Technical Crew Information Performance Dates: October 20 (3 & 7 PM) October 21 (3 PM)
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Brown University Department of Theatre Arts and Performance Studies Production Director and Stage Manager, Barbara Reo Barbara [email protected] (401) 863-3284 Office
Brown University Department of Theatre Arts and Performance Studies Production Director and Stage Manager, Barbara Reo [email protected] (401) 863-3284 office TA3 Run Crew Information Sheet Hello and welcome to Run Crew for TAPS. Each semester, TA-3 students serve as the backstage and technical crew for one of the department’s productions that take place on one of the three stages (Stuart Theatre, Leeds Theatre and Ashamu Studio) of The Catherine Bryan Dill Center for The Performing Arts or at Rites & Reason at Churchill House. These productions include shows produced by Sock & Buskin, Senior Slot, Dance Concerts, and Rites & Reason Theatre. Everything you will need to know about serving as a member of a run crew is detailed in this information sheet. In addition, (when possible) you will have a two-hour orientation prior to the beginning of the technical rehearsal process to answer any of your questions and alleviate any of your concerns. Introduction The run crew for our shows executes all backstage action. The stage managers and assistant stage managers, with the help of our designers, our costume shop manager (Ron Cesario), our technical director (Tim Hett), and many others organize backstage activity. Specifically, they figure out how to coordinate scene changes, the movement of props on and off stage, the flying in and out of curtains, costume changes, and the movement of costumes from the dressing room to the backstage area during the performance. While the stage manager remains in the lighting booth to call the show and the assistant stage managers are on headset backstage, supervising the crew and communicating with the stage manager, the run crew (you) will be the ones actually assisting with the costume changes, moving props backstage so they are ready for the actors, executing the scene changes during blackouts or in between scenes and flying the curtains in and out as needed. -
Sue Wedan Instructor of Theatre [email protected]
Sue Wedan Instructor of Theatre [email protected] Education Master of Arts; Technical Theater/Design and Construction University of Wisconsin-Superior 1993-1995 Bachelor of Science University of Wisconsin-Superior 1989-1993 Certification/Professional Development Shop carpenter with 26 years of experience, knowledge of wire feed and stick welding, AutoCAD training, advanced first-aid, CPR/AED certified, blood borne pathogen training, hazardous material training and overhead rigging certificates. Member USITT. Employment History University of Wisconsin-Superior; Superior, Wisconsin 2003-present: Senior Lecturer in Communicating Arts instructing Technical Theatre, Theatre Appreciation, Production Analysis, Elements of Design, Theatre History and theatre contract courses. Serve as the Resident Scenic Designer/Technical Director for University Theatre. Duties include scenic design, technical direction, shop maintenance, safety and budgeting. Lake Superior College; Duluth, Minnesota 1998-2002: Instructor, Set Designer/Technical Director; instructed Stage Craft, Set Design and Introduction to Theatre Courses. Designed and constructed two productions per academic year. Duties included overseeing all scene shop operations in terms of safety, maintenance and budget. Peninsula Players Theatre; Fish Creek, Wisconsin 1995-1997: Technical Director/Intern supervisor; instructed theatre interns in construction, managed and maintained scene, properties and electrics shops. Duties also included organizing all load-ins, strikes, production schedules and shop budgets. Oversaw all rigging operations. University of Wisconsin-Superior; Superior, Wisconsin 1993-1995: Graduate Assistant/Shop Supervisor. Oversaw construction and rigging operations, shop maintenance and assisted with reviewing the work performance of practicum students. Tibbits Opera House; Coldwater, Michigan 1992-1993: Properties Master for six productions at the opera house. Duties included building or finding all stage properties for each production while staying within a small budget. -
