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Drama II/III – Technical Theatre Workbook

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STATEMENT ON THEATRE TECH

Technical Theatre (or Stagecraft) is general terminology in theatre that refers to anything that happens on or behind the stage before, during, and after a production.

It comprises many disciplines, typically divided into seven main sections:

• Scenery, which includes set construction, scenic painting, theatrical properties, theater drapes and stage curtains, and special effects.

• Lighting, which includes both the design and actual operation of the instruments themselves. • Sound design, which can include musical underscoring as well as theatrical sound effects. • Props, which includes furnishings, set dressings, and all items large and small which cannot be

classified as scenery, electrics or wardrobe. Props handled by actors are known as handprops, and props which are kept in an actor's costume are known as personal props.

• Costume design, or costume construction. • Makeup, or the application of makeup to accentuate an actor's features. • Production, comprising stage management, production management, show control, house

management and company management.

In its most basic incarnation, technical theatre may consist of a sole Stage manager, who sets up all the scenery, organizes the cast, and runs the lighting instruments. At the full-time professional end of the spectrum, for example in modern Broadway and opera, technical theatre for a production may include hundreds of skilled carpenters, painters, electricians, stagehands, seamstresses, wigmakers, etc. In this form, modern stagecraft is a highly technical and specialized field, with many sub-disciplines and a vast trove of history and tradition.

The majority of technical theatre is practiced in an environment between these two extremes, with a dedicated crew of people of the various disciplines working together with the actors and directors to pull together a successful production.

Before you begin your journey into technical theatre in earnest, think about the one skill that will make all others possible: discipline. Real discipline is not a matter of following someone else’s rules: in the best sense it is your acceptance of the responsibility for your own development through systematic effort. You accept this responsibility not to please someone else, not to earn a grade, or a good review, or a job, but because you choose to become all that you can be. Discipline is rooted in your respect for yourself, as well as your respect for your fellow workers, for your work, and for the world you serve through that work. Poor discipline is really a way of saying, “I’m not worth it” or “what I do doesn’t matter.” Discipline comes naturally if you acknowledge your own value, the importance and the seriousness of your work, and the great need for your work in the world. One skill makes all others possible: DISCIPLINE.

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The Stage

History of the Stage

In the earliest history of theatre, stages often were simply designated performance areas within a village. As theatre is often derived from religious rites, these areas held special significance and meaning within the tribe. The first elaborate theatrical stages are found in Ancient Greece where stages were originally threshing floors which developed into large, open-air ampitheaters with permanent stages. These same theatre layouts were adopted by the Romans who spread them across Europe. Small portable stages called wagons were common in the Middle Ages and were used for mystery plays and miracle plays in cathedrals as well as outside in villages. Similar stages were used by Commedia dell'arte troupes in Italy which spread over the continent over the next few centuries.

Contemporary Stage

In theatre, the stage (sometimes referred to as the deck in stagecraft) is a designated space for the performance of theatrical productions or other events. The stage serves as a space for actors or performers and a focal point for the members of the audience. As an architectural feature, the stage may consist of a platform (often raised) or series of platforms. In some cases, these may be temporary or adjustable but in theaters and other buildings devoted to such productions, the stage is often a permanent feature.

There are four types of stages that vary as to the usage and the relation of the audience to them. The most common form found in the West is the proscenium stage. In this type, the audience is located on one side of the stage with the remaining sides hidden and used by the performers and technicians. Thrust stages may be similar to proscenium stages but with a platform or performance area that extends into the audience space so that the audience is located on three sides. In theatre in the round, the audience is located on all four sides of the stage. The fourth type of stage incorporates created and found stages which may be constructed specifically for a performance or may involve a space that is adapted as a stage.

Proscenium stage The interior of the Auditorium Building in Chicago built in 1887. Note how the arch above the stage is repeated in the house. This repetition serves as a way of amplifying the sound from the stage.

Since the Italian Renaissance, the most common stage used in the West has been the proscenium stage which may also be referred to as a picture frame stage. The primary feature is a large arch, the proscenium arch, through which the audience views the performance. The audience directly faces the stage--which is typically raised several feet above front row audience level--and views only one side of the scene. This one side is commonly known as the fourth wall. The proscenium arch evolved from the proskenium in Ancient Greek theatres. This was the space in front of the skene or backdrop where the actors actually played.

The proscenium hides the sides of the stage, called the wings, which may be used by theatre personnel working on the particular performance as well as a space for storage of scenery and theatrical properties, typically obscured by side curtains, called legs. Often, a stage may extend in front of the proscnium arch which offers additional playing area to the actors. This area is a referred to as the apron. Underneath and in front of the apron is sometimes an orchestra pit which is used by musicians during musicals and operas. The orchestra pit may sometimes be covered and used an additional playing space in order to bring the actors closer to the audience. The stage is often raised higher than the audience. Space above some proscenium stages may include a fly loft where curtains, scenery, and battens supporting a variety of lighting instruments may hang.

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The numerous advantages of the proscenium stage have led to its popularity in the West. Many theatrical properties and scenery may be utilized. Backdrops, curtains and lighting can be used to greater effect without risk of rigging being visible to the audience. Entrances and exits can be made more graceful; surprise becomes possible. The actors only have to concentrate on playing to the audience in one direction.

In-the-round stages

This method of stage design consists of a stage situated in the centre of the theatre, with the audience facing it from all sides. The audience is placed quite close to the action which provokes a feeling of intimacy and involvement.

In-the-round stages can pose many difficulties to the production, including:

• Scenery is difficult to use effectively because it can obscure actors and the rest of the stage from parts of the audience.

