Wednesday, March 3, 2010
Tech Terms Spring 2010
Gillette Chapter Terms
chapters 1&2
followspot: a lighting instrument with a high intensity, narrow beam; mounted in a stand that allows it to tilt and swivel so the beam can "follow" an actor.
production team: everyone working, in any capacity, on the production of the play.
production design team: the producer, director and scenic, costume, lighting, sound and other designers who develop the visual and aural concept for the production.
Production concept: the creative interpretation of the script, which will unify the artistic vision of producer, director, and designers.
Production meeting: a conference of appropriate production personnel to share information.
Supernumerary: an actor, normally not called for in the script, used in a production; an extra; a walk on.
Technical rehearsals: run-throughs in which the sets, lights, props, and sound are introduced into the action of the play.
Blocking: movement patterns, usually of actors, on the stage.
Shift rehearsal: a run-through without actors to practice changing the scenery and props.
Cue: a directive for action, for example, a change in the lighting.
Lighting rehearsal: a run-through without the actors to look at the intensity, timing, and placement of the various lighting cues.
Dress rehearsal: a run-through in which the actors wear costumes and makeup.
Limited run: a production run of predetermined length, for example, two weeks, six weeks, and so forth.
Prompt book: a copy of the script with details about each actor’s blocking as well as the location of all sets, props, lights, and sound cues.
Stage business: a specific action, also known as a “bit” performed by an actor during the play.
Call: to tell specific crew members when to perform their cues.
Properties: such elements as furniture, lamps, pictures, table linens, bric-a-brac, and window drapes that provide the finished set with visual character.
Running: controlling or operating some aspect of production.
Plate: a sheet of mechanical drawings, drawn to scale.
Shift: to change the position of the scenery, props, or stage equipment.
Hanging: placing lighting instruments and equipment in the designated positions on the light plot.
Focusing: directing light from the lighting instruments to a specific area.
Circuit: to connect a lighting instrument to stage a circuit.
Patch: to connect a stage circuit to a dimmer circuit.
Hookup sheet: a sheet containing pertinent information (hanging position, circuit, dimmer, color, lamp wattage, focusing notes) about every lighting instrument used in the production. Also known as a instrument schedule.
Color media: the colored plastic, gel, or glass filters used in lighting instruments.
Focus: to direct light from a lighting instrument to a specific location.
Warp and weft: the vertical and horizontal threads in a fabric.
Dress: in this context, dress refers to the process of curling, combing, teasing, and/or brushing necessary to maintain the style of a wig or hairpiece.
Street makeup: makeup worn in everyday life.
Sound-reinforcement system: the amplification of sound coming from the stage.
Wireless microphone: a microphone system that uses a short-range FM radio transmitter and receiver instead of a cable to send the signal from the microphone to the mixer.
Stream-of-consciousness questioning: asking whatever relevant questions pop into your mind in the course of a discussion.
PDA – personal digital assistant: a hand-held computer used for making/keeping notes, schedules, phone numbers, and similar functions.
Thumbnail sketch: a small, quick, rough drawing, usually done in pencil, that shows the major outline, characters and feeling of the object but does not have much detail.
Functional model: a three-dimensional thumbnail sketch of the scenic design; normally built on a scale of ¼ or ½ inch to 1 foot; usually made from illustration board, Bristol board file folders or similar card board; also known as a white model.
Production model: a scale model, similar to the functional model but fully painted and complete with all furniture and decorative props.
Sound plot: a list describing each sound cue in the production.
The design model: a problem solving model for theatrical design and production consists of seven distinct phases: 1. Commitment, 2. Analysis, 3. Research, 4. Incubation, 5. Selection, 6. Implementation, 7. Evaluation.
Chapters 3 & 4 Terms
Proscenium: a stage configuration in which the spectators watch the action through a rectangular opening (the proscenium arch) that resembles a picture frame.
Thrust stage: a stage projecting into, and surrounded on three sides by, the audience.
Arena stage: a stage completely surrounded by the audience.
Forced perspective: a visual-distortion technique that increases the apparent depth of an object.
Raked stage: a stage floor that is higher at the back than the front.
Stock set: scenery designed to visually support a generalized location (garden, city street, palace, interior) rather than a specific one; commonly used from the Renaissance through the early twentieth century and still in use today in some theatres.
Drop: a large expanse of cloth, usually muslin or canvas, on which something (a landscape, sky, street, room) is painted.
Wings: in scenic terms, either tall, cloth-covered frames or narrow, unframed drops placed on either side of the stage, parallel with the proscenium arch, to prevent the audience from seeing backstage; were usually painted to match the scene on the upstage drop.
Apron: the flat extension of the stage floor that projects from the proscenium arch toward the audience.
Borders: wide, short, framed or unframed cloth drops suspended to prevent the audience from seeing above the stage; normally match the decorative treatment of the wings and drops in wing and drop sets.
Elevator trap: a small elevator used to shift small pieces of scenery, or an actor, from the basement underneath the stage to the stage or vice versa. Usually no larger than 4x4 or 4x6 feet. Also known as a disappearance trap.
Elevator stage: a large elevator used to shift large scenic elements or whole sets between the area beneath the stage and the stage.
Revolving stage: a large, circular disk that pivots on its central axis. Built into the stage floor as part of the theatre’s permanent equipment.
Concentric revolving stages: a revolving stage with, usually, two sections, one rotating inside the other.
Borderlights: any lights hung above the stage, behind the borders (horizontal masking pieces). In this context, the borderlights were striplights – long, narrow, troughlike fixtures usually containing eight to twelve individual lamps.
Winglights: lights hung on either side of the stage, usually concealed by wings (vertical masking pieces). In this context the winglights were striplights – long, narrow, troughlike fixtures usually containing eight to twelve individual lamps.
Picture frame stage: a configuration in which the spectators watch the action of the play through a rectangular opening; synonym for proscenium-arch stage.
Orchestra pit: the space between the stage and the auditorium, usually below stage level, that holds the orchestra.
Mike: to place one or more microphones in proximity to a sound source (instrument, voice).
Mix: to blend the electronic signals created by several sound sources.
Balance: to adjust the loudness levels of individual signals while mixing, to achieve an appropriate blend.
Sound mixer: an electronic device used to adjust the loudness and tone levels of several sources, such as microphones and recorded sources (computer files/tape playback equipment).
Fly loft: the area directly over the stage; “the flies”
Grid: a network of steel I beams supporting elements of the system used to raise and lower scenery.
Fly: to raise an object or person above the stage floor with ropes or cables.
Batten: a think wooden dowel or metal pipe (generally from 1 ¼ to 1 ½ inches in diameter) from which are suspended scenery and lighting instruments.
Loft blocks: a grooved pulley, mounted on top of the grid, used to change the direction in which a rope or cable travels.
Stage house: the physical structure enclosing the area above the stage and wings.
Head block: a multisheave block with two or more pulley wheels, used to change the direction of all the ropes or cables that support the batten.
Fly gallery: the elevated walkway where the pin rail is located.
Pin rail: a horizontal pipe or rail studded with belaying pins; the ropes of the rope-set system are wrapped around the belaying pins to hold the batten at a specific height.
Counterweight arbor: a metal cradle that holds the counterbalancing weights used in a counterweight flying system.
Loading platform: a walkway, suspended just below the grid, where counterweights are loaded onto the arbor.
Locking rail: a rail hat holds the rope locks for each counterweight set.
Grand Drape: main curtain, main drape, or grand rag.
Grand Valance: short curtain, used to mask the equipment hanging above the stage.
False Proscenium: makes the rectangle of the viewing space smaller; used for masking.
Mask: to block the audience’s view – generally, of backstage equipment and space.
Travel: to move horizontally relative to the stage floor, as with a drape that opens in the middle and is pulled to the sides.
Flat: a framework, normally made of wood or metal;; frequently covered with fabric or thin plywood, although a variety of other covering materials may be used.
Hard teaser: the horizontal element of the false proscenium; usually hung from a counterweighted batten so that its height can be easily adjusted.
Tormentor: the vertical flats that form the side elements of the false proscenium.
Show portal: a false proscenium that visually supports the style and color palette of a particular production.
Grommet: a circular metal eyelet used to reinforce holes in fabric.
Sky drop: a curtain used to simulate the sky.
Cyclorama: the cyc, used for smaller bits of sky.
Fly cyc: a single drop, hung on a U-shaped pipe that surrounds the stage on three sides.
Scrim: a drop made from translucent or transparent material.
Lighting grid: a network of pipes form which lighting instruments are hung.
Hanging positions: a location where lighting instruments are placed.
Dead hang: to suspend without means of raising or lowering.
Ratchet winch: a device, used for hoisting, with a crank attached to a drum; one end of a rope or cable is attached to the drum, the other end to the load; turning the crank moves the load; a ratchet gear prevents the drum from spinning backward.
Chapters 5 & 6 Terms
PRODUCTION STYLE: a manner of producing a play in which all production elements (costumes, scenery, lights, acting) adhere to a common set of artistic/philosophical characteristics (i.e. expressionism)
VALUE: relative lightness or darkness
GOBO: a thin metal template inserted into an ellipsoidal reflector spotlight to project a shadow pattern of light
PROFILE (silhouette): the outline of a form, which determines the form’s quality and character
SYMMETRICAL BALANCE: correspondence in size, form, and relative position of parts on either side of a center dividing line; mirror-image balance
ASYMMETRICAL BALANCE: a sense of equipoise achieved through dynamic tension created by the juxtaposition of dissimilar design elements (line, form, mass, value, color)
ACTING AREA: those areas of the stage on which specific scenes, or parts of scenes, are played
PAINT CHIP: a small rectangle of paper or thin cardboard painted in a specific hue
HUE: the quality that differentiates 1 color from another, such as blue from green or red from yellow
SATURATION: aka Chroma, refers to the amount, or percentage, of a particular hue in a color mixture. Fire-engine has a high, or strong, saturation, because there is a lot of fully saturated color in the mixture. Dusty rose, in contrast, has a low, or weak, saturation, because there isn’t a lot of fully saturation color in the mixture; instead, the majority is white or gray
VALUE: the relative lightness or darkness of a color is referred to as a value. Pale blue has a high value, and dark brown has a low value
TINT: a color with a high value is referred to as a tint. It is usually achieved by mixing a hue with either white pigment or white light
SHADE: a color with a low value is known as a shade. It is usually created by a mixture of 1 or more hues and black
TONE: a color of middle value is frequently referred to as a tone. It is a mixture of a hue with black AND white. The addition of a complementary hue tones a color.
