Student Production Program Philosophy and Guidelines INTRODUCTION The student production program is the finest example of the philosophy of the Theatre Arts Department, for it embodies all of the program's training objectives: To develop student comprehension of the elements of production and their significance. To develop student technical skills (in costuming, lighting, sets, props, makeup, audio, playwrighting, stage managing, directing and acting). To provide individual attention from faculty. To develop social and creative skills. To develop problem-solving and critical thinking skills. To develop student's analysis and research skills. To develop student writing and communication skills. To increase a student's self esteem by promoting self-expression. To provide opportunities for experimentation and exploration. Most importantly, the student production program gives our students the authority and freedom to create original work in an environment that encourages exploration and avoids the fear of failure, which normally accompanies professional production. The student production program reaffirms the department's belief that students learn more valuable lessons when the focus is on the process rather than the product. The student production program (like the whole theatre process) relies heavily for its success upon a strong spirit of cooperation between participants, as well as between participants, staff, and faculty. The perpetuation of this spirit is a central factor in the health of the Theatre Arts Department. GUIDELINES The guidelines in this handbook are designed to provide a controlled situation within which the student can progressively focus on selected emphases and have a better chance to growing in those areas. The guidelines are not intended to control or limit the form or character of student work, but rather, to assist the student in gaining a focus for the work. It intends purposely to encourage the use of ingenuity and imagination in lieu of "high-tech" resources so that student's will gain self-reliance and confidence from their experience. The main purpose for these guidelines is to guarantee the student maximum interaction with both peer participants and faculty advisors. GENERAL ORGANIZATION The primary managerial focus of the production organization resides in the relationship between the student director and the faculty supervisor. Responsible and accurate communication is essential to the successful process of theatre production, so the director and supervisor need to regularly interact through meetings, rehearsal visits, phone calls, and notes to ensure the quality management of the production. In addition to this essential relationship, each production head will have direct access to a faculty advisor in that area. The student designer (sets, costumes, props, makeup, lighting) will consult with the resident faculty designer on questions of design. The student stage manager and technical director will consult with the University Theatre Technical Director on problems of implementation. The actual production process will be carried out in close correlation with the individual project advisor. Usually, there exists one TD, stage Manager, and designer for each production, but there may exist up to three directors, who all need to maintain their communication with the faculty supervisor. PRODUCTION ROLES Faculty Supervisor The supervisor is chosen by the Theatre Arts Faculty and reports directly to the chair of Theatre Arts. Faculty supervisors help students achieve their goals through direction, instruction, and reflection. Their duties are listed here: Publish flyers announcing the openings for the Student Production Prepare, accept and present applications from directors to the faculty Contact chosen directors and production heads and distribute these guidelines Arrange all production meetings Oversee the scheduling of the production and the adherence to the deadlines established within it Maintain contact with each student director regularly Supervise the publicity and promotion of the production Function as a resource person and coordinator of the program Provide instruments for adequate student reflection and departmental response after the production Directors Application Procedures Directors are selected by the faculty and staff committee based on the student's application and discussion about the student's work in courses and production. Directors need to provide clear and detailed information on the application form which will be posted in the prior semester to the production. The form will list any prerequisites for directing in the production. Assistance in the procedure is available from all faculty members and support staff. Responsibilities Once selected as a director, the student should consult these guidelines and meet with his or her faculty supervisor to clarify the following directing responsibilities: Determine royalties prior to the beginning of the semester when the production will be mounted and report them to the supervisor. Request from the supervisor the necessary number of scripts in the semester prior to the production. Publish information regarding auditions (if the director decides to use auditions) or appointment readings. Conduct auditions with the stage manager and post castings on the production board (directors must ensure that one actor will not be overused in a one-act bill). Work with the stage manager, TD and designer in acquiring assistant stage managers, lighting and sound operators, running crew, and all personnel for the production. Post a rehearsal schedule on the production board (copy to supervisor). Coordinate publicity materials with other directors and submit them in a timely manner to the faculty supervisor (flyers need to be completed one month prior to opening). Meet with designers early on so that design deadlines are achieved prior to the beginning of rehearsals. Attend all production meetings arranged by the supervisor. Update their supervisor weekly with information about the progress of the production. Designer The following responsibilities will apply to each designer (sets, props, lighting, makeup, costumes): Meet with the director early so that design deadlines are achieved prior to the beginning of rehearsals. Attend all production meetings arranged by the supervisor. Update the advisor weekly with information about the progress of the production. Prepare all working drawings by the arranged deadlines and send them to necessary shop personnel. Gather appropriate clearances for purchasing of any materials for production from the design advisor. Stage Manager One stage manager will be responsible for the entire show's operation, even when a number of one-acts are produced with individual directors. This ensures continuity for the production and gives the student a sizeable responsibility as stage manager, which also includes the following assignments: Assist the directors with their auditions (orchestrate movement of