Stagecraft Syllabus 2018-19.Docx

Total Page:16

File Type:pdf, Size:1020Kb

Stagecraft Syllabus 2018-19.Docx Stagecraft (CTE) Syllabus Instructor: Ms. Kristina Cummins Room: Drama Email: [email protected] Phone: (360) 596-8043 Course Description: Stagecraft students will study theatre safety, set design and construction, lighting and audio for the theatre. Students are expected to obtain proficiency in using the systems in the Capital High School theatre. Other activities include theatre management, costume design and construction, and stage management in preparation for the upcoming CHS productions. VIDEO/PHOTOGRAPHY: In this course, we often video record students’ performances. Contact me directly if you wish for your child to NOT be photographed and video recorded. Textbook: Stagecraft Fundamentals: A Guide and Reference for Theatrical Production (Second Edition) Rita Kogler Carver Major Areas of Study: History and Art: Of Technical Theatre Scenic Design Basic Theatre Safety and Set Construction Theatrical Rigging and Lighting Sound Design Costume and Make-up Design Sound and Special Effects Stage Management and Careers Field Trip to Seattle Shakespeare to see Arms and the Man by George Bernard Shaw on Thursday, November 8, 2018 (permission due by September 28.) Materials / Supplies: Students need to bring the following to class daily Small 3- ring binder / folder Pencils, pens, highlighters, and notebook paper OPTIONAL: Safety Glasses, Work gloves, dust mask, and ear protection Students will be working with construction tools. It is essential that all safety rules are followed. We will have safety equipment on hand, but it is strongly recommended that students bring their own. Cummins 2018 – 2019 Leadership Points: In addition to the class work, students will need to contribute to CHS theatre outside of class time. See the attached handout for information on how to earn these Leadership Points. Weekly Assignments: Students will be expected to complete a weekly assignment posted on Schoology. The work will be assigned on Wednesdays, due the following Wednesday. Play Performances: The best way to learn about theatre is to experience it. Students are expected to see at least one production over the course of each semester and write a review of the show. This can be a show produced at CHS, or another local high school, community, or professional theatre. Our field trip to Seattle Shakespeare can be used or any other opportunity made available through the school. Environment and Safety: To have a truly meaningful experience in this course, it is important that we observe two types of safety rules: physical and emotional. Our basic physical safety rule is no unplanned bodily contact. Without this rule someone may come to physical harm. Just as important are emotional hurts. You and your peers put yourselves on the line when you present for each other. You openly share yourself with us and then allow others to comment on your expression. To preserve the integrity of and maintain positive feelings about your work, the following rules apply to all comments about presentations: o Respect the effort of each member of the class o Appreciate the choices made by each person o Be constructive in any criticism o Include positive responses as part of any full critique o Focus your comments to the individual presenting (i.e. do not compare people) o Limit discussion to in-class only (our work is confidential) In this class we become a family! It is essential that we care for each other well and work together for the common goal of a meaningful production. Rules and Regulations of the Capital High School Theatre: We are fortunate to have a nice performing arts facility and it takes cooperation from all of us to maintain it. Upon entering this theatre you hereby agree to abide to and enforce the following rules: ● No food, drinks, or gum in the space at any time ● No feet on the seats, seat arms or backs ● Do not climb over the back of the seats ● Persons may be backstage or onstage with permission only ● Students may only be in the space with supervision ● Cell phones are not to be used during class or rehearsal Consequences for not following these rules: 1. Warning 2. Working in the theatre after school to clean it so you know the work it takes to maintain 3. REFERRAL TO ADMINISTRATION Cummins 2018 – 2019 Grading and Evaluation: We are using the National Core Art Standards and the Career and Technical Standards (CTE) Student progress will be evaluated using a standards-based assessment system. Instead of earning points for individual assignments, you will earn your letter grade on how skilled you are in the following areas: *Engaged Learning (30%): assesses participation and involvement in class activities, journal responses, and employability skills. Everyone is expected to be an active participant and follow all safety and clean up procedures. Leadership points and some weekly assignments are also assessed in this category. *Performance: (70%) assess students’ creative process, performances, some weekly assignments and reflections. All assessments are graded on rubrics. These assignments can be redone since they are linked to standards, with teacher approval and within the same time/unit as the