2009-2010

Dear ETBU Theatre Arts Students,

This Handbook has been designed to serve you throughout your academic career at ETBU. You will find information that should prove to be a valuable resource to you as you prepare for major events, such as productions, and more common daily experiences, such as rehearsals and building usage. Please read it carefully and refer to it often, as revisions may be made from time to time.

Also remember that the most valuable resource we provide to you is our theatre faculty. These individuals serve you and ETBU with a genuine concern for you and your academic and personal success. Do not hesitate to seek their guidance throughout your academic work.

Also, I am anxious to help you with any needs you may have. Please come by my office to express any concerns, offer suggestions, seek assistance, or just visit.

I hope this semester brings you the most exciting and educational experiences of your life. I admonish you to work diligently and consistently, in order that you may reap the rewards of the faithful.

Sincerely,

Thomas R. Webster, Ph.D.

Chair, Theatre Arts Department

Dean, Schoolof Fine Arts

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Table of Contents

Preface…………………………………………………………………………….   1

Table of Contents…………………………………………………………………   2

Dean’s Letter……………………………………………………………………...   4

Faculty Letter……………………………………………………………………..   5

Mission Statement………………………………………………………………..    6         

            Goals and Objectives……………………………………………………..    6

Theatre Faculty and Staff………………………………………………………...    7

General Information and Policies………………………………………………...    8

      Expectations………………………………………………………………   8

            Academic Expectations…………………………………………………...   9

            Student Involvement………………………………………………………  9

            Production Assignments……………………………………….…………    10

            Work Study……………………………………………………………….   10

            Call Boards………………………………………………………………..   11

            Workdays and Strike…………………………………………...…………   11

            Skillful Diplomacy………………………………………………………..    11

            Audition Information ..……………………………………………………  12

            Casting Policy…………………………………………………………….    13

      If You Are Not Cast………………………………………………………   13

Discovery Series…………………………………………………………………..   14

            Who is Involved…………………………………………………………..   14

            Auditions………………………………………………………………….   14

            Design/Technical Positions……………………………………………….    14

Facilities and Equipment Policies…………………………………………………   15

            Building Hours……………………………………………………………   15

            Jenna Guest Music Building………………………………………………   15

            Mabee Recital Hall………………………………………………………..   15

            Black Box Theatre………………………………………………………..    15

            Workshop………………………………………………………………….   15

            Theatre Storage……………………………………………………………   15

            Fine Arts Office………………………………………………….………..   15

            Bennett Technology Lab…………………………..………………………  15

            Baker Auditorium………………………………………………………….. 16

            Lost and Found…………………………………………………………….. 16

Majors and Minors…………………………………………………………………  16

Degree Programs and Checklist……………………………………………………. 17

            Bachelor of Arts Major…………………………………………………..… 17

            Performance Concentration………………………………………………... 18

            Design/Technical Theatre Concentration…………………………………..  19

            Bachelor of Science in Education………………………………………….. 20

Minor……………………………………………………………….………21

Course Offerings…………………………………………………………………… 22

Scholarship Guidelines…………………………………………………………..… 25

Alpha Psi Omega………………………………………………………………...… 26

            Mission, Motto, Qualifications …...…………………………………  …….. 26

            History……………………………………………………………….…….. 27

            Events………………………………………………………………..…….. 28

Organizational Flow Chart……………………………………………………  …… 29

Production Team Responsibilities……………………………………………  …….  30

            Department Chair…………………………………..……………… ……… 30

            Faculty Director……………………………………………..……………..  30

            Faculty Designer……………………………………………..…………….. 30

            Box Office Manager……………………………………………………….. 30

            Box Office Assistant………………………………………………………..  30

            Technical Director………………………………………………………….  30

            Assistant Technical Director…………………………………………  …….. 30

            Stage Manager……………………………………………………...……… 30

      Assistant Stage Manager……………………………………………………  31

      House Manager……………………………………………………………   31

            Scenic Designer……………………………………………………………  31

            Construction Crew…………………………………………………………  31

      Properties Master…………………..………………………………………  31

      Properties Crew………………………………..………………..…………  31

Scenic Charge Artist………………………………………………………   31

Lighting Designer……………………………………………………… …   31

            Master Electrician…………………………………………………………   32

            Electrics Crew……………………………………………………..………   32

            Light Board Operator……………………………………………...………  32

            Special Effects Coordinator…………………………………….…………  32

            Costume Designer…………………………………………………………   32

            Wardrobe Head……………………………………………………………. 32

            Wardrobe Crew……………………………………………………………  32

            Dressers…………………………………………………………………… 32

            Sound Designer……………………………………………………………  32

            Sound Board Operator…………………………………………..………… 33

            Sound Crew………………………………………………………..………  33

            Run Crew Head……………………………………………………………  33

            Fly Operator………………………..………………………………………  33

            Run Crew………………………..…………………………………………  33

            Choreographer………………………..……………………………………  33

            Dance Captain………………………………………………………..……  33

            Music Director…………………………………………………….………   33

            Vocal Coach…………………………………………………….…………  33

            Conductor…………………………………………………….……………  33

            Actors……………………………………………………………………… 33

Duties of the Actor………………………………………………………………… 34

Stage Manager Guidelines…………………………………………………………  38

House Manager Guidelines………………………………………………...………  41

Safety Guidelines and Procedures………………………………………  ..……….. 45

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EAST TEXAS BAPTIST UNIVERSITY

Department of Theatre Arts

Welcome to the ETBU Department of Theatre Arts.  This handbook has been prepared especially for you in order to acquaint you with the important aspects of the program and to provide answers to questions about the department’s policies and processes. While obviously not every question will be answered, it is our hope this handbook will provide you with enough insight to avoid unexpected surprises and will serve as a guideline toward making your academic studies here appropriately productive and rewarding.  

You are committing yourself to a substantial investment of time and energy.  The faculty and staff of the Department of Theatre Arts want you to make the most of your time and commitment.  We believe you will find this information very useful, so please read the entire handbook carefully.

Should you have questions or concerns, please do not hesitate to talk them over immediately with your advisor or other faculty members.  We are more than happy to advise and assist you.

Best wishes for your studies and welcome to an exciting year!

Sincerely,

Traci Ledford

Assistant Professor of Theatre Arts

Luis Ramirez

Associate Professor of Theatre Arts

 Department of Theatre Arts

Mission Statement

Our Theatre Arts Department is a growing, active, and Christian program that seeks to provide opportunities that inspire, encourage, and challenge our students to grow in their studies, their art, and their faith in Jesus Christ.  We present two to three mainstage shows with the possibility of other class and/or curriculum based performances.  Whether a student seeks to pursue theatre as a major, a minor, or as an extra-curricular activity, there is ample opportunity for you to join us.  ETBU's theatre is a vital part of the cultural life of the University.  

Goals and Objectives

The Department of Theatre Arts seeks to provide students pursuing a degree in theatre arts with both an academic and practical exploration of historical, cultural, and aesthetic context of western theatre.

Students completing a baccalaureate program in theatre arts will:

1.  Demonstrate an understanding of theatre history, relevant historical criticism, basic literary theory, and various artistic methods leading theatre to its present form in contemporary society. 

2.  Demonstrate an understanding of specific practical assignments in the areas of performance, technical theatre production, theatre design, and theatre administration.

The department offers students the following programs of study: (a) a major or minor in theatre arts, (b) a major or minor in theatre arts with a concentration in performance, (c) a major or minor in theatre arts with a concentration in design and technical theatre, and (d) a major in theatre arts education with all level certification.

Faculty and Staff

Dr. Tom Webster, Dean, School of Fine Arts

            Ph.D. Fine Arts (Instrumental Conducting and Literature), Texas Tech University

            M.M. (Instrumental Conducting), Texas Christian University

            B.M. (Church Music), Howard Payne University

            Additional study at Southern Baptist Theological Seminary

903-923-2157     twebster@etbu.edu

Ms. Traci Ledford, Assistant Professor of Theatre Arts

M.F.A.  (Directing), Baylor University

Teaching Certification - Secondary Theatre Arts, Texas A&M - Commerce

B.F.A. (Directing and Design), Baylor University

903-923-2292; tledford@etbu.edu

Mr. Luis Ramirez, Associate Professor of Theatre Arts

            M.F.A.  (Scene Design), Carnegie Mellon University

M.A. (Theatre Arts), Wake Forest University

B.F.A. (Drama and Theatre), University of Georgia

903-923-2291; lramirez@etbu.edu

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General Information and Policies 

Expectations

The faculty expects students to be self-disciplined, passionate about the arts and committed to giving 100% in the classroom and in production.  Christian commitment should be reflected in the chosen profession and study of each student on the campus of ETBU.  Mediocrity in educational work ethic is an affront to that Christian commitment.

