Catawba College Theatre Arts STUDENT Handbook
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Syllabus Fall 2007
USC School of Cinematic Arts Production Planning CTPR 425 SYLLABUS Fall 2007 Instuctor: Robert Brown CTPR 425 Production Planning Syllabus How do you turn a script into a film? This course will attempt to answer that question by examining the process of production planning for film. By the end of the semester, each student should not only have a conceptual grasp of how to line, breakdown, schedule, and budget a screenplay, but also have the practical skill to actually do it. Our goal, however, is not to make you into professional production managers, but rather to introduce you to the basic principles of production planning. Although, there are differences in scale and detail, the processes involved are essentially the same whether one is making a major studio feature, a low-budget feature, a movie-of-the-week, an episodic television show, an educational film, an industrial film, or a student film. Using a script from a one-hour episodic television show, each class member will line a script, make a production board, a day-out-of-days, and develop a shooting schedule. The class will also examine actual film budgets for both a large studio release and a low budget independent, account by account, in order to reach an understanding of the various elements that go into the making of a film. Grading Criteria In an effort to make the grading process as fair and objective as possible, I will use the following method. Assignments (Total Possible Points - 100) The five projects will be due at various times during the term. -
Production Handbookfinaldraft
PRODUCTION HANDBOOK SCHOOL OF THEATRE AND DANCE KENT STATE UNIVERSITY 2010-2011 TABLE OF CONTENTS INTRODUCTION 1 Mission of The School of Theatre and Dance 1 PROFESSIONAL BEHAVIOR 1 A Code of Ethics for Theatre Professionals 1 PRODUCTION FACULTY AND STAFF 3 Contact Information 3 ORGANIZATION OF THE SCHOOL OF THEATRE AND DANCE 5 The Faculty and Staff Production Organization 5 Faculty and Staff Production Positions 5 Producing Director/School Director (Administrative Staff) 5 Managing Director (Professional Staff) 5 Production Manager (Professional Staff) 5 Director 5 Artistic Director (Dance Concert) 6 Choreographer (Dance Concert) 6 Choreographer (Theatre Production) 6 Vocal Coach 6 Fight or Movement Coach 6 Resident (Faculty) Designers 7 Resident (Faculty) Set Designer 7 Resident (Faculty) Costume Designer 7 Scene Shop Supervisor 8 Costume Shop Supervisor 8 Lighting and Sound Supervisor 8 Marketing Coordinator (College of the Arts Administrative Staff) 9 School Administrative Assistant (Classified Staff) 9 SCHOOL OF THEATRE AND DANCE PRODUCTION POLICIES AND PROCEDURES 10 Participation Policies 10 Auditions 11 Casting Policies 11 Conflicts 11 Computer Lab Policies 12 Key Policies 12 Theatre and Rehearsal Space Policies 12 Rehearsal Policies 13 Theatre and Dance Space Policies 13 Matinee and Touring Production Policies 15 Purchasing Policies and Procedures 15 School Charge Accounts 15 Production Spread Sheet 15 Petty Cash 16 Expense Reimbursements 16 School of Theatre and Dance Box Office Policies 16 i School of Theatre and Dance Complimentary -
Department of Theatre and Dance
Theatre and Dance Department MANUAL FOR UNDERGRADUATE STUDIES This manual is a guide for applicants, students, and faculty members in matters related to undergraduate studies in the School of the Arts: Department of Theatre and Dance. As such, it complements the Samford University academic catalog. The catalog and manual together are binding on candidates for undergraduate degrees in theatre and dance. Questions about the manual or about undergraduate studies in music should be addressed to the Department Chair in Theatre and Dance. Andrew Westmoreland President J. Bradley Creed Provost Joseph Hopkins Dean, School of Performing Arts Don Sandley Chair, Department of Theatre and Dance 1 CONTENTS SAMFORD UNIVERSITY STATEMENT OF PURPOSE…………………………………....5 SCHOOL OF THE ARTS DEPARTMENT OF THEATRE AND DANCE DEPARTMENTALSTRUCTURE/MISSION STATEMENT………..............................