Cast lists are posted (usually within a day or two of the auditions) on the boards in the hallway and\/or on the directors\u2019 doors.[endsection][section=Academic Standards and Progression Towards Degree]<\/li>\n<\/ul>\nIt is of prime importance that students keep up with class work and steadily progress toward receiving a degree.\u00a0 Faculty advisors will review student progress on a regular basis, and can provide advice or strategies if a student is struggling.\u00a0\u00a0Poor academic performance or a general lack of progress toward a degree can result in the removal of the student from any production assignments\u00a0<\/strong>(acting, directing, designing, crewing, etc.) in order to allow the student to fully concentrate on class work.\u00a0 This can occur even if the production assignment is in progress.\u00a0 Students who are struggling academically are encouraged to seek advice from faculty as soon as possible.<\/p>\n[\/et_pb_toggle][et_pb_toggle title=”Rehearsal Space” _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n
Rehearsal space is very limited.\u00a0 You will often have to be very creative at finding rehearsal space around campus.\u00a0 However, the studio theatre and MN 108 are available on a limited basis for rehearsal when classes are not being held in those spaces.\u00a0 Full studio productions have first use of the space, followed by projects associated with classes.\u00a0 Beyond that, you may use the studio on a first-come, first-served basis anytime the room is open.\u00a0 You must ALWAYS return the room to classroom status after every usage.<\/p>\n
[\/et_pb_toggle][et_pb_toggle title=”Special Requirements for the BFA Degree” _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n
All students admitted to WOU are eligible to pursue the BA or BS in General Theatre or the theatre minor.\u00a0 Admission to the BFA program is by audition\/interview only.\u00a0 Each student should consult a departmental advisor in the desired area of concentration to determine a suitable course of study.\u00a0 Students are admitted to the Bachelor of Fine Arts Theatre Program based on an audition or interview occurring in Fall quarter of their freshman or sophmore year.\u00a0 (Transfer students should consult with an advisor.)<\/p>\n
To be considered for the BFA Program all students must:<\/p>\n
\n- Submit an application to the Western Oregon University BFA prior to the scheduled audition\/interview date.<\/li>\n
- Have taken or be in the process of taking TA 165 Production Dynamics and TA 166 Text Analysis. (Transfer students must consult with an advisor.)<\/li>\n
- Submit the following:<\/li>\n
- Letter of intent, providing highlights of previous theatre experience and plans for future development.<\/li>\n
- Recommendation numbers from one or two teachers or directors or other theatre professionals familiar with the students work and potential.<\/li>\n<\/ul>\n
The above must be submitted\u00a0<\/span>at least one day prior<\/u>\u00a0<\/span>to the scheduled audition\/interview date.<\/p>\n <\/p>\n
Acting Audition Preparation:<\/u><\/strong><\/p>\n\n- Prepare two monologues of not more than two minutes each. Do not exceed four minutes in total.<\/li>\n
- Bring current head shot or picture (black and white).<\/li>\n
- Monologues must be memorized.<\/li>\n
- Monologues may be chosen from any time period and should offer as much contrast as possible. One of the monologues must be from a contemporary realistic play.\u00a0 Choose roles in which you could be cast professionally at this point in your career and which show you off to your best advantage.\u00a0\u00a0<\/span>Do not attempt roles out of your current age range and roles with European dialects<\/u>.<\/li>\n
- On the day of the audition, arrive at least fifteen minutes prior to the scheduled time of registration and general session. Dress appropriately in comfortable clothes.\u00a0 At the conclusion of your audition, you will be interviewed by the screening committee.\u00a0 The combined length of the interview audition is approximately twenty minutes.<\/li>\n<\/ul>\n
Once enrolled in the program, all BFA Actor Training majors are required to audition for all department productions.\u00a0 Continuation in the program is determined by an annual review process.<\/p>\n
<\/p>\n
<\/p>\n
Costume, Light, Set Design; Stage Management, Technical Theatre Preparation:<\/p>\n
