 207 Acting II 3 OT 201C Old Testament Survey 3 THEA 204C History of Theatre II 3 THEA 239 Makeup Design 3 THEA 344 Intermediate Musical Theatre Audition 3 THEA/KINE 433 Musical Theatre Dance II 1 THEA 208 B Theatrical Production II 1 THEA 220 Musical Theatre Vocal Technique 3 THEA 232 B Theatrical Performance II (if cast) THEA 208 A Theatrical Production II 1 1-2 + Elective THEA 232A Theatrical Performance II 1-2 Dance Class at OCC or Private Dance elective option 1 TOTAL 17-18 TOTAL 16-18 YEAR THREE FALL SEMESTER SPRING SEMESTER Course # Course Name Units Course # Course Name Units THEA 315 Scenic Design (must be taken this semester) 3 THEO 300 Developing a Christian Worldview 3 THEA 360 Dramatic Literature: Script Analysis or Elective 3 ENGL 220 Research Writing 3 POLS 155/HIST 156C U.S. -
The Creative Choreography for Nang Yai (Thai Traditional Shadow Puppet Theatre) Ramakien, Wat Ban Don, Rayong Province
Fine Arts International Journal, Srinakharinwirot University Vol.14 issue 2 July - December 2010 The Creative Choreography for Nang Yai (Thai traditional shadow puppet theatre) Ramakien, Wat Ban Don, Rayong Province Sun Tawalwongsri Abstract This paper aims at studying Nang Yai performances and how to create modernized choreography techniques for Nang Yai by using Wat Ban Don dance troupes. As Nang Yai always depicts Ramakien stories from the Indian Ramayana epic, this piece will also be about a Ramayana story, performed with innovative techniques—choreography, narrative, manipulation, and dance movement. The creation of this show also emphasizes on exploring and finding methods of broader techniques, styles, and materials that can be used in the production of Nang Yai for its development and survival in modern times. Keywords: NangYai, Thai traditional shadow puppet theatre, Choreography, Performing arts Introduction narration and dialogues, dance and performing art Nang Yai or Thai traditional shadow in the maneuver of the puppets along with musical puppet theatre, the oldest theatrical art in Thailand, art—the live music accompanying the shows. is an ancient form of storytelling and entertainment Shadow performance with puppets made using opaque, often articulated figures in front of from animal hide is a form of world an illuminated backdrop to create the illusion of entertainment that can be traced back to ancient moving images. Such performance is a combination times, and is believed to be approximately 2,000 of dance and puppetry, including songs and chants, years old, having been evolved through much reflections, poems about local events or current adjustment and change over time. -
Loyola University Department of Theatre and Dance Course Syllabus Stagecraft II - Lecture
Loyola University Department of Theatre and Dance Course Syllabus Stagecraft II - Lecture COURSE INFORMATION INSTRUCTOR INFORMATION Course Title: THEA 104-001 / 002 - Stagecraft II – Lecture Instructor: Professor M.Aikens Course Time: MW 9:30 – 10:20 / 10:30-11:20 Office Location: Monroe 631 Required Lab: Stagecraft Lab II – THEA M106 (co-requisite) Office Hours: MW 11:30 – 12:30pm or by appt. Course Location: Monroe 630 – (or various by schedule) Office Phone: 504-865-2079 Email: mlaikens@loyno TEXTBOOK (Required) Stagecraft Fundamentals, 2nd Edition, Rita Kogler Carver ISBN-13: 978-0240820514 ISBN-10: 0240820517 (Recommended References) Theatrical Design & Production, J. Michael Gillette, 5th Ed., The Backstage Handbook, Paul Carter, 3rd Ed., COURSE FEE: $0 – LECTURE $100 - LAB REQUIRED MATERIALS: Mechanical pencil w/ extra lead *See Aikens re: best choices /coupons Metal ruler with non-slip or cork back 2” Binder – 3 ring / plastic cover on front and spine / inside pockets Tab dividers – 10 / writable / or printable tabs inserts Lamp kit – socket / harp / wiring / plug * A watercolor set with brushes * Colored pencils *See Aikens re: best choices /coupons * Sketch book – spiral bound / 100 sheets * Watercolor Paper --- each project may require additional materials per design choices REQUIRED SUPPLIES: Some supplies will be provided for you, however other supplies will be needed to complete projects and assignments. COURSE DESCRIPTION This course will combine lecture and laboratory work in its approach to the student learning the skills, tools, terminology and techniques required to create a theatrical production. Practical hands on exposure to the material covered in the lecture class will be offered during the Stagecraft Lab and department stage production process. -
Types & Forms of Theatres
