Instructional Map Theatre Play Production
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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. -
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. -
Technical Crew Information Performance Dates: October 20 (3 & 7 PM) October 21 (3 PM)
Technical Crew Information Performance Dates: October 20 (3 & 7 PM) October 21 (3 PM) Thank you for your interest in being on the Tech Crew for the McDuffee Music Studio 2018 Musical Theatre Production of Disney’s The Little Mermaid Jr. There are 5 different possible Crew positions available for students in 5th – 12th grades at any school, up to 15 people max. Each crew position is vital to the success of a show and the responsibilities should be taken seriously. Sign ups are open now and will close when all the spots are filled, on a first-come, first-served basis. Being part of any production requires commitment and hard-work. I compare theater to a team-sport: EVERYONE is important and necessary. I have told the cast that Sea Urchin #3 is every bit as important as Ariel in this production. The Technical Crew is just as important as the people on the stage as well. BEFORE YOU SIGN UP, PLEASE CONSIDER ALL OF THE FOLLOWING: DATES/TIME COMMITTMENT: Please double check family, school, and extra-curricular calendars against the schedule below. You need to be at all of the above rehearsals for their full times. Crew members need to be at ALL of the following rehearsals: • 10/10 (Wed) 5 – 8 PM at Faith United Church of Christ (Faith UCC – 4040 E Thompson Rd) o 5 - 6: we will meet and discuss the positions and answer any questions o 6 – 8: we watch the run of the show so that the crew can start to become familiar with the production. -
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; -
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. -
TPA4066C Advanced Scenography Syllabus Fall 20
TPA 4066C 1 Advanced Scenography – Fall 2020 3 Credits – TR 12:00-1:20 – Remote Via Zoom at Scheduled Time Instructor: Vandy Wood Office: PAC T235 Phone: 407-252-1520 Email: [email protected] Office Hours: TBD (and by confirmed appointment). University-Wide Face Covering Policy for Common Spaces and Face-to-Face Classes To protect members of our community, everyone is required to wear a facial covering inside all common spaces including classrooms (https://policies.ucf.edu/documents/PolicyEmergencyCOVIDReturnPolicy.pdf. Students who choose not to wear facial coverings will be asked to leave the classroom by the instructor. If they refuse to leave the classroom or put on a facial covering, they may be considered disruptive (please see the Golden Rule for student behavior expectations). Faculty have the right to cancel class if the safety and well-being of class members are in jeopardy. Students will be responsible for the material that would have been covered in class as provided by the instructor. Notifications in Case of Changes to Course Modality Depending on the course of the pandemic during the semester, the university may make changes to the way classes are offered. If that happens, please look for announcements or messages in Webcourses@UCF or Knights email about changes specific to this course. COVID-19 and Illness Notification Students who believe they may have a COVID-19 diagnosis should contact UCF Student Health Services (407-823-2509) so proper contact tracing procedures can take place. Students should not come to campus if they are ill, are experiencing any symptoms of COVID-19, have tested positive for COVID, or if anyone living in their residence has tested positive or is sick with COVID-19 symptoms. -
A GLOSSARY of THEATRE TERMS © Peter D
A GLOSSARY OF THEATRE TERMS © Peter D. Lathan 1996-1999 http://www.schoolshows.demon.co.uk/resources/technical/gloss1.htm Above the title In advertisements, when the performer's name appears before the title of the show or play. Reserved for the big stars! Amplifier Sound term. A piece of equipment which ampilifies or increases the sound captured by a microphone or replayed from record, CD or tape. Each loudspeaker needs a separate amplifier. Apron In a traditional theatre, the part of the stage which projects in front of the curtain. In many theatres this can be extended, sometimes by building out over the pit (qv). Assistant Director Assists the Director (qv) by taking notes on all moves and other decisions and keeping them together in one copy of the script (the Prompt Copy (qv)). In some companies this is done by the Stage Manager (qv), because there is no assistant. Assistant Stage Manager (ASM) Another name for stage crew (usually, in the professional theatre, also an understudy for one of the minor roles who is, in turn, also understudying a major role). The lowest rung on the professional theatre ladder. Auditorium The part of the theatre in which the audience sits. Also known as the House. Backing Flat A flat (qv) which stands behind a window or door in the set (qv). Banjo Not the musical instrument! A rail along which a curtain runs. Bar An aluminium pipe suspended over the stage on which lanterns are hung. Also the place where you will find actors after the show - the stage crew will still be working! Barn Door An arrangement of four metal leaves placed in front of the lenses of certain kinds of spotlight to control the shape of the light beam. -
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. -
Scenography of Mk-Woyzeck
SCENOGRAPHY OF MK-WOYZECK by Conor Moore A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS in The Faculty of Graduate Studies (Theatre) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2010 © Conor Moore, 2010 ABSTRACT This paper describes and discusses the lighting, video, and scenery design of MK Woyzeck, presented at the Frederic Wood Theatre from October 1st to 1 0th 2009. The design will be presented primarily through a series of photographs taken by various photographers at several points during the design, cueing, and performance phases of the production. Emphasis will be placed on the use of digital projectors to provide full illumination of the actors, referred to as Digital Video Illumination (DVI), as well as the role of the projection!set!lighting designer as an active deviser within the rehearsal process. Chapter 1 will provide a brief overview of the production concept for the piece and it’s impact on design strategies. Chapter 2 illustrates the overall execution of the design through a collection of photographs with accompanying captions describing the intention behind each of the cues depicted. In a similar fashion, Chapter 3 describes some of the advantages and challenges inherent within the DVI system and the particular projection instruments employed in this production. Chapter 4 is devoted to the actual mechanics of DVI cue construction. These are illustrated through the description of five sample cues representative of the major ways in which DVI was applied to this production. Chapter 5 summarizes the outcomes of this experimental design process through a brief conclusion. -
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. -
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.