…6 OBJECTIVES …………………………………………………………………………....………7 APPLICATION FOR ADMISSION………………………………………....………………….8 SCHOLARSHIP INFORMATION………………………………………..……………………8 ADVISORY PROGRAM……………………………………….………………..………………8 ACADEMIC REQUIREMENTS………………………………………………………….…….9 ACADEMIC INTEGRITY…………………………………….………………………..……….9 OUTCOME ASSESSMENTS……………………………………………….…………….……10 CHANGE IN MAJOR AND/OR ADVISOR……………………………………….………….11 PLAY SELECTION POLICY……………………………………………...……………….….11 PRODUCTION REQUIREMENTS…………………………….………………..….………...11 SAMFORD UNIVERSITY ATTENDANCE POLICY……………………………………….12 CAPSTONE REQUIREMENTS……………………………….……………………………....13 Acting……………………………………………………………………….……………14 Directing…………………………………………………………………………………15 -
Simi Valley Arts Commission November 6, 2019 Agenda Packet
SIMI VALLEY CULTURAL ARTS CENTER 3050 East Los Angeles Avenue • Simi Valley, California • 93065 SIMI VALLEY ARTS COMMISSION SPECIAL MEETING DA TE Wednesday, November 6, 2019, 3:30 p.m. City Manager's Conference Room City Hall, 2929 Tapo Canyon Road, Simi Valley, CA 93063 AGENDA 1. Call to Order/Welcome/Roll Call 2. Agenda Review 3. Approval of Minutes: August 21, 2019 4. Public Statements This is the time allotted for statements or comments on matters within the subject matter and jurisdiction of the Arts Commission. 5. New Business a. Receipt of the Simi Valley Cultural Arts Center Fiscal Year 2018-19 Operating Budget Report b. Receipt of Simi Valley Cultural Arts Center Fiscal Year 2018-19 Year-End City Reimbursement Report c. Report Comparing Fiscal Year Ending 2017-18 and Fiscal Year Ending 2018-19 d. Fiscal Year 2019-20 First Quarter Cultural Arts Center Budget Vs. Actual Report e. Review of Production Budget for Elf the Musical f. Receive and File Simi Valley Cultural Association Summer Musical Theatre Workshop Final Report g. Consideration of Individual/Special Case Subsidy Request from the Simi Council: Parent Teacher Association/Parent Teacher Student Association 6. Reports a. Simi Valley Cultural Arts Center Programming Update 26/10-19 (805) 583-7905 • Box Office (805) 583-7900 • Fax (805) 583-7904 • www.simi-arts.org • e-mail: [email protected] b. Simi Valley Cultural Arts Center Statistics c. General Manager's Report d. Update on Simi Valley Cultural Arts Center Foundation Activities 7. Commissioner Comments This is the time allotted for statements or comments from Arts Commissioners on matters within the subject matter and jurisdiction of the Arts Commission. -
The Future: the Fall and Rise of the British Film Industry in the 1980S
THE FALL AND RISE OF THE BRITISH FILM INDUSTRY IN THE 1980S AN INFORMATION BRIEFING National Library Back to the Future the fall and rise of the British Film Industry in the 1980s an information briefing contents THIS PDF IS FULLY NAVIGABLE BY USING THE “BOOKMARKS” FACILITY IN ADOBE ACROBAT READER SECTION I: REPORT Introduction . .1 Britain in the 1980s . .1 Production . .1 Exhibition . .3 TV and Film . .5 Video . .7 “Video Nasties” & Regulation . .8 LEADING COMPANIES Merchant Ivory . .9 HandMade Films . .11 BFI Production Board . .12 Channel Four . .13 Goldcrest . .14 Palace Pictures . .15 Bibliography . .17 SECTION II: STATISTICS NOTES TO TABLE . .18 TABLE: UK FILM PRODUCTIONS 1980 - 1990 . .19 Written and Researched by: Phil Wickham Erinna Mettler Additional Research by: Elena Marcarini Design/Layout: Ian O’Sullivan © 2005 BFI INFORMATION SERVICES BFI NATIONAL LIBRARY 21 Stephen Street London W1T 1LN ISBN: 1-84457-108-4 Phil Wickham is an Information Officer in the Information Services of the BFI National Library. He writes and lectures extensively on British film and television. Erinna Mettler worked as an Information Officer in the Information Services of the BFI National Library from 1990 – 2004. Ian O’Sullivan is also an Information Officer in the Information Services of the BFI National