      With this in mind, it is expected that the successful theatre student at ETBU will:

• Prepare for, participate in and attend class on a daily basis
• learn effective time management skills for success in a university environment.  Always be on time for class, meetings and rehearsals.
• always learn assignments, lines, blocking, movement, music, etc., by or before the due date
• always work outside of class and rehearsal on performance and production assignments
• accept constructive criticism from professors in the spirit it is given
• respect their professors, administrators, classmates, cast and crew
• respect the facilities in which they work
• respect themselves, and that respect is constantly reflected by appropriate attitude, decorum, and attire
• support the image of commitment to Christian excellence the department strives to convey on a daily basis through your actions, words and deeds.

Please be aware that, for your future reference(s), these are the basic criteria by which your work ethic and your contributions to the ETBU Theatre Program will be evaluated and judged.

Academic Expectations

It is the belief of the faculty that serious academic preparation is essential in the development of any performing or designing artist.  Therefore, the faculty has adopted a no-pass, no-play rule.

Students earning less than a 2.5 G.P.A. cumulatively will not be eligible to participate in departmental productions during the following semester.  Additionally, any student who has earned more than 89 hours of college credit and who has not passed the Junior Qualifying Examination will not be eligible to participate until a certified passing score is reported.

It is important to note that participation in productions at ETBU is an extra curricular activity.  Unless specifically contracted (as in an individual study course), or, unless assigned and stated in specific syllabi, participation in production is a separate entity from the expected participation and accomplishment of the classroom.  Involvement in production at any level will not mitigate the academic nor attendance expectations of the classroom.

Student Involvement

All theatre major and minor students should understand that their first artistic commitment is to mainstage productions.  Mainstage productions take precedence over community theatre productions, productions by other organizations, and other short and long term production obligations.  Each student’s commitment to the program has a direct correlation to the program’s commitment to the student.

All Theatre Arts majors and minors are required to enroll in the Theatre Production and Workshop course (THEA 1100/3100) while at ETBU.  Theatre Arts majors will enroll for six (6) semesters, while minors are required to register for three (3) semesters.  Additionally, all Theatre Arts performance majors (not minors) are required to audition for each production.  Exceptions are rare and must be approved by the theatre arts faculty.  Theatre Arts minors are strongly encouraged to audition for each production.  Only extreme circumstances should keep a student from auditioning, performing or being involved in backstage or front-of-house activities.

Those not cast are expected to contribute to each and every production (e.g., working on the crew – light, set, sound, costumes, props, or as a house manager, usher or ticket agent).  All majors are required to participate in departmental productions on a semester basis in order to remain involved with the production program.

Failure to contribute to the program on a regular basis will be noted at the end of each semester, and appropriate recommendations for future involvement will be recorded.

Production Assignments

During each student’s time with the theatre program, he or she is expected to effectively accomplish the following assignments at least one time:

• Serve as Master Electrician.
• Serve as Sound Operator.
• Serve as Properties Master.
• Serve as Wardrobe Head.
• Serve as House Manager.
• Serve as Publicity/Marketing Manager.
• Serve as Box Office Manager.
• Serve as Stage Manager or Assistant Stage Manager

This list can be abbreviated for those transferring into the program.

Work Study

The faculty understands the need for many students to work.  However, past statistics have proven that many of our majors fail to apply for financial aid (work study and other federal or state aid).  Please see the Financial Aid Office to receive instructions on when and how to apply.  Additionally, students are encouraged to proactively ask about departmental scholarship opportunities. 

Without question, the 2.5 cumulative and departmental 3.0 G.P.A. scholarship eligibility requirement may affect the number of students that audition or interview for the available scholarships.  Moreover, scholarship criteria may differ for ETBU scholarships created by donors outside of the department. 

A good education is costly.  As a result, many students choose to pursue outside work opportunities as a source of income.  However, theatre arts majors are cautioned against committing to schedules that compete with academic requirements, production responsibilities, builds, rehearsals, and performances.  Production participation is imperative for a student to have a chance to succeed in the highly competitive world of theatre.  Excellence and advancement within the program are not possible without consistent and dependable involvement. 

Please see the Financial Aid Office counselors to explore all possible options to enable and secure your full participation.

Call Boards

It is the responsibility of each theatre major/minor to check the Call Board on a DAILY basis.  Cast and crew lists, schedule changes, messages and other vital information will be posted on these boards.  The Call Board is the most effective means to communicate information quickly.  All majors and minors are responsible for any announcement posted for at least 24 hours.  The Call Board at East Texas Baptist University is located in the Jenna Guest Fine Arts Building across the lobby from the Black Box Theatre just inside the hall.

Workdays and Strike

Because theatre is a practical and collaborative art form, it takes the hard work and commitment of all involved to achieve excellence.  Every theatre major and minor is required to attend and participate in all scheduled workdays, load-ins, and strikes.  If for some reason you are unable to attend and/or participate, it is your responsibility to contact the theatre faculty prior to the scheduled meeting.  A file of those students who do not participate is kept in the office.  This file helps us to keep an accurate record of student participation in the program.  Again, failure to contribute to the program on a regular basis will be noted at the end of each semester, and appropriate recommendations for future involvement will be recorded.

Skillful Diplomacy

One of the most important tasks theatre artists face is working smoothly with the people around them.  Ours is a collaborative art.  The projects we select surround us with new personalities, each of whom possess unique opinions about how a scene should be acted, a set designed, or how a costume should fit.  Though conflict is the essence of drama, it is the bane of productivity; therefore, keep the following virtues ever before you:

1)      humility, so that when someone corrects you, you will not be offended;

2)      generosity, so that when someone errs, you do not condemn, but forgive;

3)      consideration, so that when someone believes something, you do not denounce his or her belief; and

4)      tact, so that when you believe something, you know the proper place, manner, and time to present that belief.

Practice these virtues, and you will rise above petty disturbances and another’s opinion will not outrage you.

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Audition Information

Auditions for Program Entry

All incoming freshmen and/or transfer students must audition for admittance into the ETBU theatre arts program.  Following the audition, the faculty will admit the student to the program, admit the student under provisional acceptance, or not admit the student to the theatre program.  The audition for entry into the program also serves as an application for a theatre arts scholarship if one is available.

Auditions typically happen as part of Tiger Day and Shadow Day events.  However, special arrangements will be made if a prospective student cannot attend one of the regularly scheduled auditions.

Auditions for program entry consist of (2) two contrasting monologues of approximately 1 minute each and an informal interview with the faculty.  Prospective students should select one contemporary monologue and one classical monologue of contrasting natures.  Students should also bring a current headshot (or recent photo) and a résumé detailing prior theatre experience.  For students who are primarily interested in design and/or technical aspects of theatre, a portfolio of their work should be substituted for the monologues.  The portfolio should include photographs of your work on set construction, painting, props, costumes, or lighting.  You should also include any drawings, sketches, drafting, or models that you made.  For stage management experience, students should present their prompt book and photographs of the production.

Finally, students should fill out the electronic audition form prior to arriving on campus for their audition.

Auditions for Productions

All theatre performance majors are required to prepare for and take part in every audition.  Auditions are held roughly two to four times a year.  Auditions may involve cold readings, memorized monologues, or improvisation.  If for some reason you are unable to audition or to take a role, it is your responsibility to contact the director prior to the audition and seek faculty approval for the exemption.  A running file of students who have auditioned is kept in the main office.  This file helps us to keep an accurate record of student participation in the program.  The more experience you gain in auditioning, the more strength you gain as a performer.  Theatre minors are also strongly encouraged to audition to help further their education and experience outside the classroom.

All performance theatre arts majors and minors are required to bring a current headshot and theatrical résumé to each audition.  Incoming freshmen and transfer students are given an exemption from this policy for the first audition after their arrival at ETBU.

Casting Policy   

The ETBU Department of Theatre Arts holds open auditions.  First priority in casting is given to ETBU theatre majors.  However, non-majors or minors, faculty, staff, community members and /or guest artists might also be cast in our theatre productions. 

Directors make casting decisions based upon some or all of the following:

• The quality of the audition
• The auditioner's suitability for a role
• Recent roles performed
• Specific course or degree requirements
• Participation in workdays and strikes
• Academic standing
• Specific performance skills required by a role

If You Are Not Cast

Obviously not everyone who auditions for a production can be cast.  You should not become discouraged if you are not cast.  More than likely, it has to do with the aforementioned criteria.  However, feel free to seek specific constructive criticism from the faculty on how you may improve your audition for the next time.  Remember to take the criticism in the spirit it is given; the faculty want all theatre students to grow and mature as artists.  Each audition is one of many for every student.  We hope you will continue to grow as you study and make improvements with each subsequent audition.

