Theatre Design & Technology - Fall 2005 - 42

ONE ACT FESTIVAL 2005
PRODUCTION SCHEDULE
Vanya Foote, Production Manager

Fall Semester:
Auditions - Sunday, December 5th at 7pm
1st Production Meeting - week of December 6th-10th

Spring Semester:
Meetings:
1st ASAP
Scenery:
Designs Due - 1.17.05
OK and Build - ASAP
Build Ends - 2.9.05
Load-in Begins - 2.10.05
Load-in Ends - 2.11.05
Costumes:
Designs Due - 1.17.05
Fittings Begin - 1.18.05
OK and Build - ASAP
Build Ends - 2.14.05
Props:
Preliminary Props List Due - 1.17.05
Semi-final Props List Due - 1.21.05
Working Props - 1.24.05
Build/Search Ends - 2.12.05
Props Load-in - 2.12.05
Lighting:
Designs Due - 1.24.05
Light Hang Ends - 2.7.05
Focus Ends - 2.11.05
Cue Build - 2.12.05
Sound:
Sound Design Due - 1.24.05
Sound load-in - 2.11.05
Publicity/Programs:
Poster Design Due - 2.7.05
Poster to Print Shop - 2.8.05
Hang Posters By - 2.10.05
Program Design Due - 2.7.05
Programs to Print Shop - 2.14.05
Technical and Performance Schedule:
Scene Shift For All - 2.11.05
1st Tech (Group A)/1st Tech (Group B) - 2.12.05
Final Technical Rehearsal (Group A) - 2.13.05
Final Technical Rehearsal (Group B) - 2.14.05
Final Dress Rehearsal (Group A) - 2.15.05
Final Dress Rehearsal (Group B) - 2.16.05
Performance 1 - 2.17.05
2 - 2.18.05
3 - 2.19.05
4 - 2.20.05
Props & Costume Strike - 2.20.05
Set Strike - 2.21.05

learning was the value of a collaborative process for productions. Vanya Foote observed that the "human factor"
was the most obvious element missing in the classroom
situation. She stated that through her production management experiences she learned better ways to communicate with directors, actors, and designers. Foote also
said that the festival allowed her to experience other personnel matters such as running production meetings and
technical rehearsals and resolving costume and properties issues. Sarah Colburn, a junior who served as a festival costume designer, admitted that working with three
separate directors and a faculty design advisor was at
times a bit overwhelming. Although she felt it was challenging to meet everyone's needs, Colburn indicated that
this experience was the next logical step in her education
and made her examine her own personal career aspirations. Emily Orner, a sophomore stage manager, and
Samantha Lemon, freshman master electrician, both explained how collaboration in a student-run environment
allowed them to develop interpersonal skills without the
intimidation of working directly with faculty members.
Another observation made by many students was
how design realization was the ideal completion of the
classroom experience. Tim Barnes, sophomore lighting
designer, stated, "The classroom is not reality," acknowledging there were problems with the actual execution of
the design that he had not anticipated on paper. Barnes
said these problems were valuable educational tools.
Ashley Stephenson, sophomore festival scenic designer,
said that application of classroom skills made her feel
much more comfortable during the design process and
allowed her to recall and retain the fundamentals she
previously acquired. Shuster supported this view of practical challenges as real-life training exercises. He indicated the realities of working with students and actual
materials provided on-the-job training moments that
were sometimes frustrating but provided a glimpse of the
professional world that enriched his education.
The balance of autonomy and supervision necessary
for undergraduate practical experience to succeed
seemed to depend on good classroom preparation. Students described how first trying to work out production
difficulties themselves proved to be a positive experience,
because it provided them an opportunity to apply learned
skills before falling back on faculty guidance as needed.
Several students indicated the experience freed them to
develop design and problem-solving skills on their own.
However, the students were unanimous in indicating it
was a comfort to have a faculty advisor available as both a
lifeline for addressing issues they did not yet understand,
and as an extra eye to help them improve their skills through
constructive criticism. At Susquehanna University, mainstage
student production work is often discussed in the classroom, and we augment these conversations with daily
post-rehearsal production meetings during technical rehearsal weeks to offer immediate feedback.
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