Senior Project Handbook

THEA 482:

SENIOR PROJECT

GUIDELINES

Alexander Rios ’18 Acting in Little Shop of Horrors

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Table of Contents

Guidelines, Process, & Evaluation THEA 482: Senior Project 1 Calendar & Process 2 Prerequisites 3-8 Acting 3 Costume/Scenic/Properties Design & Construction 4 Scene Design 4 Lighting Design 5 Costume Design 5 Directing 6 Dramaturgy 6 Stage Management 7 Playwriting 7 House Management 7 Research 8 Other Topics 8 Documentation 9 Criteria for Evaluation and Grading 9 Oral Defense 10 Senior Project Proposal 10 Additional Requirements 10 Departmental Honors in Theatre 11 Appendix A 12-15 Appendix B 16-18 Appendix C 19-22 Appendix D 23-25 Appendix E 26-27

by ’17 (right) Austen Weathers eth cb Ma in g Actin

Taylor Kie ch The Myste lin ’17 – Stage M anageme ry of Edw nt of in Drood

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GUIDELINES, PROCESS, & EVALUATION THEA 482: SENIOR PROJECT Senior Projects are as diverse as the interests of the students pursuing the theatre major. Intended to be the culminating experience of a student’s course of study, Senior Projects should reflect the student’s actual activities and experience in the department, rather than be a license to explore uncharted territory.

In order to plan the Senior Project experience, students will petition the faculty in advance of their final year of study for consideration of a proposed project. The Senior Project Proposal process: •

Requires students to consider the parameters and direction of their projects well in advance of their implementation

•

Allows students time to begin research and background work months before projects are implemented

•

Allows students time to revise proposals for projects that are not approved by faculty

•

Allows faculty time to consider carefully all proposals without the stress of impending graduation, which may affect their voicing of reservations about a proposal

•

Allows the department chair to assign directing and design responsibilities with a complete picture of which directors and student designers are available for the ensuing season

•

Gives each project the elevated status it deserves as an important milestone in the major program

Students enrolled in THEA 482: Senior Project benefit from the mentoring of a faculty member who supervises the endeavor and of a faculty jury, which offers feedback at the end of the process during the student’s oral defense. Senior Project offers students the opportunity to strengthen skills, enhance a developing base of knowledge, and successfully accomplish a significant individual undertaking.

Andrew Baynard ’17 (not pictured) Lighting Design of Macbeth

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CALENDAR & PROCESS Senior Project Proposals must be submitted to the department chair for faculty consideration during the second semester, junior year, no later than one week before the March department meeting. Compliance with this deadline is essential for permission to enroll in THEA 482: Senior Project and for on-time graduation. Failure to comply with this deadline will result in postponement of permission to register for THEA 482 as well as delay graduation for one year.

• Students pursuing the Senior Project must complete the Department of Theatre & Dance Library Resources Workshop prior to enrollment in THEA 482.

• The department will host a Senior Project Proposal workshop in advance of the announced deadline.

• Students seeking approval of senior projects are required to be available to answer any faculty questions at the department meeting in which the faculty is reviewing proposals, usually in March.

• The department chair will notify the student if the proposal is approved, if the proposal needs to be resubmitted for consideration, or if the proposal is not approved.

• Students will not be able to register for THEA 482 until the proposal is approved.

• Once approved, the student must complete paperwork with the department chair in order to enroll in THEA 482 with the registrar.

• The department chair will notify the student of the composition of the student’s senior project jury. The student is responsible for ensuring that the members of the jury are apprised of all of the necessary details pertaining to the project.

Kodi McCall ’17 (not pictured) – Costume Construction for The Mystery of Edwin Drood

• On completion of the project, the student submits all required documentation to the faculty advisor.

• The faculty advisor schedules the oral defense with the student and the jury.

• The student may be invited to meet with the faculty advisor following the juried oral defense.

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PREREQUISITES The following are the most common projects with recommendations regarding the qualifications/prerequisites required for each theatrical discipline.

NOTE: While the University defines “successful completion” of a course as receiving a grade of “D” or better, the faculty might be concerned about a student’s potential to succeed in a project if they received a “D” on any prerequisite course.

Acting A student wishing to complete a Senior Project by acting in a facultydirected production must demonstrate the following: • Successful completion of at least three of the five performance courses offered by the Department: THEA 218: Voice and Body Movement; THEA 321, 322: Acting; THEA 335/336 : Musical Theatre Performance or THEA 411: Acting Styles • Participation as an actor in Studio 115 productions and/or directing scenes • Participation as an actor in at least one faculty-directed production Students must propose the production(s) and role(s) that they would like to perform as their Senior Project, along with an explanation of why the role is a suitable project (see Senior Project Proposal). Once the faculty accepts the proposal, students seeking a Senior Project in acting must audition for every faculty-directed production.

