INTERMEDIATE THEATRE / BEG. TECHNICAL THEATRE

Brief Course Description: Acting students will broaden and deepen acting skills, including styles, directing, Theatre history, and Children’s Theatre. Students will have the opportunity to audition for the advanced ensemble.

Technical theatre students will learn the fundamentals of play production including set design and construction, lighting, sound, and costuming. Students will have the opportunity to progress to Technical Theatre II and III.

Interested in ‘leadership’ within HSTC? Click here to learn more!


COURSE DOCUMENTS

Intermediate Fall Semester Calendar (Daily Instructional Goals, Homework, & Assessments)

HSHS Wifi Instructions

Self/Peer Collaboration Rubric

Class Leadership Application

Character Analysis Worksheet

Essay Rubric (Honors)

Script Analysis Template

“Why Arts” Video

HSHS Scene Shop Rules & Expectations

NC Theatre Arts Essential Standards rev. 9.5.18


REQUIRED FORMS

STEP 1: Review the Class Handbook & Syllabus

STEP 2 Due Friday, 9/7: Complete the Handbook Review Form

STEP 3: Print, have your parent/guardian sign, and turn in the following forms (ALL Due Friday, 9/7):

WCPSS Photo & Video Release Form

2018-19 Boosters Membership Form

STEP 4: Join the class’s GroupMe – see the link below


CONTACT INFORMATION & COMMUNICATION

Instructor / Director: Mr. Rome Buttner
B.A. in English, B.A. in Theatre Arts

Email: mbuttner@wcpss.net

GroupMe: https://groupme.com/join_group/43574399/sUYlAP

Twitter: @hshstheatre


STUDENT LEADERS: 

Stage Managers: Dominick Cruze, Rou Pey Ling, & Taiylor Wade

Costumes Leader: Shanee Yamnitsky

Props and Laptop Leader: Whitney Hymas & Zoey Moore

Communications Managers: Sarah Lindley & Morgan Yorton

Attendance Managers: Kyleigh Dumas, Sharon George, & Logan Haynes

Drill Manager: Natalia Fagundez


DAILY CLASS BLOG:

10.17.18

ALL: Students created their website for Theatre Arts. This site is used to track their progress through the program.

TECHS: Theatre Spaces Notes: http://www.ia470.com/primer/theatres.htm

ACTORS: OB Goal: Monday, October 22. Each acting group continue rehearsing their scene for You Can’t Beat the House.

10.16.18

Actors: Continued working on You Can’t Beat the House scenes with performance groups.

Techs: Continued to do some housekeeping for Mr. Buttner and were put into groups for a competition to see who could set the scene for You Can’t Beat the House the fastest.

10.15.18

Actors: Got put into You Can’t Beat the House performance groups, read through script three times, determined characters, and discussed blocking and the set.

Techs: Worked on set dressing for You Can’t Beat the House and did some housekeeping for Mr. Buttner.

10.10.18

Actors: Read through Act 2 in You Can’t Beat the House and discussed characters and thoughts of the play.

Techs: Created the set based on the setting described in the play, learned how to spike the stage for set pieces, learned how to “dress” a set with props, and learned how to connect lamps to the lighting board.

Homework: TNR #3 due tomorrow

10.9.18

Actors & Techs: Read through Act 1 in You Can’t Beat the House and got into groups to discuss the characters and technical components of the play.

Homework: Read the rest of You Can’t Beat the House and complete script analysis due Monday, October 15th. Complete a TNR for Thursday, October 11th.

SCRIPT LINK

10.4.18

Self Reflection/Assessment

Using complete sentences, respond to each of the following questions:

1. How do you feel about your group’s performance? How clear was the storytelling?

2. Describe your preparation and how that affected your overall performance. Were you fully prepared? If not, how so?

3. What you feel you did well and what you wished had gone differently.

4. Explain what you learned about yourself as a performer & group member?

5. What you would do differently if you had the opportunity to perform again?

6. Regarding your character and plot, what did your character want from the other person in the scene? What was your tactic to achieve your goal?

7. How could you make that choice (your tactic in achieving your objective) clearer / larger / simpler / bolder?

8. What was your inner monologue while you listened to your partner speak?

9. What is the length of your performance video?

9.27.18

TECHS: Prezi on the McCandless Method

Notes: Jean Rosenthal – Lighting Theory

Notes: Types of Lighting Fixtures

Notes: What is the McCandless Method?

9.26.18

ACTORS: Notes on blocking:

Basic Functions of Blocking

Ideally, blocking should enhance the story on the stage by:

  • Reflecting the authentic behavior of the characters – a character’s movements can reveal just as much and sometimes more than his or her words do.
  • Reflecting the relationships between and among characters.
  • Giving the focus to certain characters at appropriate moments (helping the audience know where to look).
  • Allowing the audience to see what they are supposed to see and not what is meant to be hidden – either as part of the play or an accidental peek backstage.
  • Creating effective stage pictures – strong, pleasing, horrific – that convey the meanings and moods of the play.
  • Making effective use of the set.