Terms and Lingo – the Roadie’S Lexicon for the Layman
Terms and Lingo – The Roadie’s Lexicon for the Layman A handy and fun selection of Terms and Lingo used throughout the industry, some serious, and some not so! ACOUSTICS – the science of sound; invented to make otherwise good sound men look like complete fools. AIR IMPEDANCE – also known as not plugged in. APRON – front edge of stage. BACKLOUNGE – rear section of a tour bus, generally the smoking area. BACKLINE – band equipment which is not an actual instrument, but some type of reinforcement equipment, for example Amplifiers. BAND ENGINEER – person who mixes the group. BEST BOY – movie term for the lead assistant electrician answering to the gaffer. BOAT ANCHOR – a piece of heavy equipment which isn’t performing to expectations and has been presumed dead, or is otherwise obsolete. BUMPERS – sturdy frames from which speakers are hung. BUS FACTOR – the degree to which bad movies improve due to extended bus rides. Lower bus factor is better, but requires better movies. Formula: B = DMN/S Where: B = Bus factor, D = Bus time (# days on bus), M = Distance (# miles), N = Number of passengers on bus, S = Bus stock (# gallons of alcoholic beverages). BUS STOCK – consumables stored in the bus. BUS SURFING – the art of walking and/or standing upright on a moving bus. BUS HAIR – what you get if you go to sleep with wet hair. Stagecraft Technical Services Ltd. Tel: 0845 838 2015 Email: [email protected] Fax: 0845 838 2016 Website: www.stagecraft.co.uk CABLE MONKEY – an entry level roadie position, one who wrangles cables. CABLE RAMP – neither actually, a portable trough used to place cable to allow traffic to cross a cable run. -
Theatre & Dance
THEATRE & DANCE Ellen Margolis, Chair; Jennifer Camp, Mary Hunt, Tal Sanders At Pacific, opportunities in the performing arts are available to all students, regardless of major. Whether you are interested in a career in the professional theatre, in teaching, or in combining theatre or dance with other fields of study, our courses and productions provide a well- rounded foundation. The most collaborative of the arts, theatre and dance partake of literature, history, music, movement, architecture, and design. Creating a compelling performance entails mastery of a wide array of skills, including acting, directing, playwriting, design, and technology. Through rigorous work in academic, studio, and community settings, the Department of Theatre & Dance develops engaged artists and active learners. Faculty and students work together to learn, create, and communicate in a spirit of exploration and collaboration. Our distinctive Applied Theatre program builds on traditional performance training to serve individuals and communities, while our theatre season offers challenging, uplifting performances to the campus. Through theatrical production, guest residencies, and academic study, the Pacific Department of Theatre & Dance strives to provide students with: Appreciation for the importance of story-telling, theatre, and dance in the contemporary world and throughout history Practical experience in theatre and dance production, including scenic, lighting, costume, sound and make-up design; acting; playwriting; stage management; dance; theatre technology; -
Properties Run Crew
Longwood University 2013 Properties Run Crew Rehearsal Period: • Attend crew watch. • Stage management will inform you of when you need to attend rehearsal. • Come to the theatre to practice your duties on your own time. Technical and Dress Rehearsals: • Attend all technical and dress rehearsals. o Sign-in sheet on the callboard. • If the properties manager comes to you in the middle of rehearsal to make an adjustment, do so to the best of your ability. o Inform your stage manager of the change. • Make any adjustments based on the notes given to you by the stage manager and properties manager. o If you receive a note that the stage manager does not know about, tell him/her. Headset: • Be courteous and respectful while on headset. o You can never be sure who is