The Stage Production Technology
Fall 2007 & Spring 2008
Theatre and Stage Production Technology Student Handbook 2
8/24/2007 Theatre and Stage Production Technology Student Handbook
Theatre and Stage Production Technology Student Handbook 2 8/24/2007 Theatre and Stage Production Technology Student Handbook
As members of the Performing Arts Division, Theatre and/or Stage Production Technology Programs, students, staff, and faculty exist and function in accordance with certain expectations about how we work, study, learn, teach, and behave. The following is an attempt to define some of those expectations.
Respect for one's colleagues is paramount and underlines all other department expectations. As a result, IT IS EXPECTED:
- We honor all individuals in the Performing Arts Division, Theatre and/or Stage Production Technology Programs for their talents, intellect, creative efforts, and academic abilities.
- We accept and respect the uniqueness of each individual and reject all forms of discrimination.
- We are obligated to assist, protect, and care for colleagues "in trouble".
- We give priority to the care of your physical and emotional health.
- We are responsible for the care, cleanliness, and order of the spaces in which we gather, study, learn, rehearse, and construct.
- We accept our responsibilities and obligations for course requirements and production assignments.
- We give thought to long-term consequences of our actions.
- We assume the primary responsibility for our own personal growth and professional development.
- We attend classes, rehearsals, and shops on time and arrive prepared to work.
- We understand participation in the production activities is a privilege attained as a result of hard work, commitment, and discipline.
- We recognize the importance of intellectual and artistic curiosity as being central to creating successful work in the theatre.
- We understand the importance of effective communication and devote attention to improving our writing and speaking skills.
- We take advantage of every opportunity to see theatre productions in order to support, learn from and appreciate our colleagues across the theatre community.
- We take advantage of every opportunity to experience and lean about other forms of artistic expression.
- We take advantage of the opportunity to enroll in a wide range of classes with the recognition that everything learned will be of value in improving the understanding and practice of theatre.
- We are committed to and take pleasure in learning all we can about the history, literature, theory, and practice of theatre.
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Professional Behavior (Actors and Technicians)
I. Effort & Results:
- Qualities of effort such as speed, efficiency, organization, skill and commitment are weighed against the "Product" and "Performance Service" of the student.
- Ask how to do something if you are not sure.
- Be immediately available to help.
- Seek out ways to be helpful.
II. Initiative & Leadership
- Recognize the importance of the task at hand and take an assertive role in devising effective and efficient solutions.
- Be involved as a "team player"
- Take directions on a task, remember them and apply them.
- Collaborate on methods for solving problems.
- Exhibit alert interest in acquiring new knowledge.
IV. Dedication & Responsibility
- Care enough to ensure that the group effort has a positive result on the production.
- Be conscientious and strive to improve.
- Be trustworthy without constant supervision.
- It is mandatory to be at all calls and to be on time and ready to work.
- Do not underestimate the value of your presence and efforts.
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Production Stage Manager
Production Stage Manager
It is the responsibility of the Production Stage Manager to help coordinate all aspects of a production. The PSM works closely with the Director and acting company assisting with the organization and running of all technical, dress rehearsals and performances. The PSM serves as the liaison between the Director and other members of the design and production staff distributing information, running meetings, and keeping the production on schedule.
Emergency Phone Numbers:
In the event of an emergency: 911
Campus Nurse: x7769
Campus Police: x7762
The production stage manager is responsible for providing the following information to the following areas during the production process:
1. To all production members: Production staff contact sheet listing name, role or production position, phone numbers and email address.
2. To all production members: Production rehearsal/performance reports. It is strongly suggested that reports be generated via email and not waste department paper and photocopy resources.
3. To all designers: Any script revisions and optimally a clean revised script for the production.
Specific requirements of the Production Stage Manager:
1. Attend all production meetings.
2. If assigned prior to auditions, assist the director in compiling audition information forms and coordinate the auditions.