\n- Admittance to the BFA in Theatre\u2014Costume, Light, Set Design; Stage Management or Technical Theatre is based on an interview with the theatre department faculty.<\/li>\n
- On the day of the interview, arrive at least fifteen minutes prior to the scheduled time of registration and general session. The length of the interview is approximately twenty minutes.<\/li>\n<\/ul>\n
About the B.F.A. in Theatre<\/h5>\n
A BFA is a pre-professional degree.\u00a0 It is intended for students who demonstrate a reasonable potential to succeed in the profession.\u00a0 The limitations for acceptance are based on accepted national standards and criteria.\u00a0 No more than seven to ten students will be accepted in the program each year.<\/p>\n
The number of students admitted to the BFA in Theatre is limited.\u00a0 Priority is given to students who:<\/p>\n
\n- Demonstrate a reasonable potential to succeed as a professional in their chosen area of concentration. Acceptance is based on potential for growth more than acquired skills.<\/li>\n
- Have shown a work ethic and commitment to work in keeping with professional standards\u2014initiative, responsibility, and reliability.<\/li>\n
- Possess the intellect, interest and aptitude to successfully complete the academic requirements of the program, as demonstrated by overall GPA and GPA in the major.<\/li>\n
- Manifest a positive, professional attitude toward class work, assignments, production workshops and projects during their freshman year.<\/li>\n
- Demonstrate an ability to work collaboratively with others, communicate clearly, and assume a position of leadership and responsibility within the program.<\/li>\n
- Can exercise a positive influence on the overall learning environment of the program.<\/li>\n<\/ul>\n
Evaluation of these criteria will be based largely on faculty assessment of students during their freshman year performance in TA 165 Production Dynamics, TA 166 Text Analysis, and TA 253 Production Workshop.<\/p>\n
Continuation in the BFA Program is contingent upon an annual evaluation.\u00a0 The criteria used to determine the success of a student within the program is based on a minimum cumulative GPA of 2.75 and 3.0 in the major and a student\u2019s ability to demonstrate continued progress in their area of concentration as evidenced in their class work, production work and annual juries.<\/p>\n
[\/et_pb_toggle][et_pb_toggle title=”Senior Capstone Project” _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n
Each graduating senior with a B.A.\/B.S. or B.F.A. in Theatre will complete TA453W Capstone Experience.\u00a0 The course is designed to provoke reflection on your educational experiences to date, both in theatre arts and the broader baccalaureate curriculum, and leads to the presentation of your Capstone Project.\u00a0 The Capstone Experience enables the student to reflect on his\/her liberal arts education, reflect on his\/her theatre education, examine current communal issues through the lens of theatre arts, relate his\/her education to future personal and communal needs and present his\/her Capstone Project. The class is designated as a \u201cwriting intensive\u201d course and includes weekly informal writing assignments and four longer, formal writing assignments.\u00a0 The Capstone Project is an academic presentation, not a performance and must follow these guidelines:\u00a0 the presentation should address the learning objectives for the class, the presentation should be at least 15 and no longer than 20 minutes long and the use of audio\/visual aids (e.g., PowerPoint or Prezi) is expected.\u00a0 The presentations will be scheduled in finals week in the late afternoon or early evening to enable a public audience.<\/span><\/p>\n[\/et_pb_toggle][et_pb_toggle title=”Student Directed Projects” _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n
Students have the opportunity to direct a variety of theatrical pieces throughout their time at WOU. The basic procedure is 1) students take TA 364 Play Direction with good grades (\u201cB\u201d or better). 2) Once TA 364 is completed, students are eligible to apply for a directing slot in the Student Directed One-Act Festival.\u00a0 Students audition and direct a short to medium length one-act. 3) Students are eligible to be assigned an Assistant Director position for a main stage show, under the supervision of a faculty director. (NOTE: steps 2 and 3 can be completed in any order.) At each of these steps, faculty will be evaluating the student director\u2019s work.<\/p>\n
