The Head of the Department of Theatre Arts works in close consultation with the faculty to administer both the academic component of the department and the production component, known as University Theatre.
The department holds weekly meetings during the academic year. Those participating in the meetings include all full-time faculty and staff, a student representative elected by the undergraduate majors (see “faculty liaison” under “Pocket Playhouse”), and a student representative elected by the graduate majors. This group is responsible for overseeing, creating, and implementing administrative and academic policy in the department, as well as all operational aspects of the University Theatre (UT). For all matters involving personnel, student discipline and curriculum, faculty shall bear sole responsibility and vote on relevant motions or questions, but they may seek the advice of staff and student representatives. On matters pertaining to the running of University Theatre, both student representatives and staff shall have full voting privileges.
Theatre Arts office
The Theatre Arts office (216 Villard) is open five days a week. The office staff are able to assist you with many academic matters including questions about class schedules, advisors, registration, and major requirements. For questions of advising, however, students should be consulting their faculty advisers or Jerry Hooker, our undergraduate coordinator.
Our office manager is May-Britt Jeremiah. Her assistant is Brooke Cagno. You can reach either at 541-346-4171.
Students are entitled to have access to their student files while in the office. In order to protect the privacy of all students, only faculty and staff may remove or replace student files in the cabinets, or take them from the office. Students may ask permission to have something from their files copied, but may not remove anything from their files or take them out of the office.
Office equipment and materials
The office fax, printer, and copy machine is reserved for the use of faculty and graduate teaching fellows only. The copy machine is only for authorized classroom or production related materials and may not be used for student’s homework, flyers, or scripts, or for personal use. If you have questions, please ask the office staff.
Williams Design Lab
Two graphic computers are located in 308 Villard. These computers are primarily for use by design students, although students may also use them to prepare flyers for departmental activities. The key is available from the office coordinator. Users MUST return the key immediately to the Theatre Arts Office and the door to 308 Villard must be secured upon your departure.
Faculty service appointments
Each faculty member serves as advisor or co-ordinator for certain functions essential to the running of the department and the production program. If you have any questions or problems, please make an appointment to see the appropriate faculty member.
For the department:
Departmental Head: John Schmor
Graduate Advising Coordinator: (temporarily John Schmor)
Undergraduate Advising Coordinator: Jerry Hooker
UT Marketing Coordinator: Ariel Ogden
Rehearsal Space reservations: Brooke Cagno
Internships: Sandy Bonds
New Voices: Sara Freeman
KC/ACTF Liaison: Joseph Gilg
Health and Safety: Janet Rose
Affirmative Action (Sexual Harassment): Janet Rose
Undergraduate Courses and Degrees
At the University of Oregon, the undergraduate degree in theatre arts involves the study of the theatre as a whole. Requirements encourage students to gain knowledge and experience in all aspects of the field, and scholarly pursuits and production training are given equal emphasis. The well-rounded major will include course work and experience in history and literature, theory and criticism, as well as design, technology, and performance.
How to Declare a Theatre Arts Major
1. Pick up a change of major form from office staff (216 Villard). You will be
automatically assigned a faculty advisor who will contact you shortly after your
form is processed. You can change your adviser at any time. You will also be
signed on to our “circus” list serve which sends out e-mail announcements about
auditions and shows and new courses every week.
2. Pick up the fact sheet entitled “Major Requirements: Theatre Arts Major”
Keep this sheet and use it as a checklist as you complete each requirement.
Bring it with you when you make appointments for advising.
3. Once a year Theatre Arts faculty cancel one day of class meetings in order to
schedule meetings with all advisees, particularly new students to the major.
Students should also schedule appointments near the time to register for
the next term’s classes (usually starting in Week 8)
Graduation requirements for the Theatre Arts Major
Jerry Hooker is our Undergraduate Advising Coordinator – you can reach him directly at 541-346-0070 or firstname.lastname@example.org.
When you have a question regarding graduation requirements, first check the UO catalog, via our University homepage. The UO catalog provides extensive and up to date information and serves as a contract between you and the university. You may also come to the office to pick up a sheet listing all theatre arts major requirements.
When you declare the theatre arts major, we will assign you a faculty advisor. You may change your advisor by filling out a form you can obtain from the office staff. Your advisor can help you with course selection, schedule planning, and degree completion. Make an appointment to see your advisor regularly to confirm your progress and plans. Note that you can, of course, consult with any faculty member at any time.
Students have final responsibility for satisfying their degree requirements for graduation. Only those students who have completed all course work and any additional graduation requirements will be allowed to take part in the department’s commencement ceremony. Those who believe that they have justification for an exception may petition the faculty in writing. Petitions must be received at least three weeks before the ceremony takes place.
Required Core Courses
TA 210: Introduction to Design
All aspects of design in theatre, with an emphasis on developing a sense of visual imaging for production. The course includes a laboratory component, with assignments made in stagecraft, costume construction, or lighting. This course is part of a sequence with TA 211 and TA 212, intended for first-year majors.
TA 211: Theatre Production I
Basic stagecraft and lighting in order to prepare students for backstage work; there is a laboratory requirement to be assigned in stagecraft or lighting.
TA 212: Theatre Production II
Costume construction and makeup in order to prepare students for presenting the actor’s image; there is a laboratory requirement in costume construction.
TA 250: Acting I
An introduction to basic concepts and vocabulary for the actor. There are no prerequisites, but students who wish to take further acting courses must present auditions or submit applications.
TA 271: Introduction to Theatre Arts
Play analysis and structure, incorporating theatre aesthetics and the role of theatre in society.
TA 364: Play Direction
The basic tasks of the stage director, concluding with the direction of a short scene. Enrollment is limited, and seniors have priority in registration. Prerequisites: TA 210, 211, 212, 250 and 271.
TA 367, 368, 369: History of Theatre I, II, III
Theatre from its origins to the present day. These may be taken in any order. The faculty recommend that majors complete all three courses by end of junior year. Each is a group satisfying course in Arts and Letters.
