This document provides a guide for stage managers at Colby Theater & Dance. It includes sections on preparing for rehearsals such as assembling a stage management kit and prompt book. It discusses tasks during rehearsals like taking blocking notes, running rehearsal reports, and building a run sheet. It also covers technical rehearsals, calling cues during performances, and working with the production team. The guide aims to prepare new stage managers and help them successfully manage all aspects of a theatrical production from pre-production through closing.
The document appears to be a presentation about Spanish architect Santiago Calatrava. It includes biographical information about Calatrava such as being born in 1951 in Spain, studying civil engineering, and founding his own architecture firm. It also discusses some of Calatrava's notable projects like the Milwaukee Art Museum, City of Arts and Sciences, and Turning Torso building. The presentation examines Calatrava's inspiration from nature and the human body in his structural designs.
Antoni Gaudí was a famous Spanish architect best known for designing Casa Batlló, a building in Barcelona featuring an unusual skeletal facade. Some key facts about Gaudí are that he had a strong sense of geometry and volume in his designs, worked his way up from drafting for other architects, and is most renowned for his work on the Sagrada Família basilica, where he died after being struck by a streetcar in 1926 at age 73 while dressed like a homeless person.
Casa Vicens was designed by Antoni Gaudi and built in 1888 as his first major commission. It was built for industrialist Manuel Vicens and features undressed stone, red bricks, and colorful ceramic tiles that pay tribute to Vicens' brick and tile factory. The tiles are decorated with floral patterns inspired by plants that grew on the property, reflecting Gaudi's love of nature which became a major influence in his works. The house was added to the UNESCO World Heritage site of Gaudi's works in 2005.
Epistemology and the problem of knowledgeNoel Jopson
The document discusses epistemology, the branch of philosophy concerned with the nature, scope, and validity of knowledge. It defines epistemology and examines what constitutes knowledge, including the traditional definition of knowledge as justified true belief. The document also explores the sources of knowledge according to rationalism and empiricism, and theories of truth such as the correspondence theory.
Antoni Gaudí is the history icon chosen by the Erasmus Creativity Club in SES Vallbona d'Anoia (Spain). This is the photostory album of the outstanding Catalan architect made by Minerva Graells for the ECLIPSE project.
1. Casa Batlló is a building designed by Antoni Gaudí located on Passeig de Gràcia in Barcelona.
2. Gaudí departed from traditional styles of the time to create flowing, organic forms inspired by nature. On the exterior, he used broken ceramic pieces and glass to create an undulating, sea-like facade.
3. Inside, the loft features over 60 parabolic arches resembling a rib cage, and the central patio is decorated with blue tiles to distribute light uniformly throughout the building.
Description of Sagrada Familia, in Barcelona. By year 6 students at School El Castellot (La Múnia-Castellví de la Marca) in Catalonia-Spain. E+ project Discovering Europe
1. Casa Batlló is a building designed by Antoni Gaudí located on Passeig de Gràcia in Barcelona.
2. Gaudí departed from traditional styles of the time to create flowing, organic forms inspired by nature. On the exterior, he used broken ceramic pieces and glass to create an undulating, sea-like facade.
3. Inside, the loft features over 60 parabolic arches resembling a rib cage, and the central patio is decorated with blue tiles to distribute light uniformly throughout the building.
The document appears to be a presentation about Spanish architect Santiago Calatrava. It includes biographical information about Calatrava such as being born in 1951 in Spain, studying civil engineering, and founding his own architecture firm. It also discusses some of Calatrava's notable projects like the Milwaukee Art Museum, City of Arts and Sciences, and Turning Torso building. The presentation examines Calatrava's inspiration from nature and the human body in his structural designs.
Antoni Gaudí was a famous Spanish architect best known for designing Casa Batlló, a building in Barcelona featuring an unusual skeletal facade. Some key facts about Gaudí are that he had a strong sense of geometry and volume in his designs, worked his way up from drafting for other architects, and is most renowned for his work on the Sagrada Família basilica, where he died after being struck by a streetcar in 1926 at age 73 while dressed like a homeless person.
Casa Vicens was designed by Antoni Gaudi and built in 1888 as his first major commission. It was built for industrialist Manuel Vicens and features undressed stone, red bricks, and colorful ceramic tiles that pay tribute to Vicens' brick and tile factory. The tiles are decorated with floral patterns inspired by plants that grew on the property, reflecting Gaudi's love of nature which became a major influence in his works. The house was added to the UNESCO World Heritage site of Gaudi's works in 2005.
Epistemology and the problem of knowledgeNoel Jopson
The document discusses epistemology, the branch of philosophy concerned with the nature, scope, and validity of knowledge. It defines epistemology and examines what constitutes knowledge, including the traditional definition of knowledge as justified true belief. The document also explores the sources of knowledge according to rationalism and empiricism, and theories of truth such as the correspondence theory.
Antoni Gaudí is the history icon chosen by the Erasmus Creativity Club in SES Vallbona d'Anoia (Spain). This is the photostory album of the outstanding Catalan architect made by Minerva Graells for the ECLIPSE project.
1. Casa Batlló is a building designed by Antoni Gaudí located on Passeig de Gràcia in Barcelona.
2. Gaudí departed from traditional styles of the time to create flowing, organic forms inspired by nature. On the exterior, he used broken ceramic pieces and glass to create an undulating, sea-like facade.
3. Inside, the loft features over 60 parabolic arches resembling a rib cage, and the central patio is decorated with blue tiles to distribute light uniformly throughout the building.
Description of Sagrada Familia, in Barcelona. By year 6 students at School El Castellot (La Múnia-Castellví de la Marca) in Catalonia-Spain. E+ project Discovering Europe
1. Casa Batlló is a building designed by Antoni Gaudí located on Passeig de Gràcia in Barcelona.
2. Gaudí departed from traditional styles of the time to create flowing, organic forms inspired by nature. On the exterior, he used broken ceramic pieces and glass to create an undulating, sea-like facade.
3. Inside, the loft features over 60 parabolic arches resembling a rib cage, and the central patio is decorated with blue tiles to distribute light uniformly throughout the building.
The document discusses the architecture of Catholic churches and forts in Goa during the Portuguese invasion. It describes several notable churches built in the 16th-17th centuries in the Portuguese Baroque style, including the Se Cathedral, Basilica of Bom Jesus, Church of Our Lady of Immaculate Conception, and St. Augustine's Tower. It provides histories and architectural details of these religious structures, noting features like their construction materials, styles, plans, and ornamentation that show Portuguese and other European influences. Context is provided on the arrival of Catholic missionaries in Goa and the development of Goan church architecture over the colonial period.
Leon Battista Alberti was an Italian Renaissance architect, artist, poet, and philosopher. He wrote influential treatises on painting, sculpture, and architecture. As an architect, his most notable works included the facade of Santa Maria Novella in Florence and the Tempio Malatestiano in Rimini. Alberti was one of the first architects to use classical orders and geometric principles in his designs, making him an important figure in establishing Renaissance architecture.
The document discusses Santiago Calatrava's design of the Ysios winery in Spain. It notes that Calatrava derives inspiration from both the human body and nature in his organic architectural style. The analysis will focus on the first floor space of the visit center, including the wine tasting room and observation deck overlooking the wine barrels. Calatrava is known for combining sculptural concepts with daring structural designs.
Casa Tassel was a townhouse in Brussels, Belgium built in 1894. It was designed by architect Victor Horta for scientist Emile Tassel and is considered the first true Art Nouveau building due to its innovative design. Horta broke from traditional schemes by building the house from three distinct yet connected parts - two conventional brick buildings linked by a steel structure covered with glass that functioned as a light shaft bringing natural light inside. Horta designed every detail of the house, successfully integrating lavish decoration without masking the architectural structure.
Antoni Gaudi was a Spanish architect known for developing a unique modernist style characterized by undulating curves and richly textured surfaces. He never made formal plans, instead creating 3D models to design his buildings. His most famous work is the Sagrada Familia basilica in Barcelona, whose construction spanned Gaudi's entire career and remains unfinished. Gaudi sought to blend structural function with ornate decoration inspired by nature, and he is renowned for buildings like Casa Batlló whose dramatic facades seem to come alive through a riot of mosaic tiles.
There are numerous components of the community school planning and design process, some of which include a collaborative leadership structure, community engagement, and a community needs assessment. This section explores the general planning and design structures for community schools, the initial steps and core components of the planning and design process, as well as strategies for scaling up community schools. It lays out a blueprint for successful community school initiatives and helps map out the strategy, framework and process to sustain them.
Antoni Gaudí was a Spanish architect known for designing in the Catalan Modernism style. He is best known for his work on the Sagrada Familia basilica in Barcelona. The document discusses Gaudí's early life and education, his early works, and provides details on specific sections of the Sagrada Familia including its spires, Nativity Façade, and Passion Façade. The Nativity Façade features ornate natural motifs representing life, while the Passion Façade is more austere with harsh lines representing the suffering of Christ.
Art Nouveau originated in the late 19th century as a reaction against historical revival styles and mass production. It began in England led by figures like John Ruskin, William Morris, and Walter Crane who sought to create a new aesthetic focused on nature and craftsmanship. They drew inspiration from vernacular architecture as well as Renaissance ornamentation. English architects integrated interior and exterior design, coordinating furnishings and decorations. Art Nouveau emphasized harmony and organic forms over rigid classicism. It soon spread across Europe and became a revolutionary new style in decorative arts.
A project on understanding museums completely from different aspects. Be it Indian or International. Discover the different types of museums with case studies.
Phenomenological research aims to describe the lived experiences of several individuals regarding a phenomenon. It seeks to illuminate specific phenomena through how they are perceived by those in a situation. Researchers identify a shared experience, attempt to locate the universal essence of that experience among individuals, and describe both what was experienced and how they experienced it. The methodology involves identifying a phenomenon, bracketing researcher bias, collecting data typically through interviews, reducing the data to key themes, and describing the essence of the experience through both textural and structural descriptions.
The Casa Batlló in Barcelona, Spain was originally built in 1877 but was remodeled between 1905-1907 by architect Antoni Gaudi at the commission of its owner. Gaudi transformed the facade and layout of the building, giving it his signature modernist style through his creative use of stone, iron, glass and ceramic materials. The colorful and organic facade culminates with a roof that resembles the scaly back of a dragon and evokes the natural world through its dramatic shapes and textures.
1. Casa Batlló is a building designed by Antoni Gaudí located on Passeig de Gràcia in Barcelona.
2. Gaudí departed from traditional styles of the time to create flowing, organic forms inspired by nature. On the exterior, he used broken ceramic pieces and glass to create an undulating, sea-like facade.
3. Inside, the loft features over 60 parabolic arches resembling a rib cage, and the central patio is decorated with blue tiles to distribute light uniformly throughout the building.
The Sagrada Familia is a monumental church in Barcelona, Spain that began construction in 1882 and is still ongoing today. Architect Antoni Gaudi took over the project in 1883 and worked on it for over 40 years until his death in 1926, designing many intricate geometric shapes and features. The church is located in the center of Barcelona and receives millions of visitors annually to see Gaudi's unique architectural vision that combines religious symbolism and scenes from the Bible through its design elements. Construction has always been funded through public donations as Gaudi intended it to be a church "made by the people and for the people."