If you are not chosen for a specific role, it is still vital that you involve yourself in the production, both for your continued theatrical growth and the success of the department.  Your willingness to participate in some other capacity is a reflection of your dedication to the program, your maturity as an artist, and your commitment to a well-rounded education.  It is our hope that you will find an interest that you had not considered before, such as scenic painting, creating properties, or costume construction.  By staying involved, you will be able to explore the working relationships between production staff, crews, and cast.  The benefits of dedicated involvement on any level are manifold.

Discovery Series

Who is involved?

Students enrolled in THEA 4101 Studio Lab are required to direct or design their own individual shows.  These shows are chosen by the students, aided by the professor of the course, and are held at designated times during the school year.

Auditions

Auditions will be held at the student directors’ discretion and will be open to all ETBU students as well as faculty/staff, community members, and others.  Performances are closed to the public unless otherwise approved by theatre faculty.  Audiences are usually comprised of “invitation only” spectators who have a clear understanding of the assignment and content of the performance. 

Design/Technical Positions

Design/technical positions will be available for student-directed shows.  These positions will be designated by the directors and the theatre faculty at the time of the production auditions.

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Facilities and Equipment Policies

Like all University buildings, the fine arts buildings are available for use throughout the academic year.  Some rooms in these buildings, such as the computer lab, Mabee Recital Hall, choral and instrumental rehearsal halls, and practice rooms are open for student use at various hours in the evenings and on weekends.  Please note the schedule below.  You may wish to reserve a specific room or hall to assure that it is available for your needs.  The School of Fine Arts Secretary will assist in this process.  Students are expected to take care of these facilities in the absence of faculty/staff supervision. 

Building Hours

The Jenna Guest Music Building and the Redwine Instrumental Music Building are available to students according to the following schedule:

                        Monday- Friday          7:15 a.m. to 11:30 p.m.

                        Saturday                      9:00 a.m. to 5:00 p.m.

                        Sunday                        1:00 p.m. to 5:00 p.m.

The Jenna Guest Music Building (JGMB) houses the Black Box Theatre, Mabee Recital Hall, and theatre production equipment.  Included in the facility are the Office of the School of Fine Arts, Bennett Technology Center, classrooms, faculty offices and a student lounge.  The music faculty and classrooms are also located in this building.

The Mabee Recital Hall serves as one venue for theatre performances.  The seating capacity is 168.

The Black Box Theatre is another performance space and is the stationary home of rehearsals and production work for theatre students.  The seating capacity is 127.

The Workshop building houses all of the theatre shop equipment.  There students can work on building sets and props, and on scenic painting.

The Theatre Storage Areas hold the costumes, props, and accessories.  These areas are only open to ETBU theatre students under the discretion of the theatre faculty.

The Fine Arts Office is open from 8:00 a.m. to Noon and 1:00 p.m. to 4:30 p.m. Monday through Friday.  The office maintains communication boxes for all faculty, staff, and professional accompanists.  Students are welcome to use these to communicate with these individuals.

The Bennett Technology Lab houses over 10,000 LP recordings, approximately 2,000 CD recordings and 3,000 musical scores.  All scores and recordings are available for student use.  The lab also contains 16 computer stations designated for student use.  Each is connected to the Internet and all ETBU electronic resources, and includes theatrical design software.  The resources are available for ETBU students, and we encourage all students to work in this lab on class assignments and personal projects.  The hours of the Technology Lab are posted outside the Lab entrance.  These hours will change each semester as student needs dictate.

The Baker Auditorium in the Ornelas Spiritual Life Center (OSLC) seats 1500 and is not as readily available for theatre activities since many University organizations and departments, as well as community organizations, also use this facility. 

Lost and Found: Items turned in the music office as “found” will be kept for one semester.  Every effort will be made to determine the owner of the item.  All unclaimed items will be sent to Student Services.

Majors/Minors

The Department of Theatre Arts seeks to provide students pursuing a degree in theatre arts with both an academic and practical exploration of historical, cultural, and aesthetic context of western theatre with the goal to prepare students for successful careers in professional theatre, theatre education, and/or graduate school.

The department offers students the following programs of study:

MAJORS:

ETBU offers a Theatre Arts Major with a Bachelor of Arts (B.A.) degree:

Theatre Arts (B.A.)

ETBU also offers a Theatre Arts Major with specific concentrations:

Design and Technical Theatre Concentration (B.A.)

Performance Concentration (B.A.)   

ETBU also offers a Theatre Arts Major with a Bachelor of Science in Education (B.S.E.) degree:

Theatre Arts Education - All Level Certification (B.S.E.)

MINORS:

ETBU offers the following Theatre Arts Minor programs:

Theatre Arts Minor on Degrees other than the B.S.E.

 A complete description of Theatre Arts Majors and Minors and course descriptions are available online in the current ETBU catalog.

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East Texas Baptist University

Checklist for the Theatre Arts Major, Bachelor of Arts Degree

2009-2010

Graduation Requirement Help

• What is your cumulative GPA: ______

• How many cumulative hours have you earned? ______.  You will need a minimum of 120 to graduate with at least 39 of those being advanced credits.

• How many hours have you taken at ETBU? ______.  You are required to have at least 33 hours of advanced credit earned at ETBU.

• Have you filed for a Degree Audit in the Registrar’s Office?  Is there a copy of your degree audit in your advising file?  Application should be made after accumulation of 30 hours.

• Have you passed all sections of the JQE?  Students should take the JQE after accumulation of 45 hours.  Register for the JQE in the Advising Center.

• Have you filed for graduation?  Students must file for graduation 3 months BEFORE their last semester begins.  File for graduation in the Registrar’s Office.

• Have you completed your Chapel requirements?

East Texas Baptist University

Checklist for the Theatre Arts Major, Bachelor of Arts Degree

Performance Concentration

2009-2010

Graduation Requirement Help

• What is your cumulative GPA: ______

• How many cumulative hours have you earned? ______.  You will need a minimum of 120 to graduate with at least 39 of those being advanced credits.

• How many hours have you taken at ETBU? ______.  You are required to have at least 33 hours of advanced credit earned at ETBU.

• Have you filed for a Degree Audit in the Registrar’s Office?  Is there a copy of your degree audit in your advising file?  Application should be made after accumulation of 30 hours.

• Have you passed all sections of the JQE?  Students should take the JQE after accumulation of 45 hours.  Register for the JQE in the Advising Center.

• Have you filed for graduation?  Students must file for graduation 3 months BEFORE their last semester begins.  File for graduation in the Registrar’s Office.

• Have you completed your Chapel requirements?

East Texas Baptist University

Checklist for the Theatre Arts Major, Bachelor of Arts Degree

Design and Technical Theatre Concentration

2009-2010

Graduation Requirement Help

• What is your cumulative GPA: ______

• How many cumulative hours have you earned? ______.  You will need a minimum of 120 to graduate with at least 39 of those being advanced credits.

• How many hours have you taken at ETBU? ______.  You are required to have at least 33 hours of advanced credit earned at ETBU.

• Have you filed for a Degree Audit in the Registrar’s Office?  Is there a copy of your degree audit in your advising file?  Application should be made after accumulation of 30 hours.

• Have you passed all sections of the JQE?  Students should take the JQE after accumulation of 45 hours.  Register for the JQE in the Advising Center.

• Have you filed for graduation?  Students must file for graduation 3 months BEFORE their last semester begins.  File for graduation in the Registrar’s Office.

• Have you completed your Chapel requirements?

East Texas Baptist University

Checklist for the Theatre Arts Major, B.S.E. Degree

All-Level Certification

2009-2010

Graduation Requirement Help

• What is your cumulative GPA: ______

• How many cumulative hours have you earned? ______.  You will need a minimum of 120 to graduate with at least 39 of those being advanced credits.

• How many hours have you taken at ETBU? ______.  You are required to have at least 33 hours of advanced credit earned at ETBU.

• Have you filed for a Degree Audit in the Registrar’s Office?  Is there a copy of your degree audit in your advising file?  Application should be made after accumulation of 30 hours.

• Have you passed all sections of the JQE?  Students should take the JQE after accumulation of 45 hours.  Register for the JQE in the Advising Center.

• Have you filed for graduation?  Students must file for graduation 3 months BEFORE their last semester begins.  File for graduation in the Registrar’s Office.

• Have you completed your Chapel requirements?

East Texas Baptist University

Checklist for the Bachelor of Arts Degree

Theatre Arts Minor

2009-2010

Graduation Requirement Help

• What is your cumulative GPA: ______

• How many cumulative hours have you earned? ______.  You will need a minimum of 120 to graduate with at least 39 of those being advanced credits.

• How many hours have you taken at ETBU? ______.  You are required to have at least 33 hours of advanced credit earned at ETBU.

• Have you filed for a Degree Audit in the Registrar’s Office?  Is there a copy of your degree audit in your advising file?  Application should be made after accumulation of 30 hours.