TA 460: Theatre Majors Seminar
This course surveys future trends in contemporary theatre and prepares all Junior-standing Theatre Majors to be thinking about Senior year auditions, internships, projects and thinking about futures beyond graduation.
NOTE: TA 210, 211, 212 are prerequisites for TA 321, 322, 323 and 324.
Three assignments from:
TA 321: Scenery Production
Completion of a supervisory level position on a University Theatre production, either Robinson or Hope, as a crew head or an assistant in scenery or properties. 1-3 credits.
TA 322: Costume Production
Completion of a supervisory level position on a University Theatre production, either Robinson or Hope, as a crew head, stitcher, or an assistant in costuming. 1-3 credits.
TA 323: Lighting Production
Completion of a supervisory level position on a University Theatre production, either Robinson or Hope, as a crew head or an assistant in lighting. 1-3 credits.
TA 324: Production
Completion of a supervisory level position on a University Theatre production, either Robinson or Hope, as a stage manager, assistant director or dramaturg. 1-3 credits.
Three four-credit, upper-division courses in each of the following two areas:
Area A. acting, directing, design, technical production, devising or playwriting
Area B. history, literature, criticism, or dramaturgy
* for one course in area B, ONE course in another department may be substituted
with prior approval from the department head and/or faculty advisor
All courses for the major must be taken for a letter grade unless the course is offered P/N, as in the case of TA 321-324. All graded courses must be completed with a C or better, so a C- or lower is not satisfactory.
Of the 180 credits required for graduation, 62 must be taken in upper-division courses (300 level or higher). You must complete 168 credits with grades of A, B, C, D, or P*; the latter grade reflects passing work in a course offered only pass/no pass.
In plotting out your course work, consider the following points:
1. All theatre arts majors have the same required courses. All are students of theatre as a whole and course requirements are selected to guide students through a well-rounded major with experiences in all fields of theatre.
2. Most courses are not offered every term and some are not offered every year. Check the course schedule carefully to make sure your plans are feasible.
3. Lower-division courses may not be taken for upper-division credit by adding another assignment.
4. If you sign up for a crew after the registration deadline, you may register for credit for that crew the following term only.
5. Regularly-taught courses may not be taken in another term, or at another time, under TA 405: Reading. Please plan to take these courses when they are offered.
6. Students may petition the faculty for special consideration with regard to degree requirements. Consult your advisor to initiate this process.
7. The department offers special-topics courses as TA 407: Seminar and TA 410: Experimental Courses. Such courses are usually only offered once or twice, so check the course schedule to find out when they will happen. Special courses are also usually posted on announcements on departmental bulletin boards. Some of these may fulfill
Please see your advisor or any faculty member for more information.
Graduating with Honors
Each year, the faculty will recognize selected graduates with departmental honors.
To be eligible for consideration, a student must:
1. Complete the baccalaureate degree with a major in theatre arts.
2. Earn an cumulative grade point average of at least 3.6
3. Contribute substantially to University Theatre and Pocket productions.
This distinction is announced at graduation and recorded in the graduation program.
Minor in Theatre Arts
The purpose of the minor in Theatre Arts is to expose the student to a variety of the disciplines within theatre and to allow for some specialization. A minimum of 24 hours of University level courses in theatre arts are required; at least 16 of these credits must be taken at the University of Oregon and at least 16 must be upper-division work. Lower division courses must be passed with a grade of C-/Pass or better, upper-division courses must be passed with a C- or better.
The course of study must include at least one course in each of the following areas: International students must also submit the following:
TA 250 Acting I
TA 251 Acting II
TA 252 Acting III
TA452 Advanced Topics in Acting: scheduled on a rotation. (Topics include regular offer of Acting Shakespeare, Techniques (Morris, Meisner, Dialects, Clown, Laban)
Pre-requisites: completion of Acting III, TA271, and one of the following: TA210, TA211, TA212. Concurrent enrollment is acceptable for only ONE of these. Transfer students may petition for exception to these pre-requisites.
TA 271 Introduction to Theatre Arts
TA 472 Multicultural Theatre or Special Topics
TA 474 Themes in Dramatic Literature
Technical Theatre and Design
TA 210 Introduction to Design
TA 211 Theatre Production I
TA 212 Theatre Production II
TA 416 Pattern Drafting
TA 417 Costume Design I
TA 418 Costume Design II
TA 419 Costume Construction
TA 441 Scene Design I
TA 442 Scene Design II
TA 467 Lighting for the Stage
TA 367 Theatre History I
TA 368 Theatre History II
TA 369 Theatre History III
TA 414 Costume History I
TA 415 Costume History II
TA 416 Costume History III
Students focused on acting are strongly encouraged to include at least one of the following in their four years. If musical theatre is an emphasis, the encouragement is to do as many of the following as possible:
DANC 170 Modern I
DANC 171 Contact Improvisation
DANC 172 Ballet I
DANC 175 Jazz I
DANC 175 Jazz I
DANC 176 Tap I
DANC 184 Ballroom I
DAN 255 Dance Production
Note: Dance courses usually charge an additional fee.
MUP 101 Voice
MUP 140 Voice
MUS 125 Basic Music
MUS 126 Rudiments of Music Theory
MUS 134, 135, 136 Aural Skills
MUS 398 Opera Workshop
The London Program
The Department of Theatre Arts sponsors a Theatre Study Program in Great Britain. All students are eligible to apply, but students in the department are given priority.
The program is fully accredited. Students are enrolled at the Eugene campus, but take residence in Great Britain for the Spring term. All credits earned apply exactly as courses taken in regular residency. This is a decided advantage over the foreign study programs where reciprocity is seldom automatic. Each student enrolls for a basic eight credits in British Theatre and Drama. This involves attending thirty-five to forty performances in Great Britain and attending a daily seminar which reviews the critical and production constituents of each experience. Students must also prepare special reviews on a select number of these productions as well as maintain a journal of all educational experiences while abroad.