Unless a compelling argument otherwise exists, Senior Projects in acting must emanate from faculty-directed productions. All acting proposals for faculty-directed productions must have an alternate project proposal in case the student is not cast in the proposed role, i.e., the alternate may be in the form of a one-person play, a significant role in a Studio 115 production, a role in a different facultydirected production, and so on. In the event that a student is not cast in a faculty-directed production, alternative projects in Studio 115 are encouraged.

If planning a Studio 115 production, students must adhere to all procedures and guidelines governing Studio 115, including faculty designated proposal deadlines and prerequisites.

Lauren Frautschi ’18 (center) – Acting in Vanya and Sonia and Masha and Spike

(see also Appendix E for a Senior Project in Acting Evaluation Rubric)

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Costume/Scenic/Properties Design & Construction A student wishing to complete a Senior Project in costume, scenic construction, or properties (design or construction) for a faculty-directed production must demonstrate the following: • Depending on the nature of the project, successful completion of either a) THEA 242: Costume Construction and THEA 291: Fabric Modification or THEA 345: Patterning, or b) THEA 131,132: Technical Production and THEA 290: Scene Painting or THEA 355: Theatre Crafts • Continued proficiency and responsibility in the costume or set construction areas since the student declared a major, as evidenced by assignments undertaken in THEA 390: Theatre Practicum Students must propose the specific production and significant costumes, set pieces, backdrops, or properties that they wish to construct/paint, along with an explanation of why the proposed project is suitable (see Senior Project Proposal).

Scene Design A student wishing to complete a Senior Project in scene design for a faculty-directed production must demonstrate the following: • Successful completion of THEA 434: Scene Design and either THEA 436: Costume Design or THEA 433: Lighting Design, along with THEA 131 & 132: Technical Production. Successful completion of THEA 290: Scene Painting and THEA 355: Theatre Crafts is strongly recommended.

• Acceptable service as an Assistant to the Scene Designer for a faculty-directed production • Completion of a scene design project for a student-directed production Students must propose the specific production for which they wish to design scenery, along with an explanation of why the proposed project is suitable (see Senior Project Proposal and Appendix A).

Lighting Design A student wishing to complete a Senior Project in lighting design for a faculty-directed production must demonstrate the following: • Successful completion of THEA 433: Stage Lighting and either THEA 434: Scene Design or THEA 436: Costume Design • Acceptable service as an Assistant to the Lighting Designer for a faculty-directed production • Acceptable service as an electrician serving the Lighting Designer for a faculty-directed production or evidence of skills and experience in this area

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• Completion of a lighting design project for a student-directed production Students must propose the specific production for which they wish to design lighting and an explanation of why the proposed project is suitable (see Senior Project Proposal and Appendix B).

Costume Design A student wishing to complete a Senior Project in costume design for a faculty-directed production must demonstrate the following: • Successful completion of THEA 436: Costume Design, THEA 240: Stage Makeup, THEA 242: Costume Construction, THEA 310: Fashion History, and THEA 355: Patterning or THEA 291: Fabric Modification • Acceptable service as an Assistant to the Costume Designer for a faculty-directed production • Completion of a costume design project for a student-directed production Students must propose the specific production for which they wish to design and an explanation of why the proposed project is suitable (see Senior Project Proposal and Appendix C).

Sound Design A student wishing to complete a Senior Project in sound design for a faculty-directed production must demonstrate the following: • Acceptable service as a sound engineer or A2 for at least two facultydirected productions • Acceptable service as an Assistant to the Sound Designer for a facultydirected musical • Acceptable service as a Sound Designer for at least one Studio 115 production Students must propose the specific production for which they wish to design and an explanation of why the proposed project is suitable (see Senior Project Proposal and Appendix D).

Mo Gresham ’17 (not pictured) – Sound Design for Macbeth

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Directing A student wishing to complete a Senior Project in directing must demonstrate the following: • Successful completion of THEA 431: Directing, THEA 321: Acting, and THEA 211, 212: Dramatic Literature • Acceptable service as an Assistant to the Director on a faculty-directed production • Direction of at least one significant project in Studio 115 Students must propose the specific production that they wish to direct and submit a script (see Senior Project Proposal).

If planning a Studio 115 production, students must adhere to all procedures and guidelines governing Studio 115, including proposal deadlines and prerequisites.

Dramaturgy A student wishing to complete a Senior Project in dramaturgy for a faculty-directed production must demonstrate the following: • Successful completion of THEA 361, 362: Theatre History & Literature and THEA 211, 212: Dramatic Literature • Familiarity with research tools available through library and internet sources for primary and secondary research; completion of library training.

• Ability to communicate effectively and knowledgeably with directors, designers, and actors as demonstrated through service as an Actor, Assistant Director, Assistant Stage Manager, Production Assistant, or Stage Manager Any student serving in the role of dramaturg should be fully prepared to begin work as early as two semesters prior to the production opening. In addition to the written documentation required of all Senior Projects, the dramaturg may be asked to develop resources for the artistic staff and actors, and a study guide for targeted audiences.

