Purpose of Handbook

This Handbook has been designed to help you gain the most out of your education within the Department of Communication Studies and Theatre Arts at the University of Wisconsin –River Falls. It is intended as a resource regarding general information, policies, procedures, expectations, and requirements of the Theatre Program.

Mission Statement

The Theatre Major is a liberal arts degree that will train students to use theatre as a tool to learn about culture, communication, creativity, and performance.

The Department Structure:

Department of Communication Studies and Theatre Arts
Majors: Communication Studies, Theatre Arts, Digital Film and Television.

Co circular Student Organization
University Theatre, Masquers, Alpha Psi Omega, Forensics, Focus Productions, NCASC (National Communication Association Student Club)

Theatre Faculty

Gorden O. Hedahl (1998) Professor
BS, University of North Dakota
MA, University of North Dakota
PhD, University of Minnesota
Courses include: Acting, Directing, Creative Dramatics, Children’s Theatre
KFA B22 425-4896 gorden.o.hedahl@uwrf.edu

Margaret M. Swanson (1980) Professor
BA, University of Wisconsin-Madison
MA, PhD, University of Minnesota
Courses include: Theatre History, Acting, Playwrights of Color, Directing
KFA 122 425-3115 margaret.l.swanson@uwrf.edu

Robin E. Murray (1987) Professor
BS, Oklahoma City University
MFA, University of Oklahoma
DEPARTMENT CHAIR
Courses include: Costume Design, History of Fashion, Stage Make-up, Children's Theatre and Puppetry
KFA B23 425-3097 robin.e.murray@uwrf.edu

James A. Zimmerman (1984) Professor
BS, Dickinson State College
MFA, University of Southern Illinois
Courses include: Acting, Oral Interpretation, Playwriting, Musical Theatre, Mass Communication
KFA 121 425-4288 james.a.zimmerman@uwrf.edu

Kenneth W. Stofferahn (1987) Professor
BS, MA, South Dakota State University
MFA, University of Virginia
Director of Theatre
Courses include: Design for Theatre, Stage Lighting, Stage Technology and Scene Painting, Arts and Stage Management, Film Courses, Introduction to Theatre
KFA B2 425-3101 kenneth.w.stofferahn@uwrf.edu

Staff

Helen Turner, Program Assistant KFA B24 425-3971 helen.c.turner@uwrf.edu

Part Time Staff

Denise Baker, Costume Designer and Costume Shop Supervisor
KFA B3 425-3096 denise.k.baker@uwrf.edu

Lu Rhomeberg, Box Office
Daniel Rivera, Box Office
KFA 135 425-3114

CSTA Office

The Communication Studies and Theatre Arts Department Office, B24 KFA, is the theatre “headquarters.” Helen Turner, the CSTA program assistant. The office phone number is 715-425-3971. The mailing address is, B24KFA, UW-River Falls, 410 S. Third St., River Falls, WI 54022-5001

Mailboxes

Faculty, Staff, and organizations have mailboxes in the main department office. KFA B24. These are used for sending and receiving messages.

Communication / Callboards

Call Boards at located in two areas of KFA: one in the hallway outside the Green Room KFA B19 and the hallway outside KFA119. These are strictly for the use of University Theatre and Student Theatre Organizations. This is where the production calendar, rehearsal reports, audition notices, cast list, field trip sign up and other important information is located. There is also an information board outside the green room that is used for non essential information such as job postings and graduate schools.

Costume Shop Bulletin Board: The Costume Shop Bulletin Board is located outside the costume shop and is to be utilized for notices pertinent to work in the Costume Shop.

Scene Shop Bulletin Board: The Scene Shop Bulletin Board is located outside the scene shop and is to be utilized for notices pertinent to work in the Scene Shop.

Department Calendar

At the beginning of each academic year a Production Calendar will be posted on the Green Room callboard. Please examine this calendar carefully. It will contain important information, dates, and deadlines. Note especially dates and times of scheduled auditions, performances, and any other required activities. If and when changes need to be made on the Calendar, announcements will be made and notices will be posted.

UWRF Telephone Numbers:

All telephone numbers are area code 715:

CSTA Office/Helen Turner - 425 - 3971
Theatre Box Office - 425 - 3114
Theatre Costume Shop - 425 - 3097
Theatre Scene Shop - 425 - 3101

Other useful UW - River Falls telephone numbers:

EMERGENCY Dial 911
General Information - 425 - 3911
University Police/Security - 425 - 3133
Arts and Sciences Office - 425 - 3366
University News Bureau - 425 - 3771
Student Services Center - 425 - 4663

Theatre Students Listserv

The Department maintains a listserv dedicated to Theatre business. Every Theatre major will automatically be subscribed to the list after submitting his or her address to the Program Assistant. Messages sent to this address will be posted to everyone on the list. Keep this in mind when replying to messages from the listserv. If you want to send a private message to an individual, send it to that person's e-mail address not to the listserv. The listserv is reserved for departmental and production oriented messages. All theatre majors should acquire an e-mail account and check it regularly for important information.

Academics - Department Requirements for Degree Programs in Theatre Arts

Major in Theatre Arts–Liberal Arts B.S.

37 Credits
Required Courses: 22 cr. hrs.
CSTA 121 Acting I: Basic Techniques 3 cr.
CSTA 131 Design for the Theatre 3 cr.
CSTA 294 Sophomore Seminar: Theatre 3 cr.
CSTA 335 Directing I 3 cr.
CSTA 379 Internship 3-12 cr.
CSTA 484 Senior Portfolio Seminar in CSTA 1 cr.
Choose Two
CSTA 337 History of Theatre-Ancient to Medieval 3 cr.
CSTA 338 History of Theatre-Renaissance to 20th Century 3 cr.
CSTA 339 American Theatre 3 cr.

