Department of Theater 1

Total Page:16

File Type:pdf, Size:1020Kb

Department of Theater 1 Department of Theater 1 Kevin Inouye, MFA DEPARTMENT OF THEATER (Virginia Commonwealth University) Assistant Professor Eldred Hall Movement; stage combat; acting https://theater.case.edu/ Phone: 216.368.4868; Fax: 216.368.5184 Shanna Beth McGee, MFA Jerrold Scott, Department Chair (University of Georgia) [email protected] Professor Voice; acting The Department of Theater at Case Western Reserve University offers education and participation in all aspects of drama, with course offerings Jeffrey Ullom, PhD in acting, costume design, scene design, directing, dramatic writing, (University of Illinois, Champaign-Urbana) history, literature, criticism, and stagecraft. Associate Professor; Director of Undergraduate Theater Studies Theater history; dramatic literature Bachelor of Arts students have the opportunity to perform and to serve on the design and technical teams in four fully produced mainstage David Vegh, MFA theatrical productions each year, presented in the historic Eldred (California State University-Long Beach) Theater. The low student-to-faculty ratio ensures that students are able Associate Professor to work closely with our faculty of highly accomplished artists and Acting; audition laboratory; film acting scholars. Recognizing that the theater is an inherently interdisciplinary study belonging to the humanities as well as the performing arts, the department treats all productions as artistic and educational experiences, Lecturers and welcomes the participation of students regardless of their academic Anaya Farrell, BA majors and career goals. (McGill University) Lecturer At the graduate level, the Master of Arts degree prepares students Acting for work in professional theater or education, or for pursuit of further graduate study, while the Master of Fine Arts professional Maryann Morris, BA actor training program—a collaboration between the Department of (Hiram College) Theater and Cleveland Play House—represents a unique alliance between Lecturer one of the oldest academic theater programs in the United States and the Stage management nation’s first regional theater. Michael Suglio, MBA Department Faculty (Case Western Reserve University) Lecturer Jerrold Scott, MFA Video Production (University of South Carolina/Shakespeare Theatre Company) Katharine Bakeless Nason Professor in Theater and Drama; Chair and Artistic Greg Vovos, MFA Director (University of Nevada-Las Vegas) Directing; acting; speech and dialects Lecturer Playwriting; screenwriting Christopher Bohan, MFA (Wayne State University) Instructor Acting; improvisation Adjunct Faculty Laura Kepley, MFA Donald Carrier, BCom (Brown University/Trinity Repertory Theatre) (McGill University/Webber Douglas Academy) Adjunct Associate Professor; Artistic Director, Cleveland Play House Instructor; Director, CWRU/CPH MFA Acting Program Acting; script analysis; professional development Theater Major Jill Davis, MFA The Bachelor of Arts program in theater offers concentrations in acting, (Temple University) design/technical theater, dramatic writing, history, and directing. Students Associate Professor intending to major in theater must complete 40 hours of coursework. Scene design; lighting design Most students will opt to take many classes beyond the requirements in order to enhance their knowledge and improve their skills. Students Angelina M. Herin, MFA interested in declaring a specific concentration of study can satisfy (University of South Carolina) the additional requirements listed below in order to fulfill a Bachelor Associate Professor of Arts with a specific concentration. Students who do not declare a Costume design; stage makeup concentration will receive the designation of "General Theater" on their transcript. The basic course requirements for all theater majors are as follows: 2 Department of Theater Performance courses: Students must take all four of the 12 THTR 225 Costume Design 3 following: THTR 226 Stage Makeup 3 THTR 100 Introduction to Acting THTR 227 Stage Management 3 THTR 103 Acting: Scene Study THTR 231 Acting: Advanced Scene Study 3 THTR 110 Introduction to Theater THTR 232 Acting: Classical Technique 3 THTR 330 Play Directing I THTR 306 Acting: Camera Technique 3 Design courses 6 THTR 307 Acting: Advanced Camera 3 All students must take the following course as a Techniques prerequisite, preferably in the spring of their first year: THTR 311 Audition Laboratory 1 THTR 111 Introduction to Design THTR 312 Playwriting 3 Students must take one of the following: THTR 314 Advanced Playwriting 3 THTR 223 Scenic Design THTR 316 Screenwriting 3 THTR 224 Lighting Design THTR 323 Topics in Design 3 THTR 225 Costume Design THTR 334 Shakespeare: Histories and 3 Theater history courses: Students must take all four of the 12 Tragedies following: THTR 335 Shakespeare: Comedies and 3 THTR 325 Development of Theater: Beginnings Romances to English Renaissance THTR 375 Voice 3 THTR 326 Development of Theater: THTR 376 Advanced Vocal Techniques 3 Renaissance to Romanticism THTR 385 Rehearsal and Production 1 - 3 THTR 