Students must propose the specific production for which they wish to serve as dramaturg and an explanation of why the proposed production is suitable (see Senior Project Proposal).

Athena Golden ’15 (not pictured) – Hair & Makeup Design for Sunday in the Park with George

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Stage Management A student wishing to complete a Senior Project in stage management for a faculty-directed production must demonstrate the following: • Successful completion of THEA 280: Stage Management (when the course has been offered within two years of the student’s proposal) • Acceptable service as an Assistant Stage Manager for at least one faculty-directed production • Acceptable service as a Stage Manager for at least one faculty-directed production • Service as Stage Manager for a student-directed production Students must propose the specific production they wish to stage manage and an explanation of why the proposed project is suitable (see Senior Project Proposal).

Playwriting A student wishing to complete a Senior Project in playwriting must demonstrate the following: • Successful completion of THEA 211, 212: Dramatic Literature; THEA 331: Playwriting; and THEA 431: Directing • Successful presentation of staged readings of original work such as monologues, dramatic scenes, or plays in progress in Studio 115 or another venue Proposed scripts must undergo the following: • A staged reading in Studio 115 or other venue where the playwright receives feedback from the actors, audience, and faculty • At least one revision based on comments received after the staged reading • A second staged reading of the revised play in Studio 115 or other venue with additional feedback on this revision from actors, audience, and faculty • A final script developed from this process The playwright must adhere to all procedures and guidelines governing Studio 115 productions, including proposal deadlines and prerequisites.

Theatre Management A student wishing to complete a Senior Project in theatre management must have demonstrated the following: • Successful completion of THEA 281: Theatre Management • Acceptable service in the management or box office for at least two semesters

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Research A student wishing to complete a Senior Project in theatre research must demonstrate the following: • Successful completion of THEA 211, 212: Dramatic Literature and THEA 361, 362: Theatre History & Literature • Familiarity with research tools available through library and internet sources for primary and secondary research; completion of library training • Competency in writing, which will be determined through a writing portfolio that must be submitted with the Senior Project Proposal Students must propose as their research topic a question of significance to the field of theatre or their own continuing education in the discipline (see Senior Project Proposal).

Other Topics Additional areas of theatrical interest are available for Senior Projects and include puppetry, masks, make-up design, and countless others. The faculty will determine criteria for such projects on a case-by-case basis as they are proposed. Criteria may necessitate specialized course work through individual study and practical experience in both faculty-directed and student-directed productions.

Students wishing to pursue a Senior Project in design or technology that focuses on a theoretical title may propose the project without fulfilling all of the design prerequisites for a faculty-directed production. The faculty will evaluate the proposal and the student must demonstrate that there is coursework and practica that support the project’s feasibility.

Students interested in projects for which fewer guidelines exist should consult with their major advisors as early as possible to determine the appropriate coursework and experience that might be required.

Any student proposing a project that corresponds with a specific facultydirected production must have successfully completed a full production process (including production meetings, work calls, and technical rehearsals) in order to build a strong case for the proposal.

Students who have not had these requisite production experiences cannot fully understand the complexity of the production process and will be unprepared to assume the significant responsibilities associated with these projects.

Reid Moffatt ’15 (not pictured) – Sound Design for Sunday in the Park with George

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DOCUMENTATION The scope and content of Senior Projects may vary. Every Senior Project requires the development of a written record that includes, at the very minimum, the following components: • Research, including an exploration of the historical, critical, theoretical, and theatrical nature of the project’s subject in order to create and develop a more fully realized product • Journal, including a daily response to the ongoing nature of the project, examining the project’s progress, obstacles encountered, solutions proposed, and personal reactions to these events • Visual documents for those projects that require them, including renderings, working drawings, models, lighting plots, etc. Inclusion of visuals will be determined at the onset of the project.

• Evaluation, including a critical and realistic assessment of both the process and the final result, including an examination of what worked, what could have been changed, what was learned, how theory was translated into practice, and a self-assessment The nature of the project will determine what specific documentation is appropriate for the project. Additional documents may be added as deemed necessary based on the project itself. The project‘s faculty advisor will make this determination, providing guidance and criteria for any additional documents required.

Unless otherwise agreed upon, Senior Project documentation is due to the faculty advisor no later than 48 hours after the final performance (for performance and production projects) or the Friday before the last week of classes (for all other projects). The faculty advisor will schedule the jury soon thereafter.

CRITERIA FOR EVALUATION AND GRADING All Senior Projects will be evaluated based on the following criteria with point values for each category assigned by the project advisor: 1. Excellence of the finished product 2. Process of the project as demonstrated by the student’s: • research documents • journal • visual documents • self-evaluation • communication skills • collaboration skills • adherence to schedules/deadlines • additional written documentation

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3. Oral defense, during which the student will appear before the project advisor and the senior project jury.

