Carnegie Mellon University 1
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
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. -
E1.56-2018 Entertainment Technology – Rigging Support Points
E1.56-2018 Entertainment Technology – Rigging Support Points Approved by the ANSI Board of Standards Review on 06 November 2018 Rig/2015-2034r8 © 2018 The Entertainment Services and Technology Association (ESTA) E1.56-2018 Entertainment Technology – Rigging Support Points Notice and Disclaimer ESTA does not approve, inspect, or certify any installations, procedures, equipment or materials for compliance with codes, recommended practices or standards. Compliance with an ESTA standard or recommended practice is the sole and exclusive responsibility of the manufacturer or provider and is entirely within their control and discretion. Any markings, identification or other claims of compliance do not constitute certification or approval of any type or nature whatsoever by ESTA. ESTA neither guaranties nor warrants the accuracy or completeness of any information published herein and disclaim liability for any personal injury, property or other damage or injury of any nature whatsoever, whether special, indirect, consequential or compensatory, directly or indirectly resulting from the publication, use of, or reliance on this document. In issuing and distributing this document, ESTA does not either (a) undertake to render professional or other services for or on behalf of any person or entity, or (b) undertake any duty to any person or entity with respect to this document or its contents. Anyone using this document should rely on their own independent judgment or, as appropriate, seek the advice of a competent professional in determining the exercise -
Stagecraft Syllabus
Mr. Craig Duke Theatre Production E-Mail: [email protected] Phone: 908-464-4700 ext. 770 Syllabus 2010-2011 Period 2 Course Description: Theatre Production will introduce to the student, both novice and experienced, a practical approach to the technical and production aspects of musical theatre and drama. Students will learn the skills needed to construct scenery, hang and focus lighting instruments, implement a sound system for effects and reinforcement, and scenic artistry, all in a variety of techniques. In conjunction with the Music and Drama Departments, students will take an active role in each of the major productions at NPHS. Additionally, students will be introduced to theatrical design, and will be given an opportunity to draft their own designs for scenery and/or lighting of a theatrical production. Textbooks: There is no textbook for this class. Materials will be distributed in class, along with some notes. Several stagecraft books have been ordered for the NPHS Media Center. They are available in the reference section of the library, and I will refer to them in class from time to time. Most of the material presented comes from The Stagecraft Handbook by Daniel Ionazzi, and from Richard Pilbrow’s Stage Lighting Design. Course Topics: I. Introduction IV. Lighting for the Stage A. A Brief History of Theatre A. Why Light the Stage? B. The Production Team B. Instruments of the Designer C. Safety in the Theatre C. Properties of Light and Dark D. Tools of the Trade D. Color Theories II. Scenic Design for the Stage E. Lighting Design Paperwork A. -
LD, Historian, & Author Kathy A. Perkins April 29 Is Arbor Day And
USITT :: Sightlines :: April 2016 April 2016 Print this page › NEWS & NOTICES: Lead story › Member Spotlight USITT Member Spotlight: LD, Historian, & Author Kathy April 29 #RigSafe Day A. Perkins Three New Fellows! Q&A with Kathy Perkins, lighting designer, theatre historian, professor, cultivator of African women playwrights... more » USITT 2016 Highlights DAAs in Conversation April 29 is Arbor Day and #RigSafe Day! Wally Mentor Award For the second year, USITT is promoting safe stages on Arbor Day by Announcements inviting friends to share the hashtag #RigSafe on social media... more » 2016 Tech Olympics Last Word: Profiles + USITT Has Three New Fellows Rachel Keebler, David Will, and Stephanie Young were inducted as NEWS FROM: USITT’s newest fellows at USITT 2016 in Salt Lake City... more » Around the Institute Industry Members USITT 2016 Rocked the Salt Palace Transitions With 4,500 attendees, 274 exhibitors, and 250-plus inspiring sessions, USITT 2016 made some great moments and memories. more » USITT's President OISTAT 2016 Distinguished Achievers Drop Some Knowledge Spotlight on Giving We share inspiring quotes from the USITT 2016 Distinguished USITT's Executive Director Achievers in Conversation panel in Salt Lake ... more » Regional Sections Guy Bergquist Receives 2016 Wally Russell Mentor COMMISSIONS: Award Scene Design: The former Arena Stage producer gave a moving acceptance speech Compendium about why he loved working and mentoring... more » Costume Commission: 2016 Symposium 2016 Tech Olympics Tested Student Tech Skills CONFERENCE & STAGE And for the second year in a row, Emerson College cleaned up in the EXPO: annual competition for student teams across the country... more » 2016 BTS Raffle FOR THE RECORD: USITT’s President: Making Choices As USITT’s goals grow, it must make more choices on how to use Leadership resources to serve all members. -
