Queensborough Community College Theatre Arts Student Handbook 1 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 Table of Contents Welcome ................................................................................................................................ 4 Letter From The Chairperson ............................................................................................................ 4 Why Major In Theatre? .................................................................................................................... 4 Why Graduate With Your Associates Degree? .................................................................................. 5 Department Information ........................................................................................................ 5 Faculty And Staff Of The Theatre Department At QCC ...................................................................... 6 E-­‐List And Social Media .................................................................................................................... 8 Academics .............................................................................................................................. 9 VAPA ................................................................................................................................................ 9 Faculty Advisors ............................................................................................................................... 9 Grading Policy And Grades ............................................................................................................. 10 Attendance Policy .......................................................................................................................... 12 Theatre Department Library Policy ................................................................................................. 13 Service-­‐Learning ............................................................................................................................. 14 Practicum ....................................................................................................................................... 15 Department Jury ............................................................................................................................ 16 Graduating and Transferring .......................................................................................................... 16 Financial Aid/Scholarships .................................................................................................... 18 Scholarships ................................................................................................................................... 18 Student Employment Opportunities ............................................................................................... 18 Opportunities for Students ................................................................................................... 19 SGA Statement ............................................................................................................................... 19 The QCC Drama Society .................................................................................................................. 19 KCACTF (The Kennedy Center American College Theatre Festival) .................................................. 19 Internships ..................................................................................................................................... 20 Honors Contracts ........................................................................................................................... 20 TDF (BEAT) Program ....................................................................................................................... 21 Rehearsal Space for Students ......................................................................................................... 22 Departmental Productions .................................................................................................... 23 Seasonal Selection ......................................................................................................................... 23 QCC Theatre Department Facilities ................................................................................................. 24 Audition Policy ............................................................................................................................... 25 Tips and Further Information Regarding Auditions ......................................................................... 27 Faculty – Creative Staff Roles and Responsibilities/Division of Labor .............................................. 28 Student Crews/responsibilities ....................................................................................................... 33 Rehearsal Etiquette ........................................................................................................................ 37 Headset Etiquette .......................................................................................................................... 38 Backstage Etiquette ....................................................................................................................... 38 Load-­‐In/Strike Policy ...................................................................................................................... 40 Technical Rehearsal Policy .............................................................................................................. 40 Complimentary (“Comp”) Ticket Policy ........................................................................................... 41 2 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 Audience Etiquette ......................................................................................................................... 41 Safety ............................................................................................................................................. 42 QCC Theatre Shop Safety Rules and Regulations ............................................................................. 45 Miscellaneous ....................................................................................................................... 46 Suggested Reading List ................................................................................................................... 46 Glossary for the Theatre ................................................................................................................. 48 Addendum ............................................................................................................................ 54 3 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 Welcome Letter From The Chairperson
Dear Student, Welcome to QCC Theatre! This is the start of a wonderful journey. You are invited to join a close-­‐knit community of artists who treasure the theatre and learning in all its glorious forms. Queensborough faculty and students are a family of artists, teachers, learners, seekers, performers, designers, technicians, dancers, musicians, and jugglers. Artists we hope to speak to the human experience. As Teachers we work to nourish the vision and skills of our students and v As v
collaborators. v As Learners we are always curious, as seekers we find the exhilaration of challenge and growth. v As Performers, designers and technicians, we forge a sacred relationship with the play and our audiences. Musicians we make souls sing. As Dancers we set spirits free. As Jugglers, we are always juggling time and commitments. v As v
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You may be preparing for a career in theatre or you may be setting out to become a teacher, a lawyer, a human rights worker, or a film director. You may begin and end your pursuit of a degree as you graduate from QCC, or you may go on to study for a Bachelor of Fine Arts degree or Bachelor of Arts degree at a four year college. Whatever your ultimate career path, your time spent studying at QCC and in our theatre will be of tremendous value to you. Our alumni have gone on to both prestigious careers and top colleges. If you work hard, you will graduate and leave us as; a more polished and skilled artist, a well-­‐read citizen, a lover of the theatre, an outstanding communicator, a top-­‐notch writer, and you will possess a clearer vision of the road ahead. I urge you to throw yourself into your learning here with your whole heart. Make personal growth your sacred priority and have fun! Lights up! Let the learning begin! Yours, Georgia McGill Chair, Dept. of Speech Communication and Theatre Arts Why Major In Theatre?
4 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 Save money while receiving a more personable education Completing your education without amassing huge debt will leave you with more money to start your life. In 2010 – 2011, the average community college student paid $2,713 in tuition -­‐ a tenth of the tuition expense shouldered by students at private four-­‐year colleges. Students at community colleges also received, on average, $1,700 in Pell Grant aid to offset these tuition fees. Additionally, students can take 2 years of general education courses at a community college and save money for their major-­‐specific classes at a university. Individual attention Community College offers a more personable education experience – smaller class sizes with professors who tend to focus completely on teaching rather than on research and publication like at many four-­‐
year institutions. Additionally, all classes at a community college are taught by professors, not teaching assistants. Why Graduate With Your Associates Degree?
Whether you wish to seek a life in Theatre Arts or not, majoring in theatre provides you the opportunity to develop personal and interpersonal communication skills, something most every profession requires and every employer values. At QCC, we strive to provide you with hands-­‐on learning experiences that will offer you the opportunity to: v
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Engage your creative self Exercise your “voice” and style Develop confidence, self-­‐discipline, and a healthy self-­‐image Attain the ability to work under pressure and meet deadlines Explore the art of collaboration, working alongside your peers and professors Be challenged to be the leader you are capable of being. At QCC, it is our desire that you graduate with the personal and creative autonomy necessary to achieve success in your life. Department Information 5 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 Faculty And Staff Of The Theatre Department At QCC
(In alphabetical order)
Adair, Arthur – Assistant Professor Telephone: 718-­‐281-­‐5637 Email: AAdair@qcc.cuny.edu Office: H-­‐125 Arthur Adair (Assistant Professor) is a professional member of the Stage Directors & Choreographers Society, Actors’ Equity Association, Dramatist Guild of America and an award-­‐winning Set and Light Designer. He served La MaMa as an Artist-­‐in-­‐Residence (97-­‐07) and is now the present Education Outreach Coordinator for the theatre history series, Coffeehouse Chronicles. As a member of KCACTF he was awarded the 2011 National Faculty Fellowship in Directing while serving Region VI as Coordinator to the Student Directing Initiative and is the current SDC Coordinator in Region II. He holds a B.A. from SUNY/Old Westbury and an M.F.A. from CUNY/Brooklyn. Carey, Diane -­‐ Lecturer Telephone: 718-­‐631-­‐6284 Email: DCarey@qcc.cuny.edu Office: H-­‐125 Diane (Dee Dee) Carey is a New York State Licensed Speech-­‐Language Pathologist, Certified Associate Teacher of Fitzmaurice Voicework®, and Lecturer at Queensborough Community College (QCC). Ms. Carey is the Vocal Coach for B3W Dance Company, Vocal Coach and Dramaturge for danceTactics Performance Group, Liturgical Dance Minister, and Teacher and Choreographer of Dance Ministry. Cesarano, Michael – Assistant Professor Telephone: 718-­‐281-­‐5371 Email: MCesarano@qcc.cuny.edu Office: H-­‐125 Mike has been a member of the CUNY Theatre faculty since 1993, teaching various courses in Performance and Media. Mike has worked as actor, director, stage manager and sound designer. Mike sits on the board of various arts organizations including the Long Island Music Hall of Fame and the Greater Westbury Arts Council. He contributed a regular segment on baseball uniform history for two years to the show Baseball Digest Live. He continues to work as an actor in order to continue to grow as an artist and to inform his teaching work. Crutchfield, Allison – Substitute Assistant Professor Telephone: 718-­‐631-­‐5023 6 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 Email: acruthfield@qcc.cuny.edu Office: H-­‐125 Allison Crutchfield has a Masters in Fine Arts (Costume Design) from the University of California: San Diego, and Bachelors in Fine Arts from the University of Connecticut. She has worked designing costumes in New York City and at various regional theaters. Her production of Ragtime won Best Costume Design 2012 at the New Hampshire Theater Award. Allison received the UC San Diego Teaching Assistant Achievement Award in 2009 and the Patrons Award for Excellence in 2004 from The Connecticut Repertory Theater. Jimenez, Christopher Julian – Assistant Professor Telephone: 718-­‐631-­‐5267 Email: CJimenez@qcc.cuny.edu Office: H-­‐125 Julian received an MFA in acting from the New School for Drama. There he studied acting and appeared in various productions including TBA, Holiday Movies, and The Karaoke Show (directed by Diane Paulus). Julian was awarded The Public Theater's Emerging Writers Group Fellowship in 2009. Julian has become an internationally produced playwright with productions in NYC, Chicago, Montréal, and Melbourne. He has work shopped his plays at Labyrinth Theater, TerraNova Collective, and INTAR. Some of his plays include, Nico was a Fashion Model, Animals Commit Suicide, and Locusts Have No King. Julian is currently the Vice-­‐Chair of Playwriting for KCACTF – Region I. Manoo, Veronica – Department Administrative Assistant Telephone: 718-­‐631-­‐6284 Email: VManoo@qcc.cuny.edu Office: H-­‐125 McGill, Georgia – Professor/Chairperson Telephone: 718-­‐281-­‐5370 Email: GMcGill@qcc.cuny.edu Office: H-­‐125 Georgia McGill (Professor) is the National Chair for KCACTF’s National Playwriting Program and Chair of the Dept. of Speech Communication and Theatre Arts. Her work as a director has appeared on stages in New York, London, Berlin, Edinburgh, Cyprus, Greece, and Hungry. Rothenberg, Josh -­‐-­‐Technical Director 7 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 Telephone: 718-­‐631-­‐5077 Email: JRothenberg@qcc.cuny.edu Office: H-­‐125 Has over three decades of experience in entertainment production. He has worked at all levels from universities and Off-­‐Off Broadway to Broadway. He ran the recent revival of Cabaret (in costume!) He spent over twelve years fabricating and operating shows at the Metropolitan Opera. Yonker, Liisa – Assistant Professor/Director of Theatre Telephone: 718-­‐281-­‐5268 Email: LYonker@qcc.cuny.edu Office: H-­‐125 Liisa Yonker is a graduate of the joint M.F.A. program between Carnegie Mellon University and the Moscow Art Theatre School (MXAT). She is an actor, director and singer who has performed in Michigan, North Carolina, Pennsylvania, New York and Moscow. E-List And Social Media
