MIDDLE TENNESSEE STATE UNIVERSITY
Theatre Program 2015-2016
TheatreStudent
Handbook
THEATRE STUDENT HANDBOOK
2015-2016
Welcome to the MTSU Theatre Program.
This handbook has been prepared to acquaint you with various aspects of the program.
This manual is intended to provide insight and serve as a guide to your theatre studies.
You will also find information about the program as well as current news at our website:
http://www.mtsu.edu/theatre/index.shtml
Keep in mind that you are committing yourself to a four-year investment of time and
energy. The MTSU Theatre faculty wants you to make the most of it. PLEASE READ
THE ENTIRE HANDBOOK CAREFULLY. The Theatre program has been
developed for the serious student. Should you have questions or concerns at any time
please do not hesitate to talk them over immediately with your advisor or any member of
the theatre faculty. (adapted from RU, 2010)
BEST OF LUCK WITH YOUR THEATRE STUDIES.
Student Agreement of Understanding
The purpose of the Theatre Student Handbook is to define all rules, regulations, and procedures
associated with the Program including academics, student conduct, production, and safety. Given the
potentially hazardous nature of some aspects of theater production, it is particularly important that these
rules and procedures be observed.
By signing below, I indicate my agreement to each of the following:
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I have read the Theatre Student Handbook
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I understand that I am responsible for all information contained within it.
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I agree to abide by the rules, regulations and guidelines set forth in the Theater Student
Handbook as well as the Student Code of Conduct defined in the MTSU Theatre Student
Handbook.
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I acknowledge that failure to observe the rules, regulations and procedures outlined in the Theatre
Handbook may result in imposition of penalties as set forth in the Handbook.
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I acknowledge that these policies and procedures are subject to revision and alteration, that these
changes will be communicated via electronic dissemination, and that I am responsible for keeping
up-to-date on these revisions.
______________________________________
Name (print)
______________________________________
Signature
______________________________________
Date
Please print, sign and return this form to your instructor on the date requested. You will also be given an
exam on the material contained in the Handbook. Students who do not submit this form or who fail to
pass the exam will not be allowed to participate in any production activities . (adapted from WCU)
Table of Contents
MTSU THEATRE MISSION .................................................................................................... 5
ORIGINS AND HISTORY ....................................................................................................... 6
ACADEMIC PROGRAM ......................................................................................................... 7
Academic Advising .......................................................................... 7
Theatre Major Program Requirements ............................................ 8
Academic Map ................................................................................ 8
Mid Program Review ....................................................................... 8
Production Practicum Policies ....................................................... 10
Preparing Your Design/Tech Portfolio ........................................... 10
Preparing Your Resume ................................................................ 11
Writing Rubric for Theatre Courses ............................................. 144
Other Student Information ........................................................... 155
Theatre Faculty and Staff ............................................................ 166
STANDARDS AND EXPECTATIONS................................................................................. 177
Theatre Code of Ethics ............................................................... 177
How to be a Successful Theatre Student .................................... 188
Attending MTSU Theatre Productions......................................... 199
Participation in MTSU Productions.............................................. 199
Class Attendance and Preparation.............................................. 199
Theatre Majors’ Meetings .............................................................. 20
Theatre Majors’ List-serve............................................................. 20
MTSU Student Conduct Policies ................................................... 20
PRODUCTIONS ................................................................................................................. 244
Season Selection and Rotation ........................................................................................... 244
MTSU Auditioning and Casting Policy ................................................................................. 255
PRODUCTION ROLES....................................................................................................... 255
DIRECTOR......................................................................................................................... 255
ASSISTANT DIRECTOR .................................................................................................... 265
STAGE MANAGER ............................................................................................................ 265
ACTORS .............................................................................................................................. 26
SCENE DESIGNER............................................................................................................ 266
LIGHTING DESIGNER ....................................................................................................... 266
TECHNICAL DIRECTOR……………………………………………………………………………..27
RUN CREW…………………………………………………………………………………………….27
COSTUME DESIGNER ...................................................................................................... 287
Student Costume Designer ............................................................................................ 288
Student Makeup Designer ............................................................................................. 288
Costume Crew Leader................................................................................................... 298
SOUND DESIGNER ............................................................................................................. 30
SCENIC ARTIST .................................................................................................................. 30
MASTER ELECTRICIAN ...................................................................................................... 30
SOUND TECHNICIAN .......................................................................................................... 30
PROPERTIES MASTER ....................................................................................................... 30
HOUSE MANAGER .............................................................................................................. 30
THEATRE FACILITIES AND SHOPS ................................................................................... 32
Tucker Theatre Policies and Procedures .................................... 322
Tucker Theatre Scene Shop Rules and Regulations .................. 344
Costume Studio Employee Guidelines .......................................... 35
Anderson Studio Theatre Policies and Procedures ....................... 36
Theatre Box Office ........................................................................ 40
Theatre Safety and Emergency Procedures ................................. 40
Theatre Production Calendar Template ...................................... 511
Callboards ................................................................................... 522
Student Key Policy ........................................................................ 52
Related Student Opportunities .............................................................................................. 54
Student Productions ...................................................................... 54
Alpha Psi Omega .......................................................................... 54
Scholarships.................................................................................. 54
Internships .................................................................................... 55
Theatre Organizations and Networks ............................................ 56
Appendix ............................................................................................................................. 587
Glossary ........................................................................................ 73
Aristotle’s Six Elements of Drama ............................................... 765
Reading List .................................................................................. 77
References ......................................................................................................................... 798
MTSU THEATRE MISSION
Our philosophy. Through a liberal arts approach to theatre training with innovative programs of educational discovery, students will
explore their creative and intellectual potential to become future artists, scholars, educators and practitioners of the performing arts.
Who we are. The Theatre Program at MTSU is the leading comprehensive program in Tennessee and is highly regarded throughout the
Southeast region. The program averages 150 students and is the largest undergraduate program in the State. Graduates of this program can
be found in professional theatre, film, television, and theatre education throughout the United States.
What we do. Our program is designed to assist students in becoming theatre professionals and successful graduate degree candidates. With
a strong commitment to undergraduate education, the program allows students to choose a focus on performance (acting and directing), design
and technical theatre, or to work towards an Education degree with certification to teach theatre. All MTSU theatre students are expected
to gain a broad-based knowledge of all major aspects of production as well as a solid grounding in the history, theory, and literature of their
art. Students may also find instruction and opportunities to obtain skills in playwriting, stage managing, and the business aspects of the
entertainment arts. There are numerous opportunities for internships and participation in local, regional and national theatre festivals and
conferences. As a result of their work in the classroom, on the stage, backstage, or behind the scenes, as well as their participation in the
opportunities mentioned above, MTSU theatre students will also acquire the communication and interpersonal skills necessary for effective
collaboration within an ensemble.
Where we are going. We aim to be one of the leading comprehensive programs for theatre professionals and educators in the
Southeast region through a continued focus on academic quality, creativity and dedication to student-centered training.
Our values.
 Commitment: Our dedication to the field of theatre as a profession is essential to the pursuit of excellence in theatre
training.
 Creativity: Through academic and intellectual discovery and exploration, we nurture artistry and the exchange of ideas.
 Collaboration: We welcome the voice of the individual artist to a dynamic and shared vision of our theatrical goals.
 Community: We value our audiences, campus and world communities for their feedback and support for the theatre arts.
 Diversity: We celebrate diversity of ideas, cultures and ingenuity which enriches our creative work.
Our goals. We seek to:
I. Prepare students to be quality theatre professionals and educators with a commitment to lifelong learning, creativity and
teaching in the arts.
II. Assist students in becoming responsible and productive citizens who engage the local and global community in creativity
and in support for the arts.
III. Train students to reach out and embrace diversity as an enhancement to creativity in the arts and as a means to
celebrate our humanity.
IV. Contribute to the education of all MTSU students through quality performances in which culture, values and social
awareness are artistically expressed.
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ORIGINS AND HISTORY
The MTSU Theatre program began in 1925 when the current MTSU was the Middle Tennessee State
Teachers College. The Dramatic Club was organized by Miss Rebecca J. Buchanan of the Department of
Speech. The club produced plays for four decades with noted success and dedication of the student players,
which included the Honorable Senator Albert Gore, Sr. The Buchanan Players continued as a student
organization focused on Theatre activities and events into the 1980’s. As the 1950 Midlander yearbook noted,
the Buchanan Dramatic Club “takes pride in bringing outstanding plays to the campus, but its primary aim is
to afford every interested student an opportunity to be active in some phase of the theatre.” That same year
saw the establishment of the Lambda Gamma chapter of Alpha Psi Omega, the national honorary dramatic
society, and the chapter remains active today. Soon after the Department of Speech and Theatre was
organized in the1960s, productions were mounted in the new venue now called Tucker Theatre, rededicated
in 2010. In 2015, theatre at MTSU began a new chapter by receiving accreditation from the National
Association of Schools of Theatre, by creating a stand-alone major in Theatre, and by forming an
independent department of Theatre and Dance. As MTSU is early in its second century, the Theatre program
continues to build upon a tradition of student-centered initiatives that encompasses contributions by its
graduates. Included among these initiatives is our effort to have MTSU Theatre reflects the university’s
commitment to preparing students to thrive in a changing global society, as can be seen through our recent
performance tours to Russia, Finland, Latvia, Honduras, Ireland and Great Britain, among others.
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ACADEMIC PROGRAM
Academic Advising
Your Advisor
You will be assigned an advisor from among the faculty in the Department of Theatre and Dance. Your
advisor will assist you in selecting courses and planning your schedule.
- It is important that you maintain contact with your advisor throughout your enrollment.
- Faculty advisors post a schedule of office hours and you should feel free to call on them anytime you
need assistance.
- One of the best ways to ensure a successful academic career is to use the academic advising process.
- Academic advising is the time for you and your advisor to discuss academic and career goals,
schedules for the upcoming semester, and opportunities available to you in your major.
- These advising sessions should occur at least once a semester.
- To find the name and contact information for your assigned advisor, check your PipelineMT
account.
Students who have earned less than 30 hours before the registration period are required to
see an advisor before registering. A hold will be put on your registration and removed once
you have been advised. Courses that you are currently enrolled do not count towards this
rule.
Advising Appointments
All students are expected to see your advisor prior to registering for the next academic term. If you are
scheduled for an advising appointment, you must attend.
How to Prepare for an Advising Appointment
1. Make your appointment early.
2. Keep your appointment or call in advance to cancel so that someone else may have the time slot.
3. Be on time.
4. Review materials that you received at orientation or during previous appointments before you go to
your appointment.
5. Write down any questions you wish to ask your advisor.
6. Take appropriate materials to the advising appointment (pen/pencil, catalog, upper-division form,
transcript, transfer evaluation, registration guide, etc.).
7. Follow through on referrals and recommendations that are made during the advising sessions.
(adapted from MTSU, 2011)
Faculty Mentoring
- The MTSU Theatre faculty are dedicated to the tradition of theatre apprenticeship training through
student-centered learning environment.
- All members of the full-time Theatre faculty are involved with formal and informal mentoring.
- Feel free to consult with members of the Theatre faculty regarding theatre courses and production
assignments, as well as other issues regarding academic goals, personal aspirations, and professional
ambitions. (adapted from UT)
Keep in mind: Active and continual participation in the Theatre production program is the key to your preparation as a Theatre professional.
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Theatre Program Requirements
MTSU offers Bachelor of Science degree in Theatre and Bachelor of Science with Teaching Licensure.
Students pursuing the Theatre major typically aim for performance and design and technology careers,
graduate school, or teaching. Be sure to talk with your advisor about these degrees to choose the best
direction for your future. For all theatre degree programs, you must successfully complete:
- General Education (41 hours)
- Theatre Core (34 hours)
- Theatre or Dance Cognate (18 hours)
Bachelor of Science Degree
Students pursuing the B.S. degree must complete a Dance or Theatre cognate and one minor. The minor
must not require any courses with a THEA prefix.
Bachelor of Science with Teaching Licensure
Students pursuing the B.S. degree must complete a Teacher Licensure Cognate and a minor in Secondary
Education.
Theatre Graduation Requirements
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Earn a “C” (2..0) or better in all Theatre major courses (core and cognate)
Complete Exit Exam
Complete Theatre Student Exit Interview
Complete the General Education Exam
Academic Map
An academic map is a suggested four-year schedule of courses based on degree requirements in the
undergraduate catalog. The academic map serves as a general guideline to help build a full schedule each term.
Milestones, courses, and special requirements necessary for timely progress to complete a major are
designated to keep you on track to graduate in four years. Missing milestones could delay your program.
An academic map is not a substitute for academic advisement—contact your advisor if you have any
questions about scheduling or about your degree requirements. Also see the current undergraduate catalog
(catalog.mtsu.edu) for a complete list of requirements and electives. The academic maps for the Theatre
programs are included in the Appendix.
Mid Program Review
During the semester that the student will complete 60 hours, the student will be reviewed by the theatre
faculty prior to registering for the next semester. This formative review will prepare the student for entrance
to upper level theatre major program. This consists of a comprehensive review of the student’s theatre
record. A registration hold will be put on student’s registration until student has completed the review
process.
 All Students who have completed 45-60 hours before the semester of review will be reviewed.
 All transfer students who have completed transfer 45 hours or more above and completed at least 12
hours of course at MTSU will be reviewed in the second semester of his or her enrollment at MTSU.
Student Theatre Record will include:
 Grades (transcript)
 Overall Participation in Theatre major program (record)
 Practicum assessments (THEA 2900 and 4900)
 Performance assessment (audition records, performance courses in record)
 Design and Technology assessment (design/tech courses in record)
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Program of study record (advising file)
In addition, the student will be asked to submit portfolio materials and resume.
Review Process: Faculty Committee will review the student record and make recommendations about the
student’s future progress in the program. The review results will be forwarded to the academic advisor to aid
in planning for the student’s future, and the advisor will meet with student to go over the Student Review.
Complete Review
 2.0 or better in all THEA courses
 Successful completion of Gen Ed courses
 Participation in productions: auditions, crews, etc.
 Positive assessment of performance and design/tech coursework and practicums
 Adequate compilation of portfolio materials and resume development
 Adequate advancement in Program of Study
Incomplete Review
 Did not obtain 2.0 or better in all THEA courses
 Non-successful completion of Gen Ed courses
 Level of participation in productions: auditions, crews, etc.
 Negative assessment of performance and design/tech coursework and practicums
 No compilation of portfolio materials or resume development
 Inadequate advancement in Program of Study
If a student does not meet criteria of the Review, Faculty Committee may recommend student to repeat the
Review at the end of the next semester and/or for counseling to consider academic support or other options
of undergraduate study. The nature and spirit of this review should be formative and intended to provide the
student with effective feedback and support to facilitate successful completion of the theatre degree program.
The Mid Program Review has been developed in accordance to NAST requirements (NAST Handbook, 2012-13, p. 86) under V. Admission to Undergraduate Study, D.
Theatre Aptitudes and Achievements, 1. Auditions and Evaluations.
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Production Practicum Policies
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As a requirement for graduation, majors in Theatre MUST complete Production Practicums. The
number of practicums needed will be specified in your designated undergraduate catalog
(catalog.mtsu.edu).
Students may obtain permits to enroll for THEA 4900 from faculty who supervise practicum
projects – show directors, costume, scenic, lighting, and management area faculty. You MUST work
out details of your practicum assignment first with that instructor. The signed Permission of
Department (POD) form from the practicum supervisor may be turned into the Department of
Theatre and Dance for processing. After the permit has been processed, you MUST enroll in the
course via PipeLine.
You may enroll in THEA 4900 after the Drop/Add deadline using a Drop/Add form obtained
through the departmental office and processed though MT OneStop. A POD is still required along
with the Drop/Add form.
Grading for THEA 4900 courses will use the Production Practicum Rubric form. Consult your
practicum supervisor for details. Practicum supervisors will complete a rubric form, assign a grade,
and inform the department of the grade. The Chair of Theatre and Dance is responsible for posting
the final course grade in PipeLine.
Practicum projects are approved for work on departmental productions or for other on-campus
productions in which the student’s work is supervised by departmental faculty.
Students may enroll for NO MORE THAN two (2) practicum courses during a single semester.
Students may enroll in a THEA 4900 course up to one semester after the practicum project is
completed. No THEA 4900 credit will be given after one semester has passed, excluding summer
terms. See Appendix.
Preparing Your Design/Tech Portfolio
Your portfolio should:
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Include a wide range of work that represents your abilities as an artist, designer and technician.
Be neatly arranged so that it starts and ends with your strongest work. (You want to begin with a good impression
and leave a good impression).
Include examples of design projects (both class work and realized), photos representing finished products (lights,
sets, props, make- ups, costumes, etc) and artwork of all types.
Have at least one complete project that shows your process from start to finish including but not limited to:
inspiration/concept ideas and/or concept statement, research, preliminary /thumbnail sketches, color palette, final
sketches and/or a photograph of the set model, construction drawings (if applicable), photos of the completed
design(s) and examples of the designs from the other members of the team.
Make sure that your portfolio and resume are reviewed by your mentors before you go on an interview. Remember
that we are here to help you. All criticism is intended to be constructive and is given in an effort to help you become
successful.
Prepare for prospective employers and representatives seeking students for graduate programs to ask questions
about your work. Make sure that you can provide intelligent answers and speak succinctly about each play, musical
or dance piece that you have designed. “I don’t remember that play” or “ I thought that was cool so that is why I
did that” are unacceptable answers. Interviewers want to hear what inspired your choices and that you can provide
sensible justifications for your designs.
Plan for your interview: Be appropriately dressed in business casual attire and well-groomed. During the interview,
avoid distractions from presentation of your portfolio including: chewing gum, smoking, eating, drinking, texting,
answering your phone, etc.
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Prepare an electronic version of your resume and portfolio created via wix.com. For assistance in creating your
digital portfolio and/or web design visit the Digital Media Studio on the 2 nd floor of Walker Library.
Preparing Your Resume
Your Resume should be 1 page and should include the following types of information: your name, contact information,
your experience in theatre, related work experiences, skills, education and your references.
Acting/Performance Resume
NOTES
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Credits should be in reverse chronological order, except for professional credits which should come first –
leading with your most notable credit (most notable theatre, not part).
Use simple and easy to read fonts. Do not mix fonts.
In creating margins, keep in mind your resume will be stapled at all four corners to the back of your headshot.
Acting resumes should contain acting credits only. No directing, stage managing, tech, design, etc.
Do not list awards, scholarships, etc.
Do not list extra work on film – ever.
Females do not have to list their weight.
Do not state your age range.
Singers may list their singing part and range at the top of their resume with their personal information. If you are
not a singer, don’t.
Never put your physical address on your resume.
It is perfectly fine if you only have a couple of credits on your resume. Auditors understand everyone has to start
somewhere and they do not like irrelevant or “filler’ credits used to simply take up space – it makes you look
unprofessional and highlights your inexperience.
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Design/Technical Resume
Checklist
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Proofread!
Include your name, contact information, and type of work you seek in the header of the resume.
