University of Vermont Theatre Department: Courses, Policies, and Faculty, Lab Reports of Theatre

Download University of Vermont Theatre Department: Courses, Policies, and Faculty and more Lab Reports Theatre in PDF only on Docsity! UNIVERSITY of VERMONT Department of Theatre Handbook Check out our website at http://www.uvm.edu/theatre Updated: February 2009 TABLE OF CONTENTS Welcome What’s It All About Anyway: An Open Letter from One Theatre Student to Another ......Pages 1 Departmental Mission Statement ............................................................................... Pages 3-5 Ethical Standards of the Department............................................................................... Page 6 The Department of Theatre Guest Artist Program and The URT/A Contract Management Program .................................................................................... Pages 7-8 Theatre Major Requirements and Majors Course Checklist ..................................... Pages 9-11 Suggested Core Course Sequence ............................................................................... Page 12 Tentative Eight Semesters of Theatre Courses ..................................................... Pages 12-13 Theatre Minor Requirements and Minors Course Checklist .......................................... Page 14 Education Requirements for a Concentration in Theatre ............................................... Page 15 College of Arts and Sciences 2007-2008 Distribution Requirements--Bachelor of ArtsPgs 16-18 2007-2008 Production Season ...................................................................................... Page 19 Department of Theatre Faculty/Staff Phone Numbers & Email Addresses ................... Page 20 Faculty Members .................................................................................................... Pages 21-24 Staff Members ....................................................................................................... Pages 24-25 Department Of Theatre Course Offerings .............................................................. Pages 26-31 Description, Guidelines, and Examples for THE 190: Theatre Practicum .............. Pages 32-33 The Department Policies and Guidelines for the Royall Tyler Theatre ................... Pages 34-40 Opportunities for College-Wide Honor’s Projects ......................................................... Page 41 Departmental Awards ............................................................................................ Pages 41-42 Common Questions and Answers Regarding Graduates and Professional Study . Pages 43-45 Suggestions to Follow When Asking for Letters of Recommendation ........................... Page 46 The Royall Tyler Theatre ........................................................................................ Pages 47-48 The History of Theatre at the University of Vermont .............................................. Pages 48-52 Glossary of Terms Used In the Royall Tyler Theatre..................................................... Page 53 APPENDIX: STUDENT FORMS A. THE 190: Theatre Practicum B. Theatrical Make-up Kit Order Form C. Scene Shop Safety Rules D. Electrics Safety Rules To encourage and establish through practice and example, values that nurture respect for the individual and the art. To stimulate the bold and exciting exploration of the imagination in oneself and others by recognizing that creativity is at the heart of what we do. To strive to be a catalyst for positive change through our collaborative efforts and our interactions with the community by recognizing that theatre has great potential impact on society. To secure artistic freedom through financial responsibility and exploring and developing potential growth opportunities. To actively promote and support professional endeavors among the faculty and staff through experience and training in order to enrich our lives and therefore the students' learning experiences. To establish a flexible structure for accomplishing goals in a timely, realistic, and responsible fashion. This structure will promote the free and open exchange of ideas and information. ETHICAL STANDARDS OF THE DEPARTMENT OF THEATRE The following standards describe principles of self-discipline which, far from robbing students, faculty, and staff of individuality, increase personal self-esteem and dignity through cooperation and common purpose. All those who participate in academic and artistic activities in the Department of Theatre are expected to adhere to these ideals. General Principles 1. I understand my conduct in and out of the building reflects on the reputation of the Department of Theatre. 2. All my activities outside classes are an extension of my academic experience. 3. I understand that the theatrical experience is the collaborative effort of authors, artists, and audiences and is founded on mutual respect. 4. I understand that I am expected to make every effort to fulfill my production and academic responsibilities regardless of how small my task or large my personal problem and I am accountable for their completion. 5. I understand that the University Catalog is my contract with the University, and that I am subject to its regulations, including those that apply to academic honesty, sexual harassment and nondiscrimination. 6. I understand that the attainment of artistic and academic excellence depends upon my physical and mental readiness, so I will not jeopardize the work of myself and others by injudicious activities inside or outside the theatre. 