After a student completes all of the steps above, they may be considered as a director for a full length Studio production. However, there is no guarantee of a directing slot.\u00a0 Directing slots are offered \u201cby invitation only,\u201d and it is entirely up to the faculty whether or not to offer the invitation. If a student\u00a0<\/span>is\u00a0<\/span><\/em>offered a directing slot, he or she would submit at least two, and preferably three choices of script that they are interested in directing. The faculty will then meet with the student to discuss the various submitted plays, the technical needs of each of the shows, and whether the student\u2019s strengths and weaknesses match up well to the submitted scripts.<\/p>\nFinal determination is based on a number of factors, including (but not limited to) the success of the student\u2019s directed one-act, his or her work as Assistant Director on a production, the faculty\u2019s belief that the student is ready to direct a full-length play, whether the plays submitted match to the student\u2019s skill level, whether a particular play submission would help the student grow as a director, and how the play fits into our overall season.<\/p>\n
Student directed Studio productions, even though lower in budget than mainstage productions, are nevertheless fully mounted productions, with assigned designers, stage managers, etc.<\/p>\n
[\/et_pb_toggle][et_pb_toggle title=”General Production Guidelines” _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n
\n- Everyone involved in productions is expected to read the play after they have been given their assignments.\u00a0 A copy of the script will be provided by the show\u2019s director.<\/li>\n
- All involved should be ready to begin work at the\u00a0<\/span>start\u00a0<\/span><\/strong>of rehearsal, and not a moment later.\u00a0 That means Stage Managers (SMs), Assistant Stage Managers (ASMs) and Assistant Directors (ADs), etc., should arrive early enough to have their preparatory work done before the start of rehearsal.\u00a0 Actors should have done their warm-ups, line run-throughs, costume preparations before hand and be ready to start.<\/li>\n
- Said another way, if you walk in just in time for rehearsal to begin, you\u2019re late!<\/li>\n
- Scene shop crews are responsible for clearing all refuse from building the set during the day at least 30 minutes before rehearsals are to begin.<\/li>\n
- Refrain from eating food during rehearsals.\u00a0 No food shall be eaten on stage, unless it\u2019s part of the production.<\/li>\n
- Keep your focus on the task at hand, even if you\u2019re not on stage.\u00a0 If you wish to read a book or conduct other non-rehearsal activities, don\u2019t be rude to those trying to work.\u00a0 Instead, either wait until after rehearsal or go to the green room or lobby.<\/li>\n
- No food or drink backstage or in the control booths.<\/li>\n
- During performances, no guests should be admitted in the green room.\u00a0 This is a \u201csafe space\u201d for actors (and crew personnel as necessary) only.<\/li>\n
- During performances, no one should be in the control booth other than those required to be there for the running of the show.<\/li>\n
- All crew members, including the SM, should keep conversations on the headsets focused on the work at hand.\u00a0 NO extraneous conversation should happen on headsets.<\/li>\n
- Back stage crews should be in their areas during the entire run of the show, on headsets if necessary, and paying attention to the production in case of mishaps or emergencies.<\/li>\n
- Students will be required to dress appropriately for Run Crew assignments. This includes a\u00a0<\/span>black shirt\u00a0<\/span><\/strong>(no obvious writing and logos visible),\u00a0<\/span>black jeans or slacks<\/strong>, and\u00a0<\/span>dark shoes\/socks<\/strong>. Bare skin should not be visible other than hands, neck and face. \u00a0Crew members often work in front of the audience in near-blackout conditions; appropriate clothing insures a uniform and discrete look. See instructor or Stage Manager for details.<\/li>\n