In addition, students may enroll in another four to eight credits. Students with a performance orientation are offered the election of an acting class (four credits) which centers on studio techniques used in the academies of drama in Great Britain. Past teachers come from Mountview Drama School, Royal Academy of Dramatic Art, and London Academy of Musical and Dramatic Art. Your supervising professor assists you in this studio experience.
Students with other special interests develop independent studies with the supervising professor. These tutorials are arranged individually to maximize the opportunity of living abroad. In the past, students have investigated: Great Theatres of Europe, Educational Systems in Directing and Design, Independent Theatre Management and Business, The Organization of the National Theatre Companies of Great Britain, The Government and the Performing Arts, Musical Theatre Production, Costume History and Design, etc. Frequently, students studying educational and/or professional production have had the opportunity to visit, interview, witness, and know and participate in theatre production and education abroad.
Side trips to such places as Stratford-upon-Avon, Bath, Stonehenge, Salisbury, and Brighton add to the experience of British culture. A midterm break of several days allows opportunities for individual exploration.
Trips take place in the spring term of odd-numbered calendar years.
faculty advisor: Sandy Bonds
Internships provide special training and practical experience related to your major in an off campus site. Students are encouraged to take advantage of internships and summer theatre experiences to enhance your theatre training. Information about some specific internship programs is available from the faculty advisors, who can also help you select a program and prepare an internship proposal. Credit for internships must be arranged prior to experience.
Following are the guidelines for internships.
* A. To integrate classroom study with supervised work experience in a professional theatre environment.
* B. To develop a working relationship between University Theatre, our students and professional theatres.
* C. To provide practical experience and exposure to varied work methods not available on campus.
* A. Grade point average of at least 2.75 in all courses.
* B. Academic standing of junior or above.
* C. Demonstrated skills in area of internship.
* D. Significant progress towards completion of degree.
III. Application Process: Interested students should meet with a faculty advisor to establish internship guidelines:
* A. Objectives-statement of student goals and how internships can contribute to these goals.
* B. Duration-length of internship and number of hours per week
* C. Student responsibilities-description of internship duties.
* D. Method of evaluation (see academic section).
IV. Academic Requirements: Academic viability will be determined by the theatre arts faculty using the following guidelines.
* A. Internship duties must be of a scope and complexity to warrant academic credit.
* B. Before embarking on an internship, student and advisor must agree on method of academic evaluation. The following would be required:
1. Student will keep a journal recording experiences and observations of the theatrical process.
2. During the internship period, the student must keep the advisor informed of their progress at predetermined intervals, no less than every two weeks.
3. Upon completion of the internship, the student will be required to return to campus to prepare a presentation for the supervising faculty. The presentation should exhibit evidence of creative accomplishments.
4. The oral presentation should be supplemented by a written summation.
5. Internships may be taken Pass/No Pass.
* C. In order to provide flexibility and to enable individualized attention to the internship, the following are recommended:
1. The advisor may arrange an on-site visitation during the internship period.
2. An additional research project may be developed in tandem with the internship.
3. Other predetermined methods of evaluation may be applied to specific cases.
* D. Guidelines for granting credit:
1. The amount of credit to be granted should correspond with the number of work hours anticipated. The scale should be the same that is used for lab credits – 30 hours of work for one academic credit. The maximum credits for one internship is 15.
2. The credits earned during an internship will be upper-division and registered as TA 406/606: Field Studies.
3. A maximum of 4 credits of internship may be applied to the upper-division requirements for the degree.
4. If program includes a stipend or salary, credit may only be given for accompanying academic work.
V. Target Theatres: Theatres considered for internships must meet the following requirements:
* A. Demonstrated production excellence.
* B. Trained supervisors willing to participate in evaluation.
* C. Quality facilities and equipment.
* D. Provide opportunity for student to participate on a professional level.
In the spring of each year, the faculty consider all theatre arts majors, both graduate and undergraduate, for any available scholarships for the following year. Criteria vary, but faculty usually study both earned grade point average and participation in University Theatre. Awards are competitive, and the number and amount reflect available funding.
Typically, students with a cumulative grade point average lower than 3.5 are not considered for Theatre Arts scholarships
Anna Boyd Reed Scholarship
Awarded each year to a new student, either freshman or transfer, who are completing their first year in the program. Students must have above a 3.0 grade average and demonstrate evidence of extra-curricular theatre activities.
Arnold/Isabelle/Rupert Marks Scholarship
Awarded to actors carrying a full course load; may be given to graduate students (incoming or continuing) or undergraduates completing their sophomore or junior years.
Kenneth Olsen Scholarship
Awarded to third- or fourth-year undergraduates who demonstrates active extra-curricular involvement and interest in theatre management and administration or technical theatre.
Phi Beta Alumni Scholarship
An award made by the local chapter of this performing arts honorary society. Awards are also made in music and dance. In most years, the society’s officers request faculty recommendations for the award. Selection process takes place between April and June. Actors tend to be heavily favored, since one of the obligations of the scholarship is occasional attendance and performance at Phi Beta functions.
Awarded to an outstanding Ph.D. student to assist with research. Sponsored by the late Emeritus Professor Glenn Starlin.
Theatre Alumni Gift Scholarship
Awarded to students who combine excellent scholarship with outstanding production work.
Miller Professional Advancement & Training Endowment
A gift from James F. Miller provides funding to support graduate students who are needing to travel to New York City for conference presentations or archival research or specialized workshops/intensives. Interested graduate students should write a letter of application to the department head and specify both the nature of the experience and a comprehensive budget for travel and related expenses.
In addition to the Miller fund for graduate research in New York, funding is available to a limit of $1500 in any given fiscal year (July to July) for travel, accommodation, and tuition or fees for conference and research.
Undergraduate students who apply for and are accepted to either the department’s spring term in London or the spring break intensive with the Oregon Shakespeare Festival may petition the department head for further support. These requests will be approved by the faculty solely on the basis of financial need.