Performance Track 15 Credits
Required Courses: 9 cr. hrs.
CSTA 222 Voice and Articulation 3 cr.
CSTA 231 Stage Technology and Scene Painting 3 cr.
CSTA 332 Stage Costuming 3 cr.
Electives: 6 cr.
CSTA 221 Acting II: Characterization 3 cr.
CSTA 225 Musical Theatre Performance 3 cr.
CSTA 327 Children‚s Theatre and Puppetry 3 cr.
CSTA 334 Playwriting 3 cr.
CSTA 435 Directing II 3 cr.
Or approved substitution

Design/Tech Track 15 Credits
Required Courses: 12 cr. hrs.
CSTA 231 Stage Technology and Scene Painting 3 cr.
CSTA 332 Stage Costuming 3 cr.
CSTA 333 Stage Lighting 3 cr.
CSTA 432 Computer Aided Theatrical Design 3 cr.
Electives: 3 cr. hrs.
CSTA 234 Stage Management 3 cr.
CSTA 336 Fashion History 3 cr.
Or approved substitution

Management Track 15 Credits
Required Courses: 12 cr. hrs.
CSTA 231 Stage Technology and Scene Painting 3 cr.
Or CSTA 333 Stage Lighting 3 cr.
CSTA 234 Stage Management 3 cr.
CSTA 323 Arts Management 3 cr.
CSTA 432 Computer Aided Theatrical Design 3 cr.
Electives: 3 cr. hrs.
CSTA 334 Playwriting 3 cr.
CSTA 435 Directing II 3 cr.
Or approved substitution

Dramaturgy Track 15 Credits
Required Courses: 9 cr. hrs.
CSTA 230 Playwrights of Color 3 cr.
CSTA 334 Playwriting 3 cr.
CSTA 337 History of Theatre-Ancient to Medieval 3 cr.
Or CSTA 338 History of Theatre-Renaissance to 20th Century 3 cr.
Or CSTA 339 American Theatre 3 cr.
Electives: 6 cr. hrs.
CSTA 327 Children‚s Theatre and Puppetry 3 cr.
CSTA 301 History of Film 3 cr.
CSTA 336 Fashion History 3 cr.
ENGL 232 Contemporary Drama 3 cr.
Or approved substitution

Minor in Theatre Arts–Liberal Arts B.S.

24 Total Credits
Required: 15 cr. hrs.
CSTA 121 Acting I: Basic Techniques 3 cr.
CSTA 131 Design for the Theatre 3 cr.
Choose one
CSTA 231 Stage Technology and Scene Painting 3 cr.
Or CSTA 332 Stage Costuming 3 cr.
Or CSTA 333 Stage Lighting 3 cr.
Choose one
CSTA 337 History of Theatre-Ancient to Medieval 3 cr.
Or CSTA 338 History of Theatre-Renaissance to 20th Century 3 cr.
Or CSTA 339 American Theatre 3 cr.
CSTA 335 Directing I 3 cr.
General Electives: 9 cr. hrs.
CSTA 221 Acting II: Characterization 3 cr.
CSTA 222 Voice and Articulation 3 cr.
CSTA 225 Musical Theatre Performance 3 cr.
CSTA 230 Playwrights of Color 3 cr.
CSTA 231 Stage Technology and Scene Painting (if not chosen under required) 3 cr.
CSTA 232 Makeup for Theatre, Film, and Video 3 cr.
CSTA 234 Stage Management 3 cr.
CSTA 294 Sophomore Seminar: Theatre 3 cr.
CSTA 323 Arts Management 3 cr.
CSTA 327 Children‚s Theatre and Puppetry 3 cr.
CSTA 332 Stage Costuming 3 cr.
CSTA 333 Stage Lighting 3 cr.
CSTA 334 Playwriting 3 cr.
CSTA 336 Fashion History 3 cr.
CSTA 375 Theatre Practicum: Production 1 cr.
CSTA 376 Theatre Practicum: Design and Technology 1 cr.
CSTA 432 Computer Aided Theatrical Design 3 cr.
CSTA 435 Directing II 3 cr.
CSTA 499 Independent Study/Independent Research 1-3 cr.
Or Approved Substitution

A research/writing course experience is required in the major or another field; CSTA 294 Sophomore Seminar or another course approved by the department chair, will satisfy this requirement. A senior portfolio experience is required in the major or another field; CSTA 484, Senior Portfolio Seminar or another course approved by the department chair, will satisfy this requirement.

Musical Theatre Minor

24 Total Credits
Required Courses: 18 cr. hrs.
MUS 103 Class Voice 1 cr.
MUS 130 Music Theory and Ear Training I 4 cr.
MUS 131 Music Theory and Ear Training II 4 cr.
MUS 225 Voice for the Actor 1 cr.
SCTA 121 Acting I: Basic Techniques 3 cr.
SCTA 225 Musical Theatre Performance 3 cr.
SCTA 375 Theatre Practicum: Production 2 cr.
Directed Electives: 2 cr. hrs.
Select from the following:
DANC 107 Social Dance .5 cr.
DANC 110 Basic Jazz Dance .5 cr.
DANC 120 Fundamentals of Movement through Dance 1 cr.
DANC 150 Dance Improvisation 1 cr.
DANC 224 Ballet I 1 cr.
Electives: 4 cr. hrs.
Select from the following:
DANC 107 Social Dance .5 cr.
DANC 110 Basic Jazz Dance .5 cr.
DANC 224 Ballet I 1 cr.
DANC 260 Dance Repertory 1-3 cr.
SCTA 131 Design for the Theatre 3 cr.
A maximum of 3 credits from the following 3 courses may be applied toward electives:
SCTA 231 Stage Technology and Scene Painting 3 cr.
or SCTA 332 Stage Costuming
or SCTA 333 Stage Lighting
SCTA 221 Acting II: Characterization 3 cr.
SCTA 222 Voice and Articulation 3 cr.
SCTA 288 Career Development: Theatre Arts 1 cr.
SCTA 339 American Theatre 3 cr.
MUSA 127 Applied Voice (a maximum of 2 may be applied toward electives) 1 cr.
MUS 230 Music Theory and Ear Training III 4 cr.
MUS 340 Opera Techniques 3 cr.

Students majoring in Music or Speech (any emphasis) may not double count any course when completing the Musical Theatre Minor.
Speech Communication and Theatre Arts and Music majors should consult with an adviser and substitute other electives (from the list above) for those required in both their major and minor.