This document provides an introduction to qualitative research. It discusses two paradigms of research methodologies - logical positivism and phenomenological inquiry. Qualitative research involves collecting and analyzing non-numerical data to understand concepts, opinions, or experiences. Common qualitative research approaches include grounded theory, ethnography, action research, phenomenological research, and narrative research. Data collection methods may include observations, interviews, focus groups, surveys, and secondary research. Analysis involves preparing, exploring, coding, and identifying themes in the data. Qualitative research has advantages like flexibility, studying natural settings, and generating meaningful insights, but also disadvantages such as unreliability, subjectivity, and limited generalizability.
Casa Batllo is a landmark building in Barcelona, Spain designed by renowned architect Antoni Gaudi. It was originally built in 1877 but renovated by Gaudi in 1905. The building is decorated with stone, glass, tiles and flowing stonework inspired by nature. Its unique facade resembles a dragon's bones and skull, representing the legend of Saint George slaying the dragon. The roof is arched and scaly like a dragon's back, with chimneys as sculptures. The attic functions as thermal regulation while its arches represent the dragon's ribs in white. A light well provides natural light in ocean-inspired shades of blue.
13 Questions in Historical Research Method & Oral History Fatma Tuba Aydın
Historical Research Methods in general and oral history method in particular, historical educational research, historical research strategies, research methodology, research design, oral history definition.
https://tuba-aydin.com/
Name:
Contact:
Role:
Camera Operator:
Name:
Contact:
Role:
Sound Recordist:
Name:
Contact:
Role:
Editor:
Name:
Contact:
Role:
Producer:
Name:
Contact:
Role: Overall responsibility, schedules, budgets
Myself:
Name:
Contact:
Role: Director, performer
No other crew needed for this project.
PRODUCTION SCHEDULE
Include a schedule for pre-production, production and
post-production. Consider availability of locations, crew,
cast. Allow time for contingencies.
Pre-production
The Producer is the final authority on every production and is responsible for the total program -- from planning, to production, to post-production, and finally cablecast.
The stage management handbook provides guidance on various responsibilities for stage managers including: preparing for auditions, callbacks, and rehearsals; maintaining a prompt book and kit; running rehearsals; the role of the assistant stage manager; taking staging notes; and tasks related to tech, performances, and house management. The document offers advice on building organization, communication, and leadership as a stage manager.
This document provides guidelines for students to develop an enterprise project, including a business plan. It outlines that students should [1] introduce their business and product, describing the market and how the business will thrive. It also notes that students should [2] develop a marketing strategy that identifies their target market and marketing approach. Finally, it recommends that students [3] create financial plans including a sales plan, profit and loss statement, and balance sheet to project the finances of the business.
The document discusses the architecture of Catholic churches and forts in Goa during the Portuguese invasion. It describes several notable churches built in the 16th-17th centuries in the Portuguese Baroque style, including the Se Cathedral, Basilica of Bom Jesus, Church of Our Lady of Immaculate Conception, and St. Augustine's Tower. It provides histories and architectural details of these religious structures, noting features like their construction materials, styles, plans, and ornamentation that show Portuguese and other European influences. Context is provided on the arrival of Catholic missionaries in Goa and the development of Goan church architecture over the colonial period.
Leon Battista Alberti was an Italian Renaissance architect, artist, poet, and philosopher. He wrote influential treatises on painting, sculpture, and architecture. As an architect, his most notable works included the facade of Santa Maria Novella in Florence and the Tempio Malatestiano in Rimini. Alberti was one of the first architects to use classical orders and geometric principles in his designs, making him an important figure in establishing Renaissance architecture.
The document discusses Santiago Calatrava's design of the Ysios winery in Spain. It notes that Calatrava derives inspiration from both the human body and nature in his organic architectural style. The analysis will focus on the first floor space of the visit center, including the wine tasting room and observation deck overlooking the wine barrels. Calatrava is known for combining sculptural concepts with daring structural designs.
Casa Tassel was a townhouse in Brussels, Belgium built in 1894. It was designed by architect Victor Horta for scientist Emile Tassel and is considered the first true Art Nouveau building due to its innovative design. Horta broke from traditional schemes by building the house from three distinct yet connected parts - two conventional brick buildings linked by a steel structure covered with glass that functioned as a light shaft bringing natural light inside. Horta designed every detail of the house, successfully integrating lavish decoration without masking the architectural structure.
Antoni Gaudi was a Spanish architect known for developing a unique modernist style characterized by undulating curves and richly textured surfaces. He never made formal plans, instead creating 3D models to design his buildings. His most famous work is the Sagrada Familia basilica in Barcelona, whose construction spanned Gaudi's entire career and remains unfinished. Gaudi sought to blend structural function with ornate decoration inspired by nature, and he is renowned for buildings like Casa Batlló whose dramatic facades seem to come alive through a riot of mosaic tiles.
There are numerous components of the community school planning and design process, some of which include a collaborative leadership structure, community engagement, and a community needs assessment. This section explores the general planning and design structures for community schools, the initial steps and core components of the planning and design process, as well as strategies for scaling up community schools. It lays out a blueprint for successful community school initiatives and helps map out the strategy, framework and process to sustain them.
Antoni Gaudí was a Spanish architect known for designing in the Catalan Modernism style. He is best known for his work on the Sagrada Familia basilica in Barcelona. The document discusses Gaudí's early life and education, his early works, and provides details on specific sections of the Sagrada Familia including its spires, Nativity Façade, and Passion Façade. The Nativity Façade features ornate natural motifs representing life, while the Passion Façade is more austere with harsh lines representing the suffering of Christ.
Art Nouveau originated in the late 19th century as a reaction against historical revival styles and mass production. It began in England led by figures like John Ruskin, William Morris, and Walter Crane who sought to create a new aesthetic focused on nature and craftsmanship. They drew inspiration from vernacular architecture as well as Renaissance ornamentation. English architects integrated interior and exterior design, coordinating furnishings and decorations. Art Nouveau emphasized harmony and organic forms over rigid classicism. It soon spread across Europe and became a revolutionary new style in decorative arts.
A project on understanding museums completely from different aspects. Be it Indian or International. Discover the different types of museums with case studies.
Phenomenological research aims to describe the lived experiences of several individuals regarding a phenomenon. It seeks to illuminate specific phenomena through how they are perceived by those in a situation. Researchers identify a shared experience, attempt to locate the universal essence of that experience among individuals, and describe both what was experienced and how they experienced it. The methodology involves identifying a phenomenon, bracketing researcher bias, collecting data typically through interviews, reducing the data to key themes, and describing the essence of the experience through both textural and structural descriptions.
The Casa Batlló in Barcelona, Spain was originally built in 1877 but was remodeled between 1905-1907 by architect Antoni Gaudi at the commission of its owner. Gaudi transformed the facade and layout of the building, giving it his signature modernist style through his creative use of stone, iron, glass and ceramic materials. The colorful and organic facade culminates with a roof that resembles the scaly back of a dragon and evokes the natural world through its dramatic shapes and textures.
1. Casa Batlló is a building designed by Antoni Gaudí located on Passeig de Gràcia in Barcelona.
2. Gaudí departed from traditional styles of the time to create flowing, organic forms inspired by nature. On the exterior, he used broken ceramic pieces and glass to create an undulating, sea-like facade.
3. Inside, the loft features over 60 parabolic arches resembling a rib cage, and the central patio is decorated with blue tiles to distribute light uniformly throughout the building.
The Sagrada Familia is a monumental church in Barcelona, Spain that began construction in 1882 and is still ongoing today. Architect Antoni Gaudi took over the project in 1883 and worked on it for over 40 years until his death in 1926, designing many intricate geometric shapes and features. The church is located in the center of Barcelona and receives millions of visitors annually to see Gaudi's unique architectural vision that combines religious symbolism and scenes from the Bible through its design elements. Construction has always been funded through public donations as Gaudi intended it to be a church "made by the people and for the people."
This document provides an introduction to qualitative research. It discusses two paradigms of research methodologies - logical positivism and phenomenological inquiry. Qualitative research involves collecting and analyzing non-numerical data to understand concepts, opinions, or experiences. Common qualitative research approaches include grounded theory, ethnography, action research, phenomenological research, and narrative research. Data collection methods may include observations, interviews, focus groups, surveys, and secondary research. Analysis involves preparing, exploring, coding, and identifying themes in the data. Qualitative research has advantages like flexibility, studying natural settings, and generating meaningful insights, but also disadvantages such as unreliability, subjectivity, and limited generalizability.
Casa Batllo is a landmark building in Barcelona, Spain designed by renowned architect Antoni Gaudi. It was originally built in 1877 but renovated by Gaudi in 1905. The building is decorated with stone, glass, tiles and flowing stonework inspired by nature. Its unique facade resembles a dragon's bones and skull, representing the legend of Saint George slaying the dragon. The roof is arched and scaly like a dragon's back, with chimneys as sculptures. The attic functions as thermal regulation while its arches represent the dragon's ribs in white. A light well provides natural light in ocean-inspired shades of blue.
13 Questions in Historical Research Method & Oral History Fatma Tuba Aydın
Historical Research Methods in general and oral history method in particular, historical educational research, historical research strategies, research methodology, research design, oral history definition.
https://tuba-aydin.com/
Name:
Contact:
Role:
Camera Operator:
Name:
Contact:
Role:
Sound Recordist:
Name:
Contact:
Role:
Editor:
Name:
Contact:
Role:
Producer:
Name:
Contact:
Role: Overall responsibility, schedules, budgets
Myself:
Name:
Contact:
Role: Director, performer
No other crew needed for this project.
PRODUCTION SCHEDULE
Include a schedule for pre-production, production and
post-production. Consider availability of locations, crew,
cast. Allow time for contingencies.
Pre-production
The Producer is the final authority on every production and is responsible for the total program -- from planning, to production, to post-production, and finally cablecast.
The stage management handbook provides guidance on various responsibilities for stage managers including: preparing for auditions, callbacks, and rehearsals; maintaining a prompt book and kit; running rehearsals; the role of the assistant stage manager; taking staging notes; and tasks related to tech, performances, and house management. The document offers advice on building organization, communication, and leadership as a stage manager.
This document provides guidelines for students to develop an enterprise project, including a business plan. It outlines that students should [1] introduce their business and product, describing the market and how the business will thrive. It also notes that students should [2] develop a marketing strategy that identifies their target market and marketing approach. Finally, it recommends that students [3] create financial plans including a sales plan, profit and loss statement, and balance sheet to project the finances of the business.
This document provides guidelines for students to develop an enterprise project, including constructing a business plan for a fictional product or service. It outlines sections to cover such as introducing the business and product, developing a marketing strategy, organizational structure, financial plans, project plans, and responsibilities of group members. Students are advised to stage-manage the documentation and presentation, thoroughly plan timelines, and seek advice from experts to develop a comprehensive yet concise business plan and presentation.
This document provides guidance on writing standard operating procedures (SOPs). It discusses the key steps to developing an SOP, including planning objectives, drafting the procedure, internal reviews, testing, approval, training, and revision. The main components of an SOP are also outlined, such as the purpose, scope, definitions, responsibilities, and revision history. Exercises are included where participants write SOPs in groups. Best practices are shared, like questioning the need for steps and avoiding ambiguous language. The overall document aims to instruct people on properly authoring SOPs.
