SYLLABUS TH 261A Production Participation Class Meeting Schedule: Fridays 9:00 am – 12:00pm INSTRUCTOR: Mark Svastics Office Hours: T‐TH 10:00am–10:45pm; F 12:00‐12:30 & by appointment Front Office Phone # 818‐677‐3086 Email: mark.svastics@csun.edu Suggested Textbook Gillette, J. Michael Theatrical Design and Production: An Introduction to Scene Design and Construction, Lighting, Sound. Costume, and Makeup. McGraw‐Hill, 6th‐4th Editions. CLASS MEETINGS, REQUIREMENTS & EVALUATION: TECHNICAL ASSIGNMENTS: There are two categories of Production Participation: Preparation Crews and Running Crews, PREPARATION CREW: Preparation Crews work in their assigned area preparing the components for production. Students will work on all of the productions over the course of the semester. The commitment is 42 hours. In order to be completed by the final week of classes, before finals week begins. This means coming to every class meeting, for the full class time. There may be opportunities to get hours by working with the scenic artists outside of Friday shop hours, those hours would need to arranged with the designer/scenic artist directly, but THERE IS NO GUARANTEE OF WORK. YOU MUST COMPLETE ALL 42 HOURS BEFORE YOU CAN RECEIVE A PASSING GRADE. Evaluation and grade will be based on the criteria listed on the PRODUCTION PARTICIPATION EVALUATION FORM. The evaluations will be filled out by production personnel who have witnessed the student's participation. RUNNING CREWS: Running Crews will work on a specific show backstage during set‐up, technical/dress rehearsals, and performances. Running crew work in a concentrated time period, from approximately 1 ½ to 2 weeks before the first technical rehearsal through strike after the final performance. Running crews are responsible for arranging their schedules so they can be present at all setup calls for their crew and all tech/dress rehearsals, performances, and strike. Evaluation and grade will be based on the criteria listed on the PRODUCTION PARTICIPATION EVALUATION FORM. The evaluations will be done by each of the appropriate production positions. The evaluations will be filled out by production personnel who have witness the student's participation. The list of positions and their evaluators is attached. A preliminary list is can be found online under the EVLAUATION LIST on the Production Page of the Theatres Website. RUNNING CREW POSITIONS: TO ALL CREWS: Read the production callboards daily and watch for pre‐show organizational meetings. ALL CREWS are expected to watch the scheduled crew run‐through prior to the technical rehearsals. All crews will help with final strike of their production. SET/SHIFT CREW: Begins approximately two (2) weeks before opening night. Under supervision of the Shift Coordinator, Technical Director, and/or Stage manager moves scenery during the production. Also helps with pre‐show set‐up, prep, after performance, and production strike. PROP CREW: Begins approximately two to three (2‐3) weeks before opening. Under the supervision of Prop Coordinator, technical director, and/or stage Manager organizes props, handles them backstage during the production. Participates in pre‐show procurement of props, organization of prop table, storage and repair of props, preparation of food for stage, clean up, and production strike. SPECIAL EFFECTS CREW: Begins approximately two weeks before opening. Runs special effects equipment (fog machine, flying, pyrotechnics, etc.), under the supervision of the Technical Director and/or Stage Manager. Also assists in nightly storage of equipment and production strike. Student Learning Outcomes: (The student will know and be able to …) 1. Process sensory information and respond to sensory information through the language unique to theatre. 2. Apply their knowledge of artistic and theatre processes involved in the discipline of theater. 3. Apply historical, cultural, aesthetic and literary understandings to the discipline of theater. 4. Apply appropriate criteria to make informed assessments in works of theatre. 5. Develop intra and interpersonal skills essential to the collaborative process in theatre.