• Backdrops and curtains cannot be used, thus the director must find other ways to set the scene. • Lighting design is more difficult than for a Proscenium stage, since the actor must be lit from all

sides without blinding nearby audience members. • Entrances and exits must be made either through the audience, making surprise entrances very

difficult, or via closed-off walkways, which must be inconspicuous. As a result, stage entrances are normally in the corners of the theatre.

• The actors need to ensure that they do not have their backs turned to any part of the audience for long periods of time, in order to be seen and heard nicely and very clearly.

• "Narn yarn niggy figgy" was a popular stage direction during this stage, a rhyming phrase meaning "become one, enter exit".

Thrust stage

A thrust stage is one that extends into the audience on three sides and is connected to the backstage area by its up stage end. A thrust has the advantage of greater intimacy between audience and performer than a proscenium, while retaining the utility of a backstage area. Entrances onto a thrust are most readily made from backstage, although some theatres provide for performers to enter through the audience using vomitory entrances. An arena, exposed on all sides to the audience, is without a backstage and relies entirely on entrances in the house or from under the stage.

As with an arena, the audience in a thrust stage theatre may view the stage from three or more sides. If a performance employs the fourth wall, that imaginary wall must be maintained on multiple sides. Because the audience can view the performance from a variety of perspectives, it is usual for the blocking, props and scenery to receive thorough consideration to ensure that no perspective is blocked from view. A high backed chair, for instance, when placed stage-right, could create a blind spot in the stage left action.

Created and Found Spaces

Additions & Modifications

Proscenium and In-The-Round stage types are only the basic templates for stage layout. There are also extras which can be added in order to improve the stage.

• Aprons are pieces of stage added to the front of a proscenium stage which protrude past the proscenium arch, pushing out into the audience in order to make them feel more involved. They provoke a feeling of being more part of the action, rather than just looking at it through a transparent fourth wall (see above.) See also thrust stage.

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• Boxes are a feature of more modern stage designs where temporary walls are built inside any proscenium stage, at a slight angle to the original walls, in order to allow audience members located to the left or right of the proscenium (the further out, the larger the angle) to see the entirety of the stage. They enable the creation of rat runs around the back of the stage, which allow cast members to walk between entrances and exits without being seen by the audience.

Stage directions

The stage itself has been given named areas to facilitate blocking:

• The rear of the stage is considered up-stage This derives from the raked stage of the Greek Theater (see below).

• The front of the stage is down-stage. • Stage Left and right, at least in British and North American Theater, refer to the actor's left and

right facing the audience. Because this is sometimes misunderstood the terms prompt (left) and opposite prompt (right) are also used.

• House left and house right refer to how the audience perceives the stage. The audience’s left is referred to as house left, and the audience’s right is referred to as house right.

Types of Technical Rehearsals

Tech rehearsals generally are broken down into two types: wet tech rehearsals and dry tech rehearsals. Both consist of fully testing out all of the technology being used in the performance (lighting, sound, machinery, special effects, etc.) to diagnose and prevent mistakes from occurring during the actual performance.

Dry tech

The dry tech is essentially a rehearsal without the performers. It is a period, usually lasting multiple hours, where each head production designer runs his or her segment of the production. It is also a chance for the tech crew who will operate the equipment to become familiar with the flow of the performance. Usually it consists of the lights being cued in sequential order, fixing any problems along the way such as brightness, angle, framing, or position.

Then a sound check is initiated to check the levels of the music, sound effects, or microphones to be used during the performance. Changes are made as necessary to correct volume, pitch, or feedback problems.

Lastly, for stage shows, the fly rigs or battens are tested for weight and accuracy of cueing with sound and lights.

There may be an extra step for particularly effect-intensive productions, such as film, TV, or Broadway-style stage shows, where the crew tests any special effects that require systems such as rain, fire, or explosions. When this is completed to the director's and production designer's satisfaction, the crew is ready to move onto the wet tech.

Wet tech

The wet tech rehearsal includes the performers. It runs through the entire production, either in its entirety or cue-to-cue. A cue-to-cue is when the sound and lights are run with certain parts of scenes within the production. Usually a scene will start with the first few lines and then skip to the lines and staged blocking for the next cue. This whole process can take many hours, and though it is beneficial for all

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aspects of production, it can become very tedious. They have been known to run long hours, mainly due to multiple runs of the show within the tech.

Often included in the wet tech are the final show props. These props differ from rehearsal props because they are not just placeholders, they are the props to be used in the actual production. This is so that a performer can become acquainted with the true prop before the actual performance so as not to look awkward when using it. It is also to test the durability of the final prop, as well as how the props will look under the final stage lighting.

Costumes are usually reserved for the dress rehearsals, but sometimes they are brought in to test the costumes against the final stage lighting as well, so as not to produce a conflict in color differentiation in the final product.

During the wet tech, all of the previous actions taken during the dry tech are repeated, so as to check lighting in concordance with the staged blocking and stage placement (for example, finding whether the performer is in the light's hotspot or not, or how the followspot operates), check the levels on the performer's microphones (if used) and how well the performers can project if orating concurrently with sound or music, allow the performers to know when there are incoming flying rigs, allow performers to experience and become accustomed to the special effects that will occur so that it will not interfere with the actual performance and generally make sure the director and designers are happy with all aspects of the production that can be seen or heard.

Once completed as many times as the director feels comfortable, the wet tech will end. Any number of actions can usually be taken after a wet tech such as the running of problematic scenes or acts, another dry tech to work out problematic technical issues, or certain performers may be held to work with certain effects that the other performers aren't needed for. After all this is completed, the tech rehearsal is officially over, and the next rehearsal to be performed is the dress rehearsal, then final dress.