actors, filling out of forms, reading parts with actors, etc.). Assist in the effort to find assistant stage managers, lighting and sound operators, running crew, and all personnel for the production. Function as the center of communications between actors, directors, crew, advisors, and the supervisor. Make sure that actors know their call times. Prepare the production schedule. Control the production board and post all necessary information. Attend all production meetings. Prepare a contact sheet. Prepare a prompt script (3 ring binder with stage manager's notation for blocking, plots to assist directors and designers). Organize the rehearsals (taping out the rehearsal floor, maintaining quiet and order at rehearsal). Control the performances (give 1/2 hour, 15 min and 5 minute calls, and call the show). Maintain a courteous, organized, punctual, and efficient attitude throughout the entire process. Technical Director Schedule and attend all production meetings with the stage manager. Work closely with the designer and director to understand and plan for all set pieces, props and costumes. Supervise the procurement and building of all set, prop and costume pieces. Assist in the process of obtaining crews for the production. Supervise all running crews for the production. PRODUCTION PROCEDURES Play Selection The ultimate responsibility for the selection of plays for the student production program lies with the faculty of Theatre Arts, though student may be asked to participate in committees or volunteer suggestions for potential production. Director and Production Head Selection All applicants to the program will be screened by the Faculty and Staff committee set up to orchestra the specific student production. This screening should consider department resources, qualification of the applicant, priorities of the program, time and space scheduling, and the value of the project to everyone concerned. Royalties Royalties will be paid; however, projects which require payment of large royalties are definitely discouraged. It is the director's responsibility to determine royalties prior to consideration of a project. The department's student production budget is the source of payment for approved royalties. Budget Student production projects are evaluated according to the requirements of each show, the theatre space to be utilized, the manpower (and woman power) available, and the objectives of the program. The faculty and staff committee will determine the budget in the semester prior to the production. Students will work with the design advisor for allocation of these funds into the various areas of production. Casting and Rehearsal Casting should generally occur in sequence with other productions during the semester and normally no more than five weeks prior to performance (and no less than three weeks before opening). Directors must confer with the faculty supervisor on all casting decisions before posting cast lists (to help ensure that certain students are not overused). Directors and stage managers must also be aware of the mainstage rehearsals before they schedule their own (in terms of space and personnel). Technical Support Assignment of support people will have the final approval of the faculty coordinator. This is to ensure that projects are available to those who must have them for program completion. Designers will work within available budget utilizing stock whenever possible, building only when necessary. Other technical needs such as sound, properties, and make-up will be decided as the need arises in consultation with the faculty advisor. Publicity A certain amount of the advance publicity is available through the promotional organization of the Department if participants are able to meet advance deadlines. These advanced publicity deadlines will be determined at the beginning of the semester and communicated to the directors by the faculty supervisor. Audience and Admission Tickets will follow the normal ticket sale schedule, sold in advance through the Department ticket office and at the door. Programs may be printed for production projects by the department if stage managers and directors supply the needed information by pre-arranged deadlines. Each director will receive two complimentary tickets for the productions they are directing. PREREQUISITES The Theatre Arts Department requires certain courses as prerequisites to the student's consideration for working in Student Productions. In this way the student experience should represent a progression beyond the course work required, and provide a proving ground for ideas and theories growing out of classroom study. The following courses are necessary for student admission in the Student Production Program: Directors: THE 374: Directing and Stage Management Designers: THE 342: Design/Tech: Scenery and Lighting and/or THE 343: Design/Tech: Costume and Makeup and/or THE 344: Design/Tech: Audio and Props Tech Directors: THE 346: Theatre Workshop Stage Managers: THE 346: Theatre Workshop To participate as Director, Designer, or Stage Manager, you must have taken or be currently enrolled in the above classes. To participate as either a performer or Production Crew, you must be currently enrolled in THE 346. PROJECT IDENTITY Students need to maintain focus on their objectives for the Student Production Program, which offers opportunities to learn about the process of play production. This program is a step towards the development of professionally polished works of Theatre Art, but students cannot gain a worthwhile experience from it if their goals and evaluations are based on product-based answers and approaches. This is what makes the Student Production Program unique, that it is designed for growth, not gloss. Therefore, the program is scheduled in the second space (greenroom - UT A102), rather than the mainstage. The budget is kept at a minimum for all elements of production including sets, costumes, scripts, publicity, and props. Performances are scheduled for only one week (three performances) and should not exceed two hours in performance time. These factors are part of the intention in the designed student experience, so that solutions need to be found through the interaction and imagination of the students working in the production, rather than relying on faculty or financial solutions to solve problems. CONCLUSION Student Productions are designed, as described above, to provide a process-oriented experience that may have limited value as a final product. As a department, it is our goal to assist in anyway possible to advance this learning growth. As a production venue, however, it is primarily based on the collaborative energies of students accepting responsibility to produce. Therefore, as problems surface, you are encouraged to seek solutions within your production team. Faculty and staff will be on duty to consult. We would be working against the basic principles of this program to serve in any more extensive capacity. Back to Homepage