1 Denver School of the Arts Production Contract Dramaturge ALL SCHOOL MUSICAL

Dramaturge Application (please print or type)

Name:______Home Phone:______Cell phone: ______Email: ______Parent's name/phone: ______

Why are you applying for the production team?

What qualities do you feel you possess that will make you a good leader to your peers?

Create a calendar of all the duties of the Dramaturg. Do this on a separate piece of paper.

List activities you are in outside of school--include jobs-- and the times that you are required to be there.

Do you have your own transportation to and from school? ______List any special skills you have that you think could be applied to this show: 2

What is a Dramaturg?

A Dramaturg is a very important aspect to a production—the academia behind the creative side of a show. Their primary job is to ask questions—and in turn have the answers to the world of the play.  Research the time the play was written and when it is set. Intellectualize the play for the actors and the director.  Research the life of the playwright and make connections from their life to the world of the play.  Research the economic, politics, religion, geography, climate, and previous action of a play.  Research a production’s history—look for threads or ways into a show. What can we learn from reviews of the original Broadway cast, or even community theatres?  Create outreach with audience—including presentations to outside groups to increase ticket sales, to creating lobby displays to educate the audience about the world of the play, and to writing parts of the program to supplement a production.

Jobs of the Dramaturg 1. Interpersonal communication 2. Promote information to those who WANT it 3. Answer only questions that are asked 4. No EGO in dramaturgy 5. You are a sounding board and resource

Dramaturgs will attend rehearsals to ask questions. Where are you confused? Are you looking at the right place—is the focus good? Dramaturgs gives their notes to the Director not the actors. Once you receive the position of Dramaturg you will split the duties of the dramaturg with your partner. 3 Denver School of the Arts Production Contract Dramaturge ALL SCHOOL MUSICAL CONTRACT PLEASE TURN IN THE LAST PAGE OF THIS CONTRACT AT YOUR AUDITION with BOTH the STUDENT and PARENTS SIGNATURES

We are setting forth to not only produce a musical, but also to learn to work as a team, develop our skills both personally and artistically, and share the joy of live performance. This contract outlines what we expect from our production team. Being a leader in a process like this means you have the respect of your peers and can handle advising and managing your peers. You must understand that it is an honor to be a part of this production; that it is a privilege, not a right to be part of the production team.

Please read the following carefully and sign the bottom of this contract.

The position of Dramaturg is one that takes a self-motivated person to read the requirements, plan a schedule of due dates, and follow through with the responsibilities outlined in this contract.

1. ATTENDANCE: I will attend ALL rehearsals and performances unless the Director specifies otherwise. If I miss final dress rehearsals, teasers, or a performance, I may be replaced or dismissed. I will accept consequences for my actions that the Directors feel are necessary. I understand that there is an entire ensemble of people depending on me and I will make smart choices during the production process. I cannot miss a rehearsal unless I list it on my conflict sheet and it has been approved by directors as an excused absence. If I reach THREE unexcused, I will be replaced. Also, three tardies equal an unexcused absence.

2. DUTIES – PRODUCTION BOOK: Create a production book before the first rehearsal including my script, notebook, and a pencil and bring it to EVERY rehearsal (even final dress). I will read the play several times. Follow the process sheet in terms of questions to answer in the initial reading.

3. DUTIES – DEPTH & RESEARCH: I will use my time in rehearsal to complete projects and serve as a resource for all actors, technicians, and the directors. I will constantly ask questions as the process goes on. I understand I am the eyes of historical context and accuracy and will speak up if something is inaccurate and/or go find out information if there are questions. If something isn’t coming across onstage in rehearsal or doesn’t make sense historically or logically, make a note of it and speak to Mr. Becker.

4. DUTIES – KNOWLEDGE: I will be aware of all deadlines and what is happening during rehearsals. I will attend all production meetings that I am able to in order to have the correct information for actors/director’s.

5. DUTIES – PRODUCTION TEAM/ACTOR PACKETS: I will create packets for the production team and actor’s that includes relevant information about the time period, culture, clothing, daily life and include lots of images and links to ACCURATE resources. You can post these on Edmodo to save trees!

6. DUTIES – MISC: I understand the following duties fall under my watch: 1. My program notes including information on the playwright, time period, and style/show itself are due in the summer – as soon as I have them. 2. Before rehearsals begin I will do the bulk of my research and be prepared to be a resource of table work. 3. I will create a display of images for the cast for first day of rehearsal, I will create a CD of period music for the ensemble. 4 4. My teaser script and display case is due in the 2nd week of rehearsal when we come back in August. 5. My lobby display plan should also be shared with the director in the 4th week of rehearsal and up by the week school starts. 6. On show dates I will be present to set up the lobby displays and work in the ticket office or as information person at the displays. 7. On the start of tech rehearsals, I will decorate the dressing rooms with items to help actors get into character. Make these deadline dates and turn it in to Mr Becker after auditions.