Pick-up tech rehearsals

Occasionally, if productions run for long periods or if performers are away from the production for prolonged periods, pick-up tech rehearsals are scheduled. Pick-ups usually consist of covering problem areas from previous shows, rehearsing difficult effects or transitions, or rehearsing newly-introduced technical aspects. Usually lasting no longer than a few hours, they sometimes will be held on different days or times as performance pick-ups so as not to bog down the performers or to detract from the performing rehearsal aspect of the show.

Technical rehearsals may run in a different order than indicated above, or possibly include other production departments, such as sets or costumes.

Technical week (also called tech week) refers to the week prior to the opening night of a play in which all of the technical elements (such as costumes, lights, sound, and makeup) are added.

At this point in the rehearsal process it is expected that the creative aspects of the production are ready. Actors have their lines memorized, lights, sound, scenery, and costumes have been designed and completely constructed. If the production is a musical, then the orchestra has rehearsed the music completely, and any dancers are prepared with their choreography memorized.

During technical week the various technical elements are added one by one, usually starting with scenery, and lights and then progressing to sound, costumes, and hair and makeup (although a director or technical director sometimes add the various elements in a different order). The last one or two rehearsals of technical week are often dress rehearsals open to the public in which the play is performed completely.

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Rehearsals during technical week can go very long. The first few rehearsals are characterized by frequent stopping and starting of scenes so that the technical crew can practice their necessary duties (such as executing their cues or scene changes correctly). This boredom and the long hours make technical week some actors' least favorite part of the theatrical process.

Lighting

Modern stage lighting is a flexible tool in the production of theatre, dance, opera and other performance arts. Several different types of stage lighting instruments are used in the pursuit of the various principles or goals of lighting.

Principles of lighting

There are many general principles to lighting a stage, although to allow for artistic effect, no hard and fast rules can ever be applied. The principles of lighting include:

• Illumination: The simple ability to see what is occurring onstage. Any lighting design will be ineffective if the audience has to strain to see the characters; unless this is the explicit intent.

• Revelation of form: Altering the perception of shapes onstage, particularly three-dimensional stage elements.

• Focus: Directing the audience's attention to an area of the stage or distracting them from another.

• Mood: Setting the tone of a scene. Harsh red light has a totally different effect than soft lavender light.

• Location and time of day: Establishing or altering position in time and space. Blues can suggest night time while orange and red can suggest a sunrise or sunset. Use of gobos to project sky scene, moon etc

• Projection/stage elements: Lighting may be used to project scenery or to act as scenery onstage.

• Plot: A lighting event may trigger or advance the action onstage.

• Selective visibility: Lighting may be used to show only the areas of the stage which the designer wants the audience to see.

Qualities of lighting

In the pursuit of these principles, the three main qualities or properties of interest are:

• Intensity: Measured in both lux and lumens. For any given luminaire (lighting instrument or fixture), this depends upon the power of the bulb, the design of the instrument (and its corresponding efficiency), the presence or absence of color gels or gobos, distance from the area to be lit, the color and subtance to be lit, and the neuro-optics of the total scene (that is, the relative contrasts to other regions of illumination).

• Color: Color temperature is measured in kelvins, and gel colors are organized by several different systems maintained by the color manufacturing companies. The apparent color of a light is determined largely by the gel color given it, but also in part by the power level the lamp is being run at and the color of material it is to light. As the percentage of full power a lamp is being

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run at drops, the tungsten filament in the bulb glows orange instead of more nearly white. This is known as amber drift or amber shift. Thus a 1000-watt instrument at 50% will appear far more orange than a 500-watt instrument at full.

• Pattern: Pattern refers to the shape, quality and evenness of a lamp's output. The pattern of light an instrument makes is largely determined by three factors. The first are the specifics of the bulb, reflector and lens assembly. Different mounting positions for the bulb (axial, base up, base down), different sizes and shapes of reflector and the nature of the lens (or lenses) being used can all affect the pattern of light. Secondly, the specifics of how the lamp is focused affect its pattern. In Ellipsoidal Reflector Spotlights (ERS) and their derivatives (see below), there are two beams of light emitted from the lamp. When the cones of both intersect at the throw distance (the distance to the stage), the lamp has a sharply defined 'hard' edge. When the two cones do not intersect at that distance, the edge is fuzzy and 'soft'. Depending on which beam (direct or reflected) is outside the other, the pattern may be 'thin and soft' or 'fat and soft.' Lastly, a gobo or break up pattern may be applied to ERS's and similar lamps. This is typically a strip of metal with a shape cut into it. It is inserted into the lamp near its aperture. Gobos come in many shapes, but often include leaves, waves, stars and similar patterns.

In addition to these, certain modern instruments are automated, referring to motorized movement of either the entire fixture body or the movement of a mirror placed in front of its outermost lens. These fixtures and the more traditional follow spots add Direction and Motion to the relevant characteristics of light. Automated fixtures fall into either the moving head or moving mirror / scanner category. Scanners have a body which contains the lamp, PCBs, transformer, and effects (color, gobo, iris etc.) devices. A mirror is panned and tilted in the desired position by pan and tilt motors, thereby causing the light beam to move. Moving head fixtures have the effects and lamp assembly inside the head with transformers and other electronics in the base or external ballast. There are advantages and disadvantges to both. Scanners are typically faster and less costly than moving head units but have a narrower range of movement. Moving head fixtures have a much larger range of movement as well as a more natural intertial movement but are typically more expensive.

It is important to note that the above characteristics are not always static, and it is frequently the variation in these characteristics that is used in achieving the goals of lighting.

Stanley McCandless was perhaps to first to define controllable qualities of light used in theater. In A Method for Lighting the Stage, McCandless discusses color, distribution, intensity and movement as the qualities that can be manipulated by a lighting designer to achieve the desired visual, emotional and thematic look on stage.