4. Final evaluation meeting with project advisor, if requested by the advisor, following the defense As the capstone experience in the major, the Senior Project is intended to be an opportunity for students to engage fully in the processes of theatre that have been central to the academic journey. Ultimately, the project advisor will look for evidence that the student is conversant in the vocabulary and practice of theatre as it relates specifically to the student’s specialty. A successful project is one that demonstrates fully its development and results so that the student understands the process and can engage in its practice with confidence.

ORAL DEFENSE Upon the completion of the Senior Project, the project advisor will schedule an oral defense to include the student and members of the faculty who are serving on the jury, as appointed by the department chair. This is an opportunity for the student to speak about the strength of the project, answer questions, and receive critical feedback on the project. The oral defense is a critical component of the Senior Project; students must successfully complete the defense as a prerequisite to passing THEA 482.

The defense must be completed prior to the last day of classes.

SENIOR PROJECT PROPOSAL Senior Project Proposals must include: • A clear and precise explanation of the project • An academically-grounded and concise statement of the specific reason(s) the student wishes to pursue this project, including why this project is appropriate for him/her • An explanation of how this project qualifies as the student’s culminating experience based on his or her course of study within the department Proposals must be accompanied by a Senior Project Proposal form available on the UMW Theatre website.

ADDITIONAL REQUIREMENTS Students proposing a Senior Project must be available to clarify their project proposals to the faculty if necessary. The faculty will determine a specific meeting time, usually the March department meeting, which all students proposing projects will be required to attend. The process of explaining proposals will give students the opportunity to hone their speaking skills, focus on issues of concern, and give faculty and students alike a vested interest in each project. Only students with proposals for whom faculty members have questions or need clarification or more information regarding the project will be asked to speak at this meeting; others may not be asked to speak. Failure to attend this meeting will result in non-approval of the student’s Senior Project Proposal.

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Upon approval of the project proposals, students will be assigned project advisors. Students should meet with their project advisors well in advance of beginning the project. This discussion should include expectations, deadlines, deliverables, and the establishment of meetings specific to that project that must be met in order for the student to fulfill the requirements of THEA 482.

A final evaluation meeting of the student and his or her project advisor is required. A student may wish to invite additional faculty to this meeting.

This final meeting should verbally address the student’s assessment of the project and its documentation, the advisor’s assessment, and bring the project to a close.

DEPARTMENTAL HONORS IN THEATRE Graduating seniors who have a cumulative GPA of 3.0 or higher, as well as a 3.50 or higher GPA in the major program, may indicate to the faculty that they wish to be considered for departmental honors.

The faculty will award honors based on the excellence of the student’s Senior Project. Departmental honors is a distinction that is awarded to the very few students whose Senior Projects are of the highest caliber and who also meet general University honors qualifications.

Students wishing to pursue honors must vouch for their eligibility and ask for consideration on the Senior Project Proposal form.

The faculty will award departmental honors no later than the last day of classes of the spring semester. Students who achieve honors must agree to provide copies of their Senior Projects (or appropriate documentation of creative projects) in acceptable forms to UMW Libraries by the announced deadline.

Judi Jackson ’15 (right) & Austin Bouchard ‘15 (left) Acting in Sunday in the Park with George

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adopted 5/12/10 revised 4/18/18

APPENDIX A Design Parameters for Senior Project: Scenic Designer Designers for any Klein Theatre production are required to follow the instructions and guidelines listed below. Missing any one of these deadlines/ meetings will result in removal from the design assignment. Should the student be removed, they shall be required to complete a theoretical design in order to complete their Senior Project. In addition to those listed below, the design faculty reserves the right to add additional deadlines in accordance to a particular production’s needs.

General Guidelines 1. You must meet all deadlines on the blue Important Practicum Dates sheet, as well as the white Production Deadlines sheet. Any missed deadlines are grounds for removal from the design process. Your faculty advisor reserves the right to adjust the deadlines, if deemed necessary to the process.

2. Your advisor must sign off on all artwork. This artwork is expected to be the absolute best possible work that you are capable of.

Substandard work is grounds for removal from the design.

3. The faculty expects scene designers to be involved in the construction of the show on a daily basis. If you are not willing to do the full complement of work, you are not ready to design— you should be working harder than any other student on this production. Your advisor must clear any potential absences as far in advance as possible.

4. If during your design process you find a need for a specific change, you must consult with the director and your advisor. Once you receive approval from both the director and your advisor, you must immediately inform the shop of the change. You may not delay the shop’s progress due to your indecision.

Two Weeks Before the First Design Conference You must present your advisor with the following: 1. A thorough script analysis of the production.

2. Preliminary research for the production.

3. A comprehensive list of the design parameters.

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One Week Before the First Design Conference 1. You will have a preliminary conversation with the director about the general direction the production might take. This is only for the purpose of doing additional research.

2. You will meet with your advisor in order to discuss how to present questions/ideas at the first design meeting. The focus of this meeting is to help you with presentation skills and how to ask concise, thoughtful questions.