3. Compile a company directory and rehearsal schedule and distribute to all appropriate personnel.
4. Assist the director with organizing and running all actor rehearsals
5. Tape the ground plan down with spiking tape in rehearsal spaces.
6. Maintain a production book recording blocking, props, scenic, or costume moves as relates to actor movement, and all cues and other production related paperwork.
7. Write down all blocking notes, special instructions, changes, and cues given by the director. Report all notes and changes to appropriate designers, technical director, or costumer.
8. Complete a rehearsal log and turn into the Technical Director every day so that it can be distributed.
9. Must provide a sign-in sheet for all production personnel and keep track of attendance.
10. Contact any cast member who is late or absent to rehearsal or costume fitting.
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11. Arrange all costume fittings with the costumer and cast members.
12. To obtain rehearsal costumes, please contact the costumer or costume shop supervisor.
13. To obtain rehearsal props, please contact the props manager for the production or the props supervisor. It is your responsibility to make sure that the props are secured each night after rehearsal.
14. Assist in the development and implementation of production meetings. Establish times, location, and make contact with necessary personnel.
15. Stay in contact with all members of the production team facilitating communication and scheduling.
16. Meet with sound, lighting, costume, and scenic designers as needed to pre-write cues prior to the first technical rehearsal.
17. Sweep/check the stage floor prior to every rehearsal or performance. Make sure stage floor is free from all debris. Be sure to check backstage areas and orchestra pit.
18. Create and monitor cast and run crew sign in sheets.
19. Participate in cue set-up rehearsal to more exact placements and times for all called cues.
20. Run all technical and dress rehearsals in coordination with the director and designers.
21. Call cues for rehearsals and performances.
22. Coordinate starting times with house manager on performance nights.
23. Make sure all lights and equipment (including coffee pot) is turned off. Place "Equity light" on stage. Be sure all doors are locked and secured.
24. Immediately report any serious problems to the director, technical director, and/or faculty member in charge.
25. Assist with the strike of properties and removal of all spiking tape for theatre floor.
26. Remove all rehearsal tape from floors when it is no longer needed.
Assistant Stage Manager
Responsibilities include assisting the stage manager and director with all aspects of the planning, coordination, and running of meetings, rehearsals and performances.
Some specific requirements of an assistant stage manager:
1. Attend rehearsals as needed by the Stage Manager assisting with the running of props, costume pieces, and line readings.
2. Help the Stage Manager coordinate and supervise the backstage running crew and help actors and actresses make entrances on time.
3. Participate in strike.
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In order to maintain a creative, safe and professional environment in all the department's rehearsals and performances, all actors will be asked to abide by the following TEN RESPONSIBILITIES established by Actors' Equity Association, the Union of Professional Actors and Stage Managers:
2. Be on time for your half-hour call. Sign in on the call-sheet provided by the stage management.
3. Notify your Stage Manager as soon as possible if you are ill or unable to reach the theater on time for any rehearsal or performance call.
4. Be on time and ready for all rehearsals. This means arriving ten to fifteen minutes before your call whenever possible.
5. It is your responsibility to make sure that you have the proper rehearsal attire and shoes.
6. It is your responsibility to procure and use your own knee-pads during the rehearsal and performance process unless they are provided to you as part of your costume.
7. Remember that even though places for each act will be called, you alone are responsible for all of your entrance cues.
8. Observe all rules and suggestions given by the management, running crews and technical staff with regard to the safe and efficient operation of the production.
9. Cooperate with ALL Stage Managers, Dance Captains, Fight Captains, Musical Directors and Warm-up Coaches. This means being on time and ready for all pre-show preparations.
10. Take proper care of your costumes and props:
- Do not eat or drink anything while in costume (except water in a closed container) unless you have received the designer and/or wardrobe staff's approval.
- Hang up all costumes on the racks provided exactly as you found them.
- Return all props to their designated pre-set positions.
- Keep the Green Room and your dressing room position clean.
