DOCSLIB.ORG

Myths, Dreams and Realities

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Myths, Dreams and Realities University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies Legacy Theses 1999 Myths, dreams and realities Hales, William C. Hales, W. C. (1999). Myths, dreams and realities (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/16062 http://hdl.handle.net/1880/25043 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Myths, Dreams and Realities William C. Hales A THESIS SUBMTTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTERS OF FINE ARTS DEPARTMENT OF DRAMA WARY,ALBERTA AUGUST 1999 O William C. Hales 1999 Bibliotheque nationale du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques 395 Wellington Street 395. rue Wellington Ottawa ON KIA ON4 Ottawa ON K1A ON4 Canada Canada Your file Volre reference Our He Norre r8fdreoce The author has granted a non- L'auteur a accorde une licence non exclusive licence allowing the exclusive permettant a la National Library of Canada to Bibliotheque nationale du Canada de reproduce, loan, distribute or sell reproduire, preter, distribuer ou copies of this thesis in microform, vendre des copies de cette these sous paper or electronic formats. la fome de microfiche/fih, de reproduction sur papier ou sur format electronique. The author retains ownership of the L'auteur conserve la propriete du copyright in this thesis. Neither the droit d'auteur qui protege cette these. thesis nor substantial extracts from it Ni la these ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent &re imprimes reproduced without the author's ou autrement reproduits sans son permission. autorisation. This thesis documents the Lighting Design and Technical Production concepts, research, development and realization for the University of Calgary Drama Department's production of Electra iii DEDICATION This thesis is dedicated to the cast and crew of Hectra and especially its director, Lawrence Leong. This project would not have been possible without their energy and enthusiasm. I would also like to dedicate this work to my family and to Wayne Dirkson and Gabe Prendergast, who started me on this path. TABLE OF CONTENTS .. Approval page ............................................................................. .... ................ u ... Abstract.......................................................................................................... 111 TabIe of Contents............................................................................................ v List of Illustrations......................................................................................... vi List of Photographs ......................................................................................... vii CHAPTER ONE INTRODUCTION .................................................... 1 CHAPTER TWO: CONCEPT DEVELOPMENT................................. 2 CHAPTER THREE: PRE-PRODUCTION PERIOD ............ ....... ......... 6 CHAPTER FOUR: FLYING DESIGN CONCEIT ................................. 14 CHAPTER FIVE: LIGHTING DESIGN ............................................... 27 Lighting Cues................................................. 40 CHAPTER SIX: PRODUCTION PEIUOD ........................................ 60 CHAFER SEVEN: FLYING SYSTEM.................................................. 76 CHAPTER EIGHT: PERFORMANCES .................................................. 97 Preshow Checklist ......................................... 98 Flying Sequence......................................... 102 CHAPTER NINE: POST PRODUCTION .......................................... 106 CHAPTERTEN- PRODUCTION REVIEW ....................................... 112 CHAPTIER ELEVEN RESEARCH............................................................. 115 NOTES .......................................................................................................... 124 REFERENCES ................... ,. ..................................................................... .,.. 126 APPENDIX A: Lighting.................. .., ............................................................ 128 APPENDIX B: Budget .................................................................................. 135 APPENDIX C: Production Schedule............................................................. 138 List of Illustrations One to one rigging Floating block rigging Counterweight rigging Traveller track on fly pipe rigging Track on track - singe purchase rige@g Track on track - double purchase rigmag Polydeuces' wing unit Polydeuces' backplate unit Pol ydeuces' wing deployment All illustrations were drawn by William C.Hales List of Photographs Lighting Cue 9 Lighting Cue 1 1.9 Lighting Cue 14.3 Lighting Cue 19 Lighting Cue 3 1 Lighting Cue 198 Lighting Cue 52 Lighting Cue 56 Flying System Rigging Loft Block Assembly Head Block Assembly Arbour Assembly Carabinier Swivel Assembly with the two safeties Javier in harness (rear view) Castor's Rolling Scaffold Unit with Lighting Instrument All photo-phs were taken by William C. Hales Chapter 1 Introduction When I was assigned the duties of Technical Director and Lighting Designer for Electq, I had to look for reasons to make this project special and challenging for myself. There had to be a challenge in the production that would force me to stretch my skills. The obvious challenge would be performing two separate assignments on the production because