This document provides study tips and tools to help students feel more confident and prepared for exams. It emphasizes creating a study plan that includes defining what will be on the test, such as chapters, weight, and question types. The plan should also note the professor's focus areas. Students are encouraged to take an overview of their notes by summarizing major headings in one sentence to avoid getting lost in details. Time management and note taking toolkits are also referenced to help students get organized and learn efficiently. The overall message is that effective exam preparation requires a structured study plan rather than last-minute cramming.
The document discusses the importance of thorough pre-production for film projects. It outlines that pre-production includes scripting, storyboarding, and developing a treatment to clearly outline the project's goals and plan the filming process. The document advises that effective pre-production through techniques like storyboarding can help avoid stress and disorganization during filming. Proper planning in pre-production is emphasized as important for arranging what will be shot and making the overall filming process more efficient.
The document discusses various frameworks, techniques, and tools for improving personal productivity as a developer. It covers productivity frameworks like GTD (Getting Things Done), Agile, and Pomodoro. It also discusses techniques like checklists, avoiding distractions, and outsourcing tasks. Finally, it provides examples of tools that can help with tasks like organization, collaboration, and implementing productivity frameworks. The goal is to help developers improve their personal productivity through established frameworks, proven techniques, and useful tools.
Process Design Masterclass: Top Tips from a Process Design Expert LizzyManz
Anne Perry, Process Street's resident process design expert, shares how we've built processes for hundreds of teams to help make work fun, fast, and faultless.
The document provides guidance for a student on their music video assignment, including templates and suggestions for:
- Generating ideas and researching other music videos
- Choosing a song and outlining their concept
- Assessing the viability of their production through investigating locations, equipment, and personnel needs
- Planning the visuals through storyboarding and developing a shot list broken down by the song structure
- Organizational planning like defining team roles, conducting risk assessments of locations, and creating a production schedule
This statement of intent outlines a final major project exploring time lapse and night photography. The student aims to produce a body of 12 A3 photographs and a computer presentation showing time lapse work. Influences will include photographers who have explored time and night themes. Research will cover techniques for night photography, time lapse production and editing software. A timeline outlines plans for trial shoots and techniques over 5 weeks to develop skills and ideas before a final evaluation. Progress will be documented in a blog reviewing each shoot and gathering peer feedback.
This document contains slides from a web design presentation covering topics such as user experience, motion design, user interface, frontend development, backend development, and design basics. It discusses principles of design including making products useful, understandable, unobtrusive, honest, long-lasting, thorough, environmentally friendly, and with as little design as possible. It also covers design thinking methods like double diamond and design sprints. Additional topics covered include UI design elements like contrast, gradients, typography, and layout.
The document discusses the 5S methodology, which is the first step in Lean manufacturing. 5S refers to the five Japanese words that start with "S": Sort, Set in Order, Shine, Standardize, and Sustain. It explains each of the five steps and why they are important for eliminating waste and creating a consistent workflow. Implementing 5S helps reduce time spent searching for items and creates a cleaner, safer work environment.
The document outlines the initial ideas and context for a student's film and media production project. They propose creating a short film involving time travel. They want to strengthen their editing and visual effects skills. Their goals are to create an exciting and mysterious film to engage audiences. They will employ a fast-paced editing style. Research plans include practicing camera and editing skills, watching inspirational films, and conducting audience research.
Subject matter experts (SMEs) have expert knowledge to share. For rapid development situations or just-in-time training, SMEs can contribute good, solid content videos that can be shared with learners—and they can create the videos when they have the time or when a situation arises that would be a great video example, such as demonstrating a process or recalling a dangerous situation.
This course aims to help users create effective test plans. It covers test plan overviews, scenarios, templates and tools. By the end of the course, users will be able to create test plans for their context, share plans with stakeholders, and use Provar Manager for test planning. The course contains lessons on test strategies versus plans, planning activities, templates, tools for collaboration and sharing, and a quiz.
Here are some general questions you may be asked and how to prepare:
- Team size of current/past projects - Be prepared to provide details on the number of analysts, programmers, testers, etc. on projects you've worked on.
- Project methodology (waterfall, iterative, agile) - Familiarize yourself with common methodologies.
- Client interactions - How frequently did you interact with clients and what was the nature of interactions?
- Problem solving experiences - Have stories prepared that demonstrate how you've solved complex problems.
- Technical skills - Research the skills relevant for the role and be ready to discuss in depth.
- Management experience - Highlight any experience leading teams or projects.
An insurance company executive hired an independent consultant to address low productivity and morale among customer service associates. The executive had unilaterally implemented a new tracking system to monitor associates' call times, but associates complained it reduced their productivity. After several months, tensions were high and productivity/morale had declined further. The consultant was tasked with analyzing the situation and recommending solutions, including whether to keep the tracking system, through facilitating stakeholder agreement.
This document outlines various roles in theatre management, technical theatre, and unions. It describes the responsibilities of key positions like the stage manager, technical director, and running crews. It also discusses the educational and experience requirements for entering the professional theatre field and lists several major theatrical unions.
The document discusses different types of theater stages:
- Proscenium arch stages have the audience seated in front of a raised stage separated by a curtain or arch. Thrust stages have the audience on three sides surrounding the stage. End-on stages have the audience at one end facing the stage at the other. Theatre in the round stages have the audience completely surrounding the circular stage area. Avenue or traverse stages have the audience on two sides facing the stage in the middle. Promenade theaters involve the audience following the action as it moves between different locations.
This document provides the scheme of work for a Theatre Arts class at Mt Hope Secondary for the third term of Form Four. Over the course of 11 weeks, students will learn about critiquing films, promoting productions through marketing and design, using multimedia like film techniques in performances, and performing improvisation. The objectives are to prepare students for the CXC exam through practical improv, teach promotion strategies, design a marketing campaign, develop front of house skills, and understand film critique and analysis. Lessons cover critiquing, promotion and marketing, using multimedia, and improvisation techniques.
The document outlines a scheme of work for a Theatre Arts class at Mt Hope Secondary over a 3 month term. The general objectives are for students to conceptualize, write, and produce a short play or film based on proverbs, design costumes, sound, and music, and learn the film editing process. A variety of teaching strategies like role playing, discussion, and demonstration will be used over 9 weeks to help students achieve objectives like script writing, critiquing dramatic works, and mounting a final production.
Advertising is defined as the nonpersonal communication of information about products, services, or ideas, usually paid for by identified sponsors through various media. Its purpose is to persuade consumers. As mass production led to increased supply, marketing evolved from a production focus to sales-oriented promotions and eventually became more marketing-oriented by attempting to discover what products consumers actually wanted.
The document outlines the Theatre Arts syllabus from the Caribbean Examinations Council (CXC). It discusses the rationale, aims, career choices, teaching resources, time allocation, and organization of the syllabus. The syllabus aims to foster appreciation of Caribbean cultural forms in theatre, develop an understanding of the theatre process, and enable appreciation and participation in theatre through various roles. A minimum of two double periods per week over two years is recommended to teach the syllabus.
Advertising is defined as the nonpersonal communication of information about products, services, or ideas, usually paid for by identified sponsors through various media. Its purpose is to persuade consumers. As mass production led to increased supply, marketing evolved from a production focus to sales-oriented promotions and eventually became more marketing-oriented by attempting to discover what products consumers actually wanted.
This document provides a lesson plan for teaching English adjectives to EFL students. It includes warm-up activities with poems and songs containing adjectives. Students then practice describing people using adjectives. Definitions and examples of adjectives are provided. Exercises have students identify adjectives, find intruders, and describe people and situations using adjectives. The lesson concludes with a role-playing activity and wind-down songs to identify adjectives.
This production of Anna in the Tropics will focus on the theme of tradition versus technology, depicting the warmth of Latin culture contrasted with the cold efficiency of industry in a cigar factory. The debate around hiring a lector illustrates the conflict between maintaining cultural traditions or employing modern cost-cutting methods. The director envisions setting the play in a dark, earthy factory setting decorated with sentimental items, with the characters dressed in light, flowing clothing. Dim, sepia-toned lighting will create a vintage look, while radio and live readings will reflect the cultural influences in the story through sound design.
This document contains 45 life lessons from a 90-year old, focusing on making the most of life and embracing each moment. Some key points include enjoying life and not worrying about what others think; finding support from family and friends rather than jobs; making peace with the past; and remembering that challenges are temporary but living life to the fullest is what truly matters.
This document appears to be a record of marks for candidates who completed the Caribbean Secondary Education Certificate in Theatre Arts. It provides instructions for three required components: Drama Improvisation or Dance Improvisation; Stage Management or Production Management; and Costumes. The record includes spaces to enter marks for up to 25 candidates across several criteria for evaluating their performances, creations, and appreciation/analysis. Teacher, specialist, principal signatures and dates are required at the bottom to validate the marks.
This document contains over 350 English proverbs. Some key proverbs include:
- A bird in the hand is worth two in the bush.
- A friend in need is a friend indeed.
- A penny saved is a penny earned.
- All that glitters is not gold.
- Better late than never.
- Don't count your chickens before they hatch.
- Easy come, easy go.
Cara Suites Hotel provides terms and conditions for events held at their facility. Key points include: all food and beverage must be purchased from the hotel with some exceptions; clients can access rooms early to set up but changes later may incur fees; decorations need approval and clients are liable for any damages; and music must not be profane and at an acceptable noise level. The document also outlines policies on accommodations, parking, smoking, buffets and beverage options including host and budget bars.
This document is a draft of the screenplay for the film No Country for Old Men by Joel and Ethan Coen, based on the novel by Cormac McCarthy. It begins with a voiceover from an old sheriff reflecting on his career and the old-time sheriffs of the past who never wore guns. Through landscapes dissolving into one another, the sheriff talks about comparing himself to the old-timers and a criminal case he had involving a boy who murdered a 14-year-old girl without passion, saying he had planned it for a long time and would do it again if released. The pan ends on a police car on the side of the road.
The document discusses the benefits of exercise for both physical and mental health. It notes that regular exercise can reduce the risk of diseases like heart disease and diabetes, improve mood, and reduce feelings of stress and anxiety. The document recommends that adults get at least 150 minutes of moderate exercise or 75 minutes of vigorous exercise per week to gain these benefits.
The document summarizes observations of several patients at a mental asylum. It describes their behaviors, backgrounds, and interactions with nurses and a receptionist. The patients exhibit a range of conditions including low self-esteem, bi-polar disorder, drug abuse, abuse as children, depression, and schizophrenia. They discuss their histories and struggles. A sociologist also observes some case studies of patients who have engaged in theft after leaving an orphanage.
The document summarizes 13 scenes from an IMPROV 2013 NCSC play. In the first scene, students debate the pros and cons of the NCSC exam, discussing poor exam facilities and substitute teachers. In scene 2, Marcus Richards, a poor boy, argues with his mother who cares only about her boyfriend. In scene 3, Prissy and Romeo boast about money for an upcoming school dance while Marcus looks on in disgust. In scenes 5-7, sheriffs manipulate Marcus into taxing and protecting Romeo for money. Marcus is later confronted by a guidance counselor but storms out. In scenes 10-11, sheriffs convince Marcus to join their drug trafficking which seems to provide a sweet life. However, in
Brutus is contemplating whether Caesar should be killed to prevent him from becoming emperor in Shakespeare's play Julius Caesar. Brutus says he has no personal reasons to harm Caesar but is concerned about how Caesar's ambition and power could change his nature if he became emperor. Brutus worries that Caesar's affections may sway him more than reason and that he could abuse his greatness if given power. Brutus considers how Caesar may scorn those who helped him rise if given the highest position and decides they must prevent this by killing Caesar before he has a chance to change.