The Departmental E-­‐mail List Interested in Theatre? Join “The List” and receive advanced notification of theatre related opportunities such as: v Free tickets to Broadway and Off-­‐Broadway shows v Free workshops in acting, design, directing, theatre management, and playwriting v Find audition and casting notices v Free or student discounted related opportunities within CUNY and the world of professional theatre, music, art, dance and film Simply send an email to: studenttheatre@qcc.cuny.edu Please include your name, major and state your desire to join the list. You do not need to be a theatre major. All that is required to join “The List” is that you be a QCC student and that you have an interest in the Theatre Arts. QCC Theatre Alumni Page The Theatre Alumni Page is a great way to stay in touch with alumni of the program and see what artistic projects they are up to after their time at Queensborough. Stay in touch and find networking opportunities by liking us at : https://www.facebook.com/qcctheateralumni 8 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 Academics VAPA
VAPA stands for the “Visual and Performing Arts Academy” and it is comprised of Dance, Art, Art History, Music and Theatre concentrations of study in the arts. The Academy provides you with special learning opportunities and activities, along with personalized guidance from an academy adviser. All students will participate in at least two high-­‐impact learning experiences, such as service-­‐learning, learning communities, writing intensive courses, and more. Special events and field trips related to your academy are offered to reinforce what you learn in the classroom (i.e. trips to museums, performances, theatre festivals, etc.). Academy Advisor Personal academic advisement is a key ingredient of the academies. Every new student – freshman and transfer – is assigned an Academy Advisor who becomes your personal guide throughout your college career at Queensborough (i.e. program planning, selection of courses, understanding of degree requirements, and more). Your academy advisor is Anna Budd and she is the “go-­‐to” person for many issues related to your success throughout your studies at QCC. Faculty Advisors
All VAPA majors with a Theatre Concentration are assigned one Theatre faculty member who will serve as their mentor for the whole of their academic careers at QCC. Students should make an appointment for advisement with their mentor once each semester. Additionally, mentors are available during their office hours for discussions related to transfers, academics, family, and life issues, as well as to answer questions about a career in the arts. If for some reason a student must change their mentor, permission must be requested to the Chair of the Department. 9 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 Grading Policy And Grades
Upon completion of courses, students receive final grades. A final grade is a letter grade that carries with it a numerical value, as outlined below. These grades and their point values are used to calculate your grade-­‐point average (GPA) Grade Values A Excellent AB+
B Good
BC+
C Satisfactory
CD+
D Passing
D-
96-100
90-95
87-89
84-86
80-83
77-79
74-76
70-73
67-69
64-66
60-63
4.00 3.70 3.30 3.00 2.70 2.30 2.00 1.70 1.30 1.00 0.70 Non-­‐Numerical Grades The following grades -­‐WU and FIN – are computed as an F in the GPA and carry a numerical value of 0.00 (see grade of F, above). WD -­‐ Withdrawal Drop -­‐ Assigned when student drops a class during the 2nd and 3rd week of regular session. Non punitive WN -­‐ Withdrawal Unofficially – student never attended Non punitive WU -­‐ Unofficial Withdrawal -­‐ Assigned for excessive absences, signifying that the course was not completed. FIN -­‐ Failure to complete the work for a course in which the INC grade was originally assigned. The following grades—AUD, INC, NC, P, R, CR, and W— and administrative actions—WA, Y, Z and P 1— are not included in the computation of the Grade-­‐Point Average (GPA). AUD -­‐ Assigned to students who have officially registered to audit a course. Audited courses may not be retaken for credit. Students must request an audit grade at the time of registration or within the first three weeks of the semester by notifying the instructor. The AUD grade does not signify that the course was completed. 1
P -­‐ Assigned to those students who have passed the CUNY Exit from Remediation Test, regardless of their grade in an upper-­‐level remedial course. This grade allows students to register for credit-­‐bearing courses. 10 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 INC -­‐ Assigned to students who are doing work of passing quality in a course and who have been granted additional time by the instructor to complete coursework. Whether or not the student is registered at QCC, the INC becomes a FIN grade if the missing coursework is not completed by the end of the semester immediately following the semester in which the INC grade was assigned. The FIN grade is computed into the GPA as an F. NC -­‐ Assigned to students in remedial courses when the coursework has been satisfactorily completed, but the CUNY Exit from Remediation Test has not been passed. Students may not progress to credit bearing classes before the related CUNY Exit from Remediation Test has been passed. If the student does not satisfy the Exit from Remediation Test requirement within one (1) year, the NC grade becomes an R.†The NC grade is also assigned to students who do not complete the Introduction to Student Life (ST-­‐
100) course in a satisfactory manner. P -­‐ Assigned as passing grade for: v
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Basic skills and remedial, noncredit courses Introduction to College Life (ST-­‐100) courses Certain cooperative education or field experience courses Courses in which credit is given only by special (or proficiency) examination Permit courses taken at another institution in which the grade of P was given R -­‐ Assigned when a student has failed to attain the required level of proficiency in a noncredit, remedial course. Remedial courses must be repeated until the student attains the required level of proficiency. CR -­‐ Assigned when students have been granted transfer credit. Courses receiving transfer credit are not included in the computation of the GPA. CRW -­‐ Assigned when students have been granted transfer credit for a writing-­‐intensive course. Courses receiving transfer credit are not included in the computation of the GPA. W -­‐ Withdrew -­‐ Assigned to students who officially withdraw from a course between the fourth and the eighth week of the semester. The grade of W signifies that the course was not completed. In order to withdraw from a course officially and avoid receiving a grade of WU, a student must file the appropriate from with the Registrar and have the proper approval. Administrative Actions WA -­‐ Assigned to students who are not in compliance with Public Health Law 2165, requiring proof of immunization against measles, mumps, and rubella. Y -­‐ Year or longer course of study – must continue to completion. Z -­‐ Temporarily assigned when no grade has been submitted by the course instructor or when a grade submitted by the instructor is proved to be invalid. 11 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 Attendance Policy
Department Attendance Policy Attendance is monitored from the first day a class is scheduled to begin. You are expected to attend all classes. Attendance policy is strictly enforced and non-­‐negotiable. 2 absences = No penalty. 4 absences = Reduction of 20%. 3 absences = Reduction of final grade by 10%. 5 absences = Immediate “W”, or “F.” You are absent if you are not in class, no matter the circumstance Attendance is monitored via the sign-­‐in book It is your responsibility to sign-­‐in each day Failure to sign-­‐in will result in an absence If there is a dispute regarding attendance, we will refer to the book If your name is not in the book it is an absence Do not come late and do not leave early Two instances of lateness or leaving early counts as ½ an absence each. Two will equal 1 absence v Presentations cannot be rescheduled; you will receive a “0” for the work. v Written work cannot be handed in late v If you are absent you are still responsible for future class assignments v A legal note (ex. Doctor) is acceptable, but the absence will stay on record v If you stop attending class and do not officially withdraw, you will receive an “F” Be sure to check for the last day to withdraw each semester to stay in good standing in your courses. v
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QCC Attendance Policies It is very important that you attend every scheduled class meeting of a course. Attendance is monitored from the first day a class is scheduled to begin. Absence from class can seriously reduce the student’s chances of completing a course successfully. Generally, absences beyond 15 percent of course hours may result in a failure for a course. Lateness to class can be considered as an absence as well. Therefore, excessive lateness may also produce a failing grade Students needing to miss class on certain days for religious observance are referred to the Student Regulations section of the College Catalogue (included below). Students are responsible for notifying their instructors in advance of an intended absence. Student Rights and Privileges in Regard to Attendance: Note: Education Law Section 224-­‐a provides for various rights and privileges for students unable to attend classes on certain days because of religious beliefs. 1. No person shall be expelled from or be refused admission as a student to an institution of higher education for the reason that he or she is unable, because of his or her religious beliefs, to attend classes or to participate in any examination, study, or work requirements. 2. Any student in an institution of higher education who is unable, because of his/her religious beliefs, to attend classes on a particular day or days shall, because of such absence on the particular day or days, be excused from any examination or any study or work requirements. 12 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 3. It shall be the responsibility of the faculty and of the administrative officials of each institution of higher education to make available to each student who is absent from school, because of his/her religious beliefs, an equivalent opportunity to make up any examination, study, or work requirements which he or she may have missed because of such absence on any particular day or days. No fees of any kind shall be charged by the institution for making available to the said student such equivalent opportunity. 4. If classes, examinations, study or work requirements are held on Friday after four o’clock post meridian or on Saturday, similar or makeup classes, examinations, study or work requirements shall be made available on other days, where it is possible and practicable to do so. No special fees shall be charged to the student for these classes, examinations, study or work requirements held on other days. 5. In effectuating the provisions of this section, it shall be the duty of the faculty and of the administrative officials of each institution of higher education to exercise the fullest measure of good faith. No adverse or prejudicial effects shall result to any student because of his or her availing himself or herself of the provisions of this section. 6. Any student, who is aggrieved by the alleged failure of any faculty or administrative officials to comply in good faith with provisions of this section, shall be entitled to maintain an action or proceeding in the supreme court of the county in which such institution of higher education is located for the enforcement of his/her rights under this section. 7. As used in this section, the term “institution of higher education” shall mean schools under the control of the Board of Trustees of The State University of New York or of the Board of Trustees of The City University of New York or any community college. 2011-­‐13 Catalog, pages 230-­‐231 Theatre Department Library Policy
The Thomas Smith Theatre Student Library Loan Policy The Department of Theatre Arts is pleased to make scripts/books available for a 48-­‐hour loan period wit-­‐h deposit. v Only one script/book may be allowed to be checked out at a time v The office hours for script distribution are Monday through Friday 10:00 a.m. to 5:00 p.m. Students who check out scripts on Friday MUST return them Monday at 10:00 a.m. v Students who do not return scripts/books to the library twice will be barred from utilizing the library v The department will not copy scripts and students are forbidden to make copies on departmental duplication machines 13 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 Service-Learning
Service-­‐learning is a teaching and learning strategy that integrates meaningful community service with instruction and reflection to enrich the learning experience, teach civic responsibility, and strengthen communities. Service-­‐learning is not: v Free labor v Internships v Volunteerism or community service (These meet the needs of others and communities but do not emphasize learning and reflection.) v One-­‐sided: benefiting only students or only the community Why is service-­‐learning important? A growing body of research recognizes service-­‐learning as an effective strategy to help students by: v Promoting learning through active participation in service experiences v Providing structured time for students to reflect by thinking, discussing and writing about their service experience v Providing an opportunity for students to use skills and knowledge in real-­‐life situations v Extending learning beyond the classroom and into the community v Fostering a sense of caring for others Service-­‐learning strengthens both education and local communities by: v Providing engaging and productive opportunities to work with others in their community v Building effective collaborative partnerships between colleges and community-­‐