327 American Drama THTR 386 Rehearsal and Performance 1 THTR 329 Modern and Contemporary Drama THTR 397 Honors Studies I 3 Tech credit hours (minimum of 3 hours) 7 THTR 398 Honors Studies II 3 THTR 185 Theater Practicum (Students are THTR 399 Independent Study in Theater Arts 1 - 3 required to enroll in THTR 185, a 1- hour practicum credit, accumulating Concentration in Acting 7 credits during their 8 semesters THTR 231 Acting: Advanced Scene Study 3 at CWRU. Students will enroll in THTR 232 Acting: Classical Technique 3 THTR 185 each semester unless THTR 375 Voice 3 instructed to do otherwise by the director of undergraduate theater Total Units 9 studies. Any exemptions to this requirement—receiving 2 credit Concentration in Design/Technical Theater hours in 1 semester or not enrolling The two remaining design courses (excluding the course 6 in THTR 185 for a semester—must taken to fulfill the core requirements) from THTR 223, receive approval from the director of THTR 224, and THTR 225 undergraduate theater studies.) Either THTR 226 or THTR 227 3 Senior capstone: Students must take one of the following: 3 Total Units 9 THTR 331 Play Directing II THTR 390 Advanced Topics in Design/ Concentration in Directing Technology THTR 331 Play Directing II 3 THTR 393 Senior Capstone: Dramaturgy THTR 227 Stage Management 3 Either THTR 314 (Advanced Playwriting) or an additional 3 Elective Courses design course (THTR 223, THTR 224, or THTR 225) not Students may enroll in additional theater courses beyond taken to fulfill the core requirements of the major. the 40 credits required for the major. Some of the courses Total Units 9 in the list below can be counted toward the major requirements or taken as electives. Concentration in Dramatic Writing THTR 100 Introduction to Acting 3 THTR 312 Playwriting 3 THTR 103 Acting: Scene Study 3 THTR 314 Advanced Playwriting 3 THTR 105 Introduction to Stagecraft 3 THTR 316 Screenwriting 3 THTR 201 Movement 3 Total Units 9 THTR 206 Mr. Kiss Kiss Bang Bang - James 3 Bond and Popular Culture Departmental Honors in Theater Majors wishing to take a Bachelor of Arts degree with honors in theater THTR 223 Scenic Design 3 must make written application to the director of undergraduate theater THTR 224 Lighting Design 3 studies no later than May 1 of their junior year. Students must have Department of Theater 3 a minimum 3.25 overall grade point average and a minimum 3.75 THTR 327 American Drama 3 grade point average in theater. Acceptance into the honors program is THTR 329 Modern and Contemporary Drama 3 contingent upon faculty support and recommendation by the director of Two of the following three courses: undergraduate theater studies and the department chair. THTR 223 Scenic Design 3 Those accepted register for THTR 397 Honors Studies I and THTR 398 THTR 224 Lighting Design 3 Honors Studies II during their senior year, for a total of 6 hours. The THTR 225 Costume Design 3 honors project is defined as a production project in acting, design, playwriting, directing, or management/outreach. A supporting paper Directing discussing the concept, execution, and performance of the project must THTR 100 Introduction to Acting 3 be filed with the director of undergraduate theater studies no later than THTR 110 Introduction to Theater 3 one week following the project presentation. Preparation of the project THTR 111 Introduction to Design 3 will be supervised by a department faculty member. THTR 329 Modern and Contemporary Drama 3 This project may be accepted for honors only if it receives a grade of A THTR 330 Play Directing I 3 from both the project advisor and the director of undergraduate theater THTR 331 Play Directing II 3 studies. The grade of A must be received both semesters. Students who qualify will receive the notation “Departmental Honors in Theater” on their Dramatic Writing diplomas. Information about the structure and specific requirements of THTR 100 Introduction to Acting 3 the honors project is available from the director of undergraduate theater THTR 110 Introduction to Theater 3 studies. THTR 312 Playwriting 3 Minor THTR 316 Screenwriting 3 A minor in theater requires 18 hours. The requirements for each THTR 325 Development of Theater: Beginnings 3 concentration are as follows: to English Renaissance THTR 326 Development of Theater: 3 General Theater Renaissance to Romanticism Required Courses: THTR 100 Introduction to Acting 3 Graduate Programs THTR 110 Introduction to Theater 3 Master of Arts in Theater THTR 111 Introduction
Recommended publications
  • Acting for Film + Television Acting Essentials Learn More About the Program: Makeup Design for Film + Television Vfs.Edu/Acting
