Theatre Lingo
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Parts of a Theatre Building THEATRE PROJECTS 2 THEATRE PROJECTS 3
THEATRE PROJECTS 1 Parts of a Theatre Building THEATRE PROJECTS 2 THEATRE PROJECTS 3 apron box boom (noun) the area of a proscenium stage located (noun) a mounting position for stage spotlights at downstage of the proscenium wall and upstage the front side of the auditorium, usually a vertical of the orchestra pit. If the floor of the orchestra pit pipe is raised to stage level (by machinery or with plat- forms) then it may form an extension of the apron, box, opera box called a forestage or stage extension. (noun) a seating area in an auditorium, usually (a) arbor pit seating between two and twelve spectators, (b) with loose instead of fixed chairs, and (c) separated from (noun) an open slot in the stage floor below the adjacent areas by railings or half walls rigging wall that allows the counterweight arbors to travel lower than the stage floor to provide in- bridge creased batten travel. Also the room or space be- low that slot. (noun) a gallery or catwalk, sometimes suspended from overhead rigging to allow it to be raised, low- auditorium ered, or repositioned (noun) the seating area or audience chamber of a also lighting bridge, loading bridge performance space; the house control room back of house (BOH), backstage (noun) a room, usually at the rear of the auditorium, (noun) the area of a theatre not open to the public, from which lighting, sound, and other control equip- where the performance is prepared ment is operated during the performance (adjective) in or relating to the areas of a theatre also lighting control room, sound -
Blocking Fathers, Illicit Marriages: Continuity and Change from Sophocles to Menander
Blocking Fathers, Illicit Marriages: Continuity and Change from Sophocles to Menander It is a truth universally acknowledged that the plays of Menander owe a great debt to Classical Athenian drama: connections between plays such as Aristophanes’ Cocalus and Menander were noted in didascalia, and similarly the thematic and structural similarities between New Comedy and the works of Euripides were already recognized in Hellenistic scholarship (Arnott 1972; Csapo 2000; Hunter 2011). Sophocles, on the other hand, is rarely included in this discussion of dramatic influence, more often regarded solely for his role as the pinnacle of tragic poets. It is the purpose of this paper to reanalyze possible connections between the corpus of Sophocles and that of Menander by examining both the Antigone and the Dyscolus as plays employing one of the most familiar stock characters of ancient comedy: the “blocking” father figure. This father figure—whose earliest incarnation arguably belongs to Old Comedy, such as Strepsiades from Clouds—is perhaps best known for his characterization in the plays of Greek New Comedy and their later, Latin iterations. Generally an old and intransigent father, the “blocking” figure is generically defined by his interference in the life of his young offspring; in New Comedy, this interference takes the form of intervention in the budding romance of two young lovers, whose inconvenient marriage will inevitably bring about the typical finale. This character, at first glance, may appear to be a creature created solely for light-hearted drama. Creon of the Antigone, however, whose stubborn and belligerent character has been carefully surveyed for his role within the tragedy itself (see Roisman 1996), additionally shares many features with the father of Menander’s only intact play, Knemon of the Dyscolus. -
Stagehand Course Curriculum
Alaska Center for the Performing Arts Stagehand Training Effective July 1, 2010 1 Table of Contents Grip 3 Lead Audio 4 Audio 6 Audio Boards Operator 7 Lead Carpenter 9 Carpenter 11 Lead Fly person 13 Fly person 15 Lead Rigger 16 Rigger 18 Lead Electrician 19 Electrician 21 Follow Spot operator 23 Light Console Programmer and Operator 24 Lead Prop Person 26 Prop Person 28 Lead Wardrobe 30 Wardrobe 32 Dresser 34 Wig and Makeup Person 36 Alaska Center for the Performing Arts 2 Alaska Center for the Performing Arts Stagecraft Class (Grip) Outline A: Theatrical Terminology 1) Stage Directions 2) Common theatrical descriptions 3) Common theatrical terms B: Safety Course 1) Definition of Safety 2) MSDS sheets description and review 3) Proper lifting techniques C: Instruction of the standard operational methods and chain of responsibility 