based organizations v Developing a first-­‐hand understanding of the social action skills required for active civic engagement v Meeting community needs through the service projects conducted 14 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 Practicum
Theatre practicum provides students the opportunity to earn course credit while fulfilling a production assignment. The emphasis of the course is on professional decorum and willingness to fully participate as a member of the team. Students are not graded solely on the quality of their work or the product they produce, but with significant focus on their attitude and commitment throughout the process. Majors are required to take TH 132. This class focuses on project based learning with a concentration on introduction to backstage responsibilities, procedures, and preparations. Crew assignment to departmental productions provides students with experience on state of the art equipment. Students are required to attend all technical rehearsals and performances. Students enrolled in TH 232 are given crew assignments of greater complexity and responsibility. You must register with the university for TH132 or TH232. Request a position and sign a contract for a production assignment and the faculty will approve it. Not registering with the university will result in you not receiving any credit hours towards graduation for that assignment. Students are expected to be available at all times agreed to on their practicum contract, and to complete all work necessary for their particular assignment. Contracts indicating dates, times, expectations, and grading criteria for production assignments will be posted on the Blackboard site for this course. It is your responsibility to select an assignment that fits your schedule, and submit a signed copy to the faculty. Practicum is an important part of your academic theater experience. It must be a priority the semester you take it. If you chose to audition the semester you take practicum please take note of a couple of things. v One, you will be given your practicum assignment before you audition. v Two, you must have a GPA of 3.0 or higher to audition and be in the practicum class. v Three, you will not be cast when you take practicum if you also have full time out of school commitments. (example, a full time job) The practicum course cannot be taken in the same semester that a student is performing in a production. Plan your academic schedule accordingly. Each student must sign a practicum contract (see addendum) in order to enroll in the course. 15 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 Department Jury
At the end of each semester students will participate in a departmental jury. This is an opportunity for students to review their artistic background. It should serve as a time of reflection on what the student has learned through each semester. There is no grade or credit involved in the student jury/critique process – it is, however, part of your required student assessment process, which must be completed for approval of graduation. Once the jury is completed, students will then meet with their assigned advisor to discuss the student’s current strengths and weakness with an emphasis on where the areas of focus should be in the upcoming semester. It is an opportunity for the student to learn more about where they are in their theatrical development. Juries will take place on the Tuesday and Thursday of the final week of classes. Juries are mandatory for all Theatre majors. Juries are meant to provide specialized feedback to each individual major. Juries for students in performance will consist of: v 1 -­‐2 minute monologue All students should dress appropriately for the performance jury. Audition attire is recommended. Juries for students in tech theatre will consist of an interview process entailing: v Presentation of a professional technical portfolio All students should dress appropriately for the interview process. Professional business casual attire is recommended. Graduating and Transferring
This section is entitled graduating and transferring because it is important for you to graduate and then transfer. Why? Because this will guarantee you that your course work in general education ends with your time at QCC. Those who transfer one credit short of a degree may have to add additional course work at their next college for general education. Additionally, colleges are attracted to students who have shown that they can complete a degree. Transfer Agreements As soon as you have some idea of where you wish to pursue your bachelor’s degree, you should research their course offerings and their transfer policies. Ideally, you want to go to a school that has the most course work in your area of interest AND that also agrees to accept your credits. All CUNY schools must accept your credits but will they count toward your degree? This is an important question to answer before choosing your next college. Ideally, you want to graduate from your next college with no extra time spent in repeating courses in your major. Talk with your faculty mentor in Theatre if you need advice. The college has formal agreements with certain colleges called: Articulation Agreements. These agreements tell you which courses the four-­‐year college has agreed to accept from QCC and what courses you must take at your next college. It does not mean that other colleges won’t accept your credits, only that these colleges guarantee that they will (If you meet their qualifications for acceptance). To find a list of these agreements for theatre go to: https://www2.qcc.cuny.edu/careersold/focus2/TransferAgreementList.aspx?MajorID=37 16 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 FAQ How do I get involved? There are many ways to get involved in QCC Theatre. There auditions each semester to act in our Main Stage and Shadowbox productions. If performance isn't of interest, we are always looking for help with lighting, costumes, set construction, sound, ushering, etc. The best way to get involved is to ask one of the Theatre faculty what is needed. You can find them in the Theatre office in Humanities Building 125. Do I have to be a Theatre Major to be involved in productions? No, any QCC student can be involved in productions, on and off stage. Auditions for performance are open to the entire campus and we are always looking for hardworking students to work on the production and/or backstage. Can I graduate without ever being cast in a show?. Yes. It is not required to be in a production in order to graduate, although you must participate in shows (i.e. backstage assistance, set building, design, or house management) as per Theatre Major class requirements. When are rehearsals? The majority of rehearsals will take place during Actors' Workshop (TH 122/222), which you will be enrolled in once cast. This class meets on Tuesdays and Thursdays from 2:10pm to 4:40PM. Additional rehearsals will be scheduled at the discretion of the director of the production. Can I have a job and still participate in a production? Yes, you can. We ask for a list of conflicts at every audition and we do our best to work with everyone's schedule. Please keep in mind that rehearsal schedules are not negotiable. We expect rehearsals to be a priority. How can I be involved if I have limited time/work full-­‐time? You can still continue to be involved in theatre at QCC. You can volunteer to work help with set construction, painting, ushering, etc. You may also choose to get involved in The Drama Society (See page 18.) 17 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 Financial Aid/Scholarships Scholarships
Each year, the Department of Speech Communications and Theatre Arts presents outstanding students with monetary awards in recognition of their contributions to departmental productions, of extraordinary dedication to their coursework or acknowledgement of talent and disciplined work. The following awards are each presented to deserving students at the year-­‐end awards ceremony: v Thomas Smith Memorial Scholarship Fund awarded to a graduating student who demonstrates an interest/ability in filmmaking. v The Departmental Service Award awarded for exceptional contribution to departmental production v The Chairman Award Awarded for exceptional academic work within the discipline v The Beverly Lockwood Award for Acting awarded for exceptional ability v Leroy Paves Scholarship Fund Awarded to 2 students o A fulltime student, completion of 2 semesters, returning for their 3rd, demonstrated merit in the discipline and a min. 3.0 in Theatre. Courses o The same as above except the second student must be in their 4th semester and graduating. Student Employment Opportunities
Being a student is a full-­‐time job! Success at QCC requires time, energy, money and perseverance. Although you need money to survive now, your education will provide you with a lifelong payoff in the long run. GPA is important. In most cases low GPA can be attributed to working too many hours. Be wary of allotting too much time to paid work. Be aware that most employers are not concerned with your success in college and a seemingly convenient part-­‐time job can quickly turn into a full time commitment. Working as a major in Theatre is perhaps more difficult than it might be in another major. In addition to classes, studying, and homework, theatre majors must leave time for rehearsal outside the classroom. If you can avoid working that is the best solution of all. If you must work, try finding a job on campus. Our Career Services Office has wonderful part time jobs listed on their website (see below). If you qualify for work-­‐study, you can work in the theatre. Theatre majors, who have the required skills, can work backstage for the Queensborough Performing Arts Series. Upper divisional students can also arrange for internships and get credit for working. Speak with your faculty mentor or a counselor in the Office of Career Development. QCC Career Services Website: http://www.qcc.cuny.edu/CareerServices/Part-­‐time_job_workshop/Part-­‐
time_job_workshop_files/frame.htm#slide0004.html 18 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 Opportunities for Students SGA Statement
Student Government Queensborough has a very active Student Government Association that is charged by improving student life on campus through activities and advocating for students on campus. Additionally, SGA is a generous supporter of the students who study and work in the theatre. With funding from SGA, theatre students are able to mount productions, travel to KCACTF and fund The Drama Society. More information on SGA is available at: http://www.qcc.cuny.edu/studentactivities/studentGovernment.html The QCC Drama Society
The QCC Drama Society explores various aspects of theatre providing opportunities for you to showcase your talents in a completely student run environment. The Drama Society seeks to gain knowledge by holding workshops on improvisation, writing plays, scene study, voice, movement, and directing. With insight gained from guest speakers from the world of theater, you will be able to hone your creativity and theatrical skills in a professional manner. The QCC Drama Society is open to all students regardless of major. Drama Society Facebook Page The Drama Society maintains a Facebook page that offers a great opportunity to connect with others in the theatre department. Simply send us a friend request and start accessing our webpage. https://www.facebook.com/groups/QCCDramaSociety/ KCACTF (The Kennedy Center American College Theatre Festival)
Each January, we choose students to participate in the Kennedy Center American College Theatre Festival. The festival is an extraordinary opportunity for students to take workshops presented by theatre professionals. Opportunities range from auditioning for and collaborating with young playwrights on new plays written by artists from throughout the region; meeting and interacting with faculty and students from other campuses, and participating in the “Tech Olympics”, a demonstration of skills in the technical aspect of the theatre craft. Students may also attend invited productions from other schools within the region. Eligibility In order to be eligible to attend KCACTF, a student must meet each of the following criteria: v Maintain a 3.0 average in their theatre courses v Maintain a 2.0 overall average 19 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 v Contribute in a substantive way to every departmental show within the season v Write a letter of intent to attend, explaining why he or she should be able to attend. Include the student’s interests at the festival and how he/she has contributed to each departmental production v Irene Ryan nominees are not guaranteed a spot at festival, each candidate must meet all the requirements above and, in addition, poor preparation for the Irene Ryan Acting Scholarship Competition may be cause for elimination v Each student must sign a consent form before leaving for the festival Internships
Internships are single-­‐semester, paid or unpaid curriculum-­‐related work experiences designed to help you understand the "real world" applications of their academic studies. They also provide a chance for you to explore career goals while earning academic credit. Contact your faculty advisor if interested in an internship. Faculty advisors can provide a list of available sites and help you prepare the necessary documents and forms to apply for the internship. If you obtain an internship on your own, meet with their faculty advisor for approval. Grading and Credits for Internships University grading policy determines the assignment of a grade. Grades are assigned by the faculty sponsor and based on an evaluation by the site supervisor and other information as specified by the faculty sponsor. The number of credits earned is based on departmental policy and number of hours completed at the internship site, usually 1-­‐4 credits. Involvement may be part-­‐time, as little as 8-­‐10 hours per week, or full-­‐time. Opportunities are available during summer, fall, or spring semesters. Academic credit may be awarded at the discretion of the Speech and Theatre Department. You must be in your 3rd or 4th semester with at least a 2.0 cumulative grade point average. Honors Contracts