11. Maintain your performance as directed throughout the run of the show.
12. Make no unauthorized changes in costume, make-up or prop and set pieces.
13. Appear at curtain calls in complete costume and make-up.
All Actors will also be asked to be aware of and observe the following guidelines:
1. Each actor will be expected to provide her/his own BASIC make-up as deemed necessary for the successful portrayal of the role by the Costume Designer.
2. Actors will be informed of costume fitting times by the Stage Manager. It is your responsibility to remember all appointments and BE ON TIME.
3. Actors may be required to participate in pre-opening publicity photo-calls. All actors will be asked to participate in a production photo call after one of the night performances. These calls will last no more than two hours.
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4. A Dress Parade is usually scheduled in the early evening before one of the later rehearsals. Actors will be expected to attend Dress Parade as needed. This may include additional time for a make-up/hair session.
5. Technical Rehearsals will be held the last Sunday of the rehearsal period through the final rehearsal week before opening night. Actors must attend all technical rehearsals. This means being on time and available for any assignment that the production staff requires.
6. All performers should always be aware of excessive backstage noise, especially in the Green Room and adjacent hallways when simultaneous productions are performing the Studio Theatre and Main stage spaces
7. Every actor must participate in the entire production strike that is usually held directly after the final performance. The actor must follow all directives issued by the strike supervisors and must remain at the strike until dismissed by the Technical Director.
8. Actors must observe performance night parking regulations.
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Backstage Running Crews
The props Master/Mistress prepares and cares for all props used during technical rehearsals and performance. Their immediate supervisor is in three parts, the Director of the production, the Technical Director and the Scenic Designer. They are in charge of the props running crew.
1. Read script or libretto; once for plot and style, second time for prop requirements, usage and action.
2. Listen to music for style and drama. (If applicable)
3. Write out the prop list from second reading of script/libretto.
4. Review set and costume designs with designers.
5. Discussion with director, designer, stage manager of entire prop list, usages, requirements, general and specific looks.
6. Discussion with the designer of general or specific sources-stock, borrow, buy, build, special instructions, etc- to establish organizational prop work list. Additional essential details discussed, starting instructions given.
7. Review prop drawings and sketches with designer, or identify items yet requiring drawings, sketches, or research photos.
8. Research for familiarity of general period and style.
9. Research for required period or special items.
10. Tour prop, furniture, and soft goods storage area. Reshelf unshelved items and do a general clean up of the props storage area. There are lists posted inside each cabinet for everything in that cabinet, double check against stock for loss.
11. Assist stage managers in pulling rehearsal prop substitutes. (Make sure they are stored in a lockable cabinet.)
12. Make lists of items that need to be shopped or borrowed.
13. Make lists of items to make calls on.
14. Make lists of items to be built.
15. Arrange a regular time to speak with stage management about developments; both yours and the director's, etc. Stage management may also be issuing daily departmental notes. After reading daily notes discuss as needed with appropriate parties. Stage management typically copies set designers with daily notes.
16. Arrange a regular time to discuss necessary items with the designer. Designers tend to have time restraints, so it is often more difficult meeting with designers than stage managers.
17. In order to understand a director's or actor's requirements in using props and furniture, it is most efficient and practical to attend a rehearsal of a scene, and act or an entire run-through. Check with stage management on scheduled run-throughs so you don't waste your time on slow moving "work-throughs."
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18. All fire arms will be handled, supervised and cleaned by the technical director. You may watch and learn how to deal with fire arms. The technical director will teach the actor's involved the proper stage etiquette in use of a fire arm in a safe manner.
19. Supervise the props running crew.
20. Make sure to communicate with the Props Supervisor about monies and budgets for the production.
Prop Running Crew
The prop run crew prepares and cares for all props used during technical rehearsals and performances. Their immediate supervisor is the Prop Crew Head, followed by the Stage Manager, then the Technical Director.