7. DUTIES – KEEPING IT CLEAN. I will enforce the “no food or drink (other than water) in costume” rule since there is NO food or drink allowed in the theatre, dressing or rehearsal rooms. If things are consumed at rehearsal in the lobby/hallways, I am responsible for trash and will help pick it up or encourage students to throw it away! At rehearsal dinners, I will clean up after myself and the table I eat at and make sure that I am the last one in the lunchroom so I can ensure actors clean up after themselves. Help actors care for the costumes and props they use in the production.

8. DUTIES – ENCOURAGEMENT: I understand how difficult it is to cast a show for the directors who take in all sorts of factors when piecing a cast together. If I accept my position and drop this show for any reason I may not be allowed to be a part of future all school musicals. I am building bridges with the professionals in this building and understand work ethic and what it means to be a part of a whole. I will do my best to make this show a successful process from day one. Be on the watch for any type of negative behavior in the cast regarding roles/positions—try to handle it with grace and tact. Try to stop rumors and hurtful, negative talk immediately. I am an ADVOCATE and a LEADER of this production. To let students go on and on about the part they didn’t receive takes the morale of the entire show down. I will also compliment students when they do a great job to foster positivity within the process.

9. DUTIES – FLEXIBILITY: I realize that I may be called upon to take on – or give away – duties depending on what is happening in the rehearsal/performance process. I will make sure to not be difficult about it and adjust with ease and grace.

10. IN REHEARSAL – HELPING: I understand that in rehearsal I am supposed to notate things that need to be addressed historically and/or storytelling wise. I will also be on book for accurate line/lyric memorization.

11. IN REHEARSALS – SAFE ENVIRONMENT: Keeping with professional etiquette, I understand that rehearsals are closed to everyone except cast and crew. If I notice someone in rehearsal that is not cast/crew, I will get an adult to approach them and explain this policy. When photographers come into shoot publicity photos, I will greet them and help them to know the best angles and scenes in which to take pictures.

12. COMMUNICATION: I am a member of a team and should listen to my director’s and fellow actors. If I have a problem, I will talk to the directors or the person with which I am having a problem. I act as a bridge between performers and those behind the scenes and I will take this responsibility to heart. If other actors have a problem and come to me to I will try and handle the situation maturely and confidentially or take it to an adult if it is beyond what I should handle. I will listen to problems with courtesy and patience. I will inform the director of problems that I have creatively “solved” at the end of rehearsals when actors are gone. I will model the respect I wish to receive by giving a “thank you” to acknowledge someone who has done something you 5 Denver School of the Arts Production Contract Dramaturge ALL SCHOOL MUSICAL requested or appreciated.

13. BEHAVIOR: I will be on task at all times in rehearsal and will not goof off onstage or offstage. I will help maintain and train younger actors to be quiet backstage. I will leave personal problems outside the rehearsals so my problems do not distract from the creative work being done onstage. I understand that the director’s may ask me to change something or hold me accountable since this is a learning process and part of growth is applicable feedback. I will accept all feedback with grace and thoughtfulness.

14. GRADES: I will maintain a 2.3 GPA in your classes to be eligible to perform. I will bring Mr. Becker my 3rd quarter progress report. If I am suspended from school, I will NOT be allowed in rehearsals or performances; suspensions will be treated as unexcused absences. If a suspension lands in the last two weeks of a rehearsal, I may be replaced. Depending on the nature of the suspension, I can be replaced at the digression of the directors. I MUST attend school on the day of a performance (two classes) in order to perform. I will make smart choices during the run of this production.

15. DRUGS/ALCHOHOL: I will never use alcohol or drugs before a rehearsal or performance. I will keep my mind and body at peak performance. A clear brain is essential for the creative process. If anyone even suspects me of drug/alcohol use at rehearsals they have an obligation to ME, the cast, and to the school to report it—even if it is a performance. I WILL MAKE WISE CHOICES. Disregarding this is a disservice to your cast and shows clear disrespect for the role you have been assigned. I also have a duty to report suspicions of drug/alcohol use to the director in a timely manner. I have a duty to the person using, the entire cast, and the integrity of our program to not let actors behave in a destructive manner. Even if it is a performance the directing team will follow up on your suspicions and report behaviors to the DSA Administration.