1) Review the standard operational methods 2) Review chain of responsibility 3) Review the chain of command 4) ACPA storage of equipment D: Basic safe operations of hand and power tools E: Ladder usage 1) How to set up a ladder 2) Ladder safety Stagecraft Class Exam (Grip) Written exam 1) Stage directions 2) Common theatrical terminology 3) Chain of responsibility 4) Chain of command Practical exam 1) Demonstration of proper lifting techniques 2) Demonstration of basic safe operations of hand and power tools 3) Demonstration of proper ladder usage 3 Alaska Center for the Performing Arts Lead Audio Technician Class Outline A: ACPA patching system Atwood, Discovery, and Sydney 1) Knowledge of patch system 2) Training on patch bays and input signal routing schemes for each theater 3) Patch system options and risk 4) Signal to Voth 5) Do’s and Don’ts B: ACPA audio equipment knowledge and mastery 1) Audio system power activation 2) Installation and operation of a mixing consoles 3) Operation of the FOH PA system 4) Operation of the backstage audio monitors 5) Operation of Center auxiliary audio systems a. -
An Actor's Life and Backstage Strife During WWII
Media Release For immediate release June 18, 2021 An actor’s life and backstage strife during WWII INSPIRED by memories of his years working as a dresser for actor-manager Sir Donald Wolfit, Ronald Harwood’s evocative, perceptive and hilarious portrait of backstage life comes to Melville Theatre this July. Directed by Jacob Turner, The Dresser is set in England against the backdrop of World War II as a group of Shakespearean actors tour a seaside town and perform in a shabby provincial theatre. The actor-manager, known as “Sir”, struggles to cast his popular Shakespearean productions while the able-bodied men are away fighting. With his troupe beset with problems, he has become exhausted – and it’s up to his devoted dresser Norman, struggling with his own mortality, and stage manager Madge to hold things together. The Dresser scored playwright Ronald Harwood, also responsible for the screenplays Australia, Being Julia and Quartet, best play nominations at the 1982 Tony and Laurence Olivier Awards. He adapted it into a 1983 film, featuring Albert Finney and Tom Courtenay, and received five Academy Award nominations. Another adaptation, featuring Ian McKellen and Anthony Hopkins, made its debut in 2015. “The Dresser follows a performance and the backstage conversations of Sir, the last of the dying breed of English actor-managers, as he struggles through King Lear with the aid of his dresser,” Jacob said. “The action takes place in the main dressing room, wings, stage and backstage corridors of a provincial English theatre during an air raid. “At its heart, the show is a love letter to theatre and the people who sacrifice so much to make it possible.” Jacob believes The Dresser has a multitude of challenges for it to be successful. -
Scene Shop Foreman/Instructor
Scene Shop Foreman/Instructor Department: School of Creative and Performing Arts Type: Full-time, 10 months Reports To: Director of Production This 10-month position serves as shop foreman/stage supervisor for all SCAPA productions. Manages scene shop including the construction and installation of all scenic elements, manages inventory and student crews. Working knowledge of VectorWorks. Responsible for following and promoting all safety procedures and practices along with problem solving technical issues that may arise in the scene shop or stage areas. Teach introductory stagecraft and in other areas of expertise (eg: sound, scenic, projections) Responsibilities: Essential duties and responsibilities include the following. Other duties may be assigned. 1. Manage the daily operation of scene shop 2. Leads or assists construction, load-in and strike of all theatre productions (6 mainstage and 4 student productions annually) 3. Order and maintain supplies at required levels 4. Responsible for general and basic maintenance of scene shop 5. Works in concert with the Director of Production on all scene shop assignments and scheduling 6. Manage scene shop, coordinate construction schedules to meet production deadlines; organize and supervise student workers and scene shop techs to meet deadlines set by Director of Production. develop construction drawings; procures supplies for set construction; coordinates with outside vendors and other duties as assigned by the Director of Production 7. Collaborate with design team to plan, install and ensure proper operation of scenery and stage equipment, manage and train student crews, adhere to safety standards in the mounting, operation and strike for each production. 8. Teach 7-8 credit hours per academic year including stagecraft and scenic design 9. -