1. Attend the Crew Watch run through.
2. For all calls be on time and ready to go. Call times are usually 1 hour to 1 ½ hours prior to curtain. Be sure to sign in on the sign in sheet.
3. Check props immediately for breakage, damage, or loss.
4. Place props in position at least thirty minutes prior to opening house.
5. Provide only fresh, clean drinks and/or food to actors. Bottles with colored water, tea, coffee, etc. must be emptied and cleaned each night after the final curtain and refilled the following evening.
6. Cover any borrowed furniture, new or used, each night before leaving the theatre. Security concerns may require locking up these items.
7. Speak and move quietly backstage.
8. Observe smoking and beverage rules: Neither is allowed on or backstage, or in the control booths.
9. Verify that all props are clean, in order, and returned to the props cabinet following rehearsals and performances.
10. Lock up all properties immediately following the end of rehearsals and performance.
11. Show attire is: a long sleeved black shirt (with no writing), black slacks, black socks and black (soft soled, closed toe) shoes. Please do not wear hats.
12. Stay alert and efficient during dress rehearsals and performances.
1. Assist the Props Crew Head and Stage Manager in the safe removal and return of all props.
2. Return all props to their storage spaces.
3. Empty and wash all bottles, glasses, dishes, ash trays, etc before they are returned to the prop room or to their owners.
4. Throw out any perishable leftover food. Clean out the kitchen refrigerator as part of strike.
5. Join the rest of the strike with your crew after all props have been put away. One crew is not finished until everyone is finished.
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Fly Crew (When applicable)
The fly crew is responsible for all scenic units flown during a performance. The crew works under the direction of the Stage Manager and is responsible for moving automated and manual line sets.
1. Attend a training session with House Production Manager.
2. Be prompt to all call times set forth by the Stage Manager. Be sure to sign in on the sign in sheet.
3. CAUTION: Check to make certain that flown units are properly rigged and counterweighted before running operating lines their full distance.
4. Fly Check: Verify that the line sets you control are in balance, and that none are fouled before each rehearsal and performance. To do this bring each line set into the performance position (in-trim) and return it to the storage position (out-trim). Check that trim marks are where they ought to be. Do not delegate any of this responsibility.
5. Check with the Stage Manager for exact method of cueing. Follow the directions of the Stage Manager. The SM will explain how cues are to be taken; wait for SM to signal before lifting or lowering anything. In raising a flown piece, verify that furniture or properties are not fouling it; in lowering a piece, verify that no person or object is below.
6. Provide and updated master list of all fly cues and their operators and keep a copy with the SM.
7. Show Attire: long sleeved black shirt (without writing or insignia), black slacks, black sox and black shoes.
8. Participate in strike.
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Stage Run Crew
The Stage Run Crew handles the scenery during the technical rehearsals and performances under the supervision of the Stage Manager and the Assistant Stage Manager (s).
1. Sign in on the sign in sheet prior to the call time.
2. Checking onstage and flown scenery and moving pieces for breakage, damage, or loss.
3. Presetting units (and if needed, properties) in performance position at least thirty minutes before house opening.
4. Sweeping and damp mopping all deck surfaces before actor warm ups on stage (usually 30 minutes to house opening).
5. Shifting scenic units on cue from the SM or the ASM.
6. Speaking and moving quietly backstage.
7. Observing smoking and beverage rules.
8. Securing all units immediately following the end of rehearsals and performances. Leave all stage areas clean and safe.
9. Backstage wear: black long sleeve shirt (no writing or logos), black slacks, black sox, and black soft soled shoes.
10. During strike, assisting the Technical Director, ATD, Scene Shop Foreman in the strike of all scenic units as directed. Your job is not complete until all scenery and hardware is stored and the stage and shop are clean.
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Costumes and Wardrobe
Wardrobe Crew Head
Wardrobe Crew Head
As the crew head, you are responsible for leading the wardrobe crew in properly servicing the show from dress parade through strike. Your immediate supervisor will be the Costume Shop Supervisor.