Internship: CSTA 379: COMMUNICATION STUDIES AND THEATRE ARTS INTERNSHIP

  1. CATALOG DESCRIPTION:
    The Communication Studies and Theatre Arts internship is a program that places selected students in businesses, industries, or organizations to provide opportunities to practically apply their knowledge of and skill in speech, mass media, or theatre arts. Students may elect a 3-12 credit internship; only 4 credits can be counted in the major/minor. The intern's duties and responsibilities will be tailored to the needs of the sponsoring organization and the background of the student. The organizational supervisor, a department supervisor, and the intern will conduct periodic and final evaluations of the intern's progress and products. Prerequisite: consent of department internship supervisor and the dean, College of Arts and Sciences.
  2. OBJECTIVES OF THE INTERNSHIP:
    1. To provide students with practical experience in applying their knowledge and skills in communication, theatre arts, and mass media.
    2. To give students first hand understanding of career opportunities available to specialists in communication, theatre arts, and mass media.
    3. To serve businesses, organizations, theatres and groups by assisting in improving their communication practices.
  3. STUDENT REQUIREMENTS AND PREPARATION:
    Student background and preparation will vary with the requirements and desires of the host organization and the interests of the student. The internship should, in almost all circumstances, be an upper division major or minor in the areas of speech, business communication, theatre, or mass communication. The internship director will thoroughly evaluate the prospective intern's academic preparation to assure that qualified students are accepted for the program.
  4. TIME AND CREDIT:
    The amount of time an intern would be expected to devote to the experience will be dependent upon the number of credits selected (from 3 to 12) and the nature of the work agreed upon by the supervisor, host organization, and intern. As a guide, interns will be expected to work a minimum of 45 hours per credit. Typically, these hours (ranging from 135 to 540) will be completed during the semester at a pace of from 9 to 36 hours per week during the 15 weeks of the semester. This pattern is only a guide, however, and other schedules may be approved to meet the needs of the student and the host organization. Once the schedule is approved, the student is expected to begin and end on established dates. Changes in schedule must be pre-approved by internship advisor. More than 45 hours per credit may also be required.
  5. TERMINATION OF INTERNSHIP:
    Both the CSTA Department and host organization have the right to release or dismiss an intern from his/her duties at any time. Interns are subject to the rules and regulations of the host organization. Further, interns have an ethical responsibility (1) to maintain confidentiality on specified organizational issues and (2) to assure anonymity when requested in any oral and/or written reports.
  6. RESPONSIBILITIES OF HOST ORGANIZATION:
    To facilitate the student's learning and to enhance benefits to the host organization, the sponsoring group should provide the intern with:
    1. access to meetings, records, documents or equipment necessary for the intern to carry out his/her work assignments
    2. working space, office supplies or equipment needed in conducting his/her projects
    3. a representative of the organization to (a) supervise the intern (see suggestions in the following section) and (b) serve as a liaison between the intern and other members of the organization.
    4. The CSTA Department does not seek direct compensation for the interns at this stage of the program. Host organizations are viewed as providing an important learning opportunity for students. Equally important, however, the department believes that interns can offer significant benefits to organizations. Consequently, when possible, we hope the host organization could reimburse interns for transportation and other expenses directly related to on-the-job duties. Such arrangements will be negotiated at the time the intern is placed.
  7. PLACEMENT OF INTERNS:
    Interns are placed in positions relating to their professional career objective. The CSTA Department prepares students in such diverse areas as sales, personnel, public relations, mass communication, theatre, promotions, hospitality, management and others involving a great deal of oral communication. Because of this diversity, students seeking an internship often identify and make initial contact with prospective host organizations. These prospects and contacts should be discussed at a very early point with a faculty member in the CSTA Department who agrees to work with the intern. The faculty member may have referrals and may make initial contact. As soon as all parties (intern, faculty supervisor, and work supervisor) agree upon hours, duties, supervision, and other facets of the experience, a proposal is prepared by the intern. This proposal is signed by the parties and submitted to the Chair of the Department and subsequently the Dean of Arts and Sciences for approval. Upon approval, the student registers for CSTA 379.
  8. SUPERVISION OF INTERNS:
    The host organization should provide direct supervision of the intern. The faculty supervisor in the CSTA Department will maintain contact with both the intern and work supervisor. The role of the faculty supervisor is to develop and maintain an educational experience for the intern.
  9. EVALUATION OF INTERNS:
    On-going feedback and evaluation throughout the internship is to be expected. The work supervisor should provide such feedback regularly. The intern should ask for reactions. The faculty supervisor should see that feedback and evaluation is on-going. The student will submit weekly a journal describing what duties the intern performed, what was learned and how this relates to specific course theories/skills/concepts. With this report, the student will include a worklog signed by the work supervisor. As per the policy of the College of Arts and Sciences, the following is to be submitted at the conclusion of the internship:
    1. A summary of the work experience (THREE TO FOUR SINGLE-SPACED PAGES, AT MOST) written by the individual, to include an indication of the range, focus, and quality of the experience as well as a reaction to the experience.
    2. An evaluation by the academic supervisor of the work experience with regard to both the student's performance and the "agency" itself. The latter should be in terms of the validity and recommendation of this particular internship site, and
    3. An evaluation by the work supervisor as to the student's performance and learning in terms of skills, processes, concepts, understandings and/or attitudes.
    These items will be collected by the faculty supervisor and submitted to the Dean as soon after the internship as possible. The faculty supervisor will also recommend a satisfactory/unsatisfactory grade for the internship. The Dean will review these materials. A grade of satisfactory or unsatisfactory will then be submitted to the registrar. The final paper (“a.” above) must include a brief (1 page maximum) description of the intern experience explicating duties/tasks/projects. The bulk of the paper should explain what was learned and how this learning applies to specific course concepts/theories/skills. The student is expected to illustrate knowledge gained in courses completed to date (as listed in proposal). The paper should conclude with a paragraph summarizing how the internship experience directly relates to career goals.

Internship Opportunities – Theatre students have worked in internship location throughout the area and in the Twin Cities. Some of the locations have been the Guthrie, Minnesota Opera, Park Square Theatre, The Jungle Theatre, The History Theatre, and The Phipps. Recently UWRF has started ongoing Internships with the Festival Theatre and the SOS Players. Please see your advisor for possible locations and opportunities.

