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American New Wave
Newsletter April 2021 SPOTLIGHT AMERICAN NEW WAVE IN THE SUMMER OF 2021, THE SCENOGRAPHER BEGINS ITS FIRST ‘OVERSEAS JOURNEY’ TO DISCOVER DESIGN FOR LIVE PERFORMANCE BY YOUNG CREATIVES FROM THE 1980S TO THE PRESENT DAY. FOR THE FIRST TIME, A EUROPEAN THEATRE MAGAZINE IS ENDEAVOURING TO GIVE AMPLE SPACE TO YOUNG AMERICAN DIRECTORS, SET AND COSTUME DESIGNERS WHO ARE AMONG THE MOST REPRESENTATIVE ON THE THEATRE SCENE AND WHO HAVE MADE – OR ARE MAKING - A NAME FOR THEMSELVES AT THE TURN OF THIS CENTURY. A BROAD-BASED PANORAMA OF THE VITALITY AND ORIGINALITY OF THEATRE IN THE UNITED STATES, A MULTICULTURAL GALAXY MADE UP OF A DIVERSITY OF ETHNIC INFLUENCES WILL TAKE SHAPE. The prestigious selection includes includes the following authors: BEOWULF BORITT (Set and Costume Designer); THADDEUS STRASSBERGER (Director and Set Designer); WILSON CHIN (Set Designer); ARNULFO MALDONADO (Set and Costume Designer), DAVID CHACON PEREZ (Director and Set Designer); ALEX TIMBERS (Director and Writer). BEOWULF BORITT is a New York City-based scenic designer for theater. He is known for his Tony Award winning design for the play Act One in 2014 (This issue is the first in the collection. It is already available in both digital & print editions.). Read more: https://www.thescenographer.org/boritt-beowulf/ THADDEUS STRASSBERGER is an American and citizen of the Cherokee Nation opera director and scenic designer. In 2005 he was awarded the European Opera Directing Prize by Opera Europa for his work on Opera Ireland’s production of Rossini’s La Cenerentola. WILSON CHIN is an award-winning production designer and producer from Redwood City, CA and based in New York City. -
ANDREA BECHERT Scenic Designer / Scenographer
ANDREA BECHERT USA local 829 SCENIC DESIGNER / SCENOGRAPHER 1116 E. 46th Street, #2W, Chicago, IL 60653 * cell phone: 650-533-6059 * email: [email protected] Website: WWW.SCORPIONDESIGNS.NET CURRENT PROJECTS TheatreWorks The Country House (director: Robert Kelley – opens August, 2015) Palo Alto, CA Douglas Morrison Theatre By the Way, Meet Vera Stark (director: Dawn Monique Williams – Hayward, CA opens August, 2015) Center Repertory Theatre Vanya & Sonia & Masha & Spike (director: Mark Phillips – opens October, 2015) Walnut Creek, CA University of Michigan American Idiot (director: Linda Goodrich – opens October, 2015) Ann Arbor, MI RECENT PROJECTS TheatreWorks Sweeney Todd (director Robert Kelley - October 2014) Palo Alto, CA The Starlight Theatre Mary Poppins (director: Michael Webb - June, 2015) Rockford, Illinois The Last Five years (director: Michael Webb - June, 2015) Memphis (director: Michael Webb - June, 2015) Young Frankenstein (director: Michael Webb - June, 2015) University of Miami Faculty, Scenic Designer, and Scenic Artist (Fall semester, 2014) Served as Scenic Designer for a new production of Carmen, written and directed by Moises Kaufman, in collaboration with Techtonic Theatre Company 25th Annual Putnam County Spelling Bee (director: Greg Brown – Sept. 2014) Courses taught: Drawing for the Theatre History of Decor ILLUSTRATIVE LIST OF SCENIC DESIGNS (FULL LIST PROVIDED UPON REQUEST – OVER 300) TheatreWorks 28 productions between 1997 - 2015, including: Palo Alto, California Sweeney Todd (director Robert Kelley -
Performance Review / 101
PERFORMANCE REVIEW / 101 PERFORMANCE REVIEW Sarah Bay-Cheng, Editor OREGON SHAKESPEARE FESTIVAL. Ash- The two productions Rauch directed—Hamlet and land, OR. 25–28 May and 6–8 July 2010. Merchant—each distinctly animated negotiations between past and present. What and how do we remember? How is the past Knotty questions of memory, inheritance, and envisioned to animate the concerns of the present? ghostly presence drive Hamlet as play and charac- Theatre offers a uniquely dimensional lens through ter. Like Ophelia’s open grave, housing bones of the which to tussle with these questions, particularly