UNIVERSITY OF OREGON THEATRE

General Information

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 and any of its associated production units (Second Season), both student representatives and staff shall have full voting privileges.

As of 2005, our office coordinator is May-Britt Jeremiah.

Theatre Arts office
The Theatre Arts Office (216 Villard) is open five days a week. The office coordinator is able to assist you with many academic matters including questions about class schedules, advisors, registration, and major requirements.

Student Files
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.

Copy Machine
The copy machine is reserved for the use of faculty and designated pedagogues. The machine is only for authorized classroom or production related materials and may not be used for student’s homework, flyers, or scripts for personal use. If you have questions, ask the office coordinator.

Student Files
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.

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.

VCR playback machines and monitors
Two VCR playback machines and monitors are available for classroom use. A sign-up sheet is kept in the Theatre Arts Office and the equipment is stored in 211 Villard. You may obtain the key from the office coordinator.

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 Affairs John Schmor

Affirmative Action (Sexual Harassment) Janet Rose

Graduate Advising Coordinator Jack Watson

Internships Sandy Bonds

Recruiting Joseph Gilg

Teacher Certification Bob Barton

Undergraduate Advising Coordinator Bob Barton

For University Theatre:

KC/ACTF Liaison Joseph Gilg

Box Office Joseph Gilg

Budget Joseph Gilg

Health and Safety Janet Rose

Publicity Joseph Gilg

Second Season Jack Watson

Space Reservations office coordinator

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

Bob Barton Undergraduate Advising Coordinator 105 Villard 346-4177 office coordinator 216 Villard 346-4171

Pick up a change of major form (titled "Undergraduate Request for Addition or Deletion of Major/Minor/Professional Objective") from either the office coordinator or Bob Barton.
Pick up the fact sheet entitled "Major Requirements: Theatre Arts Major, Effective Fall 2002." Important Note: Requirements have changed several times in recent years, so make sure the date is correct. Keep this sheet and use it as a checklist as you complete each requirement.
Fill out the change of major form and return it to the office coordinator. If you wish to request a specific advisor on the theatre arts faculty, add a note indicating your preference.
You will be assigned an advisor and the department will notify you of the name, phone, office, and current office hours of your advisor.
Try to visit your advisor before your next registration, if you need assistance planning your program. If you wish to complete the degree in a limited period of time, try to map out your intended enrollment for the next two years before meeting with your advisor.

Graduation requirements for the Theatre Arts Major

Undergraduate advising coordinator: Bob Barton

When you have a question regarding graduation requirements, first check the UO catalog, which provides extensive 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 coordinator. 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 at least two weeks before the ceremony takes place.

Group I

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 sometimes 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. The faculty recommend that majors take this sequence in order and in the junior year. Each is a group satisfying course in Arts and Letters.

TA 462: Advanced Script Analysis
An in-depth study of scripts for structure and content, usually taken in the junior or senior year. Prerequisites: TA 367, 368, 369

Group II

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 Second Season, 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 Second Season, as a crew head 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 Second Season, 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 Second Season, as a stage manager, assistant director or dramaturg. 1-3 credits.

Group III

Three four-credit, upper-division courses in each of the following two areas:

Area A. acting, directing, design, technical production, or playwriting

Area B. history, literature, criticism, or dramaturgy

a. for one of the six courses, Theatre Arts Pedagogy (TA 423)
b. for one course in area B, a course in another department selected from a list approve by the theatre arts faculty

Special Notes
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:

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.
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.
Lower-division courses may not be taken for upper-division credit by adding another assignment.
If you sign up for a crew after the registration deadline, you may register for credit for that crew the following term only.
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.
Students may petition the faculty for special consideration with regard to degree requirements. Consult your advisor to initiate this process.
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.