- All members of the company (actors and crew) should take care of your health, including getting enough sleep and eating properly.\u00a0 It is a shame to work as long and hard as we do on a production, only to crash and burn during performances.<\/li>\n
- Schedule your time and commitments sensibly.\u00a0 Care in planning your schedule will ensure that you have enough time for all your classroom responsibilities and still have time for the play.\u00a0 This is your responsibility.<\/li>\n
- The department strongly urges you to refrain from taking classes or employment that impinges into the evening hours.\u00a0 Failure to leave your evenings clear severely limits your castability and your availability to participate in other areas of the production process.\u00a0 Concessions are rarely made for students who fail to do this.<\/li>\n
- If there is a serious emergency that compromises your ability to fulfill your obligation, it is\u00a0<\/span>your<\/strong>\u00a0<\/span>responsibility to let the rest of the team know as soon as possible.\u00a0 The problem may or may not be your fault, but failure to contact your supervisor, director, stage manager, or technical director is.\u00a0 If the appropriate people are informed in time they can help solve the problem.\u00a0 Don\u2019t let us discover the problem when it is too late to fix it.\u00a0 PLEASE COMMUNICATE!<\/li>\n<\/ul>\n
Stage Manager<\/strong><\/p>\n\n- Stage Managers (S.M.s) are assigned to all theatre productions.\u00a0 Applications to SM should be turned in prior to the end of Spring term for the following years productions.<\/li>\n
- S.M.s receive Production Management class credit and work directly for and with the Director, but receive course credit from and meet weekly with the faculty member responsible for supervising stage management \u2013 generally Scott Grim.<\/li>\n
- To be eligible for a S.M. position on a production, a student must first take TA 334 Stage Management and perform the duties of Assistant Stage Manager (A.S.M.) for at least one production.<\/li>\n
- The primary duty of the S.M. is to help facilitate the smooth and efficient planning, rehearsal and performance of a production.\u00a0 Exact duties may vary, but helping everyone else do their jobs as easily as possible is a prime factor.<\/li>\n
- Stage managers should be in constant contact with the Director, actors, Technical Director, and the rest of the production design team, helping to assure that all departments are \u201cin sync\u201d with each other.\u00a0 They are taskmasters, motivators, coordinators, communicators and troubleshooters.<\/li>\n
- Though the list of duties can vary widely from production to production, it is generally true that the S.M. is the first person into the building and the last to leave, with a long list of things to do in between.\u00a0 In fact, S.M.s are assigned a set of theatre keys, allowing them access at times when the building is otherwise closed.<\/li>\n
- In the end, S.M.s have responsibilities in and to all areas of production, with the exception of artistic interpretation.\u00a0 S.M.s offer no opinions about artistic interpretation or effort.<\/li>\n<\/ul>\n
Assistant Stage Manager<\/strong><\/p>\n\n- One or more Assistant Stage Managers (A.S.M.s) are assigned to most theatre productions.\u00a0 Applications to A.S.M. should be turned in prior to the end of Spring term for the following years productions.<\/li>\n
- A.S.M.s may receive Production Workshop class credit and work for and with the S.M. and Director, but receive course credit from the faculty member responsible for supervising stage management \u2013 generally Scott Grim.<\/li>\n
- To be eligible for an A.S.M. position on a production, a student should first take TA 334 Stage Management.<\/li>\n
- The primary duty of the A.S.M. is to assist the S.M. in facilitating the smooth and efficient planning, rehearsal and performance of a production.\u00a0 Exact duties may vary, but typically include:\n
\n- Taking notes<\/li>\n
- Sweeping the rehearsal area<\/li>\n
- Being \u201con book\u201d during rehearsals<\/li>\n
- Photocopying<\/li>\n
- Making phone calls or sending emails for the S.M.<\/li>\n
- Being backstage during productions, in communication with the S.M.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