previously interred, the play evokes a palimpsest of when engaged in an act of commemoration. Thus, critical readings and theatrical renderings. The OSF the 75th anniversary season of the Oregon Shake- production additionally conjured, for me, the ghost speare Festival (OSF) wove a variegated tapestry of another Hamlet directed by Rauch: The Marmarth of perspectives on memory, wrestling with the di- Hamlet, with North Dakota townspeople in leading lemmas of inheritance—what fealty we owe our roles, which maintained the play’s narrative while ancestry—as we continuously remake the world recasting Elizabethan verse into local dialect. The we are heir to. OSF production explored similar reverberations of the text over time while keeping Shakespeare’s Eleven shows in repertory from February through words intact. October included two plays that inaugurated the festival in 1935 (Twelfth Night and The Merchant of Through the thicket of past interpretations, the Venice) and one world premiere launching OSF’s production team questioned assumptions about United States History Cycle of commissioned characters such as Polonius—a devoted father in plays—Richard Montoya and Culture Clash’s col- this production—while digging deeply into moti- laboratively generated American Nights. -
Lighting Design Concept and Development of Spring Awakening by Frank Wedekind
Lighting Design Concept and Development of Spring Awakening By Frank Wedekind A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Fine Arts in the Graduate School of The Ohio State University By Alex Kyle-DiPietropaolo Graduate Program in Theatre The Ohio State University 2011 Thesis Committee: Professor Mary Tarantino, Advisor Assistant Professor Jimmy Bohr Assistant Professor Janet Parrott Copyright by Alex Kyle-DiPietropaolo 2011 Abstract This thesis documents the design process for the production Spring Awakening by Frank Wedekind, as translated by Jonathan Franzen. The show was produced in The Ohio State University‟s Thurber Theatre from February 24th through March 13th, 2011. The design concepts for the production were developed as informed by an adolescent‟s perspective on the world, and the representation of that viewpoint through lighting design. Modern theatre techniques were employed to address issues raised in the play. One such modern technique was the use of live video to reinforce the emotional impact in key scenes, which required researching lighting design for the medium of film, and how to adapt it to the stage. Working within these design ideas, color and the positions of instruments were used to develop a hyper-reality where the adolescents‟ emotions and feelings are echoed in the world around them. ii Dedication This document is dedicated to those people who never let me get away with mediocrity. iii Acknowledgments First, I would like to acknowledge my parents. They accepted my floating through reality after reality, and only momentarily balked at my choice to make a career in theatre. -
The-Scenographer-N6.Pdf
Publisher Maria Harman. Editor/Art Director. Paolo Felici. Editor-in-chief Giovanni Lani. Managing Editor USA Marc Dlugof. Special Contributors: Murray Weissman & Associates; Karen Burg (SDSA - Set Decorators Society of America) Contributors: Gianluca Dentici, Lorenzo Letizia, Giulia Mafai, Daniel Paolin, Patrizia Scarzella. Graphic Design: Paolo Biagini; Translations: Tasmeen Monie, Emanuela Pettinelli. DISTRIBUTION Europe Central Books - London, U.K - USA Ubiquity Distributors New York, CANADA Disticor Distribution Services. Subscriptions [email protected]. ©2002 The Scenographer Magazine (All rights reserved). Registered in Rome no. 62/2003. Printed in Italy S L C C T u i a h L m O c e i d D B v G S G i o e B a u N i e e a o b g y r t n H F E F r n P n P o n i H A D e e T G o t o e l r B r h e l n r a C L E G f M t c d D e t E o e D P o r r r G r i e r i e s r a x a m s r N e a e t c o D n m G u t a s y r u o c r a n T s c f p s i r s i i c m o o a e S r n m n d i T P C e h o r o v r t y e o r G c d o i e l u s l i i r a g t e m n s ’ y b s y o T f G h D e u i y B m r H e o e n t h n s e i d o r r n s i x G F D i r l i y m m a s m s THE BROTHERS GRIMM S Marbaden Village set under construction - photo by D. -