7. I understand that safety is a departmental priority and everyone's responsibility including my own. 8. I understand that the Royall Tyler Theatre is not only a place of public assembly but also a learning laboratory, so I will treat the building and its contents with respect. SALLY B. WEINSTOCK GUEST ARTIST ENDOWMENT FOR THE THEATRE DEPARTMENT AND THE URT/A CONTRACT MANAGEMENT PROGRAM Whenever possible the Department of Theatre brings professional Theatre Artists to work with UVM students to share their knowledge by teaching Master classes or conducting workshops. The generous endowment made by Miss Sally B. Weinstock, class of 1956, has enabled the Department of Theatre to supplement current courses by bringing in outside artists to teach specialty topics in a workshop format. Each year the faculty and staff meet to submit possible artists who will bring added breathe and depth to our program. The February 2, 2008 MOU details the process of this program and is available as a public record. URT/A, University Resident Theatre Association, offers a Contract Management Program to administer contracts for Guest Artists who are brought in for production purposes. In addition to the Contract Management Program, URTA also holds annual national auditions and interviews for students who wish to continue their education in a Graduate Theatre Program. Each year, seniors in the department who wish to audition or interview for a graduate program must see their advisor and ask to be sponsored for the URTA Audition/Interview Process. The student’s advisor typically services as sponsor for the URTA process. The sponsor/advisor then coaches the student and insures that they are well prepared for the auditions or interviews prior to the student’s departure for their chosen city. If the sponsor’s assessment of the student’s preparation is that they are prepared to go, then they go forward to the auditions/interview. If the sponsor feels that the student’s preparation is insufficient for a national audition/interview, then they can withdraw their sponsorship and recommend that the student attend in the following year. UVM seniors are encouraged to attend the URTA national auditions and interviews. These regularly result in placement in graduate schools across the nation, often with our students receiving scholarships or assistantships that pay for their entire graduate school program. COMMON QUESTIONS ABOUT THE UNIVERSITY OF VERMONT, DEPARTMENT OF THEATRE AND THE GUEST ARTIST PROGRAM What is the goal of the Guest Artist Program? By working alongside professional artists, students learn the crafts of acting, directing, design and technical theatre in rehearsal or performance. They gain exposure to professional techniques, whether habits or standards. Guest Artists are future contacts, and students begin the kind of networking that is the foundation of a career in the theatre. For instance, a former Guest Artist may recommend you for a job. Guest Artist productions are an educational experience and serve as a laboratory for continued training. Through this collaboration, UVM increases training opportunities for students and enhance the reputation of our theatre program. What is a Guest Artist? A Guest Artist is a professional member of the theatre community who works with UVM students, faculty, and staff. These artists may be actors, directors, stage managers, designers, make-up artists, playwrights or casting directors. The possibilities are endless. Do all departmental productions have Guest Artists in them? No. The Department of Theatre presents three plays each season, which feature students and could include professional guest artists. No guest artists are ever involved with The Toys Take Over Christmas each December, nor with the Advanced Directing Projects every spring. How are Guest Artists selected? The Department of Theatre faculty and staff work together to determine when a Guest Artist will fill a particular role or position. Many factors contribute to this decision making process: the play in question, the needs of the students, what the artists will contribute to the process, student concerns, and providing our audience with the highest quality theatre possible. THEATRE MAJOR COURSE REQUIREMENTS The following are the requirements for the THEATRE MAJOR beginning in the Academic Year 2004/2005. A TOTAL OF 48 HOURS IN THEATRE MUST INCLUDE: Thirty-six hours of General Theatre courses, including 10, 20, 30, 40, 50, 110, 150, 151, 250, 251 and either 120, 130, or 140. Three additional hours of Theatre credits in THE 190: Theatre Practicum. These must be taken in at least two distinctively different areas of theatre. Nine additional Theatre hours in the selected area of emphasis. A student may choose an emphasis in Performance or Design/Tech or History/Criticism. If the selected area of emphasis is Performance, the nine hours must be chosen from 111, 112, 200, 210 or other courses proposed and approved by a Department advisor and the chair. If the selected area of emphasis is Design/Tech, the nine hours must be chosen from 41, 42, 45, 120, 130, 131, 140, 141, 142, 143, 144, 160, 200, 230, or other courses proposed and approved by a Department advisor and the Chair. If the selected area of emphasis is History/Criticism, the nine hours must be chosen from 70, 75, 76, 175, 176, 180, 200, 255 or other courses proposed and approved by a Department advisor and the Chair. PLEASE NOTE: Students entering the College of Arts and Sciences should be advised that Theatre 001 is not recommended for students intending to major or minor in Theatre. Those students should enroll in required courses immediately. If Theatre 001 is taken, it will not be counted toward the required 48 hours for the major but will be counted toward the total 122 hours required for graduation. SUGGESTED CORE COURSE SEQUENCE FOR THEATRE MAJORS 1ST YEAR FALL: THE 010: Acting I: Introduction to Acting ----OR ----->>> THE 030: Fundamentals of Scenery ----------OR ----->>> SPRING: THE 010: Acting I: Introduction to Acting THE 030: Fundamentals of Scenery 2ND YEAR FALL: THE 020: Fundamentals of Lighting -------OR -------->>> THE 040: Fundamentals of Costuming THE 050: Dramatic Analysis THE 110: Acting II: Contemporary Scene Study OR >>> SPRING: THE 020: Fundamentals of Lighting THE 110: Acting II: Contemporary Scene Study THE 150: Theatre History I 3 RD YEAR FALL: THE 050: Dramatic Analysis THE 120: Lighting Design THE 151: Theatre History II SPRING: THE 130: Scene Design OR THE 140: Costume Design THE 150: Theatre History I 4TH YEAR FALL: THE 151: Theatre History II THE 250: Directing I SPRING: THE 251: Directing II Please