THE UNDERGRADUATE THEATRE PRODUCTION PROGRAM
The qualitative focus of the production program is to present the most effective and affective dance and theatre performances possible. It also provides a laboratory for students and the opportunity for practical application of classroom exercises and theories.
Today’s theatre design and production depend heavily on the complex electronic and mechanical systems used in professional theatre, film, and television production. The production curriculum is designed to meet the diverse aesthetic and technological demands of contemporary society. This curriculum provides academic instruction and professional training for careers in costume design, scene design, and lighting design.
Students enrolled in theatre production: costume design, lighting design, and scene design will complete course work in all three areas. Selected independent study, advanced electives, and production assignments in THE 4950 focus on the specialization.
A portfolio is required for admission to all production majors. For more information, consult the School of Theatre and Dance Undergraduate Advisor, Kevin Austin.
BFA Theatre Production Components
1. Demonstrate skills in recording and communicating design plans through mechanical drawing, pattern drafting, model building, plotting, and rendering.
2. Demonstrate knowledge of management skills relative to time, cost, space, personnel, and safety.
3. Demonstrate knowledge of basic machinery, equipment, tools, hardware, and materials used to realize theatre designs.
4. Demonstrate current technological and media literacy.
1. Demonstrate the principles of two-dimensional and three-dimensional design aesthetics as applied to the theatre arts of set, light, and costume.
2. Demonstrate sensitivity to, knowledge of, and aptitude for the art, craft, and process of moving the script onto the stage.
3. Demonstrate the ability to apply a conceptual approach to production; organizing, developing, and guiding the creative collaboration with designers, performers, and technicians.
4. Demonstrate the unique collaborative skills necessary to assimilate and realize the visions of playwright, performer, director, and designer in performance.
5. Demonstrate the ability to articulate the creative process as production.
6. Understand traditional and innovative techniques appropriate for varying production formats.
THE GRADUATE COSTUME DESIGN PROGRAM
The Graduate Costume Design program includes study in costume design, drawing and rendering, technical applications such as pattern drafting and draping, costume crafts, costume and theatre history, literature, and criticism to provide a strong foundation for effective communication and teamwork. Every effort is made to provide the student with a minimum of one design opportunity per academic year.
The first year of course work provides basic skills in design and a foundation in the technical aspects of costume creation. Assistantship hours will be fulfilled working in the costume shop under the supervision of the costume shop manager and foreman, training to use specific equipment, and developing production-oriented skills. During this time the student receives a better understanding of the production process. Beginning with the second semester, students may be assigned to design their first show.
Students may elect to fulfill the summer credits (Repertory or Internship) following the first year of training or the second year.
The second year of course work provides advanced training. Emphasis is placed upon a higher level of quality in their ability to communicate and work as part of a collaborative team. Specific skills such as rendering, construction, and costume crafts are developed to a professional level during this period. Knowledge of the history of costume and its development is attained. Designing the costumes for a departmental production is required. Students serving as graduate assistants are assigned supervisory positions or teaching positions and must coordinate undergraduate assistants. Organization, budgeting and planning are also stressed during the second year of training.
The Project-in-Lieu-of-Thesis requires the student to fulfill a major production responsibility and compile a written document that chronicles this process with supporting documentation. The project will be in the student's primary area of focus. A defense of the project and document follows. The student will also satisfactorily complete a written comprehensive examination demonstrating cumulative knowledge and understanding of theatre history, literature, and criticism as well as fundamentals of design and specifics about their area of interest. Answers to the examination are defended in an oral defense. During this third year the student’s work is required to be at a professional level.
A portfolio review/interview evaluating the student's development is conducted at the conclusion of each and every semester.