16. My BIO for the program will be emailed to [email protected]. Bios will be professional and not silly; they will be written in 3rd person, each list divided into DSA CREDITS and OTHER CREDITS, all titles of shows will be italicized, and the student’s names and roles will be in bold.

Jenny Smith (Child Ensemble): DSA CREDITS: Hairspray (Gretta), Twilight Zone (Man 2), numerous Pops Shows, 4Squared, Student Council President. OTHER CREDITS: Peter Pan (Tiger Lily), Lead Singer of Justists Rocks, blackbelt in Karate, and Fame the Musical (featured vocalist). She would like to thank her parents, and the entire cast and crew for their support and love.

17. DURING PERFORMANCES: My “costume” for the performances will be all black attire (unless you want to dress in period). Please make your blacks nice—like dress pants with a nice black shirt tucked in. Shoes need to be solid black dress shoes with rubber or soft soles that will not make noise backstage when you walk. I will be dressed in blacks for dress rehearsals. During the performance I will assist wherever I am needed, whether it is backstage shift crew or selling concessions.

As you can see from the above 17 points, being a leader of this production is a lot of hard work, dedication, time, and coaching your peers. It is not for the faint at heart, but for the go-getters in this school. It is a huge challenge and one that should be taken seriously. If you have this time and truly want to dedicate yourself to a three-month commitment, then fill out the contract on the following page and turn it in with your application. 6 My role in this show is as involved as I choose to make it.

Your parents also must sign that they understand the nature of your job. Thank you for your interest.

Remember you are a leader of this department and represent your department at all crew meetings and when you interact with any member of the production team, the cast/crew/orchestra and all other adults. You will behave in the utmost respectful manner at all times.

TURN IN AT AUDITIONS- IN THIS ORDER. Incomplete packets will affect casting. 1. Dramaturg Application for all school musical completed 2. The final page of this contract—next page—signed by BOTH student and parent 3. A copy of your grades – can be a screen shot of IC—printed out. Must show your GPA 4. Your bio for the program – written according to contract point #16.

------I WILL RETURN THE FOLLOWING PAGE TO Ms Hann. ------7 Denver School of the Arts Production Contract Dramaturge ALL SCHOOL MUSICAL NAME: ______

Grade: ______Major: ______

Actor/Student I have read the contract for this production. I understand each of the 17 points on the contract and I will discipline myself to follow this contract to the letter. I understand if all actors cast in the show follow these rules, then our production will be run professionally. I also understand if I do not follow these rules I can and will be replaced. I understand that if actors do not abide by these “rules”, deadlines will not be met, people’s feelings could be hurt if everyone is not treated with respect, and we will not grow as performers unless we follow these simple guidelines. I accept the judgment of my directing team and know if I am not living up to my part of this process I can and will be replaced. I know that being a part of this show is a privilege, not a right. I am here to learn to be a part of a team and grow as much as possible as an actor.

I hereby agree to the terms of this contract.

Please print name here: X ______

Sign here: X ______

Parents/Guardians I understand that all school musicals are DSA community events. I have read this contract and will help support my child’s involvement in the production. I understand that rehearsals will be after school, possibly some early evenings, and possibly a few Saturdays. Students are responsible for their own transportation home. I have also looked over my student’s conflicts on the schedule and agree that there are no existing conflicts that have not been listed. I understand that mounting a production takes a tremendous amount of time on all parties and will do my best to encourage my son/daughter to manage their time will outside of rehearsals and stay on top of their course studies.

I understand that this production is a learning experience for all involved and the cast will explore all sorts of issues about our past and our present day society. I understand that the directors of this production are professionals with over 60 years of experience between them. I know that sometimes they need to make decisions that are best for the team and will support them in upholding this contract. I know that being a part of this show is a privilege, not a right.

I hereby give my permission for my son/daughter to audition for this production and I agree to the terms of this contract. X ______8 Parent Email (please print clearly)______

Phone: ______

Process of a Dramaturge:

Pre-table work for Dramaturges This work is to be done PRIOR to auditions/first rehearsal

1. Initial Reading Read the play. As you read the play make a list of your responses—list your responses in the order they come to you as you read through the text. These questions and observations are important as they note ideas that you may lose sight of as you work with the script over a period of time. They also stimulate ideas that you will want to later develop in writing or in rehearsal.

Your responses will include the following: 1) Questions: Aspects of the play script that leave you with questions of one sort or another, about characters, about the action of the play, about the world of the play, about the performance conventions presumed or required by the play script, etc. The first job of the dramaturg is to raise questions. List as many questions as you can think of. Sometimes it may just be quotes that stick out in your mind.