• Have you passed all sections of the JQE?  Students should take the JQE after accumulation of 45 hours.  Register for the JQE in the Advising Center.

• Have you filed for graduation?  Students must file for graduation 3 months BEFORE their last semester begins.  File for graduation in the Registrar’s Office.

• Have you completed your Chapel requirements?

 Back to Theatre Arts Department

East Texas Baptist University

Department of Theatre Arts

Course Offerings

This laboratory course provides students with an introduction to the practices and procedures of theatre production through hands-on application to the productions of the Department of Theatre Arts.  The course is repeatable for credit.

THEA 1310 Introduction to Theatre (3,0,3)

This introductory course examines the theatre experience as both an art form and a social institution.  The course is designed for the general student body.  Those students who intend to major or minor in Theater Arts areas should elect another option to meet their fine arts requirement on the General Education curriculum.

THEA 1351 Beginning Acting (3,0,3)

An introduction to the approaches and techniques of the acting process for the novice performer.

THEA 2305 Fundamentals of Design (3,1,2)

This course will introduce students to the principles and fundamentals of theatrical design. 

THEA 2315 Script Analysis (3,3,0)

This course teaches methods of reading, studying, and analyzing scripts for production on the stage.  Concentration is placed on the script as vehicle for performance and the understanding of it from the perspective of the actor, director, designer, and technician.

THEA 2321 Stagecraft I: Scenery and Properties (3,1,2)

This course will provide students with an introduction to the discipline and practices of theatre technology in the areas of scenery and props.  The class emphasizes practical application of demonstrated techniques, through laboratory experiences and projects.

THEA 2322 Stagecraft II: Lighting and Sound (3,1,2)

This course will provide students with an introduction to the discipline and practices of theatre technology in the areas of lighting and sound.  The class emphasizes practical application of demonstrated techniques, through laboratory experiences and projects.

THEA 3100 Advanced Theatre Production Workshop (1,0,1)

This laboratory course provides students with advanced training in the practices and procedures of theatre production.  Students will participate as production department heads for productions of the Department of Theatre Arts.  The course is repeatable for credit.

THEA 3302 Religious Drama (3,0,3)

This course provides an examination of the use of drama as an evangelical tool in both historical and contemporary contexts, as well as consideration of ethical and aesthetic questions raised by that usage.  Students have an opportunity for practical experience and application.  The course is designed for both theatre majors and non-majors.

THEA 3340 Theatre Technology (3,2,1)

This course will develop the student’s knowledge and application of the skills, materials, equipment and processes employed in specific areas of theatre technology.  The topic will change each time the course is offered.  The course may be repeated for credit when topics vary.

THEA 3358 Performance Techniques (3,2,1)

This course studies a variety of techniques in theatrical performance which are specific to the technicality of performing (e.g., Stage Combat, Voice & Movement, Choreography, Acting for the Camera, Reader’s Theatre & Voiceovers).  The topic will change each time the course is offered and may be repeated for credit. 

THEA 3359 Acting Styles (3,2,1)

This course studies a variety of specific advanced acting styles (e.g., Comedy & Improv, Shakespearean, Classical).  The topic will change each time the course is offered and may be repeated for credit. 

THEA 3362 Directing I (2,1,3)

This course is an introduction to the techniques of directing for the theatre including blocking, character development and play production.  It is intended to equip students with the necessary knowledge to direct and stage a theatrical production.  Emphasis is on rehearsal procedures and effective stage movement.

THEA 4101 Studio Lab (1,0,1)

This course is designed to stimulate students to unify all areas of their discipline.  Students will put into practice their specific area of interest in theatre either through design, performance, or directing.

THEA 4300 Teaching Theatre in Public Schools (3,3,0)

This course is designed to prepare the student for teaching theatre arts in the public school system.  It focuses on teaching theatre and related activities for grades K-12.

THEA 4311 Theatre History I (3,0,3)

Studies in the history of Theatre and performance traditions from its origins to the seventeenth century.  Particular attention will be paid to the social, cultural, and aesthetic milieu of those significant theatrical periods.

THEA 4312 Theatre History II (3,0,3)

Studies in the history of Theatre and performance traditions from the eighteenth century to the present.  Particular attention will be paid to the social, cultural, and aesthetic milieu of those significant theatrical periods.

THEA 4313 Theatre and Stage Management (3,0,3)

This course is an examination of practical and theoretical considerations in the process of theatre and stage management.  The student will be introduced to the responsibilities, techniques, and procedures of academic, professional, and union regulated stage and theatre management.

THEA 4340 Advanced Design (3,1,2)

This course will develop the student’s knowledge and application of the skills, materials and process employed in theatrical design.  This course is repeatable for credit.

THEA 4350 Theatre Arts Internship (0,0,3)

Advanced special interest coursework, consisting of practical application in cooperation with a professional theatre organization.

THEA 4359 Acting II (2,1,3)

An advanced level acting course for theatre majors and minors that exposes the students to the realistic play genre.  The course will further explore the practice of the basic elements of acting as outlined by Stanislavski and others.  Special attention will be placed on the works of Ibsen, Chekhov, Miller, Inge, and Williams.  This will involve self-awareness exercises, training in improvisation, critical analysis of scripts and performances, and scene work.  This is a performance course with the majority of time spent in the practice of acting.

THEA 4363 Directing II (2,1,3)

This course is an advanced study of the techniques of directing for the theatre including the process of creativity, the development of central concepts, and the exploration of space.  This course is intended to develop the students' artistic sense, sharpen their use of beats, and hone their actor coaching abilities.  Emphasis is on scene work and concept development.

THEA 4364 Scriptwriting (3,0,3)

This is a course in conceiving, developing, and marketing scripts for film or theatre.  It covers a step-by-step approach to developing, pitching, outlining, and writing full-length scripts, as well as, the proper formats and techniques for professional scriptwriting.  The course also covers marketing strategies for potential scriptwriters.

THEA 4390-99 Honors Research (3,0,3)

Honors Research is a program of study for individual instruction of the honors student.  Prerequisite: Admission to the honors program.

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East Texas Baptist University

Theatre Arts Scholarship

Guidelines

Scholarships are available to theatre majors who meet the following requirements:

The Student:

A.                Must be a theatre major as indicated by the courses taken.

B.                 Must audition/participate in all departmental productions each semester.

C.                 Earn a grade point average of 3.0 or above in your major in each semester of study.

D.                Maintain a grade point average of 2.5 or above for all university study.

E.                 Must be punctual for all classes, rehearsals and performances.

F.                  Agrees to attend all meetings scheduled by the department chair.

G.                Understands that this scholarship amount may be adjusted if the student becomes ineligible to participate due to disciplinary action.

H.                Understands that the scholarship will not be disbursed until the student has completed all requirements in the Office of Student Financial Aid by the appropriate deadline.

I.                   Will offer general support for the departmental functions, faculty and staff.

Alpha Psi Omega

National Honorary Theatre Fraternity

• MISSION STATEMENT: Alpha Psi Omega exists as a vehicle for the advancement of theatre on the ETBU campus.  We encourage pride in one's work and demand an attitude of service from our members.  Through theatrical productions, campus activities, and community service, Alpha Psi Omega will strive to play an active role in campus life.  In doing so we hope to foster a love for the stage among our members and our school.

• Our MOTTO: As members of Alpha Psi Omega, we understand the choice we have made and the responsibility that goes along with it.  As active members, we promise to commit ourselves fully not only to Alpha Psi Omega but to our theatre department and our school.  We pledge to be responsible to the Alpha Psi Omega constitution, to obey it fully, and to help spread an appreciation for theatre to everyone we come in contact with.

• QUALIFICATIONS:

A. Academics

                                    1. 3.0 theatre GPA

                        2. 2.5 overall GPA

                        B. Completed at least two semesters of participation in theatre work at the college/university.

                        C. Participation in a variety of production tasks (acting, directing, playwriting, front-of-house management, technical theatre, dramaturgy, production research, and other appropriate theatrical responsibilities).

The Alpha Psi Omega Point System:  A total of 75 points from the following categories (including participation in at least 2 areas of categories 1 through 5) is necessary to be eligible for admission into ALPHA PSI OMEGA.

Category 1. Theatre Performance

            Acting (15-30 pts.)

            Dance (15-30 pts.)

            Singing (15-30 pts.)

Category 2. Theatre Production

            Design (20-30 pts.)

            Producing (20-30 pts.)

            Stage Management (20-30 pts.)

            Production Coach/Other (5-25 pts.)

            Crew Chiefs (10-20 pts.)

            Construction Crews (10-20 pts.)

            Running Crews (5-15 pts.)

            Front-of-House (1-15 pts.)

            Public Relations/Publicity/Marketing (5-20 pts.)

Category 3. Directing

                        Stage directing (25-40 pts.)

                        Choreography (20-30 pts.)

                        Musical directing (20-30 pts.)

