DOCSLIB.ORG

Arts Theater Entertainment School (Artes) Proposal

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Arts Theater Entertainment School (Artes) Proposal ArTES Pilot School Arts Theater Entertainment School TABLE OF CONTENTS Page 1. EXECUTIVE SUMMARY.................................................................................................1 a. Mission and Vision..................................................................................................1 b. Student Population...................................................................................................2 c. Instructional Program...............................................................................................3 d. School Culture.........................................................................................................3 e. Accountability and Performance Goals ...................................................................4 f. Community Analysis and Context...........................................................................4 g. Leadership................................................................................................................5 h. School Governance Model.......................................................................................5 2. CURRICULUM AND INSTRUCTION..............................................................................7 a. Instructional Philosophy:.........................................................................................7 (1) Identify Academic Needs and Interests .......................................................8 (2) Hold High Expectations...............................................................................9 (3) Provide Support (Academic & Social) ........................................................9 (4) Celebrate and Display Outcomes...............................................................10 b. Core Academic Curriculum ...................................................................................12 c. Addressing the Needs of All Students: ..................................................................16 d. Instructional Strategies:.........................................................................................18 3. SCHOOL CULTURE AND CLIMATE............................................................................20 a. Description of School Culture ...............................................................................20 b. Student Support and Success .................................................................................21 c. Social and Emotional Needs ..................................................................................21 d. College and Career Readiness ...............................................................................22 e. Parental Involvement: ............................................................................................22 f. School Calendar/Culture........................................................................................23 4. ASSESSMENTS AND SCHOOL-WIDE DATA .............................................................24 a. Assessment Philosophy..........................................................................................24 b. Autonomy ..............................................................................................................25 c. Student Assessment Plan .......................................................................................25 i TABLE OF CONTENTS Page d. Assessment Development ......................................................................................27 e. Data Collection and Monitoring ............................................................................27 f. Graduation Requirements ......................................................................................28 5. PROFESSIONAL DEVELOPMENT................................................................................30 a. PROFESSIONAL CULTURE...............................................................................30 b. Professional Development .....................................................................................32 c. Teacher Orientation...............................................................................................34 d. PD Calendar...........................................................................................................35 e. Program Evaluation...............................................................................................36 f. Autonomy ..............................................................................................................37 6. SERVING SPECIALIZED POPULATIONS....................................................................38 a. Special Education:.................................................................................................38 7. PERFORMANCE MANAGEMENT ................................................................................41 a. Performance Goals and Metrics.............................................................................41 8. COMMUNITY ANALYSIS AND CONTEXT ................................................................42 a. Description.............................................................................................................42 b. Background/Support: .............................................................................................44 9. COMMUNITY ENGAGEMENT STRATEGY................................................................46 a. Engagement Plan...................................................................................................46 b. Key Community Partnerships................................................................................46 10. SCHOOL GOVERNANCE AND OVERSIGHT..............................................................48 a. School Type...........................................................................................................48 b. Applicant Team Capacity ......................................................................................48 c. School Governance and Oversight.........................................................................49 11. SCHOOL LEADERSHIP ..................................................................................................53 a. Principal Selection.................................................................................................53 ii TABLE OF CONTENTS Page b. Leadership Team....................................................................................................53 c. Principal Evaluation...............................................................................................54 