    Acting for 12 Alumni The Flash Film + Television 3D Animation + Visual Effects Acting for Film + Television Acting Essentials Learn more about the program: Makeup Design for Film + Television vfs.edu/acting Connect with a VFS Advisor: vfs.edu/startnow For admission requirements go to: vfs.edu/portfolios 14 Alumni Dead Rising 4 Acting for Film + Television Game Design Sound Design for Visual Media 3D Animation + Visual Effects Classical Animation Foundation Visual Art + Design Writing for Film, Television + Games Check us out on YouTube! Visit the VFS YouTube channel and take a look at student projects, alumni interviews, and more! youtube.com/vancouverfilmschool Vancouver Film School 37 Alumni 9 Alumni Star Trek Beyond vancouverfilmschool 3D Animation + Visual Effects Legends of Tomorrow Film Production Acting for Film + Television Makeup Design for Film + Television Acting Essentials Acting for Film + Television @vfs Film Production Acting Essentials Makeup for Film + Television Digital Design Ready for Your Close-Up? vancouverfilmschool We’ll get you ready for the screen and beyond in just one year. VFS’s acclaimed one-year Acting program not only gives VFS has more than 13 Alumni $500,000 CAD in scholarships you in-depth training in camera skills, audition techniques, available! We’re searching worldwide for the most War for the Planet of the Apes movement, voice, and improvisation, but also what it really Acting for Film + Television creative candidates, traveling across countries takes to make it in the film and TV industry. You’ll acquire 3D Animation + Visual Effects Film Production and continents. We’re looking for your talent, your professional-level performance techniques and industry-ready passion, and your drive.
    [Show full text]
  • Voice Overs: Where Do I Begin?
    VOICE OVERS: WHERE DO I BEGIN? 1. WELCOME 2. GETTING STARTED 3. WHAT IS A VOICE OVER? 4. ON THE JOB 5. TODAY’S VOICE 6. UNDERSTANDING YOUR VOICE 7. WHERE TO LOOK FOR WORK 8. INDUSTRY PROS AND CONS 9. HOW DO I BEGIN? 2 WELCOME Welcome! I want to personally thank you for your interest in this publication. I’ve been fortunate to produce voice overs and educate aspiring voice actors for more than 20 years, and it is an experience I continue to sincerely enjoy. While there are always opportunities to learn something new, I feel that true excitement comes from a decision to choose something to learn about. As is common with many professions, there’s a lot of information out there about the voice over field. The good news is that most of that information is valuable. Of course, there will always be information that doesn’t exactly satisfy your specific curiosity. Fortunately for you, there are always new learning opportunities. Unfortunately, there is also information out there that sensationalizes our industry or presents it in an unrealistic manner. One of my primary goals in developing this publication is to introduce the voice over field in a manner that is realistic. I will share information based on my own experience, but I’ll also share information from other professionals, including voice actors, casting professionals, agents, and producers. And I’ll incorporate perspective from people who hire voice actors. After all, if you understand the mindset of a potential client, you are much more likely to position yourself for success.
    [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]
  • 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]
  • 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.
    [Show full text]
  • 2021 – 2022 Red Deer College Course Guide Welcome to Rdc Learning Philosophy
    2021 – 2022 RED DEER COLLEGE COURSE GUIDE WELCOME TO RDC LEARNING PHILOSOPHY Our commitment to learners and learning is at the heart of Red Deer College and this is reflected in our values of accountability, inclusiveness, exploration, excellence, integrity and community. We believe in fostering intellectually rigorous, professionally relevant, and dynamic learning environments of inquiry, exploration, application and creativity. We ensure accessibility to multiple pathways of formal and informal learning through active engagement, facilitated learning processes, and scholarly excellence. We value learning because it empowers our learners to be highly productive in the work force and within our communities. We honour the intrinsic value of learning in supporting self development, growth and fulfillment in the individual learner. We promote positive lifelong learning habits and attitudes that embrace local, national, and global experiences, issues and perspectives. Contents Table of Contents . 3 Health Sciences. .42 Adult Basic Education Courses . 85 . Academic Schedule . 4 History . 43 Academic Upgrading Courses . .86 . Human Resources Management . 44 Course Descriptions . 6 Indigenous Studies . 45 Index . 90 Instrumentation Engineering Academic Upgrading . 7 Technology . .46 Accounting . 7 Interdisciplinary Studies . 47 Acting. .8 International Business. .48 Administrative Professional . 10 Justice Studies . 49 Anthropology . .11 Kinesiology and Sport Studies . 50 Art . 12 Legal Assistant . 53 Arts and Animation . 15 Management . 54 Animation and Visual Effects. .15 Mathematics . 56 Astronomy. .16 Mechanical Engineering Biochemistry . 17 Technology . 57 Biology . 17 Media Studies and Professional Business . 18 Communication . 58 Business Administration . 19 Medical Lab Assistant . 59 Chemistry . 22 Motion Picture Arts . 59 Classics . 23 Music . 60 Communications. .23 Nursing . .64 Computing Science . 24 Occupational and Physical Creation .