University Theatre season productions are presented in the Robinson Theatre (capacity 300) and Hope Theatre (capacity is flexible from 120 to 150). The season usually consists of five plays and one special event (guest artists), and sometimes at the start of the school year a one-weekend revival of the previous Spring’s final show. The plays are directed by faculty, graduate students and sometimes guest directors.
University Theatre productions generally run two or three weekends for six to eight performances, Friday and Saturday the first week, Thursday through Saturday with a Sunday matinee for the second week and Friday and Saturday night for the third week.
As part of our community outreach, each UT production raises funds for a local charitable organization picked each year to be highlighted throughout the season. Previous organizations that have been beneficiaries of our fundraising efforts include: The Emerald Valley Boys and Girls Club, Ophelia’s Place, Womenspace, HIV Resources, and Food for Lane County. For each production, during the second weekend’s four performances, actors ask audiences to donate what they can. A season of fundraising has raised as much as $10,000 across the season.
At least one show in each season is designated as an appropriate show for middle and high school audiences. That production will have one or two matinées added during the week, usually on a Wednesday or Thursday morning, usually replacing the pick up rehearsals for that production. Participants who consequently miss university classes may obtain permission to be absent letters from the department head.
Play Selection Process
During the academic year prior to a season, faculty and student representatives discuss the scheduling of and call for proposals (from faculty and graduate student directors) to discuss and select the next year’s season.
Several considerations contribute to the shaping of a season:
1. The need to present, over time, major eras of dramatic literature and theatrical styles.
2. The artistic merit of proposed titles as well as a balance within a group of titles.
3. The educational needs of students with regard to design and performance.
4. Special casting needs, i.e. roles for women or under-represented groups.
5. Audience appeal and title recognition.
6. Balanced load for design and technical components.
7. The availability and interests of faculty and graduate student directors.
8. The department programs musicals and Shakespeare plays on alternate years.
Once the season has been determined, the design faculty determines design assignments.
Students participating in all University Theatre productions are eligible for course credit. See the play director or your faculty advisor for information on registration.
Auditions are held each term for Robinson and Hope productions for the following term. Audition dates are determined by faculty consensus soon after announcement of the new season. Our “circus” e-mail announcements each week let students know of all upcoming auditions. Posted flyers and descriptions of roles available are usually posted by directors a month prior to the auditions. Auditioners need to check rehearsal schedules to determine whether rehearsals and performances will conflict with other productions not auditioning at that time.
Scripts will are usually available for prospective auditioners to check out for two hour readings from the Theatre Arts Office.
No student may participate in a major production at the University Theatre if his/her GPA for the previous term, or his/her cumulative GPA is less than 2.5 at the time of casting or crew assignment. Exceptions to this will be made if participation is a class obligation or a requirement for the major.
Rehearsals may begin no more than 8 weeks prior to opening unless approved by faculty.
Most rehearsals are held Sunday through Thursday, between 6:00pm and 10:00pm.
(approved by Theatre Arts Faculty – October 27, 2009)
Auditions for University Theatre productions, including New Voices, are open to all University of Oregon students, regardless of major. While our primary responsibility is to offer as wide a variety of opportunities for our theatre majors and minors, university students who are not majoring or minoring in Theatre Arts are not to be regarded as “outside” the normal casting pool for any production.
Actors from outside the university may be cast in roles requiring attributes or skills not found or expected in the normal pool, especially actors of particular age, ethnicity, or special ability. For any University Theatre production, casting outside the university student pool should be limited to filling a maximum of three supporting/secondary roles.
Casts fewer than ten should not cast from outside our university student pool without faculty discussion prior to casting based on exceptional need. With such faculty permission, directors of productions with ten roles or fewer may cast only one role from outside the normal student pool. Directors of casts over ten but less than twenty may cast one or two from outside the student pool. Casts over twenty may cast to the maximum cap of three outside the student pool.
In every case, directors should look ahead when proposing play titles and be able to guess where there may be need to cast outside the university student pool – and if needs only come clear through the process of auditioning, directors should bring their wishes to the full faculty for discussion and approval or compromise.
On special occasion, and with prior consent from the faculty in selecting the season, we may hire a professional actor to take a leading role, as guest artist and in conjunction with other educational access for our students. Theatre Arts faculty or staff, when available, may be preferred over a professional hire or community member’s assignment.
The season selection committee should keep in mind, for both Robinson and Hope productions, available roles should be no fewer than eight, and we have an agreed (ideal) aim for the season’s balance of roles to come close to 50 roles, half available to women, half to men, from our University of Oregon student pool.
Directors’ Advice to Actors
The following represents a compendium of ideas and suggestions from theatre faculty, members of the Pocket Playhouse Board, and theatre students.
1. Read the entire play before the audition and study it before the first rehearsal.
2. Check the rehearsal schedule carefully for any conflicts with prior commitments.
3. Meet all scheduled appointments and deadlines including rehearsals, coaching sessions, character analysis, memorization, publicity assignments, or other special assignments.
4. Bring no food or drink (other than bottled water) into the theatres.
5. Report to the theatre a minimum of 10 minutes prior to each scheduled rehearsal time. The scheduled time is for the start of the rehearsal, so you should plan for time to warm up, change into rehearsal clothing, and focus your concentration.
6. Write down all notes given by the director during the rehearsal process, as well as appointments and rehearsal calls. You are responsible for this information.
7. Use rehearsal time wisely by bringing studies or other projects for the time you are not actively involved.
8. Costume fittings are equally important as rehearsals, and it is considered a breach of etiquette and professional discipline to miss a costume fitting.
9. Stage Managers or Directors will notify actors and crew of any scheduling changes.
10. All actors University Theatre productions need to have their own makeup kit, such as the one many students purchase for TA 212. University Theatre will provide any additional specialty makeup not provided in the standard kit.
11. Do not use participation in theatre as an excuse for missing class or not completing assignments.
12. Be responsible for your own health and well being. Rehearsals are a draining activity and you may be vulnerable to sore throats, colds and flu. Good nutrition, rest and exercise are essential.