1. On dress parade day:
- Assign actor's spots in dressing rooms, and designate by taping dressing lists to mirrors (actors should be placed in alphabetical order).
- Bring costume racks down to dressing rooms.
- Check costumes off of dressing lists.
- Conduct search for missing items.
- Dress actors according to dressing lists and in time to make their calls.
- Make sure actors hang clothes up EXACTLY how they found them.
- Return racks to costume shop, at the end of dress parade, and dress rehearsals (if necessary).
- Make sure costumes are in the dressing rooms.
- Practice walk-through fast changes (who, when, where, out of and into what), thorough notes.
- Set-up for fast-changes and record set-up.
- At end of rehearsal, make sure actors have hung garments up EXACTLY as they found them
- Gather and start laundry, as needed or instructed.
2. Attend all rehearsals and calls during tech. week.
3. Sign in on the sign in sheet before call time.
4. For first dress:
5. During rehearsals and run of the show, take the lead in making sure the wardrobe crew has what they need to accomplish their jobs, that they are doing them properly, and that any costume repairs and laundry are getting done properly. Double check that actors are dressed in their costumes properly and that any costumes that need to be preset for a quick change are set.
6. Assist in strike, which includes supervising crew to sort costumes according to cleaning methods, spraying shoes with Lysol, and returning everything that does not need laundering to its proper storage space. Dressing rooms are also cleaned (counters cleaned, all extra items removed, floor swept.)
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The primary role of the wardrobe crew is to handle backstage costume needs of the show from dress parade through strike.
1. For dress parade, arrive before the call time and sign in on the sign in sheet.
2. Assist the Wardrobe Crew Head with the following:
- Assign the actor's spots in dressing rooms, and designate by taping dressing lists to mirrors (actors should be placed in alphabetical order).
- Bring costume racks down to the dressing rooms.
- Check costumes off of dressing lists.
- Conduct search for missing items.
- Dress actors according to dressing lists and in time to make their calls.
- Make sure actors hang clothes up EXACTLY how they found them.
- Return racks to the costume shop as needed.
- Getting racks to dressing rooms.
- Receive instruction about fast changes and participate in walk-throughs.
- Set-up for fast changes, and record the set-up.
- At end of rehearsal, make sure actors have hung garments up EXACTLY as they found them.
- Gather and start laundry, as needed or directed.
- Take notes.
3. Attend all rehearsals.
4. For first dress, help with:
5. Assist in strike, which includes supervising crew to sort costumes according to cleaning method, spraying shoes with Lysol, and returning everything that does not need laundering to its proper storage place. Dressing rooms are also cleaned (counters cleaned, all extra items removed, floor swept if necessary). Upon dismissal by the Costume Shop Supervisor, return to help with the rest of the strike.
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Lighting and Sound Design and Production
Students on electrics crews will be involved in activities, which if not carried out according to safety guidelines are potentially hazardous. Electrical or rigging accidents can result in serious injury or death. All students involved with electrics crew calls or activities are expected to maintain the highest level of safety standards to protect themselves and others from injury. Crew members who are careless, or under the influence of alcohol or other substances will be immediately removed from the production and may face other disciplinary actions.
All students who participate in light crew activities are expected to adhere to the following responsibilities and duties:
1. All students are expected to arrive promptly at all calls ready to work.
2. Broken or potentially hazardous equipment should be immediately reported to the Technical Director or Assistant Technical Director.
3. Students are only permitted to work when there at least one other student is present and if there is at least one full-time faculty or staff member in the building.
4. Students should not attempt to operate equipment or machinery for which they have not received proper training.
5. When working in catwalks, coves, lifts, tension grid, or other high places, all tools must be physically attached or tied on to your body. Lighting equipment or tools should not be set down on catwalk floors, or in other high places where they might be knocked off.
