REQUIREMENTS AND CRITERIA FOR PERFORMANCE SENIOR PROJECTS PREPARATION Within a week of being cast, notify the theatre faculty in writing of your intent to use the role as your Senior Project. In regular meetings with your advisor, the following should be provided in an actor's notebook: Meeting One: (1) Submit a statement explaining why this project represents your growth and aspirations regarding your theatre studies. (2) Research the role using reviews from past productions and, if applicable, social/political/economic history of a particular period. Meeting Two: (1) Submit copy of rehearsal schedule, if provided, or set your own schedule outlining your rehearsal procedure. (2) Prepare a history of your character that uses information from the script but also contains your own conjecture about important incidents in your character's past. (3) List your character's major actions through the entire play. Meeting Three: (1) Give a description of each primary relationship that your character has with characters appearing in the play or referred to by you or others. (2) Review script with advisor to demonstrate your notation of blocking and objectives. Meeting Four: (1) Delineate the immediate circumstances preceding every entrance your character makes. (2) Provide a list of all hand props that you use that will be checked before run-throughs. (3) Provide a costume schedule showing the components of each outfit and when any costume is changed. (4) If applicable, submit your shift schedule for any set pieces you are asked to move. It is fine to use your advisor as a sounding board for any ideas, choices, or technical questions you have but remember that the director has the final word in shaping your performance. CRITERIA To be addressed in meetings with your advisor and during final review by the theatre faculty. A. Did the actor demonstrate an affective approach to work both in and out of rehearsal? B. Were creative and bold choices explored in rehearsal and performance? C. Did the actor create a cohesive and consistent character? D. Did the character have clear and specific relationships to others in the play? E. Was the actor able to integrate the character's actions into the plot of the play? F. Were director's notes to the actor incorporated into the performance? JOURNAL This is submitted to the advisor within a week of closing the production. Actors must keep a running journal that contains regular entries on such topics as impressions of play, work with director/ other actors/stage management, changes in the overall vision of the play, practical dilemmas, triumphs/set backs, audience reaction, peer reaction, etc. It must include a summary self-evaluation of your work in as objective a manner as possible.
REQUIREMENTS AND CRITERIA FOR DIRECTING SENIOR PROJECTS PREPARATION Director's Concept This must be presented to the advisor two weeks before the first design meeting. This must be a thoughtful, well written statement that reflects both strong analysis and personal response to your play. Although there is no limit on how or what you cover, the follow must be addressed: A. Theme, central idea, metaphor, or image that captures the meaning of the play for you. B. A provocative description of the environment or world of the play that stimulates your designers and captures your vision of the production. C. Consideration of audience reaction/interpretation of the play. Director's Notebook This work must be presented on a date arranged with your advisor at least two weeks out from the start of rehearsals. It should be completely finished and presented in bound form. If the work is not completed on time, the advisor has the option of postponing or canceling the entire project. 1. Write down random thoughts and impressions as you read the play . These might include staging ideas, character observations, sketches, personal opinions, etc. 2. What is the time of the play's action (include time of year it starts and time changes between scenes/acts if applicable)? Where does the action of the play take place (again, include all locations in the play and be specific)? 3. Give a history of the play's production including: A. What inspired the playwright to create the play? B. Copies of three reviews of the play including one as close to its premiere as possible. Underline, highlight or write on what you found helpful in these. 4. Break down your play using French Scenes in the following format: Fr. Sc. # Act/Scene Length Characters Major Action(s) 1. I/I see score Street chs., tourist Tourist gets taken 2. I/I l&l/2p. Nicely, Benny, Rusty They trade race tips 3. I/I 2&l/4p. Sarah, Band, NN, B, Sarah preaches badly R. Street chs. Submit a rehearsal schedule in calendar form for the entire rehearsal period. This must include the specific goal of each rehearsal. 5. Provide an analysis of all characters in your scene: A. Past history B. What (s)he values most C. Physical appearance D. Super objective for the entire play 6. Analyze the action of your play. (Mark where actions units begin and end. Give each unit a title: "Character A active verb Character B."). Indicate where the climax of the play occurs. CRITERIA To be addressed in meetings with your advisor and during final review by the theatre faculty. A. The concept of the show was clearly delineated and responded to in a meeting with all designers present. B. The show was successfully cast. C. Rehearsals were carried out in a specific and progressive way that kept to a preset schedule. D. Actors were given specific information about their characters. E. Blocking reflected the relationships and action of the director's interpretation of the play. F. The ground plan was dynamic and supported the play's action. G. The realization of designs (costumes, set, lights, sound, props) was reviewed periodically through production meetings. H. Transfer of the show from director to stage manager was accomplished during technical rehearsals. I. Design elements were brought together during tech weekend and dress rehearsals. J. The audience was successfully pulled into the world of the play. JOURNAL This is submitted to the advisor within a week of closing the production. Directors must keep a running journal that contains regular entries on such topics as impressions of play, work with designers/actors/stage management, changes in the overall vision of the play, practical dilemmas, triumphs/set backs, audience reaction, peer reaction, etc. It must include a summary self-evaluation of your work in as objective a manner as possible.
REQUIREMENTS AND CRITERIA FOR DESIGN SENIOR PROJECTS
A letter of intent citing the show and type of design project must be received by June 1st of the year prior to graduation. This notification must be paired with a letter of approval from the director indicating acceptance of you as a designer. Only when these conditions have been met will the theatre faculty consider your petition for a design capstone project. If a proposal is accepted, the student must arrange a pre-project meeting with all theatre faculty. The purpose of this meeting is to establish goals for the project and to specify how it meets the criteria of a capstone. The student must also petition for an advisor at this time. Weekly meetings with the advisor are mandatory. The student must provide written reports indicating progress with the project. These include the full design cycle: research; budget; concept notes; working drawings; renderings and/or model; draft plans and elevations; and portfolio elements. At the completion of the project, the student must arrange a post-project meeting with all theatre faculty. The purpose of this meeting is to give the student an opportunity to review her/his effectiveness in reaching the established goals of the project. A copy of al project materials must be made available to the theatre faculty two weeks prior to the meeting. For all intents and purposes the student should consider this last meeting to be an oral defense of their project. |