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| Costume Design Objectives |
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Reflect the design teams interpretation of the play
exhibit a unity of style
provide visual clues about the characters
reflect on character's age, gender, occupation, social economic status |
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| anything an actor wears on stage (nothing is a choice, too) |
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designs clothing, hats, wigs, hair styles, facial hair, shoes, accessories, etc.
brings the characters into the piece with the right look |
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| time, money, materials, body type, hair color, skin tone, movement of actor, scenery |
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| to remove a costume from storage |
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| costume crew who assist actors in putting on their costumes |
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| one ho constructs and styles hats |
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| person who makes patterns based on information contained in the designers sketch, notes, and instructions |
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| costume that the theater already owns |
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| garments and fabric can change color |
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| costume shop supervisor/assistant |
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| manager, production worker, artesian |
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| costume designer, costume shop supervisor/assistant, production, crafts person, wardrobe supervisor |
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the creation and manipulation of aural environment
a technical/creative field
being able to hear the actors |
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| sound - source - routing - amplifier - output |
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| microphone, cd, computer - that sounds enters the signal chain through |
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| signal is made powerful enough to drive the speakers |
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| speakers, how the sound gets out |
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| functions of sound design |
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invoke a particular mood
help tell the story of the play
ensure that the actors/singers can be heard |
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| main areas of sound design |
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reinforcement
music
sound effects |
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| microphones are used to reinforce/amplify actor's vocals, music, instruments, etc. |
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used to cover the noise of moving scenery
used to invoke a particular mood of the play
used to glue different scenes together and give a sense of cohesion |
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music that plays underneath an actor's dialogue or action
used to evoke emotion |
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help establish time period, location, time of day
can evoke mood
support character's dialogue |
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time in the quiet theatre, before tech, used to set inital volume levels and evaluate the sound system
time to program cues |
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refine volume levels
refine cues
perfect cueing with lighting designer and stage manager |
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test all mics and speakers
run through cues to ensure proper function |
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| an electronic device that makes an audio signal strong enough to create sound |
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the relative loudness or softness of the volume
can also refer to the bass or treble, or sound effect
a "level" is set for a cue |
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| an audio device that takes a multiple audio signals, adjusts them, and sends them out to amplifiers and other devices |
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sound designer
sound engineer
mic tech/mic wrangler
sound board operator
sound crew
size of sound crew depends on the size of the theater and amount of work |
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script -director-concept-design team-production team-construction/implementation-rehearsals-tech rehearsals
opening-closing-strike |
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| Actors Equity Association |
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| Society for Stage Directors and Choreographers |
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| The International Alliance of Theatrical Stage |
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League of Resident Theatres
a collective of resident theatres in teh US dedicated to the welfare and prosperity of theatre in America and its territories
PlayMakers operates under a LORT D contract |
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person responsible for organizing the aspects of a theatrical production and disseminating information between the artistic, administrative, and production departments
sometimes called (PSM) Production Stage Manager |
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| four phases of a production |
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pre-production
rehearsal
technical rehearsal and preview
performance |
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meetings
cast, crew, designer information
calendars created
script determined
set designs finalized/finished |
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ground plan is taped out
the show is rehearsed (blocking recorded)
cues and changes noted
direct and actor needs and wants noted |
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| technical rehearsal/preview |
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Stage Manager essentially runs the show - they are the one in charge
says when to stop and go
keeps everyone on time - not necessarily on schedule |
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SM keeps the sho running
calls the cues
organizes the crew
keeps the show at performance level |
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AEA basic rule - rehearsal cannot take place more than 8 out of 10 consecutive hours in a work day
a break of at least 1.5 hr is taken ever 5 hrs. |
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AEA Basic rule - rehearsal cannot take place more than 10 out of 12 consecutive hours in a work day
break of a least an 1.5 hrs every 5 hrs |
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| AEA Basic Ruel - the half hour of time prior to curtain; the time at which all actors are expected to arrive at the theatre |
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8/10
10/12
1/2 hour
angle of a raked stage
coffee maker
equity cot
actor and staff housing regulated |
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| see that the artistic vision of the company is realized through the production/technical aspects and planning of a production |
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| IATSE careers in entertainment industry |
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| union careers in the entertainment industry |
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bands, singers
cirque
cruise ship
corporate events- av companies, trade shows, NASCAR |
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| international alliance of theatrical stage employess, moving picture technicians, artists, and allied crafts |
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| elaborate set piece with giant grotesque with jaws that spits fire - swallows people whole - opposite end of the row of mansions as heaven |
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doors or platforms that allow quick and easy access through the stage floor for actors or scenery
may or may not move |
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| a means of lifting an actor through the stage floor while at the same time moving across the stage |
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| a looped belt that allows a moving actor or animal to remain stationary upon the stage |
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| method for showing a moving background where the scene moves across the stage from one roller to another |
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1700s
trap elevators
stage elevators
revolves and concentric revolves |
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| circular platforms that can be rotated upon its axis, a revolving stage |
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stage elevator
used to raise and lower actors and scenery |
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| using pressurized air to transfer force and movement |
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| a machine that uses a drum to move cable and create linear motion |
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using chemicals or explosives to create smoke, light, and noise
fireworks, flash paper |
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fog, haze, and rain
atmospheric effect
creates mood and realism
is an object, it will reflect light |
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