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:

Complete the baccalaureate degree with a major in theatre arts.
Earn an overall grade point average of at least 3.50.
Contribute substantially to University Theatre 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:

Performance
TA 250 Acting I
TA 251 Acting II
TA 252 Acting III
TA 351 Acting IV
TA 352 Acting V

Literature/Criticism
TA 271 Introduction to Theatre Arts
TA 471 Theatre and Culture
TA 472 Multicultural Theatre
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 440 Principles of Design
TA 441 Scene Design I
TA 442 Scene Design II
TA 467 Lighting for the Stage

Theatre History
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

Coures in other departments

Several other departments at the university offer courses of interest to students in theatre arts. Following is a listing not of specific courses but of areas that the other departments cover.

Art
visual continuity, fibers, graphic design, drawing, painting, sculpture, photography, multimedia design

Art History
Western art, Asian art, architecture

Classics
tragedy

Comparative Literature
drama

Creative Writing
fiction, poetry

East Asian Languages and Literatures
Chinese film, Japanese cinema

English
dramatic literature, including Shakespeare and other playwrights, topics on various genres and regions, critical theory

History
civilization and cultures

Interior Architecture
interior design

Journalism
mass media, television production

Physics
sound and music, light and color

Romance Languages
French theatre, French film, Italian film, Spanish film, Spanish theatre

Women’s and Gender Studies
women’s literature, lesbian and gay studies

See your advisor or any faculty member for more information.

Musical Theatre

Dance
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
Dance courses usually charge an additional fee.

Music
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. See Jack Watson for further information.

Internships

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.

I. Objectives

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.

II. Eligibility

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.

Scholarships

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.

Anna Boyd Reed Scholarship
Awarded each year to two new students, either freshman or transfers, 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, technical theatre, directing and other non-performing areas.

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.

Starlin Fellowship
Awarded to an outstanding Ph.D. student to assist with research. Sponsored by the late Emeritus Professor Glenn Starlin, this award is given in alternate years.

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 accepted into internships with professional theatre companies. Interested 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.

University Theatre

THE SEASON

Robinson Theatre
Robinson Season productions are presented in the Robinson Theatre (capacity 385). The season usually consists of three or four plays, and sometimes one will be a revival of the previous Spring's offering. The plays are directed by faculty, graduate students and guest directors.

Robinson 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 Robinson production has one Sunday matinée designated as a fund raiser for a local charitable organization. Groups such as Womenspace, HIV Resources, and Food for Lane County have been beneficiaries. The department sells the organization a block of tickets for the day of performance for a nominal fee and they receive the proceeds from the tickets that they sell.

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 excused slips from the director of the production.

Second Seanson

The Arena Theatre is a directing and design venue intended primarily for graduate students but may also include faculty directors and undergraduate designers. Plays are generally full-length and are modern plays or classics done in a new way. Seating in the Arena is moveable.

Second Season plays run two weekends, opening on Wednesday of the first week and running through Saturday. In the second week, they perform Thursday through Saturday.

Play Selection Process

Robinson Theatre

During the academic year prior to a season, a play selection committee consisting of the faculty and three student representatives is charged with the following responsibilities:

Determining number and schedule of productions.
Determining type and genre of plays to be considered.
Polling potential directors and students for titles.
The oral presentation should be supplemented by a written summation.

Several considerations contribute to the shaping of the season:

The need to present, over time, a cross-section of major eras of dramatic literature and theatrical styles.
The artistic merit of proposed titles as well as a balance within a group of titles.
Audience appeal and title recognition.
The educational needs of students with regard to design and performance.
Special casting needs, i.e. roles for women or under-represented groups.
Balanced load for design and technical components.
The availability and interests of directors.
In general, the department programs musicals and Shakespeare plays in alternate years.

The play selection committee has started as early as Fall term to set up the selection process which must be completed by the end of Winter term in order to prepare season brochures. The play selection committee serves as an advisory board to the faculty, who has the responsibility for final approval of the season and the appointment of directors.

Once the season has been determined, the design faculty determines design assignments.

Note that the three students are a graduate student, an undergraduate, and a student at large, elected by their peers. Students considering this responsibility should be aware of the necessity of reading many plays, and of meeting weekly. The students will learn how plays are chosen, and also will be able to represent the students’ concerns. They will need to be in constant communication with the students to ensure that their views are being represented.

