1 Day 11 & 12: Flat Construction Test, Covering, Joining, Dutching Flats Day 13: Covering, Joining, Dutching Flats Review and Test Day 14: Strike Safety Day 15: Strike Safety Test Program 1: Introduction To Technical Theater Days 1 and 2: Theater Hierarchy Day 2 and 3: Types of Stages Day 3: Stage Geography Day 4: Theater Hierarchy, Types of Stages, Stage Geography Assessment Day 5 and 6: Parts of a Stage Day 7: Parts of a Stage Assessment Program 2: Basic Set Construction & Theater Safety Day 1: General Theater Safety Measuring and Marking Tools Day 02: Measuring/Marking Tools-Test Day 03: Cutting-Joining Tools Day 04: Materials and Fasteners Day 05: Cutting-Joining-Materials Test Day 06: Set-Housing Differences, Platforms Day 07: Legging Platforms Day 08: Stairs Day 09: Practical Units of Scenery Test Day 10: Flats Program 3: Lighting for Theater Day 1: Reasons for Stage Lighting, Controllable Qualities of Light - Intensity Day 2: 3 Controllable Qualities of Light - Color and Distribution Day 3: Types of Lighting Instruments Lighting Positions Review for Written Assessment Day 4: Review for Written Assessment Written Assessment Day 5: Basic Lighting Design Doing a Hanging Plot Day 6: Patching Schedule Cueing the Show Hanging, Focusing, & Gelling your Show Troubleshooting Common Problems Days 7: Review for Written Assessment Written Assessment Day 8 and 9: Design a light plot for a one-act play (OPTIONAL) Program 4: Note: Audio For Theatre (2 nd Edition) is broken down into 3 options. Each unit is described below. Option 1: A 16 Day unit for Technical Theatre Classes and technicians who will be Operating Audio Systems Option 2: A 7 Day unit for Introduction to Theatre / Survey Classes Option 3: A 6-8 Day unit focusing only on Sound Design
2 Option 1: 16 Day Unit Day 1: Identify major aspects of Sound Reinforcement and Sound Design. Describe the responsibilities of the FOH Sound Engineer, Audio Crew, and Sound Designer. Recognize basic elements of sound, and how components of an audio/sound system can shape and process sound so the audience hears exactly what the director wants them to hear. Day 2: Review the material from Day 1 Differentiate areas of a theatre, and investigate how different audio sources travel to each of these areas. Examine the responsibilities of different members of a typical audio crew. Day 3: Summarize the Signal Path of the components of a Sound System. Differentiate between common audio sources in live theatre, and analyze which equipment is appropriate for these sources. Day 4: Differentiate between common microphones, and the appropriate audio hardware needed to run those sources. Plan, prepare, and set up different microphones, depending on the hardware available at each school. Day 5: Written Assessment #1 Day 6: Distinguish between the different controls on an audio mixer Examine the function of the Gain and Equalization sections of a mixer. Day 7: Further examine each remaining section of an audio mixer, in preparation for actually operating the mixer. Investigate the functions of Amplifiers and Speakers, and how they function. Operate an analog audio system under the guidance of the teacher. Day 8: Decide if and when a performance space needs to be tuned. Troubleshoot room acoustics to solve equalization problems. Day 9: Examine the advantages and disadvantages of Digital Mixing Consoles (DMCs). Develop parameters for different DMC configurations ( Scenes or Snapshots ), derived from a list of regularly scheduled events in your performance space the last 3 years. Day 10: Analyze how to control a specific DMC (Soundcraft Performer SI), Configure and operate a specific DMC (depending on what kind of console your facility has). Day 11: Written Assessment Day 12: Diagnose common problems that occur during performances.. Troubleshoot solutions for common audio problems. Day 13-15: Examine, in detail, the function and operation of different components of a typical audio system. Operate the audio system in your performance space. Assess the safety the audio system in your performance space, and propose fixes to the instructor if appropriate. Day 16: Written Assessment Option 2: 7 Day Survey Unit Day 1: Identify major aspects of Sound Reinforcement and Sound Design. Describe the responsibilities of the FOH Sound Engineer, Crew, and Designer. Recognize basic elements of sound, and how components of an audio/sound system can shape and process sound so the audience hears exactly what the director wants them to hear.