listening. • Speak clearly and quietly into the headset. o Do not breath heavily into the headset, tap on the mic, chew gum, or make other unnecessary noises. • Enunciation will help you to be heard while speaking quietly. • You should take their cues on the word “go” and, more specifically, on the “guh” sound of that word. o Do not “go” without the stage manager’s say so. • The stage manager will signify your cues by specify “properties” or “scene change” before the cue. • The stage manager will talk-through any difficult sequences of cues before they happen. • Stage management will issue a “Warning” one page ahead of the cue in question. o After hearing a “Warning” you should be preparing for the upcoming cue in whatever way necessary. -
8Th Euroseas Conference Vienna, 11–14 August 2015
book of abstracts 8th EuroSEAS Conference Vienna, 11–14 August 2015 http://www.euroseas2015.org contents keynotes 3 round tables 4 film programme 5 panels I. Southeast Asian Studies Past and Present 9 II. Early And (Post)Colonial Histories 11 III. (Trans)Regional Politics 27 IV. Democratization, Local Politics and Ethnicity 38 V. Mobilities, Migration and Translocal Networking 51 VI. (New) Media and Modernities 65 VII. Gender, Youth and the Body 76 VIII. Societal Challenges, Inequality and Conflicts 87 IX. Urban, Rural and Border Dynamics 102 X. Religions in Focus 123 XI. Art, Literature and Music 138 XII. Cultural Heritage and Museum Representations 149 XIII. Natural Resources, the Environment and Costumary Governance 167 XIV. Mixed Panels 189 euroseas 2015 . book of abstracts 3 keynotes Alarms of an Old Alarmist Benedict Anderson Have students of SE Asia become too timid? For example, do young researchers avoid studying the power of the Catholic Hierarchy in the Philippines, the military in Indonesia, and in Bangkok monarchy? Do sociologists and anthropologists fail to write studies of the rising ‘middle classes’ out of boredom or disgust? Who is eager to research the very dangerous drug mafias all over the place? How many track the spread of Western European, Russian, and American arms of all types into SE Asia and the consequences thereof? On the other side, is timidity a part of the decay of European and American universities? Bureaucratic intervention to bind students to work on what their state think is central (Terrorism/Islam)? -
The Owl and Nightingale Playersin
THE PROMPTER Volume 45, No. 3 February 22 - 26, 2008 Season LXXXXIV The Department of Theatre Arts at Gettysburg College presents The Owl and Nightingale Players in Production Design by Jerome O. Hanson Costume Design by Zennis Goshorn CAST LISTS Woman ..................................................................................................... Chelsea Bucklin Eunice Hubbell ............................................................................................Quiana Young Stanley Kowalski................................................................................... Phillip Ballantine Stella Kowalski ..........................................................................................Devon Johnson Steve Hubbell ..............................................................................................Jacob Henkoff Harold Michell (Mitch) ................................................................................. Matt Gross Mexican Woman ..................................................................................... Laura Martinez Blanche DuBois ...........................................................................................Ashley Stuart Pablo Gonzales ..............................................................................................Chris Rustin Paperboy ............................................................................................................Peter Mele Nurse .......................................................................................................... -
The Great Chicago Theater Disaster (1904) Pdf, Epub, Ebook