    [Show full text]
  • Dubbing Viewers in Cyberspaces: a Netnographic Investigation of the Attitudes of a Persian-Language Online Community
    Original Article KOME − An International Journal of Pure Communication Inquiry Dubbing Viewers in Volume 8 Issue 1, p. 23-43. © The Author(s) 2020 Cyberspaces: A Netnographic Reprints and Permission: [email protected] Investigation of the Attitudes of a Published by the Hungarian Communication Studies Association Persian -language Online DOI: 10.17646/KOME.75672.45 C ommunity Saeed Ameri and Masood Khoshsaligheh Department of English, Ferdowsi University of Mashhad, IRAN Abstract: It appears that online communities have provided a free and user-friendly platform for users to do many real-time pieces of stuff from doing translations to discuss translations. The field of translation studies has begun to investigate these online virtual environments for varied perspectives. Nevertheless, the existing research has mainly addressed fansubbing communities. The present investigation, however, analyzed a Persian-language online community where its users exchanged comments and shared ideas regarding dubbing in Iran. For the purposes of this study, netnography, as a reliable research method within the marketing discipline and communication studies, was employed to study the community and its members. The collection and analysis of posts and comments from this online community yielded new insights into Persian dubbing and how Iranian dubbing audiences view Persian dubbing. On another level, the study provided evidence supporting the application of netnography as a methodological tool in investigating reception in audiovisual translation. Keywords: Netnography; dubbing; reception; Iranian viewers; participant observation; online community Introduction Since the inception of translation studies (TS), varied and original investigative methods have been introduced into the discipline, including Internet-mediated, sociological and ethnographic approaches (Saldanha & O’Brien, 2013).
    [Show full text]
  • DOCUMENT RESUME CE 056 758 Central Florida Film Production Technology Training Program. Curriculum. Universal Studios Florida, O
    DOCUMENT RESUME ED 326 663 CE 056 758 TITLE Central Florida Film Production Technology Training Program. Curriculum. INSTITUTION Universal Studios Florida, Orlando.; Valencia Community Coll., Orlando, Fla. SPONS AGENCY Office of Vocational and Adult Education (ED), Washington, DC. PUB DATE 90 CONTRACT V199A90113 NOTE 182p.; For a related final report, see CE 056 759. PUB TYPE Guides - Classroom Use - Teaching Guides (For Teacher) (052) EDRS PRICE MF01/PC08 Plus PoQtage. DESCRIPTORS Associate Degrees, Career Choice; *College Programs; Community Colleges; Cooperative Programs; Course Content; Curriculun; *Entry Workers; Film Industry; Film Production; *Film Production Specialists; Films; Institutional Cooperation; *Job Skills; *Occupational Information; On the Job Training; Photographic Equipment; *School TAisiness Relationship; Technical Education; Two Year Colleges IDENTIFIERS *Valencia Community College FL ABSTRACT The Central Florida Film Production Technology Training program provided training to prepare 134 persons for employment in the motion picture industry. Students were trained in stagecraft, sound, set construction, camera/editing, and post production. The project also developed a curriculum model that could be used for establishing an Associate in Science degree in film production technology, unique in the country. The project was conducted by a partnership of Universal Studios Florida and Valencia Community College. The course combined hands-on classroom instruction with participation in the production of a feature-length film. Curriculum development involved seminars with working professionals in the five subject areas, using the Developing a Curriculum (DACUM) process. This curriculum guide for the 15-week course outlines the course and provides information on film production careers. It is organized in three parts. Part 1 includes brief job summaries ofmany technical positions within the film industry.