make sure to check with the Department of Theatre for class schedules. Changes do happen. TENATIVE EIGHT SEMESTERS OF THEATRE COURSES 2009/2010 FALL 2009: THE 001: Introduction to Theatre THE 010: Acting I: Introduction to Acting (TAP) THE 020: Fundamentals of Lighting THE 030: Fundamentals of Scenery THE 040: Fundamentals of Costuming THE 041: History of Costuming THE 050: Dramatic Analysis THE 095: Audience and the Critical Eye THE 110: Acting II: Contemporary Scene Study THE 112: Acting IV: Stage Movement for the Actor THE 120: Lighting Design THE 151: Theatre History II THE 210: Acting V: Shakespeare Scene Study THE 230: Advanced Scene Design THE 250: Directing I SPRING 2010: THE 001: Introduction to Theatre THE 010: Acting I: Introduction to Acting (A&B&C) THE 020: Fundamentals of Lighting THE 030: Fundamentals of Scenery THE 040: Fundamentals of Costuming THE 110: Acting II: Contemporary Scene Study THE 111: Acting III: Voice & Speech for the Actor THE 130: Scene Design THE 140: Costume Design THE 150: Theatre History I THE 160: Stage Management THE 180: Eurotheatre THE 196: Actor as Creator THE 251: Directing II 2010/2011 FALL 2010: THE 001: Introduction to Theatre THE 010: Acting I: Introduction to Acting (TAP & Section B) THE 020: Fundamentals of Lighting THE 030: Fundamentals of Scenery THE 040: Fundamentals of Costuming THE 042: Fundamentals of Theatrical Make-up THE 050: Dramatic Analysis THE 070: Playwriting SPRING 2011: THE 001: Introduction to Theatre THE 010: Acting I: Introduction to Acting (A & B) THE 020: Fundamentals of Lighting THE 030: Fundamentals of Scenery THE 110: Acting II: Contemporary Scene Study THE 111: Acting III: Voice & Speech for the Actor THE 130: Scene Design THE 140: Costume Design THE 142: Adv Costume Construction: Period THE 075 or 076: Diversity (Pending Approval) THE 095: Audience and Critical Eye (TAP) THE 110: Acting II: Contemporary Scene Study THE 112: Acting IV: Stage Movement for the Actor THE 131: Scene Painting Concepts and Applications THE 151: Theatre History II THE 210: Acting V: Shakespeare Scene Study THE 250: Directing I Undergarment THE 150: Theatre History I THE 160: Stage Management THE 175 or 176: Diversity (Pending Approval) THE 195: Actors as Creator THE 251: Directing II THE 255: Playing with Femininity 2011/2012 FALL 2011: THE 001: Introduction to Theatre THE 010: Acting I: Introduction to Acting (TAP & Section B) THE 020: Fundamentals of Lighting THE 030: Fundamentals of Scenery THE 040: Fundamentals of Costuming THE 050: Dramatic Analysis THE 070: Playwriting THE 075 or 076: Diversity (Pending Approval) THE 095: Audience and Critical Eye (TAP) THE 110: Acting II: Contemporary Scene Study THE 112: Acting IV: Stage Movement for the Actor THE 120: Lighting Design THE 131: Scene Painting Concepts and Applications THE 151: Theatre History II THE 210: Acting V: Shakespeare Scene Study THE 230: Advanced Scene Design THE 250: Directing I SPRING 2012: THE 001: Introduction to Theatre THE 010: Acting I: Introduction to Acting (A & B) THE 020: Fundamentals of Lighting THE 030: Fundamentals of Scenery THE 110: Acting II: Contemporary Scene Study THE 111: Acting III: Voice & Speech for the Actor THE 130: Scene Design THE 140: Costume Design THE 141: Adv. Costume Construction: Draping & Flat Pattern THE 150: Theatre History I THE 160: Stage Management THE 175 or 176: Diversity (Pending Approval) THE 180 Eurotheatre THE 251: Directing II 2012/2013 FALL 2012: THE 001: Introduction to Theatre THE 010: Acting I: Introduction to Acting (TAP) THE 020: Fundamentals of Lighting THE 030: Fundamentals of Scenery THE 040: Fundamentals of Costuming THE 042: Fundamentals of Theatrical Make-up THE 050: Dramatic Analysis THE 070: Playwriting THE 075 or 076: Diversity (Pending Approval) THE 095: Audience and Critical Eye (TAP) THE 110: Acting II: Contemporary Scene Study THE 112: Acting IV: Stage Movement for the Actor THE 120: Lighting Design THE 151: Theatre History II THE 210: Acting V: Shakespeare Scene Study THE 250: Directing I SPRING 2013: THE 001: Introduction to Theatre THE 010: Acting I: Introduction to Acting (A & B) THE 020: Fundamentals of Lighting THE 030: Fundamentals of Scenery THE 110: Acting II: Contemporary Scene Study THE 111: Acting III: Voice & Speech for the Actor THE 130: Scene Design THE 140: Costume Design THE 143: Adv. Costume Construction: Millinery THE 150: Theatre History I THE 160: Stage Management THE 175 or 176: Diversity (Pending Approval) THE 195: Actors as Creator THE 251: Directing II THE 255: Playing with Femininity THEATRE MINOR COURSE REQUIREMENTS The following are the requirements for the THEATRE MINOR beginning Academic Year 2004/2005. A TOTAL of 19 or 20 HOURS IN THEATRE MUST INCLUDE: THE 050, THE 150 Choose Two from the following THE 010, THE 020, THE 030 and/or THE 040 Choose Any Two (3 credit) courses at or above the 100 Level THEATRE MINOR COURSE REQUIREMENT CHECKLIST Effective date: Academic Year 2004/2005 MINOR REQUIREMENTS: (CHECK OFF AND WRITE SEMESTER TAKEN) Credits Semester ( )THE 050—DRAMATIC ANALYSIS 3 _______ ( )THE 150—THEATRE HISTORY I: CLASSICAL, MEDIEVAL, & RENAISSANCE THEATRE 3 _______ Choose TWO from the following: Credits Semester ( )THE 010—ACTING I: INTRODUCTION TO ACTING 3 _______ ( )THE 020—FUNDAMENTALS OF LIGHTING 4 _______ ( )THE 030—FUNDAMENTALS OF SCENERY 4 _______ ( )THE 040—FUNDAMENTALS OF COSTUMING 4 _______ AND CHOOSE ANY TWO (3-CREDIT) COURSES AT OR ABOVE THE 100 LEVEL Credits Semester ( )THE ___--__________________________________________ 3 _______ ( )THE ___--__________________________________________ 3 _______ Six (6) courses totally 19 to 20 credits BACHELOR OF ARTS DISTRIBUTION REQUIREMENTS: No more than two courses from the same department may be used to satisfy the distribution requirements. No single course may satisfy more than one category, except that a foreign language course, which fulfills the literature category and can also fulfill the category of foreign language. Courses that satisfy major and minor requirements may also be used to fulfill distribution requirements. IMPORTANT NOTE Students at UVM are responsible for knowing and complying with all requirements for their respective degrees as stated in the University Catalogue and on this distribution sheet. The College of Arts and Sciences reserves the right to make changes in the course offerings, degree requirements, regulations and procedures as educational and financial considerations require, subject to and consistent with established procedures and authorizations for making such changes. Fine Arts Foreign Languages Humanities Natural Sciences Literature Math Social Sciences Completion of all seven distribution categories is required. 