Ict lesson plan theatre arts feb 1st (2)andy motilal
This lesson plan is for a Theatre Arts class and focuses on critique writing. The teacher will show students a DVD of a play production. Students will take notes on elements of theatre like plot, characterization, costumes and lighting while watching. They will then discuss their observations of these elements in the play. To evaluate their understanding, students will write a critique of the production identifying the elements of theatre they witnessed.
This document appears to be a cover page for a research paper submission for a Theater Arts school-based assessment (SBA) given to a student in Trinidad and Tobago during the 2012-2013 school year. It lists the paper title, student name and registration number, school, test center number, country, year, and subject as Theater Arts.
it describes the bony anatomy including the femoral head , acetabulum, labrum . also discusses the capsule , ligaments . muscle that act on the hip joint and the range of motion are outlined. factors affecting hip joint stability and weight transmission through the joint are summarized.
বাংলাদেশের অর্থনৈতিক সমীক্ষা ২০২৪ [Bangladesh Economic Review 2024 Bangla.pdf] কম্পিউটার , ট্যাব ও স্মার্ট ফোন ভার্সন সহ সম্পূর্ণ বাংলা ই-বুক বা pdf বই " সুচিপত্র ...বুকমার্ক মেনু 🔖 ও হাইপার লিংক মেনু 📝👆 যুক্ত ..
আমাদের সবার জন্য খুব খুব গুরুত্বপূর্ণ একটি বই ..বিসিএস, ব্যাংক, ইউনিভার্সিটি ভর্তি ও যে কোন প্রতিযোগিতা মূলক পরীক্ষার জন্য এর খুব ইম্পরট্যান্ট একটি বিষয় ...তাছাড়া বাংলাদেশের সাম্প্রতিক যে কোন ডাটা বা তথ্য এই বইতে পাবেন ...
তাই একজন নাগরিক হিসাবে এই তথ্য গুলো আপনার জানা প্রয়োজন ...।
বিসিএস ও ব্যাংক এর লিখিত পরীক্ষা ...+এছাড়া মাধ্যমিক ও উচ্চমাধ্যমিকের স্টুডেন্টদের জন্য অনেক কাজে আসবে ...
Philippine Edukasyong Pantahanan at Pangkabuhayan (EPP) CurriculumMJDuyan
(𝐓𝐋𝐄 𝟏𝟎𝟎) (𝐋𝐞𝐬𝐬𝐨𝐧 𝟏)-𝐏𝐫𝐞𝐥𝐢𝐦𝐬
𝐃𝐢𝐬𝐜𝐮𝐬𝐬 𝐭𝐡𝐞 𝐄𝐏𝐏 𝐂𝐮𝐫𝐫𝐢𝐜𝐮𝐥𝐮𝐦 𝐢𝐧 𝐭𝐡𝐞 𝐏𝐡𝐢𝐥𝐢𝐩𝐩𝐢𝐧𝐞𝐬:
- Understand the goals and objectives of the Edukasyong Pantahanan at Pangkabuhayan (EPP) curriculum, recognizing its importance in fostering practical life skills and values among students. Students will also be able to identify the key components and subjects covered, such as agriculture, home economics, industrial arts, and information and communication technology.
𝐄𝐱𝐩𝐥𝐚𝐢𝐧 𝐭𝐡𝐞 𝐍𝐚𝐭𝐮𝐫𝐞 𝐚𝐧𝐝 𝐒𝐜𝐨𝐩𝐞 𝐨𝐟 𝐚𝐧 𝐄𝐧𝐭𝐫𝐞𝐩𝐫𝐞𝐧𝐞𝐮𝐫:
-Define entrepreneurship, distinguishing it from general business activities by emphasizing its focus on innovation, risk-taking, and value creation. Students will describe the characteristics and traits of successful entrepreneurs, including their roles and responsibilities, and discuss the broader economic and social impacts of entrepreneurial activities on both local and global scales.
Gender and Mental Health - Counselling and Family Therapy Applications and In...PsychoTech Services
A proprietary approach developed by bringing together the best of learning theories from Psychology, design principles from the world of visualization, and pedagogical methods from over a decade of training experience, that enables you to: Learn better, faster!
This document provides an overview of wound healing, its functions, stages, mechanisms, factors affecting it, and complications.
A wound is a break in the integrity of the skin or tissues, which may be associated with disruption of the structure and function.
Healing is the body’s response to injury in an attempt to restore normal structure and functions.
Healing can occur in two ways: Regeneration and Repair
There are 4 phases of wound healing: hemostasis, inflammation, proliferation, and remodeling. This document also describes the mechanism of wound healing. Factors that affect healing include infection, uncontrolled diabetes, poor nutrition, age, anemia, the presence of foreign bodies, etc.
Complications of wound healing like infection, hyperpigmentation of scar, contractures, and keloid formation.
Chapter wise All Notes of First year Basic Civil Engineering.pptxDenish Jangid
Chapter wise All Notes of First year Basic Civil Engineering
Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
Linear Measurements: Instruments used. Linear Measurement by Tape, Ranging out Survey Lines and overcoming Obstructions; Measurements on sloping ground; Tape corrections, conventional symbols. Angular Measurements: Instruments used; Introduction to Compass Surveying, Bearings and Longitude & Latitude of a Line, Introduction to total station.
Levelling: Instrument used Object of levelling, Methods of levelling in brief, and Contour maps.
Chapter 4
Buildings: Selection of site for Buildings, Layout of Building Plan, Types of buildings, Plinth area, carpet area, floor space index, Introduction to building byelaws, concept of sun light & ventilation. Components of Buildings & their functions, Basic concept of R.C.C., Introduction to types of foundation
Chapter 5
Transportation: Introduction to Transportation Engineering; Traffic and Road Safety: Types and Characteristics of Various Modes of Transportation; Various Road Traffic Signs, Causes of Accidents and Road Safety Measures.
Chapter 6
Environmental Engineering: Environmental Pollution, Environmental Acts and Regulations, Functional Concepts of Ecology, Basics of Species, Biodiversity, Ecosystem, Hydrological Cycle; Chemical Cycles: Carbon, Nitrogen & Phosphorus; Energy Flow in Ecosystems.
Water Pollution: Water Quality standards, Introduction to Treatment & Disposal of Waste Water. Reuse and Saving of Water, Rain Water Harvesting. Solid Waste Management: Classification of Solid Waste, Collection, Transportation and Disposal of Solid. Recycling of Solid Waste: Energy Recovery, Sanitary Landfill, On-Site Sanitation. Air & Noise Pollution: Primary and Secondary air pollutants, Harmful effects of Air Pollution, Control of Air Pollution. . Noise Pollution Harmful Effects of noise pollution, control of noise pollution, Global warming & Climate Change, Ozone depletion, Greenhouse effect
Text Books:
1. Palancharmy, Basic Civil Engineering, McGraw Hill publishers.
2. Satheesh Gopi, Basic Civil Engineering, Pearson Publishers.
3. Ketki Rangwala Dalal, Essentials of Civil Engineering, Charotar Publishing House.
4. BCP, Surveying volume 1
Communicating effectively and consistently with students can help them feel at ease during their learning experience and provide the instructor with a communication trail to track the course's progress. This workshop will take you through constructing an engaging course container to facilitate effective communication.
Constructing Your Course Container for Effective Communication
Stagemanagament bible
1. COLBY THEATER & DANCE
GUIDE TO STAGE MANAGEMENT
VERSION 2015, 01-08
2. Version 2015, 01-08 1
TABLE OF CONTENTS
Congratulations! 2
Preparing for Rehearsals 3
Preparing Your Stage Management Kit 4
Preparing Your Prompt Book 5
Pre- Rehearsal Meeting with Director 6
Running Rehearsals 7
Delegating 8
Taking Blocking 9
Rehearsal Reports & Tracking Rehearsal Times 10
Production Meetings 11
Building Run Sheets 12
Technical Rehearsals & Performances 13
The Company Meeting 14
Calling the Show 15
Cue calling protocol 16
Calling Times & Working with House Management 17
Appendix (Paperwork Forms, Templates, & Checklists) 18
3. Version 2015, 01-08 2
CONGRATULATIONS ON BEING THE STAGE MANAGER OF AN
UPCOMING COLBY PRODUCTION!
Stage Managing is the best way to learn first-hand everything it takes to put together a show. You will
have the opportunity to influence the process at every step of the way and you can be an indispensable
help to your director, design team and performers. It can also be a stressful and intimidating prospect,
but if you take it one step at a time you will be surprised at your ability to pull off one of the most
rewarding experiences of your college career.
For a refresher on the characteristics of a good stage manager, take a look at the book Stage
Management by Lawrence Stern. His eight points explain perfectly what makes a good stage manager
the best. He states that good stage managers:
Accept responsibility
Keep their cool
Keep their eyes and ears open and know when to share their opinions
Think ahead
Are considerate
Keep their sense of humor
Are organized and efficient
Are punctual and dependable
Approach all of your duties from a perspective of “What can I do to make this the show the very best it
can be?” With this question at the heart of all your actions as a stage manager, you will not only make
it through the process alive, but you will also shine as a great stage manager in the Theater and Dance
department.
4. Version 2015, 01-08 3
PREPARINGFORREHEARSALS
PREPARING FOR REHEARSALS
In order to be available to help your director and cast during the rehearsal process, you need to
prepare yourself as much as possible before rehearsals begin. Being able to answer questions and point
people in the right direction with minimal effort on your part will make your job a million times easier
and less stressful. But the only way that will happen is to plan ahead and get organized. So let’s get to
it!
Rehearsal Prep Checklist
read and be familiar with the Department’s Safety Information Sheets found at
www.colby.edu/theaterdance/safety (especially the sheets entitled General Safety Guidelines,
Main Causes of Accidents, Fire Protection & Fire Safety, Clothing & Personal Protection,
Rehearsals – General Safety, and Stage Management)
get to know the theater (locate exits, first aid kits, phones, fire extinguishers, fire alarm pulls,
and best paths to restrooms, dressing rooms, shops, etc.)
meet with the Technical Director for a building walk-through (this must be done before you
request keys)
meet with the Administrative Secretary to get keys
work with the Administrative Secretary to acquire tissues, pencils, highlighters, and other items
commonly needed in the rehearsal space
know the location of the nearest trash and recycling cans
generate contact sheet (cast/crew/staff phone, emails, & roles)
work with Director to generate master calendar
work with Director to schedule weekly production meetings
work with Department secretary and Director to set up the call board (outside Runnals 104A)
- emergency numbers
- master calendar
- contact sheet
- rehearsal schedule
prepare your SM kit (see p. 4)
prepare your prompt book (see p. 5)
set up a rehearsal report form (see appendix)
set up a production email distribution list. Make sure that reports go to the director, all designers,
department heads (technical director, choreographer, costume shop manager, etc.), and all
students in the stagecraft classes
generate scene breakdown or for dance, a list of performers in each piece (see appendix)
get familiar with the prop plot
work with Technical Director and Director or Choreographer to coordinate pulling of rehearsal
props and furniture (get something to stand-in for every prop even if it’s not the real thing)
get familiar with the costume needs (especially hats, bags, canes, glasses – anything that a
performer will interact with like a prop)
work with Costume Shop Manager to coordinate pulling of rehearsal costumes
work with Costume Shop Manager to schedule costume measurements
for shows with a set, work with Director or Choreographer, Designer, and Technical Director to
tape out set on stage (sometimes this is done by the Stagecraft class, but if not, it is your
responsibility)
5. Version 2015, 01-08 4
PREPARINGFORREHEARSALS
PREPARING YOUR STAGE MANAGEMENT KIT
In order to be prepared for anything and to maximize rehearsal time, you’ll want to have the things
you’ll need for rehearsal on hand in an easy-to-access place. Below is a list of the minimum inventory
you should be sure to have, but if you think of other things that would be useful please add them to
the list.
