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Each production role has its own set of processes, jobs and terminology. Many of these things overlap, and a cohesive production will show evidence that the production team had a shared process of dramaturgy and design.
Each production role has its own set of processes, jobs and terminology. Many of these things overlap, and a cohesive production will show evidence that the production team had a shared process of dramaturgy and design.
Scroll down to find resources for your Production Role and make sure you feel confident with the language and activities associated with each stage of the production process.
This website has a huge range of templates you could use to draw designs on - and REAL bodies :)
DIRECTING
DIRECTING
You need to show evidence that you have: analysed the script, made choices about blocking, considered the overall themes and intentions of the playwright...
You need to show evidence that you have: analysed the script, made choices about blocking, considered the overall themes and intentions of the playwright...
You should also look below at the warm up games and activities for ACTING as DIRECTORS should facilitate some of these activities in rehearsals.
You should also look below at the warm up games and activities for ACTING as DIRECTORS should facilitate some of these activities in rehearsals.
Use these slides as a virtual mini-text book! I recommend using your ZOOM to get in close and look at the pictures/examples.
This short video shows you how to do a Set Design rendering in Google Slides.
This short video shows you how to do a Set Design rendering in Google Slides.
Makeup Designer
Makeup Designer
The commentary on this video is fantastic! The Broadway makeup designer Joe Dulude II has designed many shows, including Wicked and you'll learn:
some amazing techniques (glue stick on eyebrows!!)
discusses how research about the context of a script informs the choices he has made for design and the products he uses (eg. what products would a man have been able to get hold of in the 1950s to put on his drag face, when being seen buying makeup wasn't an option...1920s eyebrows were think and round!).
how contouring can create a mask-like facial expression to convey the character's baseline emotional state.
how the setting of the play and the genre of the performance impacts the choice for foundation (matte finish for sweaty musicals! bronze/ambers for a sun-kissed setting).
on a basic level, does the design need to accentuate someone's features or redesign their face for the character?
there is so much more to Elphaba's makeup than just green skin!
ACTING
ACTING
Start your own 'bank' of warm up and character development activities in your journal. Here are some links to get you started, as well as keeping a record of what we have done in class - both generally or within specific theatre styles.
Start your own 'bank' of warm up and character development activities in your journal. Here are some links to get you started, as well as keeping a record of what we have done in class - both generally or within specific theatre styles.
The video link above should take you to the first in a playlist of videos.
Make your own copy of the document below, or use it as a guide to write about your character's history in your journal. This approach to created a believable character is based on Realism/Naturalism styles and the work of Stanislavski and his American interpreters (eg. Uta Hagen, Lee Strasberg, Stella Adler)
Make your own copy of the document below, or use it as a guide to write about your character's history in your journal. This approach to created a believable character is based on Realism/Naturalism styles and the work of Stanislavski and his American interpreters (eg. Uta Hagen, Lee Strasberg, Stella Adler)
Uta_Hagen_9_Questions.pdfGENERAL RESOURCES TO EXPLORE
GENERAL RESOURCES TO EXPLORE
You can get lost for HOURS in the videos on this website. Go behind the scenes on pretty much any production role or task in the theatre you can imagine, and get professional insights into any creative problem.
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