Academic Standards

The University sets minimum standards of academic performance and places on probation any student who fails to meet these standards. Students placed on academic probation are not eligible to participation as cast or crew in any Departmental production.

Advisement

Theatre students are assigned an advisor. Academic advising takes place each semester on a schedule based on class rank. The Registrar will announce this schedule and you should arrange a meeting with your advisor. You are encouraged to prepare for your advisement meeting by examining your DARS (Degree Audit Report), the Master Schedule and establish a tentative plan for the ensuing semester.
You should meet with your advisor:

Although the university provides extensive advising and counseling services, it is ultimately your responsibility to monitor your own progress, and to understand and follow university standards for academic performance.

Class Attendance

In accordance with the University, the Faculty subscribes to a policy requiring students to attend class regularly. It is vital for theatre artists to establish professional work habits, especially punctuality. Therefore, it is expected that Theatre students will attend each and every class and be consistently on time. Illness, religious holidays, or participation in athletic or University sponsored activities are usually acceptable reasons for absences, but notification and arrangements should be made with the instructor by the student. Faculty establishes, publish, and enforce attendance policies for their classes. Faculty may request reasonable documentation or verification of claims regarding absences.

Preparation for Class

Majoring in Theatre requires extensive work outside of class preparing scenes and monologues for acting, voice, and directing courses, completing projects for design and technology courses, and preparing for academic courses. Successful balancing of all the demands placed on Theatre students requires a great deal of personal discipline and strong time management skills. In order to receive the most benefit from work in class, students must devote the time outside of class. Creative work takes time to incubate--rarely can the process be rushed successfully. Steady consistency throughout the semester is another important work habit to cultivate.

Résumé/Portfolio

Performers should always have a résumé ready and eventually should have 8x10 black and white headshots available. Designers and technicians should have an updated portfolio available. A portfolio is a visual record of your artistic and creative work. You should make photographs of any scenery, props, or costumes you design, build or paint. You should include examples of your drafting, painting, designs, swatches, renderings, etc. Students should start building a resume and portfolio early in their college career so it can be used for summer employment, internship opportunities as well as a final portfolio for graduation. This requires collecting and updating materials each year. Theatre Faculty and Career Services will assist you in preparing your resume, portfolio and audition pieces.

University Theatre Organizations and Awards

University Theatre

Advisor: Ken Stofferahn
University Theatre is a Student Organization. It is led by a board of students, voted in by their peers - and completing certain requirements. Anyone could become a member of this student advisory board and learn the workings of a board similar to non-profit organizations and community theatres. This will look great on any job or graduate school application!
University Theatre only meets 3 times a semester - all other meetings are in actual committees - committees which actually accomplish things!
There is an EVENTS committee, where we plan parties, gatherings, Alumni and Friends night, our excursion to the American College Theatre Festival and trips to theatres in the Twin City area as well as those in Chicago.
There is a PLAY SELECTION committee. This committee will read plays throughout the semester and recommend them to the University Staff based on the University Theatre's mission and criteria.
There is the RECORDER committee. This committee will keep track of student involvement in University Theatre productions for eligibility to be one of the 8-12 Student Advisory Board Members.
Meeting Time: Check callboards by B18 & 119 KFA for meeting information

Masquers

Advisor: Robin Murray
Masquers is a student theatre organization that helps produce plays and supports fellow actors, technicians, and designers. This organization is open to all University Students. Voting members must meet set criteria.
Meeting Time: Usually once a week. Times vary each semester. Check Callboard by B18 KFA (Green Room)
Events: Annual Production, Directing I One-Act Plays, Annual Picnic and Awards, ACTF Participation and Travel

Masquers

Advisor: Meg Swanson
Alpha Psi Omega was organized as an honorary dramatic fraternity for the purpose of providing an honor society for those doing a high standard of work in dramatics and, through the expansion of Alpha Psi Omega among the colleges and universities, to provide a wider fellowship for those interested in the college theatre. The fraternity is not intended to take the place of the regular dramatic club or other producing groups, but as students qualify, they are rewarded by election to membership in this society.

Membership Eligibility:

Awards and Scholarships

Every year, the University Theatre presents several awards to outstanding students. These awards are monetary and are used for tuition for students.

Department Policies

CSTA Computer and Resource Room Use Policy

To make the department more secure place we must install new policies for the use of the department rooms. We are not trying to restrict use of the rooms we just need to make the rooms more secure and to not use up our supply budget.

Room Use Policy:

Computer Use Policy:

University Theatre Display Case Policy

The Theatre Staff of University Theatre will control the use of the University Display cases. A specific coordinator shall be named to schedule and monitor the use of the display cases. During the summer the authority shall be turned over to the Managing Director of St. Croix Valley Summer Theatre.

Priority:

  1. University Theatre related events.
  2. Masquers, Alpha Psi Omega, Dance Theatre, Mass Communications and the CSTA Department and the Dean of Arts and Science.
  3. Other Fine Arts Departments such as Art and Music.
  4. Other University related organizations.

Scheduling:

Contents and Requirements:

Purchasing For University Theatre

All purchases for University Theatre must have prior approval from the Director of Theatre, Technical Director, Costume Supervisor, Faculty Member or Program Assistant. Those given responsibility for purchasing University Theatre supplies must save all receipts and turn them in to the appropriate supervisor with a purchasing form. A University issued University Theatre credit card is used to order material over the telephone or via the Internet. That card is available from the Technical Director, Costume Supervisor or the Program Assistant, Helen Turner. Several local businesses have University Theatre charge accounts. Check with the appropriate supervisors about which stores currently have charge accounts. Authorized personal may purchase supplies themselves and be reimbursed provided the appropriate forms are completed. The appropriate tax exempt number should be used for all purchases. If a person arranges to borrow or rent a piece of equipment for a production it is that person’s responsibility to return the item once the production is over.

Student Personnel Supplies: Normally, University Theatre will supply all material required by students for productions. The exception is makeup (which can be ordered prior to the production), costume undergarments (unless required for a specific role), or anything which is deemed non-essential to the production(s). Consult with the show director or technical director for questions about a specific supply.