standard was addressed. Work will be assessed on a 4 point scale. Grad Definition Percentage in Skyward e 4 Advanced - consistently exceeds proficient level of A = 92.5 – 100% standard(s). A-= 86.67 – 92.49% 3.5 Proficient with partial success at advanced level. B+= 80.84 – 86.66% 3 Proficient - Consistently meets standard(s). B = 75.0 – 80.83% B- = 66.67 – 74.99% 2.5 Basic but partial success at proficient level C+= 58.34 - 66.66% 2 Basic - Inconsistently meets standard(s). C = 50.0 – 58.33% C- = 41.67 – 49.99% 1.5 Below basic but partial success at basic. D+= 33.34 – 41.66% 1 Below basic - Rarely meets standard(s). D = 25 – 33.33% 0 The work does not reach a level identified by the F = 0 – 24.99% descriptors above. * An asterisk on the Skyward report means that students have not yet been assessed in this area or is in the process of being assessed, but not yet entered – it is not a missing assignment. Our grading motto is: 4, 3, 2, or REDO. We expect students to show at least “Basic” understanding of a concept; otherwise, they must revisit the assignment. Students and parents/guardians, please sign and return the half page below to me. The syllabus is also on our class website in case you lose this copy. I am looking forward to having a great year together! - - - - - - - - - - - - - By signing this document, I acknowledge that I have read the whole Stagecraft syllabus, I understand the content, and I know how to contact Mrs. Cummins if I have any questions or concerns. Student name: _________________________________________ Date: ______________ Student signature: __________________________________________________________ Parent/Guardian name: __________________________________ Date: ______________ Parent/Guardian signature: __________________________________________________ Cummins 2018 – 2019.
Recommended publications
  • Entertainment Sr. No Specialisation Page No 1 Theatre And
    L_All_Vocatinal_Ed_Entertainment Sector: Entertainment Sr. No Specialisation Page No 1 Theatre and Stage Craft 02 1 | P a g e COMMUNITY COLLEGE (CC) (Sector - Entertainment - Specialization–Theatre and Stage Craft) CC/ENT/TSC S.No. Certificate Level Vocational Hours 1. Level-I 500 hrs 2. Level-II 800 hrs 3. Level-III 600 hrs 4. Level-IV 700 hrs 5. Level-V 800 hrs Certificate Level- I 1. Theory and Practice-I Processing, Analyzing, and Responding to Sensory Information Through the Language and Skills Unique to Theatre and Visaul Arts: Development of the Vocabulary of Theatre. Analyze/ study the use of figurative language and imagery in dramatic texts. Art, Painting and Theater The stage – its various parts and different types of staging . proscenium arch theatre, . central staging, . street theatre, . Folk theatre. 2. Creative Expression-I Creating, Visual Arts, Performing, and Participating in Theatre : Drawing Study of two or three natural and geometric forms in pencil with light and shade from a fixed point of view. Use immediate environment, including family, home and surroundings, as source of ideas. Illustrate own thoughts and feelings visually. Painting Exercises of basic design in variation of linear geometric and Rhythmetic shapes in primary and secondary colors to understand designs as organized visual arrangements. Select color according to emotional appeal Basic Acting through drama games and tableaux Drawing, Exercises in pencil with light and shade and in full colour from a fixed point of view. Geometrical forms of objects like cubes, cones, prisms, cylinders and sphere should used Painting, Create art depicting self, family, friends in water and poster colours with colour values.
    [Show full text]
  • Drama Department Open House
    Drama Department Open House Stagecraft 1-2 Stagecraft for Show Productions Stagecraft 3-4 Stagecraft for Musical Productions Instructor: Jason Fallis Email: [email protected] What Is Our Department? EVERYTHING THEATRE! Not interested in being onstage but love the technical aspect? We have you covered! Want to be onstage? We have you covered! Need a fine arts credit? We have you covered! Stagecraft 1-2 - No experience required. This is an introductory course on stagecraft (behind the scenes). Some of the areas you will learn about include: lighting, sound, costuming, props, set design and construction, painting and special effects make-up & much more. Where do we go from here? Stagecraft 1-2 Stagecraft 3-4 Stagecraft 3-4 What do you do when you have completed Stagecraft 1-2? TIme to work the shows! In stagecraft 3-4 we take it a step further as you, the student move on to work actual productions behind the scenes operating lights, sound, microphones and backstage. Again...it is impossible to list the advanced offerings in this course. The best part though is the family bond the department has! Stagecraft 3-4 making sure the actors and the stage look great! SO, YOU WANT TO BE AN ACTOR? If your family or friends have told you that you are too dramatic, Acting 1-2 may be for you! No experience is required to take Acting 1-2, an introduction to acting. In this class you will learn the broad techniques of acting from voice control to improvisation. Have I mentioned it is a blast! Where do I go after Acting 1-2? Look no further than Stagecraft for Show Productions.