9.25.18

Actors: Directing Challenge #3 (Quick transitional project)

Techs are working on the following project:

Unit: Lighting. Each group will present their demonstration to the actors on Wednesday (second half of class). Each tech in each group must present to the class.

In their groups, they will demonstrate the “Four Controllable Qualities of Light”.

  • Intensity–The intensity of a light source can vary from near total darkness to painfully bright.
    • (0-100 on the lighting board)
  • Color & Texture–Nearly any color you can think of can be created through the use of lighting gels or electronic means. Color can be a major player in creating a mood. However, the lighting designer must be careful in choosing colors so that they coordinate with the colors chosen for costumes and set pieces as well.
    • Techs will select a gel for color and a gobo for texture.
  • Direction–This is the area from which the light approaches the stage. This is a major contributor to the function of modeling. Light can come from below, directly above or anywhere in between. They can also originate from in front of the actors, behind them or off to a side. Each combination of directions has its unique effect on the highlights and shadows produced.
    • How is the fixture angled? Is it shuttered? Does it have a hard or soft focus?
  • Movement–refers to the changing in the lights whether it be a change in intensity, color or direction of origin.
    • Using the board, control how multiple fixtures turn on and off (and at what intensity?)

9.24.18

Lighting Quiz

ACTORS: Using complete sentences, respond to each of the following questions:

1. How do you feel about your group’s performance? How clear was the storytelling?

2. Describe your preparation and how that affected your overall performance.

3. What you feel you did well and what you wished had gone differently.

4. Explain what you learned about yourself as a performer & group member?

5. What you would do differently if you had the opportunity to perform again?

6. What is the length of your performance video?

DIRECTORSUsing complete sentences, respond to each of the following questions:

1. How do you feel about your group’s performance? How clear was the storytelling?

2. Describe your preparation and how that affected their performance.

3. What you feel you did well and what you wished had gone differently.

4. Explain what you learned about yourself as a director & group leader?

5. What you would do differently if you had the opportunity to direct again?

6. What is the length of your performance video?

9.11.18

Actors/Directors:

Self & Peer Reflection / Assessment

Using complete sentences, respond to each of the following questions:

1. Your overall feel of your performance.

2. Your preparation and how that affected your overall performance.

3. What you feel you did well and what you wished had gone differently.

4. What you learned about yourself as a performer.

5. What you would do different if you had the opportunity to perform again.

6. What is the length of your performance video?

Techs:

Lighting for the stage involves manipulating the four major Controllable Qualities of light; Intensity, Color, Direction and Movement; to influence the four functions of stage lighting which are Mood, Selective Focus, Modeling and Visibility.

Four Controllable Qualities of Light

  • Intensity–The intensity of a light source can vary from near total darkness to painfully bright.
  • Color–Nearly any color you can think of can be created through the use of lighting gels or electronic means. Color can be a major player in creating a mood. However, the lighting designer must be careful in choosing colors so that they coordinate with the colors chosen for costumes and set pieces as well.
  • Direction–This is the area from which the light approaches the stage. This is a major contributor to the function of modeling. Light can come from below, directly above or anywhere in between. They can also originate from in front of the actors, behind them or off to a side. Each combination of directions has its unique effect on the highlights and shadows produced.
  • Movement–refers to the changing in the lights whether it be a change in intensity, color or direction of origin.

Functions of Stage Lighting

  • Visibility is the primary function of stage lighting: making sure the audience can see the part(s) of the stage that the director and/or the lighting designer want them to see.
  • The modeling function includes creating a realistic (or intentionally non-realistic) view of the world of the play. This is done by strategically placing lights above, below, to the side, in front and behind the actors. Through the use of the placement of the lights, you can create different types of highlights and shadows on the actors, props and set pieces.
  • Selective Focus is the function of “forcing” the audience to look where it is desired for them to look through the use of high/low intensity and changes in intensity.
  • The function of Mood is both one of the most difficult and at the same time the easiest function to maintain. It is the easiest because it can be done very simply through the use of colors. However, it can also be overdone to the point of becoming cliche instead of allowing the actors and other aspects to contribute to the overall mood of the play.

8.30.18

Students continue their rehearsal for the ‘found space’ project. Some groups have volunteered to perform their short scene today. Students (actors and techs) are required to wear their ‘blacks’ for the final performance.

Since the class is displaced to the commons area for the week, I has delayed reviewing the HSTC handbook, syllabus, and its corresponding forms until next week.

Homework: Memorize the material and bring ‘blacks’ to school, unless the student is bringing an official costume instead.

8.27.18 (Day 1)

Mr. Buttner welcomed students to the new school year. The class reviewed ‘Day 1’ materials and ‘semester at a glance’. Following the paperwork, the students were led by Mr. Buttner in a series of theatre activities (play to learn) that set a good example for a typical class day.

Homework: ‘Semester at a Glance’ signed and returned on 8.28.18.

Comments are closed.