Assistant Director<\/strong><\/p>\n\n- If an Assistant Director (A.D.) is assigned to a given production, he\/she will be under the direct supervision of the faculty director of the production.<\/li>\n
- The specific duties of an A.D. will vary from production to production and will be determined by the faculty director of the production.<\/li>\n
- Some possible duties for the A.D. could include (but are not limited to): 1) working with the director on all stages of a production, from audition to performance; 2) providing the director with a \u201csecond pair of eyes\u201d in the rehearsal process; 3) working directly with actors in a limited way and with permission from the director; 4) attending production meetings at the request of the director; 5) sharing, with the director, some of the organizational and creative work of the production; and 6) other duties as determined in coordination with the production\u2019s faculty director.<\/li>\n
- In general, A.D.s should not be \u201cgofers\u201d or perform other unskilled tasks, but should be part of the creative team of the production.<\/li>\n<\/ul>\n
Dramaturg<\/strong><\/p>\n\n- If a Dramaturg is assigned to a given production, he\/she will be under the direct supervision of the production\u2019s Director and the faculty Dramaturgy instructor.<\/li>\n
- The Dramaturg\u2019s tasks vary widely, depending on the particular director of a production, and that particular production\u2019s needs.<\/li>\n
- The Dramaturg will consult with the director to determine how best he\/she can assist the director and the production.<\/li>\n
- Some of the various tasks that a Dramaturg may be asked to perform include (but are not limited to):\n
\n- Clearly articulating the director\u2019s vision (concept) for the play.<\/li>\n
- In the case of new plays, working with the playwright in developing the script from page to stage.<\/li>\n
- Comparing and contrasting various translations\/editions of a particular play and make knowledgeable recommendations regarding the strengths and weaknesses of each.<\/li>\n
- Assisting the director in making cuts or edits, if appropriate.<\/li>\n
- Completing a thorough play and character analysis of the play.<\/li>\n
- Researching the social, cultural, religious, and political contexts of the play, and of the culture from which the play came.<\/li>\n
- Using visual or aural means to find ways into the \u201cworld of the play.\u201d\u00a0 If appropriate, be able to share these with designers, actors, etc.<\/li>\n
- Researching the play\u2019s author, production history, and any relevant criticism about the play.<\/li>\n
- Creating a glossary of unfamiliar terms, including pronunciation and meanings.<\/li>\n
- Creating an \u201cActor\u2019s Packet\u201d of any information that would be especially helpful to the actors.<\/li>\n
- Attending rehearsals as often as needed.\u00a0 Watch with as objective an eye as possible, then provide the director with feedback.<\/li>\n
- Creating a lobby display that provides appropriate context to the production.<\/li>\n
- Preparing study guides for school groups who may be attending the play.<\/li>\n
- Writing and editing program materials intended to give the audience background information on the play, the playwright, or any other element that would be interesting and helpful to the audience.<\/li>\n
- Helping plan and pre- or post-show discussions.<\/li>\n
- Anything else that may be needed in terms of research or script preparation.<\/li>\n<\/ul>\n<\/li>\n
- The Dramaturg should not be simply a researcher, but should be a fully integrated member of the creative team.<\/li>\n<\/ul>\n
Master Electrician<\/strong><\/p>\n\n- If a Master Electrician, (M.E.) is assigned to a given production, he\/she will be under the direct supervision of the faculty Technical Director and\/or the Lighting Designer.<\/li>\n
- The M.E. is responsible for interpreting the light plot for the assigned production. With assistance, hanging, focusing, gelling and circuiting the plot by predetermined date.<\/li>\n
- M.E. is also responsible for trouble-shooting problems with the equipment during set-up and running of technical rehearsals and performances.<\/li>\n
- M.E. is responsible for maintaining the lighting equipment throughout the rehearsal and performance process.<\/li>\n
- Where necessary teaches techniques used to accomplish job.<\/li>\n
- Maintain communication with Lighting Designer and Technical Director throughout the process.<\/li>\n