    [Show full text]
  • 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
    [Show full text]
  • Carnegie Mellon University 1
    Carnegie Mellon University 1 School of Drama Peter Cooke, Head of School Office: Purnell Center for the Arts, 221 http://www.drama.cmu.edu Music Theater Option The students in the Music Theater program share the training philosophy The information contained in this section is accurate as of July 31, 2016 and much of the same curriculum as others in the acting option. In addition, and is subject to change. Please contact the School of Drama with any they take courses particular to the demands of Music Theater. These include questions. private voice along with training in a variety of dance techniques (Ballet, The School of Drama at Carnegie Mellon University is the oldest drama Jazz, Tap and Broadway Styles) and music theater styles and skills. program in the country. CMU Drama offers rigorous, world-class classical training in theater while providing thorough preparation for contemporary media. Design Option As a member of the Consortium of Conservatory Theater Training Programs, Design students are expected to develop artistic ability in the conception the school chooses students to participate in the program based on their and execution of scene, lighting, sound and costume design for plays of potential ability. Every Drama student is treated as a member of a theatrical all periods under varying theatrical conditions. Students may elect to have organization and must acquire experience in all phases of the dramatic a focus on one or two areas but must have a solid background in all four. arts. Students are also asked to broaden their knowledge through courses Freshmen in design receive instruction in drawing and painting, three- in the other colleges of the university.
    [Show full text]
  • Be More Chill Broadway’S Digital Musical
    www.lightingandsoundamerica.com April 2019 $10.00 Be More Chill Broadway’s Digital Musical ALSO: KISS: The Final Tour Ever Theatre on the Celebrity Edge What’s Up at Harman Professional? Introducing Preevue Inside the Milan Network Protocol Copyright Lighting &Sound America April 2019 http://www.lightingandsoundamerica.com/LSA.html THEATRE Copyright Lighting &Sound America April 2019 http://www.lightingandsoundamerica.com/LSA.html Ready Player ONe The Faust legend gets a software update—and a high-tech design—in Be More Chill By: David Barbour 50 • April 2019 • Lighting &Sound America The portals, modeled on smartphones, become illuminated to reveal what Boritt calls “gack:” TV monitors, lighting units, LED tape, and wiring. hese days, Broadway is loaded with musicals about teen Squip, who, invisible to others, appears to him as the angst and social anxiety, but Be More Chill , which opened manifestation of Keanu Reeves in The Matrix . He becomes in March at the Lyceum Theatre, gives these themes a dig - Jeremy’s strategic advisor and director of intelligence, ital (and science fiction) twist. In doing so, it aims to be faultlessly guiding him to popularity and working to Broadway’s first viral hit. Taken from the young adult novel maneuver him into the heart of Christine, the kooky drama t t i r by the late Ned Vizzini, Joe Tracz’s book focuses on club doyenne for whom he pines. Success comes at a o B f l Jeremy, a classic adolescent loser: His mom has bailed price: Jeremy, now convinced that life is a one-player u w o e and his depressed father can’t get out of his bathrobe, game, drops Michael for a new, thoroughly shallow, social B f o never mind the house.
    [Show full text]
  • Dubbing Animation Into Spanish: Behind the Voices of Animated Characters Sofía Sánchez Mompeán, Universidad De Murcia
    The Journal of Specialised Translation Issue 23 – January 2015 Dubbing animation into Spanish: behind the voices of animated characters Sofía Sánchez Mompeán, Universidad de Murcia ABSTRACT In response to the burgeoning growth that the animation market has witnessed in recent years and to the competitive rivalry that exists within the industry, the presence of celebrity voices in animated movies is increasingly regarded as an effective strategy to broaden audience appeal. This paper attempts to determine if the use of celebrities in the original version may somehow influence the way the target text is dubbed in foreign markets. A clean-cut distinction between two key concepts that are sometimes overlapped, voice acting and dubbing, will not only provide the perfect backdrop for the upcoming sections, but will also offer useful context to understand their theoretical and practical limitations. The data under study will illustrate the current panorama within the Spanish dubbing framework by comparing the presence of both celebrities and dubbing actors in those Hollywood blockbusters released in Spain from 2007 to 2013. The results obtained suggest that some of the strategies used in the dubbed version might indeed be prompted by the original voicing. KEYWORDS Dubbing, voice acting, animated films, celebrities, dubbing actors, voice actors. 1. Introduction Animation is in vogue. The exponential growth that this genre has experienced over the last decade has even led to talk about a period of “animation congestion” (Verrier 2013). In the US, one of the leading countries in animation production, the total amount of movies produced per year since the turn of the new century has doubled from 18 films in 2000 to 37 in 2013, reaching its peak in 2011 with 45 productions, as shown in Figure 1.
    [Show full text]