Select a uniform style of presentation. For example, most recent work goes at the top, genres of shows grouped
together, etc. Be logical and be consistent.
Do not crowd the page, the flow should be easy to read and sections easy to define.
Do not include references upon request. You must provide a list of references including phone numbers and email
addresses, although it may be a separate document. If you are posting your resume online, you may replace with
“references upon request” for security purposes.
Focus on relevant experience and tailor your resume to your audience and the position(s) you seek. You do not
need include every production credit. You may include a related work section if you have numerous relevant credits.
Theatre specific and academic resumes rarely include a career objectives statement at the top of the resume. These
may be appropriate on resumes posted to broad based online job search site or state job recruitment sites. An
employer using those sites may only see the first ten lines of your resume and then decide whether or not to
download the entire document.
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Your resume may need to be frequently revised for similar jobs. If Human Resources or a computer scan is the
initial review point, labeling your work using the same language as the advertisement may increase the chance that it
is actually read.
When listing your degree, be sure to list full degree, institution. While still in school, list your anticipated graduation
date. Any specific department accreditations (NAST, etc.) may be listed as well. Graduation year should only be
included if you are 15 years out or less.
If submitting files digitally, include your name in the file title and save it in PDF format i.e. John_Doe_Resume.pdf.
This format helps ensure that your document will not lose formatting during submission and transmission.
Additional, the inclusion of your name aids in making your submission easily recognizable and searchable.
Checklist courtesy USITT Lighting Commission, written by Autum Casey, Ellen E. Jones, Darren E. Levin.
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Writing Rubric for Theatre Courses
An Above Average paper will demonstrate the following characteristics:
1. The entire essay is related to the assigned topic; all task requirements have been addressed.
2. Introduction is engaging, clear, and well-developed.
3. The paper has a clear and well-defined thesis.
4. Paper is well organized and well supported. Supporting points are presented in a logical
sequence.
5. Conclusion is thought-provoking and well-developed.
6. Sentence structure is sophisticated; vocabulary is precise and suited to the purpose; the paper
contains few serious grammatical errors
An Average paper will demonstrate the following characteristics:
1. Most of the paper is related to the assigned topic, and the major requirements of the task have
been addressed.
2. Introduction has been attempted and is at least partially engaging.
3. The paper has a thesis; however, the thesis may not be easily identifiable nor particularly original
or thought-provoking.
4. Meets requirements for organization and development.
5. Main points are adequately supported
6. Paper contains an adequate conclusion.
7. Sentence structure has some variety; vocabulary is adequate and usually appropriate to the task.
8. Paper may contain grammatical errors but not a consistent pattern of serious errors which make
the paper hard to understand.
A Below-Average paper will demonstrate the following characteristics:
1. Little or no attempt has been made to address the topic.
2. Introduction & conclusions non-existent or poorly developed.
3. Paper seems randomly organized and development is weak.
4. Supporting details are vague.
5. Sentence structure basic and there are many inaccurate word choices.
6. Grammatical mistakes are numerous and distract from any understanding of the paper’s purpose.
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Other Student Information
Lottery Scholarship Students:
Do you have a lottery scholarship? To retain Tennessee Education Lottery Scholarship eligibility, you must
earn a cumulative TELS GPA of 2.75 after 24 and 48 attempted hours and a cumulative TELS GPA of 3.0
thereafter. You may qualify with a 2.75 cumulative GPA after 72 attempted hours (and subsequent
semesters), if you are enrolled full-time and maintain a semester GPA of at least 3.0. A grade of C, D, F, or I
in this class may negatively impact TELS eligibility. Dropping a class after 14 days may also impact eligibility;
if you withdraw from this class and it results in an enrollment status of less than full time, you may lose
eligibility for your lottery scholarship. Lottery recipients are eligible to receive the scholarship for a maximum
of five years from the date of initial enrollment, or until a bachelor degree is earned; students who first
received the lottery scholarship in Fall 2009 or later will additionally be limited to 120 TELS attempted
hours. For additional Lottery rules, please refer to your Lottery Statement of Understanding form via
RaiderNet, review lottery requirements on the web at
www.mtsu.edu/scholarships/telsconteligibility_scholarships.shtml, or contact the Financial Aid Office at
898-2830.
Withdrawal Policies:
Full details and dates on drop and withdrawal policies are provided in the Schedule Book or on line at
www.mtsu.edu/ucat. I will not approve late drops or withdrawals. Students who seek an exemption to this
policy MUST obtain approval from the coordinator of university withdrawals. Lottery scholarship recipients
should check with their advisor or the financial aid office before changing their enrollment status. To retain
Tennessee Education Lottery Scholarship eligibility, you must earn a cumulative TELS GPA of 2.75 after 24
attempted hours and a cumulative TELS GPA of 3.0 thereafter. A grade of C, D, F, or I in this class may
negatively impact TELS eligibility. Dropping a class after 14 days may also impact eligibility; if you withdraw
from this class and it results in an enrollment status of less than full time, you may lose eligibility for your
lottery scholarship.
Students with Disabilities:
If you have a disability that may require assistance or accommodation, or you have questions related to any
accommodations for testing, note takers, readers, etc., please speak with your instructor as soon as possible. Students
may also contact the Office of Disabled Student Services (898-2783) with questions about such services. Please
note: All faculty members have been instructed that no accommodations should be made unless and until the Office
of Disabled Student Services verifies those disabilities.
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Theatre Faculty and Staff
Full-Time Faculty
BARSKY, MARSHA
BOYD, SCOTT
BROOKER, MEG
DONNELL, VIRGINIA
ELLIOTT, BRIAN
GIBSON, JEFF
HALLADAY, JETTE
HANSEN, RICHARD
KAYS, HALENA
KENNEDY, KYLE
LEVIN, DARREN
MACON, TOMMY
NORCROSS, BEVERLY
PARKINS, CHELL
SHAMBURGER,
KRISTI
Marsha.Barsky@mtsu.edu
Scott.Boyd@mtsu.edu
Margaret.Brooker@mtsu.edu
Virginia.Donnell@mtsu.edu
Brian.Elliott@mtsu.edu
Jeff.Gibson@mtsu.edu
Jette.Hallady@mtsu.edu
Richard.Hansen@mtsu.edu
Kyle.Kennedy@mtsu.edu
Darren.Levin@mtsu.edu
Tommy.Macon@mtsu.edu
Beverly.Norcross@mtsu.edu
MC G040E
BDA 212
MC G040B
BDA 202
BDA 318A
BDA 203
BDA 210
BDA 104
BDA 208
BDA 334
BDA 318B
BDA 201
JH 109A
michelle.parkins@mtsu.edu
MC G040A
898-5023
898-5606
898-5023
904-8080
904-8186
898-2641
898-5824
898-2267
773-425-4856
904-8468
904-8080
904-8080
494-8691
898-5023
c: 512-426-7592
BDA 102
494-8826
halena.kays@mtsu.edu
Kristi.Shamburger@mtsu.edu
Adjuncts
AMBURGEY, KELVIN
BROWDER, DOUGLAS
(RICHARD)
CHADWICK, RENE
HOLT, KIMBERLY
LOVELAND, KEVIN
McNAMARA, JENNIFER
REHBERG, ERIN
SEAGE, TODD
SOSA, SANTIAGO MANUEL
TUFANO, SPARKLE
WHITTAKER, DEREK
Staff
BERG, ANDY
DURHAM, JUSTIN
FRANZ, KATHY
NEAL, CATHERINE
Tucker Theatre Box Office
Scene Shop
1033*
1029*
1010*
Kelvin.Amburgey@mtsu.edu
Douglas.Browder@mtsu.edu
Rene.Chadwick@mtsu.edu
Kimberly.Holt@mtsu.edu
kevin.loveland@mtsu.edu
jennifer.mcnamara@mtsu.edu
Erin.Rehberg@mtsu.edu
Todd.Seage@mtsu.edu
santiago.sosa@mtsu.edu
Sparkle.Tufano@mtsu.edu
derek.whittaker@mtsu.edu
Andy.Berg@mtsu.edu
Justin.Durham@mtsu.edu
Kathy.Franz@mtsu.edu
Catherine.Neal@mtsu.edu
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BDA 114
BDA 205
BDA 118
Main Office
Tucker Lobby
BDA 107
494-8798
898-2181
898-2640
494-8810
898-2263
STANDARDS AND EXPECTATIONS
Theatre Code of Ethics
Part of the great tradition of theatre is a code of ethics which every worker on the legitimate stage adheres to.
This code, while tacit, has been observed throughout the centuries and will continue long after us. It is neither
superstitious, nor dogma, nor a status forced by law. It is an attitude toward craftsmanship, a respect for
associates and a dedication toward the audience. This code outlines a self-discipline which, far from robbing
one of individuality, increases personal esteem and dignity through cooperation and common purpose. The
result is perfection, which encompasses all that is meant by "Good Theater."
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The Show Must Go On! I will never miss a performance or call.
I shall play every performance and perform every production task to the best of my ability,
regardless of how small my performance/production role or how large my personal
problems.
I will respect my audience regardless of size or station.
I shall never miss an entrance/cue or cause a curtain to be late by my failure to be ready.
I shall forego all social activities which interfere with rehearsals or production work and will
always be on time.
I shall never leave the theatre building or stage area until I have completed my performance
or my production crew.
I shall remember that my aim is to create illusion, therefore, I will not destroy that illusion by
appearing in costume/make-up offstage as a performer or violating sightlines during a
performance and allowing the audience to see me as a crew member.
I will not allow the comments of friends, relatives, or critics to change any phase of my work
without the proper authorization.
I will not alter lines, blocking, lights, properties, settings, costumes or any phase of the
production without consultation with and permission from the director.
I shall accept the director's advice in the spirit in which it is given for he/she sees the
production as a whole and my role as a portion thereof.
I shall look upon the production as a collective effort, demanding my utmost cooperation,
hence I will forego the gratification of ego for the demands of the play.
I will be patient and avoid temperamental outbursts, for they create tension and serve no
useful purpose.
I shall respect the play and the playwright, remembering that "A work of art is not a work of
art until it is finished."
I shall never blame my co-workers for my own failure.
I will never engage in caustic criticism of another artist's work from my own jealousy or an
urge to increase my own prestige.
I shall inspire the public to respect me and my craft through graciousness in accepting both
praise and constructive criticism.
I will respect all areas of the theatre, knowing that they are all vital parts of the production.
I will observe backstage courtesy and shall comport myself in strict compliance with rules of
the theatre in which I work.
I shall never lose my enthusiasm for the theatre because of disappointment or failure for
they are the lessons by which I learn.
I shall direct my efforts in such a manner that when I leave the theatre it will stand as a greater
institution for my having labored there.
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How to be a Successful Theatre Student
1. Balance your efforts. Intellectual and artistic curiosity is essential to successful work in the
theatrical professions. A breadth of knowledge and skills is critical. If you show achievement and
promise in academics as well as theatre, you will be better prepared for theatre study and work.
2. Take responsibility for your own development. Each individual committed to the field of
theatre brings a unique set of talents, aspirations, and abilities to the profession. Although you
are in school and studying or participating in theatre, it is important to take increasing
responsibility for developing your particular abilities toward your specific goals to prepare for
your future.
3. Learn how theatre works. Take opportunities to learn the basics of dramatic structure,
including how the various elements of theatre work together. Like so many other things in
theatre, this knowledge is developed throughout a lifetime. Those who are able to get started
early have an advantage.
4. Master the basics. Be sure that you know the basic terminology, the major types of theatrical
work, and have read a number of important plays.
5. See as much theatre as you can. You need to be familiar with far more theatre than that in
which you participate. Try to see as much theatre from as many historical periods, cultural
sources, and media as possible. Try to make sure that you have seen major works of all types in
the particular area of theatre that interests you. Seek more to learn the breadth and depth of the
repertory than to enjoy what is already familiar. Extend your vision of what the theatre is by
seeing as much professional theatre as possible, if not in the Southeast region, then in other
parts of the country while you may be traveling for vacations, field trips, etc.
6. Develop your understanding of the arts. Take every opportunity to learn about dance,
film/video, music, and the visual arts. Some fields of theatre require knowledge and skills in
music, dance, computing, or art and design.
7. Practice, practice, practice. Whatever you do or intend to do in theatre; try to practice it as
much as possible. This applies not only to performance areas such as acting and design/tech, but
also to other types of work in theatre. For example, if you are interested in teaching or directing,
you should try to observe and gain experiences under appropriate supervision. If you are
interested in playwriting, theatre scholarship, or criticism, you should practice writing and
speaking on theatre topics. No level of knowledge or skill that you can attain will be too high.
8. Study: Develop good study habits and practice these all the time. For every 1 hour of in class
time, you must study 2 hours outside class. For a typical 3 credit course (2:25 per week in class),
you must study 5 hours per week outside class, every week of the semester. Study is your
investment in learning your craft.
9. Learn to care for yourself. Your body and mind are your instruments. It is critical to take
extremely good care of both. Learn about nutrition and exercise, how to manage stress, how to
prevent injury, and how to maintain healthy habits that will promote long-term health and
fitness. Work closely with your physician, your parents, and your theatre instructors.
10. Think of everything you study as helping you become better in theatre. The best theatre
professionals continue to learn throughout their lives. They are always reading, studying and
thinking, always connecting what they know about theatre with their knowledge of other fields.
Keep theatre at the center of your efforts, but accept and enjoy the challenge of gaining the kind
of knowledge and skills in other areas that will support both formal studies at the advanced level
and your theatre career beyond. (adapted from NAU)
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Attending MTSU Theatre Productions
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Every major not directly involved (i.e., not in the cast or on the running crew), with a major departmental
production must see a performance of that production. Not only will you be supporting your fellow
students, you will be seeing live theatre, which will enhance your theatre education. (adapted from FIU)
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Ticket Prices: $10 - General Admission; $5 - MTSU Faculty & Staff and K-12 students; MTSU students
FREE with valid ID. Limit one per student.
To Purchase Tickets: Tickets may be purchased online at www.mtsu.edu/tuckertheatre. Tickets may
also be purchased at the door beginning one hour prior to performance.
Free Student Tickets: Students MUST present a valid MTSU ID to receive a free ticket. M#'s are not
accepted. Students may receive 1 FREE ticket per production (not Performance). Reservations may not
be taken for FREE student tickets. Students must present their MTSU ID at the Box Office to receive
their ticket. Tickets may be picked-up in advance during regular box office hours or at the door beginning
one hour prior to performance.
Attendance Credit: Attendance will be reported by use of the student's MTSU ID. The card will be
scanned at the close of each performance (no early scans permitted) and a report of attendance will be
sent to all theatre instructors following the close of a production. Attendance will not be credited without
an ID (no M#'s).
Late Arrival: Tucker Theatre does maintain a late arrival policy. Students arriving more than five (5)
minutes after the show has begun will not be admitted to the performance and are not eligible for
attendance credit, regardless of whether they have a ticket. Note that lines can be long at the box office,
so arrive early or get your tickets in advance. Seating for shows begins 30 minutes prior to show time.
Complimentary Ticket Requests: Persons requesting complimentary tickets should either complete a
“Complimentary Ticket Request Form” and leave in Justin Durham’s mailbox or stop in at the Theatre &
Dance Ticket Office during regular scheduled business hours. A Comp list will be provided for each
production. The number of comp tickets available to each person is listed at the category heading, but are
as follows: Cast & Crew receive 2 per production (not per performance).
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Participation in MTSU Productions
As a theatre major, you must participate in the major theatre production program. You should be involved in
one major production per semester. Involvement in major productions includes any role in performance or
mounting the production from cast to construction crew.
Class Attendance and Preparation
The MTSU Theatre faculty subscribes to a policy requiring students to attend class regularly. It is vital for
theatre artists to establish professional work habits, especially punctuality. It is expected that Theatre students
will attend every class period and be consistently on time. Illness, religious holidays, or participation in athletic
or University sponsored activities are acceptable excuses for absences, but official notification and
arrangements should be made with the instructor by the student. The Theatre faculty publishes in the course
syllabi and enforces these attendance policies for their classes. Faculty will request reasonable documentation
or verification of claims regarding absences. Repeated unexcused absence or tardiness in Theatre courses
demonstrates a lack of commitment to the program and will result in serious consequences to your course
grade and success in the Theatre program. See the following:
A student is expected to attend each class for which he/she is registered except in cases of unavoidable circumstances and
should not attend classes for which he/she is not officially registered. Class attendance will be monitored during the term even
though some faculty may not check attendance in a conventional manner. Attendance in classroom courses or participation in
distance learning classes is expected. Students who are reported for nonattendance will be assigned a grade of F, which will
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appear on their transcripts. Nonattendance will be reported to the appropriate agencies, and enrollment status (i.e., fulltime,
one-half-time, less than one-half-time) will be affected. Distribution of future financial aid will be suspended if applicable and
repayment for current aid may be required. Exceptions are made for University-sanctioned activities. Students will not be
penalized for such absences. Students anticipating participation in University functions that will take them out of classes
should discuss these absences with their instructors at the earliest convenient time. A student’s absence from a class does not
in any way relieve that student of responsibility for the work covered or assigned during the absence. It is the responsibility of
faculty members to excuse or refuse to excuse absences from their classes. It is the responsibility of the student to obtain
excuses for absences and to arrange with the faculty member in question to make up the work missed. Absences are noted
beginning with the first date the student is enrolled in class. MTSU does not generally close because of inclement weather, but
students will be allowed to use their own discretion when snow and icy conditions exist—they will be given the opportunity to
make up missed classes should they decide not to attend. (MTSU STUDENT HANDBOOK 2011/12)
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Majoring in Theatre requires extensive work outside of class preparing scenes and monologues for acting,
voice, and directing courses, completing projects for design and technology courses, and preparing for
academic courses.
All theatre classes at MTSU require outside study and/or rehearsal.
The general rule is that students are expected to spend 2 hours of outside homework time for every hour
of class time per week Successful balancing of all the demands placed on Theatre students requires a
great deal of personal discipline and strong time management skills. In order to receive the most benefit
from work in class, students must devote the time outside of class.
Ill-prepared scenes and projects will not be tolerated. Furthermore, work (rehearsal or project work)
should not be put off until the last possible minute. Creative work takes time to incubate--rarely can the
process be rushed successfully. Steady consistency throughout the semester is another important work
habit to cultivate. (adapted from UI; MMC)
Theatre is a collaborative art. A significant part of your training will involve require collaboration as a
major element of class projects and/or crews. To collaborate, you must be physically and mentally
present in the process and contribute in a positive and constructive way.
Theatre Majors’ Meetings
A meeting for Theatre majors will be held at the beginning of each fall and spring semesters. All Theatre
majors are expected to attend. This meeting is an important tradition to the Theatre program. The meeting
provides an opportunity for all students to receive important information about the semester in the program
and the campus, meet the faculty and be a part of the Theatre culture.