12. STAFFING ........................................................................................................................56 a. Staffing Model.......................................................................................................56 b. Recruitment and Selection of Teachers .................................................................57 c. Autonomy ..............................................................................................................58 d. Evaluation ..............................................................................................................59 13. FINANCES........................................................................................................................61 a. Financial Sustainability..........................................................................................61 b. Additional Funding................................................................................................61 c. Autonomy ..............................................................................................................61 d. Budget Development .............................................................................................62 14. IMPLEMENTATION........................................................................................................64 a. Implementation Plan..............................................................................................64 b. Waivers: For Internal Applicant Teams Only........................................................65 APPENDIX 1.................................................................................................................................66 APPENDIX 1A..............................................................................................................................71 APPENDIX 1B ..............................................................................................................................72 APPENDIX 1C ..............................................................................................................................73 APPENDIX 1D..............................................................................................................................74 APPENDIX 1E ..............................................................................................................................75 APPENDIX 2A..............................................................................................................................77 APPENDIX 3A..............................................................................................................................78 APPENDIX 4B ..............................................................................................................................82 APPENDIX 4C ..............................................................................................................................84
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Parsi Theater, Urdu Drama, and the Communalization of Knowledge: a Bibliographic Essay
    Parsi Theater, Urdu Drama, and the Communalization of Knowledge: A Bibliographic Essay I its remarkable century-long history traversing the colonial and nation- alist eras, the Parsi theater was unique as a site of communal harmony. The Parsi theater began in Bombay in the early s and fanned out across South and Southeast Asia by the s. During the twentieth cen- tury, major Parsi theatrical companies flourished in Lahore, Delhi, and Calcutta, exerting a huge impact on the development of modern drama, regional music, and the cinema. Parsis, Hindus, Muslims, Anglo-Indians, and Baghdadi Jews consorted amicably in both residential and traveling companies. Although company ownership usually remained in Parsi hands, actors were drawn from many communities, as were professional writers, musicians, painters, stage hands, and other personnel. As Såmn≥t^ Gupta makes clear, it was Parsis, non-Parsis, Hindus, Muslims, and Christians who spread the art of theatre by founding theatrical companies, who built playhouses and encouraged drama, who became actors and popularized the art of acting, who composed innumerable dramas in Gujarati, Hindi, and Urdu, who composed songs and defended classical music, and who wrote descriptions of the Parsi stage and related matters.1 Audiences similarly were heterogeneous, comprised of diverse relig- ious, ethnic, and linguistic groups and representing a wide range of class 1Såmn≥t^ Gupta, P≥rsµ T^iy®ªar: Udb^av aur Vik≥s (Allahabad: Låkb^≥ratµ Prak≥shan, ), dedication (samarpan), p. • T A U S positions. Sections of the public were catered to by particular narrative genres, including the Indo-Muslim fairy romance, the Hindu mythologi- cal, and the bourgeois social drama, yet no genre was produced exclu- sively for a particular viewership.
    [Show full text]
  • THE WISDOM of NOH THEATER Masayoshi Morioka the Practice Of
    International Journal for Dialogical Science Copyright 2015 by Masayoshi Morioka Fall 2015 Vol. 9, No. 1, 81-95 HOW TO CREATE MA–THE LIVING PAUSE–IN THE LANDSCAPE OF THE MIND: THE WISDOM OF NOH THEATER Masayoshi Morioka Kobe University, Japan Abstract. In this research, the author explores the characteristics of zone of contact in therapeutic conversation. The transitional psychic space between Me and Mine is the basis on which the landscape of the mind develops the I-positioning of the dialogical self. In further discussion, the author quotes notes from the dramaturgical theory of Zeami, who established traditional Japanese Noh theatre. Concepts related to ma are examined. The results are as follows. The therapist creates ma (a “living pause”), which connects one mind to another; this reflects the moment of senu-hima (“no-action”) in Noh theatre. Change in psychotherapy includes a process of distancing oneself from oneself; this resembles the concept of riken (“detached seeing”). The concept of sho-shin (first intent) in Noh theatre may be experienced in the moment at which spontaneous responsiveness emerges in the dialogical relationship. Keywords: distancing the self, zone of contact, dialogical uncertainty, Noh theatre, ma The practice of the dialogical self involves talking about oneself to others, and talking to oneself silently. This double conversation (i.e. self-to-self and self-to-other) creates a dialogical space that articulates and differentiates one’s self-narrative on the basis of inner and outer dialogues. It is difficult to hear one’s own voice in the dialogical double space of internal and external dialogue; however, it is necessary to create this double space in conversation with others.