COMPLEMENTARY: 2 hues that, when combined, yield white in light or black in pigment; colors that are opposite each other on the color wheel
RODS: nerve cells in the retina that are sensitive to faint light
CONES: nerve cells in the retina that are sensitive to bright light; they respond to red, or to blue, or to green light
PIGMENT: a material that imparts color to a paint or dye
NEUTRALIZATION: subtractive color mixing; the selective absorption of light as the result of mixing complementary pigment hues; the creation of gray
Chapters 7 & 8 Terms
DRAW TO UNDERSTAND: to produce a likeness that is a proportional reduction of an object
SPECIFICATIONS: clarifying notes that explain the building materials, textures, or special effects to be used in a design or other project
BLUELINE: to copy drawings made on tracing vellum; the lines on the vellum are printed in blue, or sometimes, in black; also known as the diazo process
PIG: a bag of loosely woven fabric containing powdered eraser material
PLOTTER: a printer used to produce computer-generated drafting sheets and drawings on large paper
CUT LIST: a list of color media required for the lighting design for a particular production categorized by hue and size; used to assist in ordering and cutting the color media for a lighting design
HORIZONTAL AFFECT SECTION: a section of drawing with a horizontal cutting plane, which does not remain fixed but varies to provide a view if important details
FORSHORTENING: representing the lines of an object as shorter than they actually are in order to give the illusion of proper relative size
VANISHING POINT: the point on the horizon to which a set of parallel lines recedes
HORIZON LINE: a line in a perspective drawing representing the meeting of the earth and the sky; normally drawn parallel to the top or bottom edge of the paper
FLOOR LINE: the base of the vertical plane in a perspective drawing; for a proscenium sketch, usually drawn across the stage in contact with the downstage edge of the proscenium arch; in a thrust drawing, normally placed just outside the auditorium end of the thrust; in an arena sketch, usually placed in the aisle closest to the observer
LINE OF VISION: the vertical line drawn from OP to the floor line in a perspective grid; represents the line of sight from the observer to the vertical plane
PERSPECTIVE-VIEW BASE LINE: the bottom edge of a perspective drawing
Chapters 9 & 10 Terms
MOOD: the feeling of a play- comic, tragic, happy, and so forth
SPIRIT: the manner and style in which a play is presented to the audience
MECHANICAL PERSPECTIVE: a drafting technique that provides an illusion of depth
SIGHT LINE: a sighting extending from any seat in the house to any position on stage; used to determine how much of the stage and backstage area will be visible from that auditorium seat
COLLAGE: a picture made of various materials (e.g. paper, cloth) glued on a surface; can include drawn or photographic images as well
PHOTOMONTAGE: a composite picture made by combining several separate pictures; can include non-photographic images as well
TRACING PAPER: translucent paper used for drafting
CARD STOCK: a thin cardboard, similar in thickness to 3x5 note cards and/or file folders
BACKING: flats, drops, or draperies on the offstage side of doors and similar openings to prevent the audience from seeing backstage
GROUND ROW: low, horizontal flats used to mask the bas of cycs or drops; frequently painted to resemble rows of buildings, hedges, or similar visual elements
CENTER-LINE SECTION: a sectional drawing whose cutting plane is the center line of the stage and auditorium, showing the height of the various elements of the theatre; usually drawn in the same scale as the ground plan
SIGHT-LINE DRAWINGS: a scale drawing (plan and section views) or sighting that extend from the extreme seats (usually the outside seats on the front and last rows of the auditorium) to any position on the stage; used to determine how much of the stage and backstage will be visible from specific auditorium seats.
STARTER HOLE: a small hole bored into a piece of wood or metal to hold the tip of a screw or drill bit; also called a pilot hole
KERF: the width of the cut made by a saw
MITER: an angle that is cut in a piece of work, usually in pairs to form a corner
SOLE: the bottom plate of a plane with a slot through which the tip of the blade projects
CENTER PUNCH: a pointed tool made from a similar type of hard steel as the cold chisel and used for indenting shallow holes in wood and metal
CHUCK: the adjustable jawed clamp at the end of a drill that holds the drill bits
DADO HEAD: a saw accessory consisting of a set of toothed blades that sandwich a chisel-like chipper; the blades smooth-cut the outside edges of the kerf while the chipper gouges out the wood between the blades; the distance between the blades is variable
MOLDING CUTTER HEAD: a heavy cylindrical arbor in which a variety of matched cutter blades or knives can be fit
STRIKE: taking down and/or destruction of the set following the conclusion of a play’s production run
FLUX: a chemical that reduces surface oxidation, which would prevent the solder or filler rod (welding) and the metal being soldered or welded from flowing together
LAUAN: also known as Philippine mahogany; this 1/8” lauan plywood is strong and quite flexible; commonly used as a flat-covering material and for covering curved surface forms
PAPER CLAD: both sides covered with paper
PLUG: a wooden insert used to replace a knothole or other imperfection in the surface layer of a sheet of plywood
KEYSTONES and CORNERBLOCKS: pieces of ¼” AD plywood used to reinforce joints in the construction of stage flats
SCALE: a black scaly coat that forms on iron when it is heated for processing
1” CENTERS: the centers of adjacent elements, such as holes, are spaced 1” apart
CASTING RESIN: any of a number of liquid plastics used for casting forms in molds
SKID: a low profile substitute for a wagon; usually a piece of ¾” plywood on which some small scenic element is placed
ALLEN WRENCH: an L-shaped piece of steel rod with a hexagonal cross-sectional shape; used for working with Allen-head screws and bolts
FLUSH: smooth, level, even
DUTCHMAN: a 5-6” wide strip of cloth of the same material as the flat covering; applied over joints between flats to give the appearance of a smooth, unbroken wall unit
LEAF: the movable flap of a hinge
STILE: a vertical side member of a flat
DOWEL: a short cylinder of hardwood (usually birch)
DUST MASK: a device covering the nose and mouth that filters particulate matter from the air
RESPIRATOR: a mask covering the nose and mouth that filters out gases as well as particulate matter
Chapters 11 & 12 Terms
TECHNICAL PRODUCTION: all organizational and procedural aspects of the construction, painting, and operation of scenery and properties
LOAD-IN: the moving of scenery and associated equipment into the theatre and the positioning of them on the stage
IRREGULAR FLAT: a flat having non-square corners
MUNTIN: a horizontal crossbar in a window
MULLION: a vertical crossbar in a window
MORTISE DRILL BIT: a drill bit housed inside of a square hollow chisel; used with a drill press to make square holes; available in a variety of diameters
FILLER ROD: metal piece of the same composition as material being welded, used to replace the metal lost during the welding process or to fill a hole of groove in the work
TWO-HANDED WELDING: a technique in which the torch or welding handle is held in one hand and the filler rod in the other
ARC: an electric current that leaps the gap between two closely placed electrodes
WELDING ROD: a rod, usually covered with flux, that serves as the position electrode in arc welding
SINGLE-HAND WELDING: a technique in which one hand holds the welding handle and the other hand is not used
OXIDATION: a chemical reaction between the metal and air that forms a very thin, discolored “skin” over the metal; this skin effectively prevents heat transfer and reduces the strength and conductivity of the joint
SOLDER: a metal alloy of lead and tin
SHOW CONTROL: the use of computer-controlled, motorized devices to shift scenery, almost always in view of the audience
RAIL: a top or bottom framing member of a flat
STILE: a vertical side member of a flat
TOGGLE BAR: an interior horizontal framing member of a flat
CORNER BRACE: a diagonal internal framing member that keeps a flat square
JOG: a flat less than 2 feet wide
18-INCH CENTERS: spaced 18” apart
SPACKLING: a paste used to fill small holes in walls
CONSTRUCTION ADHESIVE: also called panel adhesive, an adhesive contained in a caulking tube; dispensed with a caulking gun; available in a number of formulations for use in gluing wall panels to studs (wood to wood) Styrofoam to wood, wood to metal, and so forth
DRYWALL: gypsum board typically used to cover interior walls in home construction; normally ½” thick although other thicknesses are available
SLL IRON: a strap of mild steel attached to the bottom of a door flat to brace it where the rail has been cut out
SWEEP: a wooden curvilinear form, generally used to outline an arch or irregular form in door-and-window- flat openings
PRIME COAT: the first coat of paint applied to the flats, to develop a relatively uniform color and surface to the wall units
STIFFENING BATTEN: a length of 1x3 attached to a multi-flat wall unit to keep it from wiggling
BOOK: to fold hinged flats together (so that they resemble a book)
TUMBLER: a ¾” thick-by- 1” wide (or 1x3) piece of stock used as a spacer when 3 or more flats are going to be booked
HEADER: a small flat that can be placed between 2 standard sized flats to create a doorway or window
BOOK CEILING: 2 large flats about the same width as the proscenium arch, stored in a booked position in the flies; when needed to create a ceiling, they are opened and lowered onto the walls of the set
JOISTS: parallel beams that support flooring
6-INCH CENTERS: spaced 6” apart from the center of the one item to the center of the next
HONEYCOMB PAPER: a manufactured paper product with a hexagonal structure similar to a honey-comb
LAMINATING: the process of gluing thin pieces of wood together to make a thicker piece
COMPOUND CURVES: a surface that curves in more than one direction (like a ball) or changes the radius of its curve (like a playground slide)
GUSSET: a triangular piece of material used to reinforce a corner joint
PLY-METAL: refers to TEK screws specifically designed to attach plywood to metal; the flat head of the screw is typically driven flush with, or slightly into, the top surface of the plywood
KIT-CUTTING: to cut ALL the individual pieces needed to make something BEFORE assembly is started- like model airplane kit
CARRIAGE: the part of a stair unit that supports the tread and risers
TREAD: the horizontal surface of a stair
RISER: the vertical face of a stair unit
SCORE: to cut partially through
HANDRAIL: the part of the stair railing that is grabbed with the hand; supported by the banister and newel post
BANISTER: the vertical member that supports the handrail of a staircase railing
NEWEL POST: the post at the bottom or top of a flight of stairs that terminates the handrail
DECKING: the covering surface of a structure on which people will walk
SHIM: scrap wood or metal used to raise adjacent parts so that they are level or fit together as designed
STEP MOTOR: an electric motor whose movement consists of discrete angular steps rather than continuous rotation; precision movement is achieved by programming the motor to run, in either direction, for a specific number of steps
PENCIL ADHESIVE: an adhesive product, such as Liquid nails, packaged in a caulking tube and intended to be dispensed with a caulking gun
HOT-WIRE CUTTER: a tool for cutting foam that consists of a wire heated to incandescence
PIGMENT: a material that imparts color to a paint of dye
FILLER: a material that creates opacity (covering power) in paint
VEHICLE: the liquid medium-water, oil, lacquer, and the like-in which pigments, filler, and binders are suspended to create a paint mixture; after the paint is applied the vehicle evaporates
TROMPE L’OEIL: literally “to trick the eye”; an illusion of 3 dimensionality created with paint
FAUX FINISH: using techniques with paints/varnishes to create the illusion of a particular type of surface or material, for example, painting wood to look like metal or stone