Theatre Majors’ List-serve
An email list-serve for Theatre majors provides information to students throughout the year. You will be
added to this list at the beginning of every semester. You should consider the list-serve as a valuable source of
information. If you have questions about the list-serve, contact the Chair. The mission of the list-serve is to
announce and promote MTSU Theatre curriculum events and MTSU Theatre sponsored co-curricular
activities. Announcements include but are not limited to MTSU Theatre advising calls, auditions, and majors’
meetings, etc.
MTSU Student Conduct Policies
MTSU Statement of Community Standards and Expectations
MTSU is committed to the ideal of developing and nurturing a community of scholars. The choice to
associate or affiliate with the MTSU community is freely made by students, staff, and faculty; nevertheless, it
is assumed that each person who joins the community will accept and practice the following core values and
expectations:
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Value of Honesty. The notion of personal honesty and academic integrity is central to the existence of the MTSU
community. Community members will not engage in cheating, plagiarism, or fabrications of any type. All members
of the community will strive to achieve and maintain the highest standards of academic achievement.
Respect for Diversity. The MTSU community is composed of individuals representing different races, ethnicities,
sexual orientations, and cultures. The community embraces and celebrates this diversity as a pillar of its strength.
Commitment to the Community. Citizens of the MTSU community will be good stewards of the University’s
resources and will not engage in conduct which damages or exploits the community.
Freedom of Expression. The MTSU community is a marketplace of ideas and opinions. Community members are
encouraged to freely communicate their ideas and opinions on issues both within and outside the community.
MTSU Academic Misconduct Policy
All students must review Middle Tennessee State University policy - "General Regulations on Student Conduct and
Disciplinary Sanctions" a policy promulgated by the Tennessee Board of Regents.
http://www.mtsu.edu/~handbook/genreg.htm
Academic Misconduct Defined
(1) Plagiarism. The adoption or reproduction of ideas, words, statements, images, or works of another
person as one’s own without proper acknowledgment. (2) Cheating. Using or attempting to use
unauthorized materials, information, or study aids in any academic exercise. The term academic exercise
includes all forms of work submitted for credit or hours. (3) Fabrication. Unauthorized falsification or
invention of any information or citation in an academic exercise. (4) Facilitation. Helping or attempting
to help another to violate a provision of the institutional code of academic misconduct.
MTSU Disruptive Behavior Policy:
In order to create and maintain a positive and productive environment in the classroom, it is essential that
each person treat other class members and the instructor in a respectful manner. Therefore, disruptive
behavior will not be tolerated. Disruptive behavior includes, but is not limited to the following:
intentionally antagonizing the instructor, receiving beeper or phone/text messages (or sending
messages) during class, leaving class early or coming to class late, talking while another individual is
talking, sleeping in class, doing assignments for other classes during this class, and engaging in
other activities that detract from the classroom learning experience. Students who disrupt the class will
be asked to leave for the remainder of the class period and will be required to meet with the instructor before
returning to class. Continued disruption will result in the recommendation to the Office of Judicial Affairs
and Mediation Services that you be expelled from the class. For more information see Middle Tennessee
State University policy - "General Regulations on Student Conduct and Disciplinary Sanctions" is policy promulgated by the
Tennessee Board of Regents http://www.mtsu.edu/~handbook/genreg.htm .
MTSU Student Conduct and Behavior While Off-Campus
As a member of a MTSU production and a MTSU Theatre student, you serve as a representative of the
University on campus and off-site at any Theatre organizational function or event. You must take this
responsibility seriously and abide by all rules and regulations of the University and the off-site location. If
your actions or behaviors are found to be in conflict with these rules and regulations, the Chair may pursue
disciplinary actions and academic penalties.
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Off-campus rights and freedoms of students involve the responsibility to display conduct and behavior which
reflect favorably on them, the University, and the community. Students at Middle Tennessee State University are
both citizens and members of the academic community as well as the local community of Murfreesboro. As citizens
and members of the academic and city community, students should enjoy the same freedom of speech, peaceful
assembly, and right to petition that other individuals enjoy and are subject to the obligations and responsibilities
which accrue to them.
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Due respect for the rights of others in addition to compliance with local, state, and federal laws is a fundamental
responsibility. A University student should not expect special treatment or consideration because of the campus
affiliation. With respect to this relationship, the University is not responsible for making bond should one of its
students be arrested by civil authorities and be held for court appearance.
Students, local citizens, and taxpayers have equal obligations to respect the rights of others and to comply with
local, state, and federal laws. Violation of state laws, if committed off campus, shall be subject to University
disciplinary action when a clear and present danger to life or property of members of the University or the
community can be determined through campus due process procedures.
(From MTSU Student Rights and Responsibilities 2011-12)
Social Networking And Information Technology Policies
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As a MTSU Theatre student, your online behavior will be held to the same standard of conduct as your face-to-face
behavior. See MTSU Academic Misconduct and Disruptive Behavior Policies.
Students are encouraged to help publicize department productions and events through social networking sights such
as Facebook, MySpace and Twitter. However, students may not, present themselves as the MTSU Theatre Program
and post any information as if the MTSU Theatre Program is posting the information. This includes, but is not
limited to, posting ‘MTSU Theatre’ or similar title as the title for an internet page or site, or using any MTSU or
program logo or artwork without permission.
Students should also be very cautious about discussing any Theatre program events that the Theatre faculty has not
yet announced to the public.
Social Networking allows rumors to quickly make their way into the newspaper which can cause damage to the
MTSU Theatre program’s reputation and may block plans for productions or events. There are often limitations on
advertising imposed by royalty holders and violating these limitations could result in the Theatre program the rights
to produce specific productions. (adapted from UCF)
MTSU assumes no obligations to monitor student online community accounts; however, as with other public arenas, when brought to the
attention of officials, the University may respond to activities that violate MTSU’s rules and regulations of the Information Technology
Resources Policy. http://www.mtsu.edu/itd/policies_home_itd.
Online Communication and Social Networking Guidelines
In all your communication and postings online:
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Be professional at all times. You are preparing yourself to be a career professional. Think before posting photos or messages
that might compromise your future.
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Remember everything you write, and every mouse click is recorded on a network server. On the Internet, there are no take
backs.
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Be considerate. The sending of spam mail should be avoided.
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Humor and sarcasm. Because there are no visual cues in online, humor and sarcasm are impossible to discern. Be very careful
when interjecting humor and refrain from using remarks sarcastic in nature.
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Harassment and other offensive behavior. The online learning environment is no place to harass, threaten, or embarrass.
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Capital letters and bolding. In written communication, the use of capital letters and/or bolding is used for emphasis. In much
of the corporate world, writing in all caps is considered yelling. (adapted from GU)
Be respectful of other people. Everyone is entitled to his or her own opinion.
Be calm. If you are upset or frustrated, keep this out of your communication. Think about what you are going to say in an
unemotional, professional manner.
Offensive material. Students should not post, transmit, promote, or distribute content that is racially, religiously, or ethnically
offensive or is harmful, abusive, vulgar, sexually explicit, otherwise potentially offensive.
MTSU Tobacco/Smoking Policy
Middle Tennessee State University ("MTSU") promotes a healthy, sate, and aesthetically pleasing work, educational, and
living environment. The MTSU community acknowledges that long-term health hazards may accrue to people who use
tobacco products or who are subjected to second-hand smoke. As a result, effective July 1,2011, MTSU is a TobaccoFree Campus and the use of tobacco will not be permitted except as specifically permitted under this policy.
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MTSU Disciplinary Offenses (MTSU Student Rights and Responsibilities, 2011)
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Firearms and Other Dangerous Weapons: Any possession of or use of firearms, dangerous weapons of any
kind, or replica/toy guns, e.g. BB guns, pellet guns, paintball guns, water guns, cap guns, toy knives or other items
that simulate firearms or dangerous weapons. This includes the possession or use of any kind of ammunition.
Explosives, Fireworks, and Flammable Materials: The unauthorized possession, ignition or detonation of any
object or article which would cause damage by fire or other means to persons or property or possession of any
substance which could be considered to be and used as fireworks.
Alcoholic Beverages: The use and/or possession of alcoholic beverages on institution owned or controlled
property. This offense includes the violation of any local ordinance, state, or federal law concerning alcoholic
beverages, on or off institution owned or controlled property, where an affiliated group or organization has
alcoholic beverages present and available for consumption.
Drugs: The unlawful possession or use of any drug or controlled substance (including, but not limited to, any
stimulant, depressant, narcotic or hallucinogenic drug, or marijuana), sale or distribution of any such drug or
controlled substance. This offense includes the violation of any local ordinance, state, or federal law concerning the
unlawful possession or use of drugs, on or off institution owned or controlled property.
Drug Paraphernalia: The use or possession of equipment, products or materials that are used or intended for use
in manufacturing, growing, using or distributing any drug or controlled substance. This offense includes the
violation of any local ordinance, state, or federal law concerning the unlawful possession of drug paraphernalia, on
or off institution owned or controlled property.
Public Intoxication: Appearing on institution owned or controlled property or at an institutional sponsored event
while under the influence of a controlled substance or of any other intoxicating substance.
For more information see MTSU Student Rights and Responsibilities http://www.mtsu.edu/stuaff/resources_stuaff.php
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PRODUCTIONS
The MTSU Production program is an extension of classroom theory and training. The productions mounted
are primarily for the education and training of theatre students. Students are given the opportunity to serve in
almost any production role that he/she has earned through in class training, experience and proven skill. The
following are production participation policies, production role descriptions and student role guidelines.
Season Selection and Rotation
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MTSU Auditioning and Casting Policy
1. Auditions are open to all MTSU students with a minimum GPA of 2.0.
2. Two department productions are produced each semester. Theatre majors must audition for BOTH
shows to be eligible to be cast in either show. If a student decides not to audition in a given semester,
their eligibility in subsequent semesters will NOT be affected.
3. Students must accept any role in which they are cast. The director has the right to alter casting at his or
her discretion.
4. Auditions for fall semester productions will be held immediately after the annual Majors Meeting on the
first Wednesday of the fall semester.
5. Auditions for the spring semester will be held late in the fall semester.
6. Audition dates will be announced and placed on the callboard. Audition requirements and callbacks
(monologues, cold readings, etc.) are at the discretion of the director.
7. Students must indicate any conflicts with the rehearsal and performance period on the audition form.
Do not expect to be excused from any rehearsal due to a conflict not listed on the audition form.
Missing or being late to a rehearsal may result in the actor being dismissed from the production at the
director’s discretion.
8. Any student who withdraws or is dismissed from a departmental production, for reasons other than
those agreed upon by the theatre faculty, will not be permitted to participate in any MTSU theatre
productions for one calendar year.
9. Exceptions to the Auditioning and Casting Policy may be made at the discretion of the theatre faculty.
SETC (Southeastern Theatre Conference) Auditions:
Students desiring summer acting work are encouraged to audition at the SETC professional auditions.
Screening auditions are held at the TTA (Tennessee Theatre Association) annual conference in October
(location varies within the state of Tennessee). If you pass the screening audition at TTA, you are eligible to
audition at the SETC professional auditions held in March at the SETC annual conference (location varies
throughout the southeastern United States). Guidelines and application procedures for the TTA screening
auditions can be found at www.tn-theatre.com. Guidelines and application procedures for the SETC
professional auditions can be found at www.setc.org/theatre/auditions. You will need the signature of a
faculty sponsor on the application. In order to represent MTSU at any audition, the student must agree to
participate in coaching sessions from a MTSU faculty member to prepare for the audition.
Students may also consider auditioning at MWTA (Midwest Theatre Auditions) at Webster University in St.
Louis in February, or NETC (New England Theatre Conference) in Boston in March. For information, visit
the MWTA and NETC websites at:
www.webster.edu/depts/finearts/theatre/mwta
www.netconline.org
PRODUCTION ROLES
Theatre Production involves the teamwork of many individuals working together in a creative
endeavor to stage a live Performance before an audience. As with any team, there has to be a leader, a central
figure who has the twin responsibilities of supplying the unifying vision and of making the final decisions. In
the Theatre, this individual is the Director. All artistic decisions, including those involving acting, are
confirmed or modified according to the concept of the Director. The Director, while remaining in overall
charge of the Production, delegates authority to the Production Staff. In this manner, the team functions
properly and at its best. Each individual member of the Company contributes ideas to help reinforce those of
the Director. The Director guides and gives a sense of direction to the Production, bringing about a
"wholeness" to the events on the stage.
DIRECTOR: A
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The Assistant Director is the right arm of the Director of the production. NOTE:
Some Directors do not have an Assistant Director and simply choose to work with a Stage Manager.
ASSISTANT DIRECTOR:
The position of Stage Manager is probably the most important and thankless job in the
theatre since this individual is the checkpoint for all aspects of the Production. The Stage Manager is the
individual who will be accountable for the smooth running of the show once Dress Rehearsals have begun.
It is the organized, level-headed, responsible individual who will benefit the Production and who will gain the
most from the position. It is highly advisable that the Stage Manager makes sure that all members of the
Production Staff, Cast, and Crew are aware of their responsibilities and to maintain discipline backstage. The
Stage Manager will have a most difficult job ahead, so it is best to remain organized and to think ahead to
solutions for any possible problem that may come up.
STAGE MANAGER:
ACTORS: The
Actor is the principle instrument through which the director speaks and interprets the
playwright's ideas. The Actor, therefore, represents to the public the combined activity of all backstage
members of the company and bears significant responsibilities and obligations. The Actor will:
- Make every effort to cooperate with other members of the company. The Actor will do so in order that a
better production will result.
- Recognize the importance of the director, regardless of whether the director is a student, a member of
the faculty or the staff, or a guest.
- Be on time for all rehearsals and appointments.
- Check the call-board and their email twice a day (morning and afternoon) for notices and calls during the
rehearsal period.
- Take clear notes, memorize blocking (movement, business, timing), and lines outside of rehearsal. The
Actor will come to rehearsal prepared to work and perform the direction given to him by the director.
- Not leave the rehearsal hall without permission from the Stage Manager or Director.
- Treat his costumes and properties with respect and return them to their proper places.
- Obey without question any supervisory instructions of the director, assistant director, or the stage
manager.
Carefully budget his/her time to provide adequate time for study, and homework. He/she is not excused
from other academic work outside or within the Department because he/she is cast in a show. (adapted
from TCU)
The Scene Designer is responsible for the spatial look of the production. In some cases,
it is from the scene design that all other design elements of the show evolve. Because the arrangement of
space is essential to blocking the movement of the Actors, the Director often provides the Scene Designer
with the placement of critical objects in the set: fireplaces, doors, windows, and prominent furniture. On the
basis of meetings with the director and the Production Staff, the Scene Designer helps to place the action of
the play in time, space, and style: all of which are subject to the approval of the Director. To present these
visions, the designer relies upon models of renderings of the stage set, ground plans, front elevations, and
painters' elevations. In all cases, the Scene Designer oversees the painting of the set; in academic and
community theatre, he often paints it.
SCENE DESIGNER:
LIGHTING DESIGNER: The
Light Designer is responsible for all the visual lighting needs of the production
(which may include effects, projections, or practicals) as determined by the design and production team. The
lighting designer must create a design concept which meets all the necessary lighting needs of the production
and enhances the production concept of the director. The Lighting Designer will:
1. Attend all production meetings.
2. Meet all deadlines set forth in the Production Calendar and by the Faculty Mentor.
3. Meet regularly (weekly) with the Faculty Mentor for the project.
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4. Work in collaboration with the Director, Design Team, and Production Staff. The Lighting Designer will
develop the Lighting Concept for the Production.
5. Provide conceptual research and clearly communicate the design concept to the production team on
established due dates. Means of communication may include, but are not limited to: research morgue of
images, storyboard illustrating the production, lighting renderings.
6. Provide a preliminary lighting plot, lighting section, magic sheet, instrument schedule, and channel
hookup (may or may not include color) on the established due date.
7. Provide a final design package including lighting plot, lighting section, magic sheet, instrument schedule,
and channel hookup (may or may not include color) on the established due date.
8. Work with the Master Electrician and Production Manager to make any revisions to the design based on
budgetary, inventory, or technical concerns.
9. Attend rehearsals as necessary to design the production and to conduct the lighting rehearsals.
10. Develop and maintain accurate cue sheets and followspot cues for the production.
11. Be available during the lighting hang process to answer questions and aid in resolving any needed changes
to the design.
12. Oversee and call focus of all lighting equipment for the production.
13. Design and program lighting levels for all cues prior to the start of technical rehearsals.
14. Meet with stage management prior to Tech Rehearsal to communicate placement of Light and
Followspot cues.
15. To coordinate and plot special lighting effects.
16. To oversee focusing of the lighting equipment and setting of lighting cues.
17. Attend all technical and dress rehearsals and edit lighting compositions throughout the process. The
lighting designer must communicate any changes in cues to the respective persons (stage management,
followspot operators, etc).
18. Provide final cue sheets, followspot cue sheets, and update paperwork to stage management and the
master electrician on opening night for maintenance of the production.
19. Be available to the production staff should complications with the design arise during the run.
The major responsibilities of a Technical Director are the coordination and
supervision of technical areas of the Production, especially with regards to scenery and props. For
Departmental Productions, he/she supervises the Crew and conducts Technical Rehearsals. In addition, the
Technical Director is also responsible for the general management and maintenance of the Theatre facilities:
the Scene shop and its equipment, the Stage and its equipment and control systems, and all other work areas.
Additional responsibilities include purchasing and maintaining an inventory of stock supplies, maintaining all
hand and power tools in a safe and operating condition, and training and testing the personnel who use them
in their safe and effective use.
TECHNICAL DIRECTOR:
Ten Rules for a Happy Running Crew
1) Wear black. Black shirt (preferably long sleeve with no designs on it), black pants (no shorts or capris),
black socks, black shoes (no sandals or flip-flops). Black underwear is optional.
2) Arrive early. Call time is when you begin to work, not when you should show up. Standard industry
practice is to arrive 15 minutes BEFORE call time.
3) Turn off and stash your cell phone, iPod, and/or laptop. Better yet, leave them at home.
4) Sign in IMMEDIATELY upon arrival. Please don’t make the stage manager hunt you down.
5) Use proper theatre etiquette. Using “please” and “thank you” will yield better results than not using
them.
6) Do not touch props, set pieces, or equipment unless you are qualified to use and/or responsible for
said props, set pieces, or equipment.
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7) Stay out of areas where you do not belong. If you have to ask the question “should I be in here or
standing on this?” then the answer is more than likely “NO!”
8) Leave the actors alone. Give them their space and time to prepare for the performance.
9) Once the house is open, do not walk across the stage or enter the house from the stage.
10) When in doubt – ASK!
COSTUME DESIGNER: The
costume designer works as a collaborative artist with the director, choreographer,
fellow designers, actors, dancers, and costume technicians to create characters using the visual language of the
stage to tell the story of the play or dance. This creative process begins with script and character analysis,
research in fashion, history, sociology, psychology and art and continues with developing design concepts and
ideas and then visualizing the characters on the page through drawings and renderings. The designer works
with the costume department staff and assistant designers who help accumulate, organize, manufacture, fit,
and alter the costumes for a production of a play or dance piece. The designer’s goals and responsibilities
vary from the attention to the detail on a blouse to the overall look of a set of costumes within a production.