Library and has designed a number of publications for the BFI. Elena Marcarini has worked as an Information Officer in the Information Services Unit of the BFI National Library. The opinions contained within this Information Briefing are those of the authors and are not expressed on behalf of the British Film Institute. Information Services BFI National Library British Film Institute 21 Stephen Street London W1T 1LN Tel: + 44 (0) 20 7255 1444 Fax: + 44 (0) 20 7436 0165 Try the BFI website for film and television information 24 hours a day, 52 weeks a year… Film & TV Info – www.bfi.org.uk/filmtvinfo - contains a range of information to help find answers to your queries. -
The Director in the Classroom
• 29 The Director in the Classroom How Filmmaking Inspires Learning Nikos Theodosakis • 29 3 How Filmmaking Develops Higher Order Thinking Skills In this chapter, we look at some of the ways that filmmaking helps develop higher order thinking skills. The filmmaking process in the classroom invites a variety of skills to be explored and developed as the students journey from the creation of the original idea to the first presentation and beyond. Visioning Skills Filmmaking is about turning the intangible into the tangible. Regardless of the size of the film, whether it’s Ben Hur or My Science Experiment, movies start with that wonderful thing called “the idea.” As the idea formulates in the mind of the filmmaker, a vision of the final film begins to develop. When the idea becomes a script, the chal- lenge for directors is to hold a clear picture in their minds of what they want to communicate and then to guide their crew towards that vision. The goal of the filmmaking process and all involved is to put that vision on the screen. When students create a film, it is an opportunity for them to develop a vision of what they want to explore and to see how the vision changes or remains the same as they set out and make it happen. It is practice in turning the intangible into the tangible. It’s also about learning the process of looking at where you want to be, looking at where you are now, and constructing a plan to connect the two. The skill of working backwards from a goal, and translating it into a plan of action, can be transplanted for personal achievement in many fields. -
The Director's Method in Contemporary Visual Effects Film
The Director’s Method in Contemporary Visual Effects Film: The Influence of Digital Effects on Film Directing Gianluca Balla PhD University of York Theatre, Film and Television September 2016 Abstract The director’ s method – meant as the organisation of the filmmaking process – is usually characterised by common procedures such as work on the script, shot design and the actors’ performance. For films involving a large-scale use of digital effects, directors consistently approach such procedures with a particular attitude dictated by the digital pipeline, the step-by- step technical procedure through which computer-generated images are created. In light of this, the use of digital effects might influence the director’s method. This thesis aims to define what is considered to be a consensual methodological approach to direct films with no or few digital effects and then compares this approach to when such effects are conspicuously involved. This analysis is conducted through interviews with working directors, visual effects companies and practitioners, and integrated with the current literature. The frame of the research is represented by a large spectrum of contemporary films produced in western countries and which involve digital effects at different scales and complexity but always in interaction with live-action. The research focuses on commercial films and excludes computer-animated and experimental films. The research is intended to address an area in production studies which is overlooked. In fact, although the existent literature examines both digital effects and film directing as distinct elements, there is to date no detailed analysis on the influence that the former has on the latter. -