SIZE WATER: a mixture of one cup of hot animal glue and one tablespoon of Lysol per gallon of warm water; white clue can be substituted for the animal glue in approximately equal measure
VINYL ACRYLIC CONCENTRATE: a highly saturated pigment with a vinyl acrylic binder; mixed with an opaque base (for tints) or a transparent base (for fully saturated lines) to create a working paint
GLAZE: a transparent, usually lightly tinted layer of thin paint
ANILINE DYE: a transparent pigment made from aniline, a poisonous derivative of benzene; characterized by brilliant hues and full saturation
BLEEDING (SPREADING): capillary action causes the dye solution to spread past the edge of the painted brush line
DISTRESS: to create a worn or aged appearance, as with fabric, wood, or metal
SPATTERING: a technique of applying a relatively smooth covering of evenly spaced small droplets of paint to a surface
BOX: to pour paint back and forth between buckets to ensure a complete and uniform mix
GARBAGE or SLOP PAINT: any paint left over from previous paint jobs; the various hues are mixed together to create a (usually) rather ugly light-brown color
ANALOGOUS (related) COLORS: colors that are adjacent to each other on the color wheel
HOLIDAYS: sections of a painted surface that appear lighter than the rest of the surface because the area is either unpainted or the paint was too lightly applied; areas where the painter took a holiday
SPRAY CONE: the pattern of paint emitted from the nozzle of a spray gun
SPRAY GUN: a pistol-like device that shoots out a cone of paint
COMPRESSOR: a pump, typically electric or gasoline powered, that drives air into a tank; output pressure from the tank is controlled by a valve called a regulator
KEYSTONING: the distortion that occurs in a projected image when the projector is placed at some angle other than perpendicular to the center of the projection surface
FLOOR PAINTING: painting scenery- flats, drops, and so forth- on the floor rather than standing up or attached to a paint frame
FERRULE: the metal part of a brush that binds the bristles to the handle
SOURCE LIGHT: the apparent source of light that is illuminating a scene or an object
STENCIL PAPER: stiff, water-resistant paper used for making stencils
VACUFORMING: the process of shaping heated plastic, usually high-impact polystyrene, around a mold through the use of vacuum pressure
STENCIL BRUSH: a short, squat brush with a circular pattern of short, stiff bristles; the bristles are pressed onto, rather than stroked across, the work, to prevent the paint from bleeding under the edges of the stencil
BACKPAINTING: literally to paint on the back; you paint the back, or reverse, side of the scenery or drop
POLYVINYL ALCOHOL (PVA): a water-soluble synthetic thickener/adhesive
BOGUS PAPER: a heavy, soft, absorbent paper; similar to blotter paper
Chapters 13 & 22 Terms
STAGE WORTHY: strong enough to withstand the use inflicted on them when used on the stage, for example, sofas/chairs that are stood and/or danced on; tables that break apart during fights and so forth
PROP TABLE: a table, normally located in the wings, on which hand props are stored when not in use onstage
BLACKOUT: when the stage is completely dark. The stage lights are out and no other lights are on
JIG: a device used to hold pieces together in proper positional relationship
SELF-TAPPING: screws that drill their own pilot holes as they are power-screwed into wood or metal. The screws have an auger-like tip that drills a smaller diameter hole than the screw threads
CARCASS: the foundation structure of something, for example, the framework of a cabinet
SPINDLE CHUCK: a device used to hold wood in a lathe
STOCK FURNITURE: item owned by the producing organization and held in storage until they are needed for a production
GIMP: an ornamental flat braid or round cord used at trimming
DRESS: to place decorative props such as curtains, doilies, knickknacks, or magazines on the set to help make the environment look lived-in and provide clues to the personality of the set’s inhabitants
VALANCE: a horizontal element at the top of a drapery arrangement that covers the curtain rod
DRAPE: a vertical element of heavy fabric that frames the sides of a window or archway; can usually be pulled across the opening
SHEER: a thin gauze curtain that hangs across the opening of a window to soften the “sunlight” and obscure the view into a room
PAPERCLAY: a nontoxic modeling material that can be sculpted, molded or shaped, and air dries to a hard finish that can be carved or sanded
MODEL: an object that is being used as the subject of a mold casting
UNDERCUT: an indentation in a form that leaves an overhang or concave profile- for example, the nostrils in a mask of a face
ARMATURE: a basic skeletal form that holds the covering materials in the desired shape or alignment
MATTE: dull, non-reflective
LIFE: brilliance, visual depth, and sparkle
GLOSS: highly reflective, mirror-like
SPINE: the relative stiffness of bristles; good watercolor bristles will flex easily but will also have enough spine to remain erect when fully saturated with paint
ILLUSTRATION BOARD: watercolor paper mounted on a pressboard backing
HOT-PRESS FINISH: a slick, smooth texture achieved by pressing paper between hot rollers; this treatment leaves a thin layer of oil, which makes the paper unsuitable for use with transparent watercolor; works well with designer’s gouache, acrylic, pencils, and markers
COLD-PRESS FINISH: a slight surface texture achieved by pressing paper between cold rollers; no oil residue results, so the paper can be used with transparent watercolor, designer’s gouache, acrylic, pencils, and markers
ROUGH FINISH: a pebble-grained texture achieved by cold pressing paper with a textured roller or by other techniques; suitable for painted and pastel renderings having little intricate detail
TOOTH: a term used to describe the surface texture of a paper
PIXEL: a picture element; the smallest discrete part of an electronically projected picture, as on a computer monitor
DIGITIZING TABLET: a electromechanical device that converts the pressure of a stylus on a flat plate (tablet) into binary information that can be understood by the computer
SCAN: to use a digitizing scanner to convert existing artwork, photos, or drawings into binary information
GRAPHITE: a soft carbon similar to the lead in a pencil; sticks can be purchased in most art supply stores
WASH: the covering of a relatively large area with a smooth layering of paint; a smooth wash consists of only one color; a blended wash is created by smoothly segueing from one color to another
WORKABLE FIXATIVE: a spray that seals colors in place. “Workable” indicates that paint can effectively be applied on top of the fixative
chapters 1&2
followspot: a lighting instrument with a high intensity, narrow beam; mounted in a stand that allows it to tilt and swivel so the beam can "follow" an actor.
production team: everyone working, in any capacity, on the production of the play.
production design team: the producer, director and scenic, costume, lighting, sound and other designers who develop the visual and aural concept for the production.
Production concept: the creative interpretation of the script, which will unify the artistic vision of producer, director, and designers.
Production meeting: a conference of appropriate production personnel to share information.
Supernumerary: an actor, normally not called for in the script, used in a production; an extra; a walk on.
Technical rehearsals: run-throughs in which the sets, lights, props, and sound are introduced into the action of the play.
Blocking: movement patterns, usually of actors, on the stage.
Shift rehearsal: a run-through without actors to practice changing the scenery and props.
Cue: a directive for action, for example, a change in the lighting.
Lighting rehearsal: a run-through without the actors to look at the intensity, timing, and placement of the various lighting cues.
Dress rehearsal: a run-through in which the actors wear costumes and makeup.
Limited run: a production run of predetermined length, for example, two weeks, six weeks, and so forth.
Prompt book: a copy of the script with details about each actor’s blocking as well as the location of all sets, props, lights, and sound cues.
Stage business: a specific action, also known as a “bit” performed by an actor during the play.
Call: to tell specific crew members when to perform their cues.
Properties: such elements as furniture, lamps, pictures, table linens, bric-a-brac, and window drapes that provide the finished set with visual character.
Running: controlling or operating some aspect of production.
Plate: a sheet of mechanical drawings, drawn to scale.
Shift: to change the position of the scenery, props, or stage equipment.
Hanging: placing lighting instruments and equipment in the designated positions on the light plot.
Focusing: directing light from the lighting instruments to a specific area.
Circuit: to connect a lighting instrument to stage a circuit.
Patch: to connect a stage circuit to a dimmer circuit.
Hookup sheet: a sheet containing pertinent information (hanging position, circuit, dimmer, color, lamp wattage, focusing notes) about every lighting instrument used in the production. Also known as a instrument schedule.
Color media: the colored plastic, gel, or glass filters used in lighting instruments.
Focus: to direct light from a lighting instrument to a specific location.
Warp and weft: the vertical and horizontal threads in a fabric.
Dress: in this context, dress refers to the process of curling, combing, teasing, and/or brushing necessary to maintain the style of a wig or hairpiece.
Street makeup: makeup worn in everyday life.
Sound-reinforcement system: the amplification of sound coming from the stage.
Wireless microphone: a microphone system that uses a short-range FM radio transmitter and receiver instead of a cable to send the signal from the microphone to the mixer.
Stream-of-consciousness questioning: asking whatever relevant questions pop into your mind in the course of a discussion.
PDA – personal digital assistant: a hand-held computer used for making/keeping notes, schedules, phone numbers, and similar functions.
Thumbnail sketch: a small, quick, rough drawing, usually done in pencil, that shows the major outline, characters and feeling of the object but does not have much detail.
Functional model: a three-dimensional thumbnail sketch of the scenic design; normally built on a scale of ¼ or ½ inch to 1 foot; usually made from illustration board, Bristol board file folders or similar card board; also known as a white model.
Production model: a scale model, similar to the functional model but fully painted and complete with all furniture and decorative props.
Sound plot: a list describing each sound cue in the production.
The design model: a problem solving model for theatrical design and production consists of seven distinct phases: 1. Commitment, 2. Analysis, 3. Research, 4. Incubation, 5. Selection, 6. Implementation, 7. Evaluation.
Chapters 3 & 4 Terms
Proscenium: a stage configuration in which the spectators watch the action through a rectangular opening (the proscenium arch) that resembles a picture frame.
Thrust stage: a stage projecting into, and surrounded on three sides by, the audience.
Arena stage: a stage completely surrounded by the audience.
Forced perspective: a visual-distortion technique that increases the apparent depth of an object.
Raked stage: a stage floor that is higher at the back than the front.
Stock set: scenery designed to visually support a generalized location (garden, city street, palace, interior) rather than a specific one; commonly used from the Renaissance through the early twentieth century and still in use today in some theatres.
Drop: a large expanse of cloth, usually muslin or canvas, on which something (a landscape, sky, street, room) is painted.
Wings: in scenic terms, either tall, cloth-covered frames or narrow, unframed drops placed on either side of the stage, parallel with the proscenium arch, to prevent the audience from seeing backstage; were usually painted to match the scene on the upstage drop.
Apron: the flat extension of the stage floor that projects from the proscenium arch toward the audience.
Borders: wide, short, framed or unframed cloth drops suspended to prevent the audience from seeing above the stage; normally match the decorative treatment of the wings and drops in wing and drop sets.
