STAGECRAFT 50.0500.20 TECHNICAL STANDARDS an Industry Technical Standards Validation Committee Developed and Validated These Standards on October 17, 2017
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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. -
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. -
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. -
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. -
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. -
An Excursion to and from Situational Urban Scenography
Tactics of the Other Everyday: An Excursion to and from Situational Urban Scenography Mengzhe Tang Abstract: For a scenographic reading of urban settings, attentions are directed to the small, mundane and the everyday, which penetrate the non-institutional, always neglected, but most underlying aspects of urban life. Scattered in the most ordinary corners around the city, the scenes framed by a scenographic scope could nevertheless touch upon spatial, imaginary and situational potentials in perceiving and understanding urban spatial phenomena, diverting from the real and rational into the scenographic “other world”. These small, everyday yet partly surreal scenes, coupled with the notions of Tactic (Michel de Certeau, 1984) and Construction of Situation (Guy Debord, 1957), further come to a political gesture of resisting (destroying) the overwhelming institutionalization and standardization of contemporary life, as well as urban spaces. This progress from framing, association to tactics delineates a theatrical excursion departing from the real city into the fictitious, and eventually returning back to reality, yet with some residue imaginary subversive passion in turn to transform the real urban space. Introduction: In the poetic film The Color of Pomegranates (Tsvet granata, Armenfilm 1969), the film director of Armenian descent Sergei Parajanov, with his melancholically archaic and theatrical cinematic language, created a fascinating and dream-like world, in which the life of the Armenian poet Sayat Nova and his particular epoch gradually -
Supplementary English Language Development (SELD) Theatre Arts & Dance (THAR)
Supplementary English Language Development (SELD) Theatre Arts & Dance (THAR) SELD 100A SUPPLEMENtarY ENGLISH LANGUAGE THAR 101 MAKING THEatrE (3) DEVELOPMENT (3) This course is an overview of the art and practice of making theatre. Designed for Designed for international students and other nonnative speakers of English, this non-majors, the class examines the various elements involved in creating, develop- course emphasizes communication for academic purposes, and concentrates on ing, performing, and presenting a theatrical event. Through lecture, guest speakers, expository writing, lecture comprehension, and analytical reading. Limited enroll- hands-on projects, video, and demonstrations, students gain an appreciation of the ment. Admission by ESL Placement Test only. Students taking this course may not artistry of live theatre performance. Satisfies GE, category C1 (Applied Arts Combin- register for more than 14 units of academic course work. ing Studio and Theory). SELD 100B SUPPLEMENtarY ENGLISH LANGUAGE THAR 110 DANCE FUNDAMENtaLS (1) DEVELOPMENT (3) An introduction to the fundamentals of modern dance designed to develop body Designed for international students and other nonactive speakers of English, this awareness, movement skills and aesthetic sensibilities. Includes improvisation, course focuses on the development of academic discourse skills, with stress on rhythm, motion and space exploration, and fundamentals of alignment. May be strengthening proficiency in a range of oral and written American English styles. taken five times for credit. Limited enrollment. Admission by ESL Placement Test only. Exit from SELD 100B requires passing an exit exam. THAR 115 DANCE STYLES (1) Class may focus on a particular dance style, e.g., contact improvisation, jazz or tap, or on dances of a particular era, e.g., social dance from 1935 to 1960. -
Parsi Theater, Urdu Drama, and the Communalization of Knowledge: a Bibliographic Essay