Where to Charge and Who to Contact

Keys

The following is the list of positions of responsibility that are assigned keys. Keys are the responsibility of that individual and should not be given to others. It is very expensive to re-key so security is very important. You must return your keys to the Technical Director immediately after completion of your assigned duties, usually during the post-strike week.

Technical Director
Costume Shop Manager
Scene Shop Student Manager
Stage Manager
Master Electrician
Props Designer

Work-Study and Assistantships

There are numerous opportunities to earn money working for the department in various areas. The amount of funding available differs each semester depending on the department’s allocation. Work study is paid on an hourly rate that is established by the financial aid office. Assistantships are usually paid as a lump sum on a per show basis. A student must fill out all forms from the financial aid office and the Program Assistant’s office before they can begin work. Employment opportunities are available for:

Training Session - Training sessions usually occur at the beginning of each semester and are necessary for safety and knowledge in the work areas.

Timecards--Timecards are typically due on and every other week basis. Time cards should be submitted to the Program Assistant and sign by the area supervisor. The student is responsible of submitting the time card.

Complimentary Ticket Policy

Students involved in a production (such as actors, designers, run crew, management, etc) will receive two complimentary tickets for a single performance of that production. All theatre majors are welcome to attend the preview night of any production free of charge.

Costume / Prop Shops

Since the Costume/Prop Shops are continually thrown into disarray despite periodic reorganization, students are not to enter the Costume Shop without express permission of the Costume Shop Student Manager, or the Prop Shop without the permission of the Technical Director. ABSOLUTELY NO ONE is to remove a costume or props without the express permission of Costume Shop Student Manager, or the Technical Director. There are sign out forms that must be filled out for everything borrowed. Forms must be signed by the appropriate Manager when the items are checked out and when they are returned. Not all costumes, props and furniture will be available for Acting and Directing classes, but you should be able to find appropriate items. Stock rehearsal furniture will be made available for these classes.

Campus and Off-campus organizations or individuals may be able to barrow costumes and props. This is up to the discretion of the Costume Shop Manager and Technical Director. Some organization will be required to rent. Rental or loan forms are required to be completed.

Work Calls

Always wear work clothes and heavy shoes or boots to all Work Calls. Avoid loose clothing and jewelry that might become tangled in machinery or tools. You never know when you may be painting or working with materials that may permanently soil your clothing, so you should dress accordingly.

Front of House Personnel/Ushers

All Front of House personnel should wear appropriate professional attire. Men should wear dress slacks, dress shoes, and a button-down shirt. Women may wear dress slacks or skirts with blouses, or dresses, with dress shoes. Front of House personnel are the first contact a patron has with the Department of Theatre and should therefore strive to project a professional, businesslike image.

Stage Crew

All stage crew members (including Stage Managers and Board Ops) should dress in black pants, black shirt (with no writing or artwork), or black dress/skirt and top with black hose, and dark thin-soled shoes. Crew members who will be seen by the audience during scene changes, etc. should not wear any clothing that could prove distracting.

Eating

There will be no eating, smoking or drinking in either theatre, Dressing Rooms, Costume or Scene Shop without the express consent of a Faculty/Staff member (i.e. Strike Snacks, Load-in doughnuts, use in a scene, etc.). Actors must never eat, smoke or drink while in costume unless required for a scene. Cast and crew may have water backstage during rehearsal and performance.

Stage Manager Reports

Daily Rehearsal Reports: The Stage Manager will generate Daily Rehearsal Reports in both written and e-mail form for each rehearsal. These notes are posted on both Callboards. These reports will be the primary method of communication for the entire production team during the rehearsal process. They will include updates on production needs as they arise between weekly Production Meetings. Everyone in the cast, crew and those with positions of responsibility should check e-mail and/or the Callboard each day.

Production Meeting Reports: The Stage Manger runs weekly Production Meetings, and takes Production Meeting Report notes. The Stage Manager will then generate Production Meeting Reports in both written and e-mail form for each Theatre Production meeting. These notes are posted on both Callboards. These reports will be a primary method of communication for the entire Department. They will include updates from each of the faculty and staff, Student Managers, positions of responsibility, et al.

Running Notes: Once the show opens, the production Stage Manager will generate Running Notes in both written and e-mail form for each performance. These notes are posted on both Callboards. These notes will be a primary method of communication for members of the production team during the running of the production. They will include updates on production needs as they arise. It is imperative that everyone in the cast, crew and those with positions of responsibility check e-mail and/or the Callboard each day.

All notices posted on any Bulletin board should be typed and computer printed.

The Production Program for University Theatre

Faculty-directed Theatre productions are presented in the Davis Theatre or the Syse Studio Theatre. There are usually three such productions per year. Directors demonstrate, through their varied approaches, the dramatic and production synthesis that should contribute to the students' total theatre education. Each theatre is truly considered another classroom or laboratory complementing the academic course work in Theatre. The Faculty makes season selection with input from the University Theatre Student Committee, any student or other faculty and staff.

The season usually consist of:

Mainstage

The Blanche Davis Theatre: The mainstage theater is named the Blanche Davis Theatre which has 300 seats in a traditional proscenium arch configuration and includes fly, wing, and backstage space. This theatre is used for larger scale productions, usually, but not exclusively Faculty directed. The theatre is also used as a classroom for theatre and film classes.

Studio Theatre

The Syse Theatre: The Studio Theatre is named the Syse Theatre, seating approximately 100, is often set up in a three-quarter or thrust black box-style space for classes and rehearsals. The space and seating can be reconfigured to create whatever the designer feels is suitable to a particular production. It is utilized as a classroom, for Faculty directed productions, to showcase acting and directing scenes, and for student generated performances such as the Student Directed Projects and original works.

Space Scheduling

Scheduling of the theatre spaces is maintained by the Technical Director. Classroom assignments are made through the Program Assistant. Since the space are in heavy use throughout the year it is important to make sure the space is available for a requested time and that the request are made in advance. There are usually open times each week in each space and this can be used for student/faculty rehearsal or design work. Please check with the technical director. Most days the spaces have scheduled class in the morning, set construction in the afternoon and rehearsals in the evening. During directing class one act rehearsals a scheduled will be posted out the Syse Theatre doors for sign up. You are encouraged to make use of the space to produce your own projects for public performance whether connected with a class or not. Faculty directed productions and their rehearsals take precedent, but every effort will be made to accommodate anyone interested in using the space.