Sample questions: a. What is the significance of… b. Where does _____ come from? c. Why does the playwright reveal _____ now? d. Who is _____? Why are they important? e. What message is being sent with _____?

2) Cracks and Threads: possible ways into the play; a metaphor, a thread you can pull on that will help unravel the work.

3) Strengths: fragments of the play script to which you respond to positively or favorably

4) Challenges: fragments to which you respond negatively or that seem problematic in terms of a potential production; this might include issues related to casting, design, language, structure, representation of gender/race/class, etc. Helpful hint: keep it simple and precise. Just list responses to the suggested areas above—can be in the form of bullets or listed as 1, 2, 3. This is NOT the time to write essays.

Utilize this with your actors in table work. Answer questions you have about the text. Ideas of rehearsal games can come from Cracks and Threads. Strengths can bring you back to why you chose this text as well as reassure you that this play is the ONE to do. Challenges will help focus you for auditions and table work.

Secondary Readings Read other works by your playwright (at least two) and write a one-page response to each one. Include a BRIEF synopsis of the plot and any observations on the text that might be helpful in understanding and interpreting the text you are producing. Present these to the director.

For a week before rehearsals begin, you and the other dramaturg should go to the downtown Denver 9 Denver School of the Arts Production Contract Dramaturge ALL SCHOOL MUSICAL Public Library and research. Go to the literature section and ask for help—they will guide you. Ask for critical analysis of the play/playwright/style. Read and determine what is worth the cast’s time. Highlight important components.

Field Work Journals This involves the exploration of material outside your specific text. The goal here is to apply historical and critical insights to the early, speculative stages of a theatre-making project. After you have done all your research on the three areas outlined below, write a summation of each point in which you identify and discuss at least two interesting ideas/concepts you discovered that may be of use to you in your production. Have sufficient documentation of your sources so we can find the original source as needed in the future.

1) The author and his world: Information pertinent to the author, to his personal life and the world in which he lived. This includes historical, cultural, political, religious, and social aspects of the era that formed the environment in which the playwright lived and wrote. How does your script reflect these influences?

2) Production History a. The original production: the role theatre in society at the time the play was first produced (this includes the social, economic, and cultural influences on the making of theatre at that time), how the play was received and relevant performance conventions. b. Subsequent productions: strengths, problems, choices revealed by various productions of this work; collect visual materials and verbal accounts; this also will include evaluations of major translations, if revelant.

3) Drama criticism/Literary criticism: critical writings that might in some way inform a potential production. Go to the Denver Public library and ask for literary criticism on this play/playwright.

Images 1. Collect abstract and literal images as well as music or sounds that might inform a potential production and prepare an exhibit of them. These images MIGHT serve as a basis for the sound/set designs… BUT they really should be visuals and aurals that evoke for you the heart of the text, the essence of what it is you want to say with your production.

2. Use these images to create an exhibit that will inspire the viewers to attend and to better understand your upcoming production.

3. During the run of the show, the exhibit can be expanded to include video presentations, slide shows, table displays…Use your imagination.

4. Also create a poster for the male and female dressing rooms. Images that will help the actors get into the world of the play at a glance.

5. Create a CD of songs from the time period that actors can play in their warm ups.

4. Actor’s Packet This is a packet of all the best and most significant research you have found about your script, past productions and reviews, period information, theme information, and images you are using to create your concept. Basically anything that fleshes out the concept, clarifies the play -- the playwright’s life and world-- what were they reacting to, and gives back story to the themes, situations, and ideas your play is about. The more professional this packet, the more useful it is to the actors. You might think about giving them assignments with the packet-- “read this review and be ready to discuss the shortfalls of past productions.” That kind of idea.

A lot of this info will be the same as your research section -- just more succinct.

Prepare a packet for your actors that include the following information: 10 1. Pronunciation and definition of any potentially difficult words (a Glossary) 2. Clarification of and/or information on obscure images and references – i.e. unknown names, places, events, literary allusions… 3. Information on the times in which the play was written; the social, religious, political, economic issues of the day, and how they impacted on the playwright and the play. (You can also assign things to the actors and have them help create this information) 4. Information on the playwright: his/her other plays, why he/she wrote this play; biographical facts about the playwright that impact on the text 5. Visuals depicting 1) the time in which the play was written (dress, decorum), and 2) previous productions 6. Information on the settings in which the play takes place. 7. General information relevant to the theme of the play.