3. You will compile, in a well-ordered fashion, research materials that you might want to share with the design team.

Before Each Design Conference 1. You will arrive on time and present materials in accordance with the decisions made with the director and your advisor in the previous week’s meeting.

2. You will take specific notes based on the director’s intentions and desires for the production and document these ideas for submission with the final materials of this project.

3. Your verbal presentation will be observed by the design faculty for discussion during the next meeting with your advisor.

4. After this meeting, you and your advisor will meet briefly to discuss what you need to accomplish over the next few days. This may include research, lists, images, prices, etc.

On the Monday Prior to the Wednesday Design Conferences 1. You will have completed all research needed for the next meeting.

2. You will present this research to your advisor in a scheduled meeting. You will also present a rough props list generated for your own purposes.

3. You will work with your advisor to refine presentation skills. They will request any additional materials that need to be gathered or artwork that needs to be cleaned up before the next meeting.

The Day Before to the Next Design Conference You and your advisor will have a scheduled meeting to review any updates needed from the previous meeting. Last minute refinements may be required at this time.

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Materials Presented by The Scene Designer to the Design Team 1. Research images pertaining to the production approach. This will include images for location, style, etc.

2. Ground plan, with section and front elevations for the production.

3. Sketches and/or rough white card model, paint swatches, fabric swatches, or other samples.

4. Final model either painted or with completed paint elevations, or color renderings.

5. Working or construction drawings as determined by your advisor.

6. Prop images or sketches as determined by your advisor.

After the Design is Approved 1. You are responsible for setting a schedule of availability for the show with your advisor and the shop foreman. This schedule should be every possible hour that you are available to work on your design. It is expected that your design will be the focus of your non-class time until the show is open.

2. You will work with your advisor and the shop foreman to create a calendar/schedule for the implementation of your design. The number of practicum students involved in each particular area must be considered in this schedule. It would also be advisable to create this schedule in relation to the availability of practicum help.

3. You will work closely with your advisor and the shop foreman to procure all materials needed to build the show. Any material needs will be given to your advisor to order. Please realize that because these orders can take weeks to receive, they must be handled in a timely manner. The budget will need to be considered before any purchases are requested.

4. You will attend at minimum 2 rehearsals in order to assess any unforeseen needs for the production.

5. Rehearsal reports will be read and responded to as needed within 24 hours of receiving the report. A copy of all rehearsal reports and any responses should be inserted in your notebook for final submission.

6. You will be responsible for overseeing the properties acquisition and completion in conjunction with the props master (if applicable).

7. The set must be to the approximate paint finish before dark and quiet time begins.

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8. On the day of dark time, you must be in the theatre at least 15 minutes prior the beginning of dark time, and will be present to give any feedback to the lighting designer as needed. This is a great time to take specific notes about scenic concerns.

9. You will attend each technical rehearsal and closely observe any elements in the show that can be improved. You are expected to take written notes of problems or concerns throughout the process.

Each day at end of the call, your notes should be reviewed and corrected with your advisor. You are responsible for communicating the daily to-do list to the shop foreman to make sure the priority notes happen before the next rehearsal.

10. You will attend all production meetings at the end of each technical rehearsal. You are expected to contribute only significant information and take notes from the director and the rest of the design team. These notes should be incorporated into the show before the next rehearsal.

11. You will consider all feedback by both the director and your advisor on the look of the show.

Additional Responsibilities 1. Consult with the shop foreman daily to keep the build moving forward.

2. Work with your advisor to create a lumber order.

3. Work with your advisor to create a paint order.

4. Work with the props master and prop artisans (if applicable) to create any stage dressings including soft goods.

5. Lead the scenic artist on the show and be sure that all paint work is completed on time.

6. Work with your advisor to make sure the show remains within the budget.

Once the Show Opens You will monitor the performance reports/communicate with the stage management staff as needed to make sure that, in conjunction with the stage carpenter, all technical concerns are handled before the next performance.

Once the Show Closes You must schedule a post-mortem with your advisor to discuss your performance throughout this process. The focus of this meeting is on how you can improve for future designs.

Strike You will attend strike.

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APPENDIX B Design Parameters for Senior Project: Lighting Designer Designers for any Klein Theatre production are required to follow the instructions and guidelines listed below in order to complete the design process for their senior projects. Missing any one of these deadlines/ meetings will result in removal from the design assignment. Should the student be removed, they shall be required to complete a theoretical design in order to complete the senior project. In addition to those listed below, the design faculty reserves the right to add additional deadlines in accordance to a particular production’s needs.

General Guidelines 1. You must meet all deadlines on the blue Important Practicum Dates sheet, as well as the white Production Deadlines sheet. Any missed deadlines are grounds for removal from the design process. Your faculty advisor reserves the right to adjust the deadlines, if deemed necessary to the process.

2. Your advisor must sign off on all artwork. This artwork is expected to be the absolute best possible work that you are capable of.