I would then have to delegate my personal time and resources to achieve the results that both positions would demand. The task of performing both roles on one production would be a much greater challenge than fulfilling the duties separately on two different productions. This production presented the additional challenge of working with one less skilled person, as I would be working with myself in a sense. The split focus I experienced will at times be very apparent, as this document will shift from one position to the other. This document will not follow a true chronological time line as I discuss and detail the events of the production. This split focus was very much what I felt as I worked both disciplines. This would not be that unusual an experience for me as throughout my professional career I had worked on twenty-five productions of similar or larger size where I had performed another major duty as well as being the lighting designer. I felt that it was also important to push the limits of the theatre space, the materials available and my skills. j3ectra presented a great opporhrnity for technical challenges, with the flexibility of time, place and setting and the entrance of the gods - deus ex machina. There would be very little to be gained by playing it safe as a Technical Director or as a Lighting Designer. Chapter 2 Concept Development The Drama Department had assigned the creative team of Bectra, with Lawrence Leong as director, Tasha Dyck as set and costume designer and Charleen Wilson as dramaturge- We were to create and mount a production of nectra that would be the final event for Euripidean scholars who were attending a conference in Banff- This production would be an added show in the schedule of the Drama Department's year. Our rehearsal period was to begin just before the end of the semester with our production period occurring after classes were finished. The production would run for six performances, including a preview and a find show for the members of the conference. Preliminary discussions on Bectra began between Lawrence, Tasha, Charleen and myself in early December at the end of the 1998 fall semester. We had to establish whether we were going to attempt a recreation of classic Greek theatre or to approach aectra as simply a text and story to place our own identity on. Lawrence quickly established that he was not interested in directing a 'Greek' play and was more interested in telling a story of revenge. I aged with Lawrence and felt our next step was to determine a location in time and space for the play. We also discussed which translation to use with a preference for a newer translation by Kenneth McLeish, Charleen had been researching translations and felt this was the most accessible translation for a modern audience. Lawrence had put forward the proposal to set up a class for the winter semester that would consist of the company members. They would create a new adaptation by researching and compiling a text using existing translations. This project would involve auditioning and selecting the cast in the first week of the winter semester- Lawrence, Charleen and the cast along with DJ Kelly and Christine Johns, the stage managers, would read, research and discuss several translations of Bectra. The final goal was a completed adaptation by the end of the semester. I felt this was an exciting process for the entire company and the Drama Department. The opportunity for the company to workshop the play for four months would give us great deal of lead-time for the production in May of 1999. Lawrence wanted to work a 'professional' style rehearsal period as he had just completed a position of Assistant to the Director
Load more

Recommended publications
  • Technical Rider
    TECHNICAL RIDER I. AXIS DANCE COMPANY CONTACT LIST: 1428 Alice St., #200, Oakland, CA 94612 510.625.0110 (Office) 510.625.0321 (Fax) Marc Brew, Artistic Director 510-625-0110 [email protected] Robin Anderson, Engagement Director 510-625-0110 [email protected] II. STAGE REQUIREMENTS • Wheelchair accessibility to stage is required. • Optimum stage size: 40’ opening by 36’ deep; Minimum stage Size: 36’ opening by 28’ deep • Sprung dance floor with smooth, clean dancing surface. Most of the time it will be necessary to lay a Marley floor. • Minimum electric high trim 20’. Preferred high trim 24’. • 3-4 evenly spaced wings on each side of the stage with a minimum of 6 feet between each wing. • Black borders to mask overhead lighting are preferred. • Full stage width Black Velour Drop which must either fly or be on a traveler track • Full stage width Black Sharkstooth scrim. • Full stage width White Cyclorama with a white bounce, or a white plastic (rear projection cyc). • Wheelchair accessible crossover behind stage will be required. • Wheelchair accessible dressing room, make-up area and bathroom for 6-8 artists. • Quick change areas with prop tables, chairs and running lights stage left and / or stage right for costume changes. • Temperature of all areas must be a minimum of 68 degrees. • Stage, wings, and crossover must be reasonably clear of house equipment and must be swept and mopped prior to each rehearsal and performance. • Stage shall be available to AXIS Dance Company from beginning of load-in until final performance and strike are complete. No other use of the stage or dressing rooms during this time is permitted without prior approval from the AXIS Production Manager.