The creative process culminates with the realization of actual costume pieces worn by the performers on
stage. (adapted from UCD, 2007)
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Student Costume Designer
The Student Costume Designer shall design the costumes according to the following guidelines:
1. Conduct appropriate research and create designs and/or collages for each costume under the
supervision of the Design Mentor and Director. Designs will be completed and approved at least one
week prior to the beginning of the build process. This deadline will be set in advance by the Design
Mentor and the Costume Studio Supervisor (CSS). The Student Costume Designer may be required to
work extra hours in order to complete the costumes in a timely manner.
2. Attend production meetings regularly and attend at least one run through prior to dress rehearsals.
3. Pull costume items from stock as supervised by the CSS. Costumes are off-site and pull appointments
must be scheduled with the CSS at least 24 hours in advance.
4. Shop and select fabrics/notions for designed costumes. The Student Costume Designer must schedule
shopping trips with the Design Mentor. All purchases must be pre-approved by the Design Mentor.
Shopping should be done during regular shop hours.
5. Schedule regular meetings with the CSS regarding the build/fitting/alteration concerns or questions.
6. Communicate effectively and thoroughly with the Makeup/Hair Designer and provide design
examples and/or other necessary visual information.
7. Complete dressing lists, costume inventories, and other necessary paperwork prior to dress rehearsals.
This paperwork should be given to the CSS in time for duplication and distribution.
8. Attend and watch all dress rehearsals and provide the CSS with specific, legible, and articulate notes
regarding changes and/or finishing.
9. Show flexibility and be receptive to notes and/or concerns from the Director and Design Mentor.
10. Assist with the show strike.
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Student Makeup Designer
The Student Makeup/Hair Designer shall design the makeup/hair according to the following guidelines:
1. Take cast photos and prepare overlays/designs for each character. These must be completed at least
two weeks prior to the dress rehearsal.
2. Meet with the Costume Designer and/or mentors on a regular basis to ensure that the makeup and
hair designs are integrated with the costume design.
3. Attend production meetings regularly.
4. Consult with mentors regarding the selection of Student Makeup/Hair Assistants (Note: This must be
done prior to contacting the potential Student Makeup/Hair Assistants).
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5. Conduct makeup/hair tutorials with each performer prior to dress rehearsals and provide each
performer with written instructions and/or a copy of the overlay.
6. Attend and watch all dress rehearsals in order to consult with the Costume Designer regarding
changes/adjustments to the makeup/hair designs.
7. Maintain the wigs/equipment that are needed throughout the run of the show.
8. Complete the show strike making sure that wigs, supplies, and equipment are cleaned and stored
properly.
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Costume Crew Leader
Every semester, THEA 3200 students sign up to work on a crew or to perform lab hours in the Costume
Studio. This is a significant portion of their grade. Text/e-mail students well in advance (one week
before) to remind them that they signed up to work the show (refer to Tommy’s sign-up sheet for
student information). Students are expected to work all show days except in very rare instances. If
students express conflicts with the given schedule, refer them to Tommy.
Behavior/Safety
As the Crew Leader, you are responsible for the supervision and behavior of the crew. Please behave in a
polite, pleasant, and professional manner while you are in charge. Your crew is expected to behave in a
similar manner. Do not allow students to use the industrial sergers during crew hours (major repairs can
be made the next day when the Costume Studio Coordinator is working). Be sure to review the safety
procedures (listed below) with the crew.
 All Crew Member must adhere to MTSU and Costume Studio safety procedures including:
 Always use the locking ladder (never use a chair) when retrieving items from wall shelves/cupboards
in the Costume Studio, Laundry Room, Dressing Rooms, or Storage Room and exercise caution
while climbing up and down the ladder
 Use caution while operating the professional irons to avoid burns and injury (the shop irons are
much hotter than home irons)
 When repositioning items on the ironing board, be sure to place the iron squarely on the safety pad
(not the ironing board)
 If minor clothing repairs are made using the Bernina 220, be sure that face and hair are kept away
from the machine’s moving mechanisms and long scarves and necklaces are removed
 Do not engage in any type of horseplay, running, or throwing objects while in the Costume Studio
 Cell phones are never allowed in the Costume Studio
Costumes
The Crew Leader should refer to the costume checklist for each actor/actress (distributed prior to the
dress rehearsal by Costume Studio Coordinator).
Costume Checklist
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Assign various crew members to oversee the costumes of certain cast members.
Be sure that all items are checked in at the top of the show—All items must be accounted for.
Press/steam/make emergency repairs to all necessary items prior to call time.
Costume repairs may be made using safety pins, hand sewing, and/or machine sewing (Bernina 220).
Supplies are located in various bins and boxes in the Costume Studio. Please replace supplies when
you are through with them.
Be sure that all items are checked in at the end of the show—All items must be accounted for.
Launder/clean necessary items or leave a note regarding an especially soiled item for the Costume
Studio Coordinator.
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Mend torn items or leave a note for the Costume Studio Coordinator.
In case of emergency, call the Costume Studio Coordinator (Home: 893-0832 Cell: 427-8233)
Food and Drinks
Generally, food and drinks are not allowed in the Costume Studio. However, during crew hours, students
may eat at the cutting table with the plastic tablecloth (next to the shelves). Please dispose of all items and
wipe off the table after eating.
Closing Up The Shop
At the end of the night, be sure that the lint tray in both dryers are cleaned out, all doors are locked
(Laundry Room, Dressing Rooms, and Costume Studio—both doors), supplies/materials are put away,
and irons/lights are turned off.
Striking the Show
After the show is over, there are a few additional responsibilities that must be completed by the crew
including:
 Clean Costumes (If in doubt about the proper method to clean any clothing item, leave it for the
Costume Studio Coordinator)
The Sound Designer will select appropriate music, select or create sound effects, record
or supervise their recording, and edit a show tape for the Production. The Sound Designer is responsible for
the following: all sound effects, mechanical or recorded; all sound reinforcement of voice or orchestra; and
proper functioning of both the intercom system and of the monitor system. The Sound Designer will work
primarily with the sound equipment of the Department and maintain up-to-date records of the condition of
all sound equipment.
SOUND DESIGNER:
The Scenic Artist is responsible for preparing the paints, painting the scenery and scenic
units, cleaning up, and storing properly all scenic paints and supplies. As the Scene Designer is responsible
for preparing Painters' Elevations, the Scenic Artist is responsible for painting all scenic units to those
specifications.
SCENIC ARTIST:
The Master Electrician will be on the Running Crew for the Production and will be
in charge of a crew of three to six members. The Master Electrician will be responsible for seeing that all
lights for the Production are hung and focused on schedule and will assign crew members specific duties.
The Master Electrician will be responsible for the Light Crew and its work. Once in Technical Rehearsals
and Performances, the Master Electrician will be expected to maintain discipline over the Light Crew and to
fully cooperate with the Stage Manager.
MASTER ELECTRICIAN:
The Sound Technician is Head of the Sound Crew and runs Sound for the Production.
His major responsibility is to execute the sound design as planned by the Sound Designer. As a result, the
Sound Technician will assist the Sound Designer in every way possible. In return, this experience will help
train the Sound Technician as a Sound Designer for subsequent productions. The Sound Technician, in
consultation with the Sound Designer, will assign specific responsibilities to each member of the Sound Crew,
which is responsible for the following: all sound effects, mechanical or recorded; all sound reinforcement of
voice or orchestra; and proper functioning of both the intercom system and of the monitor system.
SOUND TECHNICIAN:
The Properties Master will be on the Running Crew and will be responsible for
organizing and placing the Prop Tables and for helping the Stage Manager to organize all properties shifts.
To find props, it will be necessary for the Properties Crew to borrow properties from the community at large,
individuals, businesses, and other schools and colleges. These borrowed items will be signed out on the Loan
Form and shall be properly stored and secured. All borrowed items will have extra care to maintain them and
PROPERTIES MASTER:
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more importantly, to maintain good relationships with the lenders. The principle is that a borrowed item will
be returned to its owner in better condition than when it was borrowed. The Properties Master has a most
important job ahead: gathering property items for the Production. Since the Crew Head cannot do all the
work alone, he must be organized, tactful, resourceful, and use all members of the Properties Crew. It is also
the responsibility of the Properties Master to see that the Stage is swept and mopped prior to each Technical
Rehearsal, Dress Rehearsal, and Performance.
Front of House operations are essential to the success of any Production because they
help establish the expectations of the audience: the audience makes its first direct contact with the people
who take their ticket orders, hand them their tickets, take them up, and seat them. No single aspect will spoil
a Production more quickly for the audience than an ill-prepared or obnoxious House Crew. As a result,
courtesy and politeness are essential assets for all those who work in the Box office or who usher. Part of the
responsibility of the House Manager and head of the Box Office is to train Ushers and Box Office Personnel
in the correct and efficient methods of sorting and collating tickets. Instructions need to be demonstrated to
make certain that everyone understands the process of reserving, selling, distributing, taking, and then
collating tickets for the Production. Additional training of all Box Office Personnel ensures that they have
good telephone manners and are able to take and verify ticket information from patrons.
HOUSE MANAGER:
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THEATRE FACILITIES AND SHOPS
Tucker Theatre Policies and Procedures
As Tucker Theatre is a part of the Institution named Middle Tennessee State University, Students make up the
primary work crew and technical staff. Students must adhere to the policies and procedures set forth by the
Theatre and Dance Department. For policies and procedures regarding Tucker Theatre patrons, productions
and labor, see the Tucker Facilities Policy Manual.
Theatre Facility Usage Guidelines
I. Supervisory Roles
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For periods prior to Opening Night: Acknowledged supervisors for Scene Shop, Stage Area, and
Lighting Facilities are as follows: Facility Manager, Faculty Technical Director, Faculty Scene
Designer, Faculty Lighting Designer, and Scene Shop Foreman.
For periods after Opening Night: Acknowledged supervisors for Scene Shop, Stage Area, and
Lighting Facilities are as follows: Facility Manager, Faculty Technical Director, Faculty Scene
Designer, Faculty Lighting Designer, Scene Shop Foreman, Faculty Director/Choreographer, and
Faculty House Manager.
II. Scene Shop and Stage Area Facilities Usage
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Students shall not be allowed to use any power saws unless the Facility Manager, Scene
Design/Technical Director Professor, or the Shop Foreman is on site and the student has been
checked out on those saws by either the Scene Design/Technical Director Professor or the Scene
Shop Foreman. Signature must be on file in the Safety Officer’s office. All use of Shop after hours
must be pre-approved by the Scene Design/Technical Director Professor or the Shop Foreman.
Students shall not be allowed use of the rail unless the Facility Manager, the Scene Design/Technical
Director Professor, or the Scene Shop Foreman is on site AND the student has been approved for
rail usage. Signature must be on file in the Technical Director’s office.
Under no circumstances may a student use a personnel lift without the direct on stage supervision of
the Facility Manager, the Scene Design/Technical Director Professor, or the Scene Shop Foreman.
Only approved students may operate the lift. Signature must be on file in the Technical Director’s
office.
Ladders over 8’ in height are not to be used unless the Facility Manager, the Scene Design/Technical
Director Professor, or the Scene Shop Foreman is on site or another student is on site serving as a
spotter. Also, ladders may not be elevated over 2 feet above the stage floor proper.
Department work calls must end no later than midnight if the call began before 6pm. Calls
beginning after 6pm must end no later than 2am.
Students are STRONGLY recommended to use a ‘Buddy System’ and to check exterior doors when
staying past 10pm.
Students are STRONGLY recommended to leave the facility by midnight.
Stage Manager of each production needs to inform Campus Security of Technical Rehearsal Schedule
so they may adjust their schedule accordingly.
Facility Manager will request that Campus Security begin checking building at 10pm to address
student safety concerns, and inform them of our midnight/2am time frame for closing the facility.
III. Lighting Facilities Usage
 Students shall not be allowed to hang or focus any lights in Tucker Theatre that they cannot reach
from the floor unless the Facility Manager or Lighting Professor is on site. All hanging and focusing
of lighting must be pre-approved by the Master Electrician, Facility Manager or Lighting Professor.
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Students shall not be allowed use of the rail unless the Facility Manager or the Lighting Professor is
on site supervising AND the student has been approved for rail usage. (Signature must be on file in
the Technical Director’s office.)
Under no circumstances may a student use a personnel lift without the direct on-stage supervision of
the Facility Manager, Lighting Professor, the production’s Master Electrician, or trained Faculty /
Staff. Only approved students may operate the lift. (Signature must be on file in the lighting or
facility office.)
Ladders over 8’ in height are not to be used unless the Facility Manager, Master Electrician, or the
Lighting Professor is on site or another student is on site serving as a spotter. Also, ladders may not
be elevated over 2 feet above the stage floor proper.
Until further notice the cherry picker is non-operational. It is not to be used for any purpose at any
time.
Unless specifically directed to do so by the Facility Manager, Master Electrician, or the Lighting
Professor, students are not to touch the electrical panels or dimming system in Tucker Theatre.
Under no circumstances shall a student dismantle an electrical panel (including for the tying in of
tails).
Under no circumstances shall a student use a fogger or a hazer after hours.
Department work calls must end no later than midnight if the call began before 6pm. Calls
beginning after 6pm must end no later than 2am.
Students may use the lighting consoles for cuing purposes in the evening and on weekends if this
time has been assigned as part of a lighting class or if they are the lighting designer assigned to a
department production. Student cuing time for class work must end by midnight. Student cuing for
productions must end by 2am.
Under no circumstances are students allowed to move lighting consoles unless approved by the
Facilities Manager, Master Electrician, or the Lighting Professor.
Students are STRONGLY recommended to use a ‘Buddy System’ and to check exterior doors when
staying past 10pm.
Students are STRONGLY recommended to leave the facility by midnight.
IV. After Hours Rehearsal Policy for Theatre Students in BDA
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Students will not be issued or borrow keys to the building.
Students will not rehearse in the Anderson Studio Theatre longer than 1 hours per session.
Student directed productions and Fresh Person Showcase take precedence over classroom
scenes.
Students will not rehearse after 12:00 a.m. in the theatre building.
The University Police will be notified that our students are allowed in the building until 12:00
a.m. by either the Faculty Supervisor of the specific project or the Theatre Coordinator.
Students will only use the theatre lobbies and the Anderson Studio Theatre and any other open
spaces for rehearsal. They will not use any classrooms that require unlocking.
Students will not use props or set pieces other than those allowed and stored in the Anderson
Studio Theatre and the Green Room.
The rehearsal spaces will always be cleared after use.
If students have problems that they cannot manage and they need assistance they are to call the
University Police at 898-2424.
Building hours are 6 AM – 11 PM Monday through Saturday. Campus Police will enforce these
time limits. Key Card access may be granted for additional use at the discretion of the Facility
Manager in conjunction with Campus Police.
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Tucker Theatre Scene Shop Rules and Regulations
1. Proper clothing is required.
- No loose or baggy clothing.
 Long sleeves must be securely pulled up or changed.
 No excessively baggy pants.
- No open toed or backless shoes.
 Shoes with a leather or thick rubber sole, such as work shoes/boots are highly recommended.
- Shoes must be tied or securely fastened.
2. All jewelry must be secured.
- No loose necklaces or bracelets.
3. Long hair must be pulled back and out of your eyes.
4. The Written Hazcom Program is available for anyone to read on request. One is located in the Scene Shop,
on Manager’s desk.
5. Also note the location of The Right-To-Know station above Shop Manager’s desk. This contains all the
warnings and information an each chemical product used in the shop.
6. Safety glasses are required.
- Provided by Management.
7. Hearing protection is required when tools are in use.
- Provided by Management
8. Dust masks are available and must be used with certain job related tasks. You will be notified by Shop
Manager when they are required and trained in proper use of.
9. All personal items must be stored in lockers, or in the theatre while working in the shop. Locks are not
provided.
- Valuable items can be locked up at request.
10. Please silence all cell phones when working in the shop with the only exceptions - Shop Manager and
T.D. for emergency use only.
- This means no calls or texting.
- If for some reason you absolutely have to make a call, please do so outside of shop.
11. You must first be certified by Safety Advisor, or proper authority, before using any saws.
12. No use of shop is permitted without authorized supervision.
13. All productions, other than main stage shows, must first schedule use of shop facilities before build is
slated to begin.
14. Air filters must be turned on when any cutting or spraying is done.
15. Loading door to stage should remain closed unless you are loading in.
16. If, for any reason, you are uncomfortable doing the assigned task, let the Shop Manager, or supervising
authority, know immediately and another task will be found for you.
17. Before you leave shop, the area where you were working must be cleaned. Tools must be put in the
proper places and area should be swept and cleaned of any debris.
18. All employees’ must sign in on arrival, and sign out when leaving.
- This includes Shop Staff and Practicum students. Stagecraft hours will be logged by student and signed
by Shop Manager or Staff when you sign out.
19. Report all injuries, slips, and falls immediately to Shop Manager /supervisor. No matter how minor.
20. Please come ready to work and focus on assigned tasks. The shop can be a dangerous place to be if even
one person is not paying attention. To minimize the risk of injury, please listen closely to, and follow all
instructions given on use and care of Personal Protection Equipment, proper use of tools, and any other
specific safety instructions you are given.
21. Failure to follow the safety procedures will first result in a formal warning. Continued failure to follow
safety procedures will result in ejection from the shop and a possible permanent disqualification from any
future shop use.
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Costume Studio Employee Guidelines
DUTIES AND RESPONSIBILITIES
As a Costume Studio Employee, you will be expected to perform various clothing construction (hand and
machine) techniques, repairs, alterations, pressing, and other duties as assigned. These instructions will be
given to you by the Costume Studio Coordinator.
BEHAVIOR
Please behave in a polite, pleasant, and professional manner while working in the Costume Studio. Respect
the property of others during your shift. Supplies are located in various bins and boxes in the Costume
Studio. Please replace supplies when you are through with them. Try to clean up your work station during
the last 15 minutes of the posted Costume Studio hours.
Refer safety issues, repairs, and THEA 3200 students wishing to complete lab hours or projects to the
Costume Studio Coordinator.
SAFETY
As a Costume Studio Employee, you must adhere to all MTSU safety procedures. Specific concerns include:
 Always use the locking ladder (never use a chair) when retrieving items from wall
shelves/cupboards in the Costume Studio, Laundry Room, Dressing Rooms, or Storage
Room. Be sure to exercise care while climbing up and down the ladder
 Use caution while operating the professional irons to avoid burns and injury (the shop
irons are much hotter than home irons)
 When repositioning items on the ironing board, be sure to place the iron squarely on the safety pad
(not the ironing board)
 When using an industrial serger, always press the “OFF” button when leaving the work station (even
if you plan to be away for only a moment)
 While operating any Costume Studio equipment, keep face and hair away from moving mechanisms
and remove long necklaces and long scarves
 Never engage in any type of horseplay, running, or throwing objects in the Costume Studio
 Cell phone usage/texting is not allowed in the Costume Studio (please go outside to make or receive
calls)
 Student workers are not allowed to work in the shop unsupervised (The Costume Professor or the
Costume Studio Coordinator must be present)
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Anderson Studio Theatre
POLICIES AND PROCEDURES
1. FOOD AND DRINK: No food or drink—except bottled water—is allowed in the Anderson Studio Theatre without the
express written consent of the Facility Manager. This rule applies to the use of food or drink for scenes.