Production Job Opportunities
Assistant Director: The AD is usually responsible for prompting the actors, helping the director with blocking, serving as a liaison between the director and the design team members, serving as liaison between the actors and director, and other special projects as assigned by the director. If interested, see the director before auditions. (Not all directors assign an AD for every production.)
Dramaturg: The dramaturg is the research and literary advisor assistant to the director. This person participates in conceptual process, provides necessary historical information, program notes, and creates the lobby display. If interested, see the director as soon as play is selected. (Not all directors assign a dramaturg for every production.)
Assistant Designer: The assistant designer assists set, costume, or lighting designers in research and preparing visuals or technical drawing, and participates in the execution of design.
Stage Manager: The SM is primarily responsible for recording the blocking, managing the running crews, calling cues for performances, and planning set changes.
Assistant Stage Manager: assists both director and stage manager and is typically on headset during performance, as chief manager of the stage crew.
Lighting Crew: The lighting crew helps in the hanging, focusing and placing gels on the lights. Some will be responsible for running lights in performance.
Sound Operator: This person runs the sound for the play, and sometimes is responsible for making the tapes to be used.
Costume Running Crew: The costume crew is responsible for assisting actors with their costumes. They also take responsibility for proper wear and use of costumes as well as emergency repairs.
Costume Construction Crew: This crew constructs costumes under the supervision of the costume studio manager and costume designer. They are involved in the building, alterations, millinery, dyeing and other processes involved in preparing costumes for performance.
Prop Crew: This crew, or person, is responsible for finding, buying, borrowing, or making properties required for rehearsals and performances.
Stage Crew: Stage crew is responsible for shifting props and set pieces during the show.
Construction Crew: Construction crews build, paint, rig, and strike scenery, properties and lighting.
NOTE: Credit for all of these positions counts towards a requirement for the major!
Comp Ticket Policy
People entitled to complimentary tickets will receive coupons that need to be exchanged in advance for reserved seats for a specific date. Having a comp coupon alone does not guarantee your admission to a performance.
1. Actors do not receive comp tickets for the plays they are in.
2. Directors will have two comp tickets to each performance; additional discretionary comps can be requested through the department head.
3. Musical Directors/ Choreographers will have two comp tickets to the performance of their choice. In addition, one ticket for any of the performances can be reserved for their use to observe the play in performance. Requests should be made in advance to the Development Director of the University Theatre.
4. Each Assistant Director & Dramaturg will have two comp coupons to the performance of his/her choice. In addition, any assistant director or dramaturg may attend any performance on a space-available basis.
5. Design Staff will have two comp tickets to the performance of their choice. These tickets will be for the Scene Designer(s), Costume Designer(s), Lighting Designer(s), and Sound Designer(s). Designers need to request additional comps for their design assistants, limited to two for each assistant.
6. Stage Managers and Running Crew do not receive comp tickets.
7. Theatre Arts Faculty and Staff will have two comp coupons for reserving tickets to the performance of their choice. In addition, one comp ticket is available to children of faculty/ staff members living at home.
8. Theatre Arts GTF’s will have two comp coupons for reserving tickets to the performance of their choice.
9. Theatre Arts Work Study, Lab Students, and Construction Crews are invited to the final dress rehearsal for Robinson productions, but they do not receive comps to performances.
10. Promotional Give-aways: Up to twenty comps are used for University Theatre productions as giveaway promotions leading up to opening of each play. These tickets are most often for the Thursday evening performance.
11. Other: Comp tickets are often given in exchange for borrowed goods or donated services. This is at the discretion of the Development Director. Two to four comps are used for the KC/ACTF Respondents for each Robinson production.
Any additional complimentary ticket coupons must be requested from the department head.
Box office locations
Tickets for University Theatre productions are available at the EMU Box Office (by phone or ordered online) and one hour prior to each performance at the theatre lobby box office, as available.
To usher, sign up on the sheet posted outside 102 Villard (the Pocket) starting one week before the opening of the play. On the day of the performance be at the theatre one hour before curtain. Attire need not be formal, but must be considered “dress-up” and professional, such as slacks and a shirt or blouse, or a dress. Please do not wear T-shirts, shorts, or old blue jeans.
All University Theatre productions are photographed and some videotaped for archival records. Selected pictures are archived in galleries on our University Theatre website. Photos from older productions are housed either with our marketing coordinator or housed at University Archives in the Special Collections section of the Knight Library, and patrons may place orders through their reception desk.
Outside Participation Policy
Theatre Arts majors are encouraged to give highest priority to participation in University Theatre productions, not only for educational benefits, but also to support University Theatre with their training and talents. Scripts are selected to enhance the academic portion of the program. While University Theatre has a policy that allows for some open casting, when faced with choosing between two actors of equal qualifications, directors are advised to give preference to University of Oregon students.
Students may choose to supplement their experience by participating in productions offered by local theatres. Before committing to an outside project, we suggest that you consult with your advisor to determine if the additional load will benefit your degree process. While outside assignments may be used to build a resume or portfolio, students may not receive credit for any work done off campus unless in an pre-authorized internship position.
See your advisor for more information.
The Pocket Playhouse is a student-run theatre organization whose productions are directed and designed by students with funding by ASUO through the Program Finance Committee. All students are welcome and encouraged to propose productions for the Pocket Playhouse Season.
The Pocket Playhouse Board
The purpose of the Pocket Playhouse Board is to aid students in various ways, be it problems with the Department of Theatre Arts (the liaison can bring ideas, questions and problems to the faculty), or promoting students’ work (in either workshop or production form). They are there for the students, so students’ ideas, problems and suggestions are always welcome, and meetings are always open to everyone.