6. Accidents or injuries must be immediately reported to the faculty or staff.
7. Appropriate clothing and footwear must be worn at all times. Knee length shorts, shirts, and closed toe shoes must be worn.
8. Students are expected to help maintain a clean, safe, and positive working atmosphere.
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Production Master Electrician
The production master electrician is responsible for overseeing the crew for the execution of the lighting design. The production master electrician is responsible to the Lighting Designer.
1. Scheduling personnel for the Prep, Hang and focus.
2. Meeting with the designer to go over the paperwork and production needs.
3. To decide and indicate ganging and circuiting on one copy of the light plot and instrument schedules.
4. Prepare color and template prior to hang and focus.
5. To run the hang call, supervising all aspects of hanging, cabling, and troubleshooting.
6. To oversee normal preparations for production (Tech Table, etc.)
7. To help with the focus or run the focus if the Designer wishes.
8. To help train the run crew.
9. Attend all technical and dress rehearsals.
10. Attend all work/focus calls and help plan these calls with the Technical Director.
11. Be present for dimmer check on performance nights.
12. Coordinate and run the electrics strike.
Light Board Operator/Run Crew
An electrics run crew member must be prompt to all rehearsals and performances and must perform assigned duties to the best of his or her ability as required by the Lighting Designer for the production.
1. Attend a training session and watch a run through prior to tech week.
2. Be prompt at all call times.
3. Participate in strike.
4. Show dress: Board ops; nice blacks. Backstage crew; long sleeved black shirts, black slacks, black sox and black soft soled shoes.
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As a member of the Production Team, the sound designer's primary responsibility is the design and support of sound for the production. The Sound Designer is expected to be an active collaborator and participate in all design meetings. The Sound Designer is responsible for overseeing all phases of the execution of the sound design and execution working with the Technical Director.
As the responsibilities of the Sound Designer may vary from providing simple sound reinforcement to complete design of sound effects or composition of music, the following is a general guideline only.
Design meeting 1: Be prepared to discuss preliminary ideas about the production.
Design meeting 2: Have written or verbal response to first meeting.
Design meeting 3: Present preliminary research or ideas (recordings, sounds, scoring).
Design meeting 4: Present continuing work on sound creation and/or recording.
Design meeting 5: Be able to present elements of recorded sound for the production
Design meeting 6: Have any necessary rehearsal sound tapes available for Director's use.
Final meeting: Have discussions about physical layout/use of equipment (sound plot) completed.
Specific requirements of the Sound Designer:
1. Attend all design and production meetings.
2. Meet with sound assistants early in the process to discuss equipment use and possible conflicts.
3. Be present when critical sound set-up and testing is being done.
4. Notify Sound Shop Assistants, in advance, of needed time and equipment for recording or other preparatory work.
5. Work with the Sound Assistants on the recording, transferring, or other engineering of cues, effects, or music.
6. Work with the Sound Assistants on the engineering and setup of the sound system, speaker and microphone placement, and equipment configuration.
7. Attend rehearsal run-throughs for the purpose of staying in contact with the director and stage manager before going into technical rehearsals.
8. Meet with stage manager prior to cue set-up rehearsal to discuss all sound cues and placements.
9. Attend cue set-up rehearsal to playback all cues in sequence, and set levels for both live and recorded cues.
10. Attend all technical and dress rehearsals to further develop and refine all sound cues, levels, fade times, and placements.
11. Inform the Production Master Electrician and Technical Director prior to work calls of any work notes, playback notes, or adjustments to be made in the theatre.
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Sound Operator/Run Crew
A sound run crew member must be prompt at all rehearsals and performances and must perform assigned duties (operate mixing console, sound playback equipment, etc.) to the best of her or his ability as required by the Sound Designer for the production.
Sound run crew members must:
1. Attend a training session and watch rehearsal on the Friday before cue set-up.
2. Be prompt at all call times as set forth by the Stage Manager.
3. Participate in the strike and putting away of sound equipment.
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SMOKING, FOOD AND BEVERAGE POLICY
Theatre faculty, staff, and students must recognize that the care of our facilities is a high priority and everyone's responsibility. The following policies have been developed in an effort to ensure that we have clean, safe work environments of which we can all be proud.