2. ACCESS: Professors with classes in the Lab Theatre will be provided with a key to unlock the facility for their classes.
For access after-hours and on weekends, a key will be provided to the primary contact of the Renting Organization. This
key must be returned to the Facility Manager at the end of the rental by placing the key in the box outside the Facility
Manager’s office. Usage of the Anderson Studio Theatre is strictly prohibited from midnight to 6:00 AM. Campus police
will enforce this rule if this prohibition is violated.
3. LOCKUP: Users of the Anderson Studio Theatre should ensure that all doors are locked and secure before leaving the
room. Failure to properly secure the Facility may result in immediate action including, but not limited to, immediate
eviction from the Facility and revocation of any and all usage rights.
4. FURNITURE AND PROPS: Audience chairs MAY NOT be used as props under any circumstance. A limited selection
of furniture, rehearsal cubes, and hand props is located in the prop cabinet and in the back of the seating area. All items
should be returned to their proper storage location at the end of each class/rehearsal even if you didn’t originally find it
there (shelves and drawers in the cabinet are labeled). Additional furniture and props may be brought in but will not be
provided by the department. The use of furniture from the BDA lobby and Green Room is prohibited. Failure to adhere
to this policy may result in revocation of any and all usage rights. Please be aware that whatever you leave in the space
during the day may get used and/or stolen by people taking classes in the Anderson Studio Theatre.
5. STANDARD HOUSE AND WORK LIGHTS: House and Work Lights are controlled from switches located immediately
inside the entrance to the theatre and beside the Control Booth door. If there is any difficulty with these lights, call the
Facility Manager at 615-898-2181. If the office is closed, please leave a message and the problem will be corrected the
next business day. In an emergency, contact Facility Services at 615-898-2414.
6. LIGHTING: No provision for lighting beyond house and work lights shall be made for rehearsal or classes. Rentals
(including Lab Projects) may use the Repertory Lighting Plot (Plot and Paperwork available upon request). All personnel
who will use/operate the lighting and its associated equipment are required to be approved in advance by the Lighting
Faculty and Facility Manager. Any and all alterations from the plot as drafted shall be restored by the Renter prior to the
end of the Rental Period even if the Renter believes said alterations were not made by the Renter. Failure to restore the
Repertory Lighting Plot will result in additional fees and, where appropriate, grade reduction. Additional lighting
equipment (even if brought in by the Renter) must be approved in advance by and is at the sole discretion of the Facility
Manager.
7. SOUND: No provision for sound reinforcement or reproduction is made for rehearsal or classes. Rentals (including
Student Projects) may request playback capability, clear-com headsets, and minimal sound reinforcement (microphones)
from the Facility Manager. All requests are subject to availability and are at the sole discretion of the Facility Manager.
All sound equipment provided for use by Renters is the sole responsibility of the Renter. Damage to or loss of said
equipment will be billed to the Renter. Sound equipment beyond that deemed reasonable by the Facility Manager will
result in additional labor and/or rental fees and may be wholly and summarily denied. All personnel who will use/operate
said sound equipment are required to be approved in advance by the Facility Manager.
8. AUDIENCE SEATING & CAPACITY: By fire-code, seating in the Anderson Studio Theatre is limited to 100. A threefoot (3ft.) aisle must be kept clear from the stage through all exits (to the lobby, the green room, and to the back hallway
exits). These aisles must be clear at all times. Audience chairs may not be placed in any configuration whereby any
audience member must cross more than seven (7) chairs to reach the aisle (e.g. no more than fifteen (15) chairs in a single
row).
9. AUDIENCE NOTIFICATIONS: Adult language, mature situations, and the use of haze, smoke, or strobes must be
approved in advance by the Faculty Supervisor and require the conspicuous posting of appropriate signage in the Anderson
Studio Theatre Lobby. Appropriate signs will be provided by the Facility Manager if/when said language/situation/effect
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is approved. Use of haze or smoke requires the presence of an Event Manager and advance notification of the UT Police
and may result in additional fees.
10. PRESHOW ANNOUNCEMENT: All events with an estimated audience of fifty (50) or more people within the Boutwell
Dramatic Arts complex are required to play our pre-recorded preshow announcement immediately after taking the “House
to Half”. Events requiring Audience Notifications (defined above) must make an additional announcement including said
notifications at this time.
11. HOUSE MANAGEMENT: All events with an audience of more than ten (10) people require the presence of a qualified
House Manager whose sole responsibility for the production is to be the House Manager. Said House Manager must be
present prior to the entry of any audience and for the duration of the event. Qualification as defined here is at the sole
discretion of the Facility Manager.
12. AUXILIARY SPACES: Use of spaces beyond the confines of the Anderson Studio Theatre (including its stage, house,
lobby, control booth, and bathrooms) must be arranged in advance through the Facility Manager and are subject to
availability and additional fees.
13. CLEANUP: All audience chairs, props, furniture, and curtains (if present) shall be restored to their appropriate locations
prior to the end of class or rehearsal.
14. ACCIDENT NOTIFICATION: Any accidents or injuries that occur in the Anderson Studio Theatre should be
immediately reported to the Facility Manger at 615-898-2181 or the Safety Officer.
15. FIRE: In the event the fire alarm goes off, everyone in the facility MUST immediately evacuate the building. If you
believe your group is responsible for accidentally setting off the alarm, one person may remain in the building and follow
the instructions for a possible false alarm located at the alarm enunciator (next to the call board). Failure to evacuate the
building in either case will result in immediate revocation of usage privileges and/or appropriate disciplinary or legal action.
16. SMOKING: See MTSU Tobacco/Smoking Policy on page 23.
17. UNIVERSITY POLICIES: All users of the Anderson Studio Theatre are responsible for knowing and adhering to all
policies and requirements of Middle Tennessee State University, including, but not limited to, policies regarding fire,
drugs, and alcohol.
18. SCHEDULING: Students who wish to use the Anderson Studio Theatre for rehearsal may reserve the theatre for up
to one and a half (1.5) hours by legibly writing their name in the appropriate space on the schedule outside the backstage
entrance to the Anderson Studio Theatre. The Anderson Studio Theatre Schedule for the next week will be posted by
10:00 AM Friday morning. Faculty and Staff wishing to reserve the space may submit their request to the Facility
Manager at any time prior to the schedule being posted. Faculty and Staff may not reserve the space after the schedule is
posted.
ANDERSON STUDIO THEATRE NOTICES
The Anderson Studio Theatre may be scheduled for class rehearsals using the campus wide 25live scheduling system. An
IPad is located in the hallway next to the Student projects call board with access to the system. Students currently
enrolled in theatre classes may schedule themselves for one (1) hour of free time per day. Faculty, staff, and non-theatre
students should contact the Production manager to schedule time in the space. See Appendix for 25Live Scheduling
Instructions.
All users of the Studio Theatre are required to both know and adhere to the Studio Theatre Rules and Guidelines posted
on the Studio Theatre information board. Violation of these rules will result in immediate disciplinary action.
Items left in the Anderson Studio Theatre will be turned into the Keathley University Center Lost and Found. As the
space is used constantly, the MTSU Theatre and Dance Department offer no guarantee about the safety of anything left
in the facility.
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STUDIO THEATRE PROJECT PROPOSAL
INSTRUCTIONS FOR SUBMISSION
Five (5) printed copies of your proposal should be submitted to the Facility Manager (Justin Durham) and one
(1) printed copy should be submitted to your faculty advisor. The printed submission may be placed in the
appropriate mailbox in the Main Office.
INFORMATION YOU WILL NEED FOR THE PROPOSAL
Title and Playwright, Publisher, Director’s Name
Please note that YOU ARE RESPONSIBLE FOR PAYING ANY ROYALTIES REQUIRED FOR
PRODUCING YOUR SHOW. This is usually approximately $50/performance. The department may offer
some scholarship/support money to help with this expense, but it is still your responsibility.
Faculty Sponsor’s Name/Sponsoring Organization
Valid Sponsoring Organizations must be a registered student organization with Middle Tennessee State
University. You must have a faculty sponsor if you are not working through a student producing
organization.
Statement of Intent
Why this show? What you want to work on/accomplish? Keep it brief, but make a good argument.
Cast Requirements
Numbers, age, gender, etc. for all roles. Include information on any double casting.
Technical Requirements
The Department does not build sets or costumes for these productions – if you are planning on
building elements for your show you should include a plan for how and where this building will
happen. Scenery for student shows must be ENTIRELY removable so that the lab can be used for
classes during the day without working around set pieces.
Basic Floor Plan
A “napkin sketch” of your plan is acceptable; although more detailed plans are encouraged.
Requested Materials
A list of things you would want to borrow from the department.
Technical Personnel
A list of anyone you have lined up to work you show (Sound Designer/Operator, Lighting
Designer/Operator, Costume Designer, Set Designer, etc. Please note that there will be one training
session each semester where the Lighting and Sound personnel for the Tucker Theatre will spend time
walking you through the Anderson Studio Theatre and its equipment. Attendance by at least one
member of your production team (and preferably all members) is required. Training after this time
may not be available. Additional training in sound and lighting equipment may be obtained by working
on our main stage season productions. If you are interested in additional training and experience
through this, please be sure to communicate with the appropriate shop head to initiate the process.
Ideal Timeline
Let us know when you would like to rehearse/perform your show. Be fairly general here: i.e. Early
Fall, Winter, Spring, etc. If you have any time restrictions that cannot be changed, please include those
here as well (i.e. Fall Graduation).
Your Pitch
How this production will benefit you, the department, and the community at large.
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STUDIO THEATRE PROP LIST
Props to be kept in cabinet
-------------------------2
suitcases
1
plastic trash can
2
vases with flowers
2
wine bottles
2
liquor bottles
4 ea
Misc. Silverware
5
plastic water glasses
5
beer bottles
1
pans
4
ceramic coffee cups
4
plastic bowls
4
plastic plates
1
corded phone
5
books
1
answering machine
1
cordless telephones
1
Keyboard
1
Coffee Pot
1
Ash tray
Furniture to be kept in back of room (See outline for proper placement.)
-------------------------6 18"x18" cubes (6 sided with 2 hand holds and 2 trash removal holes on opposite sides.
1 Square Table
4 Stacking Chairs
1 Coat rack
1 Love Seat
1 Arm Chair
Remember: Audience chairs MAY NOT be used as props under any circumstance. A limited selection of
furniture, rehearsal cubes, and hand props is located in the prop cabinet and in the back of the seating area.
All items should be returned to their proper storage location at the end of each class/rehearsal even if you
didn’t originally find it there (shelves and drawers in the cabinet are labeled). Additional furniture and props
may be brought in but will not be provided by the department. The use of furniture from the BDA lobby and
Green Room is prohibited. Failure to adhere to this policy may result in revocation of any and all usage rights.
Please be aware that whatever you leave in the space during the day may get used and/or stolen by people
taking classes in the Anderson Studio Theatre.
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Theatre Box Office
Free Student Tickets: Students MUST present a valid MTSU ID to receive a free ticket. M#'s are not
accepted. Students may receive 1 FREE ticket per production (not Performance). Reservations may not be
taken for FREE student tickets. Students must present their MTSU ID at the Box Office to receive their
ticket. Tickets may be picked-up in advance during regular box office hours or at the door beginning one
hour prior to performance.
Attendance Credit: Attendance will be reported by use of the student's MTSU ID. The card will be scanned
at the close of each performance (no early scans permitted) and a report of attendance will be sent to all
theatre instructors following the close of a production. Attendance will not be credited without an ID (no
M#'s).
Late Arrival: Tucker Theatre does maintain a late arrival policy. Students arriving more than five (5) minutes
after the show has begun will not be admitted to the performance and are not eligible for attendance credit,
regardless of whether they have a ticket. Note that lines can be long at the box office, so arrive early or get
your tickets in advance. Seating for shows begins 30 minutes prior to show time.
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Theatre & Dance Faculty & Staff receive 2 comps per performance
Cast & Crew receive 2 per production (not per performance)
Others may also appear on the list, and their available comps should be denoted next to their name
Theatre Safety and Emergency Procedures
I. Safety Policy: It shall be the policy of the Middle Tennessee State University and Tucker Theatre that a
safe, healthy environment shall be maintained at all times within the Theatre Program and its environs,
including performance spaces, rehearsal spaces, and shop and other work spaces. This includes controlling
and minimizing hazards attendant with the creation of theatre. We recognize that many processes, techniques,
materials, and practices used in the theatre contain inherent risks to individuals; if those risks cannot be
adequately minimized and controlled through proper training, equipment, and use of appropriate precautions,
THOSE THINGS MAY NOT BE USED WITHIN OUR PROGRAM. Furthermore, ignoring
precautions and restriction shall not be allowed. No production can ever be considered justification for risk to
any member of our program, and no production can be considered successful if someone is injured in its
completion.
No activity in theatre is completely safe. Safety procedures considered standard in any other industry may not
be practical in a performance situation. We must therefore be especially diligent in following safety rules that
do apply. FAILURE TO FOLLOW APPROPRIATE SAFETY RULES AND POLICIES MAY
RESULT IN SERIOUS INJURY OR DEATH! Therefore, failure to follow required safety rules may
result in immediate temporary and possibly permanent expulsion from a given activity, production, or class.
II. Handling Safety Issues: It is the policy of Middle Tennessee State University Theatre and Dance and
Tucker Theatre that no safety concern is unimportant. All personnel and students within the Department are
encouraged to bring such concerns to the faculty and staff, and especially to the Safety Officer. In no way will
doing so reflect badly on or be held against the person making the report. Rather contributing to the health
and safety of all personnel is everyone's responsibility.
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III. Restricted Access: A theatre space, especially the stage area, is essentially a large machine for producing
plays. It contains many hazards, especially to those unfamiliar with the mechanical and physical aspects of a
theatre. THEREFORE:
No unauthorized personnel (i.e. anyone other than Cast and Crew) shall be allowed backstage during any
performance, between call time and 15 minutes after final curtain.
No one is allowed access to the stage area unless supervisory personnel (faculty, staff, or authorized student
supervisors) are present.
No one shall be permitted to work alone in the Theatre space. In case of injury or incident, there must be
another present to render aid or seek assistance.
NO ONE SHALL BE PERMITTED TO OPERATE ANY POWER TOOLS IN THE SHOP
SPACES UNLESS A PAID STAFF IS PRESENT!
This includes Scenery and Costume Shops.
IV. First Aid, accidents, and reporting: First Aid kits are maintained by the Safety Officer, who is
responsible for seeing that it is kept stocked. These kits are located beside the paint sink in the scene Shop,
and on the stage right side of the Proscenium. Keys to the various places where Kits are stored are given to
professional and academic staff, and student stage managers, who are all authorized to access the first aid
supplies.
However, these kits are intended for First Aid ONLY! In the event of anything OTHER than minor
incidents, accidents are to be reported IMMEDIATELY to the Safety Officer if present and/or the
supervisor in charge of the area, who shall contact Campus Public Safety at phone no. 2424, who are
authorized to contact the proper emergency services. If the incident is serious or life-threatening, you should
call 9-911 immediately. Public Safety should then be contacted as soon as practical. Render whatever first aid
can be applied until emergency services arrive to relieve you.
All incidents must also be reported to the Safety Officer after the fact.
V. Emergency Procedures: FOR ANY EMERGENCY INCLUDING INJURY, ILLNESS, FIRE
OR AN EXPLOSION, DIAL 2424 (PUBLIC SAFETY) FROM ANY UNIVERSITY PHONE, OR
IN EXTREME EMERGENCY, DIAL 9-911.
Your call will be answered by an officer at Public Safety. Public Safety personnel will respond and determine
the need for additional assistance. The following are recommended procedures for various types of
emergencies:
MEDICAL EMERGENCIES
1. If a SERIOUS INJURY occurs, immediately dial Public Safety at the 2424 emergency phone
number, or dial 9-911. First aid can be administered or medical transport can be arranged if
necessary.
2. Never move a person suspected of serious injury unless it is a life-threatening situation such as a
fire. Attempts to move an injured person can cause further injury, especially to the spine and
neck. Try to keep the injured person warm and still.
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3. Persons with severe injuries or illnesses that require emergency department facilities for
treatment are to be transported directly to Middle Tennessee Medical Center. Persons with less
serious conditions should obtain treatment at the Student Health Center at the Student
Recreation Center.
4. Because of infection, minor cuts have the potential to become more serious. Wounds should be
washed and dressed. Visit Student Health Services if necessary.
FIRE EMERGENCIES: In the event of a fire, Public Safety should be notified immediately at 2424 and
the following actions are recommended:
1. Activate the fire alarm.
2. Put out the fire if you know how to do so without endangering yourself or others. University
policy states that individuals are not required to fight fires. Those that choose to fight small,
incipient stage (no larger than a waste paper basket) fires must be trained in the proper use of
fire extinguishers. If a fire cannot be extinguished within the first 10 seconds, leave immediately!
3. If the fire is large or spreading, leave the fire area and prevent the fire's spread by closing the
doors behind you. If on stage, activate the Fire Curtain by pulling the pin located on either the
stage left or right side of the proscenium.
4. Evacuate the building and await the arrival of Fire Officials. Try to account for everyone inside
the building. Do not leave the area until you have been accounted for.
5. Do not re-enter the building until you are told to do so by Public Safety or the municipal fire
official.
CHEMICAL EXPOSURE: Material Safety Data Sheets are kept on every chemical in the facility. Refer to
these sheets before using any chemicals to inform yourself about the conditions of each chemical. In general,
though follow these guidelines when using chemicals.
1. If you spill a chemical such as paint thinners or fabric dyes on your skin:
o Rinse the area with water for at least 15 minutes.
o Remove any soiled clothing and jewelry while you are rinsing.
2. If you get a chemical in your eyes:
o Rinse with water for at least 15 minutes, rinsing from the nose outward to avoid
contaminating the unaffected eye.
o Remove contact lenses while rinsing, don't wait to remove them before you rinse.
3. If you inhale a chemical or are overcome by fumes:
o Leave the room and move to fresh air.
o Keep door of room open to vent.
o Do not re-enter a contaminated area.
o If symptoms do not subside, seek medical attention at Student Health Center or Middle
Tennessee Medical Center .
VI. Chemical Spills: The campus police chief functions as emergency coordinator. The general procedure in
the event of a spill is to notify supervisor (Safety Officer if available) who will evacuate immediate area if
necessary. The supervisor then calls campus security office. Campus security staff will consult with the EHS
manager and with the campus Facilities Management director to make a determination on whether to call in
the local hazmat team.