    [Show full text]
  • Musical Theatre Performance
    REQUIREMENTS FOR THE BACHELOR OF FINE ARTS IN MUSICAL THEATRE WEITZENHOFFER FAMILY COLLEGE OF FINE ARTS THE UNIVERSITY OF OKLAHOMA CREDIT HOURS AND GRADE AVERAGES REQUIRED Musical Theatre For Students Entering the Total Credit Hours . 120-130 Performance Oklahoma State System Minimum Overall Grade Point Average . 2.50 for Higher Education Minimum Grade Point Average in OU Work . 2.50 B737 Summer 2014 through A grade of C or better is required in all courses taken within the College of Fine Arts. Bachelor of Fine Arts Spring 2015 Bachelor’s degrees require a minimum of 40 hours of upper-division (3000-4000) coursework. in Musical Theatre OU encourages students to complete at least 32-35 hours of applicable coursework each year to have the opportunity to graduate in four years. Audition is required for admission to the degree program. General Education Requirements (34-44 hours) Hours Major Requirements (86 hours) Core I: Symbolic and Oral Communication Musical Theatre Performance (14 hours) Musical Theatre Support (14 hours) ENGL 1113, Principles of English Composition 3 MTHR 2122, Auditions 2 MTHR 3143, History of American 3 ENGL 1213, Principles of English Composition, or 3 MTHR 3142, Song Study I 2 Musical Theatre (Core IV) EXPO 1213, Expository Writing MTHR 3152, Song Study II 2 MTHR 4183, Capstone Experience 3 MTHR 3162, Repertoire 2 (Core V) Foreign Language—this requirement is not mandatory if the 0-10 MTHR 3172, Roles 2 Musical Theatre Electives (six of these 8 student successfully completed 2 years of the same foreign MTHR 3182, Musical Scenes I 2 eight hours must be upper-division) language in high school.
    [Show full text]
  • Techniques and Practical Skills in Scenery, Set Dressing and Decorating for Live-Action Film and Television
    International Specialised Skills Institute Inc Techniques and Practical Skills in Scenery, Set Dressing and Decorating for Live-Action Film and Television Julie Belle Skills Victoria/ISS Institute TAFE Fellowship Fellowship funded by Skills Victoria, Department of Innovation, Industry and Regional Development, Victorian Government ISS Institute Inc. APRIL 2010 © International Specialised Skills Institute ISS Institute Suite 101 685 Burke Road Camberwell Vic AUSTRALIA 3124 Telephone 03 9882 0055 Facsimile 03 9882 9866 Email [email protected] Web www.issinstitute.org.au Published by International Specialised Skills Institute, Melbourne. ISS Institute 101/685 Burke Road Camberwell 3124 AUSTRALIA April 2010 Also extract published on www.issinstitute.org.au © Copyright ISS Institute 2010 This publication is copyright. No part may be reproduced by any process except in accordance with the provisions of the Copyright Act 1968. Whilst this report has been accepted by ISS Institute, ISS Institute cannot provide expert peer review of the report, and except as may be required by law no responsibility can be accepted by ISS Institute for the content of the report, or omissions, typographical, print or photographic errors, or inaccuracies that may occur after publication or otherwise. ISS Institute do not accept responsibility for the consequences of any action taken or omitted to be taken by any person as a consequence of anything contained in, or omitted from, this report. Executive Summary In film and television production, the art department operates, under the leadership of the production designer or art director, to create and manipulate the overall ‘look, feel and mood’ of the production. The appearance of sets and locations transports audiences into the world of the story, and is an essential element in making a production convincing and evocative.