Studio Series

The Studio Series is designed to give students an outlet for alternative programs that they wish to create. The goal is to give students a space to perform various types of live presentations ranging from improvisation to performance of scripted plays. The style or type of performance may vary depending on the student’s interest. Each semester several weekends will be scheduled for the Studio Series. Performances will usually take place on Friday and Saturday evenings that do not conflict with the Mainstage schedule or other scheduled events in the theatre facilities.

Approval: Students who are interested in scheduling the Studio Series should fill out the attached proposal and submit it to the Theatre Staff. Submit the proposal six weeks prior to the production dates so that final approval can take place four weeks prior to opening.

Policies and Goal: These productions are not intended to be full-scale productions. The intent is to produce works that require limited technical elements and use imagination rather than realism. Therefore, the Technical Director must approve all technical requirements before the project can begin.

When the production is finished the theatre must be returned to its’ original condition and all borrowed items returned to the proper location. You must also keep the space clean and organized at all time during the rehearsal process.

Support: If you need assistance and are not trained on the equipment you are required to find other students to assist with your needs. You should have a stagemanager, lighting and sound operator and prop manager.

Publicity: Limited to what you can do on a computer and Xerox machine. Remember to budget for Xerox copies as this should not come out of the department budget. You should contact the Theatre Promotions Manager to find out how to promote the show and how notices should be sent out.

Royalties: If Royalties are required for the production you are responsible for obtaining the rights and paying the fees for scripts and license. You may seek financial support from Masquers or Alpha Psi Omega.

Rehearsals: Rehearsals should be scheduled around scene shop hours and other scheduled uses of the studio theatre space.

Studio Series Proposal: See attached document.

Auditions and Call for Crew Members:

Auditions for Faculty directed productions will usually be held in the first weeks of each semester or as announced in the Department Calendar. These auditions are open to all UWRF students’ community. Theatre majors are encouraged to perform prepared monologues unless otherwise noted in the audition notices posted on the Callboard. Non-majors without prepared monologues will be given cuttings to read. Callback lists will be posted on the Callboard. Roles are cast to facilitate the educational growth of the performers as well as to meet production demands. Supplementary auditions throughout the semester will be held as needed. UWRF students are give priority in casting. There are times when a production may require a specific need (age, ethnicity, etc.) in these situations the cast may be done from off campus.

Anyone interested in working on any crew for a production should be encouraged to stop by the auditions and notify the stagemanager or contact the Technical Director.

Box Office Policies and Procedures

Office Hours:

10:00 – 3:00 p.m. Monday through Friday for three weeks. This is one week before the production and the two weeks of the performance.
1 hr. prior to curtain on performance nights - 15 min. after show opens
(box office personnel need to arrive at least 20 minutes prior to box office open time for pre-curtain hours, so that all opening procedures are finished PRIOR to one hour before curtain)

General Guidelines:

Strike

All cast, and crewmembers of a production are expected to attend Strike. Strikes will usually (but not always) occur immediately following the last performance. Strike is traditionally a rather chaotic affair, so every effort must be made to insure safety and efficiency. The Technical Director and Stagemanger will work together coordinating tasks to facilitate a safe and smooth strike. You must remain alert and continue to take initiative--the more effective each individual is, the sooner everyone can go home.

Weekly Production Meetings

For each production a designated time each week will be scheduled for a production meeting. This time is scheduled around participant’s conflicts. The meetings are very important to communicate important information necessary for the success of the production. The meetings require the attendance of the Director, All Designers, Technical Director, Properties, Promotion, Musical Director, and other specific personal. Additional meeting may be required for specific purposes such as design or promotions. The Stagemanager will generate a report for each production meeting.

Rehearsal/Performance Etiquette

Two cardinal rules of the theatre are to be on time and to be prepared. If you are not at least ten minutes early for rehearsal or a work call, you are late. Chronic tardiness is grounds for removal from a production or crew. Although the assumption is that everyone will be on time and ready to work, there may be isolated instances when a cast or crew member is late. If you have a conflict such as classes or other necessary activities you must notify and seek approval from the Director and Stagemanger of the production. Not only must you be present at every rehearsal and work call for which you are called, but you are also expected to be prepared. In performance, this is particularly applicable to the memorization of lines. One of the basic requirements of acting is to have your lines down cold--no real work can happen in rehearsal until this is accomplished.

Headset Etiquette

Technical Rehearsal Definitions

There are a number of different kinds of rehearsals that are (or may be) scheduled during the final phase of a production's rehearsal process. Please refer to the following chart to determine which rehearsals you are expected to attend.

Positions of Responsibility / Job Descriptions

These descriptions are only a listing of the major requirements for each position. Each show is unique and there are other duties and demands that may be assigned. These assignments should be clarified at production meetings for each show.

Director of Theatre

The Director of Theatre is responsible for the day-to-day operation of University Theatre. The Director works with the Chair of the Department of Communication Studies and Theatre Arts regarding academic decisions and departmental policies. The Director, in collaboration with the Theatre Staff, makes decisions on the academic standards of the program, the season selection and scheduling, budgeting, and all major decisions that affect the program. If you have any questions about University Theatre please direct them to the Director of Theatre.

Director

A theatre director has artistic control over a performance, co-coordinating all the stylistic and conceptual aspects of a theatrical presentation. Directors are responsible for interpreting and delivering a text and enabling a production team and cast to work imaginatively under their artistic vision. Typical activities include:

Technical Director

The Technical Director is responsible for the construction, mounting, rigging and maintenance of all scenic elements in departmental productions. The Technical Director implements equipment and facility maintenance, upgrades, and purchases. The Technical Director trains students in all areas of technical theatre, including appropriate safety procedures.

Pre-Production:

Rehearsal/Production Period:

Set Designer

The Set Designer is responsible for the design and implementation of all scenic elements of a production in a timely manner and within budgetary limits.

Pre-Production:

Rehearsal Period:

After Final Performance:

Lighting Designer

The Lighting Designer is responsible for the design and implementation of lighting design including all design, cueing, and paperwork. In collaboration with the Master Electrician, the Lighting Designer is ultimately responsible for the hanging, focusing, and upkeep of the lighting design. In certain productions, this position may be combined with that of Master Electrician.