    [Show full text]
  • Draper DEPARTMENT: Costumes REPORTS TO: Costume Director PREPARED DATE: June 11, 2021 CLASSIFICATION: FLSA: Hourly, Non-Exempt
    JOB TITLE: Draper DEPARTMENT: Costumes REPORTS TO: Costume Director PREPARED DATE: June 11, 2021 CLASSIFICATION: FLSA: Hourly, Non-Exempt MISSION STATEMENT The mission of Dallas Theater Center is to engage, entertain and inspire our diverse community by creating experiences that stimulate new ways of thinking and living. We will do this by consistently producing plays, educational programs, and other initiatives that are of the highest quality and reach the broadest possible constituency. EQUITY, DIVERSITY AND INCLUSION STATEMENT ALL ARE WELCOME! At Dallas Theater Center, we want to be the best place to work and see theater, and to be a positive and transformational force in Dallas and beyond. We stand up for equity, diversity and inclusion across our company and community. As a leading national theater, we recognize that building an equitable, diverse, and inclusive environment is central to our relevance and sustainability in the community we serve and love. *For complete statement, please see final page of this posting POSITION SUMMARY An active member of Dallas Theater Center (DTC)’s Production Department, the Draper is responsible for pattern making, construction, and the fit of all costumes. The Draper reports directly to the Costume Director, and is responsible for effectively supporting Costume Designers, ensuring that high artistic standards are met at all times. This is a full-time, non-exempt position, which is eligible for overtime. This position includes a full benefits package: medical, dental and vision insurance, DTC-paid life insurance, voluntary life insurance and 403b programs, complimentary tickets and generous paid-time off. Some nights and weekends will be required as needed throughout the season.
    [Show full text]
  • Nohand Kyogen
    For more detailed information on Japanese government policy and other such matters, see the following home pages. Ministry of Foreign Affairs Website http://www.mofa.go.jp/ Web Japan http://web-japan.org/ NOH AND KYOGEN The world’s oldest living theater oh and kyogen are two of Japan’s four N forms of classical theater, the other two being kabuki and bunraku. Noh, which in its broadest sense includes the comic theater kyogen, developed as a distinctive theatrical form in the 14th century, making it the oldest extant professional theater in the world. Although noh and kyogen developed together and are inseparable, they are in many ways exact opposites. Noh is fundamentally a symbolic theater with primary importance attached to ritual and suggestion in a rarefied aesthetic atmosphere. In kyogen, on the other hand, primary importance is attached to making people laugh. History of the Noh Theater Noh performance chance to further refine the noh aesthetic Scene from a Kanze In the early 14th century, acting troupes principles of monomane (the imitation of school performance of the in a variety of centuries-old theatrical play Aoi no ue (Lady Aoi). things) and yugen, a Zen-influenced aesthetic © National Noh Theater traditions were touring and performing ideal emphasizing the suggestion of mystery at temples, shrines, and festivals, often and depth. In addition to writing some of with the patronage of the nobility. The the best-known plays in the noh repertoire, performing genre called sarugaku was one Zeami wrote a series of essays which of these traditions. The brilliant playwrights defined the standards for noh performance and actors Kan’ami (1333– 1384) and his son in the centuries that followed.
    [Show full text]
  • American Indian Theatre and Performance
    American Indian Theatre and Performance By Courtney Elkin Mohler, Ph.D. Santa Clara University Despite centuries of political obstacles, restrictive policies, and United States cultural imperialism, a robust and vibrant American Indian theatre exists today. There are multiple definitions of what comprises American Indian theatre, drama and performance, stemming from multiple historical, political and traditional perspectives; contemporary dramatists and performers grapple with these ranging definitions and perspectives through their plays and productions. Some of the current cultural, political and artistic issues associated with American Indian theatre include topics such as representation, authenticity, cultural