THEATRE PROJECTS 1 Credit: Scott Frances Scott Credit: Types & Forms of Theatres THEATRE PROJECTS 2 Contents Types and forms of theatres 3 Spaces for drama 4 Small drama theatres 4 Arena 4 Thrust 5 Endstage 5 Flexible theatres 6 Environmental theatre 6 Promenade theatre 6 Black box theatre 7 Studio theatre 7 Courtyard theatre 8 Large drama theatres 9 Proscenium theatre 9 Thrust and open stage 10 Spaces for acoustic music (unamplified) 11 Recital hall 11 Concert halls 12 Shoebox concert hall 12 Vineyard concert hall, surround hall 13 Spaces for opera and dance 14 Opera house 14 Dance theatre 15 Spaces for multiple uses 16 Multipurpose theatre 16 Multiform theatre 17 Spaces for entertainment 18 Multi-use commercial theatre 18 Showroom 19 Spaces for media interaction 20 Spaces for meeting and worship 21 Conference center 21 House of worship 21 Spaces for teaching 22 Single-purpose spaces 22 Instructional spaces 22 Stage technology 22 THEATRE PROJECTS 3 Credit: Anton Grassl on behalf of Wilson Architects At the very core of human nature is an instinct to musicals, ballet, modern dance, spoken word, circus, gather together with one another and share our or any activity where an artist communicates with an experiences and perspectives—to tell and hear stories. audience. How could any one kind of building work for And ever since the first humans huddled around a all these different types of performance? fire to share these stories, there has been theatre. As people evolved, so did the stories they told and There is no ideal theatre size. The scale of a theatre the settings where they told them. -
A GLOSSARY of THEATRE TERMS © Peter D
A GLOSSARY OF THEATRE TERMS © Peter D. Lathan 1996-1999 http://www.schoolshows.demon.co.uk/resources/technical/gloss1.htm Above the title In advertisements, when the performer's name appears before the title of the show or play. Reserved for the big stars! Amplifier Sound term. A piece of equipment which ampilifies or increases the sound captured by a microphone or replayed from record, CD or tape. Each loudspeaker needs a separate amplifier. Apron In a traditional theatre, the part of the stage which projects in front of the curtain. In many theatres this can be extended, sometimes by building out over the pit (qv). Assistant Director Assists the Director (qv) by taking notes on all moves and other decisions and keeping them together in one copy of the script (the Prompt Copy (qv)). In some companies this is done by the Stage Manager (qv), because there is no assistant. Assistant Stage Manager (ASM) Another name for stage crew (usually, in the professional theatre, also an understudy for one of the minor roles who is, in turn, also understudying a major role). The lowest rung on the professional theatre ladder. Auditorium The part of the theatre in which the audience sits. Also known as the House. Backing Flat A flat (qv) which stands behind a window or door in the set (qv). Banjo Not the musical instrument! A rail along which a curtain runs. Bar An aluminium pipe suspended over the stage on which lanterns are hung. Also the place where you will find actors after the show - the stage crew will still be working! Barn Door An arrangement of four metal leaves placed in front of the lenses of certain kinds of spotlight to control the shape of the light beam. -
Stage Manager & Assistant Stage Manager Handbook
SM & ASM HANDBOOK Victoria Theatre Guild and Dramatic School at Langham Court Theatre STAGE MANAGER & ASSISTANT STAGE MANAGER HANDBOOK December 12, 2008 Proposed changes and updates to the Producer Handbook can be submitted in writing or by email to the General Manager. The General Manager and Active Production Chair will enter all approved changes. VTG SM HANDBOOK: December 12, 2008 1 SM & ASM HANDBOOK Stage Manager & Assistant SM Handbook CONTENTS 1. INTRODUCTION 2. AUDITIONS a) Pre-Audition b) Auditions and Callbacks c) Post Auditions / Pre First Rehearsal 3. REHEARSALS a) Read Through / First Rehearsal b) Subsequent Rehearsals c) Moving to the Mainstage 4. TECH WEEK AND WEEKEND 5. PERFORMANCES a) The Run b) Closing and Strike 6. SM TOOLS & TEMPLATES 1. Scene Breakdown Chart 2. Rehearsal Schedule 3. Use of Theatre during Rehearsals in the Rehearsal Hall – Guidelines for Stage Management 4. The Prompt Book VTG SM HB: December 12, 2008 2 SM & ASM HANDBOOK 5. Production Technical Requirements 6. Rehearsals in the Rehearsal Hall – Information sheet for Cast & Crew 7. Rehearsal Attendance Sheet 8. Stage Management Kit 9. Sample Blocking Notes 10. Rehearsal Report 11. Sample SM Production bulletins 12. Use of Theatre during Rehearsals on Mainstage – SM Guidelines 13. Rehearsals on the Mainstage – Information sheet for Cast & Crew 14. Sample Preset & Scene Change Schedule 15. Performance Attendance Sheet 16. Stage Crew Guidelines and Information Sheet 17. Sample Prompt Book Cues 18. Use of Theatre during Performances – SM Guidelines 19. Sample Production Information Sheet for FOH & Bar 20. Sample SM Preshow Checklist 21. Sample SM Intermission Checklist 22. SM Post Show Checklist 23. -