The Honors Program at QCC is an academic program that provides an enriched classroom and overall intellectual experience to students who have demonstrated high academic achievement. Through specially arranged independent studies and research, honors scholars have an opportunity to expand their knowledge in areas of particular interest to distinguish themselves among their peers. If you are interested in joining the Honors Program, the following criteria is required: v At least 9 QCC credits v Minimum grade-­‐point average of 3.40 Qualified students should approach their professor and obtain permission from the department chair. 20 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 TDF (BEAT) Program
Bridging Education and Theatre The City University of New York (CUNY) and Theatre Development Fund (TDF). BEAT was designed to introduce the CUNY community to New York City's performing arts through a range of programs designed by TDF and tailored to the needs of the CUNY community. BEAT makes the performing arts accessible to the CUNY community. Since 80 percent of CUNY students remain in New York City after graduation, this partnership will help them become lifelong theatre goers, able to enjoy and participate in a vital and vibrant part of the cultural life of New York City. CUNY, the nation's leading urban public university, and TDF, the country's largest not-­‐for-­‐profit performing arts service organization, share unique roles at the heart of New York City. Both represent deep traditions of service to education and the arts, enriching millions each year -­‐ CUNY, through its role in educating over half a million students in academic, adult, continuing and professional education programs at its 24 institutions citywide, and TDF by serving over one million New Yorkers and visitors each year through its TKTS Booths, membership, education and access programs. BEAT, which was piloted during the 2010-­‐11 school year, has just doubled in scope for its second year. The program was originally piloted on four CUNY Campuses: Baruch College, Brooklyn College, LaGuardia Community College and Lehman College. For the third year the program continues on those four campuses, along with Hunter College, Queens College, New York City College of Technology, Queensborough Community College to bring the total number of colleges served to eight. The program looks to expand each year, eventually to all 24 CUNY campuses. BEAT has already launched four programs at the campuses involved in the initiative: v Production Process -­‐ a theatre enrichment program in which theatre professionals from different performing arts disciplines participate in moderated discussions on various aspects of theatre production for an audience of CUNY students v Mentoring -­‐ a credited program in which a theatre professional mentors a group of CUNY students in a specific discipline v Internships -­‐ CUNY students participate in for-­‐credit internships in their specific field of study at TDF and throughout the theatre industry v Ticketing -­‐ each school will have a group participate in TDF's "New Audiences of New York," a program which introduces theatre, through attendance and education, to underserved groups across the five boroughs. Students from each campus will attend theatre performances and participate in pre-­‐ and post-­‐
performance discussions. TDF is also offering discounted annual TDF memberships for students, faculty and staff at the eight campuses participating in CUNY/TDF BEAT 21 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 Rehearsal Space for Students
Finding Rehearsal Space For students who wish to rehearse outside of rehearsals scheduled by faculty, classrooms are available on a first come, first served basis. At least one week prior to your rehearsal, email your professor with the start and end time you wish to rehearse and they may request a classroom for your usage. Please give you professor a list of dates you wish to rehearse and make sure you stick to those days and times. Notify your professor immediately if you will not be using a room you have reserved. You are not guaranteed a rehearsal room. The earlier you place your request, the better your chance of getting a room. Care of Rehearsal Space Classrooms and studios are to be left as you found them. Chairs, cubes, props returned to their proper place. Leave nothing in the rehearsal space that was not there when you arrived and leave all furniture in the rehearsal space. All garbage is to be removed. Food is never permitted in our studios or theatres. Be considerate of those working in rooms close to you, keep noise inside the rehearsal room. Close and lock the door when you are finished. 22 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 Departmental Productions Seasonal Selection
Seasonal Selection Plays for our theatrical season are chosen based on the following criteria: v Fall Mainstage productions will alternate between a classical play and a musical v Fall Shadowbox productions will fall under the category of “Social Issues”, and each piece will address controversial societal topics v Spring Mainstage productions will fall under the category of “The American Experience” and each piece will address some aspect of life in America v Spring Shadowbox productions will fall under the category of “Other Perspectives” and will strive to expose audiences and students to alternative theatre structures or plays that deal with alternative subject matter Company selection v QCC Theatre explicitly prohibits all forms of discrimination based on race, creed, gender, age, disability, national origin, or sexual orientation. QCC Theatre is committed to equal employment opportunities for all members, and encourages and promotes a policy known as Non-­‐Traditional Casting. Non-­‐
Traditional Casting is designed to increase artistic options by expanding casting opportunities for women, actors of color, and actors with disabilities in roles where race, gender or absences of a disability are not germane. v Auditions for the fall shows will take place on Tuesday, Wednesday and Thursday during the 2nd week of the semester and dates will be posted on the callboard across from H125 and on the departmental website. v Auditions and casting are open to the whole campus, but students who are cast must be available and enroll in TH 122 or TH 222 (Actors Workshop). For majors with a concentration in Theatre, this class serves as an elective within the discipline. For non-­‐majors, this course may serve as an elective. Consult with your academic advisor for your program of study. v Callbacks are held at the director’s discretion. v Auditions and callbacks for the spring Mainstage show will be held on Tuesday and Thursday 2:00pm – 4:30pm and Wednesday, 12:00pm – 4:00pm during the last full week of classes of the fall semester. v Auditions for the spring Shadowbox show will be held Tuesday and Wednesday during the 2nd week of the spring semester. v Cast lists will be posted within one week of final callbacks. v Cast lists will be posted on the callboard across from H125. 23 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 QCC Theatre Department Facilities
QCC Theater Department operates out of two main buildings on campus; the Humanities Building and the Z Building. The Humanities Building is home to the college’s performing arts theatre; where the department’s Main Stage shows are produced. It also houses the department’s Scenic Shop, adjacent to the theater, and the theatre faculty offices, on the first floor, in room 125. In the Z-­‐Building is the Shadow Box Theater. The department’s Second Stage productions are performed here. The space is also used as the department’s main rehearsal space and acting classroom. Also in the Z-­‐Building are the costume shop, costume stock storage, and electric’s storage. Humanities Building: Performing Arts Center Theatre Theater Department Office Theater Department Classrooms Scenic Shop Props Storage Big Theater Dressing Rooms Z-­‐Building: Shadow Box Theatre Theater Department Classrooms Costume Shop Costume Stock Storage Electrics Storage Shadowbox Dressing Rooms 24 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 Audition Policy
CUNY/QCC Audition Policy & Practices Auditions will be held for all our four productions (fall Mainstage, fall Shadowbox, spring Mainstage, spring Shadowbox) each season. Day/Time Availability Rehearsal & Performance Requirements Taking part in a theatre production at CUNY/QCC is a credit bearing experience, as it is also a course. The course is titled, Actor’s Workshop TH 122 & TH 222. The course meets Tuesdays and Thursdays, from 2:10pm – 4:40pm, throughout the entire semester. You must be available to be registered for this course by your director/professor. You cannot register for this course on your own. Please Note -­‐ In order to be cast, you must be free during the course times mentioned above. Taking part in a theatre production is a time intensive commitment. In addition to the times mentioned above, other rehearsals are held throughout the 4 – 6 week rehearsal process, mostly weekday evenings, and weekend daytimes. Each director will set a rehearsal schedule for the production, dependent on the needs of the production and cast availability. There may be some flexibility in the commitment of time you will be required to make. This will be addressed in your audition form and then will be discussed at the time of your audition. The performance schedule will be included in the formal notice of audition (see below), and usually take place for two weeks on Wednesdays, Thursdays, Fridays, Saturdays, and Sundays. Formal Notices of Auditions At least one week prior to the beginning of each semester, formal notices of auditions, that will include all general audition information, as well as production specific information, will be posted on the theatre callboard outside the Theatre Office (H-­‐125) and outside the Shadowbox Theatre (Z-­‐104). The notice will also be sent directly via email to all registered students of the semester’s acting courses and to all students currently on the Student Theatre List Serve (studenttheatre@qcc.cuny.edu). Open Auditions All registered students (PT/FT) of CUNY/Queensborough Community College, regardless of major, are encouraged to audition for a chance to participate in our theatrical productions. Experience is not necessary. Newcomers and those looking to explore the theatre arts are welcome. Mandatory Auditions All performance concentration theatre arts majors must attend auditions. Technical concentration theatre arts majors must attend auditions during the semester that they are taking Acting 1. Open Casting Policy There is no pre-­‐casting, all roles are open and are cast based on availability and audition. QCC theatre directors look for skill, especially in the areas of vocal and physical communication, but interest, preparation, commitment, and availability, are important factors in casting as well. Our program is designed to provide for all students with an interest in theatre regardless of experience. 25 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 Casting Exceptions -­‐ Practicum Students and Theatre Arts Major Department Standards All theatre majors registered for practicum are prohibited from being cast in any production in the same semester as their practicum class. It is our desire for these students to concentrate on their chosen technical assignments. Any theatre arts major who does not maintain departmental standards is prohibited from being cast. Preparation – The Monologue To audition, each student must prepare a monologue of no less than 1 minute and no more than 2 minutes. Memorization of text is requested but not required. In addition to the student’s ability to present the text, we also value the student’s ability to engage their physical instrument, the body. Students are encouraged not to prepare a monologue from the production for which they are auditioning, but rather to prepare a monologue in the style/genre of the production (example: a comedic monologue for a production of Christopher Durang’s The Actor’s Nightmare; a classical monologue for a production of Shakespeare’s Hamlet). Additional audition criteria may be added dependent on production/director, if so it will be included in the formal audition notice. For musical auditions, please see below.) Preparation -­‐ Securing and Reading the Script Prior to Audition Students who plan on auditioning are advised to read the production script prior to auditions. Scripts will be available at the Theatre Office Library (H-­‐125) in the semester prior to production. Scripts may be checked out on a 24-­‐hour basis upon the presentment of an official CUNY/QCC student ID. Scripts will be distributed on a first-­‐come, first-­‐served basis. Should scripts not be available (i.e. they are all checked out) they are often available at the college bookstore or library, as well as other local libraries. Students who do not return scripts to the office on time may not be permitted to audition. On the day prior to audition, you will not be able to “check out” the script. Dependent on availability, scripts may be read in the Theatre Office Library (H-­‐125). Preparation -­‐ Audition Forms In order to audition you must fill out an official audition form. This form will request information such as contact information and experience, but will also ask for you to provide information regarding your schedule and availability for the entire semester. The audition form will be available at least one week prior to auditions and may be requested via email through the “Student Theatre” list serve (studenttheatre@qcc.cuny.edu). This form will also be available at the audition thirty minutes prior to start time. You are encouraged to secure and fill out the form prior to audition. Audition Location, Dates & Times – Tuesday, Wednesday, Thursday Auditions are always held in the Shadowbox Theatre (Z – 104). Auditions are always scheduled to take place on Tuesday, Wednesday, and Thursday within the second week of classes of the semester in which the production will take place. The exception to this rule is the auditions for the spring Mainstage production, for which the auditions will be held Tuesday, Wednesday, and Thursday within the last week of classes (not finals week) of the Fall semester. 26 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 There are two available days for the initial student auditions in the weeks mentioned above: Tuesday 2:30pm – 4:40pm or Wednesday 12:15pm – 1:15pm All students are encouraged to arrive on time and clear their schedule for the entirety of the audition, as they may be asked to prepare a “side” after their initial monologue presentation. If you are unable to stay the entire time, you should still attend the audition if you wish to be cast. All students who wish to be cast must be prepared to attend the full callback session that Thursday. Callbacks (if the director would like to see you a second time) Callbacks take place on Thursday 2:30pm – 4:40pm. Once again, all students who wish to be cast must attend the entire call back on Thursday. Please note that you still may be cast or be in consideration even if you have not received a call back. Audition Day – Arrival, Information, and Photo A student proctor will be at the audition site (Z104) 30 minutes prior to each audition start time to monitor the auditions and answer questions.. You must sign-­‐in and hand-­‐in a filled out audition form as mentioned above. At this time, you must also provide the proctor with a headshot or current photo of yourself, if you have one. This picture will not be returned to you. Students will be seen in the order of their arrival. First come, first served. Relax, Prepare, and Succeed It is important to remember that QCC is an educational theatre arts program. We are here to assist you and help you succeed. Your best strategy is to prepare for the audition. Preparation is the key to a successful audition. You will undoubtedly be nervous. Auditioning can be scary. But remember, when you walk into the audition room we are already impressed! Should you have any questions or concerns about auditioning, or any aspect of this policy, please email studenttheatre@qcc.cuny.edu. We would appreciate the opportunity to assist you and help you prepare to succeed! Tips and Further Information Regarding Auditions