THE GREAT CHICAGO THEATER DISASTER (1904) PDF, EPUB, EBOOK Marshall Everett | 390 pages | 07 Dec 2009 | Kessinger Publishing | 9781120761088 | English | Whitefish MT, United States The Great Chicago Theater Disaster (1904) PDF Book A nearly identical book was published under a different title, Chicago's Awful Theater Horror. It was soon apparent that the fire could not be contained. Hard Cover. From the testimony presented to us we, the jury, find the following were the causes of said fire: Grand drapery coming in contact with electric flood or arc light, situated on iron platform on the right hand of stage, facing the auditorium. About this Item: Condition: Good. More information about this seller Contact this seller 7. As word of the staggering death toll spread, the city would be overcome by a state of collective mourning. It includes many pictures. World History. This Day In History. It includes many pictures. Online Resources Illinois Periodicals Online--A Matinee to Remember This account, originally published in Illinois Heritage magazine, describes the fire from the perspective of year- old Elson Barnes, a survivor of the fire. Forgotten Fires of Chicago by John F. The task of proving culpability, however, became hopelessly complex. Human Behavior. Try Mobile App. Monday — Friday. As these are old books, we processed each page manually and make them readable but in some cases some pages are blur or missing or black spots. We hold William H. This work was reproduced from the original artifact, and remains as true to the original work as possible. Add to Watchlist Add to wish list. -
Curriculum Development Course at a Glance Planning for High School
Curriculum Development Course at a Glance Planning for High School Drama and Theatre Arts Content Area Drama and Theatre Arts Grade Level High School Course Name/Course Code Part One: Scripted Works, Character Development, Technical Theatre Standard Fundamental Pathway Grade Level Expectations (GLE) Extended Pathway Grade Level Expectations (GLE) 1. 1. Creative process in character development DTA09-HSFP-S.1-GLE.1 1. Character development in improvised and scripted DTA09-HSEP-S.1-GLE.1 Create and script improvisation works 2. Technical elements of theatre in improvised DTA09-HSFP-S.1-GLE.2 2. Technical design and application of technical elements DTA09-HSEP-S.1-GLE.2 and scripted works 3. Expression, imagination, and appreciation in DTA09-HSFP-S.1-GLE.3 3. Ideas and creative concepts in improvisation and play DTA09-HSEP-S.1-GLE.3 group dynamics building 4. Interpretation of drama using scripted DTA09-HSFP-S.1-GLE.4 4. Creation, appreciation, and interpretation of scripted DTA09-HSEP-S.1-GLE.4 material works 2. 1. Communicate meaning to engage an DTA09-HSFP-S.2-GLE.1 1. Drama and theatre techniques, dramatic forms, DTA09-HSEP-S.2-GLE.1 Perform audience performance styles, and theatrical conventions that engage audiences 2. Technology reinforces, enhances, and/or DTA09-HSFP-S.2-GLE.2 2. Technology reinforces, enhances, and/or alters a DTA09-HSEP-S.2-GLE.2 alters a theatrical performance theatrical performance 3. Directing as an art form DTA09-HSFP-S.2-GLE.3 3. Direction or design of a theatrical performance for an DTA09-HSEP-S.2-GLE.3 intended audience 3. -
Production Handbookfinaldraft
PRODUCTION HANDBOOK SCHOOL OF THEATRE AND DANCE KENT STATE UNIVERSITY 2010-2011 TABLE OF CONTENTS INTRODUCTION 1 Mission of The School of Theatre and Dance 1 PROFESSIONAL BEHAVIOR 1 A Code of Ethics for Theatre Professionals 1 PRODUCTION FACULTY AND STAFF 3 Contact Information 3 ORGANIZATION OF THE SCHOOL OF THEATRE AND DANCE 5 The Faculty and Staff Production Organization 5 Faculty and Staff Production Positions 5 Producing Director/School Director (Administrative Staff) 5 Managing Director (Professional Staff) 5 Production Manager (Professional Staff) 5 Director 5 Artistic Director (Dance Concert) 6 Choreographer (Dance Concert) 6 Choreographer (Theatre Production) 6 Vocal Coach 6 Fight or Movement Coach 6 Resident (Faculty) Designers 7 Resident (Faculty) Set Designer 7 Resident (Faculty) Costume Designer 7 Scene Shop Supervisor 8 Costume Shop Supervisor 8 Lighting and Sound Supervisor 8 Marketing Coordinator (College of the Arts Administrative Staff) 9 School Administrative Assistant (Classified Staff) 9 SCHOOL OF THEATRE AND DANCE PRODUCTION POLICIES AND PROCEDURES 10 Participation Policies 10 Auditions 11 Casting Policies 11 Conflicts 11 Computer Lab Policies 12 Key Policies 12 Theatre and Rehearsal Space Policies 12 Rehearsal Policies 13 Theatre and Dance Space Policies 13 Matinee and Touring Production Policies 15 Purchasing Policies and Procedures 15 School Charge Accounts 15 Production Spread Sheet 15 Petty Cash 16 Expense Reimbursements 16 School of Theatre and Dance Box Office Policies 16 i School of Theatre and Dance Complimentary -