    [Show full text]
  • FOUR YEAR PLAN | THEATRE: MUSICAL THEATRE This Is a Sample 4-Year Plan
    FOUR YEAR PLAN | THEATRE: MUSICAL THEATRE This is a sample 4-year plan. Students are required to meet with their Academic Advisor each semester. YEAR ONE FALL SEMESTER SPRING SEMESTER Course # Course Name Units Course # Course Name Units THEA 107 Acting I 3 THEA/KINE 133C Musical Theatre Dance I 1 THEA 200C Intro to Theatre 3 SOCI 100C/ANTH 102C/ PSYC Intro to Sociology/Cultural Anthropology/ 3 THEA 134 Musical Literacy for Theatre 2 103C General Psychology CORE 100C Cornerstone 1 NT 101C New Testament Survey 3 THEA 110/106/116 Beginning Costume/Set/Scenic Construction 1 THEA 244 Beginning Musical Theatre Audition 3 ENGL 120C Persuasive Writing 3 THEA 135 Beginning Theatre Movement 2 MUSI 101 OR 102 Basic Voice 1 THEO 101C/103C Foundations of Christian Life/Intro to Theology 3 MUSI 100 Recital Attendance 0 THEA 108A Theatrical Production I 1 THEA 108B Theatrical Production I 1 THEA 132A Theatrical Performance I (if cast) 1-2 THEA 132B Theatrical Performance I (if cast) 1-2 TOTAL 16-18 TOTAL 15-17 YEAR TWO FALL SEMESTER SPRING SEMESTER Course # Course Name Units Course # Course Name Units THEA 320 Lighting Design (must be taken this semester) 3 THEA 309 Costume Design 3 THEA 202C History of Theatre I 3 THEA 207 Acting II 3 OT 201C Old Testament Survey 3 THEA 204C History of Theatre II 3 THEA 239 Makeup Design 3 THEA 344 Intermediate Musical Theatre Audition 3 THEA/KINE 433 Musical Theatre Dance II 1 THEA 208 B Theatrical Production II 1 THEA 220 Musical Theatre Vocal Technique 3 THEA 232 B Theatrical Performance II (if cast) THEA 208 A Theatrical Production II 1 1-2 + Elective THEA 232A Theatrical Performance II 1-2 Dance Class at OCC or Private Dance elective option 1 TOTAL 17-18 TOTAL 16-18 YEAR THREE FALL SEMESTER SPRING SEMESTER Course # Course Name Units Course # Course Name Units THEA 315 Scenic Design (must be taken this semester) 3 THEO 300 Developing a Christian Worldview 3 THEA 360 Dramatic Literature: Script Analysis or Elective 3 ENGL 220 Research Writing 3 POLS 155/HIST 156C U.S.
    [Show full text]
  • Costume Designer Costume Designer
    COSTUME DESIGNER A Costume Designer creates the clothes and costumes for theatre, film, dance, concerts, television and other types of stage productions. The role of the Costume Designer in the professional theatre industry is to design garments and accessories for actors to wear in a production. In this industry the majority of designers, specialise in both set and costume design, although they often have a particular strength in one or the other. READING THE SCRIPT The first step is to read this script, which can give direction as to what the characters are wearing. The script also gives an indication through the character’s personality and behaviour. The designer should consider the time period, the location, as well as the social status of each character. The designer would then liaise with the director to determine the time period and location (as they may change this from the script) and if there is any other style or element they want to achieve. It is imperative that the costume and set design have a cohesive look. BUDGET As a designer you will need to know your budget as this has a big impact upon the design of a production. It is cheaper to produce a contemporary show, so you can op shop costumes or buy them from a retail outlet. Often actors will provide bits and pieces from their own wardrobe on smaller budget shows. Period shows are expensive as most costumes will need to be made. These costs include fabric and trims and employing people to draft patterns, cut and sew them, all of which are labour and time intensive.