Parsi Theater, Urdu Drama, and the Communalization of Knowledge: A Bibliographic Essay I its remarkable century-long history traversing the colonial and nation- alist eras, the Parsi theater was unique as a site of communal harmony. The Parsi theater began in Bombay in the early s and fanned out across South and Southeast Asia by the s. During the twentieth cen- tury, major Parsi theatrical companies flourished in Lahore, Delhi, and Calcutta, exerting a huge impact on the development of modern drama, regional music, and the cinema. Parsis, Hindus, Muslims, Anglo-Indians, and Baghdadi Jews consorted amicably in both residential and traveling companies. Although company ownership usually remained in Parsi hands, actors were drawn from many communities, as were professional writers, musicians, painters, stage hands, and other personnel. As Såmn≥t^ Gupta makes clear, it was Parsis, non-Parsis, Hindus, Muslims, and Christians who spread the art of theatre by founding theatrical companies, who built playhouses and encouraged drama, who became actors and popularized the art of acting, who composed innumerable dramas in Gujarati, Hindi, and Urdu, who composed songs and defended classical music, and who wrote descriptions of the Parsi stage and related matters.1 Audiences similarly were heterogeneous, comprised of diverse relig- ious, ethnic, and linguistic groups and representing a wide range of class 1Såmn≥t^ Gupta, P≥rsµ T^iy®ªar: Udb^av aur Vik≥s (Allahabad: Låkb^≥ratµ Prak≥shan, ), dedication (samarpan), p. • T A U S positions. Sections of the public were catered to by particular narrative genres, including the Indo-Muslim fairy romance, the Hindu mythologi- cal, and the bourgeois social drama, yet no genre was produced exclu- sively for a particular viewership. -
7 & 8 Stagecraft Costume Plots
Performing Arts Virtual Learning 7 & 8 Stagecraft Costume Plots May 6, 2020 7 & 8 Stagecraft Lesson: May 5, 2020 Objective/Learning Target: TH:Pr5.1.6.b. Articulate how technical elements are integrated into a drama/ theatre work. Your Mission: Yesterday and last week as you read the script 30 Horrible Middle School Catastrophes you made a chart of the technical needs of the show in 5 categories: ● Scenery ● Costuming ● Sound ● Lighting ● Props Today we continue this project by finding the actual costumes needed for our 30 Characters. So get out your chart of technical needs. Creating A Costume Plot The costume plot is a list or chart that shows which characters appear in each scene, what they are wearing and their overall movement throughout the play. This helps track the specific costume needs of every character. It can also identify any potential costume challenges, such as very quick changes between scenes. We have created the list, now for the actual look of the costumes. Costume Plot Example This is the designers concept and the actual costumes . for the movie “Once Upon A Time In Hollywood” Costume Plot Example This is the designers concept and the actual costumes for the Witch in “Into the Woods” This is the example from our chart for the design of the character “One” from 10 Costumes Horrible Catastrophes of Middle School. One: jeans Red t- shirt Now I am going to go to the Army boots internet and cut and paste Yellow bandana Chiefs hat images showing what this Page 6 costume would actually look like. -
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. -
Elements of the Common Course Outline
Common Course Outline for: THTR 1140 Introduction to Stagecraft A. Course Description 1. Number of credits: 3 2. Lecture hours per week: 3 Lab hours per week: None 3. Prerequisites: None 4. Co-requisites: None 5. MnTC Goals: Goal # 6: The Humanities and Fine Arts Explore the basic theory and practice, the design purpose, tools, and methods of stagecraft to see how it enriches the meaning of the drama. Formulate criteria for interpreting designs and experience practical problem-solving through stage construction techniques for production. Shop hours required. B. Date last reviewed: April 2016 C. Outline of Major Content Areas Study the theories and practice of scenic and properties construction. Demonstrate a familiarity with materials: lumber type and size, foam, fabrics and adhesives. Demonstrate a familiarity with shop tools and shop safety. Develop and read working drawings and scale models. Demonstrate safe and proper rigging techniques and common stage safety practice. Acquire knowledge of standard theatrical set construction and scenic painting techniques. Demonstrate safe and effective special effects usage. Understand the vocabulary of technical theatre terms. Work on Normandale productions for practical experience. D. Course Learning Outcomes Upon successful completion of the course, the student will be able to: 1. Describe what constitutes effective scenic and properties construction. (Goal 2a, 2b, 2c, 2d, 6a, 6b, 6e) 2. Apply color theory to a specific scenic or property design. (Goal 2b, 2c, 2d, 6c, 6d) 3. Exhibit familiarity with common materials, shop equipment, and safety practices. (Goal 2a, 6d) 4. Safely use proper rigging and special effects for theatrical effect. (Goal 2a, 2b, 6d) 5. -
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