1. Fine Arts One Course from one department below: Course:________ Art History, Dance (DNCE), Film and Television Studies, Studio Art, Must, Theatre (Not Speech) Music Performance courses (one and two credit hours each) may only be used to satisfy the Fine Arts requirement if their cumulative credit house total or are greater than three. 2. Foreign Language Course:__________ Course:__________ Two courses in the same foreign language* at the appropriate level, as determined by the offering department.** A student who has achieved a score of 4 or better on an appropriate Advanced Placement (AP) Test and receives AP credit to two semesters of language has satisfied this requirement *The following courses are NOT approved for this category: CHIN 20, 95, 96; FREN 95, 96; ITAL 95, 96; JAPN 10, 95, 96, 121,122, 221, 222; SPAN 10, 95. 96. CMSI 01 (ASL I), CMSI 02 (ASL II), CMSI 51 (ASL III) and CMSI 52 (ASL IV) and all other courses in French, Spanish, Italian, German, Russian, Hebrew, Chinese, Japanese, Greek, and Latin are approved for this category. **Students with previous high school coursework in French, German, or Spanish must take an outline placement exam in order to register for courses used to satisfy this requirement in one of these languages. See department websites for access to only placement exams. 3. Humanities Two Courses from departments listed below: Course:__________ Course:__________ All Art History, History, Philosophy, and Religion courses ALANA 55.159 CLAS 21, 22, 23, 24, 35, 121, 122, 149, 154, 157, 158, 221, 222 GREEK 203, 205 HS 139, 180, 190, 191, 226, 227 LATIN 255 POLS 41, 141, 142, 143, 144, 146, 147, 241, 242, 243, 244, 249 4. Natural Sciences Two courses from departments listed below, one course must include a laboratory: Course:__________ Course:__________w/Lab Astronomy, Biology (including BCOR), Plant Biology, Chemistry, Geology; Physics; Geography 40, 140, 143, MMG 65 5. Literature One course from one department listed below: Course:__________ ENGS All courses EXCEPT: 1, 4, 5 (Writing courses only), 50, 53, 101, 102, 103, 104, 105, 107, 114, 117, 118, 119, 120 CLAS 37, 42, 153, 155, 156 FREN All courses numbered 111 o above EXCEPT: Courses numbered 200-219 or 290-294 GERM All courses numbered above 100 EXCEPT: 103, 104, 121, 122, 201, 202, 213 GREEK All courses numbered above 200 HS 17 and 117 ITAL All courses numbered above 100 LATIN All courses above 100 EXCEPT: 111, 112, 255 RUSS All courses numbered above 100 EXCEPT: 101, 121, 122, 141, 142, 161, 221, 222, 251, 271 SPAN All courses numbered 140 or above EXCEPT: courses numbered 200-219 or 290-294 or 299 WLIT All courses 6. Mathematical Sciences One Mathematics course #17 OR above OR Statistics 51 or above or Computer Sciences 11 or above Course:__________ 7. Social Sciences Two courses from departments listed below: Course:__________ Course:_________ All Anthropology, Economics, Psychology, and Sociology courses AIS 91A, 91B POLS All courses EXCEPT: 41, 141, 142, 143, 144, 146, 147, 241, 242, 243, 244, 249 CMSI 20, 80, 90, 94, 162 GEOG All courses EXCEPT: 40, 140, 143 WGST 73 VS 52 UNIVERSITY OF VERMONT, DEPARTMENT OF THEATRE, ROYALL TYLER THEATRE 2009/2010 PRODUCTION SCHEDULE ARMS & THE MAN By: George Bernard Shaw Director: Peter Jack Tkatch Evening Performances October 1, 2, 3, 8, 9, & 10, 2009 7:30 P.M. Matinee Performances October 3 and 11, 2009 2:00 P.M. Performances for ASL Night (Deaf Community) & VCB (Sight Impaired) .October 11, 2009 2:00 P.M. School Performances October 6 and 9, 2009 10:00 A.M. (subject to change) YOU CAN’T TAKE IT WITH YOU By: Moss Hart and George S. Kaufman Directed by: Sarah Carleton Evening Performances November 12, 13 14, 19, 20, & 21 2009 7:30 P.M. Matinee Performances November 14 & 22, 2009 2:00 P.M. Performances for ASL Night (Deaf Community) & VCB (Sight Impaired) November 22, 2009 2:00 P.M. School Performances November 17 and 20, 2009 10:00 A.M. (subject to change) THE TOYS TAKE OVER CHRISTMAS By: Patricia Clapp December 5 & 6, 2009 10:00 A.M., 2:00 P.M. and 6:00 P.M. GODSPELL Book By: John Michael Tebelak; Music By: Stephen Schwartz; Lyrics By: Stephen Schwartz Based on The Gospel According to St. Matthew Directed by: Gregory Ramos Evening Performances February 18, 19, 20, 25, 26, 2010 Matinee Performances February 20 & 28, 2010 Performances for ASL Night (Deaf Community) & VCB (Sight Impaired) February 28, 2010 2:00 P.M. School Performances February 23 & 26, 2010 10:00 A.M. (subject to change) Adam Mickewicz University in Poznan, Poland, Seton Hall University, and a special theatrical presentation for the United States Information Agency in Washington, D.C. Teaching credits include Kean College, Adam Mickewicz University, and Seton Hall University. While earning her M.F.A. at Catholic University, Sarah as recipient of the G. V. Hartke Award for Best Actress and was additionally awarded a Young Artist Grant for outstanding service to the performing arts. She has also done television, film, commercial, and voice–overs. Sarah is the co-founder of Foxhill Stage, a theatrical production partnership, and a member of the Association of Theater Movement Educators, and the American Federation of Television and Radio Artists. Courses: THE 010: Acting I: Introduction to Acting, THE 110: Acting II: Contemporary Scene Study, and THE 112: Acting IV: Stage Movement. JOHN B. FORBES Assistant Professor and Lighting Designer John Forbes received his B.A. in Dramatic Art from the University of California, Santa Barbara, and his M.F.A. in Theatre Lighting