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THEA 105 > Fall Lecture Test > Flashcards

Fall Lecture Test Flashcards

(102 cards)

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1
Q

Union

A

Type of association.
Has the legal right to bargain with the employer collectively.
Set contracts.
Democracies.
Social goals.

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2
Q

Association

A

Organization of people with a common interest.
Coming together for any number of issues.
Model contracts and advocacy bodies.

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3
Q

Closed Shot

A

Only hire members of a particular union.
Leaving the union means termination.

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4
Q

IATSE

A

International Alliance of Theatrical Stage Employees

Local president George (168 - theatre; 891 - film except for the cinematographers)
All for entertainment areas - specified by localized unions.
Union representing non-performance workers in live and film.
Started in theatre.
Memberships are transferrable. (18+)
Work with them and through them. (200hrs)
Work allocation based on seniority and skillset.
Membership fees (90$ a quarter - deductible)
International alliance of theatrical stage employees. (its longer)
Shorthand: IA
Founded 1893 (NY)
Permittee > 200hrs > then you can become a member

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5
Q

CFM

A

Canadian Federation of Musicians
Ownership of music, benefits, lobbies legislature on copywriter reform
International office in the US
Founded 1987?
Victoria local 247

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6
Q

PACT

A

Professional Association of Canadian Theatre
Provide advocacy, negotiating with unions, resources in the legislature
Non-profit pro theatres across
Affiliate memberships are available for smaller theatre companies.

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7
Q

ADC

A

Associated Designers of Canada
Templates and guidelines of employments available for nonmembers.
1965?

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8
Q

PGC

A

Playwrights Guild of Canada
Established in 1972
Negotiate with PACT for agreements
Support and advocacy for their members
standard
advice on copyright - playwright owning lines made by actors
Becoming a member: you’ve written something that was produced in a professional context
Have student memberships also

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9
Q

CAEA

A

Canadian Actors Equity Association
Canadian theatre agreement
Performers, directors, choreographers, fight directors, stage managers
Improving working conditions and opportunities
Membership: Canadian citizen or permanent resident, performer who has signed a contract under CTA, Stratford festival, or something else,
Apprentice -> full membership
two ways for stage managers
Independent in 76 from American partners
Negotiates with PACT

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10
Q

Props

A

Theatrical Properties
A prop is any object that is movable or portable on a stage or set, separate from the actors, scenery, costumes, lighting, and sound equipment.

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11
Q

Types of Theatre Props

A

Set Props
Decorative Props
Hand Props

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12
Q

Set Props

A

Lage moveable objects on the set.
Quickly sets the time period, and character.
Furniture, soft props, atmospherics (snow, confetti, fallen leaves).

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13
Q

Decorative Props/Set Dressing

A

Enhance the setting but are rarely moved or touched by the performance.
Trim props, Fillers, Greenery.

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14
Q

Hand Props

A

Handled or carried by a performer.
Help fulfil the action of a play.
Personal prop, running/consumable prop, trick/breakaway prop, action/hero prop, puppets, weaponry, and more

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15
Q

Cross-Over Items

A

Some elements can overlap with another department. Communication between production teams.
Clarification from the beginning who is responsible for these items.
Based on the available resources (time, budget and skills)

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16
Q

Prop Team

A

Head of Props (Props Master/Director)
Coordinators

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17
Q

Head of Props

A

Managing build schedule. Balancing budgets and labour.

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18
Q

Coordinators

A

Communication between prop shop, creative team, production teams, and stage management.
Knowing all the details, and documenting props list. d

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19
Q

Buyers

A

Purchase, rent or borrow props and buy materials for the shop.
Keeping track of budgets.

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20
Q

Builders

A

Skills to execute the designers’ ideas.
Carpenters, soft goods, model works, craftspeople.
Multi-skilled people with specialities.
Common skills: organized, team player, time management

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21
Q

Prop Sourcing

A

3Bs and P
Pulling props
Buy things (saves time)
Build (can save money)
Borrow

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22
Q

Characteristics of a good prop

A

Shape
Colour
Texture
Size (not size to real life - but what size they look like on-stage)
Usability (proper weighting, sound, durability)
Lack of attention from audience members is doing a good job.

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23
Q

Proscenium Stage

A

Bishop.
What you think of when you think of a theatre with a stage.

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24
Q

Proscenium

A

“Picture frame”
The framing that is placed around the front of the playing area of an end-stage.
The audience watches this play through the picture frame opening.