    [Show full text]
  • The Creative Choreography for Nang Yai (Thai Traditional Shadow Puppet Theatre) Ramakien, Wat Ban Don, Rayong Province
    Fine Arts International Journal, Srinakharinwirot University Vol.14 issue 2 July - December 2010 The Creative Choreography for Nang Yai (Thai traditional shadow puppet theatre) Ramakien, Wat Ban Don, Rayong Province Sun Tawalwongsri Abstract This paper aims at studying Nang Yai performances and how to create modernized choreography techniques for Nang Yai by using Wat Ban Don dance troupes. As Nang Yai always depicts Ramakien stories from the Indian Ramayana epic, this piece will also be about a Ramayana story, performed with innovative techniques—choreography, narrative, manipulation, and dance movement. The creation of this show also emphasizes on exploring and finding methods of broader techniques, styles, and materials that can be used in the production of Nang Yai for its development and survival in modern times. Keywords: NangYai, Thai traditional shadow puppet theatre, Choreography, Performing arts Introduction narration and dialogues, dance and performing art Nang Yai or Thai traditional shadow in the maneuver of the puppets along with musical puppet theatre, the oldest theatrical art in Thailand, art—the live music accompanying the shows. is an ancient form of storytelling and entertainment Shadow performance with puppets made using opaque, often articulated figures in front of from animal hide is a form of world an illuminated backdrop to create the illusion of entertainment that can be traced back to ancient moving images. Such performance is a combination times, and is believed to be approximately 2,000 of dance and puppetry, including songs and chants, years old, having been evolved through much reflections, poems about local events or current adjustment and change over time.
    [Show full text]
  • Stagecraft I & II SYLLABUS
    DUKE ELLINGTON SCHOOL OF THE ARTS TECHNICAL DESIGN & PRODUCTION DEPARTMENT STAGECRAFT I & II Instructor: Robin Y. Harris COURSE CATALOG DESCRIPTION Stagecraft I (QT1) This is the first course in the Duke Ellington Technical Theater career pathway. This sequence of courses prepares students for a career in the technical theater industry. Students are introduced to the process by which scenery, lighting, and audio are planned, coordinated, and built to support the playwright's and director's visions and concepts. Students will create scenic design models. Stagecraft II (QT2) This is the second course in the Duke Ellington Technical Theater career pathway. This sequence of courses prepares students for a career in the technical theater industry. Students will expand their general understanding of basic stagecraft and practices. COURSE OUTCOMES and OBJECTIVES At the end of the school year, the student should be able to: • Converse in the vocabulary of the discipline. • Understand theatre history as it relates to the physical facility of the theater to include art and architecture. • Understand the principles of scenic elements, scenic units, construction/fabrication, and design. • Make connections among disciplines of study • Read critically • Recognize the differences among fact, opinions, and judgements • Express aesthetic critique and insight • Solicit feedback, evaluate and revise creative products METHOD OF INSTRUCTION Lecture and Discussion Demonstration and Illustration Printed Materials COURSE OUTLINE I. Brief Theatre History (Ancient, Greek, Roman and Renaissance) II. Performance Spaces and Functions (Arena, Proscenium, Thrust, and Black Box) III. Common Stage Elements IV. Scenic Units & Resources (Flats, Doors, Platforms, Drops, and Properties) V. Design A. The Role of the Designer B.
    [Show full text]
  • 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.
    [Show full text]
  • 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]
  • Chapter 10: Stage Settings
    396-445 CH10-861627 12/4/03 11:11 PM Page 396 CHAPTER ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ 10 Stage Settings Stage settings establish a play’s atmosphere. In Andrew Lloyd Webber’s Sunset Boulevard, shown here, the charac- ters are dwarfed by the imposing paneled room that includes a sweep- ing staircase. he theater, for all its artifices, depicts life Tin a sense more truly than history. —GEORGE SANTAYANA, POET AND PHILOSOPHER 396 396-445 CH10-861627 12/4/03 11:12 PM Page 397 SETTING THE SCENE Focus Questions What are the purposes of scenery in a play? What are the effects of scenery in a play? How has scenic design developed from the Renaissance through modern times? What are some types of sets? What are some of the basic principles and considerations of set design? How do you construct and erect a set? How do you paint and build scenery? How do you shift and set scenery? What are some tips for backstage safety? Vocabulary box set curtain set value unit set unity tints permanent set emphasis shades screens proportion intensity profile set balance saturation prisms or periaktoi hue A thorough study of the theater must include developing appreciation of stage settings and knowledge of how they are designed and constructed. Through the years, audiences have come to expect scenery that not only presents a specific locale effectively but also adds an essential dimension to the production in terms of detail, mood, and atmosphere. Scenery and lighting definitely have become an integral part of contemporary play writ- ing and production.
    [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]