Design from the University of Massachusetts, Amherst. He has designed lighting for the Old Globe Theatre, the San Diego Repertory Company of Walnut Creek, California, the Ensemble Theatre Company of Santa Barbara, California, The Vermont Stage Company and Lost Nation Theatre in Vermont; The Arizona Theatre Company, and the Riverside Shakespeare Company in New York. In addition to his work as a lighting designer, Mr. Forbes has served as production manager at the San Diego Repertory Theatre and the Ensemble Theatre Company, technical director for the California Shakespearean Festival and the Arizona Theatre Company, as a stage carpenter at the New York Shakespeare Festival/Public Theatre and as a stage technician with IATSE Local 122 in San Diego. He has taught Lighting design at San Diego State University and design and technical theatre at the University of San Diego. At U.S.D. he also managed Shiley Theatre and in that capacity served as the technical liaison between the university and the Presidential Debate Commission for the final Presidential Debate of 1996 held there. In addition he is a member of United Scenic Artists-Local 829 and the United States Institute for Theatre Technology. His lighting design for the UVM’s production of Metamorphoses was selected for the gallery presentation at World Stage Design 2005 in Toronto. Courses: THE 020: Fundamentals of Lighting, THE 120: Lighting Design, and THE 160: Stage Management. LYNNE GREELEY, Ph.D. Associate Professor of Theatre History and Dramaturg Lynne Greeley, historian and critic, has diverse interests in theatre with a focus on gender, the history of women in theatre, experimental theatre, and contemporary playwrights who are creating new waves in politics and art. Her book, Playing with Femininity: Twentieth Century American Theatre and Performance rewrites the definition of feminism and femininity while tracing the history of women in American theatre with special attention to new varieties of feminists. Her publications cover the pedagogy of theatre as well the scholarly analyses of performers and playwrights alike such as Agnes Moorehead, Carson McCullers, Susan Glaspell, Martha Boesing, Megan Terry, Holly Hughes, and Sarah Ruhl to name a few. She has published in the scholarly journals Theatre History Studies, Theatre Survey, Text and Performance Quarterly, and Belles Lettres and contributed chapters to Theatre and Feminist Aesthetics, Teaching Theatre Today, Radical Collectives, circa 1968: Group Theatres and Their Legacies, and Notable Women in American Theatre among others. In addition to teaching the academic courses in the department (dramatic analysis and the histories), she created Eurotheatre, a spring course concluding with two weeks of study in Europe during alternate summers. She also teaches an upper level course based on her book through which she invites active student contribution to her ongoing and never-ending scholarship. As the dramaturg to the department, she advises student dramaturgs in their work with the faculty directors. On her own, she is a freelance writer of plays, novels, and any whimsy that crosses her keyboard, as well as a passionate traveler. Most of all, however, she is a teacher. Courses: THE 001: Introduction to Theatre, THE 050: Dramatic Analysis, THE 150: Theatre History I, THE 151: Theatre History II, THE 180/ENG 195: Eurotheatre, and THE 255: Playing with Femininity. GREGORY A. RAMOS Assistant Professor of Theatre of Diversity and Directing Gregory Ramos studied and taught dance before beginning his professional career as a dancer in Los Angeles, California. He danced in Television and Film as well as stage shows in Las Vegas, Berlin and Tokyo. He went on to study acting at Playwrights Horizons in New York City, and privately with Academy Award winner Ellen Burstyn. He subsequently appeared in several TV commercials and sitcoms. As a performer he has toured the U.S appearing in The King and I with Yul Brynner (his first job as a member of Actors’ Equity Association) and later with Rudolf Nureyev. He also performed in the European tour of West Side Story. Gregory appeared in numerous plays along the way. He transitioned from performing to writing and directing after completing his MFA in playwriting at UCLA. His play BORDER STORIES, based on interviews he conducted with LGBT/Queer people on the U.S. – Mexico border has been performed in Austin, Texas, and Gregory has performed a solo version of the play in numerous venues around the country. When he was on the theatre faculty at The University of Texas at El Paso, he created the Latino Guest Artist program and served as artistic director of The Border Public Theatre. Gregory’s one-act play Reaching Mercy was performed in New York City as part of the Samuel French Summer One-Act Play Festival and his short play Breasts was produced by The Working Group Theatre Company. Shows he has directed (and/or choreographed) include: Once on This Island, Evita, Cabaret, Ain’t Misbehavin’, Santos & Santos, Real Women Have Curves, Confessions of Women from East L.A., Our Town, La Ronde, Found a Peanut, and Into The Woods. Gregory also worked in New York City as a marketing executive on Broadway shows with a special focus on diversity outreach. He was on the marketing team for The Color Purple, Brooklyn-The Musical, Avenue Q, Chita Rivera: The Dancer’s Life, and Mamma Mia! He has served on The Texas Commission on the Arts Performing Arts Panel and he was a board member of Las Americas, an immigrant advocacy organization on the U.S. – Mexico border. He has also served on the board for VermontCARES, a statewide organization that serves individuals with HIV and AIDS. Gregory teaches directing and courses related to diversity in the American Theatre. Courses: THE 001: Introduction to Theatre, THE 075: The 076: THE 175: Performing Race, Gender, and Sexuality, THE 176: Topics in Contemporary LGBT/Queer Theatre, THE 250: Directing I, THE 251: Directing II. MARTIN A. THALER Professor and Costume Designer Martin received his M.F.A. from Pennsylvania State University in 1984. Credits have included work at the