empowerment, and practical production concerns. Defining the Genre There are multiple issues surrounding the genre of American Indian theatre and its history; the boundaries and limits of the form are instable and often contested by Indian and non-Indian theatre specialists alike. Some theatre historians include plays by non-Native writers that represent Indians, while others define the genre as plays written by American Indian playwrights, performed by American Indian actors, for American Indian audiences. There are similar debates over periodization. Some scholars feel that traditional performance practices that were indispensible to Native cultural life and predate European contact should be included in, or even, define the genre; others mainly focus on plays derived partially 1 through hybrid cultural experience, placing
    [Show full text]
  • On Site Opera & Harlem Opera Theater Invite You to Take Cast
    ! ON SITE OPERA & HARLEM OPERA THEATER PRESENT GERSHWIN’S Blue Monday! ! PROGRAM MENU: Cast, Production Team and Orchestra | Program Notes | Artist Bi0s About On Site Opera | About Harlem Opera Theater About The Harlem Chamber Players | Special Thanks On Site Opera &more Harlem information: Opera osopera.orgTheater invite you to take On Site Opera & Harlem Opera Theater invite you to take a trip back to the roaring twenties as they present George Gershwin’s Blue Monday at the Cotton Club. Blue Monday A JAZZ OPERA BY GEORGE GERSHWIN LIBRETTO BY BUDDY DESYLVA JUNE 18-20, 2013 | THE COTTON CLUB 7PM: DANCING & COCKTAILS | 8PM: BLUE MONDAY CAST: IN ORDER OF VOCAL APPEARANCE MIKE, THE CLUB OWNER CLAYTON MATHEWS SAM, A CLUB EMPLOYEE ALVIN CRAWFORD TOM, THE CLUB HEADLINER LAWRENCE CRAIG VI, JOE’S GIRLFRIEND ALYSON CAMBRIDGE JOE, A GAMBLER CHASE TAYLOR DANCERS: SARITA ALLEN ELIJAH ISHMAEL AVRAHAM NICCO ANNAN AZAMA BASHIR MAHALIA LEOLA MAYS RAPHAEL THOMAS PRODUCTION TEAM: CONDUCTOR GREGORY HOPKINS STAGE DIRECTOR ERIC EINHORN CHOREOGRAPHER GEORGE FAISON COSTUME DESIGNER CANDIDA K. NICHOLS LIGHTING DESIGNER SHAWN KAUFMAN HAIR & MAKE-UP DESIGNER SHANNON HARRINGTON PRODUCER JESSICA KIGER FIGHT COORDINATOR SHAD RAMSEY ASSISTANT DIRECTOR AUDREY CHAIT PRE-SHOW DANCE COORDINATOR NATALIE DAVIDZON Orchestra: THE COTTON CLUB ALL STARS FLUTE/TENOR SAX: JAMES STEWART OBOE/ALTO SAX: ED PAZANT CLARINET/ALTO SAX: CRIS HEMMINGWAY TENOR SAX: JOHN SIMON BASSOON/BARITONE SAX: RAY JOHNSTON TRUMPET I: AL PAZANT TRUMPET II: MAC GOLLEHON TROMBONE I: TIM WILLIAMS TROMBONE II: ROBERT STRINGER PIANO: NORIKO KAMO BASS: STAN THOMPSON GUITAR: SOLOMON HICKS DRUMS: ELI FONTAINE THE HARLEM CHAMBER PLAYERS: VIOLIN I: MONICA DAVIS VIOLIN II: CHARLENE BISHOP VIOLA: ADAM HILL CELLO: LAWRENCE ZOERNIG Please be aware that live gunshots are used in this production.
    [Show full text]
  • Chapter 17 CONCERT VENUES 291 with a Venue That Has Plenty of Open Dates and a Mortgage to Pay
    CHAPTER17 Concert Venues enues come in all sizes and types, from giant, sprawling sports stadiums to mid- The play was a great V sized arenas to recital halls to roadhouses with 12x8 plywood stages. At one time or anoth- success, but the audience er in a career, an artist might be found playing dates at state fairs, outdoor festivals, amusement was a disaster.” parks, casino ballrooms, municipal auditoriums, night clubs, or college multi-purpose rooms (see —Oscar Wilde Table 17.1). The venue industry’s scale and dynamism is enormous. Think opera houses and traditional concert halls are a stagnant, no-growth part of the economy? How’s this for a factoid: For the last two decades in the U.S. alone, an average of more than one opera house or concert hall a month has opened its doors for the first time, some of them costing hundreds of millions of dollar apiece. Add to that the countless smaller venues that house artists of every level and every genre, and the opportunity is obvious. Venue Contracts As we’ve seen in other parts of the music business, contracts are the glue that sets the rules for relationships between parties working together to achieve mutual success. And how the rules are written largely depends on the clout of the various parties. A promoter and booking agent representing a top-tier act bring clout to a negotiation Left: Smetana Hall at Municipal House, Prague. Photo © Philip Gould/Corbis. 289 290 LIVE MUSIC The concert venue business carries the important responsibility of public safety.