Elevator trap: a small elevator used to shift small pieces of scenery, or an actor, from the basement underneath the stage to the stage or vice versa. Usually no larger than 4x4 or 4x6 feet. Also known as a disappearance trap.
Elevator stage: a large elevator used to shift large scenic elements or whole sets between the area beneath the stage and the stage.
Revolving stage: a large, circular disk that pivots on its central axis. Built into the stage floor as part of the theatre’s permanent equipment.
Concentric revolving stages: a revolving stage with, usually, two sections, one rotating inside the other.
Borderlights: any lights hung above the stage, behind the borders (horizontal masking pieces). In this context, the borderlights were striplights – long, narrow, troughlike fixtures usually containing eight to twelve individual lamps.
Winglights: lights hung on either side of the stage, usually concealed by wings (vertical masking pieces). In this context the winglights were striplights – long, narrow, troughlike fixtures usually containing eight to twelve individual lamps.
Picture frame stage: a configuration in which the spectators watch the action of the play through a rectangular opening; synonym for proscenium-arch stage.
Orchestra pit: the space between the stage and the auditorium, usually below stage level, that holds the orchestra.
Mike: to place one or more microphones in proximity to a sound source (instrument, voice).
Mix: to blend the electronic signals created by several sound sources.
Balance: to adjust the loudness levels of individual signals while mixing, to achieve an appropriate blend.
Sound mixer: an electronic device used to adjust the loudness and tone levels of several sources, such as microphones and recorded sources (computer files/tape playback equipment).
Fly loft: the area directly over the stage; “the flies”
Grid: a network of steel I beams supporting elements of the system used to raise and lower scenery.
Fly: to raise an object or person above the stage floor with ropes or cables.
Batten: a think wooden dowel or metal pipe (generally from 1 ¼ to 1 ½ inches in diameter) from which are suspended scenery and lighting instruments.
Loft blocks: a grooved pulley, mounted on top of the grid, used to change the direction in which a rope or cable travels.
Stage house: the physical structure enclosing the area above the stage and wings.
Head block: a multisheave block with two or more pulley wheels, used to change the direction of all the ropes or cables that support the batten.
Fly gallery: the elevated walkway where the pin rail is located.
Pin rail: a horizontal pipe or rail studded with belaying pins; the ropes of the rope-set system are wrapped around the belaying pins to hold the batten at a specific height.
Counterweight arbor: a metal cradle that holds the counterbalancing weights used in a counterweight flying system.
Loading platform: a walkway, suspended just below the grid, where counterweights are loaded onto the arbor.
Locking rail: a rail hat holds the rope locks for each counterweight set.
Grand Drape: main curtain, main drape, or grand rag.
Grand Valance: short curtain, used to mask the equipment hanging above the stage.
False Proscenium: makes the rectangle of the viewing space smaller; used for masking.
Mask: to block the audience’s view – generally, of backstage equipment and space.
Travel: to move horizontally relative to the stage floor, as with a drape that opens in the middle and is pulled to the sides.
Flat: a framework, normally made of wood or metal;; frequently covered with fabric or thin plywood, although a variety of other covering materials may be used.
Hard teaser: the horizontal element of the false proscenium; usually hung from a counterweighted batten so that its height can be easily adjusted.
Tormentor: the vertical flats that form the side elements of the false proscenium.
Show portal: a false proscenium that visually supports the style and color palette of a particular production.
Grommet: a circular metal eyelet used to reinforce holes in fabric.
Sky drop: a curtain used to simulate the sky.
Cyclorama: the cyc, used for smaller bits of sky.
Fly cyc: a single drop, hung on a U-shaped pipe that surrounds the stage on three sides.
Scrim: a drop made from translucent or transparent material.
Lighting grid: a network of pipes form which lighting instruments are hung.
Hanging positions: a location where lighting instruments are placed.
Dead hang: to suspend without means of raising or lowering.
Ratchet winch: a device, used for hoisting, with a crank attached to a drum; one end of a rope or cable is attached to the drum, the other end to the load; turning the crank moves the load; a ratchet gear prevents the drum from spinning backward.
Chapters 5 & 6 Terms
PRODUCTION STYLE: a manner of producing a play in which all production elements (costumes, scenery, lights, acting) adhere to a common set of artistic/philosophical characteristics (i.e. expressionism)
VALUE: relative lightness or darkness
GOBO: a thin metal template inserted into an ellipsoidal reflector spotlight to project a shadow pattern of light
PROFILE (silhouette): the outline of a form, which determines the form’s quality and character
SYMMETRICAL BALANCE: correspondence in size, form, and relative position of parts on either side of a center dividing line; mirror-image balance
ASYMMETRICAL BALANCE: a sense of equipoise achieved through dynamic tension created by the juxtaposition of dissimilar design elements (line, form, mass, value, color)
ACTING AREA: those areas of the stage on which specific scenes, or parts of scenes, are played
PAINT CHIP: a small rectangle of paper or thin cardboard painted in a specific hue
HUE: the quality that differentiates 1 color from another, such as blue from green or red from yellow
SATURATION: aka Chroma, refers to the amount, or percentage, of a particular hue in a color mixture. Fire-engine has a high, or strong, saturation, because there is a lot of fully saturated color in the mixture. Dusty rose, in contrast, has a low, or weak, saturation, because there isn’t a lot of fully saturation color in the mixture; instead, the majority is white or gray
VALUE: the relative lightness or darkness of a color is referred to as a value. Pale blue has a high value, and dark brown has a low value
TINT: a color with a high value is referred to as a tint. It is usually achieved by mixing a hue with either white pigment or white light
SHADE: a color with a low value is known as a shade. It is usually created by a mixture of 1 or more hues and black
TONE: a color of middle value is frequently referred to as a tone. It is a mixture of a hue with black AND white. The addition of a complementary hue tones a color.
COMPLEMENTARY: 2 hues that, when combined, yield white in light or black in pigment; colors that are opposite each other on the color wheel
RODS: nerve cells in the retina that are sensitive to faint light
CONES: nerve cells in the retina that are sensitive to bright light; they respond to red, or to blue, or to green light
PIGMENT: a material that imparts color to a paint or dye
NEUTRALIZATION: subtractive color mixing; the selective absorption of light as the result of mixing complementary pigment hues; the creation of gray
Chapters 7 & 8 Terms
DRAW TO UNDERSTAND: to produce a likeness that is a proportional reduction of an object
SPECIFICATIONS: clarifying notes that explain the building materials, textures, or special effects to be used in a design or other project
BLUELINE: to copy drawings made on tracing vellum; the lines on the vellum are printed in blue, or sometimes, in black; also known as the diazo process
PIG: a bag of loosely woven fabric containing powdered eraser material
PLOTTER: a printer used to produce computer-generated drafting sheets and drawings on large paper
CUT LIST: a list of color media required for the lighting design for a particular production categorized by hue and size; used to assist in ordering and cutting the color media for a lighting design
HORIZONTAL AFFECT SECTION: a section of drawing with a horizontal cutting plane, which does not remain fixed but varies to provide a view if important details
FORSHORTENING: representing the lines of an object as shorter than they actually are in order to give the illusion of proper relative size
VANISHING POINT: the point on the horizon to which a set of parallel lines recedes
HORIZON LINE: a line in a perspective drawing representing the meeting of the earth and the sky; normally drawn parallel to the top or bottom edge of the paper
FLOOR LINE: the base of the vertical plane in a perspective drawing; for a proscenium sketch, usually drawn across the stage in contact with the downstage edge of the proscenium arch; in a thrust drawing, normally placed just outside the auditorium end of the thrust; in an arena sketch, usually placed in the aisle closest to the observer
LINE OF VISION: the vertical line drawn from OP to the floor line in a perspective grid; represents the line of sight from the observer to the vertical plane
PERSPECTIVE-VIEW BASE LINE: the bottom edge of a perspective drawing
Chapters 9 & 10 Terms
MOOD: the feeling of a play- comic, tragic, happy, and so forth
SPIRIT: the manner and style in which a play is presented to the audience
MECHANICAL PERSPECTIVE: a drafting technique that provides an illusion of depth
SIGHT LINE: a sighting extending from any seat in the house to any position on stage; used to determine how much of the stage and backstage area will be visible from that auditorium seat
COLLAGE: a picture made of various materials (e.g. paper, cloth) glued on a surface; can include drawn or photographic images as well
PHOTOMONTAGE: a composite picture made by combining several separate pictures; can include non-photographic images as well
TRACING PAPER: translucent paper used for drafting
CARD STOCK: a thin cardboard, similar in thickness to 3x5 note cards and/or file folders
BACKING: flats, drops, or draperies on the offstage side of doors and similar openings to prevent the audience from seeing backstage
GROUND ROW: low, horizontal flats used to mask the bas of cycs or drops; frequently painted to resemble rows of buildings, hedges, or similar visual elements
CENTER-LINE SECTION: a sectional drawing whose cutting plane is the center line of the stage and auditorium, showing the height of the various elements of the theatre; usually drawn in the same scale as the ground plan
SIGHT-LINE DRAWINGS: a scale drawing (plan and section views) or sighting that extend from the extreme seats (usually the outside seats on the front and last rows of the auditorium) to any position on the stage; used to determine how much of the stage and backstage will be visible from specific auditorium seats.