Champlain Shakespeare Festival, the Theatre-by-the-Sea, Brandeis University, Rowan University, Dartmouth Summer Repertory, Stage One: The Louisville Children’s Theatre, Tri-City Opera, West Virginia Public Stage. His New York credits include millinery and crafts for the American premiere of The Life and Adventures of Nicholas Nickleby, The Muppet Arena Show, Shogun: The Musical, My Favorite Year at Lincoln Center, the American revival of Hello Dolly that opened in Paris and toured internationally and the Chicago premiere of Miss Saigon. In addition to his stage credits, Professor Thaler has also styled clothing for the Maryland Public Television’s nationally syndicated Wall Street Weekly. During the summer months he can be found teaching drawing and painting to senior adults at the Rehoboth Art League in Rehoboth, DE. Professor Thaler held the position of Department Chair from 1991-2001, during which the department saw the creation of the Holiday Production for Children and the Departmental Season Subscription Series in addition to building partnership with the Vermont Stage Company and the University Resident Theatre Association. While he has often combined administrative and design responsibilities with his teaching position at UVM, he is most proud of his work in the classroom, placing many UVM students in graduate schools on full scholarships. He has just returned from his sabbatical his past fall, where he focused on working on his book Even You Can Draw! And designed the world premier of The Fabulous Fable Factory Returns for Rowan University. Courses: THE 040: Fundamentals of Costuming, THE 041: History of Costume, THE 042: Fundamentals of Theatrical Make-up, THE 045: Beginning Drawing for the Non-Art Major, THE 140: Costume Design, THE 141: Advanced Costume Construction: Draping and Flat Pattern, THE 142: Advanced Costume Construction: Period Undergarments, THE 143: Advanced Costume Construction: Millinery, and THE 144: Advanced Costume Construction: Tailoring. PETER JACK TKATCH Associate Professor and Director Peter Jack Tkatch has taught, acted, stage managed, and directed in the professional theatre and in educational theatre programs since he received his M.F.A. in Acting at Temple University. He has acted and stage managed at numerous Off Broadway, Off-Off Broadway, stock and regional theatres such as the Alabama Shakespeare Festival, the American Shakespeare Festival (Stratford, CT), the Kennedy Center, the Actors Theatre of Louisville, Riverside Shakespeare Company, Theatre by the Sea, The Minetta Lane, Theatre at Sea, and the Vermont Stage Company. Prior to his arrival at UVM, Tkatch had taught at the Circle in the Square Professional Theatre School; the New York University, B.F.A. Acting Program; the University of Alabama, M.F.A., Acting Program at the Alabama Shakespeare Festival; Temple University, Department of Theatre; and Villanova University, Department of Speech and Communication. In New York, Tkatch served on committees at both the Screen Actors Guild and Actors’ Equity Association. At SAG he was a recipient of the Joseph C. Riley Service Award for service to membership on the Agency, Conservatory, Film, Nominating, and VITA Committees. At Actors’ Equity he was elected to the governing Council and served as vice chair of the LORT, Off Broadway, and Equity Fights AIDS Committees, as well as a member and vice- chair of several contract negotiating teams. Prior to coming to UVM, he also served on the Board of Directors as well as the founding Steering and Program Committees of Broadway Cares, later Broadway Cares/Equity Fights AIDS, and as a board member of the People With AIDS Theatre Workshop. Currently he is a member of Actors’ Equity Association, the Screen Actors Guild, the American Federation of Television and Radio Artists, the Stage Managers’ Association, the Voice and Speech Trainers Association, the Actors’ Fund of America, the Voice Foundation, and the Drama League. Courses: THE 010: Acting I: Introduction to Acting, THE 110: Acting II: Contemporary Scene Study, THE 111: Acting III: Voice & Speech for the Actor and THE 210: Acting V: Advanced Scene Study. STAFF MEMBERS ANDREA L. COMTOIS Business Support Generalist Andrea L. Comtois, a native of Burlington, came to the University of Vermont in 1982 as a Secretary I in the office of the Director of Libraries, which introduced her to the complexities of the institution’s management. Three years later she assumed the position of Administrative Assistant in the Department of Military Studies. In 1987 she took a transfer to the Department of Theatre as Secretary III. For the first time, the conduct of the academic business of the department was the principal task of a staff member. Her knowledge of the University financial operations became so apparent, that she soon assumed the management of the financial accounts under the supervision of the chair. This high-level responsibility, as well as other managerial duties, led to her second promotion to Administrative Assistant in 1989. Her primary function is to assist the head of the department in the financial, administrative, and academic procedures of the University; she also performs invaluable services for the faculty, staff, and students. She is highly skilled in the complex system of the University. Mrs. Comtois has mastered the continual changes required of her. MOLLY KURENT THE 040 Fundamentals of Costuming Martin A. Thaler Emphasis is placed on the development of drawing skills with the goal of working towards a completed project. This is the course to take if you want to learn how to draw, paint, and render the clothed figure. Labs include construction techniques, and students are expected to work on the production crew building the mainstage show's costumes. Fall. Four credits (includes Lab). THE 041 History of Costume (Crosslisted with CDAE 117 or WGST 078) Martin A. Thaler An exploration into the clothing of periods from Egyptian times to the early 20th Century. This course examines the effects of clothing on the figure, the reasons the styles came about and what they mean in the context of the society