Substandard work is grounds for removal from the design.

3. Student lighting designers serve as master electricians for their productions and are present and fully involved in the hang and focus of the show. If you are not willing to do the full complement of work, you are not ready to design—you should be working harder than any other student on this production. Your advisor must clear any potential absences as far in advance as possible.

4. If during your design process you find a need for a specific change, you must consult with the director and your advisor. You may not delay any other designer or technician with your indecision.

During the Design Phase 1. You are responsible for creating a collage of images either in a hard copy or electronically that can be presented to the director and artistic staff early in the design process.

2. You will create a layout of your proposed gel colors for the production, along with detailed information as to how they will be used.

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3. You will draw the plot in conjunction with the advisor’s overview and be responsible for all the required paperwork to facilitate the hang and focus of the show. You must use Lightwright to prepare all ancillary paperwork that supports your design. Updates to the plot must be made regularly in accordance with the director’s and advisor’s requests. The plot will be posted on the UMW Theatre Dropbox and be printed to facilitate the hang of the show.

4. You will attend at minimum three rehearsals in order to assess the cueing needs for the production. All rehearsal reports must be read and responded to in a timely manner as needed. A copy of all rehearsal reports and any responses should be inserted in your notebook for final submission.

5. You must attend all design and production meetings.

Prepping for the Hang & Focus Calls 1. The in house supply is your first source for gel and templates. Any additional gel or template requests must be given to your advisor to order. These orders can take a week or more to arrive, so they must be anticipated.

2. You are responsible for setting a schedule of availability for the show with your advisor and shop foreman. This schedule must include every possible hour that you are available to work on your design. It is expected that your design will be the focus of your nonclass time until the show is open.

3. You will work with your advisor and shop foreman to create a calendar/schedule for the implementation of your design. The number of practicum students involved in each particular area must be considered in this schedule. It would also be advisable to create this schedule in relation to the availability of practicum help.

Hang & Focus Calls 1. You will attend all hang and focus calls unless excused by your advisor in advance.

2. Focus must be completed by 10:00 pm the night before dark time begins.

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Dark Time 1. You will craft a cue sheet and present it to the director and your advisor at least two days before dark time.

2. Cue sheets must be printed for each member of the faculty in attendance and the stage manager at least 15 minutes prior to the start of dark time. The house lights must be in show conditions prior to the start of dark time.

3. You are expected to take written notes of any problems or concerns throughout the cueing process. Each day at the end of the call, the notes must be reviewed with you advisor and the problems corrected. You are responsible for securing enough help to handle these notes before the next rehearsal.

4. You will work to consider all feedback by both the director and your advisor on the look of the show.

Technical Rehearsal 1. You will attend all technical rehearsals and closely observe any points in the show that can be improved. You may make corrections as time allows, but once dark and quiet time is over, any corrections should be made as notes and addressed after the rehearsal and before the next rehearsal. You may wish to use technical rehearsals up until the IDR to adjust and refine your cues.

2. You will attend all production meetings at the end of each technical rehearsal. You are expected to contribute only significant information and take notes from the director and the rest of the design team. These notes should be incorporated into the show before the next rehearsal.

After Opening You will monitor the performance reports and make sure, in conjunction with the master electrician, that all technical concerns are handled before the next performance.

At Closing You must schedule a post-mortem with your advisor to discuss your performance throughout this process. The focus of this meeting is on how you can improve for future designs.

Strike You will attend strike and accomplish the needs of the lighting department.

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APPENDIX C Design Parameters for Senior Project: Costume Designer Designers for any Klein Theatre production are required to follow the instructions and guidelines listed below. Missing any one of these deadlines/ meetings will result in removal from the design assignment. Should the student be removed, they shall be required to complete a theoretical design in order to complete their Senior Project. In addition to those listed below, the design faculty reserves the right to add additional deadlines in accordance to a particular production’s needs.

General Guidelines 1. You must meet all deadlines on the blue Important Practicum Dates sheet, as well as the white Production Deadlines sheet. Any missed deadlines are grounds for removal from the design process. Your faculty advisor reserves the right to adjust the deadlines, if deemed necessary to the process.

2. Your advisor must sign off on all artwork. This artwork is expected to be the absolute best possible work that you are capable of.

Substandard work is grounds for removal from the design.

3. The faculty expects scene designers be involved in the construction of the show on a daily basis. If you are not willing to do the full complement of work, you are not ready to design—you should be working harder than any other student on this production. Your advisor must clear any potential absences as far in advance as possible.

4. If during your design process you find a need for a specific change, you must consult with the director and your advisor. Once you receive approval from both the director and your advisor, you must immediately inform the shop of the change. You may not delay the shop’s progress due to your indecision.

Two Weeks Before the First Design Conference You must present your advisor with the following: 1. A thorough script analysis of the production.

2. Preliminary research for the production.

3. A comprehensive list of the design parameters.

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One Week Before the First Design Conference 1. You will have a preliminary conversation with the director about the general direction the production might take. This is only for the purpose of doing additional research.