Technical Rider
TECHNICAL RIDER I. AXIS DANCE COMPANY CONTACT LIST: 1428 Alice St., #200, Oakland, CA 94612 510.625.0110 (Office) 510.625.0321 (Fax) Marc Brew, Artistic Director 510-625-0110 [email protected] Robin Anderson, Engagement Director 510-625-0110 [email protected] II. STAGE REQUIREMENTS • Wheelchair accessibility to stage is required. • Optimum stage size: 40’ opening by 36’ deep; Minimum stage Size: 36’ opening by 28’ deep • Sprung dance floor with smooth, clean dancing surface. Most of the time it will be necessary to lay a Marley floor. • Minimum electric high trim 20’. Preferred high trim 24’. • 3-4 evenly spaced wings on each side of the stage with a minimum of 6 feet between each wing. • Black borders to mask overhead lighting are preferred. • Full stage width Black Velour Drop which must either fly or be on a traveler track • Full stage width Black Sharkstooth scrim. • Full stage width White Cyclorama with a white bounce, or a white plastic (rear projection cyc). • Wheelchair accessible crossover behind stage will be required. • Wheelchair accessible dressing room, make-up area and bathroom for 6-8 artists. • Quick change areas with prop tables, chairs and running lights stage left and / or stage right for costume changes. • Temperature of all areas must be a minimum of 68 degrees. • Stage, wings, and crossover must be reasonably clear of house equipment and must be swept and mopped prior to each rehearsal and performance. • Stage shall be available to AXIS Dance Company from beginning of load-in until final performance and strike are complete. No other use of the stage or dressing rooms during this time is permitted without prior approval from the AXIS Production Manager. -
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. -
Resume Examples
RÉSUMÉ TEMPLATES The following examples are provided to help you create your first résumé. There are six templates: 1) actor 2) designer/technician 3) stage manager 4) director 5) playwright 6) first-time résumé for someone just out of high school, combined with a general theatre résumé covering multiple areas of experience Length: An actor’s résumé should be a single page in length. When attached to a headshot, it should be trimmed to 8” x 10”. Résumés for other areas do not need to be limited to one page. There are many possible variations in style and format, and each template has a slightly different approach. Look over all of the samples for formatting ideas, even those that do not apply to your specific area of interest. You are also encouraged to contact faculty for advice and feedback on your drafts. Please note, résumés for graduate schools in theatre, professional theatres, and theatre internships are different from your typical business résumés. The sample résumés provided by the Center for Community Engagement and Career Education <http://www.csub.edu/cece/students/who_method.shtml> are useful if you are applying for a position outside of theatre, but their formats should not be used for jobs or graduate school applications within the theatre field. ACTOR TEMPLATE DAVID DRAMA [email protected] Height: 5’ 11” (661) 123-5678 Hair: Brown Tenor Theatre Death of a Salesman Biff Anita DuPratt Bakersfield Community Theatre Lend Me a Tenor Max Zoe Saba CSU Bakersfield Antigone in New York Sasha * Maria-Tania Becerra CSUB Evita Magaldi Mandy Rees CSUB Richard III Hastings Peter Brook Empty Space “Wiley and the Hairy Man” Wiley Kamala Kruszka CSUB and on tour “Unwrapped” (premiere) John Jessica Boles CSUB * Kennedy Center American College Theater Festival Irene Ryan Acting Scholarship nominee Education/Training B.A. -
2019-2020 Theatre I Curriculum Map I