The undergraduate theatre arts majors hold an election every spring to elect the board members for the following year. Positions available are as follows.
run the board meetings, act as a contact to the ASUO, handle administrative details and oversee the smooth running of the board as a whole
acts as a liaison to the ASUO, keeps records of the budget and ensures that funds are spent correctly
liaison between the students and the faculty, and must attend all faculty meetings
in charge of publicity for workshops, productions, and other events, and preparing programs for productions
maintains the web page and submits advertisements
works with ASUO to coordinate fundraising events, productions and bake sales, etc.; orders food and drink, organizes volunteers to run the concessions for Robinson and Second Season productions
chronicles and/or photographs all events sponsored by Pocket Playhouse, and retains them in a scrapbook
act as technical coordinators for all Pocket productions, clearing designs with Janet Rose and maintaining rules of use in the Pocket
work with directors to make sure that the shows are running smoothly and that Pocket rules are followed
assist designers in use of costume storage and general procedures for use of costumes, including locating costumes in the makeup room, cleaning and strike after each production
The board is for the students and will always try to keep their best interests in mind. The Pocket Playhouse is for undergraduates as well as graduates, non-directors as well as directors, majors as well as non-majors.
See any Pocket Playhouse Board member for more information.
Directing for the Pocket
All students who have paid their incidental fees are eligible to direct. Students who wish to produce original scripts are encouraged, and conversely, students may propose plays with high royalties, although budgeting is always a matter of concern.
No plays may be produced during dead week, and performances may not occur on the day of an opening of a Robinson or Hope production.
To propose a play, students need to fill out a contract. Contracts are posted in the Green Room previous to the term the play is produced. Proposals are approved on a first-come, first-served basis, or if there are more proposals than the Pocket schedule can accommodate, the board will hold a lottery or drawing. Except for fall term, plays will be selected the term prior to the term produced, so contracts for winter productions will be available near the end of fall term, and those for spring will be available late in winter.
Please drop the completed contract form and information into the Pocket Playhouse box in the Theatre Arts Office, 216 Villard. Late director’s contracts will not be accepted, and there are no exceptions.
Rules and guidelines
1. Contracts are accepted based on an interview process. When you have completed the contract, sign up for a ten minute interview.
2. Funding is limited; consult the Pocket Playhouse Board for current allocations.
3. Your contract must include the following:
* a) A script of your production or an outline discussing the goals of your production.
The script will not be returned; it will be kept for Pocket Playhouse records.
* b) A detailed outline of your set design and lighting design.
4. All shows are required to hold open auditions.
5. All Pocket Playhouse productions must run less than 90 minutes.
6. Please note that a single student is eligible to direct only one show per term, and that student may direct only twice during an academic year.
If you have questions about the director’s contracts or Pocket Playhouse rules and regulations, please feel free to contact either of the co-chairs or any member of the Pocket Playhouse Board. Or go to the Pocket Playhouse website.
Technical guidelines for the Pocket Playhouse
There are two very important things to keep in mind when planning a production in the Pocket Theatre:
1. The Pocket is primarily a classroom for acting and lighting classes. Any Pocket production must be prepared to completely clear the set and redo lighting after every rehearsal and performance.
2. The Pocket is open 24 hours a day, so it is not wise to keep or store expensive equipment there.
Also take special note:
1. Any production in the Pocket will be more successful if well planned and minimal in technical needs.
2. Each production should identify an individual to act as liaison with Janet Rose, the faculty technical director.
3. All scenery, props, furniture, and lighting must be properly struck and put away. Failure to do so will result in the organization losing the opportunity to use the Pocket again.
Set designs must be approved by Janet Rose before any work is started. If available, stock flats and platforms can be used in the pocket. They are not to be altered in any way, except to be painted with water-based paint.
Any other scenery must be constructed and all materials purchased by the producing organization. Scenery must be constructed in the scenery lab during regular hours by volunteers. No GTF, work study, or TA 199 students may put official time in working on a Pocket production.
All scenery, whether built in the scenery lab or brought in, must be approved by Janet Rose before any public performance. All scenery and furniture must be stored behind the black masking after rehearsals and performances.
Use of the fly lines must be approved by Janet Rose.
All scenery must be struck and put away immediately after the final performance or at a time arranged with Janet Rose.
Props and furniture
Props and furniture are available for checkout from the trap room. They must be checked out during office hours or by appointment with the work study student. All prop borrowing policies apply.
The Pocket is equipped with a twelve-dimmer, two-scene preset system with a limited but adequate inventory of 500W lekos and fresnels. Cable is available if not being used elsewhere. Cut gels are also available.
The lighting setup must be approved by Janet Rose before any public performance.
There is a master switch by the stage manager’s station stage left. This switch must be on in order to be able to control the houselights from the other switches.
Costumes may be borrowed from Costume Storage. Any items borrowed may not be changed in any permanent way. Not all costumes in storage are available for use.
See posted Costume Storage hours or contact Vicki Vanacek Young in the Costume Shop.
Pocket performances usually take place on Thursday, Friday and Saturday beginning at 5:00 p.m., except when the Pocket goes “dark” on the days that University Theatre opens a production in the Robinson or the Hope. All Pocket performances must conclude by 6:30 p.m.
See Janet Rose for additional information and a complete copy of the Pocket Playhouse guidelines.
Held in the Robinson Theatre, the department’s June commencement ceremony is designed to honor graduating Theatre Arts majors, minors and “friends.” The ceremony usually features an honored guest speaker, a slide show of productions from the past four years, personalized introduction of each graduate, and other festivities that vary from year to year.
Mad Duckling Summer Theatre performs two children’s shows at Amazon park for children and families from around the area. These are directed by graduate students. A small company of student-actors perform in both plays for pay or credit. Students also serve as designers, stage managers, costume studio and scenery lab technicians, and actors – some for pay (designers) and most for production credit.
See department head for more information.
Paid Student Positions
Work Study Positions
1. Department office assistant; see the office coordinator
2. Development assistant for the business office; see Joseph Gilg
3. Scenery lab technicians; see Janet Rose
4. Costume Studio; see Sandy Bonds or Vicki Vanecek-Young
* a) stitchers
* b) shopper
* c) wardrobe supervisor
House managers for a University Theatre season are not work study positions; see our office manager and/or marketing coordinator for more information.