The lighting designer

The above elements of lighting are primarily the domain of the Lighting Designer (LD). The LD is responsible for using the principles above to achieve "the lighting look" — using lighting to affect the audience's senses and evoke their emotions. The lighting designer is familiar with the various types of lighting instruments and their uses. In consultation with the director and the scenic designer, and after watching sufficient rehearsals, the LD is responsible for providing an Instrument Schedule and a Lighting Plan. The Schedule is a list of all required materials, including color gel, gobos, color wheels, barndoors and other accessories. The lighting plan is typically a plan view of the theatre in which the performance will take place, with every luminaire marked. This typically includes approximate focus (the direction it should be pointing), a reference number, any accessories required, and the specifics (or channel number) of its connection to the dimmer system or lighting control console.

An LD must be accustomed to working around the demands of the director or head planner. Practical experience is required to know the effective use of different lighting instruments and color in creating a

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design. Many designers start their careers as lighting technicians in theatres or amateur theatre groups. Often, this is followed by training in one of the many vocational colleges or universities around the world that offer theatre courses. Many jobs in larger venues and productions require a degree from a vocational school or college in theatrical lighting, or at least a bachelor’s degree.

Lighting instruments

In the context of lighting design, a lighting instrument is a device that produces controlled lighting as part of the effects a lighting designer brings to a show. A lighting instrument is different from a “light” in much the same way that a musical instrument is different from a “music”.

There are a variety of instruments frequently used in the theater. Although they vary in many ways they all have the following four basic components in one form or other:

• Box/Housing - a metal or plastic container to house the whole instrument and prevent light from spilling in unwanted directions.

• Light Source (bulb or lamp). • Lens or opening - the gap in the housing where the light is intended to come out. • Reflector - behind or around the light source in such a way as to direct more light towards the

lens or opening.

Additional features will vary depend on the exact type of fixture.

Most theatrical light bulbs (or lamps, the term usually preferred) are Tungsten-Halogen (or Quartz-Halogen), an improvement on the original incandescent design that uses a halogen gas instead of an inert gas to increase lamp life and output. Fluorescent lights are rarely used other than as work lights because, although they are far more efficient, they cannot be dimmed (run at less than full power) without using specialized dimmers and they will not dim to very low levels. They also do not produce light from a single point or easily concentrated area, and have a warm-up period, during which they emit no light or do so intermittently. High-intensity discharge lamps, however, are now common where a very bright light output is required, - for example in large follow spots and modern automated fixtures. When dimming is required, it is done by mechanical dousers, as these types of lamps cannot be electrically dimmed.

Most lanterns are suspended or supported by a "U" shaped yoke, or 'trunion arm' fixed to the sides of the instrument, normally near its center of gravity. On the end of such, a clamp is normally fixed, made in a "C" configuration with a screw to lock the instrument onto the pipe or batten from which it is typically hung. Once secured, the fixture can be panned and tilted using tension adjustment knobs on the yoke and clamp. An adjustable wrench/spanner is sometimes used to assist the operator in adjusting the fixture.

All lights are classified as either floodlights (wash lights) or spotlights. The distinction has to do with the degree to which one is able to control the shape and quality of the light produced by the instrument, with spotlights being controllable, sometimes to an extremely precise degree, and floodlights being completely uncontrollable. Instruments that fall somewhere in the middle of the spectrum can be classified as either a spot or a flood, depending on the type of instrument and how it is used. In general, spotlights have lenses while floodlights are lensless, although this is not always the case.

Please note: In the UK the nomenclature is slightly different from North America. This article primarily uses the North American terminology. Although there is some adoption of the former naming conventions it has been normal to categorize lanterns by their lens type, so that what in the US is known as a spotlight is known as a Profile or a Fresnel/PC (Pebble/Plano/Prism Convex) in the UK. A Spotlight in the UK often refers to a Followspot. The following definitions are from a North American point of view, and would be confusing when used, without further clarification, in the UK. UK naming conventions are

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considered to be correct in most of the world, in fact most North American theatres will also use the UK terms except when talking in a more general sense (ie get a spotlight to focus on xxx, or 'flood this area')

Also note: In Australia and many other places, the lamps inside a theatrical fixture are referred to as bubbles. You should also ensure that no body oils (ie from skin contact) remain on the bubble as it will shorten the life of the lamp considerably, often blowing the bubble on its next power up.

Lighting controls

Lighting control tools might best be described as anything that changes the quality of the light. This has primarily been done by intensity control. Technological advancements have made intensity control relatively simple. Solid state dimmers can be controlled from multiple sites, or by a computer controlled by lighting desks connected to dimmers and, in the case of luminaires and other remotely-controllable fixtures, directly using 5-pin cable carrying the DMX protocol. Control has grown to the point of total automation of the entire show through show control once lighting and other designs have been completed and programmed.

The dimmer is the device used to vary the voltage to the instrument’s lamp. As voltage to the lamp decreases, the light fades or dims. It is important to note that some color change also occurs as a lamp is dimmed, allowing for a limited amount of color control through the dimmer. Fades can be either UP or DOWN, that is increasing or decreasing the intensity. Today, most dimmers are solid state, although many mechanical dimmers still exist.

With the advent of computers and DMX protocol, lighting control has grown to include not only the change in a light’s intensity, but the movement and color of the light, as well as the pattern. Although the majority of high school and college stages are not yet automated to the point of controlling all of the qualities of light, the capacity exists - for a price.

Other modern control methods include RDM (Remote Device Management) which implements the type of control available with DMX into a network topology run over Cat5 Network Cabling. This allows the possibility of feedback from units of faults etc, whilst allowing much more detailed control of them.