Pre-Production:

Rehearsal Period:

After Final Performance:

Costume Designer

The Costume Designer is responsible for the design and implementation of all elements of costume design including designing, building and/or acquisition in a timely manner and within budgetary limits. In collaboration with the Costumes Assistants, the Costume Designer is also ultimately responsible for the upkeep, repair and running of all costumes

Pre-Production:

Rehearsal Period:

Dress Rehearsal/Performance Period:

After Final Performance:

Hair/Make-up Designer

The designer is responsible for make-up design, assisting performers with make-up application as necessary, setting up make-up area, insuring adequate make-up supplies are available for the run of the production, procuring needed supplies, keeping make-up area clean and sanitary, and supervising any Make-up Crew members.

Props Designer

The Prop Designer is responsible for the building, procurement, upkeep, and repair of all props for a particular production in a timely manner within budgetary limits.

Pre-Production:

Rehearsal Period:

Dress Rehearsal Period:

After Final Performance:

Sound Designer

The Sound Designer is responsible for the sound design and the implementation, loading-in, maintenance, and striking of the sound equipment necessary for a particular production. This position may be combined with that of the Master Electrician or with that of the Sound Board Operator. On occasion, a sound technician may be assigned to assist with set-up of equipment, mics, etc.

Rehearsal Period:

Load-in Period:

Dress Rehearsal/Performance Period:

After Final Performance:

Assistant Director

The duties of the Assistant Director are quite flexible and will vary from production to production and director to director. Sometimes a director will expect the Assistant Director to perform duties normally assigned to the Stage Manager and vice versa. Communication and negotiation are important in clarifying the assignment of these duties. The Assistant Director will typically act as another set of eyes and ears and as a sounding board for the Director at auditions, rehearsals, and performances. When asked, the AD will offer constructive suggestions to the Director regarding all elements of the production from design to performances. It is important to keep in mind that the Director should be the only person communicating these suggestions with the production team including performers. The Assistant Director should restrict comments to the Director in order to avoid confusing or possibly contradictory messages. It is also important to realize that the Assistant Director position is one of trust and confidentiality--the Director may share thoughts or concerns that should not be common knowledge. The Assistant Director position is an opportunity for students to learn firsthand an individual director's process and the production process as a whole. The following are some of the duties and responsibilities a Director may require of an Assistant Director.

Pre-Production:

Rehearsal Period:

Dress Rehearsal/Performance Period:

Stage Manager

The Stage Manager is responsible for the smooth and efficient running of rehearsals and performances. The Stage Manager is responsible for keeping the master prompt script, setting up rehearsal space prior to each rehearsal and striking rehearsal furniture and props as necessary, running and calling show, posting Cast/Crew Sign-in sheets, collecting and securing valuables during performance, taking and posting Production Meeting Reports, Daily Rehearsal Reports, and Running Notes, and coordinating the production running crews. Reports and Notes should be posted on both Callboards and emailed to the production crew.

Pre-Production:

Rehearsal Period:

Dress Rehearsal/Performance Period:

After Final Performance:

Master Electrician

Responsible for the implementation, loading-in, maintenance, and striking of the lighting design.

Light Hang Period:

Dress Rehearsal/Performance Period:

After Final Performance:

Scenic Artist

Is responsible for all painting, and wall and (painted) floor treatments.

Dress Rehearsal/Performance Period:

After Final Performance:

Crews

Assistant Stage Manager/Deck Captain

Running Crew

Dressers

Light Board Operator

Sound Board Operator

House Manager

Dress Rehearsal/Performance Period:

Ushers should be given the following instructions:

Organizations and Other Useful Information

St. Croix Valley Summer Theatre

SCVST has been an important part of the Theatre Program of at UWRF for over 40 years. Each year students from the program are involved with the program for an intensive summer of learning and experiencing theatre. Students are hired as actors and technicians and can also receive academic and internship credit. The audition and hiring process usually takes place in January or February. Please see notices on the callboards and plan to spend at least one summer in the program to enhance your educational experiences at UWRF.

SCVST History, Mission and Goals: The St. Croix Valley Summer Theatre is a summer stock theatre founded in 1966 and housed on the campus of the University of Wisconsin - River Falls. That first season was performed in North Hall Auditorium with Sanford Syse and managing director. At least five shows were staged each summer for many years with a record eight productions in 1973 under managing director Ron Perrier. A complete season by season history can be found in an appendix to this handbook.

Today, a “typical” SCVST season runs from the second week of June until the second week of August with a company of professional actors, college theatre students, community actors and high school interns. Three productions are staged beginning in late June. The performances take place in the Blanche Davis Theatre. SCVST is under the leadership of a Managing Director/Artistic Director. The managing director has overall administrative and artistic managerial responsibility including show selection, hiring, personnel management and financial supervision.

In addition, the company employs the following individuals: directors for each show (2-4), scenic designer(s), lighting designer(s), costume designer(s)/coordinators, technical crews, a management crew and a core company from 6-8 performers. Other company members are hired on an “as needed” basis and may consist of stage manager(s), props manager(s), master electrician(s), board operator(s), and a scenic shop foreman. There is also a student internship program available for high school students to participate in while earning university college credit. The above positions are paid at varying levels. See the appendix for more detailed job descriptions.

Kennedy Center American College Theater Festival (KCACTF)

The KCACTF is a year-round program in eight geographic regions in the United States. Regional activities are coordinated through eight KCACTF regional chairs and eight KCACTF playwriting awards chairs. With funding and administrative support from the Kennedy Center, the regional chair coordinates with the Co-Managers of KCACTF all aspects of the adjudication of productions on the local and regional level and supervises regional-level KCACTF award competitions. The playwriting chair works with schools that have entered new and student-written plays by providing expertise in the development of new scripts--assessment specifically designed for a developing play--and by providing information on the numerous playwriting awards offered. Since its inception, KCACTF has given more than 400,000 college theater students the opportunity to have their work critiqued, improve their dramatic skills and receive national recognition for excellence. More than 16 million theatergoers have attended approximately 10,000 festival productions nationwide.

