Flat - a wall. Standard 4’ x 8’. That’s the size plywood boards come in.

• Good to know both metric and imperial.

Front elevation - what a sketch would look from the front.

Back elevation - “” “” “” “” back.

Back of a flat: top rail, bottom rail - brace on the top and bottom. We usually use 1x3s. Long side piece is a stile.

Page 247.

Production meeting thurs at 4.

Bar in the middle is a toggle. Supporting bars diagonal brace. Cornerblock in the corners. Keystone, strap.

Risers/platforms.

¾’’ plywood and 2x4.

211-213 for materials.

Stairs: rise and tread. Carriage. 7-8’’ rise. Stringers on top.

Pneumatic tools - powered by air. 222-224.

Screw: Standard: slot, phillips: X, robertson: square.

Side elevation.

Will be building a basic box.

½’’ plywood?

Primary Source: Direct information from somebody who witnessed/participated.

Secondary source: Information based off of a primary source.

• Assessing a source’s reliability: 

1. Is the source credible?
2. How biased are the author and the publisher?
3. How biased are you?
4. Is the source up to date?
5. Can you verity the information in the source?

Using Research Resources Responsibly:

Rules for Paraphrasing:

1. A paraphrase must be a clear and accurate rewording of the author’s idea.
2. A paraphrase must express the author’s idea in your own words and sentences.
3. The source of your paraphrase must be included, using MLA doc. style.

Plagiarism: Using someone else’s words or ideas in your own writing without acknowledging their source.

Four Forms of Plagiarism:

1. Word-for-word continuous copying without quotation marks or mention of the author’s name.
2. Citing the author but copying many words and phrases without quotation marks, so that the reader has no idea who has written what.
3. Paraphrase the passage without mention of the author’s name.
4. Taking the author’s idea without acknowledging the source.

Common Knowledge: What you don’t need to cite. What most people can be expected to know.

Things to look for in plays: 

• Title
• Characters
• Setting/Time
• Theme
• Tone/Mood
• Message
• Genre
• Audience
• Style
• Nationality
• Time Written
• Religion

Why does the scene have to be in the play?

Short essay. Short intro, 2 body paragraphs, conclusion.

• Exposition: Something explained in words rather than action.
• Point of attack: Where the action starts.
• Complication: Something that hinders the end goal that lead to the crisis.
• Reversal: When we find out that something is the opposite, changes, from new information.
• Conflict: Stops you from getting what you want, usually direct opposition. (Man vs man, man vs nature, man vs himself.)
• Rising action: The events leading to the crisis.
• Crisis: Usually with the climax, boiling point, where everything comes together/falls apart.
• Falling action: Conclusion, loose ends being tied up, resolution.

Mini essay: Selection of scenes: 

1. Why does this scene have to be included in the play?
2. Include quotations in each paragraph.
3. Identify the play, contextualize the scene, thesis of why is the scene in the play, body supporting, balance between the scene and the play.

Scenes: 1.2, 1.7, 1.8, 2.3, 2.6

Intro, 2 body para, 2 sentence conclusion.

Keep reading

Page-to-Stage Essay

1500.

Identifies idea or theme. (Half the essay.)

Meet before Nov 18th.

Consider everything, but you don’t need to write everything.

Draft Nov 20th.

Final Nov 27th.

1. Exam: Saturday Dec 14th from 9-12.
2. Write technical review on a professional show: Costumes, makeup, props, set, lighting, sound.

Actsafe

• Actsafe represents two different sectors: theatre and television
• Training courses
• Workshops and seminars
• Website
• Documentation
• Onsite testing and advice
• Newsletter
• Two standing committees: performing arts and motion pictures
• Funded by but not part of worksafe bc

Etc

1. Know the relevant health and safety legislation (website)
2. Describe the functions of health and safety programs
3. Identify responsibilities

Safety things > Safety programs > Safety management systems

Workers have three basic rights:

1. Right to know about hazards etc
2. Right to participate (personal protective equip)

1. Right to refuse unsafe work

Websites

http://www.worksafebc.com
> Regulations > Rights and Responsibilities
> Regulations > Personal Protective Equipment
> Forms

http://www.actsafe.ca
> Membership
> Courses & Certifications > Workplace Hazardous Material Information System
> Bulletins > Performing Arts
> Library
> Resources > Risk Assessments

Performing Arts Industry Other Safety Resources

• Primers: Performing Arts, Working at Heights, Dancer and Muscular/Skeletal Injuries, Musicians and Muscular/Skeletal Injuries
• Actsafe safety bulletins for performing arts
• Actsafe risk assessment and factsheets
• New and young workers orientation

Commitment to Safety

• Senior management
• Supervisors
• All employees

Worker’s Responsibilities

• Know the rules and procedures
• Know your responsibilities
• Work safely
• Take part in training
• Use correct protective equipment
• Know about impairment
• Report personal injuries
• Correct or report all hazards

Hazard Assessment/Control

• Eliminate the hazard
• Substitute
• Use an engineered control
• Use an administrative control
• Use personal protective equipment

Protective equipment may be the only practicable answer.
Know what equipment is required and how to use it correctly.