STARTER HOLE: a small hole bored into a piece of wood or metal to hold the tip of a screw or drill bit; also called a pilot hole
KERF: the width of the cut made by a saw
MITER: an angle that is cut in a piece of work, usually in pairs to form a corner
SOLE: the bottom plate of a plane with a slot through which the tip of the blade projects
CENTER PUNCH: a pointed tool made from a similar type of hard steel as the cold chisel and used for indenting shallow holes in wood and metal
CHUCK: the adjustable jawed clamp at the end of a drill that holds the drill bits
DADO HEAD: a saw accessory consisting of a set of toothed blades that sandwich a chisel-like chipper; the blades smooth-cut the outside edges of the kerf while the chipper gouges out the wood between the blades; the distance between the blades is variable
MOLDING CUTTER HEAD: a heavy cylindrical arbor in which a variety of matched cutter blades or knives can be fit
STRIKE: taking down and/or destruction of the set following the conclusion of a play’s production run
FLUX: a chemical that reduces surface oxidation, which would prevent the solder or filler rod (welding) and the metal being soldered or welded from flowing together
LAUAN: also known as Philippine mahogany; this 1/8” lauan plywood is strong and quite flexible; commonly used as a flat-covering material and for covering curved surface forms
PAPER CLAD: both sides covered with paper
PLUG: a wooden insert used to replace a knothole or other imperfection in the surface layer of a sheet of plywood
KEYSTONES and CORNERBLOCKS: pieces of ¼” AD plywood used to reinforce joints in the construction of stage flats
SCALE: a black scaly coat that forms on iron when it is heated for processing
1” CENTERS: the centers of adjacent elements, such as holes, are spaced 1” apart
CASTING RESIN: any of a number of liquid plastics used for casting forms in molds
SKID: a low profile substitute for a wagon; usually a piece of ¾” plywood on which some small scenic element is placed
ALLEN WRENCH: an L-shaped piece of steel rod with a hexagonal cross-sectional shape; used for working with Allen-head screws and bolts
FLUSH: smooth, level, even
DUTCHMAN: a 5-6” wide strip of cloth of the same material as the flat covering; applied over joints between flats to give the appearance of a smooth, unbroken wall unit
LEAF: the movable flap of a hinge
STILE: a vertical side member of a flat
DOWEL: a short cylinder of hardwood (usually birch)
DUST MASK: a device covering the nose and mouth that filters particulate matter from the air
RESPIRATOR: a mask covering the nose and mouth that filters out gases as well as particulate matter
Chapters 11 & 12 Terms
TECHNICAL PRODUCTION: all organizational and procedural aspects of the construction, painting, and operation of scenery and properties
LOAD-IN: the moving of scenery and associated equipment into the theatre and the positioning of them on the stage
IRREGULAR FLAT: a flat having non-square corners
MUNTIN: a horizontal crossbar in a window
MULLION: a vertical crossbar in a window
MORTISE DRILL BIT: a drill bit housed inside of a square hollow chisel; used with a drill press to make square holes; available in a variety of diameters
FILLER ROD: metal piece of the same composition as material being welded, used to replace the metal lost during the welding process or to fill a hole of groove in the work
TWO-HANDED WELDING: a technique in which the torch or welding handle is held in one hand and the filler rod in the other
ARC: an electric current that leaps the gap between two closely placed electrodes
WELDING ROD: a rod, usually covered with flux, that serves as the position electrode in arc welding
SINGLE-HAND WELDING: a technique in which one hand holds the welding handle and the other hand is not used
OXIDATION: a chemical reaction between the metal and air that forms a very thin, discolored “skin” over the metal; this skin effectively prevents heat transfer and reduces the strength and conductivity of the joint
SOLDER: a metal alloy of lead and tin
SHOW CONTROL: the use of computer-controlled, motorized devices to shift scenery, almost always in view of the audience
RAIL: a top or bottom framing member of a flat
STILE: a vertical side member of a flat
TOGGLE BAR: an interior horizontal framing member of a flat
CORNER BRACE: a diagonal internal framing member that keeps a flat square
JOG: a flat less than 2 feet wide
18-INCH CENTERS: spaced 18” apart
SPACKLING: a paste used to fill small holes in walls
CONSTRUCTION ADHESIVE: also called panel adhesive, an adhesive contained in a caulking tube; dispensed with a caulking gun; available in a number of formulations for use in gluing wall panels to studs (wood to wood) Styrofoam to wood, wood to metal, and so forth
DRYWALL: gypsum board typically used to cover interior walls in home construction; normally ½” thick although other thicknesses are available
SLL IRON: a strap of mild steel attached to the bottom of a door flat to brace it where the rail has been cut out
SWEEP: a wooden curvilinear form, generally used to outline an arch or irregular form in door-and-window- flat openings
PRIME COAT: the first coat of paint applied to the flats, to develop a relatively uniform color and surface to the wall units
STIFFENING BATTEN: a length of 1x3 attached to a multi-flat wall unit to keep it from wiggling
BOOK: to fold hinged flats together (so that they resemble a book)
TUMBLER: a ¾” thick-by- 1” wide (or 1x3) piece of stock used as a spacer when 3 or more flats are going to be booked
HEADER: a small flat that can be placed between 2 standard sized flats to create a doorway or window
BOOK CEILING: 2 large flats about the same width as the proscenium arch, stored in a booked position in the flies; when needed to create a ceiling, they are opened and lowered onto the walls of the set
JOISTS: parallel beams that support flooring
6-INCH CENTERS: spaced 6” apart from the center of the one item to the center of the next
HONEYCOMB PAPER: a manufactured paper product with a hexagonal structure similar to a honey-comb
LAMINATING: the process of gluing thin pieces of wood together to make a thicker piece
COMPOUND CURVES: a surface that curves in more than one direction (like a ball) or changes the radius of its curve (like a playground slide)
GUSSET: a triangular piece of material used to reinforce a corner joint
PLY-METAL: refers to TEK screws specifically designed to attach plywood to metal; the flat head of the screw is typically driven flush with, or slightly into, the top surface of the plywood
KIT-CUTTING: to cut ALL the individual pieces needed to make something BEFORE assembly is started- like model airplane kit
CARRIAGE: the part of a stair unit that supports the tread and risers
TREAD: the horizontal surface of a stair
RISER: the vertical face of a stair unit
SCORE: to cut partially through
HANDRAIL: the part of the stair railing that is grabbed with the hand; supported by the banister and newel post
BANISTER: the vertical member that supports the handrail of a staircase railing
NEWEL POST: the post at the bottom or top of a flight of stairs that terminates the handrail
DECKING: the covering surface of a structure on which people will walk
SHIM: scrap wood or metal used to raise adjacent parts so that they are level or fit together as designed
STEP MOTOR: an electric motor whose movement consists of discrete angular steps rather than continuous rotation; precision movement is achieved by programming the motor to run, in either direction, for a specific number of steps
PENCIL ADHESIVE: an adhesive product, such as Liquid nails, packaged in a caulking tube and intended to be dispensed with a caulking gun
HOT-WIRE CUTTER: a tool for cutting foam that consists of a wire heated to incandescence
PIGMENT: a material that imparts color to a paint of dye
FILLER: a material that creates opacity (covering power) in paint
VEHICLE: the liquid medium-water, oil, lacquer, and the like-in which pigments, filler, and binders are suspended to create a paint mixture; after the paint is applied the vehicle evaporates
TROMPE L’OEIL: literally “to trick the eye”; an illusion of 3 dimensionality created with paint
FAUX FINISH: using techniques with paints/varnishes to create the illusion of a particular type of surface or material, for example, painting wood to look like metal or stone
SIZE WATER: a mixture of one cup of hot animal glue and one tablespoon of Lysol per gallon of warm water; white clue can be substituted for the animal glue in approximately equal measure
VINYL ACRYLIC CONCENTRATE: a highly saturated pigment with a vinyl acrylic binder; mixed with an opaque base (for tints) or a transparent base (for fully saturated lines) to create a working paint
GLAZE: a transparent, usually lightly tinted layer of thin paint
ANILINE DYE: a transparent pigment made from aniline, a poisonous derivative of benzene; characterized by brilliant hues and full saturation
BLEEDING (SPREADING): capillary action causes the dye solution to spread past the edge of the painted brush line
DISTRESS: to create a worn or aged appearance, as with fabric, wood, or metal
SPATTERING: a technique of applying a relatively smooth covering of evenly spaced small droplets of paint to a surface
BOX: to pour paint back and forth between buckets to ensure a complete and uniform mix
GARBAGE or SLOP PAINT: any paint left over from previous paint jobs; the various hues are mixed together to create a (usually) rather ugly light-brown color
ANALOGOUS (related) COLORS: colors that are adjacent to each other on the color wheel
HOLIDAYS: sections of a painted surface that appear lighter than the rest of the surface because the area is either unpainted or the paint was too lightly applied; areas where the painter took a holiday
SPRAY CONE: the pattern of paint emitted from the nozzle of a spray gun
SPRAY GUN: a pistol-like device that shoots out a cone of paint
COMPRESSOR: a pump, typically electric or gasoline powered, that drives air into a tank; output pressure from the tank is controlled by a valve called a regulator
KEYSTONING: the distortion that occurs in a projected image when the projector is placed at some angle other than perpendicular to the center of the projection surface
FLOOR PAINTING: painting scenery- flats, drops, and so forth- on the floor rather than standing up or attached to a paint frame
FERRULE: the metal part of a brush that binds the bristles to the handle
SOURCE LIGHT: the apparent source of light that is illuminating a scene or an object
STENCIL PAPER: stiff, water-resistant paper used for making stencils
VACUFORMING: the process of shaping heated plastic, usually high-impact polystyrene, around a mold through the use of vacuum pressure
STENCIL BRUSH: a short, squat brush with a circular pattern of short, stiff bristles; the bristles are pressed onto, rather than stroked across, the work, to prevent the paint from bleeding under the edges of the stencil
BACKPAINTING: literally to paint on the back; you paint the back, or reverse, side of the scenery or drop
POLYVINYL ALCOHOL (PVA): a water-soluble synthetic thickener/adhesive
BOGUS PAPER: a heavy, soft, absorbent paper; similar to blotter paper
Chapters 13 & 22 Terms
STAGE WORTHY: strong enough to withstand the use inflicted on them when used on the stage, for example, sofas/chairs that are stood and/or danced on; tables that break apart during fights and so forth
PROP TABLE: a table, normally located in the wings, on which hand props are stored when not in use onstage
BLACKOUT: when the stage is completely dark. The stage lights are out and no other lights are on
JIG: a device used to hold pieces together in proper positional relationship
SELF-TAPPING: screws that drill their own pilot holes as they are power-screwed into wood or metal. The screws have an auger-like tip that drills a smaller diameter hole than the screw threads
CARCASS: the foundation structure of something, for example, the framework of a cabinet
SPINDLE CHUCK: a device used to hold wood in a lathe
STOCK FURNITURE: item owned by the producing organization and held in storage until they are needed for a production
GIMP: an ornamental flat braid or round cord used at trimming
DRESS: to place decorative props such as curtains, doilies, knickknacks, or magazines on the set to help make the environment look lived-in and provide clues to the personality of the set’s inhabitants
VALANCE: a horizontal element at the top of a drapery arrangement that covers the curtain rod
DRAPE: a vertical element of heavy fabric that frames the sides of a window or archway; can usually be pulled across the opening
SHEER: a thin gauze curtain that hangs across the opening of a window to soften the “sunlight” and obscure the view into a room
PAPERCLAY: a nontoxic modeling material that can be sculpted, molded or shaped, and air dries to a hard finish that can be carved or sanded
MODEL: an object that is being used as the subject of a mold casting
UNDERCUT: an indentation in a form that leaves an overhang or concave profile- for example, the nostrils in a mask of a face
ARMATURE: a basic skeletal form that holds the covering materials in the desired shape or alignment
MATTE: dull, non-reflective
LIFE: brilliance, visual depth, and sparkle
GLOSS: highly reflective, mirror-like
SPINE: the relative stiffness of bristles; good watercolor bristles will flex easily but will also have enough spine to remain erect when fully saturated with paint
ILLUSTRATION BOARD: watercolor paper mounted on a pressboard backing
HOT-PRESS FINISH: a slick, smooth texture achieved by pressing paper between hot rollers; this treatment leaves a thin layer of oil, which makes the paper unsuitable for use with transparent watercolor; works well with designer’s gouache, acrylic, pencils, and markers
COLD-PRESS FINISH: a slight surface texture achieved by pressing paper between cold rollers; no oil residue results, so the paper can be used with transparent watercolor, designer’s gouache, acrylic, pencils, and markers
ROUGH FINISH: a pebble-grained texture achieved by cold pressing paper with a textured roller or by other techniques; suitable for painted and pastel renderings having little intricate detail
TOOTH: a term used to describe the surface texture of a paper
PIXEL: a picture element; the smallest discrete part of an electronically projected picture, as on a computer monitor
DIGITIZING TABLET: a electromechanical device that converts the pressure of a stylus on a flat plate (tablet) into binary information that can be understood by the computer
SCAN: to use a digitizing scanner to convert existing artwork, photos, or drawings into binary information
GRAPHITE: a soft carbon similar to the lead in a pencil; sticks can be purchased in most art supply stores
WASH: the covering of a relatively large area with a smooth layering of paint; a smooth wash consists of only one color; a blended wash is created by smoothly segueing from one color to another
WORKABLE FIXATIVE: a spray that seals colors in place. “Workable” indicates that paint can effectively be applied on top of the fixative
I know it's been a while, but here we go again!