Second Season

The Second Season is staged in the Arena Theatre in Villard Hall. The purpose of Second Season is to provide additional directorial, design, technical, and acting opportunities for students and to broaden the theatrical offerings of University Theatre.

Plays presented as a part of Second Season are generally scripts that would not normally be considered for the Robinson Season. They tend to be contemporary (or contemporary versions of older scripts), utilize a small cast, and do not require difficult or expensive technical support. Scripts are also expected to provide a variety of acting roles for students.

By University Theatre policy, all roles in Second Season productions must be cast from currently enrolled University students unless special permission is obtained from the faculty prior to auditions.

Second Season plays are usually chosen in the Spring term for the following year.

Selection of directors for Second Season

The faculty selects directors after assessing candidates’ skill, experience, training, and educational needs. They give preference to students in the Ph.D. program, especially those who are finishing the degree, but they may select other graduate students who have designated directing as a key component of their program. Generally, students who wish to be considered for these directing positions need to have demonstrated their qualifications through a Pocket Playhouse presentation, resume credits, or other means. On occasion, faculty may elect to direct in the Second Season.

The selected Second Season directors then present proposals to the graduate students as a whole, who serve as the play selection committee, assessing titles, casting requirements, technical needs, and audience appeal. They consider their options in relation to the Robinson Season and present a proposed season for the approval of the faculty.

Second Season Director’s Forum

Second Season directors are required to register for TA 607: Seminar - Directing for 1 credit each term. This group then meets on a regular basis with an assigned faculty member to discuss various aspects of directing and producing.

Course Credit

Students participating in all University Theatre productions are eligible for course credit. See the play director or your faculty advisor for information on registration.

Audition Policy

1. Unified auditions will be held each term for all Robinson and Second Season productions in the following term. Audition dates will be determined and announced simultaneously with the announcement of the season. Auditioners need to check rehearsal schedules to determine whether rehearsals and performances will conflict with other productions not auditioning at that time.

2. Three weeks prior to auditions, directors will post audition information to explicate the process including description of roles to be cast, type of audition expected, dates and location of audition, production, etc. A unified audition form containing pertinent information about those trying out will also include a section where students can list play preference, A, B, C, or D none of the above.

3. Scripts will be available to borrow in the Theatre Arts Office.

4. All students currently enrolled in Acting II to V or specialty acting courses will be required to audition during the term of enrollment. Other students may audition any term.

5. 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 2.0 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.

6. To ensure availability of roles:

a. A student may be cast in no more than one show per term.
b. Robinson Season productions may have a maximum of three cast members outside of the student acting pool.
c. Second Season shows will be cast entirely from the student acting pool. Certain roles with special requirements (extreme age, unusual ethnicity, etc.) may cast outside with prior faculty approval.

7. Rehearsals may begin no more than 12 weeks prior to opening unless approved by faculty.

See Bob Barton for more information.

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. Secure necessary rehearsal clothing at the earliest opportunity.

3. Check the rehearsal schedule carefully for any conflicts with prior commitments.

4. Meet all scheduled appointments and deadlines including rehearsals, coaching sessions, character analysis, memorization, publicity assignments, or other special assignments.

5. Bring no food or drink into the theatre space.

6. Report to the theatre a minimum of 15 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.

7. 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.

8. Use rehearsal time wisely by bringing studies or other projects for the time you are not actively involved.

9. Costume fittings are equally important as rehearsals, and it is considered a breach of etiquette and professional discipline to miss a costume fitting.

10. Check the call board daily for changes, special calls, etc.

11. All actors in Robinson and Second Season 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.

12. Do not use participation in theatre as an excuse for missing class or not completing assignments.

13. 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.

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.

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.

Promotion: This person is responsible for working on aspects of publicity campaigns, such as news releases, advertisements, posters and program copy.

Stage Manager: The SM is primarily responsible for recording the blocking, managing the running crews, calling cues for performances, and planning set changes.

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.