they were part of. Alternating Falls w/THE 042. Three credits. THE 042 Fundamentals of Theatrical Make-up (Crosslisted with ART 095) Martin A. Thaler Focuses on the development of drawing, painting, and sculpture skills as they relate to the creation of dramatic character for the stage. Alternating Falls w/THE 041. Three credits. THE 045 Beginning Drawing for the Non-Art Major (Crosslisted with CDAE 091) Martin A. Thaler This course is an exploration of learning ways in which to draw objects and spaces and record them realistically on a two dimensional piece of paper so that they look three dimensional. This will be done through a series of exercises using various media including pencil, vine charcoal, black pastel, black and white Conte crayon and color pastels. Both beginning and advanced students are welcome but all students will be required to try various techniques that will help to build skills that will support students in their goal to draw in either a realistic or abstracted point of view. Three credits. THE 050 Dramatic Analysis Lynne Greeley Dramatic Analysis is a detailed examination of the nature of dramatic form (tragedy, melodrama, comedy, etc.) and style (Romanticism, Realism, Expressionism, etc.) and their practical application to contemporary theatrical production. The course, as a foundation of THE 250 Directing I, requires the student to prepare a promptbook analysis of a selected one-act play. The means of instruction is lecture/discussion. Prerequisite: Sophomore standing & permission. Fall. Three credits. THE 070 Playwriting (Crosslisted w/ENG 095) Gregory Ramos To develop dramatic writing skills and broaden understanding of theatre/art by creating it. We study published plays but focus on the individual’s writing. Prerequisite: Sophomore Standing. Fall. Three credits. THE 075 (Pending Approval) Diversity in Contemporary U.S. American Theatre (Crosslisted w/WGST 079) Gregory Ramos The course focuses on plays and playwrights in theatre today that explore themes of identity with regard to race, sexuality, gender and the physically challenged. Course includes reading, discussing and performing segments from plays in class. Prerequisite: Sophomore standing or permission Three credits. THE 076 (Pending Approval) Diversity Latina/Latino Theatre in the U.S. (Crosslisted w/WGST 080 and w/ALANA) Gregory Ramos This course covers plays by U.S. Latina/Latino – American playwrights whose works explore ethnic and cultural identity in the U.S. Plays are studied, analyzed and performed as a means of exploring identity and the construction of identity. Course involves critical analysis of essays and plays, in-depth discussion and in class performances of plays. Prerequisite: Sophomore standing or permission Three credits. . THE 095 Introductory Special Topics Staff Introductory Level courses or seminars on topics beyond the scope of existing departmental offerings. Prerequisite: Permission. See Schedule for specific titles. Fall. One to Three credits. THE 096 Introductory Special Topics Staff Introductory Level courses or seminars on topics beyond the scope of existing departmental offerings. Prerequisite: Permission. See Schedule for specific titles. Spring. One to Three credits. THE 110 Acting II: Contemporary Scene Study Peter Jack Tkatch or Sarah E. Carleton The course builds on the fundamentals of acting that are explored and learned in THE 010. The acting process is practiced in more intensive rehearsing and performing of scenes and monologues from contemporary theatre. Student actors learn further about acting script analysis and personalizing acting technique. Prerequisite: THE 010. Three credits. THE 111 Acting III: Voice & Speech for the Actor Peter Jack Tkatch Students study and practice the basics of voice and speech to promote and develop free, natural oral expression. The exercises focus on breathing, relaxation, resonation, and articulation. The course benefits not only acting students but any student who wishes to improve vocal expression. Students are introduced to techniques espoused in the work of Kristin Linklater, Cicely Berry, and Edith Skinner. In addition to the exercises, students practice and learn to develop better vocal expression through rehearsing and presenting poetry and Shakespearean soliloquies and monologues. Prerequisite: THE 010 & permission. Spring. Three credits. THE 112 Acting IV: Stage Movement for the Actor Sarah E. Carleton Development of physical freedom and expression through techniques promoting relaxation, flexibility, strength, creative spontaneity and purposeful movement. Techniques applied to short movement performances. Prerequisite: THE 010 and permission. Fall. Three credits. THE 120 Lighting Design John B. Forbes Explores, through classroom instruction and projects, the development of lighting designs for a variety of live performance situations. Prerequisite: THE 020. Fall. Three credits. THE 130 Scene Design Jeff Modereger A practical application to the elements, principles and styles of theatrical stage design through research, sketching and rendering techniques. Prerequisite: THE 030. Spring. Three credits. THE 131 Scene Painting Concepts & Applications (Crosslisted as ART 195) Jeff Modereger Lab course to study practical application of painting technique use in theatres, trompe l’oeil. Develops skills introduced in 30. Prerequisite: THE 030, & either THE 020 or THE 040 or permission. Alternating Falls w/THE 230. Three credits. THE 140 Costume Design Martin A. Thaler Elements, principles, and styles of design applied to the visual creation of a dramatic character. Prerequisite: THE 040; THE 041 highly recommended. Spring. Three Credits. THE 141 Advanced Costume Construction: Draping and Flat Pattern Martin A. Thaler Explores the methods of creating period shapes. Students develop a sloper, fit it to a human body, and create a researched and completed period bodice. Prerequisite: THE 040. Alternating Springs w/THE 142, 143, 144. Three credits. THE 142 Advanced Costume Construction: Period Undergarments Martin A. Thaler Focuses on techniques for creating artificial understructures