History of Theatre the Romans Continued Theatrical Thegreek AD (753 Roman Theatre fi Colosseum Inrome, Which Was Built Between Tradition
History of theatre Ancient Greek theatre Medieval theatre (1000BC–146BC) (900s–1500s) The Ancient Greeks created After the Romans left Britain, theatre purpose-built theatres all but died out. It was reintroduced called amphitheatres. during the 10th century in the form Amphitheatres were usually of religious dramas, plays with morals cut into a hillside, with Roman theatre and ‘mystery’ plays performed in tiered seating surrounding (753BC–AD476) churches, and later outdoors. At a the stage in a semi-circle. time when church services were Most plays were based The Romans continued the Greek theatrical tradition. Their theatres resembled Greek conducted in Latin, plays were on myths and legends, designed to teach Christian stories and often involved a amphitheatres but were built on their own foundations and often enclosed on all sides. The and messages to people who could ‘chorus’ who commented not read. on the action. Actors Colosseum in Rome, which was built between wore masks and used AD72 and AD80, is an example of a traditional grandiose gestures. The Roman theatre. Theatrical events were huge works of famous Greek spectacles and could involve acrobatics, dancing, playwrights, such as fi ghting or a person or animal being killed on Sophocles, Aristophanes stage. Roman actors wore specifi c costumes to and Euripedes, are still represent different types of familiar characters. performed today. WORDS © CHRISTINA BAKER; ILLUSTRATIONS © ROGER WARHAM 2008 PHOTOCOPIABLE 1 www.scholastic.co.uk/junioredplus DECEMBER 2008 Commedia dell’Arte Kabuki theatre (1500s Italy) (1600s –today Japan) Japanese kabuki theatre is famous This form of Italian theatre became for its elaborate costumes and popular in the 16th and 17th centuries. -
Course Outline
Degree Applicable Glendale Community College October 2013 COURSE OUTLINE Theatre Arts 107 (C-ID Number: THTR 114) Drama Heritage: Play Structure, Form, and Analysis (C-ID Title: Script Analysis) I. Catalog Statement Theatre Arts 107 is a survey of dramatic literature from the classical to the contemporary periods from the structural, stage production, and analytical points of view. The course combines reading, analyzing and understanding play scripts with field trips to local theatres and in-class audio-visual presentations. The student examines the playwright’s methods of creating theatre and learns to distinguish between a play as literature versus a play as performance. Total Lecture Units: 3.0 Total Course Units: 3.0 Total Lecture Hours: 48.0 Total Faculty Contact Hours: 48.0 Prerequisite: None. Note: During the semester, students are expected to attend professional and Glendale Community College Theatre Arts Department productions as a part of the learning process. II. Course Entry Expectations Skill Level Ranges: Reading 5; Writing 5; Listening/Speaking 4; Math 1. III. Course Exit Standards Upon successful completion of the required coursework, the student will be able to: 1. identify representative plays and playwrights of each of the major periods and styles of dramatic literature; 2. demonstrate a respect and appreciation of plays and playwrights, their problems, techniques and relevance to social conditions of the past and present; 3. demonstrate this respect and appreciation through class participation and written assignments dealing with the comparing and contrasting of the various plays and playwrights under study; 4. identify the patterns common to most, if not all, dramatic storytelling. -
History of Greek Theatre