Health and Safety Program

• Safety committees
• Safety inspections
• Training and safety information
• Testing and monitoring

Procedures

• Safe work procedures (e.g. working alone, traffic safety, needle disposal, ladder use)

Education and Training

• Requirement at all levels
• Specfic training is required by law for some work
• Very important part of the health and safety program
• Training tracked through actsafe safety passport system

How Safety Issues Are Addressed

• Communication
• Safety committees

Work Refusal

• If a worker refuses to carry out work that he/she believes is hazardous, they must immediately INFORM their supervisor or employer
• A supervisor/employer must investigate the matter to ensure any unsafe condition is corrected without delay
• Next step involve safety committee and union rep
• Actsafe may be involved to help provide guidance
• May involve a WorkSafeBC officer to resolve issue
• Cannot discriminate against the worker refusing the unsafe work

• http://ufv.ca/library/
• Use the main search box.
• Books and Video tab
• Might not come up right at the top.
• Course reserves tab
• Course number or prof’s last name
• Journals tab
• ONLY SEARCHES TITLES
• Reference tab
• Much more reliable
• Libguides tab
• Select theatre

1. http://libguides.ufv.ca/cat.php?cid=13402
2. Dive into the tabs again
3. Background tab, oxford search bar
4. Course help tab
5. Thea101
6. http://libguides.ufv.ca/content.php?pid=109694&sid=3216601

• Journals:
• Specific topics
• Assume you already know what you’re talking about
• Books: 
• Broader
• Explain more

1. Reference: Can’t take out
2. Stacks: Can take out

• Catalog record

1. http://libguides.ufv.ca/Theatre

Design Elements: 

Costume:

• Character: time place status
• concept
• cut
• drape
• silhouette
• pattern
• texture
• hair and wigs
• makeup
• millinery
• prostumes
• effects
• quick changes
• puppets/masks

SCENE, LIGHTING, SOUND, COSTUME

nevermore: dark mood and atmosphere, gothic costuming, low lighting, music, costume silhouette, dramatized costume, solo singing, limited colour palette, strange material/texture, wigs, makeup, masking, scrim, 

gandhi: live music, opera, chorus, puppetry, MASSIVE PUPPETS, manipulation of objects, common objects, relating to poverty, inspired by gandhi, nonlinear, larger scale, larger cast, texture and colour, set and light planning together, 

DESIGNER/SCENOGRAPHER:

useful scope of knowledge for stage design:

art and architecture, historical fashion and decor, drawing, panting, sculpture techniques, drafting and comp rendering, building materials, fabrics - fibers, patterns, dying and upholstery, craft, people and places, events current and historical, technology, colour theory, texture, aesthetic proportion, light and shadow

designers also draw on practical skills and knowlege, research skills, intuition, innovation and talent

designers are most most importantly collaborators, project coordinators and diplomats

Beginning your research

• magazines, newspapers, and or books
• reference works (encyclopedias, dictionaries, almanacs, etc)
• internet searches (google it)

1. Perspective
2. Objectivity
3. Authorship
4. Type of Source

http://academia.edu
http://www.ufv.ca/library/
http://cufts2.lib.sfu.ca/CRDB/BCLF
http://ehis.ebscohost.com/eds/search/basic?sid=205d05eb-71dd-408d-894d-017535bd686b%40sessionmgr14&vid=2&hid=6
http://scholar.google.com

Email articles to yourself.

http://libguides.ufv.ca/Engl105

Magic If - trying to under the character’s situation as the character in their situation with their objectives

if an actor finds the right action it will always generate the same physical action and generate the same reaction in yourself and others

emotional memory, sense memory - remembering something from your own past to imitate the emotion the character is feeling (stanis rejected this later to reject it with psychophysical action) danger of actor feeling too much - wanted to keep the focus on the character, not the actor

OTHER GROUP

post modern

presentational approaches to acting are overall more common in world theatre, non-western theatres

particularly common in the theatre where things are very stablized

understanding that a certain action means a certain thing

represents emotion in an openly artificial or stylized way

no trying to be emotionally truthful to the character

non-realistic plays

technique based more than inspiration based

brecht: overtly political type of theatre

gestus: a way for actors to point at the attitude/reveal motivations transactions behind the characters actions, narrate, may directly explain to the audience

trying to shed light on circumstance but not bring character to life

—-

heretical director: own perspective on a script, theoretical, may change given circumstances, become co-creator to meaning,

worshipful: the text is the bible, unlikely to crossgender/colorblind, 

oteur - radically changing the script/meaning, usually use something out of copyright law,