3 Option 2: 7 Day Unit (continued) Day 2: Review the material from Day 1 Differentiate areas of a theatre, and investigate how different audio sources travel to each of these areas. Examine the responsibilities of different members of a typical audio crew. Day 3: Summarize the Signal Path of the components of a Sound System. Differentiate between common audio sources in live theatre, and analyze which equipment is appropriate for these sources. Day 4: Distinguish between the different controls on the Input Section of an analog audio mixer. Examine the advantages and disadvantages of Digital Mixing Consoles. Develop parameters for different DMC configurations ( Scenes / Snapshots ), derived from a list of regularly scheduled events in your performance space over the last 3 years. Day 5: Examine the 2 main components of Sound Design, Sound Effects, and Incidental Music. Investigate ways to legally incorporate sound effects and incidental music into a production. Examine the collaboration with the director and other production staff in the creation of a sound plot. Day 6: The learner will review the materials from days 1 through 5. Day 7: Written Assessment Option 3: A 6-8 Day unit focusing only on Sound Design Day 1: Identify major aspects of Sound Reinforcement and Sound Design. Describe the responsibilities of the FOH Sound Engineer, Crew, and Designer. Recognize basic elements of sound, and how components of an audio/sound system can shape and process sound so the audience hears exactly what the director wants them to hear. Day 2: Review the material from Day 1 Differentiate areas of a theatre, and investigate how different audio sources travel to each of these areas. Examine the responsibilities of different members of a typical audio crew. Day 3: Examine the 2 main components of Sound Design, Sound Effects, and Incidental Music. Investigate ways to legally incorporate sound effects and incidental music into a production. Examine the collaboration with the director and other production staff in the creation of a sound plot. Day 4: Examine how to create cues using common software. Investigate individual components of a multi-layered sound cue. Review for Written Assessment - Day 5. Day 5: Written Assessment Days 6-8: Read a play or musical assigned by the instructor, do a tech evaluation, and produce the paperwork necessary to create a sound plot. Assemble potential music and sound effects, confer with the director (instructor), and create a sound effects track for the chosen play. Evaluate the audio system in your performance space, and create a schematic block diagram for a recently produced musical using USITT graphic standards, and produce a student portfolio.
4 Program 5: Stage Management 2 nd Edition Day 1: The learner will summarize the attributes and responsibilities of a stage manager during the pre-rehearsal, rehearsal and performance / maintenance of a production. The learner will distinguish ways to use technology to communicate with directors, actors, designers, and technicians. Day 2: The learner will differentiate the four purposes for which a stage manager reads a play. The learner will discover the documents, supplies and items necessary to produce and obtain before the first rehearsal. Day 3: The learner will plan and produce taping of a ground plan to the stage floor. The learner will devise and construct a prompt book and calling script. Day 4: The learner will compare different methods of holding a first rehearsal. The learner will organize a production meeting agenda. The learner will invent and apply methods of blocking notation. Day 5: The learner will prepare and produce a prop preset. The learner will formulate a method of delivery of daily notes. The learner will compare and contrast the stage manager s relationship with the actors and director. The learner will design a sound plot. The learner will construct and apply a system of putting cues into a prompt book. The learner will create a plan for conducting and calling tech rehearsals. Day 6: The learner will create a plan for calling performances. The learner will investigate methods for maintaining the technical aspects of a production and maintaining actors. The learner will compose performance reports. The learner will devise a method for dealing with emergency situations in your theatrical setting. Day 7: The learner will investigate avenues for a career in Stage Management. The learner will categorize the additional duties for stage managing a musical or opera. The learner will assess the stage manager s role maintaining a long run. The learner will prioritize the role of the stage manager and others in touring a show. Day 8: Written Assessment Program 6: Set Design Day 1: Introduction to Set Design Tour of a Typical Theater Script Analysis (part 1) Day 2: Script Analysis (parts 2 and 3) Day 3: Design Analysis and Styles Differences between Actual Buildings and Sets Day 4: Tour of a Completed Set Scale Drawings Day 5: Preparing to Build Your Model Set Front Elevations and Model Days 6-13: Preparing to Build Your Model Set Walls, Floors and Platforms Furniture