Comprehension of Your Selected Audition Material v Do you understand what the character is saying and why ? v Knowledge of the Given Circumstances concerning the material (Where, When, Who, What, Why, How)? v The objective(s), obstacle(s), action(s), tactic(s) informing the material v Comprehension of the mechanics of language -­‐ including conventions of prose, rhymed verse, and/or blank verse; the ability to communicate; stressed and unstressed syllables, and operative words. One last note, auditions are a scary time for all; even the directors are nervous. That’s the nature of auditions. The most important aspect of auditioning is going through with it. How well you do, is a matter of the work you have put in and your enjoyment of the process. Auditioning is part of an actor’s life. The fact that you have auditioned, is impressive to a director, and reason enough for you to celebrate and be proud! 27 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 Non-­‐Student Actors The mission of the department promotes the casting of student actors as a general rule. The casting of non-­‐students is limited and restricted to certain specific situations. v Large cast shows for which not enough student actors are available. v When a professional actor is available for a specific role. It is believed that the professional will be able to teach while working. It is expected that student actors will benefit from the high level of skill demonstrated by the visiting professional. v The occasional need for a particular physical type as specified by the author in casting requirements. v The occasional casting of a faculty or staff member promotes an unusual teaching experience and enhances personal contact between students and the professional staff of the college. v A continuing student who had to take a semester off because of some legitimate duress reason for one semester only. The casting of non-­‐student actors must be carefully managed by the Theatre Office to achieve acceptable academic goals. Such casting should be infrequent, necessary and desirable. Such casting should be cleared with the Academic Chair of Theatre Arts before cast lists are posted. Insurance Part-­‐time students are encouraged to purchase the college insurance plan, without which they are not covered for accident or injury during rehearsals/performances (ask your Director for details). Full time students are covered by the mandatory insurance plan. Off-­‐campus personnel are not covered by college insurance. Faculty – Creative Staff Roles and Responsibilities/Division of Labor
Director of Theatre Attends all production meetings Chairs season selection committee and arranges meetings for them Works with technical director in maintaining production budgets Represents Theatre program through programmatic review Coordinates visits for NAST team Hires external personnel/guest artists after consultation with colleagues Serves as artistic director for program and consults with production staff regarding aesthetic standards for productions v Collects data for annual reports v Responsible for the review of departmental course descriptions in the college catalogue v
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Attend all technical and dress rehearsals Responsible for holding auditions and casting production Attends all production meetings Provides production information to marketing manager as requested Collaborates with designers for design aesthetic Attends opening night and as many performances as possible Attends and assists with strike Provides production information for programs as requested Attends paper tech Scenic Designer v Collaborates with production staff v Executes design of set v Creates scenic color model v Creates rendering v Creates shift plot v Researches designs v Drafting of design v Creates ground plan elevations v Sections and associates plates v Responsible for projections v Scenic painter for production v Shops for and or pulls furniture from stock and dresses set v Designs and pulls props (supervises student prop master) v Attends all technical and dress rehearsals v Attends strike if a faculty member v Attends opening night if a faculty member v Attends all production meetings v Presents designs to director for approval v Attends first rehearsal to present scenic model to students Technical Director/Production Manager v Orders scripts and secure rights for season productions v Builds, budget and bid scenery v Runs production meetings v Generates production schedule v Set-­‐up virtual callboard v Maintains technical areas v Master electrician for production v Generates and update inventory list v Creates working drawings v Supplies support to Drama Society as needed v Attends all technical and dress rehearsals 29 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 v
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Collaborates with production staff Creates rough drafts of designs Executes design of costumes Creates color renderings/swatches Researches time period/director’s concept for design Creates action/costume plots Creates costume list Creates dressing list Presents design concept at production meeting Presents design concept at first rehearsal Creates materials breakdown Maintains costume bible Shops for materials/costume pieces Construction of costumes as needed Does the draping, pattern making and sewing Pulls and builds costumes Basic crafts (millinery) Creates Makeup and hair design Oversees and takes measurements and maintains schedule for fittings with stage manager Attends all production meetings Attends all dress rehearsals Attends opening night if faculty Oversees cleaning/washing of costumes Returns stock or return rental costumes Purchases all accessories Supervises student costume crew Attends strike Creates design within the production budget for all designs Submits budget report v
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Creation of Channel sheet, Magic sheet and Color sheet Instrument hook-­‐up Performs research Attends all production meetings Attends light hang Organizes and coordinates equipment rentals Maintains gobo gels Attends focus Attends paper tech Attends all technical and dress rehearsals Attends opening night performance if faculty Supervises student light board operator until open Creates expense report Attends strike if faculty Sound Designer v
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Creates sound cue list Researches for design Creates sound plot Coordinates microphone usage Designs light plot Creates materials list Coordinates rental of equipment Sets-­‐up sound equipment Inputs sound cues into QLab or other media software Attends all technical and dress rehearsals Attends opening performance if faculty Supervises student sound board operator Creates sound cues Attends paper tech Attends all production meetings Returns all rentals Collaborates with other designers and director Attends and presents design concept at first rehearsal Creates expense report Attends strike if faculty Attends first production meeting Schedules video recordings with marketing and publicity and emails dates to entire production staff v Schedules photo shoots with academic computing and emails dates to entire production staff 31 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 v Serves as ongoing liaison between the department and local high schools v Composes and sends invitation letters to schools and College Now v Coordinates outreach to schools and arranged for their attendance at production matinees v Coordinates outreach to College Now program and arranged for their attendance at production matinees v Follows-­‐up with photographer and videographer and adds both to departmental archives v Serves as liaison between schools and box office to ensure tickets are pre-­‐paid and hold reservations v Submits publicity materials to marketing and publicity for distribution to media outlets v Arranges for inclusion of production details on campus digital signage in advance of production v Collects materials for poster/flyer design from graphic designer v Circulates draft poster design for approval by entire production staff prior to reproduction v Arranges for reproduction of publicity materials including posters and flyers v Meets with practicum faculty to arrange the distribution of posters/flyers with student house manager v Maintains departmental production archives (i.e. videos, posters, flyers, photos) in theatre library in room 125 Humanities Choreographer v
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Attends all production meetings for related show Responsible for coordinating and supervising movement auditions and callbacks Works with director in setting rehearsal schedule Consults with director on choreography to ensure cohesive production values Assist director in musical staging Works with musical director on tempo and orchestration as relates to movement Attends all technical and dress rehearsals Appoints and supervises student dance captain Attends opening night if faculty Establishes physical warm-­‐up with cast Collaborates with production team Vocal Coach v Attends first rehearsal to establish vocal warm-­‐up v Appoints and supervises student voice captain v Attends one rehearsal each week and gives voice notes to actors to establish standard American pronunciation, volume and clarity for company v Arranges to meet with individual actors during office hours as needed 32 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 v Works with actors on dialects using IPA and researched materials specific to text Musical Director v
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Attends auditions and callbacks and contributes to decisions regarding casting Attends all production meetings Schedules and runs all vocal rehearsals Schedules individual vocal rehearsals as needed Attends all technical and dress rehearsals and all performances Serves as rehearsal pianist or coordinates with them Recruits and rehearses pit musicians Gives vocal notes at every rehearsal Consults with sound designer Conducts pit orchestra and students in rehearsals and performances Returns scores to technical director post-­‐production Coordinates strike of musical instruments Student Crews/responsibilities
Stage Manager Stage managers provide practical and organizational support the company throughout the production process. They coordinate a theatrical production. Their job responsibilities are: v Has enrolled in and completed stage management class v Attends all rehearsals v Creates and maintains a prompt book o All notations for lighting and sound cues o Blocking notations o Technical schedules o Rehearsal schedules o Ground plans o Company list o Pre-­‐show duty list v Interactes with actors o Generates a production contact list and distributes it o Creates and maintains attendance sheets o Schedules rehearsal time o Schedules costume fittings with actors and costume shop o Organizes and running rehearsal time o Runs the show during the performance o Calls actors to places during the performance o Is on book for line cues and line notes 33 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 v Assisting the director o Begins and ends rehearsals o Prepares cast and room for the beginning of rehearsal: sets rehearsals costumes and props, sets scenic pieces, turns off cell phones o Announcements for cast: fittings, schedule, line notes, etc. o Takes all blocking notation and advises the director of blocking errors during rehearsal o Makes careful notes of where props are placed off stage or discovered on stage o Spikes all set pieces o Times the show as running o Calls all lighting cues, sounds cues, and effects o Emails rehearsal report to designers and director after each rehearsal o Takes minutes at production meetings v Works with the technical director o Runs paper tech. o Prepares prompt book with light and sound cue notes before the first technical rehearsal o Determines which ASM’s will be on headset o Runs technical rehearsals o Collect paperwork from designers and maintains it in a production file v Other Duties o Follows the direction of the house manager for the cue to begin performances and intermissions o Oversees all backstage activates during the run of the show, including calling cues to lighting, sounds, and actors o Always check with faculty or director if you have any questions o Attends all rehearsals, technical rehearsals, and performances Assistant Stage Manager ASM’s work with the stage manager to ensure the show runs smoothly. There can be 1-­‐4 assistant stage mangers per production. The components to this job are v Runs and maintains properties along with the props master and stage manager v Assists the stage manager during rehearsal as needed v During the run of the production, works with stage manager to assure the smooth operation of the backstage areas v Attends all rehearsals, technical rehearsals, and performances Box Office Manager v Keeps the Box Office clean and organized and maintains the lobby v Organizes posters and posts posters around campus v Checks volunteer ushers in and out v Maintains usher dress code: Black bottoms, white tops, clean and professional 34 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 v Stations ushers throughout the house v Opens house a half hour before the performance v Organizes taking tickets and handing out of programs v Cues stage manger to