Through state, regional, and national festivals, KCACTF participants celebrate the creative process, see one another's work, and share experiences and insights within the community of theater artists. The KCACTF honors excellence of overall production and offers student artists individual recognition through awards and scholarships in playwriting, acting, criticism, directing, and design. Each year University Theatre participates in many programs that are offered through ACTF.

Wisconsin Theatre Auditions

For over 30 years, theatre producers have participated in the opportunity to interview potential technical, design and management staff as well as audition actors, singers and dancers. The program always yields strong employment statistics for actors and technicians who participate. In addition, we offer a series of theatre workshops taught by producers and theatre educators. Many instructors of these workshops are the same individuals who will be attending the auditions the following day. Wisconsin Theatre Workshops and Auditions will be held at the Memorial Union on the University of Wisconsin-Madison campus. This is usually the in February

Alliance for Wisconsin Theatre Education (AWTE)

This organization is for educators in Wisconsin who find themselves with the difficult and often lonely task of producing theatre in Wisconsin’s high schools and universities. The membership believes that the study of theatre should be central to the education of all students in Wisconsin, and access to the theatrical arts should be a part of every Wisconsin citizen’s life. This organization holds and annual convention in September in Wisconsin, which is open to students and teachers of all levels.

Midwest Theatre Auditions

Every year, usually in February, the Midwest Theatre Audition/Interviews are held at Webster University in St. Louis. Representatives from summer stock companies, graduate programs, and year-round theatres attend. There are acting, dance, and tech/design opportunities.

Association for Theatre in Higher Education (ATHE)

This is the national organization for Theatre educators. ATHE holds a national conference annually (usually in early August) comprised of workshops, performances, and scholarly paper presentations. There are numerous Focus Groups within the organization that provide programs for special interests such as acting, directing, playwriting, theatre history, etc. ATHE also includes an employment service that brings employers and prospective employees together at the national conference. Members receive a subscription to Theatre Journal.

East Central Theatre Conference(ECTC), Midwest Theatre Conference (MWTC), South Eastern Theatre Conference (SETC), and South Western Theatre Association (SWTA)

These are regional organizations for theatre professionals. They hold annual conventions comprised of workshops, performances, and panels, and sponsors auditions and technical interviews every spring that you are encouraged to attend. Professional and summer stock companies attend these audition/interviews.

University and Regional Theatre Association (U/RTA)

This is a national organization made up of Universities and Regional Theatres around the country. They hold annual audition/interviews for admission into 32 Master of Fine Arts degree programs and producing companies in New York, Chicago, and Los Angeles.

United States Institute of Theatre Technology (USITT)

This is a national organization for technical theatre and design artists. USITT holds yearly meetings and includes an employment service. Members receive a subscription to Theatre Technology. Each spring a national convention is held in various locations throughout the US. May students have attended the convention and if you are interesting in Design or Technology this is an event to attend.

Listing of Local Theatre Companies (This list is always changing so please check for updates)

Emergency Protocol

If there is an emergency during rehearsal or performance call Campus Police (3133). Inform Campus Police of the emergency and if they deem necessary, they will call the Fire Department (911).

Emergencies During Performance:

Fire/Disaster Evacuation Procedure

When the fire alarm sounds, ALL people are to evacuate the building. During productions or work calls, after evacuating the building all theatre personnel should meet at the bell tower. Students, faculty, and staff may return to the building when it is deemed safe to do so by competent authority.

Fire Speech: Ladies and gentlemen, we have a problem backstage. We don't' think it's serious, but for your safety and our piece of mind, we'd like to clear the theatre at this time. Staff members will be at the exits to assist you and we will resume the performance as soon as we can. Thank you.

Severe Weather Procedure

Before or during performances, upon hearing the severe weather siren or being notified of a tornado alert, the House Manager notifies patrons and directs them to shelter in the central hallway in the basement until the all-clear is given. If a performance must be interrupted, the procedure outline above should be followed. The House Manager contacts Campus Police to inform them of the situation and to receive further instructions

Weather Speech: Ladies and gentlemen, we have a weather emergency. We are going to file out of the theatre to the basement as directed by rows. Remain calm and we will begin the evacuation immediately. Thank you.

In the event of a real tornado, earthquake or other natural disaster, the stage manager and booth crew should evacuate themselves as soon as possible. Do not stage to assist with the audience. Emergency professionals suggest as many staff members get out of a large auditorium space as quickly as they can. Once the emergency is over the event staff that knows the building may be needed to search for survivors. As stark as this may sound, it is the best policy in the wake of a serious weather disaster.

Power Shortage: If a power shortage were to occur, the emergency lights throughout the theatre would come on. When this happens, the ASM should go out and inform the audience that we will wait to see if power can be restored in a timely manner. If this fails to happen, the audience will be told the performance is over for the evening. Lock-up the theatre as normal and release the cast and crew.

Medical Procedure

Medical Emergency Speech: Ladies and gentlemen, we have a problem backstage. If there is a doctor in the house could you please report to the lobby as quickly as possible? We are going to pause for just a few minutes. Please remain in your seats and we will resume the performance as soon as possible. Thank you

Standard Operation Procedures / University Theatre Safety

The following is a list of safe operating procedures for the Blanche Davis Theatre, the Sanford Syse Theatre, and the University Scene Shop.

The Theaters

General Shop

Shop Safety/Cleanliness

Cleanup will begin 15 minutes prior to the end of each and every Work Call: all tools, power cords, hardware, and other materials will be put away in their proper locations (Shop, Light Room, etc.); uncompleted projects will be neatened and moved to unobtrusive and safe locations in the shop; and the shop floor will be cleared and swept. All students are expected to straighten up their own work space, but also to help with the general cleanup. When working in one of the theatrical spaces, the same rules apply--all tools and materials must be put away and the floor cleared and swept. The Technical Director is responsible for the cleanliness and safe condition of the shop and work spaces.

Clothing and Shoes

Power Tools

Air Tools

Rigging

Welding

Paint & Chemicals

Strike

Training

Electrical & Lighting

*This Handbook was created in 2007 by Ken Stofferahn. Portions of the content were edited from the University of Indianapolis Student Handbook and other resources. The content is strictly for educational purposes of the students of UWRF.