You should meet with Debi Ward, Department Administrative Secretary, to arrange for payment of any
replacement items. Make sure the SM kit is complete before rehearsals begin.
SM Kit Checklist
antacid
band-aid, brush-on, clear
band-aids, assorted
batteries, 8 @ AA size, 4 @ D size
brads (1-inch)
breath mints
can opener
chalk
cough drops (sugarless)
dental floss
dust cloth
eraser, large, art gum
foot tape
flashlight
gauze
hair pins
hole punch
instant ice packs
magnifying glass
moist towelettes, individually wrapped
nail clippers
nail file
Neosporin
note cards, 3” x 5”
paper clips
pens, black or blue, ball-point
pencil sharpener
pencils, many, #2
Purell hand sanitizer
rubber bands
ruler, 12”
safety pins
scissors
Scotch tape
sewing needles
Sharpies
single use artificial tears
stapler
staples
stop watch
straight pins
tailor’s measuring tape
tampons
thread, black and white
throat lozenges
thumbtacks
tissues
toothpicks
tweezers
vitamin C, chewable tablets
**Note that for health safety reasons, the Department does not provide aspirin/ibuprofen/
acetaminophen or any other medications than the ones listed above.
**First-aid supplies in the SM kit are there as a convenience and not as a replacement to any of the
first-aid kits in the theaters, shops, dance studio, or front office. Quantities of these supplies in
the SM kit should be kept fairly minimal.
6. Version 2015, 01-08 5
PREPARINGFORREHEARSALS
PREPARING YOUR PROMPT BOOK
The most important key to keeping yourself organized and efficient in rehearsals is to have a really
well set-up prompt book. Spend some time on this project before rehearsals start. It will make all the
difference to your sanity as the production moves through its various phases.
For a scripted play or dance, start with a copy of the script and a binder. Each page of the prompt
book should be a page of the script blown up on an 8 ½ x 11 sheet of paper (single-sided). You want
the text as big as you can get it, leaving a 1 ½” margin on the left hand side and 1” on the top, bottom
and right sides. Make sure that any weird copier gray is cleaned up, since you need to be able to write
in the margins.
On the back of each script page, copy the blocking sheet template from the back of this workbook. If
you have a ground plan of your set, you can tape a copy of it in the blank box at the top of the
template before you make the copies. This will save you some time later when you are writing in
blocking.
Hole punch the script on the RIGHT hand side of the pages. This is backwards from how you would
usually set up a binder, but for your prompt book you will be laying out the text of the script on the
left hand side and the blocking sheets on the right side.
Use some dividers (or post-it notes on the edge of a sheet of paper) to make places for your paperwork
you will be generating during rehearsals and to keep any notes on the show organized.
Examples of recent Department show prompt books are available from the Chair’s office. Looking at
an example is extremely helpful before getting started.
Here’s how your layout should look once you get set up. For a more in depth explanation of prompt
book notation, see the appendix.
7. Version 2015, 01-08 6
PREPARINGFORREHEARSALS
PRE-REHEARSAL MEETING WITH THE DIRECTOR
A lot of your stress can be avoided by having a good conversation with your soon-to-be-best-friend, the
Director. Once again, being prepared with the right questions to ask will save you grief down the road.
It’s important to get a feel for the director’s rehearsal style and what they expect from you.
Questions for your pre-rehearsal meeting with the director
How would you like to organize the first day of rehearsal? May I have some time to make
announcements to the cast before we start?
What prop, set or costumes should I pull for our rehearsals?
Are there any other things that you like to have around for rehearsal or that you would like the
stage management team to be responsible for?
Do you want me to help you create the master calendar of rehearsals and performances?
When and how often do you want to build in breaks during rehearsal?
How would you like me to get your attention when it’s time for a break?
Do you have any particular requests in terms of blocking notes?
Do you have any additional items you’d like to include on the rehearsal report?
At the end of your meeting, be sure to make a plan to have a daily after-rehearsal check-in. You will
frequently have questions after rehearsals and it’s good to try and get the director into getting into the
habit of checking-in with you before they leave for the night, since other members of rehearsal will be
vying for their attention too. Remember that good communication with the director is essential for the
stage manager to be effective, and if you don’t feel you are getting the information you need, you
have every right to ask for it.
8. Version 2015, 01-08 7
RUNNINGREHEARSALS
RUNNING REHEARSALS
Once you get your first rehearsal started, you can take a deep breath. All that preparation means you
can now watch the things that you’ve set in motion grow into a full-fledged show! Make sure that you
take your moment before things get started to go over any announcements that you need to make
about safety, paperwork and the rehearsal schedule.
During rehearsals through performances, the stage manager is the official timekeeper of the production
and should call the start and stop of the rehearsal to the director so that they can keep things moving
along. Calling a break during rehearsals is also part of the timekeeper role. You should discuss in
advance with the director when he/she would like to fit in the break(s). For the most part, directors
will run a scene, stop the scene and give notes, then reset and do the scene again. If you are working
with someone who you know does not like to stop, you may try to gently tell them between the notes
and resetting that after you run the scene again it would be a great time to take a break. Always ask
the director before calling a break! Never just pipe up and announce “We’re taking five!”
One of the trickiest parts for a stage manager is sitting in rehearsals while artistic decisions are being
made and resisting the urge to chime in with opinions on acting, choreography, or staging. This is not
the function of the stage manager and it is inappropriate for the SM or ASM to give unsolicited advice.
Sometimes you will work with directors who will ask for your opinion and in that case it’s fine to speak
up. If you really have strong feelings about something it’s fine to make notes and speak with the
director on a break or after rehearsal. Never give out these artistic ideas in front of the cast! You
may not know what the director ultimately has in mind for the scene and you may disrupt the process if
you throw unwanted ideas around the room. However, if you know a logistic or safety reason that
something the director is trying to do won’t work, by all means say something. (For example, if the
director is thinking that someone is going to make a two minute costume change in 15 seconds and be
on time for their entrance then it’s important that you flag that for the director and, if needed, discuss
it in a production meeting.)
9. Version 2015, 01-08 8
RUNNINGREHEARSALS
DELEGATING
During rehearsals you will have help with all of your duties in the form of one, if not more, assistant
stage managers (ASM). The Assistant Stage Manager can ease a lot of the stress that comes from
needing to be everywhere at once and if you let them, they can be your secret weapon.
Just because the stage manager is responsible for a task doesn’t mean that the SM has to personally do
the task. It means that the SM needs to make sure that the task is done and done well, but delegating
is the only way to make it all happen and stay sane. During regular rehearsals the tasks should be
divided up:
Stage Manager
taking blocking or noting important moments in the choreography
timing breaks, scenes, etc.
taking notes for the rehearsal report
tracking placement of lighting and sound cues
Assistant Stage Manager
being on book, when working with a script (This is actually a really big responsibility - the longer
a performer has to wait for their line to be delivered, the more “out of the moment” the cast
becomes and the less productive the rehearsal becomes. It is very important to stay right on the
text and jump immediately in with the line if someone calls for it.)
resetting scenes or dances while the Director or Choreographer is giving notes (This is also a big
one, as it saves lots of time)
presetting props and prop tracking
line notes, when working with a script
Once you get into tech rehearsals the ASM will be your eyes and ears backstage. They will preset props
and explain to the run crew their duties. It’s a good idea to have your ASM on headset during the show
as much as possible so that you have a link to what is happening back there.
Other Rehearsal Tasks to be Done by You and your ASM Team
sweep and set up the stage before each rehearsal
call latecomers
brief company members on safety issues
spike set pieces or performer marks
clean up, put rehearsal items away, set up ghost light, turn off room lights, close windows, and
lock doors at the end of each rehearsal
Plan to meet with your ASM(s) before rehearsals start and let them know how you would like rehearsals
to be run, what your expectations of them are and any information that you learned from the Director
that might be useful to your team. Remember that just as you are looking to the director for guidance,
your crew will be looking for your direction.
10. Version 2015, 01-08 9
RUNNINGREHEARSALS
TAKING BLOCKING
A primary responsibility of the stage manager is to assist the director and cast in remembering the
blocking decisions that were made during rehearsals. Having accurate notation will also make the tech
process smoother for you: when the lighting designer says “Take cue 156 on their cross downstage”,
you will brilliantly have that move right there in your book and you’ll know precisely where to place
the cue. Some keys to taking successful blocking notes at are:
1. Be sure to delegate other tasks to your ASM(s) so that you can be focused on the director and cast.
2. Use a system of shorthand (it has to be something that you will understand later!) to swiftly make
notes as the performers move around.
3. Pay attention when the director is talking! That way if there’s any disagreement about what a
performer’s next move is supposed to be, you will – brilliantly – have the director’s preference
written down.
In order to notate blocking quickly, abbreviations are used for each section of the stage, as depicted in
the diagram below. (When taking blocking for a show in the round, the stage is usually divided up into
the face of a clock, with 6 o’clock being the position of the tech booth.) Also for your notation
shorthand, use abbreviations of the character names not performer names in case someone unfamiliar
with your production has to step in and use your book. They may not know your performers’ names, but
they will be able to follow characters in the script.
So if your performer playing the character Jim is crossing stage left to a table, the quick way to notate
that would be “ J x SL to table.” I used the first initial of the character name and drew a circle
around it so that I can see performer movements at a glance. I used “x” to stand for “cross” and just
filled in the action. If it was a smaller move, only a couple of steps, I would abbreviate it “ J x 2 to
table.” I don’t need the word “steps,” I know that if there’s a number there, I’m talking about that
number of steps.
When you are using the blocking sheet template (see the appendix) the idea is to write the blocking on
a line and then write the corresponding number for the movement in the script where the action
happens. This keeps your text free from clutter so that you can place in your light and sound cues later
and still be able to see all the information on a page at once. When you are picking the number on the
blocking sheet to assign to a move, try to keep them in chronological order according to the order of
the actions and skip lines so that if more moves get added you can still more-or-less keep them in
order.
USR
(up stage right)
US
(up stage)
USL
(up stage left)
SR
(stage right)
CS
(center stage)
SL
(stage left)
DSR
(down stage right)
DS
(down stage)
DSL
(down stage left)
11. Version 2015, 01-08 10
RUNNINGREHEARSALS
REHEARSAL REPORTS
A big part of the stage manager’s job is facilitating communication and disseminating information.