USITT :: Sightlines :: May 2016
USITT :: Sightlines :: May 2016 May 2016 Print this page › NEWS & NOTICES: Lead story › Member Spotlight USITT Member Spotlight: Scenic Designer William Gateway Mentoring Bloodgood 2016 YD&T Awards Q&A with William Bloodgood, scene designer & educator, on his process & advice... more » eSET Certificates Glerum Masterclasses Gateway Mentors & Mentees Bond at USITT 2016 Announcements The third Gateway cohort brought new faces, ideas, and energy to Grad Book Bundles USITT 2016 and the Diversity Initiative... more » Last Word: When the Fire Fades YD&T Awards Left Memorable Impressions USITT’s 2016 Young Designers & Technicians received their awards NEWS FROM: with inspiration and gratitude... more » Around the Institute Industry Members eSET Presents First Certificates, Quiz Show Winners Transitions Ten people passed exams to receive the first eSET certificates; others aced the Quiz Bowl at USITT 2016... more » New Products USITT's President June Masterclasses on Rigging and Electrics OISTAT The first Jay O. Glerum Rigging Masterclasses – and an Electrical Workshop – come to Denver June 13-14... more » Spotlight on Giving USITT's Executive Director Gift Ideas From the USITT Bookstore Regional Sections USITT offers its Designs of books on famous artists bundled for graduation giving... COMMISSIONS: more » Scene Design: Blow It Up USITT’s President: Opening Soon – Act Three Costume Symposium Mark Shanda unveils plans to Act III of USITT, mapping a path to the Lighting Design: future... more » Compendium CONFERENCE & STAGE Spotlight On Giving: Ribbons for Rigging EXPO: Every little bit helps keep USITT programs going – in this case, $1 per Videos & Wrap-ups ribbon... more » FOR THE RECORD: Leadership Executive Director: Why We Took a Stand on Discriminatory Laws Contributing Members David Grindle on the rationale behind USITT’s statement on the anti- Sustaining Members LBGTQ laws in North Carolina and Mississippi.. -
Counterweight Rigging Manual
Manual Counterweight Rigging Systems Operation and Maintenance Manual P.O. Box 9327 South El Monte, CA 91733 626-575-0776 | 800-221-9995 www.hhspecialties.com © 2012 H & H Specialties Inc. TABLE OF CONTENTS Introduction ................................................................................................................. 1 Definitions .................................................................................................................... 2 Description of Counterweight Rigging System .......................................................... 4 Operating Instructions ................................................................................................ 6 General Safety Rules ................................................................................................... 7 Operation of a Theatrical Rigging System .................................................................. 8 Balancing a Line Set ............................................................................................... 10 Loading and Unloading of Counterweights Without Loading Bridge(s) ............. 11 Run-Away Line Set ................................................................................................. 13 Maintenance and Inspection of Rigging System ....................................................... 14 Maintenance Instructions .......................................................................................... 17 Manual Counterweight Rigging System Maintenance Schedule .............................. 18 -
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 -
Be More Chill Broadway’S Digital Musical
www.lightingandsoundamerica.com April 2019 $10.00 Be More Chill Broadway’s Digital Musical ALSO: KISS: The Final Tour Ever Theatre on the Celebrity Edge What’s Up at Harman Professional? Introducing Preevue Inside the Milan Network Protocol Copyright Lighting &Sound America April 2019 http://www.lightingandsoundamerica.com/LSA.html THEATRE Copyright Lighting &Sound America April 2019 http://www.lightingandsoundamerica.com/LSA.html Ready Player ONe The Faust legend gets a software update—and a high-tech design—in Be More Chill By: David Barbour 50 • April 2019 • Lighting &Sound America The portals, modeled on smartphones, become illuminated to reveal what Boritt calls “gack:” TV monitors, lighting units, LED tape, and wiring. hese days, Broadway is loaded with musicals about teen Squip, who, invisible to others, appears to him as the angst and social anxiety, but Be More Chill , which opened manifestation of Keanu Reeves in The Matrix . He becomes in March at the Lyceum Theatre, gives these themes a dig - Jeremy’s strategic advisor and director of intelligence, ital (and science fiction) twist. In doing so, it aims to be faultlessly guiding him to popularity and working to Broadway’s first viral hit. Taken from the young adult novel maneuver him into the heart of Christine, the kooky drama t t i r by the late Ned Vizzini, Joe Tracz’s book focuses on club doyenne for whom he pines. Success comes at a o B f l Jeremy, a classic adolescent loser: His mom has bailed price: Jeremy, now convinced that life is a one-player u w o e and his depressed father can’t get out of his bathrobe, game, drops Michael for a new, thoroughly shallow, social B f o never mind the house. -