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VII. Fire control and Use: Fire is always a hazard in the Theatre. To minimize this problem, the following
shall be adhered to at all times:
Tucker Theatre is equipped with a Fire Curtain, which is designed to lower automatically in case of fire. AT
NO TIME IS THE PATH OF THE FIRE CURTAIN TO BE BLOCKED BY SCENERY, PROPS,
OR REHEARSAL PROPS OR FURNITURE.
All technical personnel and students MUST, and all actors SHOULD, be trained in the location and use of
fire extinguishers in the backstage areas. HOWEVER, if a fire cannot be extinguished within the first 10
seconds or so, GETTING EVERYONE OUT SAFELY IS THE FIRST PRIORITY! This is the
responsibility of the Production Stage Manager and the Safety Officer. Activate the fire alarm immediately! If
possible, the fire curtain lowering system (i.e. “pull the pin”) should be activated before leaving the stage. Fire
alarm boxes are located at each exit to the building. Pull an alarm switch to alert the Fire Department on the
way out if it has not already been activated.
Open Flames:
THE USE OF OPEN FLAMES IN PRODUCTION IS STRONGLY DISCOURAGED!
THAT SAID:
The use of open flames shall be permitted when necessary for production ONLY WITH THE
APPROVAL OF THE CAMPUS SAFETY OFFICER who is responsible for training and overseeing
personnel handling the effect. If necessary, the S.O. shall consult with and obtain permission from the City
Fire Marshal before effects can be permitted. IF EITHER THE SAFETY OFFICER OR THE FIRE
MARSHAL DISAPPROVES THE FIRE EFFECT, NO MATTER HOW SMALL, IT SHALL NOT
BE PERMITTED.
At any time open flames are in use, at least one crew person shall stand by offstage with a fire extinguisher at
hand the entire time the open flame is present, and that shall be that PERSON'S SOLE DUTY AT THAT
TIME!
VIII. Combat and Weapons: ACTORS and DIRECTORS: No stage combat shall be permitted in
production or class without training and approval of the Theatre faculty responsible and/or the faculty Fight
Director.
PROPS: Prop weapons are NOT toys. They are NOT to be handled EXCEPT by authorized persons and
are the responsibility of the Props master of each production and/or the assigned Weapons Handler. NO
ONE ELSE IS ALLOWED TO HANDLE ANY PROP WEAPON!
Prop weapons shall be secured when not in use, and shall be issued to the actors using them only when
required, and shall be immediately turned back in to the props person responsible immediately when finished;
the weapon shall then be immediately secured until the next performance.
All prop weapons MUST ALWAYS BE TREATED AS REAL weapons (which in fact they are). All guns
used as props must be handled as if loaded; all edged weapons must be treated as sharp. EVEN BATED
WEAPONS CAN KILL!
IX. Smoking Rules: It is State Law that SMOKING IS PROHIBITED in all State buildings, including the
Theatre facilities; in fact it is illegal within 20 ft. of the outside doors. The single exception is smoking
required by the business of a particular production. THIS SHALL NOT BE USED AS AN EXCUSE TO
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SMOKE IN THE THEATRE! Only such smoking as is absolutely necessary for a production is allowed.
Advanced notice of smoking is required.
X. Safety complaints and hazards: Any perceived safety concerns or hazards, large or small, MUST be
reported to the supervisor in charge of the area, and/or the Safety Officer, who shall take steps to correct the
problem or to report the problem to the appropriate University authorities for action.
Electrical or maintenance services to the building shall be referred to Buildings and Grounds, at 2308.
XI. Theatre and Backstage Safety Rules:
MIDDLE TENNESSEE STATE UNIVERSISTY – THEATRE AND DANCE SHOP SAFETY RULES
AND REGULATIONS
The following should be considered as guidelines for working in the Theatre Shop areas. They have been
written and are enforced for your safety, and as such should be followed at all times. If you have any
questions regarding the safe operation of any tool or method of construction, 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 areas as none of
these garments give sufficient protection to the wearer. 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. In
general, when operating any power tool, safety glasses are to be worn. Also when participating in any amount
abrasive sanding or spray painting, respirators are also to be used in addition to safety glasses. 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. There is to be NO SMOKING IN THE SHOP AREAS. 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. Any person removed from the
shops for the above reason shall not be allowed to return unless authorized by the Faculty.
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.
7. At no time shall any student operate or attempt to operate any of the following pieces of equipment
without permission of the staff.
a) Table Saw
b) Radial Arm Saw
c) Circular Saw
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d) Band Saw
e) Saber Saw
f) Drill Press
g) 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. Always unplug or disconnect from power all power tools before changing blades, bits, or attachments.
12. IF YOU DON'T KNOW - ASK! There is no such thing as a dumb question, only dumb mistakes and
injuries.
XII. Safety notices and bulletins: Safety Bulletins will be posted on the Hazcom program Bulletin Board
located beside the Scene Shop door. .
Safety rules for each of the major power tools in the Scene Shop are posted near each tool. NO PERSONS
WILL BE ALLOWED TO OPERATE ANY POWER TOOL UNTIL TRAINED AND APPROVED BY
THE TECHNICAL DIRECTOR. Likewise, personnel and students must be trained and approved before
being permitted to operate any powered costume shop equipment. All required safety rules must be followed
at all times.
Some guidelines for using tools include:
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Inspect tools before use for any defects such as frayed wires, or damaged hand tools. Remove
defective tools from service and have repaired or replaced.
Only use power tools that are properly grounded with a 3-pronged plug or that are doubleinsulated. A power tool with a missing grounding prong shall be considered damaged and be
removed from use until repaired.
Never carry a power tool by its cord. Avoid wrapping cords too tightly around tools for storage
to prevent damage to strain relief grommets.
Unplug power tools before loading them, changing blades or bits, making adjustments, or
cleaning them. Follow all manufacturers’ instructions for handling and adjusting.
Defective, damaged or unsafe equipment must be removed immediately from service if damage
occurs or is detected.
Dull tools are unsafe and can damage operator or work. Maintain your tools and always use
sharp cutting blades.
NEVER ALTER OR REMOVE ANY MACHINE OR BLADE GUARDS OR DISABLE
ANY SAFETY FEATURE.
XIII. MSDS: Material Safety Data Sheets (MSDS) for chemicals and materials used in the shops are
maintained by the Safety Officer and are available at any time to all persons in the theatre area. Every Faculty
member is responsible for obtaining the appropriate MSDS sheet when they bring new chemicals into the
facility. All chemicals even the most basic chemicals, ie. Bleach, have specific MSDS sheets and must be
45
obtained and given to the Safety office. Workers in the shops, students and paid assistants are required to
follow safety guidelines on each sheet for each material and chemical. If you do not understand or have
questions about anything in any MSDS, or about any process, see the Safety Officer for clarification.
IXX. Work requiring training: Many of the processes and systems in the theatre complex pose hazards
while in use. Before students and staff are permitted to use them, they must be trained and approved by the
appropriate supervisor of the area. These processes include but are not limited to:
Use of power tools in the Scene Shop:
Table Saw
Radial Arm Saw
Band Saw
Stationary Drill Press
Portable Drills and Drill Motors
Bench and Portable Grinders
Pneumatic-powered nailers and Staplers
Electric and Gas Welders
Chop Saw
Circular Saw
Theatre Systems:
Stage Rigging and Fly systems
Lighting Control Boards
Sound Control Boards
Personnel Lifts
XX. Ventilation Systems: The Scene Shop is equipped with certain ventilation systems, which shall be used
at all appropriate times. These include but are not limited to:
Spray paint use is only permitted with the use of ANSI approved filter masks. If such a mask is not available,
painting cannot be done until appropriate equipment is obtained.
Dust collection system must be operating when table saw is in use. Training on this tool must include training
on the ventilation system.
No Welding shall be allowed in the Theatre or Scene Shop.
XXI. Personal Protective Equipment: In addition to normal permitted work clotting (see Scene Shop
Safety Rules, Item 1) the shops are provided with personal protective equipment. Use of such equipment is
not optional and shall be used at all times when performing associated activities.
Such personal protective equipment shall include but is not limited to:
EYE PROTECTION: safety glasses, goggles, or face shields shall be required when operating power tools.
EAR PROTECTION: ear plugs or ear muffs shall be required when operating louder power tools, such as
radial arm saw, table saw, circular saw, chop saw, or portable grinder at any time, or any percussive tool
(pneumatic nail gun), at ALL times. Ear plugs or ear muffs shall be required when operating ANY power tool
for extended periods of time.
HARD HATS are available and must be used while overhead rigging is taking place.
46
BREATHING PROTECTION:
Spray painting is only permitted while wearing a ventilation mask rated for spray paint.
Dust collection system and room ventilation systems shall be used at all appropriate times. See section on
Ventilation Systems for clarification.
Dust masks are required for activities creating quantities of dust or of dust collection system is not practical
for a given activity (i.e. portable tools.)
PROTECTIVE GLOVES are required when working with solvents or solvent based (non-water based)
chemicals and materials. Extended exposure to water based chemicals (such as paint) shall also require the use
of protective gloves. Refer to MSDS for guidelines as to appropriate equipment.
XXII. Electrical Systems: Tucker Theatre is equipped with an ample lighting system. It is the policy of the
Theatre and Dance Department and Tucker Theatre, that no lighting fixture be used in any manner other
than its intended purpose. This policy also includes the use of lighting instruments on positions other than
the installed lighting positions in the facility. Lighting positions are on the six (6) Electric and two (2)
catwalks.
Boom bases are used for extra positions and dance applications. Cabling for these fixtures should be kept to
the bare minimum. Cabling should follow straight lines and be secured to the floor through covering with
Marley or cable ramps. NO CONNECTIONS SHOULD BE ON THE FLOOR AT ANY TIME. Leaks can
happen at any time and connections on the floor pose an inherent risk to cast and crew.
XXIII. Personnel Lift:
ONLY AUTHORIZED AND QUALIFIED PERSONNEL MAY OPERATE THIS MACHINE!
Transporting the liftPlatform must be completely empty of tools and debris.
Platform must be fully lowered with outriggers removed and stowed.
To move machine use handles provided on the mast crossbar.
Tilt machine back only when on a flat, firm and level surface.
NEVER ALLOW PERSONNEL IN PLATFORM WHILE YOU ARE MOVING MACHINE!!
(This means you cannot place a person in the lift, take it up and loosen the outriggers so you can push that person around.
Outriggers MUST be in locked in contact with the floor ANYTIME the lift is moving up or down, forwards or backwards!)
Operation of lift NEVER operate this or any other personnel lift without the outriggers locked into place and in
secure contact with the floor and unit leveled according to the bubble level indicator on the base
frame. Deliberately overriding the outrigger safety mechanisms will result in expulsion from
the theatre.
 NEVER operate this machine on uneven, raked or structurally unsound surfaces. All four outrigger
feet must be in direct contact with the stage surface. If you are working near the stage edge, do not
use shims or extensions to level the outrigger feet.
 Before ascending all pockets must be empty. Crescent wrench and other tools must be securely
attached to your person. No hand, wrist or neck jewelry, no loose clothing and no open toed shoes
may be worn.
 While operating this machine, always look in the direction of machine movement.
 To ascend, platform operator must hold both the “dead man switch” and the up button. To
descend, operator must hold both the “dead man switch” and the down button.
47
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When platform is raised, all ground personnel must be at least 6 feet away from the platform base.
Check work area for clearance overhead, on sides and bottom of platform when lifting or lowering
platform.
NEVER USE THE MAST ASSEMBLY TO ENTER OR EXIT THE PLATFORM!
NEVER STAND ON PLATFORM RAILS, STEPS ORLADDERS TO PROVIDE
ADDITIONAL REACH. Keep feet firmly planted on the platform floor at all times.
Do not tie off machine to any adjacent structure.
Do not perform work that will subject unit to horizontal force or create a swaying motion of the
platform.
NEVER dismount from a moving machine.
STUDENTS ARE NEVER ALLOWED TO USE THE LIFTS WHILE ALONE IN THE
BUILDING!
LIFTS ARE ONLY TO BE USED UNDER THE DIRECT SUPERVISION OF THE FACILITY
MANAGER, MASTER ELECTRICIAN, SHOP FOREMAN OR THE DESIGN FACULTY.
XXIV. Rail and Counter Weight Fly System:
 Maintenance problems should be reported to the Technical Director, Master Electrician, Scenic and
Lighting Faculty or the facility manager.
 NEVER operate the rail while impaired in any way.
 Never stand or walk under a moving rigging set.
 Do not sit or store anything on or under the rail (including drinks, clothing, props or additional
personal items)
 Do not climb, sit or stand on the rail unless instructed to do so by the head flyman
 When flying battens or electrics either the line flyman or the head flyman must maintain visual
contact with the moving element. In Tucker Theatre it is important to have an additional person
designated to watch the stage left side of the system (particularly the electric umbilicals and stage left
scenery).
 Students are not allowed to use the rail system while alone in the facility.
 The rail should only be used under the direction of the Stage Manager, Technical Director, Master
Electrician, Scenic and Lighting Faculty or the facility manager.
 Counterweight systems are designed to be used in a balanced condition. During the loading and
unloading process, an unbalanced load condition exists. This condition is potentially VERY
DANGEROUS! When working with an unbalanced load you must keep the weighted load at the
lowest position (i.e. when working with a deck level electric, do not remove fixtures without reweighting the arbor first.)
 Loading and unloading procedure:
o The head flyman on deck directs the loading and unloading procedure (usually the Master
Electrician or Head Carpenter).
o Before loading or unloading an arbor, it is wise to have a safety wrap on the hand line (a
buddy, a belaying pin and twist, or a safety hitch on the hand line).
o DO NOT RELY ON THE ROPE LOCK TO HOLD AN UNBALANCED LINE. These
locks are designed to hold balanced pipe weight only.
o The loading bridge crew should add or remove weights only when instructed to do so by the
deck flyman.
o Weight is added to the deck level batten/electric by the stage crew under the instruction of
the head carpenter or master electrician. (At this point the batten weight is greater than the
arbor weight.)
o When loading weights for scenery or drapery that is initially being supported by the floor, it
may be necessary for the deck crew to hang on to the batten with their hands or with a bull
48
o
o
o
o
o
o
o
line. DO NOT LEAN OVER THE BATTEN! IT MAY BE NECESSARY TO LET GO
QUICKLY!
Once the batten/electric is loaded, the deck flyman will instruct the loading bridge crew to
load the appropriate number of half, full or double weights.
Before changing weight on the arbor, the loading bridge crew must yell, “Clear the Rail!”
indicating that ground personnel should move to center stage or beyond (Stage left in
Tucker). The deck flyman should confirm that all personnel are clear before replying “Rail
clear”.
The loading bridge crew will then state “Loading/unloading bricks on (line set/electric #_)”
and begin adding or subtracting the appropriate bricks.
Once the change in weight is complete, the loading bridge crew will state
“loading/unloading complete on (line set/electric #_)”, indicating that the deck flyman is
clear to test the batten/electric for balance.
Before testing for balance the deck flyman will ensure that the stage area is clear and that the
loading bridge crew has all moved away from the batten/electric being tested. He/she will
then announce “testing weight on batten/electric #_” and wait for a response from all deck
and bridge crew.
 Touch the hand line before releasing the lock and safety wrap. If the tension feels
off or wrong, do not release them. Refigure the weight math and mentally retrace
the loading process to check for errors. TRUST YOUR GUT!
 If you believe for ANY reason that the pipe might be slightly out of weight, have a
second flyman gripping the hand line as well.
 Carefully release the lock and test the batten/electric for balance. Remember that
pipes with some weight being held by the floor will be arbor heavy until the
scenic/electric weight is in the air. BE CAREFUL!
Weight will be added or subtracted following the above procedure until the batten/electric is
in balance.
When loading and unloading any batten or electric, MAKE SURE THE HEAVIEST PART
IS ALWAYS THE LOWEST!
RUNAWAY SET
 A runaway set occurs when the highest weight is greater than the lower
weight. If a line begins to creep it may be possible to stop it by brute
strength and then quickly fix the problem.
 If a set begins to move rapidly, DO NOT ATTEMPT TO STOP IT! Shout a
warning to all crews and move quickly to take cover.
 A runaway set will cause the arbor to crash down or up and almost
always means that counterweights, smashed tension blocks or head
blocks and other hardware will fly through the air. Runaway battens
will hit other battens and possibly snap the aircraft cables. All of this
happens very quickly and cannot be stopped. YOU MUST
QUICKLY GET OUT OF HARM’S WAY!
o Communication is vital to the rail process. Make sure that all parties can hear clearly what is
being said and understand all commands. IF YOU DO NOT UNDERSTAND GIVEN
DIRECTIONS, STOP AND ASK FOR CLARIFICATION. Do not assume that you
know what to do.
o Partial or unbalanced large loads require certain safety procedures and should never be
attempted without the direct supervision of the Technical Director, Master Electrician,
Scenic and Lighting Faculty or the facility manager.
o Show operation procedures:
 Make sure that the rail is relabeled for each show.
49



Trim height should be clearly marked for all line sets and electrics used during show
operation, including pieces that do not move during a performance (legs, borders,
etc). All spike marks should be removed at strike.
Do a pre-show practice run of all lines that must move during a performance. If
something feels off, tell your technical director or master electrician before the
house opens so that the problem may be fixed.
Cue signals
 Warning- indicated about a minute before the cue is to take place. Allows
the flyman to be in place. Warning cues should indicate which line set and
what is to happen to it (in or out).
 Standby- indicated a few lines before the cue is to occur. The rope lock is
released and the flyman is ready for the “go”.
 Go- indicates that the line is to move. The flyman on that line set should
watch the rope line for the spike mark, while the head flyman should watch
the moving piece for clearance issues.
 IF THERE IS ANY RESISTANCE, STOP! Determine the problem
before continuing to move the piece.
Also please reference the Tucker Theatre Facility Usage Policy regarding additional safety
information, policies, and procedures.
50
Theatre Production Calendar Template
This is a typical time-line for a production and may be compressed to accommodate.