Gillette Tech Chapter Summaries:
Ch 1: Production Organization and Management - This chapter gave a lot of key terms and important information to remember. It listed and described many different positions and occupations in the theatre itself. These included such titles as: director, technical director, costume manager, scene shop foreman, etc. This chapter also gave many definitions of different types of rehearsals, and other important materials.
Ch 2: The Design Process - This chapter discussed the design process and it's use in the theatre. the process consists of seven logical steps for putting on a production. these steps are: 1. commitment, 2. analysis, 3. research, 4. incubation, 5. selection, 6. implementation, and 7. evaluation.
Ch 3: A Brief History of Theatre Architecture and Stage Technology: This chapter talked about the history of the theatre in different ancient cultures such as Greece, Rome, and European medieval theatre. It introduced a few key terms, as well as names of technologies that are still in use today such as the periaktoi and the skene. The chapter discussed the architecture of the theatre as well as set parts.
Ch 4: The Stage and Its Equipment: This chapter gave more terms that relate the the theatre in more current times such as modern technology. It talked about things such as fly space, and battens. There was a lot of description and explanations for uses of these technologies, and how they work. This chapter also described the most common stage styles such as proscenium, arena, and thrust.
Ch 5: Style, Composition, and Design: this chapter discussed the way these elements work together and are a part of each other. Design style, stylization, principles of composition, etc were shown. Subjects such as balance, emphasis, proportion, variation, harmony, pattern, contrast, and unity were described in the realms of design and composition. Style = your personal way of doing something, or the defining characteristics of an era
Ch 6: Color: This chapter got kinda scientific when discussing color. It describes how the eye sees certain colors and the different aspects of color such as tone, shade, value, and tint. Also noted was color mixing, primary, secondary, complementary colors. The influence of colors on the mood of a play, and the contrast between the color of the costumes, and the color of the lights can be an interesting hurdle.
Ch 7: Mechanical Drafting: introduced tools for drafting such as t-squares, triangles, and an eraser. It gave examples of hand and computer drafting. Light plots were also discussed. Basic symbols and lettering were exampled as well as different drafts such as ground plans and elevations.
Ch 8: Perspective Drawing: Perspective drawing is important for the theatre because you must know from which angle you are looking at the stage or set. It also helps know if there will be sight line issues. Chapter 8 showed how to draw sets and furniture pieces from different perspectives and had many examples and exercises towards the end of the chapter.
Ch 9: Scenic Design: The designer must consider the mood and spirit, the historical period, the locale, the socioeconomic and personality of the characters, season, practicality, and elements of composition of the play. Sketches can be done to test out different ideas either by hand or on the computer or by other means such as collages. The designer can then draft different plans and ways to show the set and its elements.
Ch 10: Tools and Materials: listed many most common tools in a shop setting that can be used for theatre building. From measuring devices, to power tools, nails, nuts, bolts, screws, glue, to wood, metal, and other materials.
Ch 11: Scenic Production Techniques: this chapter gave different techniques and tutorials on how to build different theatrical set pieces such as flats, joints, and stairs.
Ch 12: Scene Painting: This chapter described the different materials that could be used to paint a scene, and also different techniques to create unique looks. Different paint types and other sorts of pigments and coatings. Techniques included scumbling, splattering, lining, highlighting, shadowing, and grid transfers.
Ch 13: Stage Properties:
Ch 22: Drawing and Rendering:
Ch 1: Production Organization and Management - This chapter gave a lot of key terms and important information to remember. It listed and described many different positions and occupations in the theatre itself. These included such titles as: director, technical director, costume manager, scene shop foreman, etc. This chapter also gave many definitions of different types of rehearsals, and other important materials.
Ch 2: The Design Process - This chapter discussed the design process and it's use in the theatre. the process consists of seven logical steps for putting on a production. these steps are: 1. commitment, 2. analysis, 3. research, 4. incubation, 5. selection, 6. implementation, and 7. evaluation.
Ch 3: A Brief History of Theatre Architecture and Stage Technology: This chapter talked about the history of the theatre in different ancient cultures such as Greece, Rome, and European medieval theatre. It introduced a few key terms, as well as names of technologies that are still in use today such as the periaktoi and the skene. The chapter discussed the architecture of the theatre as well as set parts.
Ch 4: The Stage and Its Equipment: This chapter gave more terms that relate the the theatre in more current times such as modern technology. It talked about things such as fly space, and battens. There was a lot of description and explanations for uses of these technologies, and how they work. This chapter also described the most common stage styles such as proscenium, arena, and thrust.
Ch 5: Style, Composition, and Design: this chapter discussed the way these elements work together and are a part of each other. Design style, stylization, principles of composition, etc were shown. Subjects such as balance, emphasis, proportion, variation, harmony, pattern, contrast, and unity were described in the realms of design and composition. Style = your personal way of doing something, or the defining characteristics of an era
Ch 6: Color: This chapter got kinda scientific when discussing color. It describes how the eye sees certain colors and the different aspects of color such as tone, shade, value, and tint. Also noted was color mixing, primary, secondary, complementary colors. The influence of colors on the mood of a play, and the contrast between the color of the costumes, and the color of the lights can be an interesting hurdle.
Ch 7: Mechanical Drafting: introduced tools for drafting such as t-squares, triangles, and an eraser. It gave examples of hand and computer drafting. Light plots were also discussed. Basic symbols and lettering were exampled as well as different drafts such as ground plans and elevations.
Ch 8: Perspective Drawing: Perspective drawing is important for the theatre because you must know from which angle you are looking at the stage or set. It also helps know if there will be sight line issues. Chapter 8 showed how to draw sets and furniture pieces from different perspectives and had many examples and exercises towards the end of the chapter.
Ch 9: Scenic Design: The designer must consider the mood and spirit, the historical period, the locale, the socioeconomic and personality of the characters, season, practicality, and elements of composition of the play. Sketches can be done to test out different ideas either by hand or on the computer or by other means such as collages. The designer can then draft different plans and ways to show the set and its elements.
Ch 10: Tools and Materials: listed many most common tools in a shop setting that can be used for theatre building. From measuring devices, to power tools, nails, nuts, bolts, screws, glue, to wood, metal, and other materials.
Ch 11: Scenic Production Techniques: this chapter gave different techniques and tutorials on how to build different theatrical set pieces such as flats, joints, and stairs.
Ch 12: Scene Painting: This chapter described the different materials that could be used to paint a scene, and also different techniques to create unique looks. Different paint types and other sorts of pigments and coatings. Techniques included scumbling, splattering, lining, highlighting, shadowing, and grid transfers.
Ch 13: Stage Properties:
Ch 22: Drawing and Rendering:
Wednesday, April 29, 2009
Example: Contract Rider
Holliday’s Spooktacular Shakespeare Horror Experience
Contract Rider
Prometheus Guild
Management will contact sponsors and the Prometheus Guild for the beginning of load in and hospitality concerns.
Run of Performance October 26th, 2009 through October 31st, 2009.
Two (2) hour run time each night.
Company: cast of ten (10) performers, two (2) costumers/makeup technicians, one (1) manager/runner.
Load-in:
• Company requires four (4) members of theatre personnel to assist with load-in, including personal effects for green room area. Two (2) technicians, one (1) lights and one (1) sound.
• Company requires stage, theatre area, and green room cleared and prepared for load-in before arrival.
• Sponsor agrees to provide clean working space, included stage and backstage areas swept and free of debris.
• Set Up: three(3) to five (5) hours primarily, one (1) hour before each performance (including 30 minutes house)
• Strike/Load-out: Up to three (3) hours.
Stage Requirements:
• 30’ x 30’ x 14’ (unimpeded by light fixtures or ducts)
• Black painted floor, and black surroundings.
• A darkened auditorium is necessary.
• A black or deep red backdrop.
Hospitality:
Sponsor agrees to have all dressing/makeup/green rooms available before company arrival, and at least two (2) hours prior to performance, and up to one (1) hour post performance.
• At least 3 dressing rooms, with accessible or nearby restroom.
• Green room for actors not on stage, and for temporary technical repairs.
• Green room and other cast designated areas should be well lighted, and space enough for makeup and hair needs. Rooms should contain tables and chairs.
• Sponsor agrees to provide cold, bottled water for each performance.
• On days of multiple performances, the sponsor agrees to provide a light lunch (ex: sandwiches, veggie/fruit platter, cookies) for all company members.
• Accommodations: sponsor agrees to provide 4 double rooms in local hotel not more than 15 minutes (driving) from venue.
Lighting:
• Professional technician available during load-in, and technical rehearsal time.
• Experienced technician during run of show to execute light cues.
• Ambient red lighting for backstage area (glow may be seen from stage)
• Lighting technician able to provide necessary changes for company during load-in.
• One white spotlight needed, downstage center.
Sound:
• All sound systems prepared and ready for use prior to company arrival.
• Company agrees to use available in-house sound system.
• Professional technician available on site during load-in, and technical rehearsal.
• Experienced technician during run of show to execute sound cues.
• Surround speakers necessary.
Recording:
• Sponsor agrees to allow one recording of performance by the company (performance chosen at company discretion)
• Audience cameras, flash photography, and sound recording devices are prohibited.
Important:
• Sponsor agrees to contact Elizabeth Frances (1-500-5555) or franceseq@hotmail.com if technical guidelines set out in this contract are not met by the venue.
• In mind of safety, the company requests that only authorized people touch the set or are allowed into theatre areas. Audience is not allowed on stage.