With the discussion of modern and often times expensive lighting control systems it is important to note that lighting control need not be complex. Innovative USO performers in Vietnam ran into power outages and simply pulled vehicles up and turned on their headlights.

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Tech Job Descriptions

Poster and T-Shirt Design - It is your job to design a poster on paper 8 ½ “ x 14”. This needs to be in an eye catching color and design. Be sure that the authors names are not less than half the size of the title. Be sure to include production rights information, dates of the production, the school name, and the number for reservations (523-8641). Use this design for our shirts. The shirts do not need to have the authors, production rights, or phone number. But it should have the year of the production somehow incorporated into the shirt design. Remember that the color of the shirt itself should compliment the design.

Props/Effects - Make a list of all the props that we will need. This takes a careful reading of the script. After you make you own list, talk to me and ask what I want to add to the list. Pay attention to all rehearsals to find out what props you will need. On October 1, give a list of props to the Assistant Director including what props you have collected and what props you have yet to find. Collect all props. Some will be very difficult to find or collect. Be creative and resourceful. Don't hesitate to ask others to help, but it is your responsibility. On October 26 give a list of all props to me. By this date you are required to have all props ready. Do not wait to the last few days of October to find everything you need. You are financially responsible for the props. If an actor looses a prop, you have to buy another one. Be sure that all props are locked away after each rehearsal in the same place. Jealously guard all props. Do not let the actors loose anything. Before each rehearsal and each performance be sure that the props are in their proper place. You are responsible for props during the performances. If a prop is not available because someone lost it, it is your responsibility. If possible, get extra props to prepare for any lost items. After the play, return all props to their proper owner and write letters of thanks. Show the letters to the me. Do not let the actors lose any props. This may be the most difficult part of your job.

Biographer - Your job is to write biographies on all seniors for the program.

The biographies should be interesting. They should be a short paragraph in length. Be sure to write a biography for every senior. Do not include any "in jokes" that our audience will not understand. Some of the items you may mention include past plays, how the individual feels being part of the production, what other drama activities they have been involved in and interesting personal facts. Make each biography different.

On October 8, show a copy of the biographies to me. Be sure to approve these biographies with me.

Don't try to write all the biographies at one time. When you get a good idea about someone, just write it down. Good ideas are usually spontaneous.

You do not have to write all of the biographies yourself. You are just responsible for getting the job done.

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Makeup - You are responsible for makeup.

Your task is to have a makeup area ready with sufficient tables at least two and a half hours before each performance, to have plenty of tissues, baby oil, chairs, and paper towels available and to keep the makeup material clean, neat, and in order. You are responsible for putting away the make up and for keeping the make up and make up area clean and neat.

Take out the make up materials before the show and place them on the table. You are responsible for keeping the makeup area neat during the show. After each show clean, straighten out the materials, and put them away.

Know the makeup requirements of this show and be sure that the appropriate makeup is available well in advance of the play. It takes two weeks to ship some make up. Be sure we are well stocked.

Give me a report of all the additional makeup we need to get by October 3.

Publicity/Advertisement - Your job is to be sure we get the posters in time and to hang the posters up.

On October 1, give a written report to me listing sixty places you will hang the posters.

The due date for giving me the list of where you placed the posters is October 26. Every poster should be hung by that date. Please do not waste any.

These posters are very expensive. They definitely add to the professional flavor of the play. It is our responsibility to see that they are hung up and do not get thrown out or kept by cast members until the play is over. Please guard them jealously!

Ten posters may be hung in Kickapoo. Please do not just give the posters to store owners. They may just throw them out. Offer to hang them up. Bring plenty of scotch tape and tacks with you. Bring a friend. All posters must be hung up. Don't hesitate to get help, but only if you are absolutely sure that the people you give posters to, hang them up. In the past, many expensive posters ended up in the trunks of cars of well-meaning people that forgot to hang the posters.

Be sure to write a thank-you note to everyone that helped.

Lead Stage Hand - Your job is to keep the stage spotless and safe.

This is an extremely important job. In the past there have been some injuries that have resulted from articles being left on the floor of the stage. A clean stage is particularly important for dancers.

It is your job to insure that you come to class and rehearsals early and clear the stage not only of large objects that do not belong, but sweep the stage clean of any smaller particles as well. The stage has to be swept for each rehearsal.

It is your job not only to clear the stage, but to clear and organize the wings as well. If materials build up off stage right and left, then it will not be safe for the actors in the dark. Where to put

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the large pieces? That's a very good question and something that I have been trying to answer for many years. Please be creative in answering the question yourself. In any case, it has to be clear and organized off stage so no one can hurt himself or herself off stage.

Also very important. Check the stage daily to make sure that our stage and set is not being abused on days that we do not have class. You are my representative on stage when I am not around. Protect the stage!

Cast Party Coordinator - Your job is to plan a fun and meaningful party.

Present a written report to me on your project by October 7. The party itself will be held after the ______________________ performance. Present a very complete description of the party on October 22.

There can be no alcoholic drinks or smoking. Be absolutely sure that you invite everyone involved in the play individually and that you get a count of the number of people coming. Invite all the involved adults as well.

There are no funds budgeted for this party. You should collect money for the party at least two weeks in advance. That is entirely your job. Note that you are financially responsible. Make sure you collect enough from everyone so you do not end up having a bill. I will not reimburse any losses. Be creative. Don't just tell everyone to go to a certain restaurant. Make it an event that is memorable and appropriate.