Outreach Dramaturgs will work FOR the Associate Producer in this category 1. Identify a group from your community that you want to target to come to this production. Include why this show would benefit these people. Create a handout/brochure to send to these people. Create a handout, a game, a visual that would be helpful for that group when they come to our show. You can target a class in DSA, maybe connecting our play to a curricular event in an education class—encouraging the teacher to offer extra credit or require attendance to the show. You can also target a group outside DSA and try to get them to come in to our play.

2. Write and prepare a 20-minute “teaser” presentation of our play for the school. Organize the narration and use your research to make the play connect to our audience—really try to get students at DSA excited about coming to our play. Type a script and give this to your director.

Text analysis Format As Dramaturg, you need to do this analysis BEFORE auditions. Be ready to share with actors in first table read.

There are many forms of text analysis—this is the one we are using. Learn how to do this and then later you can figure out what is really valuable to you as directors/actors. Knowing to approach every text you use this way makes you a smart theatre performer.

I. Structure: Identify the following A. Inciting incident B. Point of Attack C. Protagonist/Antagonist D. Major Dramatic Question E. Divide play into French Scenes—give each a title F. Major turning points (AKA complications) Indicate specific lines G. Crisis of last act – indicate specific lines H. Major climaxes of ALL acts I. Beginning of denouement (a final part in which everything is made clear and no questions or surprises remain)

(Understanding the flow of the entire play helps you cut your one act. It also allows you to understand where your scenes fit into the plot and the climax of a play. This should influence you in rehearsal techniques as to help improv scenes that happen “offstage.”)

II. Given Circumstances A. Environmental facts. Substantiate the following with research when applicable. a.1) Geographical location and climate 11 Denver School of the Arts Production Contract Dramaturge ALL SCHOOL MUSICAL a.2) Time: Year, season, time of day, movement of time a.3) Economic environment a.4) Political environment a.5) Social environment a.6) Religious environment B. Significance of the above facts to the total meaning of the play a. List in order of very important to least important b. Include all the elements that are implicitly or explicitly stated and reflected in the text BUT don’t read in what isn’t there

You can do a play without any research into the above—however your choices are supported in a different way when you have facts to support and inform your choices.

III. Major Characters—for both characters in scene A. Super-Objective (Desire) state the character’s super objective in one sentence B. Will: strong? Weak? Compromiser? Use specific examples from text to illustrate your points C. Moral stance: high? Low? Wishy-washy? Give specific examples from text to illustrate your points D. Decorum: a. Age—how does age help define him/her? b. Vocal characteristics (speech patterns, vocal range, voice quality, etc) c. Physical characteristics (these include any that are demanded by text –i.e. Biff would have to be solid enough to justify his success as high school football player and Willie’s dubbing him an “Adonis”) d. Habits and mannerisms—how does he/she walk, gesture, move, sit, eat. e. Dress—how does he/she dress? Formally, informally, neatly—use specific lines/passages from text to support your conclusions. E. Major character traits: Identify as many as apply to your character. (Ex. Loving/nurturing/selfish/proud/stubborn/honest/dishonest/deceitful/manipulative, etc.) Indicate what actions the characters take in the text that motivated your choices.

(You can assign the above to your actors, however you should also do it on your own so it helps you visualize this character as supported by the text. When you discuss your answers and theirs you will see sometimes your take on the character is very different than the actors.)

IV. Idea: Identify the central idea of the play by examining and discussing the following: A. Title of the play B. Philosophical statements in the text. Find at least 3, but be selective, make sure they are representative of what the playwright is trying to say in the play as a whole. These are NOT statements of a particular character’s philosophy, which may be quite at odds w/playwright’s personal philosophy. After identifying each statement, briefly discuss why you picked it and why you think it reflects one of the basic themes/messages of the play. Philosophical means: concerned with or given to thinking about the larger issues and deeper meanings in life and events C. The contrasting values associated of the protagonist and antagonist D. Symbols and/or metaphors (separate from the title) met·a·phor --the application of a word or phrase to somebody or something that is not meant literally but to make a comparison, for example, saying that somebody is a snake. 2. all language that involves figures of speech or symbolism and does not literally represent real things 3.one thing used or considered to represent another E. Answer the following questions regarding the unfolding of the dramatic action: 12 a. Why does the protagonist take the climatic action he/she does? b. What is the result of the climatic action? c. What is most important to the protagonist during moment of greatest agony? F. After you’ve done all of the above, state the central idea in one sentence, “This is a play about…” Again—this sentence helps you stay true to the meaning/through line of your play. Can also help with cutting.