2. You will meet with your advisor in order to discuss how to present questions/ideas at the first design meeting. The focus of this meeting is to help you with presentation skills and how to ask concise, thoughtful questions.

3. You will compile, in a well-ordered fashion, research materials that you might want to share with the design team.

Before Each Design Conference 1. You will arrive on time and present materials in accordance with the decisions made with the director and your advisor in the previous week’s meeting.

2. You will take specific notes based on the director’s intentions and desires for the production and document these ideas for submission with the final materials of this project.

3. Your verbal presentation will be observed by the design faculty for discussion during the next meeting with your advisor.

4. After this meeting, you and your advisor will meet briefly to discuss what you need to accomplish over the next few days. This may include research, lists, images, prices, etc.

On the Monday Prior to the Wednesday Design Conferences 1. You will have completed all research needed for the next meeting.

2. You will present this research to your advisor in a scheduled meeting. You will also present a rough costume plot generated for your own purposes.

3. You will work with your advisor to refine presentation skills. They will request any additional materials that need to be gathered or artwork that needs to be cleaned up before the next meeting.

The Day Before to the Next Design Conference You and your advisor will have a scheduled meeting to review any updates needed from the previous meeting. Last minute refinements may be required at this time.

Materials Presented by The Costume Designer to the Design Team 1. Research images pertaining to the production approach. This may include images for looks, hair, style, makeup, etc.

2. Visual images of the design in a medium appropriate to the production, including fabric swatches.

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After the Design is Approved 1. You are responsible for setting a schedule of availability for the show with your advisor and the costume shop supervisor. This schedule should be every possible hour that you are available to work on your design. It is expected that your design will be the focus of your non-class time until the show is open.

2. You will work with your advisor and the costume shop supervisor to create a calendar/schedule for the construction of your design that includes available times for fittings.

3. You will work closely with your advisor and the costume shop supervisor to procure all materials needed to build the show. Any material needs will be given to your advisor to order. Please realize that because orders take time to receive, they must be handled in a timely manner. The budget will need to be considered before any purchases are requested.

4. You will attend at minimum two rehearsals in order to assess any unforeseen needs for the production.

5. Rehearsal reports will be read and responded to as needed within 24 hours of receiving the report. A copy of all rehearsal reports and any responses should be inserted in your notebook for final submission.

6. You will attend each technical rehearsal and closely observe any elements in the show that can be improved. You are expected to take written notes of problems or concerns throughout the process.

Each day at end of the call, your notes should be reviewed and corrected with your advisor. You are responsible for communicating the daily to-do list to the costume shop supervisor to make sure the priority notes happen before the next rehearsal.

7. You will attend all production meetings at the end of each technical rehearsal. You are expected to contribute only significant information and take notes from the director and the rest of the design team. These notes should be incorporated into the show before the next rehearsal.

8. You will consider all feedback by both the director and your advisor on the look of the show.

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Additional Responsibilities 1. Consult with the costume shop supervisor daily to keep the build moving forward.

2. Work with your advisor to create all purchasing requests.

3. Work with wardrobe supervisor to determine maintenance needs.

4. Work with your advisor to make sure the show remains within the budget.

5. Work with the wardrobe supervisor to choreograph any quick changes.

Once the Show Opens You will monitor the performance reports/communicate with the stage management staff as needed to make sure that, in conjunction with the wardrobe supervisor and costume shop supervisor that all technical concerns are handled before the next performance.

Once the Show Closes You must schedule a post-mortem with your advisor to discuss your performance throughout this process. The focus of this meeting is on how you can improve for future designs.

Strike You will work with the costume shop supervisor to be certain that all costumes are laundered and returned to stock.

Claire Crusott ’18 (not pictured) – Scenic Design for Macbeth

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APPENDIX D Design Parameters for Senior Project: Sound Designer Designers for any Klein Theatre production are required to follow the instructions and guidelines listed below in order to complete the design process for their senior projects. Missing any one of these deadlines/ meetings will result in removal from the design assignment. Should the student be removed, they shall be required to complete a theoretical design in order to complete the senior project. In addition to those listed below, the design faculty reserves the right to add additional deadlines in accordance to a particular production’s needs.

General Guidelines 1. You must meet all deadlines on the blue Important Practicum Dates sheet, as well as the white Production Deadlines sheet. Any missed deadlines are grounds for removal from the design process. Your faculty advisor reserves the right to adjust the deadlines, if deemed necessary, to the process.

2. Student sound designers are responsible for acquiring and editing any music and/or sound effects as well as recording any voiceovers.

3. Student sound designers are responsible for setting up the sound system including placing and patching any speakers.

4. If during your design process you find a need for a specific change, you must consult with the director and your advisor. You may not delay any other designer or technician with your indecision.

5. If you are not willing to do the full complement of work, you are not ready to design—you should be working harder than any other student on this production. Your advisor must clear any potential absences as far in advance as possible.