    [Show full text]
  • Associate in Arts Degree for Theater Arts with Costume Emphasis
    Arts, Media, and Technology Career and Academic Pathways (CAPs) Program Map: Associate in Arts Degree for Theater Arts with Costume Emphasis Total number of units: 60 units Top Code/Academic Plan: 1007.00 Updated on April 25, 2021 Fall Odd Course Code Course Units Notes Advising Notes Semester Program/GE THEATER 100 Introduction to 3 This course is offered every semester. It also This course is offered day, Course Theater fulfills GE Area C Humanities. evening, short term and online. Program TECTHTR 345 Costume Practicum 2 This elective course is from list B. Offered every This is a weekly afternoon Course Fall and Spring. course. Program/GE TECTHTR 367 Costume and 3 This elective course also fulfills GE Area C This is a weekly morning course. Course Fashion History Humanities. Offered Fall odd. Program TECTHTR 366 Fantasy Costume 3 This is an elective course. Other options are This is a weekly morning course. Course Sewing and Pattern TECTHTR 365 and TECTHTR 363. Offered Fall Making odd. GE Course ENGLISH 101 College Reading 3 This course fulfills GE Area D1: ENGLISH This course is offered day, and Composition I Composition. Milestone Course. ENGLISH 072 evening, short term and online. is a support course which can be added for a Also available at South Gate. total of 4 units. Total Units 14 Sping Even Course Code Course Units Notes Advising Notes Semester Program TECTHTR 350 Makeup for Theater 3 This course is offered every spring. This is a weekly morning course. Course Program TECTHTR 363 Costume Crafts, 3 This course is offered every semester.
    [Show full text]
  • Theater in China and Japan a Look at the Beijing Opera and the Kabuki Theater
    THEATER IN CHINA AND JAPAN A LOOK AT THE BEIJING OPERA AND THE KABUKI THEATER Grade Level This lesson was written for late Elementary and early Middle School for Language Arts. Objective Students will explore then compare and contrast the Chinese (Beijing Opera) and Japanese (Kabuki) forms of theater. They will then create their own performance pieces based on these forms. This lesson will be carried out over the course of a month, allowing appropriate classroom time for each step in the creation of an independent performance. Concepts Beijing Opera—(also known as the Peking Opera) is a popular form of Chinese theater that combines acting, spoken dialogue, singing, dancing, athletics, and acrobatics. The action is accompanied by a traditional Chinese orchestra, which consists mainly of loud percussion instruments and two-string fiddles. Wooden clappers are used to highlight the actions on stage. Actors use very few props and convey the meaning of their words and songs through gestures, mime, movement, and facial expression. The actions of opening a door, going up stairs, rowing a boat, or threading a needle are done purely through the actor’s mime-like gestures. The stories of the Beijing Opera were taken from plays performed in China at an earlier time as well as from traditional stories and novels, which are often based on actual events in Chinese history. The Beijing Opera (originally known as pihuang or lutang, or “plucking [a stringed instrument] at random” is thought to have originated in 1790 to celebrate the 55th year of the reign of the Qianlong Emperor (which coincided with his 80th birthday).
    [Show full text]
  • The Self-Reflexive Musical and the Myth of Entertainment
    Feuer, Jane The self-reflexive musical and the myth of entertainment Feuer, Jane, (1995) "The self-reflexive musical and the myth of entertainment", Grant, Barry Keith (ed), Film genre reader II, 441-455, University of Texas Press © Staff and students of the University of Nottingham are reminded that copyright subsists in this extract and the work from which it was taken. This Digital Copy has been made under the terms of a CLA licence which allows you to: * access and download a copy; * print out a copy; Please note that this material is for use ONLY by students registered on the course of study as stated in the section below. All other staff and students are only entitled to browse the material and should not download and/or print out a copy. This Digital Copy and any digital or printed copy supplied to or made by you under the terms of this Licence are for use in connection with this Course of Study. You may retain such copies after the end of the course, but strictly for your own personal use. All copies (including electronic copies) shall include this Copyright Notice and shall be destroyed and/or deleted if and when required by the University of Nottingham. Except as provided for by copyright law, no further copying, storage or distribution (including by e-mail) is permitted without the consent of the copyright holder. The author (which term includes artists and other visual creators) has moral rights in the work and neither staff nor students may cause, or permit, the distortion, mutilation or other modification of the work, or any other derogatory treatment of it, which would be prejudicial to the honour or reputation of the author.
    [Show full text]