The party is the appropriate time to thank everyone who contributed to the great effort of staging the play. Buy gifts for the people that helped us that usually do not get enough recognition. This includes but is not limited to the Assistant Director, Choreographer, Vocal Director, Pit Conductor, and all the adults that helped. Put some thought into the presents that you buy. A lot of adults have put much work into this production. Make sure that the money you collect from everyone will cover the amount the cost of gifts. Raise money for the party anyway you think is appropriate. Clear all ideas with me prior to putting them into action. Collecting money from the cast is fine.

Plan the party ahead. Do not wait for the last minute. Make the party a part of the experience of the play.

House Manager - It is your job to keep the house clean and safe.

The house is the part of the theater where the seats are located. We have to leave the house clean after each rehearsal. If you are not going to be present after a certain rehearsal, be sure someone else will clean up for you.

You are not a janitor. It is not necessary to sweep away every last piece of dirt. It is necessary to remove all objects such as cans, pizza boxes, books and particularly building supplies and tools. Make sure that all tools, props and Drama Team materials are locked away properly after each rehearsal.

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You should not have to be told what to do after each rehearsal. There should be nothing in the house that does not belong there. In the past, actors hurt themselves in the dark house when they tripped over building materials that were not put away.

Stage Manager - Your job is to insure that the play runs like it is supposed to.

During the actual performances, the Stage manager becomes the Director. It is up to the stage manager to be sure everything is in place before the show. Make lists of everything that should be ready for each performance. This includes but is not limited to costumes, props, makeup, etc., During the shows, the stage manager tells the technicians when to start the show, makes sure that the actors are quiet back stage and that they are in position for their entrances for each scene, This last aspect of your job is quite important for a huge play like Grease. Before the show, the stage manager "manages" the rehearsals. This means keeping track of where the cast members are, Making sure that cast members know when they are to show up, and keeping people that are not rehearsing quiet or out of the auditorium. Take attendance at every rehearsal. Placing large sheets of paper backstage with the acts and scenes listed in large writing with the actors in those scenes will help keep the show running smoothly.

During the show, check, double check, and triple check all cast, crew, and material to make sure that nothing can go wrong.

Another task of the stage manager is to attempt to deal with problems between team members. The stage manager is a diplomat that tries to prevent personal problem form affecting the show. If you have questions, do not hesitate to ask me far in advance. Do not wait for the last minute to solve a problem.

You are in charge of the stage crew. Be sure that they are mentioned in the program. Get their names early and give the names to me so that I can enter them in the program.

Your busiest time is usually during the intermission and before the play. During these times, you should be checking your lists to be sure all people, props, and tech jobs are ready to perform.

Program Advertisement - You are the person in charge of program ads Last year we sold a total $1000 in ads for the program. This is a significant part of our budget. We could not exist without this income. As you know, we receive no money from the school or district for our program. Our goal for this year should be $2000 in ad sales.

You should encourage as many people as possible to help you sell ads. The parents may want to help. Ask parents for help in selling ads. Parents may want to include ads of their own to wish their children success in the play.

On October 22, give me a list of the ads that you and your team have sold.

Your due date is November 2. After that date no ads can be sold. At that date, give me a complete list of ads, and who sold what ads.

As you collect money for ads, put the copy of the business card in an envelope clearly marked with the person that sold the ad. Keep the envelope in my room. Turn in any money that you or

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anyone else on your team receives. Write a thank you letter and send it with a receipt to the one who made the donation. Do this on a daily basis as funds are received.

Shop Manager - Your job is to keep the Shop clean and neat.

Throw out any dried up cans of paint. Please let me know what you are throwing out before you do. Be sure that all the tools are neatly and correctly put away. Lock up the drills when not in use. Be absolutely sure that before you leave class each day or work time after school that the Shop is in order. If you are not going to be present after school on a work day, be sure someone else will clean up for you. Technical Crew Coordinator - Your job is to make my job simpler.

Study the tech job directions for everyone on the Team. Follow up on people periodically. Make sure that everyone is doing what he or she is supposed to be doing. Before all due dates, remind people that the tech jobs are due. Make sure that everyone hands in reports. Read the reports. Note who is late with reports. Keep a list. Very important – Meet with me to discuss the tech job reports. This must be done when we have more than just a few minutes available. We should carefully go over the tech reports and anticipate any developing problems. It is up to you to follow up on anything we decide to do about these problems. You are a people problem solver. Seek out any developing problems. In a play of this size, there are bound to be personal problems developing. As a senior, you may be in position to smooth out the problems before they develop. If the problem needs my input, do not hesitate to discuss it with me. You are my representative when I am not around. Keep in close contact with me. Let me know about what is happening. This may include problems with cast members, problems with the performance space, opportunity for promoting our plays, events that may interfere with rehearsals etc. You are my extra eyes and ears that are constantly looking for developing problems and ways to make my job easier Publicist - Your job is to get articles in the newspapers and to publicize in any other ways you can think of.

It is up to you to get an audience! If you have questions about your job, ask well in advance of your deadline. In the past, the public relation director tried to start her job two weeks before the play with disastrous results.

Set up appointments with local news reporters to interview us and to take photos. Be polite, you are representing the school and the Drama Team. At the same time, do not take no for an answer. Place notices in the school such as daily notices and articles in the school paper. Send news releases to the News-Leader, radio stations, and television stations at various points during the rehearsal process. Do not wait to the end and just send in one notice announcing the play. A press release could include who was accepted for the parts. Another release could include information on the technical aspects of the production.

Your first written report on October 7 should contain a list of exactly what you did and what you plan to do with public relations. By October 7 everyone in the school should know what we are doing as a result of our creative efforts. By November 4 give a written report to the me

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specifying what you have done to encourage reporters to place articles in local newspapers. The report should include what else you have done with the play in terms of PR.