Category 4. Dramaturgy: (20-40 pts.)

Category 5. Playwriting:

                        Play/Book for musical: (10-30 pts.)

                        Musical Composition for Theatre Performance (10-30 pts.)

Category 6. Special: Officer in Drama/Theatre                                              Organization/Club (5-10 pts.)

Category 7. Special: Membership in Delta Psi Omega (50 pts.)

·         HISTORY of Alpha Psi Omega: In the early twentieth century, interest in the dramatic arts grew tremendously on college and university campuses.  By 1920, most colleges had a dramatic organization staging plays annually for the campus and the community at large.  Also around this time, little theatre productions and dramatic workshops began taking place.  This furthered the interest in theatre on campuses everywhere, especially in the western part of the country.  At this time, several honorary groups were formed to recognize and reward exemplary student participation in those productions.

In 1921, at Fairmont State College in Fairmont, West Virginia, college theater took root.  A faculty director was hired in 1923, and the Masquers were formed.  The Masquers were charged with presenting a season of 4 to 5 major productions per year for students and the general public.  In 1924, the Masquers began searching for a national honorary organization to join.  As there was no truly national organization, Elinor B. Watson, Robert Sloan, and Fairmont faculty director Paul F. Opp researched forming such a national organization.

As a result of their research and work, a proposed national constitution was drawn up, and, on August 12, 1925, the first cast of Alpha Psi Omega members, drawn from the Masquers, was initiated.  It was then decided that each chapter was to be called a "cast."  Fairmont College became the Alpha Cast.  Soon after, Marshall College in Huntington, West Virginia, expressed interest in chartering a cast of Alpha Psi Omega; they founded the Beta Cast.  A member from Huntington suggested the name "Playbill" for the national magazine, which was thereafter adopted.

Over the course of the following year, eighteen more casts were founded.  When the first national convention was held on December 27-28, 1926, at the Palmer House in Chicago, twenty casts had been chartered.  These national conventions, also known as Grand Rehearsals, are now held once every 5 years.

Throughout the country, Alpha Psi Omega has sponsored the formation of theatre honor societies in high schools and junior colleges, with the aim of encouraging dramatic production at every step in a person's academic career.  In 1929, after significant interest on the junior college level, Delta Psi Omega was formed. 

In 1936, at the Alpha Psi Omega Grand Rehearsal, Delta Psi Omega was officially recognized as the junior college division of Alpha Psi Omega.  Today, there are over 350 Delta Psi Omega casts.

Alpha Psi Omega has enjoyed continuous national growth and, with over 550 casts, is the largest national honor society in America.  Membership in Alpha Psi Omega is only granted to fully accredited institutions with a four-year curriculum in theatre and drama leading to a degree.

The business of Alpha and Delta Psi Omega is supervised by National Officers.  Such names as Paul Opp, Yetta Mitchell, Donald Garner, and Jerry Henderson are familiar to long-time cast members as officers in earlier years.  Current officers are Teresa Choate as President, Frankie Day as Vice President, and Bret Jones as Business Manager and Editor of "Playbill." 

·         EVENTS

Meetings: All weekly meetings take place in the Black Box Theatre unless otherwise noted.  See an officer for times and details.

Inductions: Inductions are held at the beginning of every semester as necessary.  Requirements to join Alpha Psi Omega are listed above under Qualifications.

The Venue: The Venue is a type of “open-mic night” where actors, singers, poets, dancers, artists, and musicians have an opportunity to perform for an audience interested in a variety of talent.  Snacks and drinks are provided.  If you would like the opportunity to share your talent, a sign-up sheet is available outside of the cafeteria.

Miss ETBU Nominee: Every spring, Alpha Psi Omega nominates a female student for participation in ETBU's annual Miss ETBU Pageant.  This program includes numerous female students from other organizations and allows them to represent these organizations in an evening of talent, intellect, and fun.

*Congratulations to APO member Kelly Mills for being crowned Miss ETBU for 2007-2008!

24-Hour Theatre Slam: When time permits, Alpha Psi Omega will host a 24-Hour Theater Slam.  The 24-Hour Theatre Slam is an opportunity for local high school/junior college students to join with the students of East Texas Baptist University to produce a new play in 24 hours.  The participants will be split up into two teams and each team will create their show around a central idea.  At the end of the 24 hour period, the two groups will each present their pieces before a live audience and a panel of judges.

Awards Banquet: Alpha Psi Omega hosts an awards banquet at the end of the academic year to honor all students involved in the year's productions.

 Production Team Responsibilities

“ENSEMBLE”

(A unit or group of complementary parts that contribute to a single effect)

DEPARTMENT CHAIR:  Responsibilities include play selection guided by input and feedback from all participants of ETBU theatre.  Works with the theatre faculty in appointing members of each production team and setting budgets.  Responsible for coordination of all artistic, academic and managerial aspects of the program into a cohesive network of goals and initiatives in keeping with the ETBU mission.  Chiefly responsible for creating an effective and creative working environment. 

FACULTY DIRECTOR:  Responsibilities include coordinating production goals through collaboration with all active participants, both onstage and off, in pursuit of a unified artistic vision.  The director casts the play, sets the rehearsal schedule, attends all rehearsals, blocks the actors, and provides strategies to help the actors reach professional standards of performance.  He or she attends all design and production meetings in an effort to encourage collaboration, artistic unity, and creative vision.  Coordinates with faculty designer and technical director.  Reports to the Department Chair.

FACULTY DESIGNER:  Responsibilities include coordinating unified production goals through work with the entire production team.  Provides the director, stage manager and technical director with design documents.  Attends all production meetings.  Coordinates with faculty director and technical director.  Reports to the Department Chair.

BOX OFFICE MANAGER:  Responsibilities include coordination and execution of all season, group and single ticket sales procedures, including publicity and promotion of the season.  Supervises box office volunteers.  Reports to the theatre faculty.

BOX OFFICE ASSISTANT:  Responsibilities include assisting in the daily activities of the box office, such as publicity, promotion, public relations, ticket orders, mailings, data entry.  Reports to the box office manager and the theatre faculty.

TECHNICAL DIRECTOR:  Responsibilities include organization and supervision of all technical aspects of the production process.  Maintains budget, supervises crews, maintains and implements safety standards, coordinates production workshops.  Attends all production meetings.  Reports to the theatre faculty and the Department Chair.

ASSISTANT TECHNICAL DIRECTOR:  Responsibilities include all aspects of the technical duties as assigned by the T.D.  Attends all production meetings.  Reports to the technical director and the theatre faculty.  

STAGE MANAGER:  Responsibilities include assisting the director with the running of auditions, rehearsals and production meetings.  Facilitates communications between the director, designers, cast, crew and box office.  Maintains blocking and direction of the show during the run as well as calling the cues for the cast and crew.  The stage manager is ultimately in charge during the run of a performance.  Attends all production meetings.  Reports to Technical Director, Director, and theatre faculty.

ASSISTANT STAGE MANAGER:  Responsibilities include assisting with the stage manager’s duties.  Conducts rehearsals in the absence of the S.M.  Assists in the coordination of the scene shifts, props placement and other backstage elements.  Manages costume fittings schedule.  While the stage manager calls the show from the control room, the assistant stage manager is positioned backstage.  Attends all production meetings.  Reports to the Technical Director and Stage Manager.

HOUSE MANAGER:  Responsibilities include training ushers, opening and closing the house, familiarity with emergency procedures, professional appearance of the facility, and enforcement of house rules.  Reports to Box Office Manager.

SCENIC DESIGNER:  Responsibilities include creation of a scenic design in keeping with the production concept, available budget and time constraints.  Provides the director, faculty designer, and technical director with a floor plan, white or color model, working drawings, color rendering, elevations and section.  Attends all production meetings.  Coordinates with director, other designers, and technical director.

CONSTRUCTION CREW:  Responsibilities include building, transporting, and maintaining scenery, equipment, hanging soft goods, rigging and routine shop maintenance.  Reports to technical director and assistant technical director.

PROPERTIES MASTER:  Responsibilities include development of a detailed prop list.  Conducts period research to assist in his/her collecting, purchasing or building of all hand and personal properties.  May also design special furniture or set dressing following scene designer’s specifications.  Maintains the prop budget and purchasing log.  Responsible for the placement, inventory and maintenance of the props and supervising the properties crew.  Coordinates and runs props for the show.  Attends all production meetings.  Reports to the director, technical director, scenic designer and stage manager.

PROPERTIES CREW:  Responsibilities include assisting in the collecting, purchasing or building of hand and personal properties, as well as the placement, inventory and maintenance of props.  Reports to the properties master and to the stage manager.

SCENIC CHARGE ARTIST:  Responsibilities include mixing paint, preparing textures, and maintaining paint tools and equipment.  Supervises inventory and paint shop area.  Serves as head scenic artist on paint crews.  Executes designer’s paint techniques and style as indicated by model or rendering.  Coordinates with properties master, scenic designer, and technical director.