Theatreuni Stage Management Handbook
TheatreUNI Stage Management Handbook Contents Getting Started and Prep Week ................................................................................................................ 2 Rehearsals .................................................................................................................................................. 14 Before & After Rehearsals ....................................................................................................................... 22 Outside the Theatre ................................................................................................................................. 26 Tech ............................................................................................................................................................ 28 Performances ............................................................................................................................................ 40 Strike .......................................................................................................................................................... 42 Opera: The Other White Meat ................................................................................................................ 43 Appendix ................................................................................................................................................... 45 TheatreUNI Stage Management Handbook Getting Started and Prep Week Hierarchy As you get started on a production, it -
Stage Manager Expectations
The Department of Theatre University Theatre Stage Manager Duties & Responsibilities Listed below are the duties you perform and responsibilities you carry as stage manager. If the production does not have an Assistant Director, those tasks fall to the Stage Manager (see “Assistant Director Duties & Responsibilities”). For further instructions or clarification of anything you do not understand, see the TD (Technical Director). General Notes • Your attitude is crucial to the success of the production. The stage manager takes the initiative to solve any problems that may develop. A positive, constructive, and supportive attitude is essential. • The script for the production is available to you at the start of your assignment. You may pick up a script from the University Theatre Secretary in Room 317 Murphy. Remember that some scripts, especially for musicals, must be returned. Never mark in a script with anything but a pencil. • During your stage management period you are responsible for the security of the facility and equipment. You may pick up a set of Stage Manager keys from the Production Office (317 Murphy) as soon as the previous SM has turned them in. Be sure ALL doors are locked and equipment secured before you leave. You should be the first to arrive and the last to leave in all circumstances. If you are assigned to stage manage in the Inge Theatre and use the Crafton-Preyer Theatre stage as a crossover, be sure that the doors to the CPT and scene shop are locked before you leave unless there is an event going on in the CPT. -
THEATRE Technical Rider
Harriet & Charles Luckman Fine Arts Complex THEATRE Technical Rider Revised 3/19 Administrative Offices: (323) 343-6611 Theatre Operations: (323) 343-6630 3/5/19 Page 1 GENERAL INFORMATION Please Note: Equipment listed in this document is used throughout the Luckman Complex and is distributed on a first-come, first-served basis. Please confirm availability. Stage Dimensions † Loading Dock Dimensions† Proscenium Width 48’ (14.7M) Dock accommodates two trucks/trailers w/drivable Standard Masking Width 44’ (13.4M) ramp to Stage Level for smaller vehicles. Proscenium Height steps 28’ to 30’ Loading Dock Height 3’-8” (1.1M) Grid Height (Top of Steel) 78’-2” (23.8M) Loading Dock Width 20’-6” (6.2M) Center Line to SL Pinrail 55’-1” (16.8M) Loading Door 19’-4”h (5.9M) x 12’-1”w (3.7M) Center Line to SR Wall 57’-4” (17.5M) L shaped Assembly Area (interior) 2800 Sq Ft. Proscenium Line to Back wall 55’-6” (16.9M) SR Load Door 27’-10”h (8.5M) x 29’-9”w (9.1M) Proscenium Line to Apron* 1’-10” (.56M) Proscenium Line to DS Pit Lift Edge* 11’ (3.4M) Elevator to Basement 5’x2’x6’ high Orchestra Pit Size Raised 9’ x 36’ Dressing Rooms Orchestra Pit Size Lowered 13’ x 40’ (2) 1-2 Station Rooms (stage level) Orchestra Pit Travel Depth: (2) 3-4 Station Rooms (stage level) Stage Floor to Auditorium Floor 3’-1” (.94M) Women’s Chorus Room – 33 Stations (basement) Stage Floor to Pit Floor 10’-11” (3.3M) Men’s Chorus Room – 33 Stations (basement) Stage Floor to Storage Level 15’ (4.6M) Projection Booth to Proscenium Line 74’ (22.6M) Wardrobe Room includes: Washer, Dryer, Iron, Projection Booth to Screen Lineset 81’ (24.8M) Steamer, Ironing Board, Rolling Racks Balcony Rail to Proscenium line 61’-5” (18.7M) Support Spaces Lighting Throw, First AP* 46’ (13.9M) Large Rehearsal Hall 40’ x 52’ Lighting Throw, Second AP* 60’ (18.4M) Small Rehearsal Hall 32’ x 38’ The rehearsal halls have sprung floors, mirrors and Stage floor is sprung 2 levels of ballet barres half way around room.