HISTORY OF GREEK THEATRE Several hundred years before the birth of Christ, a theatre flourished, which to you and I would seem strange, but, had it not been for this Grecian Theatre, we would not have our tradition-rich, living theatre today. The ancient Greek theatre marks the First Golden Age of Theatre. GREEK AMPHITHEATRE- carved from a hillside, and seating thousands, it faced a circle, called orchestra (acting area) marked out on the ground. In the center of the circle was an altar (thymele), on which a ritualistic goat was sacrificed (tragos- where the word tragedy comes from), signifying the start of the Dionysian festival. - across the circle from the audience was a changing house called a skene. From this comes our present day term, scene. This skene can also be used to represent a temple or home of a ruler. (sometime in the middle of the 5th century BC) DIONYSIAN FESTIVAL- (named after Dionysis, god of wine and fertility) This festival, held in the Spring, was a procession of singers and musicians performing a combination of worship and musical revue inside the circle. **Women were not allowed to act. Men played these parts wearing masks. **There was also no set scenery. A- In time, the tradition was refined as poets and other Greek states composed plays recounting the deeds of the gods or heroes. B- As the form and content of the drama became more elaborate, so did the physical theatre itself. 1- The skene grow in size- actors could change costumes and robes to assume new roles or indicate a change in the same character’s mood. -
An Introduction to Theatre
STAGE DIRECTIONS TYPES, AND POSITIONS VOCABULARY •Proscenium Stage- A traditional stage that includes a proscenium arch. The audience sits on one side. • Arena Stage- A theatre in the round. The stage is in the center with the audience sitting on all sides. •Thrust Stage- A theatre where the front part of the stage juts out into the audience, similar to a runway. Audience sits on three sides. •Flexible Staging- A theatre that can be changed to meet your needs, typically a black box theatre, but could include theatre in unconventional places. •Stage Directions- Directions of where to be and go onstage. Always given from the point of view of the actor. •Stage Positions- The position of the actors body in relation to the Audience LESSON OBJECTIVES: The Student will: •Be able to identify all types of stages. •Respond to stage directions appropriately. •Choose and execute all body positions for the appropriate effect. PROSCENIUM STAGE A proscenium stage is what most of us think of when we think of a stage. It includes a proscenium arch which creates the 4th wall. This is the invisible boundary that separates the performers from the audience. The audience only sits on one side of the stage. ARENA STAGE Arena stages have people sitting on all sides of the stage. It creates an intimate space but creates problems for actors and the creative team because it is hard to control the sight lines, or what the audience can see. Why do you think this would this be a problem? THRUST STAGE With a thrust stage the audience is seated on three sides of the stage, kind of like a runway. -
Fender 1 Identifying the Art of Stage Management in Chicago Danny
Identifying the Art of Stage Management in Chicago Danny Fender Spring 2019 Thesis submitted in completion of Honors Senior Capstone requirements for the DePaul University Honors Program Thesis Director: Susan Fenty Studham, PhD, Stage Management Faculty Reader: Coya Paz, PhD, Theatre Arts Fender 1 ABSTRACT The purpose of this project is to gain a diverse range of perspectives from Chicago theatre practitioners on artistry as it relates to the role of a stage manager. By gathering existing definitions of the roles and responsibilities of artists and comparing them to surveyed responses, this project explores both how stage managers identify their role in professional theatre, and how designers, directors, artistic directors, and dramaturgs perceive the role of a stage manager. This research will provide an overview of how Chicago theatre professionals define an artist, and if stage managers fit into those unique definitions. Fender 2 TABLE OF CONTENTS Title Page............................................................................................................................1 Abstract...............................................................................................................................2 Table of Contents...............................................................................................................3 Acknowledgements............................................................................................................4 I. Introduction............................................................................................................5