1. priority list for use of props and furniture:
* a) University Theatre productions
* b) Pocket Playhouse productions
* c) advanced acting and directing classes
* d) other approved UO organizations
* e) approved outside producing organizations
2. No props are to be borrowed for personal use.
3. University Theatre productions may check out props at any time, but posted hours are preferred. All other organizations may check out items only during posted hours or by appointment with work study props person.
4. There are items that may only be used by University Theatre. Some popular items have been set aside for use by approved acting and directing classes.
5. No items may be altered or painted in any way except with the approval of the technical director.
6. Groups B through E (under the first heading, above) must fill out prop borrowing forms.
7. All props must be returned and properly put away. Failure to do so will result in the withdrawal of permission to use props. This policy holds for items stored in the “church.” See the technical director for an appointment.
8. No scenic element in the Robinson is available for loan outside the three theatres in Villard Hall (platforms, masking pieces, flats and step units).
9. Very, very rarely is lighting equipment loaned out.
See Janet Rose for more information.
1. Costumes may be checked out for classes and theatre related performances only. All costumes are the property of the State of Oregon and may not be borrowed for personal use.
2. Costumes may be checked out and returned only during posted storage hours. If there are too many people wanting costumes at the same time you may be asked to come back at another time, so plan ahead for your costume needs.
3. Costumes may be checked out for University Theatre performances, and Pocket Playhouse events without an instructor’s permission. For all other purposes, you will need to have a written note from your instructor, group advisor or the faculty costume designer.
4. Costumes may not be used for outdoor events or events involving food and drink.
5. Anyone making a mess in storage will be asked to leave and will lose borrowing privileges for one term.
6. You will need to show your current UO identification to borrow costumes. You will also be asked to fill out a form when checking out your costumes. You need to fill in all the blanks, including your name, address, phone number, social security number, the class or production in which the costumes will be used and the name of your instructor/advisor. You will be given a copy of this form that you will need to keep and return with your costumes.
7. Information about the handling and care of costumes is on the form. Read your copy before signing so that you understand what your responsibilities are.
8. You may only check out costumes for yourself or your production. Because your name is on the check out form, you are responsible for the safe return of the garments. DO NOT “SUBLET” YOUR COSTUME TO SOMEONE ELSE.
9. Costumes will not be checked out during dead week or finals week.
10. All costumes need to be returned clean. Dry cleaning and laundering instructions are on your check-out form. Dry cleaned items must be returned in their plastic bag and laundered items should be neatly folded.
11. If you need to keep your costumes for a continuing class, contact the storage supervisor for an extension.
12. If you fail to return your costumes, you will be billed for their replacement cost as listed on the check out form.
YOU WILL NOT BE ABLE TO CHECK OUT ADDITIONAL COSTUMES UNTIL ALL YOUR PREVIOUSLY BORROWED ITEMS HAVE BEEN RETURNED.
The storage area is located in a brown cinder-block building in the University parking lot on 12th between Alder and Kincaid. Some costumes in storage are reserved exclusively for University Theatre productions and cannot be borrowed for other projects. Costumes may not be altered or changed in any way except by approval of Sandy Bonds. While costumes may be borrowed without charge, fees will be levied for late, lost, destroyed or unreturned items.
For complete information, see costume borrowing form and bulletin board outside costume studio.
For all theatre arts spaces, the following have priority in the reservation process:
1. Theatre Arts classes (as scheduled by department head and office manager)
2. University Season productions
3. Faculty and graduate student led coaching sessions or technical work
4. Pocket Playhouse productions
5. official department events
All others may reserve space only through the department office.
The following procedures do not apply to other events and organizations.
procedures for those with priority
1. Absolutely do not make any public announcement of an audition or event without confirming your space reservation with the Theatre Arts office manager in 216 Villard.
2. Which spaces are available?
* available as class schedules permit, mostly evenings: Villard 102, 104, 201, and 300
* off limits: Theatre Lobby, 103 Villard, Dressing Rooms or Green Rooms
* Villard 202 is available for Faculty or Graduate sign-up only.
By noon on each Friday, the staff will post a schedule for the following week; the sheets will appear on the call board on the first floor of Villard Hall, opposite the entrance to the Pocket Playhouse.
* When you sign out a time and space, clearly write your full name and the purpose for
the use (e.g., Pocket rehearsal, audition, class coaching, etc.).
* Pocket Playhouse productions may reserve six hours for the Sunday tech and three
hours per day for the final three days of rehearsal (Monday, Tuesday, Wednesday).
* For all other approved needs, you may sign out a space for no more than one block of
one-and-a-half hours per day.
Use of Rehearsal Space Restrictions
1. Food and drink (except bottled water) are banned from all rehearsal spaces. Smoking is not allowed anywhere inside the building. Always return the space and furniture to a neutral state at the end of your session, and carry all refuse to an appropriate trash can. Turn off the lights.
2. You may not use any scenic units prepared for other productions.
3. Do not move any of the 18-inch rehearsal blocks from one room to another.
4. On opening nights for University Theatre productions, the Pocket is blacked out and
5. Those rehearsing in 202 Villard during a Pocket Playhouse performance should not
drag furniture or otherwise make disturbing noises.
6. Villard Hall is locked by Security at midnight Monday through Sunday, and unlocked
at 5:30 a.m. Monday through Friday, and 6:30 a.m. on weekends.
Green Room (off Robinson Stage)
The Green Room is for general student use, so no rehearsals, for class or Pocket productions should be held there, even if the room appears to be empty for a moment.
Student lockers are available and can be reserved through the Pocket Playhouse board.
The same rules for theatre spaces apply to the Green Room except for the no food or drink policy – otherwise, do pick up after yourself, take good care of the furniture, respect what others are doing (studying, napping, eating), and help keep the place safe from intruders or thieves by never propping open the basement door that leads to the outside of the building!
No smoking is allowed in any area of Villard Hall or the Miller Theatre Complex except as required by the action of a theatrical production. This regulation includes the green rooms, dressing rooms, costume studios and scene shop.