- Assist Lighting Designer in making changes.<\/li>\n
- Maintain a calm demeanor and be knowledgeable of how the lighting system functions.<\/li>\n
- M.E. with assistance form the light board operator will run the light check for all technical rehearsals and performances.<\/li>\n<\/ul>\n
Light Board Operator<\/strong><\/p>\n\n- The Light board operator, (L.O.), is under the direct supervision of the Technical Director, Director and Stage Manager.<\/li>\n
- L.O. must be familiar with the assigned production prior to technical rehearsals by reading the script and attending rehearsal, (make arrangement with production Stage Manager).<\/li>\n
- L.O. will aid the T.D. in setting up light board if other location than the light booth is required for assigned production.<\/li>\n
- L.O. will assist M.E. and\/or T.D. in troubleshooting problems with lighting equipment.<\/li>\n
- The primary function of the L.O. is to operate the light board during technical rehearsals and performances. All lighting cues are communicated from the Stage Manager.<\/li>\n
- Must be knowledgeable of the equipment being operated. Contact the T.D., Lighting Designer or faculty lighting instructor to learn proper use of required equipment.<\/li>\n
- L.O. may be required to participate in rehearsals prior to technical rehearsals and performances.<\/li>\n
- L.O. is required to check proper function of equipment and aid M.E., T.D., or other technician in light check prior to dress rehearsals and performances.<\/li>\n
- L.O. is responsible for properly turning on, operating and shutting down equipment.<\/li>\n<\/ul>\n
Sound Board Operator<\/strong><\/p>\n\n- The Soundboard operator, (S.O.), is under the direct supervision of the Technical Director, Director and Stage Manager, as well as faculty sound instructor.<\/li>\n
- S.O. must be familiar with the assigned production prior to technical rehearsals by reading the script and attending rehearsal, (make arrangement with production Stage Manager).<\/li>\n
- S.O. is responsible for setting up all sound equipment and communication system.<\/li>\n
- S.O. with assistance from the T.D. will troubleshoot problems that occur with any sound equipment used for assigned production.<\/li>\n
- Primary function of the S.O. is to run the sound equipment during the technical rehearsals and performances.<\/li>\n
- Must be knowledgeable of all sound equipment used for the assigned production including playback equipment and communication equipment. Contact T.D., Sound Designer, of faculty Sound Instructor to learn proper use of required equipment.<\/li>\n
- S.O. may be required to participate in the rehearsal process prior to technical rehearsals.<\/li>\n
- All sound equipment must be checked prior to all technical rehearsals and performances.<\/li>\n
- S.O. makes all adjustments to sound cues on the directive of the production director, Sound Designer, T.D., or the Stage Manager. Keep organized notes of all cues.<\/li>\n
- S.O. is responsible for properly shutting down and striking sound equipment during technical rehearsals, performances and at the end of the run.<\/li>\n<\/ul>\n
Wardrobe Crew<\/strong><\/p>\n\n- Responsible to Costume Designer prior to run, then to Stage Management during the run of the show.<\/li>\n
- Usually begins involvement one week prior to opening.<\/li>\n
- Runs costumes during the show.<\/li>\n
- Responsible for simple repairs and daily laundry.<\/li>\n
- Required to attend strike.<\/li>\n
- Students will be required to dress appropriately for Run Crew assignments. This includes a\u00a0<\/span>black shirt\u00a0<\/span><\/strong>(no obvious writing and logos visible),\u00a0<\/span>black jeans or slacks<\/strong>, and\u00a0<\/span>dark shoes\/socks<\/strong>. Bare skin should not be visible other than hands, neck and face. \u00a0Crew members often work in front of the audience in near-blackout conditions; appropriate clothing insures a uniform and discrete look. See instructor or Stage Manager for details.<\/li>\n
- Prior to Rehearsal:\n
\n- Meets with the costume designer before first dress rehearsal to discuss any special requirements for costumes.<\/li>\n
- Attends at least one rehearsal to see the run of the show.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
\n- During Dress Rehearsal:<\/li>\n<\/ul>\n