5 Painting Your Model Day 14: Rear Elevations and Working Drawings Exterior Sets and Unit Sets Resumes and Portfolios Review for Unit Test Day 15: Review & Written Assessment Program 7: Lighting Design Day 1: Introduction to Lighting Design Reasons for Using Stage Lighting General Qualities of Light: Transmission Absorption, Reflection and Refraction Day 2: Controllable Qualities of Light: Intensity and Distribution Day 3: Color in Light Day 4: The Design Process Day 5: Lighting a Basic Box Set Hanging Plot Instrument Schedule Cue Sheets Lighting Design (continued) Days 6: Designing for a Larger Theater Space Hanging Plot for Richard III Patching and Cueing Richard III Day 7: Review and Written Assessment Day 8-10: Lighting Design Project Program 8: Business & House Management Day 1: Hierarchy and Marketing Plan Involving Your School and Community Day 2: PSAs and News Releases Posters Fine Arts Booster & Patrons Programs Day 3: Tickets- Producing /Selling Them Day 4: Programs Day 5: Production Budgets Day 6: House Mgr/Staff Responsibilities Building Your Program Day 7: Review and Written Assessment Program 9: Careers in Theatre Lessson Design Content Day 1: Employment Opportunities examines producing organizations, and common types of runs: Limited, Extended/Open-ended, Stock, and true Repertory. Day 2: Commercial and Not for Profit Theatres Day 3: Unions (AEA, IATSE, USA 829, ATPAM, SDC, AGMA, AGVA) Day 4: Jobs in Theatre: Theatre Management: (company manager, house manager, box office manager, director of development, education director, director of marketing) Performance Staff: footage and stills of artistic director, director, designers, casting director, theatrical agents, actors, stage manager, choreographer, dance captain, vocal coach, dialect coach, dramaturg, running crews, etc) Day 5 : Jobs in Theatre: Artistic Staff and Production Staff (backstage footage of production manager, technical director, materials coordinator, carpenters, props carpenters, props artisans, electricians, drapers, stitchers, trimmers, dressers, wardrobe supervisor, crafts artisans, stage managers, audio techs, scenic artists, scenic charge, deck crew, wig specialists) Day 6: Differences in New York and Regional Theatres Educational Theatre (Elementary and Secondary, Community College, and University theatre, and educational arms of professional companies)
6 Days 7-8: Interviews with Professionals (85 minutes total) Actor (Actors Equity Association)) Costume Designer (USA 829) Set Designer (USA 829) Stagehand (IATSE Local 6) Director/Choreographer (Society of Stage Directors and Choreographers) Dresser/Wig Specialist (IATSE) Production Supervisor (Repertory Theatre of St. Louis) Artistic Director (Repertory Theatre of St. Louis) Executive Producer (Fox Theatricals) Day 9: Test Program 10 Costuming for Theatre Lessson Design Content Day 1: Introduction and Script Analysis Day 2: Functions of Costume Design: Knowing the Characters, Research, How to do a Costume Chart Days 3 and 4: Elements of Costume Design, and Developing a Design Concept Day 5 and 6: Drawing the Human Form, Drawing the Basic Body Day 7: Applying Clothes to the Body Day 8: Turning New into Old, Professional Opportunities in Costuming, Review for Unit Written Assessment Day 9: Unit Written Assessment Review and Administer Written Assessment All Practical Technical Theater programs include the following: *A broadcast quality DVD that provides students visual reinforcement of key concepts. The DVD/CD-ROM format also allows for class within a class instruction. Students can work on as many projects as there are laptops. *A CD-ROM of Support Materials that include: Lesson Designs with objectives aligned to Bloom s, materials needed, class time, and with alternative lesson designs that address different learning styles Resource Sheets Written Assessments Perfomance Rubrics Projects Handouts Writing Prompts Alignments to the National Standards for Arts Education Please feel free to contact us at: Interactive Educational Video, LLC PO Box 4582 Chesterfield, MO 63006 Phone: 314-650-3873 Fax: 636-728-0696 www.interactiveeducationalvideo.com *A Single School Site License that gives your school permission to run paper copies of the support materials, if the teacher would like the students to make their own workbooks of the support materials. This eliminates the need to purchase textbooks and workbooks. The Site License also includes permission to use the programs with smart boards or computer labs, or with laptops. The program s electronic format often qualifies the programs for purchase using Technology and Library Funds.
7 Purchase Individually or as a Set. If purchased as a set, of 10 programs, we include a backstage survival kit of 5 running blue led flashlights with carabiners, 2 grease pencils for marking gels, a classroom set of 30 small lighting field templates, swatchbooks, gobo catalogues, and more!