    [Show full text]
  • Summer Information Packet
    S U M M E R 2 0 1 5 The nationally recognized, Award-Winning BRAVO! Performing Arts Academy an intensive theatrical experience for kids entering grades 4 - 9 PROUDLY PRESENTS ITS 13TH SUMMER SEASON! Bravo Performing Arts Academy: an intense musical theater experience designed to hone the vocal, acting, and dance skills of students who have the desire, discipline and passion for musical theater. Full book musicals are taught and performed in only 20 days! BPAA is open to students in 4-9 grades. Junior Bravo Academy: designed for students that may be new to the stage and have the desire to learn more about musical theater. Offers intimate training for students who don’t have as much experience or knowledge in music, dance and acting. Junior shows are taught and performed in only 15 days ! JBA is open to students in 4-7 grades. After only a few weeks of intensive afternoon rehearsals, we will present up to three spectacular, professional-quality musicals featuring dozens of memorable songs, originally directed scenes, stunning makeup, impressive choreography, dazzling costumes and amazing sets. Academy Dates and Times Bravo Performing Arts Academy, 2015 Auditions - May 30 & 31, 2015 June 8 - July 12 - Monday to Friday, 9am – 3:30pm No camp July 4 BPAA mandatory Tech rehearsal: Sunday, July 5 BPAA Tech Rehearsals: 5-8pm, week of show Shows considering: Rock of Ages, Seussical, Wizard of Oz, Godspell, (Play - TBD) Junior Bravo Academy, 2015 Auditions - May 30 & 31, 2015 June 8 – July 3 - Monday to Friday, 9am – 3:30pm Final camp day is July 3 Show: 101 Dalmations A Typical Day at Bravo Academy 9AM-12PM (Monday-Thursday) JBA: Rehearsals BPAA: Classes BPAA choose from specialties such as: Dance Improvisation Acting Film Props & Costumes Voice Scenic Design Theatrical Makeup Stagecraft Lunch: 12PM-12:25 PM 12:30 PM-3:30 PM (and all day Friday) Production rehearsals, Stagecraft, Film & Junior Bravo classes Audition Information Students register for a Thursday or Friday slot (4pm-6pm or 6pm-8pm).
    [Show full text]
  • 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.
    [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]
  • Tech Rider May Be Discussed Directly with the Person Responsible for Each Department
    Constanza Macras / DORKY PARK - “HERE / AFTER” PAGE1of10 TECHNICAL REQUIREMENTS The following technical requirement represents the ideal conditions under which the company wishes to operate. Any modifications must be negotiated between the presenter and Dorky Park. Closer to the date of the performance we will provide adapted lighting plans, stage layout plans, confirmed schedule. In order to prepare those plans in advance the presenter is asked to send all relevant plans and inventory lists as soon as possible. Ground plan and section view should show audience seating and rake and should not be of a scale less than 1 : 50, and also CAD plans if possible. January 14th, 2012 General description of the set The set consists of one rotating plate (5m diameter) with table and sofa on it, a hanging ceiling lamp, a mobile aquarium,a mobile door, 7 big plastic Bushes, 2 small pots with green grass, a sofa with wheels and brown dance floor. Constanza Macras / DORKY PARK - “HERE / AFTER” PAGE2of10 TECHNICAL REQUIREMENTS We bring: • The set, the props, the costumes. We require: STAGE • Dimensions: - 13m wide x 15m deep dancing area. As the wings are visible, the whole stage must be empty and clean. - Minimum height of the grid: 7 meters. • Floor: - A clean and even floor, covered with brown dance mat, 13m x 15m (we bring). - 12 x 15m soft material to lay under the dance floor, 2-3mm thick - parquet insulating underlay (extruded polystyrene heavy foam around 2.2 mm thick for floating installation of laminate floors and prefabricated parquet), cork, foam rubber or similar.