A Study of Amateur Theatre: Making and Making-Do
A Study of Amateur Theatre: Making and Making-Do Cara Gray A thesis submitted for the degree of Doctor of Philosophy Department of Drama and Theatre Royal Holloway, University of London September 2017 !i Declaration of Authorship I, Cara Gray, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: !ii Abstract This doctoral thesis offers an analysis of the affective communities of amateur theatre. This study is motivated by the need to engage seriously with amateur dramatics as a subject of scholarly investigation, and pays particular attention to the spaces and processes involved in amateur theatre-making that are often hidden from public view. Drawing on research conducted with the Settlement Players, an amateur dramatics group situated in Letchworth Garden City, Hertfordshire, this thesis details empirical research with the group between the years 2014 and 2016. Specifically, this thesis analyses amateur dramatics as a craft and creative practice. It places focus on the people involved in backstage roles as set builders, set designers and costume-makers, aspects of theatre-making that has often been neglected by theatre and performance scholars. This interdisciplinary study foregrounds the backstage work that happens before, after and around a performance rather than the performance itself, and draws on theatre and performance studies, cultural geography and design theory to analyse the amateur theatre-makers’ craft. Three empirical chapters foreground amateur dramatics as a process rather than a product, by paying particular attention to the spatial, material, embodied and technical dimensions of the amateur theatre-making over the thing produced - the play, the theatrical set, the costume. -
The Art of the Technical Director
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2014 The Art of the Technical Director Victoria Oakes University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Oakes, Victoria, "The Art of the Technical Director" (2014). Electronic Theses and Dissertations, 2004-2019. 4796. https://stars.library.ucf.edu/etd/4796 THE ART OF THE TECHNICAL DIRECTOR by VICTORIA OAKES B.A. College of Charleston, 1993 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Theatre in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2014 © 2014 Victoria Oakes ii ABSTRACT The theatrical scenic design process does not end at a picture on paper or with the presentation of a scale model. The design must be translated to the stage. There are a myriad of questions to be answered and decisions regarding construction style, process, material choices, structure, safety, etc. that must be made in order to fully realize the design. In a common, contemporary American production hierarchy, the person that is most often responsible for this translation process is the technical director. -
ANDREA BECHERT Scenic Designer / Scenographer
ANDREA BECHERT EDUCATOR / SCENIC DESIGNER / SCENOGRAPHER [email protected] mobile: 650-533-6059 [email protected] WEBSITE: WWW.SCORPIONDESIGNS.NET EDUCATION Master of Fine Arts Production Design & Technology Ohio University, Department of Theatre, 1994 Bachelor of Science Theatre Design & Technology Northern Arizona University, Department of Theatre, 1990 CURRENT POSITION Assistant Professor San Jose State University Department of Film & Theatre College of Humanities & the Arts TEACHING Research & Creative Emphasis • Scenic Design • Costume Design • AutoCAD for the designer in the entertainment industry • Scale Model making for film & theatre • Scenic painting & sculpting in the entertainment industry • Properties design, construction, and management • History of Decor • Production crew training, industry standards, and career preparation in theatre Courses taught: • Introduction to Design for Performing Arts (TA 55) • Model Making & Drafting for Film & Theatre (TA 158 & TA 161) • Scenic Design (TA 154) • Costume Design (TA 153) • Painting and Props for Film & Theatre (TA 91) • History of Theatre (TA 120 / ENGL 120) • Activity Projects in Theatre Production (TA 191 – upper division) • Activity Projects in Theatre Production (TA 91 - lower division) • Individual Studies (TA 180) • Theatre Appreciation (TA 10) ANDREA BECHERT CURRICULUM VITAE Guest Lecturer: • Topic: “Scenic Designers and What We Do”. Class: Theatre Appreciation (TA 10), instructor: Sarah Kate Anderson. Spring 2019 • Topic: “Hamilton – the modern musical”. Taught two classed during Professor Locher’s absence. Class: Theatre Appreciation (TA 10), instructor: Michael Locher. Fall 2018 • Topic: “Design & Spectacle in the Renaissance”. Class: Topics in Performance History (TA 121), instructor: Buddy Butler. Spring 2018 • Topic: “Scenic Designers and What We Do”. Class: Theatre Appreciation (TA 10), instructor: Sarah Kate Anderson. -
Theatre Management: Models and Strategies for Cultural Venues
Theatre management: models and strategies for cultural venues Lluís Bonet Héctor Schargorodsky Theatre management: models and strategies for cultural venues Lluís Bonet Héctor Schargorodsky Publisher: Kunnskapsverket © 2018 (Knowledge Works. National centre for cultural industries) Address: Kunnskapsverket C/O Høgskolen i Innlandet, Postboks 400, N - 2418 Elverum (Norway) [email protected] Title: “Theatre management: models and strategies for cultural venues” Authors: Lluís Bonet & Héctor Schargorodsky Foreword by: Milena Dragićević Šešić First edition: September 2018 © Lluis Bonet © Héctor Schargorodsky Design and editing: Bernat Casso English translation: Debbie Smirthwaite Project manager: Giada Calvano Photographs by: Lluis Bonet, Giada Calvano & Halejandro Cortés. Rapport no. 06-2018: - ISBN 978-82-93482-30-7 (Print) - ISBN: 978-82-93482-31-4 (PDF) The free digital version of this book is available at: www.kunnskapsverket.org www.gestiondeteatros.com www.ub.edu/cultural/publications To the memory of Carlos M. M. Elia To Roxana Meygide and Joan Fonollosa Index Foreword.......................................................................................................................... 13 Preface ............................................................................................................................ 29 Part one: Performing arts system and management models ....................................... 37 1. The performing arts production and presentation system .............................. 39 1.1 The social -
ANDREA BECHERT Scenic Designer / Scenographer
ANDREA BECHERT EDUCATOR / SCENIC DESIGNER / SCENOGRAPHER [email protected] mobile: 650-533-6059 [email protected] WEBSITE: WWW.SCORPIONDESIGNS.NET PROFESSIONAL DESIGN EXPERIENCE CURRENT SCENIC DESIGN PROJECTS: TheatreWorks Palo Alto, California The Book of Will (director: Robert Kelley – opens June, 2020) Center Repertory Theatre Walnut Creek, California In the Heights (director: Amanda Folena – opens May, 2020) The Jewel Theatre Santa Cruz, California Heisenberg (director: Paul Mullins – March, 2020) The Mountain Play Mt. Tamalpais, California Hello Dolly (director: Jay Manley – opens May, 2020) San Jose State University San Jose, California The Dreamer Project (director: Kathleen Normington – opens November, 2019) The Threepenny Opera (director: Kirsten Brandt – opens April 2020) Spartan Films San Jose, California How to Tell a Mother Her Child is Dead (Production Design for Short Film – director: Harry Mathias – November, 2019) RECENT SCENIC DESIGN PROJECTS Florida Studio Theatre Sarasota, Florida The Cottage (director: Jason Cannon – August, 2019) The Jewel Theatre Santa Cruz, California Breaking the Code (director: Kirsten Brandt – March, 2019) TheatreWorks Palo Alto, California The Language Archive (director Jeffrey Lowe – July, 2019) Fun Home (director: Robert Kelley – October, 2018 – Theatre Critics Circle Award for Set Design) Spartan Films San Jose, California Breakfast (Production Design for Short Film - director: Nick Martinez – August, 2019) RECENT AWARDS Bay Area Theatre Critics Circle Award for Scenic Design -