Smoking is not permitted anywhere in the PACE. The only exception to this rule is that smoking is permitted in productions, when necessary, and in rehearsal for these productions. This should be supervised by the Director and Stage Manager, and ash trays or other methods of disposal should be cleaned up at the end of each performance or rehearsal. Protection from fire hazard should also be considered. Smoking is permitted outside the hallway doors at the North end of the hallway leading to building 4. This is a school designated smoking area. No one is to smoke outside the emergency exit doors between the Studio Theatre and Storage.
Food and Beverages
Food and beverages are not permitted in our theatres, and should be restricted to the Green Room. If food and/or beverages are used in rehearsal and production, whatever is left over must be cleaned up and disposed of after rehearsal or performance.
Food and beverages are allowed in the Green Room and Staging Area next to the Studio Theatre only. Only water in a capped, sealed container is allowed in the theatre areas.
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All cast members are expected to comply with the following guidelines:
1. Plan to arrive at rehearsal at least ten minutes early so that you are ready to begin at the appointed time. If required, sign in and report to the stage manager.
2. Wear clothing and shoes appropriate to the rehearsal.
3. Hair should be pulled away from your face and caps should not be worn. Never wear constrictive clothing (esp. blue jeans) or shoes which inhibit movement. These items may prevent you from developing physical characteristics and delay character development. Sweats are not appropriate for most dance rehearsals or rehearsals which require a great deal of movement.
4. Always bring a pencil (not a pen) to rehearsal. Actors should also bring paper (preferably a bound notebook) to take notes before, during, and after rehearsal. If the director gives you a note to change something, always write it down.
5. Sit quietly and listen intently during notes. Someone else's note may be useful to you (In most cases, they are very helpful.). Do not comment on, discuss, and/or question each note given you. Save lengthy discussion or questions until the director asks for them. Most comments are unnecessary and waste everyone's time.
6. The only people authorized to fix a problem, no matter how small, are the director, the designer/technical director, the costumer, the stage manager, and crew heads. Report all problems to the proper person. Actors/actresses never correct other performers or technicians, and technicians never correct other technicians or performers.
7. During technical/dress rehearsals, all company members must sign in at the call board in the theatre. If you must leave after signing in, you must receive permission from the stage manager.
8. Spectators or observers are allowed at rehearsal ONLY with the director's permission.
9. Never come to rehearsal and/or performance in an altered state. Even one beer or glass of wine can have a negative impact on your work.
10. No one except cast and/or crew is allowed backstage during technical/dress rehearsals and performances.
11. Cast members are not permitted outside the backstage area in make-up and/or costume. One hour prior to performance time, technicians should be on-call at their assigned location. Only Box Office personnel, ushers and the stage manager should be left at the door upon arrival at rehearsal or performance.
12. Personal problems and grievances should be left at the door upon arrival at rehearsal or performance. These problems and grievances block the creative process, hinder your work, and destroy the spirit of company.
13. Smoking is not permitted in any theatre, shop, or rehearsal space.
14. Respect for others and the space being used is best demonstrated by being responsible for any items/trash you brought into the space.
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RULES FOR USE OF THEATRE FACILITIES
1. No eating, drinking, or smoking in rehearsal and performance spaces. Bottled water is permitted.
2. All rehearsal furniture must be returned to its assigned storage area or room. No other set pieces can be brought to rehearsal spaces without permission of the Head of the Department.
3. Chairs and furniture must be stored neatly at the close of rehearsal.
4. Trash must be disposed of and lights turned off when leaving the space.
5. Any problems with facilities should be reported in writing to the Head of the Department.
6. Priority is always given to shows in production.
1. Costumes are designed for your character. The designer and directors are concerned with how the character looks, not you. Therefore, complaints or criticism about how you and others look in costume are unacceptable. If you have a problem with the fit or wearability of a costume, please discuss it with the costumer at the appropriate time.