    [Show full text]
  • Other Knowledge, Skills and Abilities
    JOB DESCRIPTION JOB TITLE: Stage Manager – Student Worker FLSA: Non-Exempt DEPARTMENT: Theatre STATUS: Part-Time LOCATION: Main Campus - Union LEVEL: Student Worker REPORTS TO: Musical Director/ Theatre Faculty DATE: 12/4/2018 SUMMARY: Work directly with the director, cast and production people to move a show from inception to closing. ESSENTIAL TASKS: Employee must be able to perform the following functions to the satisfaction of the employee’s supervisor. Refer to attachment for assigned duties. MINIMUM KNOWLEDGE, SKILLS AND ABILITIES REQUIRED: Refer to attachment for knowledge, skills and abilities. QUALIFICATION REQUIREMENTS: Must be a student enrolled in at least 6 hours per semester; Must have a completed FAFSA form for the current academic year. COMMUNICATION SKILLS: Ability to communicate clearly and concisely, both orally and in writing; ability to communicate effectively in a tactful and courteous manner with a variety of people, including students, employees, faculty, and the general public; ability to manage interpersonal conflict situations requiring tact, diplomacy and discretion. OTHER KNOWLEDGE, SKILLS AND ABILITIES: Ability to accurately perform mathematical calculations; ability to apply common sense understanding to carry out instructions furnished in written, oral, and diagram form; ability to perform all essential functions using safe work methods and following safety regulations relating to job. KNOWLEDGE, SKILLS AND ABILITIES: College: Ability to perform all essential functions using safe work methods and following safety regulations relating to job; knowledge of the Family Educational Rights and Privacy Act (FERPA); knowledge of college policies, procedures, and practices. Departmental: Knowledge of department policies, procedures, and practices with the ability to answer work related questions; and/or interpret and apply these guidelines correctly in various situations; ability to read and interpret departmental documents.
    [Show full text]
  • The Technical Production Handbook: a Guide for Performing Arts Presenting Organizations and Touring Companies
    DOCUMENT RESUME ED 421 446 SO 029 328 AUTHOR Barrell, M. Kay TITLE The Technical Production Handbook: A Guide for Performing Arts Presenting Organizations and Touring Companies. INSTITUTION Western States Arts Federation, Santa Fe, NM. SPONS AGENCY National Endowment for the Arts, Washington, DC. ISBN ISBN-0-9611710-6-5 PUB DATE 1991-00-00 NOTE 59p. AVAILABLE FROML)Western States Arts ,ederation, 1543 Chamda, Suite 220, Denver, CO 80302; t ephone: 303-629-1166. PUB TYPE Books (010) Guid Non-Classroom (055) EDRS PRICE MF01/PC03 Plus Post e. DESCRIPTORS *Dance; Drama; Guid Ines; *Guides; *Production Techniques; *Theater Arts; *The rs ABSTRACT This handbook is des ned for specific use by performing arts presenters and touring companies These companies pose an immense range of production requirements and challe es to a presenter. The book stresses the basics of technical production wit'l an emphasis on presenting dance. Dance has more inherent pitfalls in it production requirements, yet is on tour the most of any of the performing rts. The first section deals with needs and responsibilities common to bh theater and dance. The second section singles out separate productio aspects of each. The third section is a glossary of terms to help the presen r understand the technical language of production. Chapters include: (1) "Itrooduction"; (2) "Presenters and Performers"; (3) "Differences between D ciplines"; and (4)"What Does It Mean? A Glossary of Terms." Appendices -..!ro additional information on technical riders, technical questionnairps, sample light plots, section drawing of the theater, fly system cross-section, and hanger log. (EH) ******************************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document.