Outside of the buildings, smoking is allowed only in designated and posted areas, and smokers should keep those areas clean.
Kennedy Center American College Theatre Festival (KCACTF)
New West Drama Conference (NWDC)
The Kennedy Center American College Theatre Festival, Region VII (KCACTF) joins the New West Drama Conference (NWDC) for an annual gathering of theatre arts students and faculty from colleges and universities throughout Alaska, Northern California, Colorado, Idaho, Montana, Northern Nevada, Oregon, Washington and Wyoming. The conference features nationally known speakers, workshops, performances, and panels on a wide variety of theatre arts topics. Displays and exhibitions are also held for student projects in all areas of theatre production and scholarship. The conference is held in February and the site moves annually.
A highlight of the conference is the presentation of four or five fully mounted productions selected from entries by colleges and universities in the region. In addition, there are readings of student-written plays selected by a panel of readers from outside the region, including ten-minute, one-act and full-length plays. All but one of the play presentations at the conference are considered for selection and presentation at the National KCACTF Conference in Washington DC in April. The exception is the New West Drama Conference/ Northwest Playwright’s Alliance Full-Length play competition that results in a cash award and readings at the conference and at the Seattle Repertory Theatre.
Other areas of student endeavor that serve as Regional finals and selection for national representation include the Society of Directors and Choreographers Initiative (Directing), the Design, Technology and Management Expo (Scene, Costume, Lighting, Sound, Make-up, Technology and Stage Management), Scholarly writing, Critical writing, Dramaturgy and the Irene Ryan Acting Scholarships.
The criticism workshop has participants working daily with established theatre arts critics. Each evening they attend a festival show and write a critical review. At the end of the week, one student is chosen as the outstanding critic. This student wins a cash award, and her/his work is entered in the national competition and may result in an opportunity to attend the prestigious Eugene O’Neill Playwrights Conference in the summer.
In the areas of dramaturgy and the SDC Director’s Initiative students must be nominated by a faculty member and then submit examples of their work. The dramaturgy entry is for a specific project, either a realized production or a classroom assignment. A participant in the Director’s Initiative will choose a scene from the appropriate list and prepare both paperwork and a staging of the scene to be presented during the conference.
KCACTF, in partnership with Barbizon Lighting (Set, Costume, Lighting and Sound displays) and Alcone (Make-up) sponsors a display and review of student’s executed designs of sets, lights, sound, make-up and costumes, as well as various categories of theatre arts technology. Designs are from entered productions and may be exhibited and considered regardless of whether the production itself is selected for the regional festival. Regional judges will select one design in each category and that work will be sent to the Kennedy Center for a national display and review at the spring festival.
NWDC also sponsors student exhibitions of designs that were not entries to KCACTF. Two categories include design of produced shows and projects from class work. Recognition is given outstanding work in each category for all design areas.
For both NWDC and KC/ACTF exhibits, design work needs to be prepared according to the organization’s guidelines and be suitable for mounting on walls. See your design advisor for further information.
The Irene Ryan Scholarship was established to give both recognition and financial assistance to outstanding student performers who wish to pursue their education further. Candidates should be regularly enrolled students who display a high degree of artistic potential as actors.
Actors participating in the Irene Ryan acting competition are selected from either participating or associate entry plays. The selection of one actor from each play is made by a regional respondent. Participants at the regional festival start in a preliminary round; some then move into semi-finals, and a few progress to a final round where two entrants and their partners will be selected to represent the region at the national KC/ACTF in Washington, D.C.
Selected Irene Ryan candidates will work with a partner of their choosing and present a scene not to exceed three minutes in the preliminary round. Those moving to the second round will present their first scene again plus a second scene, the two scenes not to exceed five minutes. In the final round the partners will repeat the scenes presented in rounds one and two and the nominee will add a monologue- the total time of the final round will not exceed six minutes.
For the latest information, deadlines, conference dates and locations, etc please go to http://www.kcactf.org/7/index.html.
National Theatre Arts Organizations
UNIVERSITY RESIDENT THEATRE ARTS ASSOCIATION (U/RTA)
U/RTA is an organization of professional theatre companies and professionally-oriented theatre training programs. Each year, they offer several hundred positions are offered to talented young theatre artists and technicians to bridge the gap between advanced student to aspiring professional through engagements with graduate programs, Shakespeare festivals, resident theatre companies on and off campuses, and summer theatre companies. To be nominated to compete in the region as an actor you must apply to the faculty. There are also design, technical and directing U/RTA opportunities, for more specific information about the program and the types of opportunities available, please see your advisor or the department head.
UNITED STATES INSTITUTE OF THEATRE ARTS TECHNOLOGY (USITT)
United States Institute for Theatre Technology is a national organization for theatre arts designers and technicians. USITT holds an annual convention with presentations, workshops and a showroom of theatrical supplies. The conference also schedules specific activities for students including job search and portfolio review opportunities.
In even years, a Design Expo is held to identify, recognize and display works of practicing and studying designers of today and the past. All visual aspects of design for the performing arts, costumes, scenic and lighting designs from all the performing arts are eligible for inclusion. Designs in this exhibit are evaluated by a panel of judges and winners are selected for publication in Theatre Design and Technology, the journal of USITT. In the other years, the organization holds an unjuried exhibit called “Cover The Walls.”
In the odd years, a Tech Expo is held featuring innovations in technology in all areas. Some of these exhibits are selected for publication in a manual distributed by USITT.
See Sandy Bonds for more information.
Other Available Handbooks
A production handbook is now available from Janet Rose. It contains a description of the production personnel and procedures for University Theatre. Special attention is given to the responsibilities and duties of the Stage Manager.
Costume Designer’s Handbook – see Sandy Bonds for a copy
Information for student costume designers and design assistants from reading the script to executing the designs.
Graduate Student Handbook
Very important information about the M.A. and Ph.D. degree programs, procedures and expectation, and academic requirements
M.F.A. Student Handbook
Information about the requirements and process for earning an M.F.A. degree.
Director Guidelines and Casting Policy