Strike Policy

Robinson Theatre

When Robinson productions close, a partial strike will be held immediately after the final performance. Costumes will be cleared from the dressing rooms and prepared for laundry and cleaning. The dressing rooms will be cleared and cleaned. The stage will be cleared of portable pieces and prepared for dismantling. The completion of the strike will be handled during regular work hours in the costume studio and scenery lab on the following Monday.

Due to compressed scheduling, occasionally a Robinson show is completely struck on the Sunday following the closing Saturday. The companies of the closing show and the one moving in are expected to attend at their appointed times. Such strikes are scheduled and announced at the beginning of the season.

Second Season

Second Season productions will follow a similar procedure. The Arena Theatre, dressing rooms and 103 Villard will be completely cleared and cleaned after the final performance. Costumes will be prepared for laundry and cleaning. The set will be prepared for dismantling. Strike will be completed during normal work hours on the following Monday. 103 Villard must be restored for class room use after each rehearsal and performance.

Cast and Crew

For both venues, the entire cast and crew are expected to stay and help with the strike.

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 Development Director.

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 tickets 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). Other design team members can be put on the comp list by the director, the Development Director, or the Director of University Theatre. Requests should be made through the Development Director.

6. Stage Managers, Assistant Designers, and Running Crew do not receive comp tickets.

7. Theatre Arts Faculty and Staff will have two comp 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 tickets to performances designated by the Director of University Theatre.

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 fifty comps are used for Robinson productions as radio giveaway promotions leading up to opening of each play. These tickets are most often for the Thursday evening performance. Promotional give-aways are rarely used for the Second Season. This is at the discretion of the Development Director.

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.

Management Procedures

Box office locations

Tickets for University Theatre productions are available at three different venues:

UO Ticket Office in the EMU
346-4363

Robinson Theatre Box Office before each performance

reservations

For all University Theatre productions, patrons may purchase tickets in advance over the telephone by using a credit card; the tickets will be held at the Robinson Theatre box office.

business office

The Development Office is located in 210 Villard Hall; the telephone number if 346-4190. E-mail for the Development Director should go to jgilg@uoregon.edu

ushering

To usher, sign up on the sheet posted outside 210 Villard 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. If you cannot come, call the Development Office, 346-4190 in advance so that a replacement can be found. Ushers are expected to help with clean up after the performance.

archives

All University Theatre productions are photographed for archival records. Recent production pictures are on file, and duplicates can be ordered through Joseph Gilg in 210 Villard. Photos from older productions are 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 in Robinson productions, when faced with choosing between two actors of equal qualifications, directors are advised to give preference to department majors and University 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 authorized internship position.

See your advisor for more information.

Pocket Playhouse

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.

co-chairs

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

treasurer

acts as a liaison to the ASUO, keeps records of the budget and ensures that funds are spent correctly

faculty liaison

liaison between the students and the faculty, and must attend all faculty meetings

poster/program co-ordinator

in charge of publicity for workshops, productions, and other events, and preparing programs for productions

web page/advertising

maintains the web page and submits advertisements

fundraising coordinator

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

historian

chronicles and/or photographs all events sponsored by Pocket Playhouse, and retains them in a scrapbook

co-technical directors

act as technical coordinators for all Pocket productions, clearing designs with Janet Rose and maintaining rules of use in the Pocket

co-directors’ liaisons

work with directors to make sure that the shows are running smoothly and that Pocket rules are followed

costume liaison

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 Second Season 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 slot in the Green Room.

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.
c) The producing agent of your production and the cost of royalties per night. Please note that funding for royalties is limited; some slot decisions may take into account the cost of producing your show.

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. A telephone contact sheet denoting the members of the board is available in the Green Room.

Technical guidelines for the Pocket Playhouse

There are two very important things to keep in mind when planning a production in the Pocket Theatre:

The Pocket is primarily a classroom for acting and lighting classes. Any Production must be prepared to completely clear the set and redo lighting after every rehearsal and performance.
The Pocket is open 24 hours a day, so it is not wise to keep or store expensive equipment there.

Also take special note:

Any production in the Pocket will be more successful if well planned and minimal in technical needs.
Each production should identify an individual to act as liaison with Janet Rose, the faculty technical director.
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.