A Livestream Event! Written and Created by ROGER BEAN Vocal Arrangements by ROGER BEAN & BRIAN BAKER Musical Arrangements by BRIAN BAKE
A Livestream Event! Written and Created by ROGER BEAN Vocal Arrangements by ROGER BEAN & BRIAN BAKER Musical Arrangements by BRIAN BAKE Winter Wonderettes premiered at Milwaukee Repertory Theater. Joseph Hanreddy, Artistic Director and Timothy J. Shields, Managing Director. PRESENTED BY SPECIAL ARRANGEMENT WITH STAGE RIGHTS, LOS ANGELES, CA. Director/Choreographer MADDIE TWEED Production Stage Manager Musical Director REBECCA GOSSETT DEBBIE ANDERSON Lighting Designer/Technical Director Props Designer MATTHEW SWINDELL PATTI FENZEL Costume Designer Sound Designer/Audio Engineer SANDY DAWSON JULIANNE SLATON THIS IS A LIVE STREAMING THEATRICAL EVENT. ANY DOWNLOAD, SALE OR DISTRIBUTION OF ANY RECORDED PORTION OF THIS EVENT IS STRICTLY PROHIBITED UNDER FEDERAL COPYRIGHT LAW. Presented by special arrangement with Stage Rights (www.stagerights.com) The videotaping or other video or audio recording of this production is strictly prohibited {<The Cast> Chelcy Cutwright Kirin Wilson Courtlyn Holt Christie Lamb Missy Suzy Cindy Lou Betty Jean Cheryl Linda Brooke Myers Alyssa Flowers Missy/Cindy Lou Suzy/Betty Jean Understudy Understudy The Author ROGER BEAN created the long-running Off-Broadway smash hit The Marvelous Wonderettes (Westside Theatre), along with the sequels Wonderettes: Caps & Gowns, Winter Wonderettes, and Wonderettes: Dream On. Original cast albums for all Wonderettes shows are available from iTunes and Amazon. The Marvelous Wonderettes received the 2007 LA Ovation Award for Best Musical for its record-breaking Los Angeles run and continues to be an audience favorite in regional and amateur theatre companies throughout the country. Mr. Bean’s doo-wop hit Life Could Be A Dream had a record- breaking 12-month run in Los Angeles, receiving the Los Angeles Drama Critics Circle Award, the LA Weekly Theatre Award, and the Backstage Garland Award for Outstanding Musical. -
Doors Tech Rider
production Doors TECHNICAL RIDER Contacts for technical queries: Technical director – Gediminas Usackas +370 64710850 [email protected] Production manager – Vidas Bizunevicius +370 66276660 [email protected] GENERAL PRODUCTION INFORMATION Director Jo STRØMGREN Set designer Goda PALEKAITE Light designer Vilius VILUTIS Duration: 1 hour and 15 minutes without intermission Side which invites the performance, venue is described as Presenter and Lithuanian national drama theatre side, traveling team is described as Company. The requirements stated herein are generic and have been set for the mutual benefit of the Presenter and the Company to achieve a basis for the successful technical and artistic presentation of the piece. Otherwise the Rider should be approved in detail and considered as a part of the Performance contract and no part of it can be changed without the written consent of the Company. Venue photos, drawings and equipment lists shall be received by the Company well in advance, to be able to adopt scenography, light and video accordingly. The set-up schedule in this document is generic and exact amount of times and technicians must be decided on venue basis. One senior technician with full access and knowledge of the house (stage manager) must be present at all times. All premises, equipment, services and miscellaneous props are arranged and paid for (if not stated otherwise) by the Presenter. All equipment must be fully operational and in excellent working condition prior to the company arrival. Failure to comply with this requirement could result in a delay or cancellation of the performance(s). All equipment must be on stage on the first set up day latest at 10am.