This contract rider is set out to insure the audience, sponsor, and company the best performance possible.
Contract Rider accepted
____________________________________ ___________________
(Signature of Sponsor) (Date)
__________________________________ _________________
(Signature of Company Representative) (Date)
Contract Rider
Prometheus Guild
Management will contact sponsors and the Prometheus Guild for the beginning of load in and hospitality concerns.
Run of Performance October 26th, 2009 through October 31st, 2009.
Two (2) hour run time each night.
Company: cast of ten (10) performers, two (2) costumers/makeup technicians, one (1) manager/runner.
Load-in:
• Company requires four (4) members of theatre personnel to assist with load-in, including personal effects for green room area. Two (2) technicians, one (1) lights and one (1) sound.
• Company requires stage, theatre area, and green room cleared and prepared for load-in before arrival.
• Sponsor agrees to provide clean working space, included stage and backstage areas swept and free of debris.
• Set Up: three(3) to five (5) hours primarily, one (1) hour before each performance (including 30 minutes house)
• Strike/Load-out: Up to three (3) hours.
Stage Requirements:
• 30’ x 30’ x 14’ (unimpeded by light fixtures or ducts)
• Black painted floor, and black surroundings.
• A darkened auditorium is necessary.
• A black or deep red backdrop.
Hospitality:
Sponsor agrees to have all dressing/makeup/green rooms available before company arrival, and at least two (2) hours prior to performance, and up to one (1) hour post performance.
• At least 3 dressing rooms, with accessible or nearby restroom.
• Green room for actors not on stage, and for temporary technical repairs.
• Green room and other cast designated areas should be well lighted, and space enough for makeup and hair needs. Rooms should contain tables and chairs.
• Sponsor agrees to provide cold, bottled water for each performance.
• On days of multiple performances, the sponsor agrees to provide a light lunch (ex: sandwiches, veggie/fruit platter, cookies) for all company members.
• Accommodations: sponsor agrees to provide 4 double rooms in local hotel not more than 15 minutes (driving) from venue.
Lighting:
• Professional technician available during load-in, and technical rehearsal time.
• Experienced technician during run of show to execute light cues.
• Ambient red lighting for backstage area (glow may be seen from stage)
• Lighting technician able to provide necessary changes for company during load-in.
• One white spotlight needed, downstage center.
Sound:
• All sound systems prepared and ready for use prior to company arrival.
• Company agrees to use available in-house sound system.
• Professional technician available on site during load-in, and technical rehearsal.
• Experienced technician during run of show to execute sound cues.
• Surround speakers necessary.
Recording:
• Sponsor agrees to allow one recording of performance by the company (performance chosen at company discretion)
• Audience cameras, flash photography, and sound recording devices are prohibited.
Important:
• Sponsor agrees to contact Elizabeth Frances (1-500-5555) or franceseq@hotmail.com if technical guidelines set out in this contract are not met by the venue.
• In mind of safety, the company requests that only authorized people touch the set or are allowed into theatre areas. Audience is not allowed on stage.
This contract rider is set out to insure the audience, sponsor, and company the best performance possible.
Contract Rider accepted
____________________________________ ___________________
(Signature of Sponsor) (Date)
__________________________________ _________________
(Signature of Company Representative) (Date)
Terms List
Manager: someone who manages aspects of a business. In the theatre realm there are many different types of managers: general, business, marketing, programming, house, company, and many more.
Mission statement: the idea that is expressed in the mission statement serves as the standard by which a venture is ultimately judged to be a success or failure. It can be thought of as the constitution or conscience of the operation. A mission statement is in fact a legal requirement when a group incorporates and applies to the IRS for tax-exempt status, which virtually all performing arts entities have.
Art manager (ideal): … a person who is knowledgeable in the art with which he is concerned, an impresario, labor negotiator, diplomat, educator, publicity and public relations expert, politician, skilled businessman, a social sophisticate, a servant of the community, a tireless leader – becoming humble before authority – a teacher, a tyrant, and a continuing student of the arts.
Impresario: outdated term for producers who rarely own their own theatres, who usually concentrate on the fields of opera, dance, and music, and who organize world-class tours of performing artists and ensembles.
Producer: British – person who stages and directs the play; continent – regisseur or metteur en scene. American – person who finds property, secures performance rights, raises capital. Not-for-profit – the entity itself is the producer. The holder of the fiscal responsibility.
Theatre Operator: owns or rents a theatre and may also produce or book in the entertainment.
Presenter/Promoter: the person or group who promotes the theatre to the community.
Freelance General Manager: independent professionals who often maintain a permanent office and core staff and are hired by produces to take general management responsibility for specific shows or projects.
Other Freelance Producing Managers include the artistic director, executive director or president/ceo, general manager (on a staff), general director, managing director, actor-manager, director of theatre/performing arts, and chairperson of the theatre/music/dance
Financial managers are in charge of the finances , taxes, and accounting of a theatre or performing arts center. Under the realm of the financial managers are certain titles such as: director of finance, controller/comptroller, accountant, and business manager. This seems to be one of the departments that could stand to have jobs doubled.
Fundraising managers: while the financial managers are in charge of the money within the institution, the fundraising managers are in charge of bringing in and organizing new income. People in this realm of the business could be a development director, associate director of fundraising, special events director, and a director of volunteer services.
Marketing and Income-Related Managers include such titles as director of marketing, director of membership, director of audience development, director of public relations, press representative, director of community relations, director of advertising sales, director of publications, ticketing services manager, box office/ticketing manager, head treasurer, group sales manager, subscription sales manager, merchandise-marketing manager, and concessions manager. In general someone in this field would work with the public advertising the production and theatre, and also working with the public when they desire tickets for the show.
Production and Operations Managers: are the ones who actually run the shows and the location. They’re in charge of making sure that things run smoothly on a daily basis and during the run of a show. These positions include: director/manager of information systems, literary manager/dramagturg, production manager, facilities manager, human relations/personnel manager, stage systems manager, company manager, house manager/theatre manager, production stage manager/stage manager, technical director/technical supervisor, tour manager or tour director, advance stage manager, internship director, school director or administrator, director of security, and maintenance supervisor. Some will be on crew full time to keep the building up and running, and others may only be hired during a production.
Program: a word used because it embraces a spectrum of guiding principles that include the building’s purpose, expected activities, and functions, and spaces to be built.
Pro forma: describing something provided in advance to prescribe form. (knowing how a business typically runs to build a building that fits those needs.
Program portfolio: a document developed in the early stages of the planning of a building or design, to be used later with the executive board and advisors and design professionals.
Scale: the ratio of audience intimacy to the size needs of the space.
Dark Theatre: a theatre that is only used part time (sometimes rented out during the offseason)
Black Box/Multiform Theatre: a theatre, or theatre space that can be changed to fit the individual show and audience needs.
A professional is someone who is paid to work, and their work is of a high quality.
A nonprofessional is someone who works without monetary compensation (despite other rewards.)
Covered employment (employees): being covered by the company in regards to benefits such as health insurance, pension, and annuity contributions that union workers receive through their negotiated contracts. Or a position protected by union agreements
Common labor relations terminology: arbitration, boycott, closed shop, fact-finding, fire for cause, in good faith, injunction, local, lockout, mediation, to serve, settlement, sidebar, strike, strikebreaker, unfair labor practice, union busting, union shop, wildcat. All individual definitions may be found in chapter 3 (p 67-8) These terms would be used in a contract, or in regards to a union worker.
Budget: a financial estimate of future income and expenses.
Commercial theatre: operates without subsidy and is centered in New York City – on Broadway and Off- Broadway and its behavior in terms of product, talent, and box office influences all other theatre activity in America; it even has an impact on film and television.
Property – a script, a piece of theatrical-literary real estate that has the potential for making money. The producer also sees the script as a “vehicle,” a medium that allows his or her ability to be displayed before an audience.
Not-for-Profit Professional Theatre – The theater Communications Group, an arts service organization serving American not-for-profit theatres, estimates that there are between 1300 and 1500 nonprofit theatres in the United States. While many of these theatres may resemble the resident stock companies of the 1800s, the grew out of a completely different tradition; indeed they have created their own tradition in American theatre. The not-for-profit theatres are governed by boards of trustees and artistic directors who, unlike the actor-managers of yesteryear, have their sights fixed on artistic and organizational rather than commercial goals, although the lure of a commercial transfer often looms large.
Amateur: from the Latin amare (to love), an amateur is a lover (of theatre)
Community theatre: civic theatre, local theatre – performed by residents for residents.
College Theatre: a theatre program on a college campus, run by faculty and students involvement. Audiences consist of the school community, relatives, and the local community.
Stock and Dinner Theatre: stock theatres are generally a “summer” production and are mainly nonprofessional. A dinner theatre may or may not be professional, but includes the audience enjoying a meal while watching the production.
Presenter: those who concern themselves with the presenting of the productions that have been produced by others.
Box office: the non-internet version is the front line of ticket selling and purchasing. May also include a “will call” table and other ticket concerns. Online box offices can be used to sell tickets without the paper hassle – a device of convenience.
Audit: checking over the finances (or any situation) to make sure that things are going as planned, and funds are being appropriated.
Sponsorship: footing the bill for a production, and subsequently having your name (or business name) attached to the production.
Intern: an unpaid worker who is usually a student trying to make their way in the career or vocation they are interning with.
Development: the code word for fundraising.
Marketing: presenting the production or theatre to the public to have it recognized and to gain popularity. Notifying possible patrons to the upcoming events. Putting on a good face for the general public, trying to create good press for the theatre or production. May consist of posters, radio/tv ads, a viral campaign (think youtube) and word of mouth.
Merchandising: part of marketing – providing the public with items that represent the theatre or production, either for sale, or give aways (good PR)
Focus group: the target group that the theatre is trying to reach. The demographic.
Publicity director: someone who is a promoter that is enthusiastic about the product being promoted.
Facility management: in charge of taking care of the grounds and theatre area. Cleaning, repairing, general upkeep, building/injury insurance, safety.
House/Theatre management: front of house staff that coordinates the box office and other public relations within the theatre. There to take care of the patron, and to make all audience members feel comfortable.
Mission statement: the idea that is expressed in the mission statement serves as the standard by which a venture is ultimately judged to be a success or failure. It can be thought of as the constitution or conscience of the operation. A mission statement is in fact a legal requirement when a group incorporates and applies to the IRS for tax-exempt status, which virtually all performing arts entities have.
Art manager (ideal): … a person who is knowledgeable in the art with which he is concerned, an impresario, labor negotiator, diplomat, educator, publicity and public relations expert, politician, skilled businessman, a social sophisticate, a servant of the community, a tireless leader – becoming humble before authority – a teacher, a tyrant, and a continuing student of the arts.