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25
False Proscenium
A frame within the fixed proscenium used to make smaller the exposed area of the inner stage.
26
Apron
The are of the stage, if any, that protrudes in front of the proscenium arch.
27
Thrust
George. A stage surrounded by audience on three sides.
28
Vomitorium
Latin; "spitting out" or "vomiting" Entrances/Exits of actors that lead to or from the theatre seating.
29
Black Box
McIntyre. "Flexible Theatre" Big black empty boxes where stage and seating are not fixed.
30
Auditorium/House
Audience chamber
31
Deck
Common term for the floor surface of the stage.
32
Wings
The spaces on either side of the deck, extend off-stage.
33
Grand Drape / Main Curtain / House Curtain
The front curtain, usually decorative or ornate, hangs just upstage of the proscenium arch and is used to close the acting area from the audience's view when the acting area is not supposed to be seen.
34
Masking
Hung fabrics (usually black) that prevent the audience from seeing off stage into the wings.
35
Legs (Tormenters)
Full-height panels that are used for masking. Hung on either side of the stage, parallel to the proscenium.
36
Borders (Teasers)
Masking that is hung above the stage. Masks the lighting rig and flown scenery from the audience. Provides upper limit to the scene.
37
Germans (Tabs)
Also known as up-and-downers (UK). Drapes hung perpendicular to the proscenium at the sides. Completely mask the wings.
38
Traveler
Remain at a fixed elevation and open and close horizontally, meeting in the middle and require a minimal amount of fly space. The most common type of front curtain.
39
Cyclorama / Cyc / Sky Drop
A flat or curved plain cloth filling the rear of the stage, often used as a lighting surface to depict sky or as a projection surface.
40
Scrim / Gauze
A light textile usually made from woven cotton. Front light makes it opaque, when the front light is turned off, it becomes transparent.
41
Fire Curtain
A heavy drop just upstage of the proscenium to separate the audience form the stage in the event of a fire.
42
Offstage
The area surrounding the stage that is not visible to the audience.
43
Cross-Over
The path from one side of the stage to the other allows the cast to move without being seen by the audience.
44
Flat
A piece of scenery formed with a panel. Can be any shape.
45
Fly Loft / Fly Gallery
the gallery from which the flying equipment is operated. HIgh platform at the side of the stage fro which the fly lines are handled.
46
Counterweight Systems
A system used for flying where weights are used to balance the load and make lifting easier.
47
Clear-com / Cans / Headset / Comms
The communication system, usually consisting of headphones and a microphone allows the coordination of the tech departments during the show.
48
Crew
A collective term for the people who work backstage and run the equipment needed for a show. They are also known as the technicians.
49
Centre Line
An imaginary line running down the stage through the exact centre of the proscenium opening.
50
Trap
A hole in the stage floor covered by a door or panel allows access from the understage area.
51
Trap Room
The room or void under the stage.
52
Backstage
Area in a theatre out of view of the audience, especially in the wings or dressing rooms. Any space around the acting area which is out of sight of the audience.
53
Front of House
All areas in front of the proscenium arch. All areas of the theatre accessed by the public.
54
Catwalks
Elevated service platform from which many of the technical functions of a theatre may be manipulated.
55
Control Booth
Area designated for the operation of technical equipment (lighting and sound). Lighting controls and soundboard.
56
Dry Tech / Paper Tech
A rehearsal without an actor to rehearse the integration of lighting, scenic changes, etc.
57
Call / Call Time
The time that all actors and crew are expected to be at the theater or in rehearsal.
58
Run of a Show
Scheduled performances of a production.
59
Load In
Unloading of sets, costumes and props. Set up of the theatre for a production.
60
Load Out
The striking of all production materials that are not part of the house set up. The packing up and moving out of a show. The clearing up of all things used for a production from the theatre.
61
To Strike
Remove an item from the stage.
62
The Strike
The event at the end of a run where the crew takes down the set, packs up the props and costumes and moves out of the theatre.
63
Level
The intensity of light or volume of sound.
64
Cue
The signal to do something.
65
Cue to Cue (Q2Q)
Cutting out action and dialogue between cues during a tech rehearsal to save time. Director may skip chunks of the show, or separate the rehearsal.
66
House Lights
The lighting used to illuminate the auditorium.
67
Work Lights
Lights that are used in a venue when the stage/auditorium lighting is not on. Used for rehearsals, fit-up, load-in, strikes, and work sessions.
68
Running Lights
Low wattage, often blue lights, used to illuminate offtsage obstacles, props, tables, cross-overs, etc.
69
Electrics
A name given to a pipe batten used to support lighting equipment.
70
Practical
An item which must do on stage what it would od in real life.
71
Categories of Hazards
Fire Falls Chemicals Equipment
72
Areas of Regulation
Audience Capacity Types of doors (fire rated doors) Alarm Systems Fire dousing equipment (sprinklers) Fire resistant materials Fire/smoke containment systems (fire curtain, smoke doors)
73
Audience Capacity
Posted at entrances, determined by square footage exists. Number of specific exits, and exit hallways. The layout of the fixed seating - space between rows, aisle width The number of seats in a row
74
Pheonix Specific Fire Safety