closing of house v Seats late audience members at pre-­‐determined times during the performance v Helps clean the house after performance v Performs other duties as requested v Attends all performances Property Master/ Run Crew v Buy/ Pull/ Modify/ Build/ Procure all required props for a production v Acquires any needed rehearsal props v Returns all borrowed props during strike and within one week of strike v Organizes purchase of props with TD within props budget v Researches props required for production v Sets-­‐up prop tables and labels as required for the production v Keeps complete records of all the props needed for the production v Sets props at the beginning of performance, puts them way at the end v Organizes and maintains the props during the run of the show v Attends all technical rehearsals and performances Wardrobe Crew v Attends fittings with the costume designer and shop manager v Moves costumes into dressing rooms before technical rehearsals v Labels costume pieces with actor’s names v Checks in costume pieces before and after each performance v Helps actors in and out of any garments they cannot do by themselves v Keeps track of costumes during the run of the performance, tracks them as needed v Organizes and runs all quick changes during the performance v Does laundry at the end of every show, and returns it before the next performance v Does small sewing notes during the run of the show: alert shop manager to any major sewing notes v Maintains integrity of the deigns v Strikes the costumes at the end of the production v Attends all technical rehearsals and performances Backstage Run Crew v Runs performances backstage under the direction of the stage manager and technical director v Helps with scenic movements and shifts during the performance v Helps maintain and track props during the performance v Sets scenery before the performance and restores it at the end 35 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 v Does minor repairs as necessary during the run of the show: alert technical director to and major repairs v Maintains integrity of the deigns v Strikes the scenery at the end of the production v Attends all technical rehearsals and performances Light Board Operator/ Run Crew v Attends lighting hang and focus under the supervision of the lighting designer/ master electrician v Hangs, focuses, and gels lights for production v Helps solve electrical problems during performances v Sets up running lights backstage v Programs light board during technical rehearsal under the direction of the lighting designer v Runs light check prior to any performance v Runs the light board during performances v Strikes lights at the end of the production v Attends all technical rehearsals and performances Sound Board Operator/ Run Crew v Helps hang and set speakers at the direction of the sound designer/ technical director v Sets equipment, mixer, microphones prior to production v Program Sound Board during technical rehearsal under the direction of the sound designer v Helps solve electrical/ sound problems during performances v Maintains and keep track of body microphones, if used in production v Maintains headsets backstage and in the booth v Keeps body microphone paperwork, if used in production v Runs sound check prior to any performance. Turns on all equipment v Runs the sound board during performances v Strikes sound equipment at the end of the production v Attends all technical rehearsals and performances Spot Light Operator v Attends lighting hang and focus under the supervision of the lighting designer/ master electrician v Sets up running lights backstage v Records and runs spot cues during technical rehearsal under the direction of the lighting designer v Runs spot check prior to any performance v Runs the spotlight during performances v Strikes lights at the end of the production v Attends all technical rehearsals and performances 36 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 Rehearsal Etiquette
The following are standard rules for rehearsal and should be followed for ANY and ALL departmental productions. Bring a pencil (with an eraser). You will be responsible for recording all of your blocking, directions and script edits in your script. Use a pencil in case any changes are made at a later date. Please consult our stage manager if there are any discrepancies or disagreements about your blocking. Bring your materials. Bring your script and a journal to all meetings. Be on time. There will be a fine of 5 cents per minute for anyone who is late. This includes all actors, stage managers, crew and the director. Please respect your colleagues and be on time. Use a highlighter. Mark all of your lines in your script. Bring your rehearsal schedule There will occasionally be changes to our schedule that you will need to record on your schedule. Put your schedule in your script to be safe. Carry your contact sheet at all times. You never know when you may need to call and let us know you are running late or having difficulties getting to class. Come prepared to work. Please leave your personal problems outside of the rehearsals. If you are having any difficulties with other cast members, or with a life crisis, please speak to the Director privately. Write down notes in your journal. You can’t possibly remember all directing notes you will receive. Record them so that you can consult them later. Review your notes before each rehearsal and performance. Use the time before warm-­‐ups to refresh your memory and review your goals for the day’s rehearsal, or performance. This is a great way to center yourself and enter into the world of the play. All classes and rehearsals are closed. You will not be able to have invited guests attend any of our meetings. In order for actors to feel safe to experiment, take risks and be vulnerable to the process, no one outside of the ensemble will be allowed to watch our rehearsals. Watch and learn from your fellow performers. 37 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 Remember that you can learn as much from watching the performances of others as you can from performing yourself. Be attentive and respectful in rehearsals and stay engaged even when you are not on stage. This is not time for you to run lines. Do not give direction to your cast mates. The role of the director is to support and guide each actor’s performance. You may share blocking with your cast mates but NEVER attempt to offer suggestions about their character. Take direction on first suggestion. Actor’s should not argue with the director and should always make at least one attempt at making any direction work. You can always discuss difficulties and make adjustments, but first attempt to incorporate the suggestion. Instead of immediately rejecting direction because it doesn’t match your preconceptions about character remember that you are just one part of a whole. The director must bring the whole story together and sometimes this may contradict your first “choice” about blocking or character. Enter this process a willing, but informed, participant and stay open to new ideas. Work schedules You will soon find that working during the school week becomes difficult. If you are cast in a show you will have rehearsal most every weeknight and some weekends. Outside work schedules should remain flexible due to production needs. The production is priority. Course work You must maintain good academic standing as defined in the college catalog. Let us know as soon as possible about any schedule conflicts. Collaboration is the very heart of our work and you do a disservice to the entire production if you don’t meet your commitments to the show. Headset Etiquette
Various crewmembers, including the stage manager, light and sound board ops, and the assistant stage manager on the deck, will be on headset for the run of the show. It is important to remember not block the line with personal chitchat, only show related talk. Also, be sure to keep an ear out for the stage manager’s cues, and respond when your cue is called. Students in the practicum, stagecraft, and costume construction classes are all assigned to work on a production during the semester they are taking the class. Students working on a production will arrive to tech on time and prepared to work Backstage Etiquette
The following are standard rules of etiquette for backstage behavior Follow the Directions of the Stage Manager and Run Crew. 38 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 The stage manager and run crew are there to make the performance run. Backstage they may not have time to explain every direction. Even if you don’t understand it, fallow them quickly, quietly, and without question. Explanations can wait. Trust that it will be for your own good and the good of the performance and all will be well. Don’t stand in the wings and watch the show. Not only is it rude, but you will also be in the way of the run crew and other actors. You also risk being seen by the audience. Stay out of the way in the green room or the dressing rooms until it is your cue to go on stage. If you can’t hear, or if you need to watch part of the show. Clear your position with the stage manager and deck crew beforehand. Don’t talk backstage unless it is essential to the show. Sound travels. Whispered conversation can distract crew backstage and actors onstage. It can also travel as far as the audience. So unless it’s essential for the running for the show, stay quiet. It can wait until after the performance. Stay put until you are called for your cue. Don’t wander off. Once you check in stay in the dressing rooms, green rooms, or on the stage, where the stage manager can find you. Secure permission from your Stage Manager if you need to leave campus on scheduled breaks. Don’t play with or move the props. Props are set in very specific places and tracked throughout the show. Moving them without permission can get them lost and playing with them may result in them being broken. The general rule to remember backstage is: if it’s not yours don’t touch it. Check your props before each performance. Even if it’s not your job to set them, a professional actor checks his or her props before every performance. It may be someone else’s job to set them, but the actor is the one who will look foolish onstage if it is not where it was supposed to be. Better to do a quick double check before the show to make sure everything you may need is in its place. Don’t sit on the scenic furniture backstage. Scenic furniture needs be used on the stage. To ensure it does not miss its cue, and is not broken or stained by mistake, do not sit on scenic furniture backstage. There are plenty of places to sit in the green room and in the dressing rooms. Don’t play with or move the costumes. The same rule that applies to props applies to costumes for the same reasons: if it’s not yours don’t touch it. Don’t eat in costume. Even when being extremely careful, food makes a mess. Remember as an actor the clothes you are wearing are not your own. Stains and crumbs can damage your costume. Eat before you come and for the run of the show, stick to water. No cell phones, especially on and backstage. 39 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 Cell phones are distraction for you and those around you. Be respectful of your company members and your show. Leave your phone off and put it away. Remember to always maintain professional behavior. Putting on a show is a great deal of fun, but it is also a great deal of work. Remember to always act as professional backstage. Simple courtesies such as please and thank you go a long way. When in doubt, trust in basic common sense. Load-In/Strike Policy
Load In Load in is the time when set, lighting, and costume pieces are moved from the shops and storage spaces into the theater. This usually takes place a week before technical rehearsals begin. The schedule is set by the technical director and the production staff, and will be distributed to the students beforehand. If you are assigned to load-­‐in as part of the production crew, it is important that you participate fully in your assigned area. This is a very fast paced time, where lots of work must get done quickly. Students in the practicum, stagecraft, and costume construction classes are all assigned to load-­‐in for each production during the semester they are taking the class. Students will arrive to their load-­‐in call on time and prepared to work. Strike Strike is when all the production elements are dissembled after a show closes. The set is taken down, props and lighting equipment are returned to storage; costumes are cleaned and put away. At QCC strike takes place on the Sunday after the closing performance. ALL cast and crew are required to attend strike. No exceptions. ALL students in the actor’s workshop, practicum, stage craft, and costume construction classes are required to attend both strikes for both productions the semester they are taking the class. The technical director and the production staff run strike. Students will be assigned to work with one department, such as lighting, sets, or costumes. When that department’s work is completed they will report back to the TD to be reassigned. Everyone will stay to the end of the strike call. Strike is usually a long busy day. It is important that everyone remains professional and focused through the whole process; so that strike can proceed as quickly and efficiently as possible. Students assigned to strike will arrive on time and prepared to work. Technical Rehearsal Policy
Technical rehearsals focus on the technical aspects of a production. At QCC take place a week before opening night. “Tech” is the time where the production staff adds the sets, costumes, and lights to the show. It is an important step in the development in a show. The stage manager and the technical director run tech with the director. 40 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 This is the time for the production staff to work on their side of the production. The rest of the company must be cooperative and supportive during this. Lots of work must get done in a very short period of time. This is not a rehearsal for directors and actors. Follow the instructions of your stage manager. This rehearsal is for set changes, actors finding their light, costume changes that are technical in nature (wigs, trick costumes, on stage costume changes, offstage quick costume changes), sound cues timed with lines and set changes. The production staff will meet at the end of the night at a production meeting, to decide the next day’s tech schedule. Complimentary (“Comp”) Ticket Policy