Writing daily rehearsal reports keeps designers and other production team members in the loop
regarding what’s happening in rehearsal without the stage manager having to track each person down
individually. During rehearsal, jot notes down either on a notepad or directly into the report on the
computer. Keep the tone of your note neutral; “We would like to add a bottle of soda” would be a
good way to word a note under the props section. In theory, all of the designers and department heads
should be reading all of the rehearsal report, but sometimes they just scan their own section so it’s
advisable to copy and paste notes that affect several departments into each of their sections on the
report. Rehearsal reports should be sent out the same day as rehearsal. If you’re able to keep a running
list in your computer during rehearsal, all you have left to do is format, read through and make sure
you got all the notes and that you’ve made yourself clear, then copy and paste into the body of a fresh
email and send it to your show distribution list you set up during prep.
Important: make sure that all rehearsal notes are sent as fresh emails to the distribution list (as
opposed to hitting the reply all for the previous day’s email). This avoids confusion.
For a rehearsal report template, see the appendix.
TRACKING REHEARSAL TIMES
It is very helpful to designers and crew members to have a sense of how long scenes, acts, dances and
costume changes will be during the show. When you get to the point in rehearsals that you are running
whole scenes with minimal stopping, start timing anything that could be useful down the road. This is
another great job to delegate if you have extra help since the person needs to be really focused on
starting and stopping the stopwatch as accurately as possible. Every time you do a full run through of
the show, time it from start to finish and put the times in the “General” section of your rehearsal
report. Those numbers are helpful for everyone, especially house management and box office.
12. Version 2015, 01-08 11
RUNNINGREHEARSALS
PRODUCTION MEETINGS
The stage manager is responsible for scheduling and running the weekly production meetings. It’s a
good idea to jot down some points from your rehearsal reports that would benefit from a conversation
with everyone in the room. If it’s a topic that could be discussed one-on-one (as opposed to a group
discussion), then it is better to save time and hold that discussion separately. You should take notes at
the meeting (or better yet, have the ASM take notes so you can focus on running the meeting) and
email the notes to everyone by the end of the day of the meeting. Follow the outline below and do
your best to keep the meeting on track.
I. Budget Status Reports (allow 5 minutes)
-Costumes & Makeup
-Sets/Props, Lights, & Sound
-Other
II. Safety (allow 10 minutes)
A. Discuss risk assessments before the production process begins, during the rehearsal process,
and before the show opens
B. Plan emergency preparedness (especially before rehearsals begin and then again before
technical rehearsals begin)
III. Departmental Reports & Discussion (allow 30 minutes)
NOTE: Change the order of these departments as timing and needs demand.
Usually costumes, props, and scenery need the most time in the early phase
of production. Lights and sound should receive higher priority as tech
rehearsals approach. Also check the publicity timeline. As those deadlines
near, publicity should take precedence. Above all, make sure time is
allotted for all departments. Keep the meeting focused and moving!
-Costumes
-Props
-Scenery
-Lights
-Sound
-Projection
-Makeup
-Stage Management
-Program
IV. Scheduling rehearsals and next meeting. (allow 5 minutes)
13. Version 2015, 01-08 12
RUNNINGREHEARSALS
BUILDING RUN SHEETS
During rehearsals you and your ASM should work on building the run sheets that the crew will use to
learn their parts backstage. It’s important to take the time to work on these during rehearsals so that
you are not trying to construct them from memory the night before tech!
A really easy way to build your run sheets is to keep a post-it on the fist blocking page of each scene.
When you get to a new scene in rehearsal, jot down all the set pieces and props needed for the scene
and any set pieces or props from the previous scene that need to be struck. This will give you a quick
cheat sheet of everything that will need to move, and when you get to the point in rehearsals where
the director is ready to block scene changes, you will be prepared to make sure no prop gets left
behind!
As soon as you get into stumble-throughs of the show, you can start to assemble your official run
sheets. Working with the template in the appendix, assign specific people to as many moves as you
can. This will help you see places where you might need extra crew members to move an unwieldy set
piece or where an performer may have to pre-set their own prop in the wings because all of your crew
is busy.
A good percentage of your crew will be from other theater classes and will not have been in rehearsal.
Try to put enough information on the sheet that someone unfamiliar with the show can pick it up and
follow along fairly easily but not so much information that they get bogged down in irrelevant details
and miss their cues. It’s also helpful if you give everyone their own copy of the run sheets with their
assignments highlighted. If you have a set that changes lot, I would recommend blowing-up sketches of
the ground plan set configuration for each scene and posting them, labeled and in chronological order,
on the walls backstage, out of audience sight lines (this is a great job for your ASM). That way a crew
member can tell with a glance at the run sheet “I’m moving the bunk bed to stage left with the ASM”
and a quick look at the wall will give them a visual sense of where the set piece is currently and where
they will be moving it in the next scene. It is usually a good idea to also post your run sheets backstage
so that people can have their hands free and don’t have to keep reaching in their pockets for their
sheets.
No matter how well you plan ahead in rehearsals, THINGS WILL CHANGE DURING TECH. Encourage
your crew to write down all of the changes and additions to their assignments on their run sheets and
then have your ASM collect them at the end of rehearsal. Make changes to the master run sheets and
have new, highlighted copies for everyone at the next rehearsal. Again, this is a great project for your
ASM.
Dealing with run sheets in advance is a cinch and can save a lot of time and confusion during tech.
Putting them off until the night before tech will make you a miserable person, so don’t let it happen!
For the run sheet template, see the appendix.
Things to note while looking at the run sheet template:
1. Don’t split a scene change across a page break.
2. Keep each person’s moves for each scene change together in chronological order. That way all they
have to do is look at their part and they won’t miss a move.
3. Be sure to put a version number at the top so that people will know if they are using the latest
version.
4. Try to put as much relevant information in the notes section, but not so much that it’s confusing.
How long someone has for a quick change is good to note, but all the pieces involved in the change
should be on a separate run sheet for the wardrobe person.
5. It’s a good idea to make the footer “page ‘?’ of ‘total’ pages” so that people will know if
they’ve lost a page.
14. Version 2015, 01-08 13
TECH&PERFROMANCES
PREPARING FOR TECH, DRESS & PERFORMANCES
Before Tech Rehearsals Begin
post call board updates
place glow tape
spike sightlines indicating where performers can’t be seen behind set pieces (ASM)
prepare prop tables (cover with paper and label location of each prop) (ASM)
work with Costume Shop Manager to make sure quick change area(s) are set up
work with Technical Director to determine when the shop will be clean and carpeted so
performers can use it as a crossover
post sign-in sheet
post scene list (ASM)
post run sheets (ASM)
check flashlights (ASM)
conduct performer walkthrough
work with Technical Director to choreograph scene changes
check stopwatch (you will need to time runs and performances)
Prior to Opening Night
Fill out the Stage Manager Questionnaire and return to the Administrative Secretary
(see appendix)
Make sure that amid the mayhem of getting things pre-set for the first tech rehearsal, you take a
moment to get yourself set-up at the tech table. You’ll be able to focus better on the rehearsal and
calling cues if you set yourself up in a way that’s efficient for you to work. Make sure that you have
enough room for your prompt book, a good light that will shine on your book but not block your view of
the stage, and enough headset cable length to move freely and put your box where you’d like it.
15. Version 2015, 01-08 14
TECH&PERFROMANCES
THE COMPANY MEETING
A company meeting is usually scheduled at the beginning of the first technical rehearsal and the stage
manager is in charge of running the meeting. The most important thing is to keep this meeting up-beat
and positive! Try to stay away from negative statements as much as possible. This is an exciting time
and a big list of rules will kill all enthusiasm. On the other hand, you must be very clear about the
protocol for the tech process, particularly as it relates to safety. Before you go into the meeting,
review the Theater & Dance Safety Information Sheets which can be found here:
web.colby.edu/theater/?page_id=399
TYPICAL COMPANY MEETING AGENDA
I. Introductions (let everyone introduce themselves and explain their role in the production.)
II. Overview of the tech rehearsal process
A. Describe each type of upcoming rehearsal (remember that some of the people in the
company have never done a show at Colby before)
B. Give the Director(s)/Choreographer(s)/Musical Director(s) a chance to add anything
C. Give the Designer(s) a chance to add anything
D. Give the Costume Shop Manager a chance to add anything
III. Procedures & Policies
A. Punctuality (including “Go”, “Stop” and “Dismiss” times)
B. Sign-in Sheet (remind people that they should sign-in for themselves)
C. No food/drink in theater, stage, shop (non-show food, that is)
1. Have run crew return prop plates, etc. to dining hall, don’t leave for custodians
D. Announce the rehearsal date that performers should stop walking down the aisle through the
proscenium arch to make entrances (usually first dress but check with director)
E. Announce the rehearsal date that performers and backstage personnel are no longer to
watch from the house (usually second dress but check with director)
IV. Emergency Preparedness
A. 5911 or 207-859-5911 (not 911)
B. Fire Drill
1. Check-in point
2. No talking
C. Location of First Aid Kit
D. Location of Approved Fire Exits
E. Location of Fire Extinguishers
F. Location of Fire Alarm Pull Stations
G. Location of Fire Blankets
1. Stop, Drop, & Roll (facing down)
V. Other
A. Explain ticket/admission procedures
B. Anything else as defined by the production team at the last production meeting prior to this
company meeting
VI. Wrap Up
A. Final Thoughts/Questions
B. Announce how long until places
1. Allow a reasonable amount of time to make an on-time “Go” feasible
16. Version 2015, 01-08 15
TECH&PERFROMANCES
CALLING THE SHOW
Calling the show is a big part of the stage manager’s role, and most people find it the most enjoyable
part of the job. It’s very much the equivalent of being a performer; you have to know your part (but
not from memory!) and you have to be on time with your cues. There is a certain art to being able to
call a show well and a lot of what it takes to be successful is – you guessed it – being organized!
Remember how we were very specific with the way that we copied the script and set-up the prompt
book? Now is the time that prep pays off. During the pre-tech process you will get cues from your
designers which will include the name of the cue (typically a number for lighting and a letter for sound
so that they are less apt to get confused when you are calling the show) and a placement which will be
based on either text in the script or an action on stage. As soon as you get the cue placements, you
should go ahead and write them in your script, IN PENCIL, as things will change during tech. You should
write your cues in the left-hand margin of the script (aren’t you glad we left all that room there?) and
you should write exactly what you are going to say so that when you call the cue all you have to do is
read exactly what is on the page.
After you have the cues in your book, you can add “Standbys.” Standbys are used to give your board
operators a heads up that they have a cue coming up and it is their job to put a finger on the button at
the standby so that all they have to do is push it when you call the “GO.” Try to place your standbys
early enough that your board op can respond to your call (typically they respond with: “Lights” or
“Sound” or whatever they are running so that you know they heard you) and get in place, but not so
early that they lose focus and forget that they’re standing by. For people with cues that require them
to get into place (i.e. Fly cues), allow a little extra time for them to get there. Feel free to adjust your
standby placements based on feedback from your crew.