\n- Learns where to set costumes before each performance, and with Costume Designer rehearses any fast changes.<\/li>\n
- Learns to assist performers with any dressing issues (both before and during the show).<\/li>\n
- Checks in and checks out all costumes.<\/li>\n
- Sets any costumes needed for quick changes, also any racks or dressing lists for this purpose.<\/li>\n
- Does the laundry for the show, as per the Designer\u2019s instructions.<\/li>\n
- After the performance, strikes all costumes to the dressing room, takes any notes from the Costume Designer.<\/li>\n<\/ul>\n
\n- During Performance:\n
\n- Checks in and checks out all costumes.<\/li>\n
- Sets costumes and assists with changes as rehearsed, strikes costumes to the dressing room after the performance.<\/li>\n
- This person may not be responsible for every actor\u2019s costume personally, cut s\/he is responsible for checking the appearance of all of the actors and assisting where necessary.<\/li>\n
- Does the laundry for the show, as per the Costume Designer\u2019s instructions, completes small repairs, notifies the shop manager of any large repairs.<\/li>\n
- Attends strike until released by the Costume Designer or Costume Shop Manager.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
Make-up\/Hair Crew<\/strong><\/p>\n\n- Usually begins involvement one week prior to opening depending on the complexity of the design.<\/li>\n
- Supervises and assists in the make-up room during the production.<\/li>\n<\/ul>\n
\n- Prior to Rehearsals:\n
\n- Speaks with the designer before the performance to see about special needs.<\/li>\n
- If there is a need for period hear or make-up the make-up or hair designer will need approval from the Costume Designer.<\/li>\n
- Attends at least one rehearsal to a run of the show.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
\n- During Dress Rehearsal:<\/li>\n<\/ul>\n
\n- \n
\n- Learns where to set any specific make-up needs before each performance, and with the Costume Designer.\u00a0 Learns how to execute any special make-up changes.<\/li>\n
- Learns to assist with any make-up issues (both before and during the show).<\/li>\n
- Sets any special supplies needed for quick changes, also any research and make-up charts needed for the purpose (these need to be struck every night).<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
\n- During Performance\n
\n- Sets supplies and assists with changes as rehearsed.<\/li>\n
- This person may not be responsible for every actor\u2019s hair and make-up personally, but s\/he is responsible for checking all of the actors and assisting where necessary.<\/li>\n
- Is responsible for setting up the different areas of the make-up room at the top of the show and breaking down at the close of the show.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
Prop Master\/Mistress<\/strong><\/p>\n\n- The Props Master\/Mistress (P.M.), under the supervision of the Scenic Designer and Technical Director, is responsible for the acquisition, creation, preparation, storage and post-production dispersal of all hand, decorative and possibly set props needed for a production.<\/li>\n
- The P.M. is part of the Production Design Team, and attends all design and production meetings throughout the production process.<\/li>\n
- Planning and coordinating are primary skills for the P.M., allowing them to balance the many needs of the production.<\/li>\n
- The P.M. may need to be a researcher, designer, decorator, craftsperson and shopper, though all skills are not needed to the same degree for all productions.<\/li>\n
- The P.M. will gather and prepare rehearsal props, providing them to the S.M. on or prior to the date scheduled for their need.<\/li>\n
- The P.M. will gather and prepare the actual, or \u201crunning\u201d, props, providing them to the S.M. on or prior to the date scheduled for their completion.<\/li>\n
- The P.M. may be, but isn\u2019t always, part of the Backstage Crew for a production.\u00a0 This will be determined be agreement between the P.M. and the Technical Director prior to or early in the production process.<\/li>\n
- The P.M. is responsible for the storage, disposal or return of props after the run of a production.\u00a0 This process begins at Strike, which typically takes place immediately after the final performance.<\/li>\n<\/ul>\n
Backstage Crew<\/strong><\/p>\n