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Production Manual to Determine and Understand the Adjacent and Overlapping Duties of Your Associates

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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. To perhaps further complicate communication, responsibility, and harmony with in the production team students and faculty are from all over the region, country, and world. This manual is written to help standardize the production process, and make clear academic and procedural guidelines. The Department of Theater & Dance at Southeast Missouri State University is an inclusive organization striving to provide an exclusive and personal experience to each and all members in the production team. “It is in this basic process of teaching, and leading by example that we can begin to get to the root of our social problems.” ----Delyte W. Morris Table of Contents Performer 1 Actor Protocol 3 Assistant Director 5 Stage Manager 6 Assistant Stage Manager 14 Set Designer 16 Assistant Set Designer 20 Properties Master 22 Charge Artist 24 Technical Director 26 Assistant Technical Director 29 Master Carpenter 31 Fly Rail Crew Head &Operator 33 Running Crew 34 Properties Run Crew 35 Lighting Designer 36 Master Electrician 38 Spotlight Operator 40 Deck Electrician 41 Light Board Operator 42 Sound Designer 43 Sound Board Operator 45 Costume Designer 46 Assistant Costume Designer 49 Cutter/Draper 50 Costume Crafts Artisan 51 Wardrobe Crew Head 52 Wardrobe Run Crew 54 Make-Up Supervisor 56 PERFORMERS THE PERFORMER AGREES: 1. Any and ALL conflicts with rehearsals must be made known as early as possible and no later than the first rehearsal. 2. The director/choreographer reserves the right to determine whether the reason for the conflict is excusable. 3. To be prompt and ready (warmed-up) for rehearsals no less than 15 minutes prior to the start of rehearsal unless excused from doing so by the Stage Manager. 4. To be in rehearsal costume, as assigned, by 15 minutes prior to rehearsal. 5. To notify the Stage Manager as soon as possible, and certainly before the 15 minute rehearsal warning time, if you are ill or unable to reach the theatre on time. 6. To get permission from the Stage Manager if you have to leave the rehearsal studio at any time. 7. To check the production call-board and e-mail at least once a day for changes and updates, 8. To cooperate with the Stage Manager and Assistant Stage Managers, Dance Captain and Fight Captain etc. 9. To maintain the integrity of the performance as directed during the run of the show. If the Director/Choreographer is not present for the run, the performers may receive notes from the Assistant Director/Choreographer or Stage Manager. 10. To remember personal hygiene, bath daily and use deodorant. Do not use perfumes or cologne as fellow performers may be allergic. 11. To provide personal make up kits as none will be provided. Do not share make up as it may cause health problems. 12. To provide personal dance belts, character shoes and Rehearsal garments for contemporary clothing 13. To remember that, even though places will be called, you alone are responsible for all of your entrance cues. 14. To properly care for your costumes, including. A. No eating, smoking, or drinking (other than water) when in costume. B. Hanging up each item of clothing on the appropriate hanger. C. Noting any repairs or cleaning needed EACH NIGHT. D. To appear at curtain call in full costume. E. To attend all costume fittings on time and to notify the costume staff if you will be late to a fitting or unable to attend. F. To not alter your hair style or color without direct approval of the costume designer. G. To not physically altar appearance with Tattoos or piercing once cast. H. To make the costume designer aware of any problems you may be having with your costume at the earliest moment. I. Understand that final decisions regarding costume alterations will be the responsibility of the designer and the Director/Choreographer, not the performer. 2 12. To respect the physical property of the production and the theatre 13. To return all props to the prop table or cabinet after use unless directed to hand them to an ASM. 14. To never use personal electronics, Laptop, MP3 player, cell phones etc, during rehearsal or run of a show. WORK RULES 1. There shall be a minimum of one scheduled full day off from rehearsals each week. 2. Except for the final 5 days of rehearsal prior to the first performance, rehearsal hours on weekdays (Monday through Friday) shall not exceed 4 hours a day, including required breaks. 3. Stage Management will call a 10 minute break at least every 90 minutes. 4. Any weekend days worked (other than tech weekend) may be scheduled as a 7 out of 8- 1/2 hour day. 5. Regular rehearsals will end no later than 11:00 PM. 6. During tech week, rehearsals may continue until midnight. The beginning of Tech Week is defined as the Friday night prior to opening. 7. The Saturday and Sunday of Tech Week may both be scheduled as 10 out of 12 hour days. 8. Days other than Saturday and Sunday of Tech Week must not exceed 6 hours. 9. The rehearsal schedule will be posted 12 hours in advance, or announced at the completion of each rehearsal. 10. There must be a 12-hour rest period between calls. ILLNESS OR INJURY 1. Performers are responsible for safeguarding their own health. Once a performer accepts a role in a production, that performer agrees to not engage in any activity that is potentially harmful, or might cause illness or injury either in, or outside of rehearsals. 2. If a performer is ill, or injured, no pressure will be put on that performer to perform. 3. If a performer is ill, or injured, it will be the decision of the Director/Choreographer in conjunction with the Chair of the Department of Theatre & Dance, whether or not to replace that performer in the show. 4. If a performer is too ill to attend classes, then it will be assumed that performer is too ill to attend rehearsal. STRIKE 1. All members of the cast and crew are required to attend strike. Strike will take place immediately following the last scheduled performance of each show unless otherwise announced. 2. Strike assignments will be posted before the end of the final performance. 3 ACTOR PROTOCAL 1. Audition portfolio consisting of: 9 Monologues 10 Songs 1:30 contemporary comedic 16-bar up-tempo 1:30 Shakespeare comedic 16-bar ballad 1:30 contemporary dramatic up-tempo standard 1:30 Shakespeare dramatic ballad standard :45 contemporary comedic rock and roll :45 Shakespeare comedic rock :45 contemporary dramatic 50s (triplet feel) :45 Shakespeare dramatic patter song Shakespeare sonnet classical aria country-western 2. AUDITIONS A. Over half your Shakespeare should be in verse. You may choose other verse plays, but you should be careful to find good contemporary translations. B. Resume. All actors should bring a resume to every Southeast audition. See your advisor for format. C. Headshot. All Southeast actors should invest in a professional headshot. This is not required at Southeast auditions but strongly suggested. All actors must have a multiple reproductions of headshots and resumes before participating in Midwest Theatre Auditions or Southeastern Theatre Conference Auditions. See advisor for a list of headshot photographers in the St. Louis area. D. Prepared Material. All actors are expected to bring a 60-second prepared monologue and 16-32 bars of music (musicals only) to every Southeast audition. See advisor for specifics and appropriate material. E. Cold Readings. All actors are expected to have studied the entire script and analyze the actions and objectives of the character exactly as you would if you were preparing to perform the role in production. F. Dress. You are a professional in pursuit of a job, and your dress should reflect your professionalism. Dress requirements vary for each audition. See your advisor or director for specifics. G. Notes and Scheduling. Actors are required to bring a pen or pencil and calendars and/or notebooks to all auditions and rehearsals.
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