By the opening of the play, there should be articles with photos of the play in the News-Leader. There should also be creative ways that you have publicized the play in the school and other schools in the school system. Try to schedule an interview for me with a reporter from the News-Leader. You might first try Sony Hocklander; she did our story last year and has a son at Kickapoo. A long article is very effective in generating a lot of interest in the play.

Before the opening of the play, write thank you notes to everyone that helped you, particularly the reporters that placed articles and photos in the newspapers. Show these letters to me before sending them to get credit for them. Sound Technician - Your job is to protect our sound equipment. You are personally and financially responsible for it.

Give me a report on October 8 listing in great detail exactly what you are going to do before the play, during the play, and after the play concerning the sound equipment.

Another report is due on November 2.

After the play is over, you are responsible for making sure that all of the mics are collected, in working order, and stored away correctly with all of the batteries removed.

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Contract Sheet 1st Quarter, 2009 Theatre Arts II/III Student Name________________ Mr. Butcher Students will complete the following objectives on an independent study basis in order to compile total points. Activity Points 1. Participation/Attendance/Rehearsal /860 points The student will attend class both regularly and punctually, coming prepared with needed materials. The student will actively and willingly participate in lecture/discussions and critique sessions in a positive and productive manner. The student will apply himself/herself during in-class activities, study sessions, rehearsals, etc. 2. Play Reading/Summary Due: /200 points The student will read the fall musical and write a play summary. Please use the form provided. 3. Ad Campaign Due: /200 points Every student must participate in selling ads. 4. Twenty Work Hours Due: /400 points Students are required to work a total of 20 hours after school during assigned tech times. The 20 hours must be accurately recorded on each student’s own time sheet. Performances do not count. 5. Musical Rehearsals Due: /500 points Attend all assigned rehearsals. 6. Resume’ Due: /100 points Every student must have a technical resume’. 7. Technical Portfolio Due: /400 points Complete a technical portfolio involving your assigned duties.

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1st Quarter Individual Portfolio Contents Checklist

The following should be placed in a 1” 3-ring binder in the following order:

_____1. Theatrical Cover Page (Including Student Name/Teacher's Name/ Class Period)

_____2. Resume'

_____3. Play summary

_____4. Record of twenty hours

_____5. Technical Portfolio Remember Neatness counts. Clearly label each section. The listed order is essential. Do not put in anything else. Portfolios are due, . No late work will be accepted.

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Contract Sheet 2nd Quarter, 2009 Theatre Arts II/III Student Name________________ Mr. Butcher Students will complete the following objectives on an independent study basis in order to compile total points. Activity Points 1. Participation/Attendance/Rehearsal /860 points The student will attend class both regularly and punctually, coming prepared with needed materials. The student will actively and willingly participate in lecture/discussions and critique sessions in a positive and productive manner. The student will apply himself/herself during in-class activities, study sessions, rehearsals, etc. 2. Play Reading/Summary Due: /200 points The student will read the 6-9 grade show and write a summary using the form provided. 3. Musical Performances Due: /1000 points Every student must participate and be in attendance during all musical performances. 4. Cappies Review Due: /100 points Every student must attend another school’s Cappies performance and write a review. 5. Resume’ Due: /100 points Every student must have an updated technical resume’. 7. Technical Portfolio Due: /400 points Complete a technical portfolio involving your assigned duties.

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2nd Quarter Individual Portfolio Contents Checklist

The following should be placed in a 1” 3-ring binder in the following order:

_____1. Theatrical Cover Page

(Including Student Name/Teacher's Name/ Class Period)

_____2. Updated Resume'

_____3. Play summary _____4. Cappies Review _____5. Technical Portfolio _____6. Record of 10 work hours for High School Musical Jr. Remember Neatness counts. Clearly label each section. The listed order is essential. Do not put in anything else. Portfolios are due, . No late work will be accepted.

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1st Quarter Technical Portfolio

Each student will complete their own individual portfolio and include the contents that are required for their specific area. The following may be required in addition to anything listed in your notebook: * Cover (everyone) * Play Analysis * Explanation * Program for the play * Costume sketches for each character * Original show design to be used for advertising and t-shirts * Advertisement Flyer/Poster * A detailed explanation of how you believe we should set each scene of the production in a financially feasible way and realistically using the stage that we have. Include a perspective sketch of the staging (in color) * Publicity Letter * Light Cue Sheet * Sound Cue Sheet * Character Mic List * Prop List and Cue Sheet * Scene Shifts Specifics to incorporate into the portfolio: Portfolio Cover containing the name of the play, the author of the play and your name Play Analysis (See attachment) Explanation (See attachment) Program Cover Eye catching design Statement of production rights Author's name Title of the play School's name Inside Program Cast credits Production staff credits Costume Sketches (See attachment) One for each character and for every costume needed Name of character on each sketch Accurate representations

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Color used Original show design An original design that represents the entire essence of the production (hand drawn or computer generated) A clever line or quote from the show to go with the design Flyer/Poster Eye catching design Dates of production School's name Place of production Title of the play Time of production Author's name Admission prices Contact number Perspective Three-dimensional sketch Good use of color Professional Quality Publicity Letter (must include the following in the letter) School's name, Title of the play , Author's name Time, place, admission, etc. Brief synopsis of the play Lead Names Explanation of why the show is unique and or why it might appeal to people Contact information Light Cue Sheet (See attachment) Sound Cue Sheet (See attachment) Mic List (See attachment) Prop List/Preset List (See attachment) Scene Shifts (See attachment)

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2nd Quarter Middle School Production Technical Portfolio