During the Design Phase 1. You will work closely with the director regarding the sound design for the show. This will include providing the director with sound cues to work with during rehearsal.

2. You must stay in close communication with the director and stage manager regarding the rehearsal sound cues and make changes per the director’s request.

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3. You will attend at minimum three rehearsals in order to assess the cueing needs for the production. All rehearsal reports must be read and responded to in a timely manner as needed. A copy of all rehearsal reports and any responses should be inserted in your notebook for final submission.

4. You must attend all design and production meetings.

5. Final sound cues must be sourced from Compact Discs. You must plan ahead to allow time for these CDs to be purchased and communicate your requested list of CDs, with hyperlinks, to the Department Chair no later than 10 days before first technical rehearsal.

6. You are responsible for importing CDs to QLab per department specifications for the highest quality sound.

Prepping for Quiet Time 1. Your QLab show file must be fully programmed before you begin quiet time. Quiet time is not programming time. It is an opportunity for you to listen to how your cues sound in the space and to set preliminary levels.

2. You are responsible for training the sound engineer on the sound system powering as well as QLab programming. This training must be completed at least two days before quiet time.

Quiet Time 1. You will craft a cue sheet and present it to the director, stage manager, and your advisor at least two days before quiet time.

2. Cue sheets must be printed for each member of the faculty in attendance and for the stage manager at least 15 minutes prior to the start of quiet time.

3. You are expected to take written notes of any problems or concerns throughout the cueing process.

4. You will work to consider all feedback by both the director and your advisor on the sound cues for the show.

5. You will work with the sound engineer to make any programming changes in QLab. You must afford your engineer the experience of programming QLab for themselves by listening to your instruction.

Technical Rehearsal 1. You will attend all technical rehearsals and closely observe any points in the show that can be improved. You may use technical rehearsals up until the IDR to adjust and refine your cues.

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2. You will attend all production meetings at the end of each technical rehearsal. You are expected to contribute only significant information and take notes from the director and the rest of the design team. These notes should be incorporated into the show before the next rehearsal.

After Opening You will monitor the performance reports and make sure, in conjunction with the sound engineer, that all technical concerns are handled before the next performance.

At Closing You must schedule a post-mortem with the advisor to discuss your performance throughout this process. The focus of this meeting is on how you can improve for future designs.

Strike You will attend strike and accomplish the needs of the sound department.

Kat Zerin gue ’15 – Acting in The Drun ken City

(not pictured) Sasha Zabela ’18 ction for Medea tru ns Co me Costu

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APPENDIX E Component

Unacceptable (F Range)

Poor (D Range)

Preparation 20%

Actor has not prepared for the role by engaging requisite research and character analysis.

Actor’s work reflects some understanding of character, period, and style but lacks the foundation required of the work.

Process 45%

Actor does not participate regularly in the process, is often late to rehearsal, comes to rehearsal unprepared, and/or is difficult to work with.

Actor is occasionally late, and often unprepared.

Actor has difficulty taking notes from director, and does not put effort in outside of rehearsal.

Written Component 20%

Actor has not effectively explained acting process in blog and/or has not documented requisite analysis and research.

Blog is not thorough.

Research and analysis documentation is deficient or not present.

No clear process.

Performance 10%

Actor does not create clear character and is unable to embody director’s vision and tell the story.

Actor does the bare minimum to perform role.

Actor is not believable and has not helped tell story effectively.

Jury/Artistic Conversation 5%

Actor does not articulate their process and is unable to answer questions regarding what they learned, etc.

Actor is able to speak about some elements of the process.

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Senior Project in Acting Evaluation Rubric Average (C Range)

Good (B Range)

Excellent (A Range)

Actor contributes competently to conversation with evidence-based research.

Actor engages robust dialogue with the director and ensemble showing research and understanding required of the process.

Actor’s work outside the rehearsal room is reflected in a rich process that enriches the text.

Actor attends rehearsals and does the minimum amount of work required to participate in the process.

Actor asserts themself in the process, comes prepared to rehearsals, and actively participates in the process.

Actor is a positive asset in the rehearsal process. Actor strives for excellence and helps lead the cast to a higher level of ensemble by setting an excellent example.

Blog begins to explore creative process. Blog is not thorough enough, but a clear beginning.

Some documentation of analysis and research.

Blog is thorough.

There is some research and analysis in evidence on the blog and reflective blog entries tracking artistic process.

Actor thoroughly researched project and translates ideas to the process effectively.

Actor is able to embody some of the character as articulated by the director, and helps tell the story.

Actor is able to embody the characterization as built by director, but does not fully embrace the role and opportunity.

Actor completely captures the role as described by director and built in rehearsal.

Reflects upon some developments in process and explains some personal growth.

Clearly reflects upon the process and speaks clearly of experience and self-evaluation.

Clearly and effectively speaks of growth and personal development throughout the project.

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