Scenery

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.

Lighting equipment

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.

Schedule

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 Arena. 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.

Special Events

Fall Showcase

A fall showcase is held during New Student Orientation. Scenes from Pocket Playhouse productions, audition and competition scenes and other talent is showcased. The purpose of this showcase is to introduce the Department of Theatre Arts and University Theatre to new students and for returning students to get reacquainted with their friends. Refreshments are served. To participate, contact Joseph Gilg.

Commencement

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 a slide show, music, the introduction of each graduate, and other festivities that vary from year to year.

Summer Theatre

Mad Duckling Summer Theatre is a summer season of children’s theatre for University students. A small company of students under the management of graduate students in the theatre program presents two children’s plays for pay or credit. Students serve as designers, stage managers, costume studio and scenery lab technicians, and actors.

See Joseph Gilg for more information.

Paid Student Positions

Work Study Positions

Department office assistant; see the office coordinator
Development assistant for the business office; see Joseph Gilg
Scenery lab technicians; see Janet Rose
Costume Studio; see Sandy Bonds or Vicki Vanecek-Young
- a) stitchers
- b) shopper
- c) wardrobe supervisor

House managers for Robinson and Arena are not work study positions; see Joseph Gilg

Borrowing Equipment

Properties

1. priority list for use of props and furniture:

a) University Theatre productions (both Robinson and Second Season)
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. Robinson and Second Season 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.

costumes

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 you costume needs.

3. Costumes may be checked out for upper-division acting classes, 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. At the end of the term, following showcase performances at a pre-arranged time, costumes may be returned uncleaned or laundered directly to the costume studio for a fee of $1.00 per item. The fee will be used to cover cleaning and handling costs.

12. When you return your costumes, the wardrobe supervisor or costume studio staff will stamp and initial your copy of the check out form. Return this form to your instructor, advisor or the faculty costume designer, as appropriate.

13. If you need to keep your costumes for a continuing class, contact the storage supervisor for an extension.

14. 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.

Space Reservations

For all theatre arts spaces, the following have priority in the reservation process:

Robinson Season productions
Second Season productions
Pocket Playhouse productions
theatre arts classes
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, more often in the evenings: Villard 102, 104, 201, 202, 204 and 300
available on a limited basis: the Robinson Lobby
off limits: 103 Villard, dressing rooms, Robinson Lobby women’s rest room lounge

3. How can I make advance reservations?

At least two weeks prior to the first date of the request, submit a Space Reservation form to the department office (216 Villard).
Some advance reservations will require faculty approval, but those that may be approved on a routine basis include the following:
- a) Robinson Season production rehearsals
- b) Second Season rehearsals, tech and performances
- c) Auditions for UT, Second Season and Pocket shows
- d) Pocket Playhouse final rehearsal week, tech and performances
- e) department functions

4. How can I sign out a space after the two-week window?

a) 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.
b) 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.).
c) 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).
d) 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.

5. What restrictions are there on the use of space?

a) 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.
b) You may not use any scenic units prepared for other productions.
c) Do not move any of the 18-inch rehearsal blocks from one room to another.
d) On opening nights of Robinson and Second Season productions, all rehearsal areas are blacked out and unavailable.
e) The Robinson Lobby is not available during Robinson rehearsal times or performances.
f) Those rehearsing in 202 Villard during a Pocket Playhouse performance should not drag furniture or otherwise make disturbing noises.
g) If you plan a rehearsal on the day a Robinson or Second Season production opens, you must finish no later than 6:00 p.m.
h) Villard 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.

6. What else should I know?

The Green Room is for general student use, so any rehearsals held there should not interfere with other students’ needs (i.e. if someone is studying, do not disturb them with your rehearsal).

dressing rooms and makeup rooms (Villard 7A, 9A, 10)

Priority of Use

Robinson Season productions
Second Season productions
any class scheduled to meet regularly in these rooms (concurrent with authorized production use)
Pocket Playhouse productions on a space-available basis only
With prior arrangement by instructor, space may be available for showcases or class period rehearsal, providing costumes from above productions can be secured satisfactorily.

