The document outlines various staff positions involved in a theater production, including producers, directors, stage managers, designers, and others. It describes the key responsibilities of each position throughout the pre-production, production, and post-production stages. The positions work together cooperatively to bring the artistic vision to life on stage.
Original Performance with the use media.pptAugustTuazon1
Original Performance With the Use of Media Meanwhile, other Philippine theater groups are also staging original and adapted plays and musical productions, primarily in English. Best known among these are Repertory Philippines, Trumpets, and New Voice Company.
Original Performance with the use media.pptAugustTuazon1
Original Performance With the Use of Media Meanwhile, other Philippine theater groups are also staging original and adapted plays and musical productions, primarily in English. Best known among these are Repertory Philippines, Trumpets, and New Voice Company.
For more of my uploads please visit me:
PPT - http://brisktopia.com/Jd3
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Choir sheets are also available just ping me- http://brisktopia.com/PVd
Welcome to TechSoup New Member Orientation and Q&A (May 2024).pdfTechSoup
In this webinar you will learn how your organization can access TechSoup's wide variety of product discount and donation programs. From hardware to software, we'll give you a tour of the tools available to help your nonprofit with productivity, collaboration, financial management, donor tracking, security, and more.
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
Palestine last event orientationfvgnh .pptxRaedMohamed3
An EFL lesson about the current events in Palestine. It is intended to be for intermediate students who wish to increase their listening skills through a short lesson in power point.
Instructions for Submissions thorugh G- Classroom.pptxJheel Barad
This presentation provides a briefing on how to upload submissions and documents in Google Classroom. It was prepared as part of an orientation for new Sainik School in-service teacher trainees. As a training officer, my goal is to ensure that you are comfortable and proficient with this essential tool for managing assignments and fostering student engagement.
Honest Reviews of Tim Han LMA Course Program.pptxtimhan337
Personal development courses are widely available today, with each one promising life-changing outcomes. Tim Han’s Life Mastery Achievers (LMA) Course has drawn a lot of interest. In addition to offering my frank assessment of Success Insider’s LMA Course, this piece examines the course’s effects via a variety of Tim Han LMA course reviews and Success Insider comments.
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
Introduction to AI for Nonprofits with Tapp NetworkTechSoup
Dive into the world of AI! Experts Jon Hill and Tareq Monaur will guide you through AI's role in enhancing nonprofit websites and basic marketing strategies, making it easy to understand and apply.
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
2. A theater production is a cooperative effort. There are three stages: pre-production, production and post-production. Some positions are active throughout this process and some are active for certain parts of it. These are some main positions to know as a foundation.
3. Producer/Prod manager The producer creates an approved budget, makes sure that everything gets done by deadlines and on budget, and that BTG's resources (people, money and materials) are used properly. The producer participates in the audition process and is responsible for knowing and getting all the crew that is needed. This person runs weekly production meetings and facilitates meetings with the director and individual departments (e.g director and costume department) as well.
4. Director The director is responsible for creating a coherent and consistent artistic concept/vision of the play (i.e script, music, dance). The assistant director helps the director in communicating these ideas to the cast and crew. This process might need to be revised early into rehearsal due to casting or technical limitations. This person also works with the other departments to create and sustain the concept/vision.
5. Stage Manager The stage manager is the coordinator and organizer of the production. This person schedules rehearsals and rehearsal space, ensures that all cast are present at rehearsal, and records all technical and blocking information (lighting, music and actor cues, props, furniture, transitions, etc). This person is at every rehearsal or if they can't be, has trained an assistant stage manager(s) to carry out those duties. During production week, this person is in charge of the dress rehearsal in the acting space. During the performance, they coordinate cast and crew and make sure costume and prop presets have been completed, and controls the show by calling the cues.
6. Music Director The music director is in charge of music and singing in a production. Sometimes there is instead a vocal director (who deals with singing) and an orchestra director (who deals with instrumentation). Basically this person decides what music and/or songs are needed for the show at the request of the director and/or choreographer, and figures out how to accomplish that. Ideally they would know how to read music, but a vocal or orchestral director should definitely know how to read music. So duties would include recruiting instrumentalists, and/or vocal trainer and/or recorded music, or doing those things themselves.
7. Technical Director The technical director is responsible for all the technical aspects of the show: schedules and runs "move" (sets into the space), "put-in" (installation of lights and sets into the space) and "strike" (the breakdown of lights and sets and cleaning up the space). The td sometimes functions as a second or in place of the master carpenter. The td will design a plan for how the other departments are to contribute to the show, and make sure that their pieces don't overpower another department's piece(e.g props that aren't too big).
8. Set Designer The set designer has the most logistical position. They will draw a design for the performance space, that incorporates the requirements of the script, director, music director, and the choreographer. If there will be live accompaniment (orchestra, or piano/violin/guitar) they will have to include that in the space as well. This person has to do all of this within the original floor plan of the space. The design must accomodate furniture, set changes (moving pieces), special effects, and room for the actors to move.
9. Lighting Designer The lighting designer creates a lighting scheme and special effects based on the requirements of the script and the director. This person is also in charge of renting and returning the equipment.
10. Costume Designer The costume designer creates a line of clothing and accessories for the cast. These ideas come from the script, time period of the play and the director. This person is also responsible for accomodating costume changes of the characters, as well as renting and/or sewing costumes. They also dry clean and/or wash costume and fabrics, and return rented costumes.
11. Property Manager The property manager coordinates with the director and stage manager to figure out what props are needed. They will rent, borrow or build props as needed within the budget. They will return all borrowed and rented items. This person also instructs the cast on how to properly handle the props. They are in charge of the prop table(s) backstage and work with the cast to make sure all the props are in place before the show, and returned after the show.
12. Sound Designer The sound designer is in charge of locating all the needed music and sound effects. They also need to get and set up the equipment for sound presentation. This person would work with the music director.
13. Master Carpenter The master carpenter coordinates with the set designer to construct the design with the budget. They will identify resources and maintain inventory of all the set pieces and components. This person also manages the installation of the set into the performance space, and ensures the integrity of the set throughout the run of the show. They also return all borrowed and rented items.
14. Master Electrician The master electrician works with the lighting designer. They can train to board operator to handle lighting cues during the performance, or they can do it themselves. Along with the lighting designer is responsible for returning rental items.
15. Publicity/Advertising Manager The publicity/advertising manager develops a publicity plan and schedule. This person will assess the mediums and outlets to advertise in. They will also seek a publicity/program designer(s). They will arrange for the reproduction and distribution of posters and programs, as well as the production of t-shirts.
16. Box Office Manager The box office manager works with the treasurer and supervises the house manager and usher(s). This person coordinates with the treasurer to make sure there is enough change before each show, and assists with the totals for deposit. They also maintain ticket sales and reservations, advise patrons of delays and help direct patrons into the theater with the help of the house manager.
17. House Manager The house manager works for the box office manager and has at least one usher working for them. The stage manager lets the house manager know when to open and close the house (theater). They are to make sure there are programs available, make sure the usher(s) are prepared and trained, and to assist with crowd control.
18. Publicity/Program Designer The publicity/program designer develops a motif consistent with the play. This person will submit various designs for approval. Once a style is chosen, they will adapt the design for t-shirts, program cover, etc. This process also includes: font type and style, poster and program layout and other media.
19. Make-up & Hair Designer The makeup and hair designer is responsibile for making sure that there are makeup and supplies for the show, including any speciality makeup and hair items. They are also to make sure that the actors have the appropriate makeup and hair style consistent for the play. This person also holds makeup and hair workshops/rehearsals around production week for the cast. This can be two separate positions or one.