Complimentary tickets, or “Comps”, are given to students who perform or work crew on Departmental productions. Students must arrange complimentary ticket requests with the stage manager of the production at least 24 hours in advance. Any requests after that period will be denied. Mainstage Productions Each student performer or crewmember is granted 8 complimentary tickets for the entire run of the production. Students may use the tickets in any combination throughout the run. Shadowbox Theater Productions Each student performer or crewmember is granted 4 complimentary tickets for the entire run of the production. Students may use the tickets in any combination throughout the run. Audience Etiquette
Going to the theatre is a shared experience between the performers and the audience. As such, there is etiquette to be followed to ensure the best experience for all involved. Here are the top ten tips you can follow to be a great member of the audience: No talking during the performance. Unlike television the actors onstage can actually hear you if you make noise during the show. Phones must be silenced and put away for the duration of the show. A phone ringing during a performance is the equivalent of using the wrong fork at dinner. Seriously, it is a terrible distraction. Not far behind is the glow of a phone in use, so make sure to conduct all your business before the lights go down. Prepare your candy Everyone hates to hear the crinkling of a candy wrapper, so get your candy ready before the show starts if you must snack. Make sure to dress appropriately. While going to the theatre is not a black tie affair, it is also not to be confused with a day at the park. No flash photography. It can be dangerous for the performers. Applaud when appropriate. That is your contribution to the show. 41 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 Arrive on time. It is very rude and distracting to come in after the show has started. Keep your feet on the floor. Absolutely no feet up on seats! If your child is crying take them to the lobby. Your child will be happier, as will your fellow audience members and the pressure will be off you. Do not record the performance. As much as you may want to, this is illegal. Safety
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Safety is always the number one factor in all endeavors in the theatre. The performance spaces, shops, rehearsal rooms, backstage areas, and storage facilities should always be safe and healthy environments for the people working in theatre. The theatre industry continues to provide and improve the quality of the working environment by following certain guidelines and using common sense. This guide helps breakdown some of the issues and concerns as well as offer tips for a healthy and safe working environment. Personal Injury Hazards v Working under the influence of drugs or alcohol v Tools and equipment not in safe operating condition v Tools and materials improperly stored v Handling tools and materials improperly v Unclean and cluttered environment v Working without adequate safety precautions or equipment v Working with stress or exhaustion Personal Health Hazards v Toxic vapors, fumes, dust, and sprays can be inhaled into the lungs v Toxic materials ingested enter the mouth through dirty hands v Chemicals penetrate skin and are absorbed directly into the blood stream especially through sores, cuts, and breaks in the skin v An acute reaction is an immediate response to a toxic substance with symptoms like nausea, dizziness, headache, mental disorientation, or irritation to eyes and nose. Let someone know if you experience these symptoms and get medical treatment immediately v A chronic illness is a result of accumulative expose to toxic substances over a long period of time such as cancer, liver and kidney damage, lung disease, damage to the central nervous system Personal Protective Equipment Eye protection v Eye protection must be worn during all construction tasks 42 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 Comment [1]: Josh should review and revise this section v Basic styles are glasses, goggles, or face shield. (Note that there are special tinted lenses used for welding) v If you need prescription eyewear: goggles or face shield must be worn over the glasses. However, custom lenses can be acquired for most eye protection Foot protection v Thick-­‐sole leather shoes must be worn during all construction tasks, load-­‐ins, and strikes. For example, construction boots, leather boots or sneakers v NO OPEN TOE SHOES OR HIGH HEELS! Hand protection v Heavy cotton or leather gloves must be worn when handling construction materials such as lumber and metal; also for focusing lighting instruments v Rubber gloves must be worn when handling chemicals v Lightweight cotton gloves must be worn when handling film, slides, lenses, or replacement lamps for lighting and projection equipment v High temperature leather gloves must be worn when welding Head protection v A hard hat must be worn where work is in progress above your head Ear protection v Ear protection must be worn where there is constant exposure to high noise levels such as using a power saw, drill, router, sander or grinder v Basic styles of ear protection are earmuffs or disposable earplugs Torso protection v A leather apron must be worn for welding v A mechanics coat or lab coat must be worn when working with solvents and chemicals Respiratory protection v A respirator, particle, or dust mask must be worn whenever airborne particles are present v Particle mask must be worn for cutting or shaping wood v Dust mask must be worn for sanding or sweeping v Respirator must be worn for working with chemicals, welding, aerosols, or compressor spraying operations Fire safety Fire hazards v Improper storage of combustible materials such as wood, fabric, chemicals, paper v Inadequate or improper wiring such as overloading electrical circuit v Faulty electrical equipment such as exposed wires or broken motor v Open flame (such as smoking, candles, torches) without proper precautions v Failure to comply with fire codes such as using fire extinguishers, sprinkler systems and fire-­‐retardant materials v Unclean and cluttered environment 43 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 Fire extinguishers v Know the location of all fire extinguishers. v The location of all fire extinguishers must be clearly marked v All fire extinguishers must be accessible and clear of all equipment, scenery, costumes, or props v All fire extinguishers must be regularly inspected and tagged v Know the types of fire extinguishers and kind of fire each can suppress. Every fire extinguisher has a label stating the type of fire it can suppress o Class A -­‐ combustible materials such as wood, paper, and cloth o Class B -­‐ flammable liquids such as gasoline, oil, paints, and grease o Class C -­‐ electrical wiring or equipment Fire exits v Know the location of all fire exits v Location of all fire exits must be clearly marked with illuminated “EXIT” signs. v Access to fire exits must be kept clear of all equipment, scenery, costumes, or props. Fire precautions NO SMOKING! Curtains and draperies must be treated with fire retardants Fire retardant must be added to paint for all scenery Furniture and properties used on stage must be flame treated with fire retardants v Rags used with oil and solvents must be discarded in the flame retardant container v Acquire an open flame permit when combustible materials will be on stage such as matches, cigarettes, or candles; also keep a fire extinguisher accessible backstage. v Keep all work, storage, rehearsal, and performance space clean and uncluttered. v Chemicals and combustible materials must be stored in flame retardant cabinets Shop and storage safety v NO OPEN TOE SHOES OR HIGH HEELS! v Keep all work, storage, rehearsal, and performance space clean and uncluttered v Do not work under the influence of drugs or alcohol or while stressed or exhausted v Keep tools and equipment in safe operating condition and inform staff when something malfunctions v Keep tools and materials stored in an orderly fashion in its proper place v Do not handle tools and materials with out proper training v Work with proper personal protection equipment v Do not wear loose fitting clothes to prevent getting snagged v
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44 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 v Long hair must be tied back, also hanging jewelry and large rings must be removed. v Access to fire extinguishers and exits must be kept clear of all equipment, scenery, costumes, and props. v Have emergency phone list posted (medical, security, police, and fire) v NO SMOKING! v Use common sense Performance and rehearsal safety v Keep all work, storage, rehearsal, and performance space clean and uncluttered. v The emergency lighting system must be regularly inspected and tagged. v Have emergency phone list posted (medical, security, police, and fire) v Know the location of all fire extinguishers (The location of all fire extinguishers must be clearly marked). v Access to fire extinguishers and exits must be kept clear of all equipment, scenery, costumes, and props. v NO SMOKING! QCC Theatre Shop Safety Rules and Regulations
The following are guidelines for working in the QCC theatre shop areas, and should be followed at all times. If you have any questions, please feel free to ask the faculty or staff. You are responsible to know and understand all of the following: 1. All persons working in the shops shall be properly attired. This includes long pants and close-­‐toe shoes. Hard-­‐sole shoes should be worn if possible since gym shoes do not afford sufficient sole and toe protection. At no time will anyone wearing a dress, shorts, or sandals be allowed to work in the shop. Also, long hair is to be tied back to avoid any chance of getting it caught in moving machinery. 2. The scene shop is an eye protection area and safety glasses are required whenever entering this space. Ear protection is available to all students and staff in the shop areas at all times. It is up to the student or staff members to determine when this protection is necessary. 3. Every attempt should be made to keep your work area clean and organized. This means periodically sweeping up excessive waste and returning unnecessary tools to their proper places. 4. No soft drinks or food are permitted in the shop areas. 5. No person shall work in the shops while under the influence of drugs or alcohol. Prescribed drugs which could cause drowsiness, lightheadedness, or disorientation should also not be used. Any student using such prescribed medications should notify both the faculty and staff in charge. 6. Any time that you have a problem with any tool or machine, bring it to the attention of the staff so they may assist you. Never attempt to repair or adjust any machines. If a machine or tool is accidentally damaged, bring it to the attention of the staff. Please do not try to hide or cover up any damages. 45 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 7. At no time shall any student operate or attempt to operate any of the following pieces of equipment without permission of the staff: table saw, radial arm saw, circular saw, band saw, sabre saw, drill press, any pneumatic power tool. 8. Before operating any power tools, make sure all allen wrenches, chuck keys or other foreign materials are clear of the machine's work area. 9. Dangling necklaces or large rings, long loose scarves or loose sleeves should not be worn in the shop as they may become entangled in moving machinery. 10. Always make sure that all power tools are turned off and the electrical power disconnected before leaving the machine. Never leave an unattended machine running, even for "one second". 11 & 12. IF YOU DON'T KNOW -­‐ ASK! There is no such thing as a dumb question, only dumb mistakes and injuries Miscellaneous Suggested Reading List
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Classical Playwrights (Greek and Roman) v Aeschylus v Aristophanes v Euripides v Plautus v Seneca v Sophocles Playwrights of Eastern Cultures v Guan Hanqing v Namiki Sosuke Medieval Drama v Anonymous v Everyman v The Second Sheperd’s Play (Wakefield Cycle) Italian Commedia Dell’arte v Niccolo Machiavelli v The Mandrake Elizabethan and Jacobean Playwrights v Ben Jonson v Christopher Marlowe v William Shakespeare v John Webster Spanish Golden Age Playwrights v Pedro Calderon de la Barca 46 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 Comment [2]: Insert blurb about what and why we’ve included a reading list. v Sor Juan Ines de la Cruz v Lope de Vega French Neo-­‐Classical Playwrights v Jean Baptiste Poquelin Moliere v Jean Racine Restoration and Eighteenth Century Anglo-­‐European Playwrights v Aphra Behn v William Congreve v Pierre de Beaumarchais v John Dryden v Johann Wolfgang von Goethe v Carlo Goldoni v Richard Brinsley Sheridan v William Wycherley Modern Drama Playwrights Anglo-­‐European Cultures v Samuel Beckett v Bertolt Brecht v Anton Chekhov v Caryl Churchill v Jean Genet v Henrik Ibsen v Eugene Ionesco v Frederico Garcia Lorca v Harold Pinter v Luigi Pirandello v Edmond Rostand v Jean-­‐Paul Sartre v Peter Schaffer v George Bernard Shaw v Tom Stoppard v August Strindberg v J.M. Synge v Oscar Wilde Modern Drama Playwrights of African Cultures v Athol Fugard v Wole Soyinka Modern Drama Playwrights of American Culture v Edward Albee v Maria Irene Fornes v Susan Glaspell v Lorraine Hansberry v Lillian Hellman 47 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 v
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Henry David Hwang Tony Kushner David Mamet Arthur Miller Clifford Odets Eugene O’Neill Susan Lori Parks Sam Shepard Anna Deavere Smith Sophie Treadwell Paula Vogel Thornton Wilder Tennessee Williams August Wilson Texts v Aristotle. Aristotle's Poetics. New York: Hill and Wang, 1998. Print. v Artaud, Antonin. The Theater and Its Double. New York: Grove, 1958. Print. v Ball, David. Backwards and Forwards: A Technical Manual for Reading Plays. Carbondale: Southern Illinois UP, 1983. Print. v Bentley, Eric. The Life of the Drama. New York, NY: Applause Theatre, 1991. Print. v Boal, Augusto. Theatre of the Oppressed. New York, NY: Theatre Communications Group, 1995. Print. v Brecht, Bertolt. Brecht on Theatre: The Development of an Aesthetic. New York: Hill & Wang, 1996. Print. v Brook, Peter. The Empty Space. New York: Simon & Schuster, 1996. Print. v Chaikin, Joseph. The Presence of the Actor. New York, NY: Theatre Communications Group, 1991. Print. v Gilman, Richard. The Making of Modern Drama: A Study of Büchner, Ibsen, Strindberg, Chekhov, Pirandello, Brecht, Handke: With a New Introduction. New Haven, CT: Yale UP, 1999. Print. v Grotowski, Jerzy, and Eugenio Barba. Towards a Poor Theatre. New York: Routledge, 2002. Print. v Jones, Robert Edmond. The Dramatic Imagination: Reflections and Speculations on the Art of the Theatre. New York: Routledge, 2004. Print. v Meisner, Sanford, and Dennis Longwell. Sanford Meisner on Acting. New York: Vintage, 1987. Print. v Stanislavsky, Konstantin, and Elizabeth Reynolds. Hapgood. An Actor Prepares. New York: Routledge, 2003. Print. Glossary for the Theatre