MUS M31B: Opera and Musical Theatre Workshop II 1
MUS M31B: Opera and Musical Theatre Workshop II 1 MUS M31B: OPERA AND MUSICAL THEATRE WORKSHOP II Originator belliott Co-Contributor(s) Name(s) Bowen, Nathan (nbowen) Song, James (jsong) College Moorpark College Attach Support Documentation (as needed) VC Catalog - MUS M31B.pdf Pasadena College _ MUS M31B.pdf Fullerton College - MUS M31B.pdf Discipline (CB01A) MUS - Music Course Number (CB01B) M31B Course Title (CB02) Opera and Musical Theatre Workshop II Banner/Short Title Opera Workshop II Credit Type Credit Honors No Start Term Fall 2021 Catalog Course Description Studies the skills necessary for the performer in a live musical theatre or opera production. Emphasizes script and score analysis, role preparation, theatre and rehearsal etiquette and technique, and singing technique. Focuses on contemporary opera or musical theatre literature from the 20th and 21st centuries. Includes a culminating performance project such as a live scene, opera, or musical. Open to majors and non-majors, though some singing experience is recommended. Taxonomy of Programs (TOP) Code (CB03) 1004.00 - Music Course Credit Status (CB04) D (Credit - Degree Applicable) Course Transfer Status (CB05) (select one only) A (Transferable to both UC and CSU) Course Basic Skills Status (CB08) N - The Course is Not a Basic Skills Course SAM Priority Code (CB09) E - Non-Occupational 2 MUS M31B: Opera and Musical Theatre Workshop II Course Cooperative Work Experience Education Status (CB10) N - Is Not Part of a Cooperative Work Experience Education Program Course Classification -
MUS M31A: Opera and Musical Theatre Workshop I 1
MUS M31A: Opera and Musical Theatre Workshop I 1 MUS M31A: OPERA AND MUSICAL THEATRE WORKSHOP I Originator belliott Co-Contributor(s) Name(s) Bowen, Nathan (nbowen) Song, James (jsong) Mora, Priscilla (pmora) Loprieno, John (jloprieno) College Moorpark College Discipline (CB01A) MUS - Music Course Number (CB01B) M31A Course Title (CB02) Opera and Musical Theatre Workshop I Banner/Short Title Opera Workshop I Credit Type Credit Start Term Fall 2021 Formerly MUS M31 - Musical Theatre/Opera Workshop Catalog Course Description Studies the skills necessary for the performer in a live musical theatre or opera production. Emphasizes script and score analysis, role preparation, theatre and rehearsal etiquette and technique, and singing technique. Focuses on opera or musical theatre literature from antiquity to the 20th century. Includes a culminating performance project such as a live scene, opera, or musical. Open to majors and non-majors, though some singing experience is recommended. Taxonomy of Programs (TOP) Code (CB03) 1004.00 - Music Course Credit Status (CB04) D (Credit - Degree Applicable) Course Transfer Status (CB05) (select one only) A (Transferable to both UC and CSU) Course Basic Skills Status (CB08) N - The Course is Not a Basic Skills Course SAM Priority Code (CB09) E - Non-Occupational Course Cooperative Work Experience Education Status (CB10) N - Is Not Part of a Cooperative Work Experience Education Program 2 MUS M31A: Opera and Musical Theatre Workshop I Course Classification Status (CB11) Y - Credit Course Educational Assistance -
Video Production.Pmd
HEALLTHDESIGN MEDIAM D EDUCA M GN management GEOGRAPHY E C USI PHYSICS law O L a ARRTgr O C IOTECHNOLOGY LAN A G i cu w Y TION l ture CHEMISTRRY history GU AGE E C H A N I C S N psychology Video Production and Editing Subject: VIDEO PRODUCTION AND EDITING Credits: 4 SYLLABUS Modes of Production Understanding the Different Modes of Film and Video Production; Studio Process; Individual and Collective. Pre-Production Understanding the Whole Process of Planning a Production from Developing a Concept and Establishing the Program’s Objectives to Approach (Treatment); Writing a Script; Hiring and Meeting the Crew Members. Production Understanding the Production