LIGHTING DESIGNER:  Responsibilities include creation of a lighting design in keeping with the production concept, available budget and equipment.  Provides the faculty designer, stage manager, and technical director with a light plot, hook-up sheet, instrument schedule, and cue sheet.  In charge of lighting focus and cueing of the show.  Attends all production meetings.  Coordinates with the director, other designers and technical director.

MASTER ELECTRICIAN:  Responsibilities include organizing and managing electrics crew, implementing and maintaining the lighting design, and performing necessary maintenance of equipment.  Supplies technical director with purchase list of needed equipment and supplies.  Prepares for and conducts the hang, supervises safety of rigging and equipment, and updates lighting paperwork.  Assists the lighting designer with the execution of focus.  Conducts pre-show dimmer check.  Attends all production meetings.  Reports to the technical director, lighting designer and stage manager.

ELECTRICS CREW:  Responsibilities include the execution of the light plot and maintenance of equipment and electrics area.  Assists in hang and focus process.  Reports to the master electrician.

LIGHT BOARD OPERATOR:  Responsibilities include learning operational procedures of light board.  Operates the light board during the hang, focus, and cueing process, as well as performances.  Updates computer paperwork.  Cleans the booth on a daily basis.  Reports to the master electrician, lighting designer and stage manager. 

SPECIAL EFFECTS COORDINATOR:  Responsibilities include creating and fabricating specialized effects (i.e. explosions, fog, fire, etc.).  Maintains all safety standards.  Supervises stagehands in their execution of effects.  Reports to technical director. 

COSTUME DESIGNER:  Responsibilities include creation of a costume design in collaboration with director, scenic designer and lighting designer.  Works within stated budget and accounts for all expenditures.  Is responsible for purchasing all fabrics and trims, creating and executing the costume plot, and coordinating the costume parade.  Responsible for patterning and costume construction, pulling stock or renting.  Provides the director and faculty designer with sketches and renderings.  Attends fittings, production meetings and dress rehearsals.  Coaches wardrobe crew.

WARDROBE HEAD:  Responsibilities include organizing and supervising costume changes during each performance, and assists the actors as necessary.  Supervises dressers.  Is responsible for laundering, cleaning, and repairing the costumes during the run.  Assumes complete responsibility for all the costumes in a production after opening night.  Reports to costume designer and stage manager.

WARDROBE CREW:  Responsibilities include execution of the design as a stitcher, craftsperson, dyer, or cutter as needed.  Serves on costume running crew.  Initially reports to costume designer; reports to wardrobe supervisor during performances. 

DRESSERS:  Responsibilities include assisting actors in costume changes, presetting costumes when needed and returning costumes to dressing rooms after changes.  Assists wardrobe head with duties.  Reports to wardrobe head.

SOUND DESIGNER:  Responsibilities include creation of a sound design in keeping with the production concept and available resources.  Designs and coordinates all recorded music, as well as live and recorded sound effects.  Works with the soundboard operator to provide the director and technical director with a production CD.  Attends all production meetings.  Coordinates with the director, stage manager, and technical director. 

SOUND BOARD OPERATOR:  Responsibilities include learning, operating, maintaining, and securing all audio equipment.  Conducts pre-show sound checks.  Assists in audio production.  Cleans the booth on a daily basis.  Reports to the sound designer, technical director and the stage manager. 

SOUND CREW:  Responsibilities include installing equipment necessary to execute the sound design and assisting in sound production.  Reports to the sound designer, sound board operator, and the technical director.

RUN CREW HEAD:  Responsibilities include coordinating scene changes, operation of all backstage equipment (foggers, rigging, etc.), maintaining and securing that equipment and managing the backstage crew.  Conducts pre- and post-show inspections of all scenic elements.  Performs necessary repairs.  Reports to stage manager and technical director.

FLY OPERATOR:  Responsibilities include the safe operation of all fly rigging and hanging scenery.  Reports to technical director, stage manager, and run crew head.

RUN CREW:  Responsibilities include the operation of backstage equipment, special effects and shifting scenery.  Reports directly to the run crew head. 

CHOREOGRAPHER:  Responsibilities include creating, teaching and polishing choreography.  Coordinates with the director, designers, and stage manager.

DANCE CAPTAIN:  Responsibilities include maintaining and polishing all choreography in the absence of the choreographer.

MUSIC DIRECTOR:  Responsibilities include all elements of the production’s music.  Sometimes serves as vocal coach and/or conductor.  Coordinates with the director and stage manager.

VOCAL COACH:  Responsibilities include polishing choral performances, as well as setting and running extra rehearsals for soloists or ensembles as needed.  Reports to the music director.

CONDUCTOR:  Responsibilities include selecting musicians, rehearsing the orchestra and conducting during performances.  Coordinates with the director, music director and stage manager.

ACTORS:  Responsibilities include research and script analysis to assist in creating a believable, three-dimensional character in keeping with the playwright’s intentions and the director’s vision for the play.  He or she attends all rehearsals, fittings and performances, maintaining a responsible work ethic and a positive attitude.  It is the actor’s responsibility to be aware of the process and, above all, to promote the ensemble of the production.  Reports to the director and stage manager.

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DUTIES OF THE ACTOR

The actor agrees to the following:

To demonstrate respect for the production by maintaining the integrity of the playwright’s script, the director’s interpretation of the script, the designers’ concepts for costumes and makeup, and by prompt attendance for all calls including (but not limited to) rehearsals, performances, costume fittings, and photo shoots;

To demonstrate respect for the production company through polite and ethical behavior and through prompt attendance for all calls;

To demonstrate respect for the physical property of the production and the theatre and to abide by all rules and regulations of the theatre, the production company, and the university including prompt attendance for all calls.

REHEARSALS

1.         Actors must be ready to rehearse at the time called.  Actors should plan to arrive no later than 10 minutes prior to their call time.  Actors should always have their scripts and a pencil to write with as well as appropriate rehearsal clothes and shoes.

2.         If an actor is going to be late or cannot make a rehearsal, he/she must do the following:

·         Call the stage manager or director at least two hours before the rehearsal;

·         Leave a note on the call board as early as possible IF no one can be reached in person or by phone;

·         Have an acceptable reason for tardiness or absence.

3.         In order to prevent excessive absences and tardiness, students are reminded that participation is a privilege not a right.  Any actor who is disrespectful of the ensemble’s time, whether through absences, tardiness, difficult attitudes, or poor work ethic, may be asked to relinquish their role.  The final decision rests with the theatre faculty and the Chair of the Department of Theatre Arts.  The following criteria constitute reasonable cause for dismissal:

·         Unexcused absences

·         Repeated failure to show up on time or early

·         Failure to have lines memorized by specified time and date, and

·         Any behavior and/or attitude the director deems inappropriate.

4.         If an actor has a known conflict with the rehearsal on a given day, it must be discussed with and approved by the director within the first week of rehearsal.

5.         Upon arriving at rehearsal, actors must sign in with the stage manager.  If an actor desires to leave the rehearsal facility, he/she must request it of the stage manager.

6.         Entrances and exits from the rehearsal space should be done only when there is a break or pause in the rehearsal.

7.         All calls, including rehearsals, will be posted on the callboard at least twenty-four hours in advance.  However, if rehearsal circumstances demand it, the director may post the next day’s call at the completion of the evening’s rehearsal.

8.         Changes in the rehearsal schedule will be posted on the callboard and announced at rehearsals.  Check the callboard daily.

9.         Cancelled rehearsals due to inclement weather or other emergency situations will be communicated by phone, email, and posted on the callboard.

10.       Actors must inform the stage manager of any changes in contact or conflict information.

11.       Depending on the nature and needs of the production, actors may be called to rehearse or warm up prior to the performance, which may require an earlier call.

12.       During rehearsals and performances, all directions and requests from the stage manager are to be acknowledged with a polite “thank you,” confirming that the actor has heard and accepted this information.

13.       Actors will maintain the integrity of the production by avoiding any changes in the script, character interpretation, blocking, timing, costumes, and makeup once the director and designers have set these.

14.       Actors will use the appropriate procedure for registering complaints rather than undermining the production with unethical behavior, gossip, or attitudes.

            HEALTH AND SAFETY

1.         The university accepts no responsibility if an actor is ill or injured.  Actors are responsible for health and safety guidelines.  Under no circumstances will pressure be placed on a person to perform if he/she feels unable.  If ill or injured, the decision regarding rehearsing or performing is the actor’s. 

2.                  No actor will be required to do anything that they feel is dangerous or unhealthy.  If an actor feels that the task is dangerous, he/she must bring it to the attention of the stage manager, technical director, and director.  After consultation with the director, a decision will be reached as to whether or not the task will be performed.