48 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 Acting Area: The area of the stage setting within which the actor performs. Amphitheater: An outdoor theatrical setting, usually with a large semi-­‐circular seating area sloping down to the stage. Apron: Section of the stage floor that projects towards the auditorium, usually in front of the proscenium arch. Arbor: Cradle in a counterweight flying system holding lead stage weight bricks. Arena Theatre: A theatre in which the audience sits on all sides of an acting area. Auditorium: The part of the theatre designed to accommodate the audience. Back Drop: Painted fabric scenery piece hung on batten. Backstage: The part of the stage not used as the acting area during a performance. Batten: Horizontal pipe or rail from which scenery, lighting, and other equipment is suspended. Book Flat: Two flats hinged together on the vertical edges. Booth: The room from which the lighting and sound is controlled, usually at the rear of the auditorium. Border: Flown scenic piece or curtain designed to conceal the upper part of the stage and its machinery or lighting equipment. Bounce: Drop fabric piece hung on batten and used to reflect light to illuminate other scenery. Brake: Lever on a counterweight system that locks the rope to stop accidental movement. Breast: To move a flying piece of scenery from its hanging position to allow an object to pass. Catwalk: Walkways above the stage or auditorium. Center Line: An imaginary line running from the front to the back of the stage through the exact center of the stage. Center Stage: The middle of the stage from left to right. Cleat: A hardware piece to which rigging lines are secured. Corner Block: Triangle of plywood used to attach styles and rails in the corners of Broadway flats. Counterweight System: A system of suspending scenery above a stage which enables it to be raised or lowered easily. The scenery is attached to a batten, which in turn is suspended by steel cable that runs to the grid, and then down a wall and to the arbor. The arbor runs along tracks bolted to the wall. For every pound on the batten, a weight is placed in the arbor to create a balancing load. Once balanced most items can be flown IN or OUT without much physical effort Crash Box: Box used for creating sound effects. 49 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 Crossover: The space behind the stage setting or below the stage through which actors can get from one side of the stage to the other out of view of the audience. Curtain: A piece of hemmed fabric hung on a batten. Cyclorama: A piece of fabric hung on a batten usually far up stage used for the projection light designs and shadows. Dead Hung: Suspension lines which are fixed and not able to be raised or lowered via the normal pulley system. Dock: Area where materials are loaded into and out of the trucks or vehicles. Double Purchase: Counterweight system using multiple pulleys where the arbor travels half the distance of the batten and therefore leaves the side wall of the stage under the fly rail clear. Downstage: The part of the stage closest to the audience. Dutchman: Material used to hide and smooth the gap between abutting flats. Elevation: A working drawing usually drawn accurately and to scale, showing the side view of the set or lighting arrangement. Elevator Stage: Type of mechanical stage with sections that can be lowered or raised. False Proscenium/Portal: An inner frame that narrows down the opening of the proscenium arch. It may help to hide lanterns or may be required by the design of the show. False Stage: A special stage floor laid a few inches above the real stage, to allow the running steel cables to pull trucks across the stage. Fire Curtain: The fireproof curtain that in an emergency is dropped at the front of the stage, effectively sealing the stage from the auditorium and thus slowing the spread of flames. Flat (Broadway/Hollywood): A basic unit of scenery, a flat framed unit usually covered with canvas or plywood. Fly Rail: A platform along the side of the stage from which the flying lines are operated. Flys: The space above the stage in which scenery and lighting are invisible to the audience. Front of House: Any part of the theatre in front of the proscenium arch. Grid: A system of pipes, slats, and beams from which theatre equipment is hung. Gridded: A raised piece of flying scenery brought as high as possible into the flys. Ground Cloth: A canvas covering for the floor of the stage. The cloth can be painted to resemble some surface, but be easily removed to reveal another cloth, or the stage floor below. Ground Plan: A scale drawing that shows the exact position of the openings, wall and windows, and other details on in a stage set as seen from above. 50 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 Ground Row: Masking for lighting equipment on the floor usually a piece of scenery in front of cyclorama. Grudgeon: Bracket fixed to fly rail in hemp houses to which the hemp ropes are tied off. Hand Prop: Any prop handled by an actor. Windows User 7/8/14 6:01 PM
Comment [3]: Spelling? Ask Josh Hemp House: A system of flying scenery with rope, counterweighted with sandbags, and tied off to a cleat. Hemp: Rope used for flying systems. House Curtain: The main front curtain in a proscenium theatre (AKA Main Rag). House: The auditorium in which the audience views the performance. In: Term for flying scenery down from the flys. Keystone: A piece of plywood used to attach toggles to styles and rails of Broadway flats. Legs: Vertical strips of fabric, usually black, used mainly for masking the sides of the stage. Masking: scenic piece used to conceal offstage areas. Nailing Block: A small piece of lumber used to attach styles, rails and toggles together on Hollywood flats. Offstage: 1) Backstage area outside the performance area. 2) Direction towards the wings. Onstage: 1) Inside the acting area on the stage. 2) Direction towards the centerline. Orchestra Pit: The sunken area in front of the stage where the orchestra plays during a performance. Orchestra: The ground floor seating in an auditorium (AKA The Stalls). Out: Flying scenery term for bringing up a set piece or drop. Plaster Line: A line between the upstage side of the proscenium used for measuring the positions of scenery. Platform: A floor elevated above the stage floor. Practical: Object onstage that needs electricity to operate like a lamp or telephone. Preset: Used to describe any scenery or prop placed in its working area before the performance. Properties (Props): Any item or article used by the actors other than scenery and costumes. Props Table: A table in convenient offstage area on which all props are stored. Proscenium Arch: The archway which separates the stage and the auditorium. Proscenium Theatre: Any theatre that has a proscenium arch. 51 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 Windows User 7/8/14 6:02 PM
Comment [4]: Only broadway style? Josh Rail: Bottom or top batten in a flat. Rake: The incline of a stage floor or seating area away from the horizontal, originally introduced as a way of improving sight-­‐lines. Return: A flat or curtain leading off from another at right angles. Reveal: A small return surrounding an arch, window, or doorway to suggest depth and thickness. Revolving Stage, A Revolve: A large turntable which turns the set so that, even though two or more scenes may be on the revolve, only one need be visible to the audience at a time. Rigging: To hang equipment and scenery on battens, counter weight systems, or a grid. Riser: An elevated platform Rostrum: A portable platform usually in the form of a collapsible hinged framework (gate rostrum) with a separate top. Safety Chains: Short length of chain with a clip on one end and a ring on the other used in rigging. Sand Bag: A canvas bag filled with sand used to secure and weight scenery on the stage. Scrim: Finely woven fabric which can be translucent or opaque using lighting from different angles Set Dressing: Props and furnishings used to create atmosphere rather than having a function. Sight-­‐lines: Lines indicating the limits of what an audience can see. The sight-­‐lines can be drawn on a plan or determined by someone in the auditorium. Sill: A flat metal bar screwed to the bottom of a door flat to secure it to the stage. Single Purchase: Counterweight system where the arbor travels the same distance as the batten. The counterweight frame therefore occupies the full height of a wall on the stage. Spanset: An extremely strong nylon strap made into a loop used in rigging. Spiking: Indicating the position of scenery or props on the stage floor, usually with different color tapes to avoid confusion. Stage Brace: A support for flats where one side is attached to the back of a flat the other is attached to the stage floor, usually it is a triangular bracket that strengthens a flat in a vertical position. Stage Door: The door to the theatre through which the cast and crew enter and exit the theatre. Stage Left: The left side of the stage as viewed by the cast facing the audience. Stage Right: The right hand stage as viewed by the cast facing the audience. Stage Screw: A screw with a butterfly handle used to attach to stage floors. Stage-­‐weights: Lead or steel weights placed in the arbor to counterbalance the weight of flown scenery in a counterweight system. 52 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 Windows User 7/8/14 6:02 PM
Comment [5]: Spelling, two words? Josh Stage: The part of the theatre on which the actor performs. Stile: The vertical piece at the top and bottom of the framework of a flat. Stock Scenery: Scenic pieces that can be used for a number of different plays (flats, platforms, step units, doors, and other architectural pieces). Stretcher: A wooden batten clamped to side edge of a backdrop with rope attached then pulled outwards to stretch the cloth flat. Tab: A curtain that hangs up and down stage to mask offstage areas Teaser: A border of scenery behind the front curtain for masking the flys. Theatre In The Round: A stage in which the audience sits on all sides of the stage. Thrust Stage: Type of stage which projects into the auditorium so the audience can sit on at least two sides. Toggle: Crosspiece in the frame of a flat. Trap: A door in the stage floor opening into an area below stage for special effects. Traveler: Curtain parting in center and moving off stage. Traveler Track: Horizontal track that carries traveling scenery. Trim Chain: Short length of chain linking the wire rope end to a fly bar. By clipping or shackling the chain up or down a few links the horizontal alignment of the bar can be adjusted. Trim: To adjust flown scenery so the bottom is level with the floor. Truss: A lightweight structure frame used for hanging equipment allowing for the most distance between support points. Tumbling: Flying a cloth from the bottom as well as from the top when there is insufficient height to fly in the normal way. Upstage: The part of the stage furthest away from the audience. Wagon: A low platform with wheels or castors on which a piece of scenery can be moved. Wings: The sides of the stage concealed from the audiences' view. 53 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 Addendum Windows User 7/8/14 6:02 PM
Comment [6]: These are not here..need to add YES 1. Practicum Contract 2. Acting 1 and 2 grading rubric 3. Audition Form 4. Irene Ryan information 5. How To Conduct Yourself In An Audition (handout) 6. Honors Contract 54 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 THE HONORS PROGRAM
Queensborough Community College
City University of New York
Dr. Paris Svoronos
Professor, Department of Chemistry
(718) 631-6280
Susan Madera
Office of Academic Affairs
(718) 281-5289
Honors Contract
The deadline for submitting an honors contract is no later than 3 weeks after the first day of classes. For Fall 2013 the
deadline is September 23, 2013. Please make a copy of this contract for your records and submit the completed form to
Ms. Carol Imandt in the Office of Academic Affairs (OAA), Room A-503. Honors Students are encouraged to present
their work at the annual Honors Conference in May 2014.
All students pursuing honors contracts must complete an Honors Library Workshop and present their
certificate of completion in order to receive honors credit. The schedule for the Workshop is attached.
Student name:
CUNY ID No.:
E-mail Address:
Date submitted to OAA:
Date to be completed:
Course number, title,
credits:
Faculty Director:
1.
Description of the project intended to satisfy the requirements of an honors class. The description should indicate the
level and extent of honors work that distinguishes it from the regular requirements for the course. (Use additional sheets
if necessary.)
2.
Detailed timeline for completion of project (Use additional sheets as required)
Assignment/Development stage
Date Due
55 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4 ________________________________________________________________________________________________________
________________________________________________________________________________________________________
________________________________________________________________________________________________________
___________________________________________________________
3.
Description of resources to be used for the project (Use additional sheets if necessary.)
4.
Methodology of project (Use additional sheets if necessary.)
5.
In what form will the final results of the project(s) be presented for faculty evaluation? Will the student submit
presentation for QCC’s annual Honors Conference? If so, please provide us with advance notice.
SIGNATURES
I agree to abide by and to fulfill all of the conditions and deadlines listed in this contract to earn
honors credit.
/
Student signature and date
I approve this honors contract proposal and agree to direct it.
/
Faculty Director Signature and date
I approve this honors contract proposal for the department.
/
Department Chair signature and date
This honors contract proposal meets program guidelines.
/
Honors Program Director signature and date
For Internal Use:
Date Honors Library Workshop Completion Certificate received: _________________________
Date Project received (if applicable):
__________________________ 56 | P a g e U p d a t e d : J u l y 3 1 , 2 0 1 4