Robert Wilson H T R ( S H O
w w w S . t e h p e t s e c m e n b o E e g Publisher Maria Harman ([email protected]). Editor ART DIRECTOR Paolo Felici ([email protected]). Italy Editorial Office The Scenographer Magazine Via degli Specchi 3 - 00186 Rome - r U r 2 a Italy. Tel +39 066896420. Contributors: Bonizza Giordani Aragno, Serge Von Arx, Sergio Cosulich, Elisabetta Di Mambro, Stephanie Engeln, Giulia Mafai, Bernice Jhonson Reagon, Jacques Reynaud, Ann Christin Rommen, R p 0 Chicago U O h 0 Sue Jane Stoker, Giorgio Tabanelli, Giorgio Ursini Ursic, Robert Wilson, Christopher McCollum, A.J. Weissbard. We thank Pete Sanders for the photo GRAPHIC DESIGN Simona Criscuoli. TRANSLATION: G . S 4 e D B Mary T. Burns. ©2002 The Scenographer Magazine (All rights reserved). Periodical. Printed in the Italy. Registered with the Tribunale Civile of Rome (Italy) no. 62/2003 of 20.02.03 All artistic material published is the sole r 1 N . P c 1 2 property of the authors cited. All rights reserved. No part of this publication may be reproduced, stored in a retrevial system or transmitted, in any form or by any means, electronic, mechanical, photocopyng, recording or o 9 5 . o 5 . m 0 0 . otherwise, without the prior permission of Maria Harman Publisher. Subscription: [email protected] Internet Office: BluMeme srl. Via dei Fienili 65, 00186 Rome. Italy. Tel.+39.+06.97619556- 5 0 0 0 Fax+39.06.69293965 ([email protected]) Internet Editorial Team: Giovanni Fantoni (Coordination and project planning). Luca Frenquelli, Alessandro Cremona (web design). -
ANDREA BECHERT Scenic Designer / Scenographer
ANDREA BECHERT EDUCATOR / SCENIC DESIGNER / SCENOGRAPHER [email protected] [email protected] WEBSITE: WWW.SCORPIONDESIGNS.NET EDUCATION Master of Fine Arts Production Design & Technology Ohio University, Department of Theatre, 1994 Bachelor of Science Theatre Design & Technology Northern Arizona University, Department of Theatre, 1990 CURRENT POSITION Assistant Professor San Jose State University Department of Film & Theatre College of Humanities & the Arts TEACHING Research & Creative Emphasis • Scenic Design • Costume Design • AutoCAD for the designer in the entertainment industry • Scale Model making for film & theatre • Scenic painting & sculpting in the entertainment industry • Properties design, construction, and management • History of Decor • Production crew training, industry standards, and career preparation in theatre Courses taught: • Model Making & Drafting for Film & Theatre (TA 158 & TA 161) • Scenic Design (TA 154) • Costume Design (TA 153) • History of Theatre (TA 120 / ENGL 120) • Activity Projects in Theatre Production (TA 191 – upper division) • Activity Projects in Theatre Production (TA 91 - lower division) • Individual Studies (TA 180) ANDREA BECHERT CURRICULUM VITAE Guest Lecturer: • Topic: “Hamilton – the modern musical”. Taught two classed during Professor Locher’s absence. Class: Theatre Appreciation (TA 10), instructor: Michael Locher. Fall 2018 • Topic: “Design & Spectacle in the Renaissance”. Class: Topics in Performance History (TA 121), instructor: Buddy Butler. Spring 2018 • Topic: “Scenic Designers and What We Do”. Class: Theatre Appreciation (TA 10), instructor: Sarah Kate Anderson. Spring 2018 • Topic: “Scenic Designers and What We Do”. Class: Theatre Appreciation (TA 10), instructor: Sarah Kate Anderson. Spring 2017 • Topic: “Scenic Designers and What We Do”. Class: Theatre Appreciation (TA 10), instructor: Kathleen Normington. Fall 2017 • Topic: “Collaboration between Director & Designer”.