3.                  Actors and crew will report unsafe use of any hazardous materials, chemicals, or any unsafe actions in the rehearsals, performance, or workspace to the director or stage manager.

4.                  Actors will refrain from any horseplay that might be viewed as dangerous.

PROGRAM AND BIOGRAPHICAL MATERIAL

1.                  Actors shall cooperate with the publicity office in the preparation of program and other publicity materials.  This includes providing requested biographical information as well as participating in promotional activities, photographs, recordings, or commercial shoots.

2.                  Actors will have the chance to look over their program information.  However, the publicity office has the final say on all printed material.

3.                  The program copy is to be posted on the callboard, with a deadline clearly stated for corrections and changes that will be made and initialed by each actor.  Additionally, a copy may be passed around during a rehearsal for proofing.

4.                  Regarding the biographical information that actors submit, please refrain from inside jokes.  Biographical information is presented for the audiences’ use only.

SECURITY

1.                  Actors are responsible for their own valuables.  Neither the stage manager nor the university is legally responsible for lost or stolen items.  The SM will make provisions for holding valuables at the actor’s request, but will not be legally responsible for them.

2.                  During rehearsals, no one is allowed to be backstage or in the assigned dressing rooms except the actors, assigned crews, and theatre staff.

MAKE-UP AND COSTUMES

1.                  For health and safety concerns, actors must provide their own conventional stage make-up for performances.  When necessary, the University will provide nontraditional character makeup (i.e. latex, body paint, and special color) required by the costume designer or director.  Information for purchasing basic makeup kits will be provided by the theatre faculty.

2.                  Costume fittings will be scheduled during non-rehearsal hours.  All fittings must be arranged through the stage manager.  The stage manager will determine the availability of the costumer and designer and coordinate this with the actor.

3.                  Actors must not be late to scheduled costume fittings.  If a problem arises, calls should be made to notify the stage manager.

4.                  All make-up should be applied before costumes are put on.

5.                  Actors must wear their complete costumes during all dress rehearsals and performances, including curtain call.  No additions or deletions can be made to the design unless approved by the costume designer and director.

6.                  Actors should not eat or drink in costume.

7.                  It is the costumer’s responsibility to place a complete costume in the actor’s dressing room prior to the scheduled call.  It is then the actor’s responsibility to make sure the entire costume is returned the way it was found in the dressing room after rehearsal or performance.  A dresser may help an actor change and agree to return the costume to the dressing room, but it is ultimately the actor’s responsibility to make sure that all parts of the costume are returned and hung up.

8.                  It is the actor’s responsibility to hang up his/her costume in the dressing room after use.  Heavy costumes should be turned inside out to dry.

9.                  No part of the costume is allowed to be taken from the theatre without the designer’s or the costumer’s approval, including parts of the costume belonging to the actor.

10.              Actors must report in writing (sheets will be provided by the stage manager) to the wardrobe head any repairs, stains, or problems needing attention.

11.              If wigs are used they must be returned to the Styrofoam heads as found.

PROPS

1.                  Each actor is responsible for checking on his/her properties before each rehearsal and performance.  All props carried off stage by actors should be returned to the prop table.

2.                  Props should not be handled except by the property person or by the actor using them.  They are not to be played with, removed from the theatre, or used as tools, etc.  No one is to handle weapons except the assigned actor, stage manager, or fight captain.

3.                  Each actor is responsible for reporting on repair sheets (provided by the stage manager) any damaged prop.  If the damaged prop creates a safety hazard, the actor should not use it again until it has been properly repaired.

STRIKE

            All members of the cast and crews are expected to participate with strike.  Absolutely no props  or costumes are to be considered the property of actors and all costumes and props must be accounted for, especially any props or costumes borrowed from other theatre departments, companies, or organizations.

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Stage Manager Guidelines

I.                   Application

A.    Submit to the theatre faculty a letter of intent and a copy of your resume.

B.     Application is to be submitted no later than two weeks prior to auditions.

II.                Brief Outline of Duties

The stage manager begins the production period by providing administrative support to the director before and during auditions.  The stage manager serves as the hub of information throughout the production process: taking notes at rehearsal and production meetings, distributing daily reports, giving/receiving messages.  When the stage manager begins to call the show during tech week, the primary focus of his/her responsibility changes from administrative support to technical coordination of all production activities.  The director and various designers determine the nature and timing of the cues, but it is the stage manager who is responsible for seeing that those instructions are carried out. 

III.             Pre-Rehearsal

A.    Read the script to get a full understanding of the play.

B.     Attend pre-rehearsal production and design meetings, record what happens and later distribute production meeting reports to the production team (these meetings will be run by the director).

C.     Organize and help run auditions according to the director’s format.

D.    Arrange to get stage manager keys from the theatre faculty.

E.     Discuss with the director his/her particular rehearsal procedures.

F.      Obtain a ground plan from the technical director showing the location of furniture and all scenic elements.

G.    Tape out floor of stage or rehearsal space.

IV.            Rehearsal Period

A.    Once rehearsals begin, production meetings are run by the stage manager, who types an agenda, records reports, and later distributes copies to the production team (all designers, director, technical director, crew heads, and post one on call board for the cast and crew).

B.     Type a contact sheet listing names and phone numbers of all members of the production team.  Distribute to entire team.

C.     Provide properties master with complete list of properties and unique specification by beginning of the second week of rehearsals.

D.    Request rehearsal props from props master and rehearsal costumes from the costume coordinator.  They will pull them.  You will be responsible for them getting to and from rehearsal, as well as their care.

E.     Sweep floor and set stage for rehearsal each night.

F.      Assist the director in starting rehearsal promptly.

G.    Make note of all blocking and blocking changes as they occur in the prompt book. 

H.    Complete and post a copy of the rehearsal report each night, and personally communicate messages to appropriate production personnel affected by a decision during that rehearsal (a deleted prop, an added rehearsal, etc.).  You are the hub of information.

I.       Strike all furniture and rehearsal props each night from the stage and place in an organized manner off stage.

J.       Turn off lights and lock up.

K.    Check in with the technical director at least three times a week to communicate messages and receive instructions.

L.     Maintain a positive attitude at all times.  Set the tone for a friendly, efficient, and successful rehearsal process.

V.               Before Technical Rehearsals

A.    At Paper Tech, place all light, sound, and fly cues into the prompt book.

      Place the following items in the prompt book also:

1.      Costume changes

2.      Scene shifts

3.      Prop changes

4.      Special effects

B.     Meet with the technical director, designers and director to establish the format for the technical rehearsals.

C.     All level changes, entrances and exits must be marked with glow tape.

D.    Instruct cast and crew in safety procedures.

E.     Enforce safety rules backstage and understand you are responsible for backstage discipline.

VI.            Technical and Dress Rehearsals

A.    Post sign-in-sheet to include full cast and crew.

B.     Collect valuables from actors and lock them away safely.

C.     Sweep and mop stage prior to each dress rehearsal.

D.    Get presets from all crew heads before starting tech rehearsals.

E.     Visually check stage for preset.

F.      All backstage traffic patterns must be clear and safe for passage.

G.    Make sure there are no unauthorized personnel backstage, in the control booth, dressing areas or green room.

H.    The stage manager is responsible for all of the following:

1.      Calling of all cues

2.      Places for actors prior to entrances

3.      Safety backstage

4.      Scene shifts

5.      Costume changes

6.      Lighting cues

7.      Sound cues

8.      Fly cues

9.      Special effect cues

10.  Presets from all crew heads

11.  Blocking, lines, etc.

12.  Noise level backstage and on headsets.

I.       Final Dress is to run in absolute performance conditions.  Also, intermission procedures need to be established during technical rehearsals.

VII.         Performance

A.    Unlock all stage areas.

B.     Check sign-in-sheet one hour prior to curtain for cast and crew.

C.     Check presets and house.

D.    Call “house conditions” thirty minutes prior to curtain and notify House Manager immediately.

E.     S.M. or A.S.M. must remain on headset at all times once “house conditions” are called.

F.      Inform actors of time:

                                                1.      30 minutes

                                                2.      15 minutes

                                                3.      10 minutes

                                                4.      5 minutes

                                                5.      PLACES (at 3 minutes to curtain)

G.    Communicate with the house manager to establish curtain time and possible holds five minutes prior to curtain.

H.    Follow procedures established during technical rehearsals and begin calling the show. 

I.       After house is cleared, preset stage for next performance.

J.       Check with all crew heads and make note of any problems during performance on the performance report.  Distributes copies to the production team and post a copy on the call board.

K.    Secure all stage areas and turn off lights.

L.     Stage Manager is to be the last person to leave the theatre each night.

M.   During the run of the show meet with the T.D. to establish a strike meeting with crew heads and post strike assignments.