    [Show full text]
  • SHAPESHIFT THEATRICAL INC. Grey Skies Blue
    SHAPESHIFT THEATRICAL INC. Grey Skies Blue TECHNICAL RIDER ALL CHANGES MUST BE APPROVED IN WRITING BY ARTIST Shapeshift Theatrical Inc. C/o J. Selmer Law, P.A. 500 Washington Avenue South Suite 2010 Minneapolis Minnesota 55415 (612) 338-6005 Cell (612) 220-8545 1 I. SHAPESHIFT CONTACTS: Primary Contact: James Selmer, Attorney/Manager Phone: (612) 220-8545 Email: [email protected] Artistic Director: Ashley Selmer Phone: (612) 384-9669 Email: shapeshiftmpls.com; [email protected] Production Manager/ Stage Manager: Salima Seale Phone: (612) 220-8545 Email: [email protected] II. COMPLIMENTARY TICKETS Shapeshift requires 10 comp tickets per show. (optional) III. FACILITIES Presenter agrees to furnish all that is necessary for the proper presentation of the Production/ Performance, including a suitable and safe facility, ventilated, lighted and in good working order, with a suitable stage, theatre, hall, or auditorium large enough to accommodate the anticipated crowd. Presenter agrees to meet all safety, fire, and all other laws and ordinances. IV. LODGING & TRANSPORTATION Shall be discussed and negotiated with Presenter prior to entering into formal contract. V. STAGE REQUIREMENTS a. Optimum stage size: 38’ opening by 47’ deep. Minimum stage size: 30’ opening by 30’ deep. b. Wood sprung dance floor with smooth, clean dancing surface. Marley floor is optimal. Under no circumstances is concrete flooring acceptable. c. Minimum offstage wing space: 10’ from proscenium edge to offstage walls on both sides from downstage wall to upstage wall. d. Quick change areas with wardrobe racks, prop tables, chairs, and running lights for both stage left and stage right. e. An unobstructed crossover behind the stage which is a minimum of 4’ wide.
    [Show full text]
  • Change in Existing Course
    UMBC UGC Program Changes & Other Request: BA Theatre Concentration Theatre Studies Date Submitted: Proposed Effective Date: Fall 2019 Name Email Phone Dept Dept Chair or UPD Colette Searls [email protected] 5-2917 THTR Other Contact Susan McCully [email protected] 5-2134 THTR THTR 100 Introduction to Theatre Scenography [3] THTR 100 Stagecraft (3) THTR 104 Introduction to Costume (3) THTR 104 Costume Construction (3) THTR 120 Introduction to Theatre: Theory and Production (3) THTR 120 Introduction to Theatre: Theory and Production (3) THTR 202 Introduction to Dramatic Literature [3] THTR 202 Introduction to Dramatic Literature [3] THTR 220 Craft of Acting (3) THTR 220 Craft of Acting (3) or THTR 110 Introduction to Acting (3) or THTR 110 Introduction to Acting (3) One of the Following (3) One of the Following (3) THTR 232 Scene Design THTR 232 Scene Design THTR 233 Costume Design THTR 233 Costume Design THTR 235 Lighting Design THTR 235 Lighting Design THTR 237 Sound Design THTR 241 Ensemble I (3) THTR 341 Ensemble I (3) THTR 244 Script Analysis [3] THTR 344 Script Analysis (3) THTR 261 Run Crew (1) THTR 261 Theatre Production: Running Crew (1) THTR 262 Light & Sound Crew (1) THTR 263 Costume Crew (1) THTR 262 Theatre Production: Lighting & Sound (1) THTR 264 Scenery Crew (1) One of the Following (1) THTR 263 Theatre Production: Costumes (1) THTR 264 Theatre Production: Scenery (1) THTR 310 History of Theatre (3) THTR 310 History of Theatre (3) THTR 341 Ensemble II (3) THTR 441 Ensemble II (3) One of the Following (3) One of the Following
    [Show full text]
  • Production Manual to Determine and Understand the Adjacent and Overlapping Duties of Your Associates
    Southeast Missouri State University Department of Theatre & Dance Performance & Production Guidelines Explanation This manual is designed to be a reference for all members of a Production Team to explain and clarify the necessary production work expectations, duties and responsibilities of the various crews and crew head positions at Southeast Missouri State University. This manual's intent is to promote positive and constructive communication, while providing easily accessible information on how productions are mounted at Southeast Missouri State University. This manual does not preclude discussions with the faculty, staff, and student personnel responsible for the various production areas. Preface Theatrical productions are an example of live collaborative craft. A collaborative craft means simply that no one group or member of the production team is any more or less important, or carries the entire burden of the production. Each member of the production team has specific responsibilities and duties. Those duties, when executed with proper respect and communication, can lead to the ultimate theatrical goal of creating the best possible example of the theatrical craft. Southeast Missouri State University is an academic institution; therefore many aspects of production will be linked to course work for members of the Production Team. All members of the Production Team need to be aware that sharpening of the theatrical craft is the fundamental goal of academic production work. Mistakes, blunders, experimentation, and even failure, in terms of communication, budgets, schedules, experiments, etc., are all part of the educational system. Patience and respect for other individuals’ need to explore and learn for themselves is required of all members of the production team.