2019-2020 Theatre I Curriculum Map I. Course Outline Unit Current Timeframe Assessments/Activities Big Idea Essential Questions Core Resources Arkansas SS Framework Alignment Greek and Roman CR.1.TH.1 1st 9 Weeks Greeks and Roman Theatre History Theatre History How does history impact theatre? The Stage and School Theatre History P.4.THI.2 Test Character Development How do you create characters? Basic Drama Projects Character P.4.THI.3 Antigone Test Improv How does empathy affect The Drama Classroom Companion Development P.4.THI.5 Napoleon Dynamite Character Analysis characterization? Antigone P.5.THI.2 Life Size Character Poster How do characters affect plot? Napoleon Dynamite P.6.THI.2 Character Observation Journal Greek Theatre Mask Medieval Theatre CR.1.TH.1 2nd 9 Weeks Medieval Theatre History Test Theatre History How does history impact theatre? The Stage and School History CR.2.THI.1 Solo Acting Monologue Character Development How do you create characters? Basic Drama Projects Character Creation CR.2.THI.2 Theme Assessment Improv How does empathy affect The Drama Classroom Companion Solo Acting CR.1.THI.3 Modern Morality Play Acting Theories characterization? Veggies Tales used as modern CR.1.THI.4 Character Analysis Monologues How do characters affect plot? (examples of mystery, miracle, and CR.3.THI.1 Character Design Morgue Memorization How do you establish believable morality plays) P.5.THI.1 Audition characters? Everyman P.5.THI.2 Self Reflection How does memorization affect Monologues P.5.THI.4 characterization? P.5.THI.5 -
Technical Rider 3-1-2015
TECHNICAL RIDER This is a general Technical Rider that covers most of the TAKE Dance repertory. The specific needs for a given show will likely be less than what is included here. It will be our pleasure to customize our technical requests to the extent possible in order to meet your needs. A copy of this rider signed by the Presenter and Resident Technical Director, must be returned with the contract. TAKE Dance Director of Touring and Production must provide written approval of any changes or modifications of these technical requirements. TAKE Dance travels with a Stage Manager and Lighting Designer/Production Manager. The Stage Manager’s duties include company management, stage management and wardrobe supervision. CONTACT INFORMATION Takehiro Ueyama C: 646-345-9677 [email protected] TECH TIME The standard TAKE Dance requirements are an 8-hour day before day of show, and then 8 hours, day of show for a total of 16 hours of tech time in the theatre prior to the first performance. This tech time should start at least 36 hours prior to the first performance. PLEASE NOTE: Dancers must have access to the stage two hours before curtain time, and one hour before rehearsals. A final schedule will be worked out between the Director of Touring and Production and Presenter’s Technical Director. TAKE Dance will strive to be as flexible as possible in determining the schedule. If sufficient time cannot be arranged, Presenter agrees to pay the house crew’s overtime and/or meal penalties in order to complete load in for the program. -
LED Lighting in a Performing Arts Building at the University of Florida
LED Lighting in a Performing Arts Building Host Site: University of Florida, Gainesville, Florida July 2014 Prepared for: Solid-State Lighting Program Building Technologies Office Office of Energy Efficiency and Renewable Energy U.S. Department of Energy Prepared by: Pacific Northwest National Laboratory PNNL-23514 LED Lighting in a Performing Arts Building at the University of Florida Final report prepared in support of the U.S. DOE Solid-State Lighting Technology Demonstration GATEWAY Program Study Participants: Pacific Northwest National Laboratory University of Florida NJ Miller SM Kaye1 PM Coleman2 AM Wilkerson TE Perrin GP Sullivan3 July 2014 Prepared for the U.S. Department of Energy under Contract DE-AC05-76RL01830 Pacific Northwest National Laboratory 1 Professor of Lighting Design, Head of the Graduate Lighting Design Program, University of Florida, Gainesville FL. 2 Graduate Assistant, Lighting Design, University of Florida, Gainesville FL. 3 Principal, Efficiency Solutions, Inc., Richland WA Preface This document is a report of observations and results obtained from a lighting demonstration project conducted under the U.S. Department of Energy (DOE) GATEWAY Demonstration Program. The program supports demonstrations of high-performance solid-state lighting (SSL) products in order to develop empirical data and experience with in-the-field applications of this advanced lighting technology. The DOE GATEWAY Demonstration Program focuses on providing a source of independent, third-party data for use in decision-making by lighting users and professionals; this data should be considered in combination with other information relevant to the particular site and application under examination. Each GATEWAY Demonstration compares SSL products against the incumbent technologies used in that location.