On your first rehearsal with your board ops, carve out a little bit of time before you start rehearsals to
orient everyone who is on headset during the show and to go over headset protocol. Make sure that
everyone knows how to turn the headset on and off and where the volume knob is located. Talk
through the cue calling procedure, “First I will call a standby, you respond with ‘light, sound, etc.’ and
put your finger on the button. Then I will call the cue, ‘Lights, sound, etc. … GO!’ and you will push
the button on the GO; as close to the “G” of the “GO” as possible.” Also remind people to let you know
when they are getting on or off headset so that you know who’s there. Getting all this said before you
get started will hopefully get everyone on the same page from the start. Remember to clearly state
your expectations. Also, keep in mind that that a little witty headset banter is fun but it’s the stage
manager’s prerogative to cut any unnecessary chatter if it’s interfering with people’s focus on the
show. And under no circumstances should any non-show chatter happen once you’re in a standby.
As for actually calling the cues, the most important thing is to try to be as clear and
consistent as possible so that your crew can follow you. Always call things in the same
way. Standby cues always start: “Standby cue ‘lights, sound, etc.’” GO cues always
start: “Lights, sound, etc.… GO!”. The “…” is a pause for you to look at the action of
the play or follow the text in the script for a moment. It’s a good idea to build this
little breath into your calling so that you can be as accurate as possible. Try to be as
consistent as possible with it so that your board ops aren’t left guessing when you’re
going to say GO. If you have a sequence where you have a lot of cues coming up, you
can combine your light and sound standbys and GOs, for example: “Standby Lights 100-
103 and Sounds A and B” then “Lights 100 and Sound A… GO!” and on to the rest of the sequence.
There’s a decent YouTube clip here: www.youtube.com/watch?v=5TXBqdDAXgE that demonstrates a
calm and collected stage manager calling cues for a tech rehearsal of the musical Hairspray. Listen to
how consistent he is being even though there is a lot going on!
17. Version 2015, 01-08 16
TECH&PERFROMANCES
CUE CALLING PROTOCOL
Calling Single Cues:
WARNING – Used when there are very few cues and a lot of time between them. Also good for giving
run crew a head’s up on a cue that may require them to get from one side of the stage to the other.
Action - Operator finger is not on the button yet / Run crew moving into position.
Stage Manager: “Warning Lights 53”
Light Operator: “Lights”
STANDBY – Typically placed ½ page prior to the cue for plays. Dance pieces tend to be in constant
standby.
Action – Operator puts finger on button to Prepare for “GO” / Run crew takes break off the line set and
holds rope.
Stage Manager: “Standby Lights 53”
Light Operator: “Lights”
GO! – The command triggers the cue. Your verbal timing is extremely important on this one.
Action – Operator presses the “GO” button / Run crew executes move
Stage Manager: “Lights 53… GO”
Light Operator pushes button
Calling Multiple Cues:
STANDBY
Stage Manager: “Standby Lights 53, Sound G and Projections 27”
Light Operator: “Lights”
Sound Operator: “Sound”
Projection Operator: “Projections”
GO!
Stage Manager: “Lights 53, Sound G and Slide 27… GO”
Operators push button / execute cue
18. Version 2015, 01-08 17
TECH&PERFROMANCES
CALLING TIMES
Once you are into dress rehearsals and performances you’ll want to make sure that your crew
understands their responsibilities so that you are free to watch the clock. It might feel strange at first
to not be running around while everyone else is, but as the stage manager it’s your responsibility to
make sure that you are free to deal with any last minute issues and double check your crew’s work.
Also, it is super important to always be keenly aware of the time. You are in charge of making sure
that everything stays on schedule. Be sure to announce the time to everyone – cast, crew, and house
manager. Be loud and clear and make sure that you get a response when call the time. If you call half-
hour, the response from the people you’re talking to should be “Thank you half-hour.” Insist that they
get in the habit of doing this to avoid an “I never heard you call fifteen!” freak-out.
“30 minutes until house open” – called 30 minutes before opening the house
“Fifteen minutes until house open” – 15 minutes before opening the house
“Five minutes until house open” – 5 minutes before opening house
“Half-hour & House Open” – called 30 minutes before the show “GO” time (see “Working with House
Management, below)
“Fifteen minutes” – 15 minutes to show “GO” time
“Five minutes” – It’s actually a good idea to call this about 7 minutes before show time so that people
have a little more time than they think
“Places” – Check in with House Management before you call this to make sure that there aren’t any
reasons to “hold the house” in case of late audience members, seating issues, or any other number of
things that can go wonky at the last minute. If things are going well, call this about two minutes
before the actual start time so that people have a chance to get to places. You will either call place
over the paging system or call it yourself backstage and then head to the booth, so make sure that
you have an ASM assigned to be on headset to tell you when you have places.
At intermission, either ten or fifteen minutes long, you will call five minutes at about seven ‘til and
places at two ‘til. Don’t forget to start your timer at the beginning of each intermission.
WORKING WITH HOUSE MANAGEMENT
When you get into performances, you will have the additional duty of working with the house manager.
Traditionally the stage manager takes responsibility for everything that happens from the front of the
stage back and the house manager is responsible for everything front of house including the audience
experience. Before or at half-hour, the stage manager “turns the house over” to the house manager
and tells them that they are free to open the house. It’s important to communicate frequently with the
house manager up to the start of the show and at intermission. It’s considered good form to keep to a
regular routine each performance so that the house manager and your crew never have to go looking
for you. If you need to disappear for a moment, be sure to let someone know where you’re going.
Consider the house manager part of your run crew team and give them the same attention as you
would your crew.
19. Version 2015, 01-08 18
APPENDIX
Stage Management Forms & Templates
Prompt Book Notation 19
Blocking Sheet Form 20
Contact Sheet Template 21
Rehearsal Report Template 22
Scene Breakdown Template 23
Scene Shifts Example 24
Line Notes Form 25
Stage Manager Questionnaire 26
Box Office Checklist for Ushers & Assistant House Managers 27
Strider Theater Stage Manager Checklists
Pre-Rehearsal and Post Rehearsal 28
Pre-show 29
Intermission 31
Post-show 32
22. Version 2015, 01-08 21
CONTACT SHEET template
COLBY THEATER & DANCE DEPARTMENT
“Name of Show”
contact sheet
PERFORMERS
“Name”
Role
phone number e-mail
“Name”
Role
phone number e-mail
“Name”
Role
phone number e-mail
ARTISTIC STAFF
“Name”
Director
phone number e-mail
“Name”
Choreographer
phone number e-mail
“Name”
Set Designer (etc.)
phone number e-mail
STAGE MANAGEMENT
“Name”
Stage Manager
phone number e-mail
“Name”
Assistant Stage Manager
phone number e-mail
“Name”
Assistant Stage Manager
phone number e-mail
DEPARTMENT FACULTY/ STAFF
Lynne Conner
Associate Professor of Theater
and Dance, Chair
(207) 859-4524
Runnals 111
ltconner@colby.edu
Todd Coulter
Assistant Professor of
Theater and Dance
(207) 859-4523
Runnals 104b
tcoulter@colby.edu
John Ervin
Technical Director
(207) 859-4522
Runnals 104c
jdervin@colby.edu
Annie Kloppenberg
Assistant Professor of
Theater and Dance
(207) 859-4526
Runnals 202
amkloppe@colby.edu
Christine Nilles
Costume Shop Manager
(207) 859-4528
Runnals 303
cnilles@colby.edu
Jim Thurston
Adjunct Associate Professor of
Theater and Dance
(207) 859-4525
Runnals 305
jcthurst@colby.edu
Shannon Hodgdon
Administrative Secretary &
Box Office Operations
(207) 859-4520
Runnals 104a
shodgdon@colby.edu
IMPORTANT NUMBERS:
Emergency: (207) 859-5911 (or extension 5911 from any campus phone)
Campus Security (Non-emergency): (207) 859-5530
Theater & Dance Box Office: (207) 859-4535
23. Version 2015, 01-08 22
REHEARSAL REPORT template
COLBY THEATER & DANCE DEPARTMENT
“Name of Show”
rehearsal report “date”
Please read all notes, not just those for your department
GENERAL:
1.
SCENERY:
1.
PROPS:
1.
COSTUMES/MAKEUP:
1.
LIGHTS/PROJECTION:
1.
SOUND:
1.
24. Version 2015, 01-08 23
SCENE BREAKDOWN template
The scene breakdown should be arranged either by the scenes as listed in the script or by scenes as the
director will want to rehearse. The purpose of the breakdown is to see what character is in which
scenes so that you can easily set a rehearsal call or see if everyone is there for an upcoming scene.
Below is an example of a scene breakdown from The Lion in Winter. The listing next to the page
numbers is the characters and the listing below is the actors so that there’s not confusion about who is
supposed to be there.
COLBY THEATER & DANCE DEPARTMENT
“Name of Show”
scene breakdown
Act I sc. 1- Alais Room
p. 1- 4 Alais, Henry (character names)
L. Godart, K. Paquin (actor names)
Act I sc. 2- Reception Hall
p. 4-5 John, Geoffrey, Richard
S. Dube, D. Harvey, Z. Knower
p. 5- 6 John, Geoffery, Richard, Henry, Alais, Eleanor
S. Dube, L. Godart, D. Harvey, Z. Knower, C. McMurdo-Wallis, K. Paquin
p. 6- 7 John, Geoffery, Richard, Henry, Alais, Philip
M. Balsley, S. Dube, L. Godart, D. Harvey, Z. Knower, K. Paquin
p. 7- 8 John, Geoffery, Richard, Henry, Alais
S. Dube, L. Godart, D. Harvey, Z. Knower, K. Paquin
p. 8- 10 Eleanor, Henry
L. Godart, C. McMurdo-Wallis
Act I sc. 3- Eleanor Room
p. 10- 11 Eleanor, Richard
D. Harvey, C. McMurdo-Wallis
p. 11- 12 Eleanor, Richard, John, Geoffrey, Henry, Alais
S. Dube, L. Godart, D. Harvey, Z. Knower, C. McMurdo-Wallis, K. Paquin
p. 12- 14 Eleanor, Richard, John, Geoffery
S. Dube, D. Harvey, Z. Knower, C. McMurdo-Wallis
p. 14- 16 Eleanor, Richard
D. Harvey, C. McMurdo-Wallis
Continue with this format until you have mapped out the whole play. This is a great task to assign to an
ASM if you have their help before rehearsals. Be sure to fill them in on any insight from your pre-
rehearsal meeting with the director before they get started.
26. Version 2015, 01-08 25
LINE NOTES form
performer: ________________________ page: ___________ date: ______________
correct line: _______________________________________________________________
__________________________________________________________________________
paraphrased inverted lines jumped cue mixed up words
dropped line dropped word/phrase
added word(s): ____________________________________________________________
performer: ________________________ page: ___________ date: ______________
correct line: _______________________________________________________________
__________________________________________________________________________
paraphrased inverted lines jumped cue mixed up words
dropped line dropped word/phrase
added word(s): ____________________________________________________________
performer: ________________________ page: ___________ date: ______________
correct line: _______________________________________________________________
__________________________________________________________________________
paraphrased inverted lines jumped cue mixed up words
dropped line dropped word/phrase
added word(s): ____________________________________________________________
27. Version 2015, 01-08 26
STAGE MANAGER QUESTIONNAIRE
Please fill out and return to the Box Office or Shannon Hodgdon (in Theatre Department
office) before opening night. Please meet with House Manager to go over any details or
questions before the house opens on the opening night of your production. Thank you.