Detection systems (smoke and heat detectors) Alarms (low panic alarm then full alarm) Fire curtain in the Bishop, smoke doors in ceiling tower Water dousing system in the George Rated doors Specific seating plans (continental seating)
75
The Director
Oversee the creative direction of the production. Interprets script. Works with actors to develop performance Collaborating with the design team to create elements of the production Communicating the vision to all members of the creative team
76
Specific Responsibilities of The Director
Casting and auditions Blocking and movement decisions Pacing and tone of production Communicating with stage manager Making changes as needed During rehearsals Leading rehearsals Identify areas for improvement
77
Board of Directors
Not-for-profit = volunteers Provide strategic leadership, governance, and policy establishment, and oversee the operations and financial performance of the Theatre Company. Responsible for mandate/mission. Only really hear from GM and AD.
78
Commercial Theatres
In place of a board of directors, there is an Executive Director or CEO who works alongside producers.
79
Not-For-Profit Producer
@ the Pheonix: Combination of Board of Directors, Artistic Director, and General Manager
80
General Manager
Reports directly to the Board of Directors. Responsible for all theatre operations, staff and volunteer management. Management of development, marketing, and community outreach. Admin reports to GM. Audience appeal.
81
Artistic Director
Responsible for the artistic management and output. Works with managing director: producing and general management responsibility. Artistic and Production/Technical Staff team reports to the AD. Does the show fit within mandate of company. Audience appeal.
82
Pheonix Production Process
1. Plays are evaluated on the production side by the production manager, design faculty, technical staff and performance faculty. (year) 2. Meetings generate list of plays 3. Rights are acquired and royalties are paid. 4. Designers are assigned (2-6 months prior) 5. Production schedule is created by Production manager (year) - one show in the fall, two shows in the spring. 6. Designs are generated. 7. Designs are costed. 8. Casting (4-8 months) 9. Construction (2 months) 10. Rehearsal (5-6 weeks) 11. Costume Fittings 12. Prop building/sourcing 13. Box office opens at tech week 14. Tech Week 15. FOH meets and is integrated 16. Previews 17. Opening 18. Run of 8-12 performances over 2-3 weeks. 19. Closing night 20. Striking production
83
Criteria of Pheonix Productions
Physical ability to do so. Availability of performers on a gender basis/flexible casting? Does the play fit in with our curriculum? (educational worth) Does it appeal to the audience? (less so at Pheonix)
84
Production Manager
Sometimes General Manager Tim O'Gorman Heads of departments report to PM. Looking at cost.
85
Royalties
The money a theatre company pays to the publisher, or agent representing the playwright. Calculated based on: - For Profit / Not-for-profit - The venue - Average ticket price - expected attendance Community theatres and educational institutions usually receive reduced rates. Secure rights when you are performing for someone outside of your company.
86
Generation of Designs
Analysis of script Research Incubation Selection Implementation All in association with Director and budget friendly.
87
Out-of-Door Ushers
Double-check tickets at the door. Remain outside the theatre during the show Lock up large bags Not bringing in food.
88
FOH Staffing
FOH manager Two in-house ushers Two ouf-of-house managers One greeter/programs person One concession person
89
Parking Usher
Help people with the parking machines. Outside an hour before and fifteen minutes after the show starts.
90
Programs Person
Passes out programs, directs people to theatre, answers questions.
91
FOH Ushers
Opening and closing door. Seating Sweeping through theatres before and after show. Flashlights at feet on steps. Helping people to their seats.
92
3 Basic Responsibilities of a FOH Manager
Welfare and safety of the theatre patrons. Order and cleanliness of the FOH area. Training the ushers in their duties and safety evacuation. Is the person who starts the show.
93
Controllable Properties of Sound
Quality / Clarity Level / Volume Distribution Movement Effects / Source Modulation
94
Quality / Clarity of Sound
Download files with high-quality Quality microphones and consideration of pickups
95
Levels / Volume of Sound
Measured in decibels on a Log scale. Amplification has a maximum where anything that exceeds it is distorted.
96
Distribution (Theatrical Design) of Sound
Placement of speakers Playback sound vs live Foley Consider time delays
97
Movement of Sound
Timed duration of fading sound effects from one speaker to another. Fade in and fade out of sound effects and underscoring.
98
Effects / Source Modulation (Theatrical Sound Design)
Effects like reverb, echo, delay.
99
Sound Jobs
Sound designer Sound System Designer / Head Sound Engineer Production Sound Engineer Assitants for all positions as require by the scale of the show. Composer, Music director, conductor, musicians
100
Sound Designer
Responsible for the aural environment of play Music and sound effects Sound reinforcement - mics Levels Tech drawings and documentation related to sound and equipment used on a show
101
Sound System Designer / Head Sound Engineer
Work with existing sound system installed in theatre space Supplementing system Onstage reinforcement of voice and instruments Onstage monitoring Additional effects of Speakers Offstage monitoring for stage management (program sound)
102
Production Sound Engineer
A1, sound board operator, sound mixer Runs console for production Program playback system (Qlab)

THEA 105 (4 decks)

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