Process; Production Roles of the Key Players in a Production; Hierarchy of the Crew; Production Sound: The Importance of Good Production Sound, Role of the Sound Crew and their Responsibilities. Post Production (Editing) Beginning of Editing: Cut, Shot, Scene and Sequence; the Basics of Grammar of Editing; Transitions; Flash-Forward and Flashbacks; Time, Subjective and Objective Treatments; the Classical Editing Style; Techniques of Continuity Editing; the Early Russian Cinema and the Montage; the Role Played by Kuleshov; Pudovkin and Eisenstein in the Russian Style of Editing; Eisenstein’s Montage Theories; Alternatives to Continuity Editing; Discontinuity Editing; Jump Cuts; Dynamic Cutting; Elliptical Editing; Editing Processes: Logging, EDL, Rough Cut, Final Cuts; Introduction to Nonlinear Editing: Starting with FCP, Learning how to Capture Video and Start Performing Simple Cuts. Suggested Readings: 1. Video Editing and Post-Production: A Professional Guide, Gary H. Anderson, White Plains, NY. 2. Video Production Handbook, Gerald Millerson and Jim Owens, Elsevier Science & Technology Books. -
The Production Guide
THE PRODUCTION GUIDE Version 7.0 March 2018 1 Table of Contents Introduction 5 Terms 6 The Production 7 4 - 5 months before Opening: 8 16 weeks before Opening: 8 12 weeks before Opening: 9 10 weeks before Opening: 10 8 weeks before Opening (or earlier for rehearsals): 11 6 weeks before Opening 11 2 weeks before Opening 12 Actors’ First Time On Stage With full Set: 12 Technical rehearsals 12 Technical-Only Rehearsal: 13 Technical Rehearsal: 13 Dress Rehearsal: 13 The Run 14 Post-Production 15 Notes on Musical Theatre 16 Note on Plays and the role of Actors/Producers/Directors 16 Producer 18 Duties: 18 Skills: 19 Director 20 Duties: 20 Skills: 20 Director of the Musical 21 Choreographer 21 Duties: 21 Skills: 21 Note: 21 Music Director 22 Duties: 22 Skills: 22 2 Stage Manager 23 Duties: 23 Skills: 24 Assistant Stage Managers 24 Set Designer 24 Duties: 24 Skills: 25 Costume Designer 25 Duties: 25 Skills: 25 Lighting Designer 26 Duties: 26 Skills: 26 Sound Designer 26 Duties: 26 Skills: 27 Make-up/Hair Designer 28 Duties: 28 Skills: 28 Props Manager 28 Duties: 28 Skills: 29 Lighting Operator 29 Duties: 29 Skills: 29 Sound Operator 29 Duties: 29 Skills: 29 Bar and Front of House Manager 30 Duties: 30 Skills: 30 Actors/Performers 30 The Actor’s Guide to Backstage Etiquette 31 3 Theatre Resources 34 Community 34 Educational 34 Licensing 35 Recommended Reading 35 Workshops 35 CDS Contacts 36 CDS Managing Committee (ManCo) 36 Productions Committee 36 Technical Committee 36 Front of house and Bar 37 Props and Wardrobe 37 4 Introduction The Cayman Drama Society and community theatre in the Cayman Islands are thriving. -
Exploring Cultural Hybridization in Theatre Performance Bin Saipul Bahri, Fasyali Fadzly Bin Saipul Bahri, F
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2015-09-11 Jebat: Exploring Cultural Hybridization in Theatre Performance bin Saipul Bahri, Fasyali Fadzly bin Saipul Bahri, F. F. (2015). Jebat: Exploring Cultural Hybridization in Theatre Performance (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/26691 http://hdl.handle.net/11023/2452 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Jebat: Exploring Cultural Hybridization in Theatre Performance by Fasyali Fadzly bin Saipul Bahri A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS GRADUATE PROGRAM IN DRAMA CALGARY, ALBERTA JUNE, 2015 © Fasyali Fadzly bin Saipul Bahri 2015 Abstract Jebat by Hatta Azad Khan, and its English translation by Nadia Khan, was produced by the Department of Drama at the University of Calgary, in the University Theatre from October 21 – November 1, 2014. This Artist Statement details the research and creative process involved in the production of Hatta’s Jebat. The first chapter contains my background as an artist and my research interest. The second chapter discusses textual analysis with emphasis on Jebat-Tuah as central research.