N.    All rented scripts and scores are to be collected, checked for marks and given to the faculty director.

VIII.      Post Production

A.    Conduct roll call at the end of strike and submit it to the T.D.

B.     Return keys to the theatre faculty.

Back to Theatre Arts Department

House Manager Guidelines

I.                   Standard House Manager Duties:

A.    Supervise front-of-house personnel:

1.      Assistant house manager

2.      Ticket checkers

3.      Ushers

B.     Coordinate ticket-checking with box office system and needs.

C.     Supervise cleanliness of facility.

D.    Maintain safety and fire laws.

E.     Oversee special customer services and needs (exit signs, heat/air, wheelchair).

F.      Coordinate curtain times with stage manager (through house headsets).

G.    Handle special customer problems regarding seating (late-comers, confusion).

H.    Enforce house rules (no smoking in the building; no food, drink, cameras or beepers in the theatre).

I.       Many of these responsibilities, of course, may be delegated to a staff member, but a goodly amount of personal supervision by the House Manager is always desirable.  Before each performance, the House Manager should personally tour all the public areas of the building as if she/he were a customer seeing it for the first time.  Is the floor clear of all paper? Are the rest rooms in spotless condition? What is the auditorium temperature? Are all light bulbs working? Are there any “accident traps”? Assume you are responsible for everything that the audience will experience from the moment they arrive on the premises to the moment they leave, with the exception of what happens on stage. 

II.                House Rules for the Staff  

A.    Never run or shout in audience areas because of the danger of creating panic or public alarm, especially in the event of a real emergency.

B.     Never use the auditorium to gain access to or exit from the backstage area.

C.     Performers and backstage personnel should always use the stage door, never lobby or house entrances.

D.    Backstage personnel should never be seen in audience areas during performance hours, except in cases of emergency.

E.     Staff should always report the presence of strangers or unauthorized visitors to house or stage manager.

F.      Like many of the positions at ETBU Theatre, the front-of-house staff is made up primarily of volunteers.  The most important rule to follow in dealing with these volunteers is to make sure that all ticket checkers and ushers are well informed as to his/her duties.  The house staff should be perceived as knowledgeable, friendly, and helpful.  It is the house manager’s responsibility to see that each staff member conducts him/herself in a professional manner.  The house staff should never seem arrogant, confused, informal or chatty.  You set the example.

III. Seating the Audience

A.    With a 7:30 curtain, the house manager should receive confirmation from the stage manager that the house is ready to be opened at 7:00.  Once the stage manager has given the approval, the house manager will look for the appropriate time to open the house (no earlier than 7:00, no later that 7:10).

B.     When a playgoer moves from the lobby into the house, the first person he should encounter is the ticket checker.  This person should greet each customer verbally, and instruct customers where to proceed next (“inside to your right, through the first door on your left,” etc.).  However the most important job of the ticket checker is to insure that each person entering the house has a ticket.

C.     After the ticket checker, the playgoer should then encounter an usher.  That usher will greet the customer verbally, offer a program, offer assistance in finding their seat, and wish them an enjoyable evening (“I hope you enjoy the show,” etc.).

D.    The goal of the house manager is to start the show as close to 7:30 as possible.  As soon as the lobby is clear, with the audience in their seats, the house manager should inform the stage manager on headset that the house is ready for curtain.  The stage manager will confirm that backstage is ready.  If a curtain speech is planned, the cue is given for it to begin followed by the performance.  If no curtain speech is planned, then the performance will begin. 

E.     The ETBU Theatre has adopted the policy of not seating latecomers until appropriate intervals in the performance.  Some productions begin with particularly quiet or sensitive moments that would be destroyed by late patrons searching for their seats.  The house manager should consult with the director before preview to designate appropriate moments in which to seat latecomers.  When doing so, facilitate their entry quickly and quietly.  Seat latecomers in the most unobtrusive locations to avoid disruption (next to the aisle, near the back, etc.).
 

IV.            The House Manager’s Schedule

6:00 pm    Box office opens.

6:30 pm    House manager arrives, checks with box office manager for name of

person in charge, names of ushers, color of ticket and any additional messages.

6:35 pm    House manager conducts a walking inspection of all audience areas and checks in with stage manager.

6:45 pm    Ushers arrive, and house manager instructs them about their duties.

6:55 pm    House manager checks with stage manager for opening of house.

7:00 pm    House should open NO LATER THAN 7:10 PM.

7:15 pm    House manager checks with stage manager (on headsets) to update front-of-house status and check for any backstage problems that might result in holding the house.

7:25 pm    House manager checks with stage manager to update house status.  If there is a possibility of holding, the stage manager must be informed.

7:30 pm    If lobby is clear, close the house.  If the house must be held, house manager must check with stage manager and give an estimate of time for closing.  Once the house is closed, the stage manager must be informed.  THE PERFORMANCE SHOULD NOT START LATER THAN 7:35 EXCEPT FOR EMERGENCIES.

7:35 pm    After the show has begun, the house manager should remain in the lobby to deal with late-comers.

                  Although these times may change from performance to performance, the framework is the same.

V.               Intermission and the End of the Show.

A.    Before each performance, the front-of-house staff should be given individual intermission and end of show assignments for opening and closing doors.

B.     Doors should be opened after the audience has begun to applaud the end of the act or the end of the curtain call.

C.     The house manager is responsible for coordinating with the stage manager to keep the intermission as close to the printed time as humanly possible.

D.    As intermission time nears an end, the house manager should work the crowd by politely speaking to groups of people (“two minutes to curtain,” etc.).

E.     An intermission should never go beyond 15 minutes.  A strong performance can lose momentum with a long intermission.

F.      Again, quickly inform the stage manager when the audience is in and the house is closed for the second act.

VI.            Disturbances inside the House

Since the house manager must remain in the lobby area to deal with problems or late seating, it is important to have an usher inside the house to be aware of any problems within.  If there is a crying baby, a loud audience member, or any other problem with the house, the usher must inform the house manager immediately.  The house manager will then escort the person from the house as quietly as possible.

VII.         In Case of Emergency

For each performance, a staff member of the Department of Theatre Arts will act as Person in Charge (PIC).  In the event of an emergency, the first step is to notify the PIC on duty.  If the theatre must be evacuated for some reason, the PIC will give instructions at that time.

VIII.      Audience Engineering

The best management is the conspicuous management.  Theatregoers like to be serviced efficiently but unobtrusively.  The front-of-house staff can be friendly without being obnoxious or pushy.  It can be present without being obvious.  The house manager and his/her staff not only comprise the official host of the performance but of an evening out.  The house manager must keep things moving, must cover for mistakes or deficiencies of all kinds, and must try to see that each patron feels like the most honored guest enjoying a perfectly wonderful evening.

IX.            Remembering Your Volunteers

The house manager should remember to thank the volunteers who have given their time to work for the theatre that night.  Know their names, treat them with respect, and let them know they are appreciated.

Back to Theatre Arts Department

Safety Guidelines and Procedures

East Texas Baptist University – Department of Theatre Arts

PURPOSE:  The study of Theatre Arts includes hands-on work constructing sets, creating and modifying costumes, and other such work.  Students will be engaged in all manner of workshop activities in accordance with the purposes and mission of the ETBU Theatre Arts Department and its programs.  Safety in the workshop activities is to be a top priority for all students, instructors, and supervisors.  To help ensure a safe work environment for everyone, the following list of guidelines and procedures has been developed.  These are to be followed at all times.  In addition to these general rules, specific guidelines and instructions will be provided by the instructor and/or supervisor for each activity.

GENERAL RULES:

1. Conduct yourself in a responsible manner at all times
2. Follow all written and verbal instructions carefully.  If you do not understand a direction or part of a procedure, ask the instructor and/or appropriate supervisor before proceeding.
3. Perform only those responsibilities assigned and authorized by the instructor or supervisor.
4. Horseplay, practical jokes, and pranks are dangerous and prohibited.
5. Observe good housekeeping practices.  Inasmuch as possible, work areas should be kept clean and tidy.
6. Know the locations and operating procedures of all safety equipment including the first aid kit, fire extinguisher, etc.
7. Be alert and proceed with caution at all times in the work areas.  Notify the instructor or supervisor immediately of any unsafe conditions you observe.
8. Use caution when using sharp objects and tools.  Always carry them away from your body.  Never try to catch falling sharp instruments. 
9. Students who do not obey the safety guidelines and procedures will be required to leave the working area, and their course grade will be affected according to policies outlined in specific course syllabi.

ACCIDENTS AND INJURIES:

Report any accident (spills, breakage, etc) or injury (cut, burn, etc.) to the instructor or supervisor immediately, no matter how trivial it may appear.

clothing / related matters:

Contact Lenses:  Contact lenses may be worn in labs; however, dust and debris may get cause irritation.

Appropriate Dress:  Dress properly while working in the works