Each student will complete their own individual portfolio and include the contents that are required for their specific area. The following may be required in addition to anything listed in your notebook: * Cover (everyone) * Play Analysis * Explanation * Program for the play * Costume sketches for each character * Original show design to be used for advertising and t-shirts * Advertisement Flyer/Poster * A detailed explanation of how you believe we should set each scene of the production in a financially feasible way and realistically using the stage that we have. Include a perspective sketch of the staging (in color) * Publicity Letter * Light Cue Sheet * Sound Cue Sheet * Character Mic List * Prop List and Cue Sheet * Scene Shifts Specifics to incorporate into the portfolio: Portfolio Cover containing the name of the play, the author of the play and your name Play Analysis (See attachment) Explanation (See attachment) Program Cover Eye catching design Statement of production rights Author's name Title of the play School's name Inside Program Cast credits Production staff credits Costume Sketches (See attachment) One for each character and for every costume needed Name of character on each sketch Accurate representations

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Color used Original show design An original design that represents the entire essence of the production (hand drawn or computer generated) A clever line or quote from the show to go with the design Flyer/Poster Eye catching design Dates of production School's name Place of production Title of the play Time of production Author's name Admission prices Contact number Perspective Three-dimensional sketch Good use of color Professional Quality Publicity Letter (must include the following in the letter) School's name, Title of the play , Author's name Time, place, admission, etc. Brief synopsis of the play Lead Names Explanation of why the show is unique and or why it might appeal to people Contact information Light Cue Sheet (See attachment) Sound Cue Sheet (See attachment) Mic List (See attachment) Prop List/Preset List (See attachment) Scene Shifts (See attachment)

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(Sample Resume)

Lenny Ray Trent IATSE

3710 S. Jefferson Ave. Springfield, MO 65807

(417) 523-8641 STAGE MANAGEMENT Alexander and the...Day ASM Seattle Children's Theatre / Linda-Jo Greemberg, PSM Love's Labour's Lost ASM Seattle Shakespeare Company / John Bradshaw, Managing AD The Foreigner SM Idaho Repertory Theatre / Dean Pantajja, PM SCENE SHOP CREW Saving Grace Tacoma Actor's Guild / David Koch Pump Boy's and Dinettes Pierce College / Doug Kerr OTHER TECHNICAL EXPERIENCE Makeup Crew The Tempest Idaho Repertory Theatre / Cheri Vasek House Manager Dangerous Liaisons University of Idaho / Robert Caisley Mask Maker Commedia! University of Idaho TRAINING 2004 Apprentice Tacoma Actor's Guild 2003 BFA, Performance University of Idaho AWARDS Excellence in Lighting Design for Eli and The Lost Women Louisiana Tech University, 1999-2000

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Cappies Play Evaluation NAME: Objective: the student will recognize and evaluate elements of acting and technical production after viewing a live theatrical performance. TITLE OF PLAY: PERFORMING GROUP: DATE OF PERFORMANCE: Answer the following questions in complete sentences. Use examples to develop ideas in each area fully. 1. What do you feel is the underlying theme of the play? 2. What was your initial reaction to the play? 3 What impressed you most about the play? Give examples. 4. In your opinion, what things in the play needed to be improved? Give specific reasons. 5. What actor in the play impressed you the most? Why?

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6. Comment on the following criteria by noting specific positive and negative aspects of each: A. Directing: B Characterizations: C Ensemble Unity: D Timing (Flow and Tempo) E. Technical elements: 7. What did you observe about the audience’s response?

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Play Summary NAME: PERIOD: TITLE OF PLAY: AUTHOR: Answer the following questions in complete sentences. Use examples to develop ideas in each area fully. 1. Summarize the plot of the play in 7-10 sentences. 2. What do you feel is the underlying theme of the play? 3. What was your initial reaction to the play? 4. What impressed you most about the play? Give examples. 5. What technical challenges will this play present?

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Play Summary NAME: PERIOD: TITLE OF PLAY: AUTHOR: Answer the following questions in complete sentences. Use examples to develop ideas in each area fully. 1. Summarize the plot of the play in 7-10 sentences. 2. What do you feel is the underlying theme of the play? 3. What was your initial reaction to the play? 4. What impressed you most about the play? Give examples. 5. What technical challenges would this play present if it were performed?

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Kickapoo TheaterKickapoo TheaterKickapoo TheaterKickapoo Theater “Holding to a high standard of performance excellence.”

www.KickapooTheater.com ___________________________________ Student’s Name The SPS Advanced Theater Curriculum states that students “Apply budgetary needs of the technical aspect of a theatrical production, and plan fiscal responsibilities of a production.” As part of meeting this requirement students are asked to garner support from local businesses for our program which does not receive district funding. Please sign below verifying that the student named above has approached you about ways that your business can offer support to our program. This in no way binds you to any agreement. It is merely a verification form for the teacher. Thanks, Michael Butcher Kickapoo HS Theater Teacher __________________________ ____________________ ________________________ Business Title Signature __________________________ ____________________ ________________________ Business Title Signature __________________________ ____________________ ________________________ Business Title Signature __________________________ ____________________ ________________________ Business Title Signature __________________________ ____________________ ________________________ Business Title Signature __________________________ ____________________ ________________________ Business Title Signature __________________________ ____________________ ________________________ Business Title Signature __________________________ ____________________ ________________________ Business Title Signature __________________________ ____________________ ________________________ Business Title Signature __________________________ ____________________ ________________________ Business Title Signature

3710 South Jefferson – Springfield, Missouri 65807 – Telephone 417-523-8641 – Fax 417-523-8595

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20 Work Hours Time Sheet

Date Time In Time Out Total Task

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10 Work Hours Time Sheet

Date Time In Time Out Total Task

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