12 Weeks Prior to Opening
 Production Team Meeting (Day TBA)
o Initial Discussions of Director’s
Concept and Design Ideas/Concepts
11 Weeks Prior to Opening
 Production Team Meeting (Day TBA)
o Discussion/Presentation of Design
Ideas/Concepts
10 Weeks Prior to Opening
 Production Team Meeting (Day TBA)
o Presentation of Scenic Design
Renderings
o Presentation of Costume Design
Renderings
9 Weeks Prior to Opening
 Production Team Meeting (Day TBA)
o Scenic Design Finalized
o Costume Design Finalized
 Friday
o Groundplan and Elevations to Tech
Director
8 Weeks Prior to Opening
 Production Team Meeting (Day TBA)
 Monday
o Initial Costume
Fittings/Measurements
7 Weeks Prior to Opening
 Production Team Meeting (Day TBA)
 Friday
o Technical Drawings Complete and
Submitted for Approval
6 Weeks Prior to Opening
 Production Team Meeting (Day TBA)
 Monday
o Costume Construction Begins
 Wednesday
o Revised Technical Drawings Submitted
for Approval
 Friday
o Rehearsal Props Complete
o Final Technical Drawings Approved
5 Weeks Prior to Opening
 Production Team Meeting (Day TBA)
 Monday
o Scenic Construction Begins
4 Weeks Prior to Opening
 Production Team Meeting (Day TBA)
 Friday
o Program Information to PR
3 Weeks Prior to Opening
 Production Team Meeting (Day TBA)
51
2 Weeks Prior to Opening
 Production Team Meeting (Day TBA)
 Monday
o Scenic Painting Begins
 Wednesday
o Program Proof Submitted for Review
 Friday
o Major Scenic Construction Complete
o Scenic Painting Completed (Except
for Floor Treatment)
1 Week Prior to Opening
 Production Team Meeting (Day TBA)
 Monday
o Set Load-in Begins
o Paper Tech
o Hang and Focus
 Tuesday
o Props Finalized
 Wednesday
o Program Finalized
o Floor Treatment Completed
 Thursday
o Set Load-in Complete
o Lighting Design/Cues Complete
o Sound Design/Cues Complete
o Sound Equipment Load-in (if
necessary)
o Program to Printer
 Friday
o Costumes Complete
o Dry Tech – NO ACTORS
 Saturday
o Cue-to-cue
o Frist Tech Rehearsal
Opening Week
 Sunday
o Tech/Dress Rehearsal
 Monday
o Tech/Dress Rehearsal
 Tuesday
o Final Dress Rehearsal
o Photo Call
 Wednesday
o Opening
 Saturday
o ACTF Response
1 Week After Opening (Two-Week Runs Only)
 Sunday
o STRIKE
 Post Mortem (Day TBA)
PRODUCTION WEEK TEMPLATE











On or before Thursday prior to opening – Paper Tech
Friday prior to opening – Dry Tech – NO ACTORS
Saturday Morning prior to opening – Cue to Cue – PROPS OPTIONAL
Saturday Afternoon prior to opening – First Tech
Sunday prior to opening – Tech/First Dress
Monday prior to opening – Tech/Dress
Tuesday prior to opening – Final Dress – PHOTO CALL
Wednesday – Opening
For one-week runs:
o Thursday through Saturday – Performances
o Sunday – Matinee with strike following
For two-week runs:
o Thursday through Saturday – Performances
o Sunday – Matinee
o Monday – Dark
o Tuesday – Dark with optional pick-up rehearsal
o Wednesday through Saturday – Performances
o Sunday – Matinee with strike following
One week post opening – Post Mortem
Callboards
The various bulletin boards located in the hallway on the first floor of the BDA are your most immediate
source of day-to-day information. These include the Student Projects, Faculty, Production and Community
callboards. As a theatre major, you are expected to check the callboards once a day. (adapted from NAU)
 Student Projects callboard is reserved for announcements for student productions and projects.
 The Faculty callboard is for faculty to use to announce information to students about projects, classes,
etc.
 The Production callboard is the most important and is the major communication tool for the current
productions. Here you will find audition information, rehearsal calls, crew assignments and calls, and
other pertinent information.
 The Community callboard is for all postings other than faculty, productions and student
projects/productions.
Student Key Policy
If you are assigned to a production role or shop/laboratory position, you may be issued keys for entry to
perform tasks. The assignment of keys should be regarded as a responsibility and a symbol of trust. You will
be responsible for the keys and the security of the space. You will be required to sign the following
agreement: (see Appendix)
I understand that key control is a matter of workplace safety, ensuring building security and minimizing potential for loss or theft
of property. As such, I agree to use assigned keys for official Middle Tennessee State University (MTSU) purposes only. I agree
to maintain assigned keys in a secure and responsible manner. I will not allow an unauthorized person to use keys assigned to
me. I understand that any loss or failure to return an assigned key may make my work unit subject to costs of key replacement
52
and/or rekeying. I agree that upon employment separation, I will return to MTSU all keys that have been issued to me. If I fail
to return an assigned key, I understand that a $50 irretrievable key fee per key may assessed to the account listed on this form.
53
Related Student Opportunities
Student Productions
Students may have the opportunity to mount fully produced productions from time to time. This practice is
encouraged and supported by the Theatre faculty. See the Studio Project Proposal on page 37.
Alpha Psi Omega
Alpha Psi Omega was organized as an honorary dramatic fraternity for the purpose of providing an honor
society for those doing a high standard of work in dramatics and, through the expansion of Alpha Psi Omega
among the colleges and universities, to provide a wider fellowship for those interested in the college theatre.
The fraternity is not intended to take the place of the regular dramatic club or other producing groups, but as
students qualify, they are rewarded by election to membership in this society.
Membership Eligibility:
1. A regularly enrolled student of the college, of satisfactory scholarship, who has participated in a major
role of one long play, or two one-act plays, staged by the institution or acceptable organizations, and has
done work of such merit and quality as to be approved by the dramatic director.
2. A student who has written a play that has been produced.
3. Efficient work as business manager, stage manager, or student director for two long plays.
4. Staff work such as carpenter, prop man, electrician or work in scene painting, costume making and
designing.
5. Minor speaking parts in four full length plays or five one-act plays.
6. Honorary and faculty membership may be conferred.
7. A point system may be substituted for these provisions.
Scholarships
Theatre & Dance Scholarships
 Robert Aden Memorial Scholarship – Available to current students with a 2.5 GPA or better.
Students must major in Theatre and intend to fully develop skills in all aspects of the Theatre arts.
 Clayton Hawes Memorial Scholarship - Available to current students with a 3.0 GPA or better.
Students must major in Theatre. Scholarships awarded to students in Design and Technology course
of study.
 Dale E. McGilliard Scholarship - Students must be new incoming Theatre majors. Students who
have attended MTSU for any amount of time are ineligible. MTSU Theatre faculty may invite
students to apply. This scholarship is for Performance majors only. This scholarship is good for
only one academic year for any recipient. The recipient may not apply for this scholarship again.
 Richie Smith Memorial Scholarship - Only currently enrolled MTSU students are eligible.
Applicants meet the following requirements: must have a GPA of 2.0 or better, must be a Theatre
major, must have a proven record of dedication to MTSU Theatre, and must have demonstrated
dedication to theatre as a career.


Dorethe Tucker Scholarship - Available to current students with a 3.0 GPA or better. Students
must major in Theatre. Scholarships awarded to students in Performance course of study.
Please refer to the BDA Call Board for complete application information.
54
Internships
Theatre Art and Theatre Arts Education Internship Guidelines
1.
Objectives
A. To integrate classroom studies with supervised work experiences in a professional theatre
environment.
B. To develop a working relationship between MTSU Theatre, our students, and professional arts
and arts education organizations.
C. To provide practical experience and exposure to varied work methods not available on campus.
2.
Eligibility
A.
Students must possess a minimum cumulative G.P.A of 2.5 at the start of the semester in
which the internship occurs. NOTE: A higher G.P.A might be required for certain
internships. This is at the discretion of the Faculty Advisor for the internship.
B.
Students must have successfully completed a minimum of 15 credit hours in theatre courses
by the start of the semester in which the internship occurs. Production Practicums are not
to be included in these 15 credit hours.
C.
Students must obtain a Permission of Department form. To be signed by both the Faculty
Advisor for the internship and the Faculty of Record.
D.
Student must possess demonstrated skills in area of internship. This is to be determined by
the Faculty Advisor for the internship.
3.
Application Process (interested students should meet with a Faculty Advisor to establish
internship guidelines)
A. Objectives- statement of student goals and how the internship can contribute to these goals.
B. Duration- length of internship and number of hours per week.
C. Student responsibilities- description of internship duties.
D. Method of evaluation- see academic requirements section.
E. Other forms as required by specific internships.
4.
Academic Requirements: Academic viability will be determined by the appropriate
Theatre Arts Faculty using the following guidelines.
A.
Internship duties must be of a scope and complexity to warrant academic credit.
B.
Before embarking on an internship, the Student and Faculty Advisor must agree on a
method of academic evaluation. The following would be required:
1.
Student will keep a journal recording experiences and observations of the Theatrical
Art and/or Theatrical Arts Education process.
2.
During the internship period, the Student must keep the Faculty Advisor informed
of their process at predetermined intervals, no less than every two weeks.
3.
Upon completion of the internship, the Student will be required to return to campus
and turn in paper(s), project(s), presentation(s), etc. to the Faculty Advisor as
mutually agreed upon prior to the start of the internship. This aspect should exhibit
evidence of creative accomplishment.
4.
Internships may not be taken as “Pass/Fail” or as “Audit”.
C.
In order to provide flexibility and to enable individualized attention to the internship, the
following are recommended:
1.
The advisor may arrange an on-site visitation during the internship period.
2.
An additional research project may be developed in tandem with the internship.
3.
Other predetermined methods of evaluation may be applied to specific cases as
mutually agreed upon by the Student as well as the Faculty Advisor.
D.
Guidelines for granting credit.
1.
The amount of credit to be granted should correspond with the number of work
hours anticipated. The breakdown is as follows:
1 credit hour=
45 hours minimum of internship work hours.
2 credit hours= 90 hours minimum of internship work hours.
55
3 credit hours= 135 hours minimum of internship work hours.
The maximum credits for one internship is 3 hours.
2.
The credits earned during an internship will be upper-division.
3.
If internship program includes a stipend or salary, credit may only be given for
accompanying academic work.
5.
Target Theatre Art and/or Theatre Arts Education organizations. Organizations considered
for internships must meet the following requirements:
A.
Demonstrated production and/or education excellence.
B.
Skilled supervisors willing to participate in evaluation.
C.
Possess facilities and equipment that match the scope of the project in terms of quality and
quantity.
D.
Provide opportunity for Student to participate on a professional level.
E.
Provide safety of Student at all times.
Theatre Organizations and Networks
Actors EQUITY http://www.actorsequity.org/ ("AEA" or "Equity"), founded in 1913, is the labor union
that represents more than 49,000 Actors and Stage Managers in the United States. Equity seeks to advance,
promote and foster the art of live theatre as an essential component of our society. Equity negotiates wages
and working conditions and provides a wide range of benefits, including health and pension plans, for its
members. Actors' Equity is a member of the AFL-CIO, and is affiliated with FIA, an international
organization of performing arts unions.
American College Theatre Festival (ACTF) http://www.kennedy-center.org/education/actf/ This
is a national organization that involves the viewing and adjudication of college productions as part of a
competition at several levels. Outside adjudicators visit colleges to review productions, give feedback, and
choose productions to advance to the regional festival held in January (one adjudicator for a nonparticipating
production and two for a participating production). Chosen productions are performed at the regional festival
where they undergo another round of adjudication. Regional winners travel to Washington, D.C. to perform
at the Kennedy Center. Irene Ryan Acting Scholarship--A school is eligible to nominate at least one actor
from the production under consideration for the Irene Ryan Acting Scholarship competition. You are
encouraged to attend the regional festival to participate in workshops, meet other theatre students from
around the region, and see productions from other colleges.
Association for Theatre in Higher Education (ATHE) http://www.athe.org/
This is the national organization for Theatre educators. ATHE holds a national conference annually (usually
in early August) comprised of workshops, performances, and scholarly paper presentations. There are
numerous Focus Groups within the organization that provide programs for special interests such as acting,
directing, playwriting, theatre history, etc. ATHE also includes an employment service that brings employers
and prospective employees together at the national conference. Members receive a subscription to Theatre
Journal.
International Alliance of Theatrical Stage Employees (IATSE) http://www.iatse-intl.org/home.html
The IATSE is the labor union representing technicians, artisans and craftspersons in the entertainment
industry, including live theatre, motion picture and television production, and trade shows.
National Association for Schools of Theatre (NAST) http://nast.arts-accredit.org/ NAST is an
association of approximately 170 schools of theatre, primarily at the collegiate level, but also including
postsecondary non-degree-granting schools of theatre. It is the national accrediting agency for theatre and
theatre-related disciplines.
56
Southeastern Theatre Conference (SETC) http://www.setc.org/theatre/ SETC (Southeastern Theatre
Conference) Auditions: Students desiring summer acting work are encouraged to audition at the SETC
professional auditions. Screening auditions are held at the TTA (Tennessee Theatre Association) annual
conference in October (location varies). If you pass the screening audition at TTA, you are eligible to
audition at the SETC professional auditions held in March at the SETC annual conference (location varies).
Guidelines and application procedures for the TTA screening auditions can be found at www.tn-theatre.com.
Guidelines and application procedures for the SETC professional auditions can be found at
www.setc.org/theatre/auditions. You will need the signature of a faculty sponsor on the application. In
order to represent MTSU at any audition, the student must agree to participate coaching sessions from a
MTSU faculty member to prepare them for the audition.
Midwest Theatre Conference (MWTC) Students may also consider auditioning at MWTC at Webster
University in St. Louis in February, or NETC (New England Theatre Conference) in Boston in March. For
information, visit the MWTC and NETC websites at: www.webster.edu/depts/finearts/theatre/mwta ;
www.netconline.org
Stage Directors and Choreographers (SDC) http://www.sdcweb.org/ SDC is the theatrical union that
unites, empowers and protects professional stage Directors and Choreographers throughout the United
States.
Tennessee Theatre Association (TTA) Guidelines and application procedures for the TTA screening
auditions can be found at www.tn-theatre.com.
Unified Professional Theatre Auditions: Combined auditions held in Memphis, TN. For performers
seeking paid year-round positions, paid internships, paid job-in employment.
United Scenic Artists (USA) https://www.usa829.org/Default.aspx
United States Institute for Theatre and Technology (USITT) http://www.usitt.org/
This is a national organization for technical theatre and design artists. USITT holds yearly meetings and
includes an employment service. Members receive a subscription to Theatre Technology.
University/ Resident Theatre Association (URTA) http://www.urta.com/ This is a national organization
made up of Universities and Regional Theatres around the country. They hold annual audition/interviews for
admission into 32 Master of Fine Arts degree programs and producing companies in New York, Chicago, and
Los Angeles. For student information, see URTA Candidate Handbook:
http://www.urta.com/images/stories/documents/onebighandbookforall_2015.pdf
57
Appendix
Advising, Crew and Academic Resources
58
59
60
61
62
63
64
Portfolio Interview/Review Sub-Rubrics
Criteria
1 Below Standard
2 Marginal
3 Acceptable
4 Excellent
DEVELOPMENT OF
PORTFOLIO AND
RESUME
Demonstrates unacceptable
development of
Portfolio/Resume for
experience level.
Demonstrates minimum
development of
Portfolio/Resume for
experience level.
Demonstrates adequate
development of
Portfolio/Resume for
experience level.
Demonstrates advanced
development of
Portfolio/Resume for
experience level.
Sub- Rubric:
Resume
Development
Inferior presentation of
resume; Inappropriate
length; unprofessional
format; not legible;
disorganized; missing major
resume content and
information – contact,
education, objective,
experience, skills and
references; numerous
errors; 1 copy brought to
interview
Poor presentation of
resume; Inappropriate
length; unprofessional
format; legible;
disorganized; includes some
major resume content and
information – contact,
education, objective,
experience, skills and
references; numerous
errors; 1 copy brought to
interview
Adequate presentation of
resume; Appropriate length
-one page; professional
format; legible; organized;
includes most resume
content and information –
contact, education,
objective, experience, skills
and references; few errors;
copies for all reviewers
Sub-Rubric:
Portfolio
Development
Inferior presentation;
Unprofessionally prepared &
presented; Poorly Illustrates
work & abilities;
disorganized; Includes few
design projects (class &
realized), No Photos of
finished work; No Illustration
of process; Portfolio partially
prepared and in various
formats.
Poor presentation;
Unprofessionally prepared
and presented; Poorly
Illustrates work & abilities;
disorganized; Includes some
design projects (class &
realized), Few Photos of
finished work; Poorly
Illustrates process:
incomplete project showing
process from start to finish
(missing elements of
process); Portfolio prepared
in various formats.
Adequate presentation;
Professionally prepared and
presented; Illustrates a range
of work & represents
abilities; organized (Starts &
ends with strongest work);
Includes some design
projects (class & realized),
Photos of finished work;
Illustrates process: complete
project showing process from
start to finish (elements of
process); Portfolio prepared
in one format.
Sub-Rubric:
Interview
Inferior interview; Not
prepared and inferior overall
performance; Portfolio &
resume not reviewed by a
mentor prior to interview;
Not prepared for questions;
Provided inferior answers
about projects; Inferior
planning: dress & grooming
in appropriate; Engaged in
distracting behaviors during
interview
Poor interview; Not prepared
and poor overall
performance; Portfolio &
resume not reviewed by a
mentor prior to interview;
Somewhat prepared for
questions; Provided some
answers about projects;
Inadequately planning: dress
& grooming in appropriate;
Avoided most distracting
behaviors during interview
Adequate interview;
Somewhat professionally
prepared and performed
interview; Portfolio & resume
reviewed by a mentor prior
to interview; Somewhat
prepared for questions;
Provided adequate answers
about projects; Adequately
planning: dress & grooming
lacked formality; Avoided
most distracting behaviors
during interview
Excellent presentation;
Professionally prepared and
presented; Illustrates wide
range of work & represents
abilities; effectively organized
(Starts & ends with strongest
work); Includes Examples of
design projects (class &
realized), Photos of finished
work; Illustrates process
effectively: complete project
showing process from start to
finish (all elements of
process); Portfolio prepared
in hard and electronic format.
Excellent interview;
Professionally prepared and
performed interview;
Portfolio & resume reviewed
by mentors prior to
interview; Prepared for
questions; Provided
intelligent answers; Spoke
succinctly about projects;
Planned for interview:
Appropriately dressed &
groomed; Avoided distracting
behaviors during interview
Is not prepared and
dedicated to the process.
Is somewhat prepared and
dedicated to the process.
Is usually prepared and
dedicated to the process.
Is always prepared and
dedicated to the process.
Serves as an unacceptable
role model for other
students.
Did not attend either
Portfolio/Resume
workshops offered.
Serves as a minimal role
model for other students.
Serves adequately as a role
model for other students.
Serves as an effective role
model for other students.
Attended one
Portfolio/Resume
workshops offered.
Attended 2
Portfolio/Resume
workshops offered.
Attended 2 or more
Portfolio/Resume
workshops offered.
PROCESS
PREPARATION AND
DEDICATION
ROLE MODEL AND
LEADERSHIP
WORKSHOP
ATTENDANCE
65
Excellent presentation of
resume; Appropriate length one page; professional
format; legible; well
organized; includes all
resume content and
information – contact,
education, objective,
experience, skills and
references; no errors; copies
for all reviewers
66
67
68
69
70
71
72
Glossary
(adapted from E. Wilson, Theatre Experience)
Allegory
Representation of an abstract theme or themes through symbolic use of character, action, and other
concrete elements of a play. In its most direct form—for example, the medieval morality play—allegory
uses personification to present characters representing abstract qualities, such as virtues and vices, in
action which spells out a moral or intellectual lesson.