Impresario: outdated term for producers who rarely own their own theatres, who usually concentrate on the fields of opera, dance, and music, and who organize world-class tours of performing artists and ensembles.
Producer: British – person who stages and directs the play; continent – regisseur or metteur en scene. American – person who finds property, secures performance rights, raises capital. Not-for-profit – the entity itself is the producer. The holder of the fiscal responsibility.
Theatre Operator: owns or rents a theatre and may also produce or book in the entertainment.
Presenter/Promoter: the person or group who promotes the theatre to the community.
Freelance General Manager: independent professionals who often maintain a permanent office and core staff and are hired by produces to take general management responsibility for specific shows or projects.
Other Freelance Producing Managers include the artistic director, executive director or president/ceo, general manager (on a staff), general director, managing director, actor-manager, director of theatre/performing arts, and chairperson of the theatre/music/dance
Financial managers are in charge of the finances , taxes, and accounting of a theatre or performing arts center. Under the realm of the financial managers are certain titles such as: director of finance, controller/comptroller, accountant, and business manager. This seems to be one of the departments that could stand to have jobs doubled.
Fundraising managers: while the financial managers are in charge of the money within the institution, the fundraising managers are in charge of bringing in and organizing new income. People in this realm of the business could be a development director, associate director of fundraising, special events director, and a director of volunteer services.
Marketing and Income-Related Managers include such titles as director of marketing, director of membership, director of audience development, director of public relations, press representative, director of community relations, director of advertising sales, director of publications, ticketing services manager, box office/ticketing manager, head treasurer, group sales manager, subscription sales manager, merchandise-marketing manager, and concessions manager. In general someone in this field would work with the public advertising the production and theatre, and also working with the public when they desire tickets for the show.
Production and Operations Managers: are the ones who actually run the shows and the location. They’re in charge of making sure that things run smoothly on a daily basis and during the run of a show. These positions include: director/manager of information systems, literary manager/dramagturg, production manager, facilities manager, human relations/personnel manager, stage systems manager, company manager, house manager/theatre manager, production stage manager/stage manager, technical director/technical supervisor, tour manager or tour director, advance stage manager, internship director, school director or administrator, director of security, and maintenance supervisor. Some will be on crew full time to keep the building up and running, and others may only be hired during a production.
Program: a word used because it embraces a spectrum of guiding principles that include the building’s purpose, expected activities, and functions, and spaces to be built.
Pro forma: describing something provided in advance to prescribe form. (knowing how a business typically runs to build a building that fits those needs.
Program portfolio: a document developed in the early stages of the planning of a building or design, to be used later with the executive board and advisors and design professionals.
Scale: the ratio of audience intimacy to the size needs of the space.
Dark Theatre: a theatre that is only used part time (sometimes rented out during the offseason)
Black Box/Multiform Theatre: a theatre, or theatre space that can be changed to fit the individual show and audience needs.
A professional is someone who is paid to work, and their work is of a high quality.
A nonprofessional is someone who works without monetary compensation (despite other rewards.)
Covered employment (employees): being covered by the company in regards to benefits such as health insurance, pension, and annuity contributions that union workers receive through their negotiated contracts. Or a position protected by union agreements
Common labor relations terminology: arbitration, boycott, closed shop, fact-finding, fire for cause, in good faith, injunction, local, lockout, mediation, to serve, settlement, sidebar, strike, strikebreaker, unfair labor practice, union busting, union shop, wildcat. All individual definitions may be found in chapter 3 (p 67-8) These terms would be used in a contract, or in regards to a union worker.
Budget: a financial estimate of future income and expenses.
Commercial theatre: operates without subsidy and is centered in New York City – on Broadway and Off- Broadway and its behavior in terms of product, talent, and box office influences all other theatre activity in America; it even has an impact on film and television.
Property – a script, a piece of theatrical-literary real estate that has the potential for making money. The producer also sees the script as a “vehicle,” a medium that allows his or her ability to be displayed before an audience.
Not-for-Profit Professional Theatre – The theater Communications Group, an arts service organization serving American not-for-profit theatres, estimates that there are between 1300 and 1500 nonprofit theatres in the United States. While many of these theatres may resemble the resident stock companies of the 1800s, the grew out of a completely different tradition; indeed they have created their own tradition in American theatre. The not-for-profit theatres are governed by boards of trustees and artistic directors who, unlike the actor-managers of yesteryear, have their sights fixed on artistic and organizational rather than commercial goals, although the lure of a commercial transfer often looms large.
Amateur: from the Latin amare (to love), an amateur is a lover (of theatre)
Community theatre: civic theatre, local theatre – performed by residents for residents.
College Theatre: a theatre program on a college campus, run by faculty and students involvement. Audiences consist of the school community, relatives, and the local community.
Stock and Dinner Theatre: stock theatres are generally a “summer” production and are mainly nonprofessional. A dinner theatre may or may not be professional, but includes the audience enjoying a meal while watching the production.
Presenter: those who concern themselves with the presenting of the productions that have been produced by others.
Box office: the non-internet version is the front line of ticket selling and purchasing. May also include a “will call” table and other ticket concerns. Online box offices can be used to sell tickets without the paper hassle – a device of convenience.
Audit: checking over the finances (or any situation) to make sure that things are going as planned, and funds are being appropriated.
Sponsorship: footing the bill for a production, and subsequently having your name (or business name) attached to the production.
Intern: an unpaid worker who is usually a student trying to make their way in the career or vocation they are interning with.
Development: the code word for fundraising.
Marketing: presenting the production or theatre to the public to have it recognized and to gain popularity. Notifying possible patrons to the upcoming events. Putting on a good face for the general public, trying to create good press for the theatre or production. May consist of posters, radio/tv ads, a viral campaign (think youtube) and word of mouth.
Merchandising: part of marketing – providing the public with items that represent the theatre or production, either for sale, or give aways (good PR)
Focus group: the target group that the theatre is trying to reach. The demographic.
Publicity director: someone who is a promoter that is enthusiastic about the product being promoted.
Facility management: in charge of taking care of the grounds and theatre area. Cleaning, repairing, general upkeep, building/injury insurance, safety.
House/Theatre management: front of house staff that coordinates the box office and other public relations within the theatre. There to take care of the patron, and to make all audience members feel comfortable.
Tuesday, April 28, 2009
Scholarship evaluation example
Scholarship/Volunteer Evaluation
Student: Fill out the first page and turn this packet into your Crew Head.
Crew Head: Fill out middle section and turn into appropriate Faculty member. Faculty member will review, and consider revision of the student status if needed.
NAME: ____Kylea Dieken_______ DATE: __4/28/09__
1. List Productions and type of participation (performance, technical, administrative) you have been involved in:
____The Importance of Being Earnest (admin)____
____South Pacific (tech)________
____No Exit (admin and tech)________________________
____________________________________________
2. How many shop hours did you complete for this semester?
20
3. How many hours of work days did you participate in?
8
4. Please give an example of typical activities during shop hours.
___I run errands for the theatre or production (purchasing makeup or finding props)i clean the theatre suite, or do paper work.__
5. Is the crew you are currently on satisfactory? If you were to be on another crew, which would you choose and why?
___I do enjoy being on the theatre management crew. I would put myself on the light crew possibly as another option.__
6. Crew Head Only: Please evaluate this crew member and rate on a scale of 1-5 (1 being completely incompetent, 5 being a strong and contributing crew member)
__Kylea does a great job. I'm glad to have her on my crew. she gets a 4.__
Professor Comments:
__yay__
Student: Fill out the first page and turn this packet into your Crew Head.
Crew Head: Fill out middle section and turn into appropriate Faculty member. Faculty member will review, and consider revision of the student status if needed.
NAME: ____Kylea Dieken_______ DATE: __4/28/09__
1. List Productions and type of participation (performance, technical, administrative) you have been involved in:
____The Importance of Being Earnest (admin)____
____South Pacific (tech)________
____No Exit (admin and tech)________________________
____________________________________________
2. How many shop hours did you complete for this semester?
20
3. How many hours of work days did you participate in?
8
4. Please give an example of typical activities during shop hours.
___I run errands for the theatre or production (purchasing makeup or finding props)i clean the theatre suite, or do paper work.__
5. Is the crew you are currently on satisfactory? If you were to be on another crew, which would you choose and why?
___I do enjoy being on the theatre management crew. I would put myself on the light crew possibly as another option.__
6. Crew Head Only: Please evaluate this crew member and rate on a scale of 1-5 (1 being completely incompetent, 5 being a strong and contributing crew member)
__Kylea does a great job. I'm glad to have her on my crew. she gets a 4.__
Professor Comments:
__yay__
No Exit Work Report - Fiebig Approved
As stage manager for “No Exit” I performed many duties.
• Attended auditions, coordinated the audition forms and handing out of scripts. I notified people when it was their turn to audition, and I kept of record of the cast selections for both “No Exit” and “Doubt.”
• Once the director had set the rehearsal times, I notified the cast and made sure questions were answered either by me or by the director. During rehearsals, I took notes of the blocking and details that needed to be remembered. I assisted some with the choreography by contributing ideas and noting sightline issues.
• If a rehearsal was cancelled, or the time was changed, I would notify the cast.
• I kept in contact with the crew to make sure that progress was being made on the door and speaker covers, lights were being fine-tuned, sounds were being collected, and costumes were being finished.
• I found set pieces (lamp, table) among the props and brought them to the rehearsal/performance spaces.
• When the cast was finally off book, I prompted and took line notes. I did a lot of prompting as there were many line issues up until two nights before the performance. I also completed Rehearsal Report forms and posted them to the Moodle forum. On these rehearsal reports, I noted sound, light, set, props, costume, and makeup/hair notes.
• I researched the 50s era, and found hair and makeup designs/ideas. Andrew and I worked together on this. Information was found here: http://www.fiftiesweb.com/fashion/fashion-wh.htm. The idea for the Estelle character was to be very youthful and innocent. Inez was a little bit harsher. The Valet was given shadows and a gaunt look. Garcin had little change – beard and eyebrow darkening, and hair combed over. (See Pictures) I focused mainly on Estelle and Inez, and Andrew took care of Garcin and the Valet. I also helped Andrew become more familiar and comfortable with makeup application.
• Not only did I do the makeup and hair designs, I also did the makeup and hair applications for Inez and Estelle, and assisted Andrew with his applications of Garcin and the Valet. (See Pictures) I also worked at covering Sam’s tattoo so it wouldn’t show under her dress.
• During tech days, I cleaned the theatre, and put the chairs back where they belong. I helped set the chairs on the stage for the in-the-round effect.
• During the run of the show, I ran the booth. I took care of lights and sound.
• I helped with strike at the end of the run of the show, putting away furniture and props, and sweeping the floor.
Subscribe to:
Comments (Atom)