2. During dress rehearsals and performances, costume problems should be written on the sheet provided in the dressing room.
3. Costumes should be treated with the same respect as your best personal clothing. This involves hanging costumes up and storing accessories in the bags provided. You are responsible for returning all costume pieces to the dressing room or designated area after each rehearsal/performance. Do not ask the stage manager, other performers or technicians to pick-up or care for your costume.
4. No eating, drinking (except water), or smoking in costume is permitted at any time.
5. Performers are not allowed in the lobby in costume.
6. Costumes will be washed/cleaned as needed. If you have a special cleaning need, write it on the sheet provided in the dressing room.
1. Performers are expected to provide their own make-up.
2. Each performer is expected to police his/her make-up area after each rehearsal/performance.
3. No eating, drinking (except water), or smoking allowed in dressing rooms.
1. Everyone must wear closed toe shoes in the shop.
2. Take off all loose clothes and tie up all long and loose hair.
3. Do not wear any jewelry.
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4. Do not operate a piece of machinery if you have not been trained or are completely comfortable with it.
5. Make sure to clean up your work area when finished on a project or at the end of your work time. Be sure to put tools back where they belong.
6. If you have a tool that is not working properly, be sure to let Scene Shop Supervisor know immediately so that the tool can be removed from circulation until fixed.
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POLICY ON ALTERED STATES IN PERFORMANCE AND PRODUCTION
Marijuana, alcohol, and other chemically altering substances negatively affect the physical processes and can lead to permanent damage to the actor's instruments - the voice and body as well as the actor's and technician's capabilities and reaction times. The use of alcohol, non-prescription drugs, and hallucinogenics is prohibited in and around theatre areas. Their use prior to rehearsal, construction, performance, or strike leads to unsafe work environments and unsatisfactory performances. Cast or crew members who undertake any kind of production work in an altered state will be promptly relieved of their responsibilities by the stage manager, director, or supervisor of the work area and may be asked to see the Dean of Student Services for further sanctions.
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Eudaemone Jervis-Battilega (Coordinator of Theatre)x7732 firstname.lastname@example.org
JC Laucks (Coordinator of Design & Tech Th) x8629 email@example.com
Jim Runyan (Production Manager) x7733 firstname.lastname@example.org
Kevin Owens(ATD, Scene Shop Supervisor) x8671 email@example.com
Craig Ziettlow (Scene Shop Assistant)
Kelly Clark (PT Instructor/Stage Management) x7752 firstname.lastname@example.org
Randy Blair (PT Instructor/Costume Designer) email@example.com
Carmen Gilbert (Costume Shop Supervisor) x8672
Debbie Garrison (Technical Theatre Assistant/Props)
Rick Hildebrant (PT Instructor/Make Up) firstname.lastname@example.org
Lisa Stefanic (PT Instructor/Guest Artist) x7752 email@example.com
Bill Carter (PT Instructor/Rigging) x7756 firstname.lastname@example.org
Bill Fears (PT Instructor/Intro to Theatre)
Melissa Barron (Adjunct Movement/Dance)
Kelly Clark, Dean of Performing Arts
Lisa Stefanic, Senior Administrative Assistant
Barbara Ferguson, Assistant to the Dean
VTPACE TECH STAFF
Bill Carter (Production Manager) x7756 email@example.com
Jeff Markley (TD/Sound) x8625 firstname.lastname@example.org
Justin Peer (TD/Lights) x8624 email@example.com
firstname.lastname@example.org 24 8/24/2007 Theatre and Stage Production Technology Student Handbook 25 8/24/2007 Theatre and Stage Production Technology Student Handbook 26 8/24/2007
I ______________________________________ a student with a College Wide ID
of__________________________ have read and completely understand the contents of