    [Show full text]
  • Change in Existing Course
    UMBC UGC Program Changes & Other Request: THEATRE BA with Concentration Design and Production Date Submitted: 3/8/17 Proposed Effective Date: Fall 2017 Name Email Phone Dept Dept Chair or UPD Colette Searls [email protected] 5.2917 THTR Other Contact Susan McCully [email protected] 5.2134 THTR Specifics (see instructions): CURRENT PROPOSED Design & Production Core: Credits (31) Design & Production Core: Credits (31) THTR 100 Intro to Theatre Scenography (3) THTR 100 Intro to Theatre Scenography (3) THTR 104 Intro to Costumes (3) THTR 104 Intro to Costumes (3) THTR 120 Intro to Theatre: Theory & Production (3) THTR 120 Intro to Theatre: Theory & Production (3) THTR 202 Drama Literature (3) THTR 202 Drama Literature (3) THTR 241 Ensemble I (3) THTR 241 Ensemble I (3) THTR 244 Script Analysis (3) THTR 244 Script Analysis (3) THTR 261 Theatre Production: Running Crew (1) THTR 261 Theatre Production: Running Crew (1) THTR 262 Theatre Production: Light & Sound (1) THTR 262 Theatre Production: Light & Sound (1) THTR 263 Theatre Production: Costumes (1) THTR 263 Theatre Production: Costumes (1) THTR 264 Theatre Production: Scenery (1) THTR 264 Theatre Production: Scenery (1) THTR 310 History of Theatre (3) THTR 310 History of Theatre (3) THTR 411 Modern Theatre: History & Practice (3) THTR 411 Modern Theatre: History & Practice (3) THTR 460 Theatre Capstone (3) THTR 460 Theatre Capstone (3) Design & Production Requirements: Credits (20-21) Design & Production Requirements: Credits (20-21) Two of the Following (6) Three of the Following (9) THTR
    [Show full text]
  • From Start to Strike: a Lesson Plan for the Whole Theatre Experience Kelly Crotty University of South Florida
    University of South Florida Scholar Commons Outstanding Honors Theses Honors College 4-1-2011 From Start to Strike: A Lesson Plan for the Whole Theatre Experience Kelly Crotty University of South Florida Follow this and additional works at: http://scholarcommons.usf.edu/honors_et Part of the American Studies Commons Scholar Commons Citation Crotty, Kelly, "From Start to Strike: A Lesson Plan for the Whole Theatre Experience" (2011). Outstanding Honors Theses. Paper 10. http://scholarcommons.usf.edu/honors_et/10 This Thesis is brought to you for free and open access by the Honors College at Scholar Commons. It has been accepted for inclusion in Outstanding Honors Theses by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. The Theatre Experience Lesson Plans for a High School Theatre Class Kelly Crotty April 2011 College of the Arts School of Theatre & Dance Theatre Arts Mentor: Dr. Patrick Finelli Contents Interviews………………………………………………………………….………………………………………………………………….….….3-5 Sunshine State Standards for Drama………………………………..………………………………………………………….…..….6-7 FLDOE Comprehensive Theatre Course Description…………….………….……………………………………….…….….8-11 Syllabus……………………………………………………………………………………………………………………………………….………..12 Lesson Plans…………………………………………………………………………………………………………………………….……...14-89 Works Cited………………………………………………………………………………………………………………………………….….90-91 Interviews What field is your degree in? James Thompson: I have a BA in Theatre and a BS in English Teaching Edwin Velazquez: B.A. in English Language Arts with a minor in theater arts and another in Education. Master's in Interdisciplinary Studies When did you first become interested in drama/theatre? JT: I first became interested in acting and the theatre in the 3rd grade when my class was chosen to write the St. Patrick’s Day play for our school.
    [Show full text]