Amphitheater (1) Large oval, circular, or semicircular outdoor theater with rising tiers of seats around an open playing
area; also, an exceptionally large indoor auditorium. (2) In French neoclassical theater, an undivided
gallery at the rear with inexpensive, bleacher-like seating.
Antagonist
Character who is the chief opponent of the main character (the protagonist) in a drama. In some cases
there may be several antagonists.
Apron
Stage space in front of the curtain line or proscenium; also called the forestage.
Arena
Type of stage which is surrounded by the audience on all four sides; also called theater-in-the-round.
Aside
In a play, thoughts spoken aloud by one character without being noticed by others onstage.
Avant-garde Term applied to plays of an experimental or unorthodox nature which attempt to go beyond standard
usage in form, content, or both.
Backdrop
Large drapery or painted canvas which provides the rear or upstage masking of a set.
Backstage
Stage area behind the front curtain; also, the areas beyond the setting, including wings and dressing
rooms.
Batten
A length of pipe or a pole suspended from above the stage on which scenery or lighting instruments are
hung.
Blocking
Arrangement of actors' movements onstage with respect to each other and the stage space.
Box
Small, private compartment for a group of spectators, built into the walls of a traditional proscenium-arch
theater.
Box set
Interior setting using flats to form the back and side walls and often the ceiling of a room.
Burlesque
Ludicrous imitation of a dramatic form or a specific play. Closely related to satire, but usually lacking the
moral or intellectual purposes of reform typical of satire.
Business
Obvious and detailed physical movement of actors to reveal character, aid action, or establish mood; e.g.,
pouring drinks at a bar, opening a gun case.
Canon
Set of literary works believed to be universally accepted as important and historically significant. Today,
many critics argue that certain groups are underrepresented in the canon, and that it therefore does not
adequately reflect human accomplishments.
Chorus
(1) In ancient Greek drama, a group of performers who sang and danced, sometimes participating in the
action but usually simply commenting on it. (2) Performers in a musical play who sing and dance as a
group rather than individually.
Comedy
Category of drama that is generally light in tone; it is concerned with issues that are not serious, has a
happy ending, and is designed to amuse and provoke laughter. (See also Old Comedy, New Comedy,
Comedy of humours, Comedy of manners, Farce, Satire, Slapstick.)
Comedy of
Form of comic drama that became popular in the latter half of the seventeenth century in France and
manners
among English playwrights during the Restoration. It emphasizes a cultivated or sophisticated
atmosphere, witty dialogue, and characters whose concern with social polish is charming, ridiculous, or
both.
Commedia
Form of comic theater, originating in Italy in the sixteenth century, in which dialogue was improvised
dell'arte
around a loose scenario involving a set of stock characters, each with a distinctive costume and a
traditional name.
Complication The introduction in a play of a new force, which creates a new balance of power and makes reaching a
resolution more difficult and more complicated.
Conflict
Tension between two or more characters, leading to a crisis or a climax. The basic conflict is the
fundamental struggle or imbalance underlying the play as a whole. May also be a conflict of ideologies,
actions, and the like.
Cyclorama
Large curved drop used to mask the rear and sides of the stage; painted a neutral color or blue to
represent sky or open space. It may also be a permanent stage fixture made of plaster or a similar durable
material.
Downstage Front of the stage toward the audience.
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Drop
Large piece of fabric, generally painted canvas, hung from a batten to the stage floor, usually to serve as
backing.
Elevator
stage
Epilogue
Exposition
Stage which allows the entire floor or sections of the floor to be raised and lowered automatically.
Speech addressed to the audience after the conclusion of a play and spoken by one of the actors.
Imparting of information that is necessary for an understanding of the story but will not be covered by
the action onstage: events or knowledge from the past, or occurring outside the play, which must be
introduced if the audience is to understand the characters or the plot. Exposition is almost always a
challenge in drama because relating or conveying information is static; the dramatist must find ways to
make expository scenes dynamic.
Farce
One of the major genres of drama, sometimes regarded as a subclass of comedy. It aims to entertain and
to provoke laughter, and its humor is a result primarily of physical activity and visual effects.
Flat
Single piece of scenery, usually of standard size, combined with similar units to create a set. Formerly
made of canvas stretched over a wooden frame, but now frequently made of a hard substance such as
luan; a hard flat is sometimes called a Hollywood or movie flat.
Fly loft or
Space above the stage where scenery may be lifted out of sight by means of ropes and pulleys when it is
flies
not needed.
Found space Space not originally intended for theater which is converted for productions. Avant-garde artists often
produce theater events in found spaces.
Fourth-wall Pretense that in a proscenium-arch theater the audience is looking into a room through an invisible
convention fourth wall. The term is often attributed to the eighteenth-century French philosopher Denis Diderot.
French scene A french scene begins with the entrance or exit of an actor and continues until the next entrance or exit.
Masking
Scenery or draperies used to hide or cover.
Objective
Stanislavski's term for that which is urgently desired and sought by a character, the desired goal which
propels a character to action.
Obstacle
That which delays or prevents the achieving of a goal by a character. An obstacle creates complication
and conflict.
OffMovement developed in the late 1940s as a reaction to Broadway commercialism; its primary goal was to
Broadway
provide an outlet for experimental and innovative works, unhindered by commercial considerations. OffBroadway theater spaces are small (usually holding about 200 spectators), and many have thrust or arena
stages. Many American actors and directors began their careers off-Broadway.
Off-offCenter for experimentation in New York theater that developed when off-Broadway became
Broadway
commercialized in the 1960s. Off-off-Broadway is dedicated to introducing and showcasing new talent,
experimenting with new styles of production, and avoiding the limitations of commercial theater.
Offstage
Areas of the stage, usually in the wings, which are not in view of the audience.
Orchestra
(1) Ground-floor seating in an auditorium. (2) In ancient Greek theater, the circular playing space.
Plot
(1) As distinct from story, a patterned arrangement of events and characters for a drama. The incidents
are selected and arranged for maximum dramatic impact. A plot may begin long after the beginning of
the story and may refer to information regarding the past in flashbacks or exposition. (2) In Elizabethan
theater, an outline of the dramatic action which was posted backstage so that actors could refresh their
memory during a performance.
Prologue
Introductory speech delivered to the audience by one of the actors or actresses before a play begins.
Props
Properties; objects that are used by performers onstage or are necessary to complete a set.
Proscenium Arch or frame surrounding the stage opening, like a picture frame; developed during the Italian
Renaissance.
Protagonist Principal character in a play; the one whom the drama is chiefly about.
Rake
To position scenery on a slant or angle other than parallel or perpendicular to the curtain line; also, an
upward slope of the stage floor away from the audience.
Raked stage Stage which slopes upward away from the audience toward the back of the stage.
Revolving
Large turntable on which scenery is placed so that as it moves, one set turns out of sight while a new one
stage
is brought into view.
Script
Written or printed text of a play or some other theatrical representation; a script consists of dialogue,
stage directions, descriptions of characters, and the like.
Set
Scenery, taken as a whole, for a scene or an entire production.
Set piece
Piece of scenery which stands independently in a scene.
Skene
In ancient Greek theater, the scene house behind the orchestra.
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Slapstick
Soliloquy
Stage
convention
Stanislavski
method
Stock
characters
Stock set
Subtext
Theme
Thespian
Thrust stage
Tragedy
Tragic flaw
Trap
Wings
Type of comedy or comic business which relies on ridiculous—often violent—physical activity for its
humor.
Speech in which a character who is alone onstage utters inner thoughts.
An understanding, established through custom or usage, that certain devices will be accepted or assigned
specific meaning or significance arbitrarily—that is, without requiring that they be natural or realistic.
Set of techniques for and theories about acting which promotes a realistic style stressing psychological
gestures and emotional truth as opposed to conventional theatricality.
Stereotypical characters, usually not fully developed as unique individuals. In the Italian Renaissance,
commedia dell'arte had many popular stock characters, including servants, masters, and young lovers.
Modern melodrama has stock characters such as heroes and villains.
Standard setting for a locale used in every play which requires that environment.
Meaning and movement of a play below its surface; that which is implied but never stated. Sometimes
more important than surface activity.
Central thought of a play; the idea or ideas with which the play deals and which it expounds.
Synonym for "actor"; the term is derived from Thespis, who is said to have been the first actor in ancient
Greek theater.
Platform stage surrounded on three sides by the audience.
One of the most fundamental forms of western drama. Tragedy involves a serious action of universal
significance and has important moral and philosophical implications. Following Aristotle, most critics
agree that a tragic hero or heroine should be an essentially admirable person whose downfall elicits our
sympathy while leaving us with a feeling that there has in some way been a triumph of the moral and
cosmic order which transcends the fate of any individual. The disastrous outcome of a tragedy should be
seen as the inevitable result of the character and his or her situation, including forces beyond the
character's control. Traditionally, tragedy was about the lives and fortunes of people of stature—kings,
queens, and the nobility—and there has been a great deal of debate about whether or not modern
tragedy, tragedy about ordinary people, is possible.
The factor which is a character's chief weakness and makes him or her most vulnerable; it often
intensifies in time of stress. At times, an abused and incorrectly applied theory from Greek drama.
Opening in the stage floor, normally covered, which can be used for special effects, such as having
scenery or performers rise from below, or which permits the construction of a staircase that ostensibly
leads to a lower floor or cellar.
(1) Left and right offstage areas. (2) Narrow standing pieces of scenery, or "legs," more or less parallel to
the proscenium, which form the sides of a setting.
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Aristotle’s Six Elements of Drama
 Plot—this is the heart of the play, divided into three parts: the reversal or peripeteia, such as when an act
of the hero produces the opposite from the intended effect; the recognition or anagnorisis, in which a
character acquires knowledge of a fact, producing in him love or hate toward another character; and the
final suffering. The plot has two stages: the complication and the unraveling or denouement. The
complication contains everything up to the turning point to good or bad fortune; the unraveling extends
from the beginning point of the change to the end of the play. There are also four types of plots: the
complex, depending entirely on reversal of the situation and recognition; the pathetic, in which the
motive is passion; the ethical, where the motives are moral; and the simple.

Character—the character provides the moral axis of the drama; his actions and choices determine the
incidents of the plot. The character is under four requirements: it must be good; it must display traits
appropriate to the person depicted (youth and immaturity should not be shown in an elderly character); it
must be true to life; and it must be consistent--or consistently inconsistent.

Thought—this comprises every effect produced by speech, and it aims to move an audience through
such techniques as proof and refutation, and the excitation of the feelings such as pity, anger, and fear.

Diction—Aristotle classifies words as either current, strange, metaphorical, ornamental, newly coined,
lengthened, contracted, or altered.

Song—Music can encompass the rhythm of dialogue and speeches in a play or can also mean the aspects
of the melody and music compositions as with musical theatre. Each theatrical presentation delivers
music, rhythm and melody in its own distinctive manner. Music is not a part of every play. But, music
can be included to mean all sounds in a production. Music can expand to all sound effects, the actor’s
voices, songs, and instrumental music played as underscore in a play. Music creates patterns and
establishes tempo in theatre. In the aspects of the musical the songs are used to push the plot forward
and move the story to a higher level of intensity. Composers and lyricist work together with playwrights
to strengthen the themes and ideas of the play. Character’s wants and desires can be strengthened for the
audience through lyrics and music.
Spectacle: The spectacle in the theatre can involve all of the aspects of scenery, costumes, and special effects in a production. The visual elements of
the play created for theatrical event. The qualities determined by the playwright that create the world and atmosphere of the play for the audience’s
eye. (http://www.brysons.net/academic/aristotle.html )
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Reading List
Acting
Barton, John. Playing Shakespeare.
Benedetti, Robert. The Actor at Work.
Berry, Cicely. Voice and the Actor; The Actor and the
Text.
Boleslavsky, Richard. Acting. The First Six Lessons.
Bruder, Melissa, et al. A Practical Handbook for the
Actor.
Chekhov, Michael. To the Actor.
Cohen, Robert. Acting Power.
Cole, Toby and Helen Krich Chinoy. Actors on
Acting.
Feldenkrais, Moshe. Awareness Through Movement.
Gelb, Michael. Body Learning. An Introduction to the
Alexander Technique.
Hagen, Uta. Respect for Acting.
Lewis, Robert. Advice to the Players.
Linklater, Kristin. Freeing the Natural Voice; Freeing
Shakespeare’s Voice.
Martinez, J.D. Combat Mime.
Shurtleff, Michael. Audition.
Stanislavsky, Constantin. An Actor Prepares; Building a
Character; Creating a Role; My Life in Art.
Design
Appia, Adolphe. The Work of Living Art.
Barton, Lucy. Historic Costume for the Stage.
Corson, Richard. Stage Make-Up.
Craig, Edward Gordon. On the Art of the Theatre.
Hainaux, Rene, ed. Stage Design Throughout the World.
Jones, Robert E. The Dramatic Imagination.
McCandless, Stanley. A Method for Lighting the Stage.
Mielziner, Jo. Designing for the Theatre.
Parker, W. Oren and Harvey K. Smith. Scene Design
and Stage Lighting.
Russell, Douglas A. Stage Costume Design. Theory,
Technique & Style.
Saint-Denis, Michel. Theatre. The Rediscovery of Style.
Simonson, Lee. The Art of Scenic Design; The Stage is
Set.
Directing
Ball, David. Backwards and Forwards.
Ball, William. A Sense of Direction.
Brook, Peter. The Empty Space.
Chekhov, Michael. To the Director and Playwright.
Clurman, Harold. On Directing.
Cohen, Robert and John Harrop. Creative Play
Direction.
Cole, Toby and Helen Krich Chinoy. Directors on
Directing.
Hodge, Francis. Play Directing.
Spolin, Viola. Improvisation for the Theatre.
Stern. The Stage Managers’ Handbook.
Willis, J. Robert. The Director in a Changing Theatre.
History and Theory
Aristotle. The Poetics.
Artaud, Antonin. The Theatre and Its Double.
Boal, Augusto. Theatre of the Oppressed.
Brecht, Bertolt. A Short Organum for the Theatre.
Brockett, Oscar. A History of the Theatre.
Clark, Barrett H., ed. European Theories of The Drama.
Esslin, Martin. Theatre of the Absurd.
Grotowski, Jerzy. Towards a Poor Theatre.
Nagler, A.M. A Source Book in Theatrical History.
Playwriting
Cole, Ruby, ed. Playwrights on Playwriting.
Kerr, Walter. How Not to Write a Play.
Macgowan, Kenneth. A Primer of Playwriting.
Smiley, Sam. Playwriting. The Structure of Action.
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PLAYS
Classical
Aeschylus. Oresteia.
Aristophanes. Lysistrata.
Euripides. Medea, Trojan Women.
Plautus. The Twin Menaechmi.
Sophocles. Oedipus Rex, Antigone.
1915-Present
Albee. Who’s Afraid of Virginia Woolf?
Baraka (Jones). Dutchman.
Beckett. Waiting for Godot, Endgame.
Brecht. The Threepenny Opera, Mother Courage and Her
Children, The Caucasian
Chalk Circle.
Churchill. Cloud 9.
Coward. Private Lives.
Fo. Accidental Death of an Anarchist.
Fugard. Master Harold and the Boys.
Genet. The Balcony.
Giraudoux. The Madwoman of Chaillot.
Hansberry. A Raisin in the Sun.
Hellman. Children’s Hour.
Howe. Painting Churches.
Hwang. M. Butterfly.
Ionesco. The Bald Soprano.
Inge. Picnic.
Lorca. Blood Wedding.
Miller. Death of a Salesman.
Mamet. American Buffalo.
Norman. Getting Out.
O’Casey. The Plough and the Stars.
Odets. Waiting for Lefty.
O’Neill. Desire Under the Elms, The Iceman Cometh,
Long Day’s Journey Into Night.
Osborne. Look Back in Anger.
Pinter. The Birthday Party, The Homecoming, Old Times.
Pirandello. Six Characters in Search of an Author.
Rice. The Adding Machine.
Saroyan. The Time of Your Life.
Sartre. No Exit.
Shaffer. Equus.
Shepard. Buried Child.
Stoppard. Rosencrantz and Guildenstern are Dead,
Travesties, Arcadia.
Weiss. Marat/Sade.
Wilder. Our Town.
Williams. A Streetcar Named Desire.
Wilson, August. The Piano Lesson
Wilson, Lanford. Fifth of July
Medieval
Everyman.
Second Shepherd’s Play.
1500-1800
Calderon. Life is a Dream.
Congreve. The Way of the World.
Corneille. Le Cid.
Goldsmith. She Stoops to Conquer.
Jonson. Volpone.
Lope de Vega. Fuente Ovejuna (The Sheep Well).
Machiavelli. Mandragola (The Mandrake).
Marlowe. Dr. Faustus.
Molière. Tartuffe.
Racine. Phaedra.
Shakespeare. The Complete Works.
Sheridan. The School for Scandal.
Webster. The Duchess of Malfi.
Wycherly. The Country Wife.
1800-1915
Chekhov. The Seagull, Uncle Vanya, Three Sisters, The
Cherry Orchard.
Dumas, fils. Camille.
Hugo. Hernani.
Gogol. The Inspector General.
Gorki. The Lower Depths.
Ibsen. A Doll House, Ghosts, An Enemy of the People,
Hedda Gabler.
Jarry. Ubu Roi.
Rostand. Cyrano de Bergerac.
Scribe. A Glass of Water.
Shaw. Candida, Major Barbara, Man and Superman,
Pygmalion, Heartbreak House.
Strindberg. Miss Julie, The Father.
Synge. The Playboy of the Western World.
Turgenev. A Month in the Country.
Wilde. The Importance of Being Earnest.
(adapted from CSUB, 2003)
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References
Casey, A., Jones, E.J., and Levin, D. (2015). Resume Checklist. USITT Lighting Commission.
CSUB Theatre Arts Student Handbook. (2003). Theatre Arts Department, California State University,
Bakersfield.
FIU Theatre Student Handbook 2010. (2010). Theatre Department, Florida International University.
MMC Student Handbook 2010-11. (2010). Theatre Arts Department, Marymount Manhattan College.
MTSU Student Handbook. (2011). Middle Tennessee State University.
MTSU Student Rights and Responsibilities. (2011). Middle Tennessee State University.
NAU Student Handbook. (2010). Department of Theatre. College of Arts and Letters, Theatre Northern
Arizona University.
Online Etiquette. (2012). Global University, Minnesota School of Business.
RU Student Handbook 2010-2011. (2010). RU School of Dance and Theatre. Radford University, Virginia.
TCU Student Handbook. (2008). Theatre Department, Texas Christian University.
UCD The Undergraduate Handbook. (2007). Theatre and Dance Department, University of California,
Davis.
UT Theatre Student Handbook. (2011). Henry Kendall Coll.ege, The University of Tulsa.
WCU Theatre Student Handbook 2009-2010. (2009). Western Carolina University, North Carolina.
Wilson, Edwin. (2011). The Theatre Experience. 12 th Edition. McGraw-Hill, New York, NY.
UCF Undergraduate Student Handbook. (2011). Department of Theatre/Theatre UCF, University of Central
Florida.
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