Conditions of Use

Security and clean-up are very important to protect the costumes being stored in these rooms.
1. The instructor or stage manager takes primary responsibility for insuring the rooms are left locked. Students and actors are asked to maintain security as well.
2. All users are required to clean up after themselves. Actors and students need to leave clean counters, put away makeup, and store costumes in their assigned places. With messy projects in these rooms, use a drop cloth and sweep or mop if necessary.

Calendar of Use

The costume studio manager will keep a calendar of dressing and make-up room users.

Smoking Policy

No smoking is allowed in any area of Villard Hall or the Robinson Theatre except as required by the action of a theatrical production. This regulation includes the green room, dressing room, costume studio and scenery lab.

Outside of the buildings, smoking is allowed only in designated and posted areas, and smokers should keep those areas clean.

Northwest Drama Conference

The Northwest Drama Conference (NWDC) is an annual gathering of theatre arts students and faculty from colleges and universities throughout Oregon, Washington, Alaska, Idaho, Montana, and Wyoming. The conference features nationally known speakers, workshops, performances, and panels on a wide variety of theatre arts topics. Competitions are also held for student projects (classroom projects are accepted) in scene design, costume design, lighting design, and poster design as well as theatre arts technology and playwriting. The conference is held in February and the site moves annually.

Held in conjunction with Northwest Drama Conference is the Region VII gathering of the Kennedy Center American College Theatre Festival (KC/ACTF). This festival features four or five of the finest college productions in the region produced during the previous calendar year. These shows are adjudicated by a team of national judges and may be invited to perform in Washington, D.C. in April. In addition, KC/ACTF joins with NWDC to present workshops in acting, directing, design, playwriting and other theatre arts topics.

KC/ACTF sponsors several competitions for students; areas include theatre arts criticism, theatre arts design and technology, playwriting, and acting in the Irene Ryan Acting Competition.

The criticism workshop/competition 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.

KC/ACTF 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 adjudicated regardless of whether the production itself is selected for the regional festival. Regional judges will select one winner in each category and that work will be sent to the Kennedy Center for a national competition at the spring festival. National winners receive an honorarium of $100 and an all expense paid trip to New York City for seven days where they will visit the studios of distinguished designers.

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.

For further information regarding the Irene Ryan competition, see below.

Irene Ryan Acting Scholarship

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 two actors from each play is made by a regional respondent and the director of that play. Competitors 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.

Students competing in the Irene Ryan competition should prepare two contrasting pieces. One of them must be a scene with a partner of the competitor’s choice; the other may be another scene or a monologue. The entire audition must not exceed five minutes.

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 get nominated to compete in the region as an actor, in the fall you must prepare two contrasting monologues to perform for the faculty judges.

There are also design, technical and directing U/RTA opportunities, for more specific information about the program and the types of opportunities available, please check with Jack Watson.

See Bob Barton for more information.

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

Each handbook is available in the department office; some are posted on this site.

Production Handbook

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. Added sections include Second Season and Pocket Theatre technical guidelines.

Second Season Handbook

Information for student designers and technical directors, a director’s guide, and purchasing procedures.

Costume Designer’s Handbook

Information for student costume designers and design assistants from reading the script to executing the designs.

Graduate Student Handbook

Information about degree programs and academic requirements

M.F.A. Student Handbook

Information about the requirements and process for earning an M.F.A. degree.

For the department:
Departmental Affairs	John Schmor
Affirmative Action (Sexual Harassment)	Janet Rose
Graduate Advising Coordinator	Jack Watson
Internships	Sandy Bonds
Recruiting	Joseph Gilg
Teacher Certification	Bob Barton
Undergraduate Advising Coordinator	Bob Barton
For University Theatre:
KC/ACTF Liaison	Joseph Gilg
Box Office	Joseph Gilg
Budget	Joseph Gilg
Health and Safety	Janet Rose
Publicity	Joseph Gilg
Second Season	Jack Watson
Space Reservations	office coordinator