Stage Manager: Phone: E-mail:
Show title:
Director:
Running time of
show:
How many
intermissions?
How far into show
is intermission?
Intermission will be 10 (ten) minutes UNLESS otherwise noted
Are there tickets being set aside by the director/ cast/crew? Yes ___ No ___
How many? _______ For whom? _____________________________________________
Will there be open flame used during the show? Yes ___ (which act(s)? ___________) No ___
Will there be a strobe light? Yes ___ (which act(s)? ___________) No ___
Will there be any gunshots? Yes ___ (which act(s)? ___________) No ___
Will performers be using any outside doors for exits or entrances? Yes ___ No ___
If Yes, which doors? ________________________________________________________
(It is the Stage Managers’ responsibility to ensure these doors are accessible before top of show)
Exactly how many seats are being used? _____________
Will you allow use of the Balcony for seating? Yes ___ No ___
Is late seating allowed? (See the Director)
Strider Theater: Yes, balcony ONLY ___ No ___ Other (specify) ________________
If Yes, when is late seating allowed? ____________________________________
Cellar Theater: Yes ___ No ___
If Yes, when is late seating allowed? ____________________________________
Will the show be videotaped? (See John Ervin) Yes ___ No ___
If Yes, which night(s)? ____________________
Do you need seats set aside for this? Yes ___ No ___ How many? _________
House is to open 30 minutes before top of show.
I will contact the House Manager 35 minutes prior to the top of show ______
House Manager should contact me 35 minutes prior to the top of show ______
Other comments:
28. Version 2015, 01-08 27
BOX OFFICE CHECKLIST FOR USHERS & ASSISTANT HOUSE MANAGERS
Show-time: 7:30pm (2pm)
6:30pm (1pm)
Arrive one hour prior to show
(remember to put on Usher tags and
ties)
Set out blue ticket stands (one at each
door that will be entered for show,
including balcony for Strider show)
Ensure programs are folded and put a
short stack of programs on each blue
stand
Set out easel and theater sign (Strider
instructions on one side, Cellar on the
other)
Ensure the front, middle blue door to
Runnals is unlocked (use hex key) and
outside lights are turned on
For Strider show, unlock all four
theater doors (use hex key)
For Strider show, ensure balcony doors
are unlocked (use thin hex key)
Place Reserved signs on aisle seats for
ushers (2 in house, 2 in balcony) and
House Manager
Place flashlights under all usher seats
Check to see if any VIPS need reserved
seats*
6:45pm (1:15pm)
Turn on Hollywood lights
6:55pm (1:25pm)
Asst. House Manager call Stage Manager
– ask if they are ready for House to
open in 5 minutes*
Ushers should be stationed in lobby
area to provide patrons with
information – only the Asst. House
Manager should remain in the Box
Office unless there are so many patrons
in line for tickets that an extra person
is needed
If there are wheelchair patrons*,
ensure that the folding seats are
removed for them and escort them to
their seat when the House opens
7pm (1:30pm)
Open House
Ushers stationed at blue ticket stands –
rip tickets in half, keep half
Ushers – please remember to be
cordial. Tell patrons to “enjoy the
show!” and offer them a program
7:25pm (1:55pm)
Asst. House Manager calls Stage Manager – ask
if they are ready for House to close in 10
minutes*
Flash the Hollywood lights
Announce in bathrooms that the House will be
closing
7:35pm (2:05pm)
House Manager will close the House (per Lynne
Conner, the House will stay open until 7:35pm
(2:05pm))
Turn off Hollywood lights and lights in 1st
& 2nd
floor lobbies
Asst. House Manager
7:35-7:50pm (2:05-2:20pm)
Asst. House Manager should remain in Lobby
area (NOT Box Office) for 15 minutes and
ensure no one enters the theater (late seating
for Strider shows is often in the balcony, but
make sure that has been approved before
sending patrons to balcony)
Tape orange signs on outer doors (the signs
alert people entering the building to be quiet)
Strike blue stands to Box Office
Count tickets in blue stands (put ticket stubs in
an envelope and mark the envelope with
number of tickets – remember to include the
ushers and House Manager in the count)
Remain in Box Office
Ensure Hollywood lights and lights in1st & 2nd
floor lobbies are turned on prior to Intermission
Intermission – Ushers and Asst. House Manager
Ushers prop open doors
Post-Intermission – Asst. House Manager
Strike the easel and sign to the Box Office
Post-Show
Ushers prop open doors
When the theater clears of patrons, ushers
must go through the aisles, picking up
discarded programs and paper trash, and
retrieving flashlights and reserved signs (return
to Box Office)
Re-lock all four theater doors (use hex key)
One of the balcony ushers must ensure doors
are re-locked (use thin hex key)*
*Please communicate information to House
Manager
29. Version 2015, 01-08 28
PRE-REHEARSAL CHECKLIST FOR STRIDER THEATER STAGE MANAGERS
UPON ARRIVAL TO BUILDING (At Least 10 Minutes prior to the rehearsal):
Central lobby door unlocked (hex key is in box office)
House right theater door keyed unlocked
At Light Control Panels, Back of House Right:
Press “On”
Press “Rehearsal”
Ghost light unplugged, cord stored neatly, light stored backstage
All rehearsal items pre-set & ready for rehearsal
Stage swept
Director’s table in place
Rehearsal sound system turned on if necessary
POST-REHEARSAL CHECKLIST FOR STRIDER THEATER STAGE MANAGERS
PRIOR TO DEPARTURE FROM BUILDING (You should be the last to leave the building):
All rehearsal items neatly stored away
Ghost light on & placed CS
At Light Control Panels, Back of House Right:
Press “Off”
Stage Door (upstage left) closed and locked
Both pairs of theater doors at either end of first row locked and pushed tightly shut
Both pairs of theater doors at back of house locked and pushed tightly shut
If Leaving After Normal Building Hours (11:00pm):
Lobby display area lights off (two switches next to breaker panel in coat rack area)
North door (by office) & central lobby door locked (hex keys are in box office)
Lights turned off in front lobby, office corridor & main lobby corridor
30. Version 2015, 01-08 29
PRE-SHOW CHECKLIST FOR STRIDER THEATER STAGE MANAGERS
*This list is intended for use at all Tech Rehearsals and Performances
(Front-of-house staff are only present at performances)
UPON ARRIVAL TO BUILDING (At Least 15 Minutes prior to the call time)
Complete “Pre-Rehearsal Checklist for Strider Theater Stage Managers”
Outside light switch (by house left emergency exit) turned on
Shop unlocked (all three doors) and lights turned on
Take shop phone receiver off hook and push orange "Goodbye" button
Turn on lights in glass hallway stage left
Upstage left door keyed open and held open
Turn on stair lights by dressing rooms and green room
Women’s Dressing Room:
Both doors unlocked
Hall light, mirror lights, bathroom lights, & power to dressing tables all turned on
Monitor volumes set to: ____
Men’s Dressing Room:
Both doors unlocked
Hall light, mirror lights, bathroom lights, & power to dressing tables all turned on
Monitor volumes set to: ____
Green Room:
Both doors unlocked
Lights turned on
Monitor volume set to: ____
Dance Studio (Only if being used by show):
Doors unlocked
Lights turned on
Light Booth:
Door unlocked
Fluorescent lights turned on
Window unlocked and open
Take booth phone receiver off hook and push orange "Goodbye" button
Sound Booth:
Door propped open
Fluorescent lights turned on
Window unlocked and open
Stage Manager running lights on
Stage Manager monitor volume set to: ____
6:00pm (12:30pm)
Check attendance on sign-in sheet and call latecomers
Preset all off-stage props, gels, etc. (ASM’s / crew)
Sweep and mop glass hall and stairs leading to dressing rooms and green room (ASM’s / crew)
Vacuum shop rugs (ASM’s / crew)
Confirm that light and sound checks are underway
Check here when Light Operator has notified you that light check is complete
Check here when Sound Operator has notified you that sound check is complete
31. Version 2015, 01-08 30
PRE-SHOW CHECKLIST continued
6:30pm (1:00pm)
Call “30 minutes until house open”
Introduce yourself to House Manager – this is usually a different person for each performance
Inspect glow tape and fix if necessary
Inspect spike marks and fix if necessary
Sweep and mop the stage (make sure floor is sealed) (ASM’s / crew)
Vacuum backstage rugs (ASM’s / crew)
6:45pm (1:15pm)
Call “15 minutes until house open”
Pre-set all onstage furniture, props, etc. (ASM’s / crew)
Check run lights
6:55pm (1:25pm)
Call “5 minutes until house open”
Fluorescent lights turned off in light booth, sound booth, & glass hallway stage left
Light booth door & light and sound booth windows shut (but left unlocked)
Call first light and sound cues
“Rehearsal” and “Stage Works” turned off, “System Lockout” on, house light control tested
Confirm with House Manager that you are ready to open house in five minutes
7:00pm (1:30pm)
Make sure the stage is clear
Notify House Manager that you are ready to open house
Call “Half-hour and house is open”
7:15pm (1:45pm)
Call “15 minutes”
7:25pm (1:55pm)
Call “5 minutes”
Confirm with House Manager that you are ready for house to close in 10 minutes
7:30pm (2:00pm)
Call “Places”
Confirm with House Manager that you are ready for house to close in 5 minutes
7:35pm (2:05pm)
Confirm with House Manager that house is closed
Confirm that all performers and any pre-show presenters are in place
Start the show (don’t forget to start your stop watch)
32. Version 2015, 01-08 31
INTERMISSION CHECKLIST FOR STRIDER THEATER STAGE MANAGERS
*Intermissions are 10 minutes unless otherwise noted
5 Minutes before end of Intermission
Call “5 minutes”
Confirm with House Manager that you are ready for house to close in 5 minutes
2 Minutes before end of Intermission
Call “Places”
Confirm with House Manager that you are ready for house to close in 2 minutes
End of Intermission
Confirm with House Manager that house is closed
Confirm that all performers are in place
Continue the show (don’t forget to start your stop watch)
33. Version 2015, 01-08 32
POST-SHOW CHECKLIST FOR STRIDER THEATER STAGE MANAGERS
*This list is intended for use at all Tech Rehearsals and Performances
(Front-of-house staff are only present at performances)
Green Room:
Lights turned off
Turn off anything that is plugged in
Both windows shut and locked
Both doors locked
Men’s Dressing Room:
Hall light, mirror lights, bathroom lights, & power to dressing tables all turned off
Both doors locked
Women’s Dressing Room:
Hall light, mirror lights, bathroom lights, & power to dressing tables all turned of
Both doors locked
Close and lock windows in each stairwell
Turn off stair lights by dressing rooms and green room
Turn off lights in glass hallway stage left
Shop phone receiver placed back on hook
Shop locked and lights turned off
Upstage left door closed and locked
Outside light switch (by house left emergency exit) turned off
If necessary, close windows, turn off lights and lock the dance studio
Sound Booth:
Windows locked
All lights turned off
Door locked
Light Booth:
Booth phone receiver placed back on hook
Booth windows locked
All lights turned off
Door locked
Complete “Post-Rehearsal Checklist for Strider Theater Stage Managers”
Check-in with House Manager before you leave (it is important that the House Manager know
that you, your cast, and your crew have left or are leaving the building)