that support period silhouettes. Corsetry, hoop skirts, petticoats, etc., are researched, fitted on the human body, and constructed. Prerequisite: THE 040. Alternating Springs w/THE 141, 143, 144. Three credits. THE 143 Advanced Costume Construction: Millinery Martin A. Thaler Explores methods of hat construction, including work in various media. Methods of shaping, covering, and trimming are researched, leading to the completion of hats. Prerequisite: THE 040. Alternating Springs w/THE 141, 142, 144. Three credits. THE 144 Advanced Costume Construction: Tailoring Martin A. Thaler Alternating Falls w/THE 131. Three credits. THE 250: Directing I Gregory Ramos Directing I introduces students to the fundamentals of directing for the stage including concept, text analysis, composition, picturization, movement, rhythm, and pantomimic dramatization; auditions and casting; rehearsal processes. Prerequisites: THE 010, 110, 020, 030, 040, 050, 150 and either 120, 130 or 140. Senior standing & permission. Fall. Three credits. THE 251: Directing II Gregory Ramos Development of skills and aesthetic values through the direction of a complete theatrical event. Prerequisite: THE 250. Senior standing & permission. Spring. Three credits. THE 255 (Pending Approval) Playing with Femininity (Crosslisted with WGST 255) Lynne Greeley Finding new femininities is at the heart of this class. The class is divided into three parts: first, we ask what femininity is in terms of history and in terms of what it is now; second, we look at plays by twentieth century American artists to see how they used femininity to question and even invert the cultures in which they lived; and third, we design projects that may be written or performed to create new femininities that speak to our times. The course challenges assumptions of gender and what it means to be feminine while seeking to understand the multiple performances of gender, race and sexual preference. A new course that asks cutting edge questions in which each member of the class creates the answers. Prerequisite: Sophomore standing, THE 150 or Permission THE 258 College Honors Staff Fall. One to Six credits THE 259 College Honors Staff Spring. One to Six credits THE 283 Seminar. (Not offered for graduate credit.) Staff Fall. Three credits. THE 284: Seminar. (Not offered for graduate credit.) Staff Spring. Three credits. THE 297 Senior Readings and Research. (Not offered for graduate credit.) Staff Fall. One to three credits. THE 298: Senior Readings and Research. (Not offered for graduate credit.) Staff Spring. One to three credits. DESCRIPTION AND GUIDELINES FOR THE 190: THEATRE PRACTICUM Rationale: The required 3 hours of Practicum are intended to provide the student with the opportunity to gain experience in the production process. This Practicum in theatrical production functions as the laboratory for the enhancement of the skills students learn in the theatre classes. The student becomes a contributing, active member of the production staff or cast, and he/she will gain deeper insight into and understanding of the theatrical event that culminates in public presentations. Because this practical experience will build on the knowledge and skills, which have been, developed in classes and other production related activities, the student will be expected, at the minimum, to have taken the fundamental course(s) in the area(s) of the practicum. Application: The Practicum requirement applies to students who entered the University of Vermont in the autumn of 1994 or later and who are declared Theatre majors. It is IMPORTANT to note that since this is a production related activity, it may not always be possible to provide the exact opportunity at the time a student wishes. Requirements: It is expected that, by the end of the senior year, the major will have earned three (3) hours of Practicum credit in at least two (2) distinct areas of theatrical production. This credit shall be earned on productions mounted by the University of Vermont, Department of Theatre. To ensure each student a broader practical experience, no student will be allowed to earn all three of the required Practicum credits in a single area; e.g., acting or stage management. Process: 1. The student, in consultation with her/his academic advisor in the department of Theatre, will discuss the requirements, the opportunities and the student's goals. The student then selects an area of activity. An appropriate faculty or staff person will serve as project advisor. 2. The student, then in consultation with his/her project advisor, will prepare a written proposal of intent and goals, and the number of hours of credit they expect. 3. For each 0.5 credit hour, a student will be expected to perform a minimum of 30 hours of work of good quality; for 1.0 credit, 60 hours minimum; for 1.5 credits, 90 hours minimum; for 2.0 credits, 120 hours minimum. 4. The proposal will be submitted to your project advisor. It is important that the proposal be prepared and submitted in a prompt and timely fashion. For example, a proposal for performance credit must be submitted not later that the Friday of the first full week of rehearsal. In production areas, the proposal must be submitted prior to any substantial work having been done in that area. Proposals will not be considered for work done after the fact. 5. Following approval, the project goes forward. The student is expected to keep a journal in which he/she records impressions, reactions, experiences related to the project, and a record of hours worked. It is understood that the project advisor will be available to the student for formal or informal meetings to discuss the progress of the project. Closure: Once the project is completed, (i.e., the production has closed or the activity has ceased), the student will write a brief paper in which he/she discusses the outcome of the project in terms of the goals and intentions stated in the proposal. Grades: A grade will be assigned by the faculty project advisor at the completion of the project. A minimum number of hours of quality work is required for a passing grade as noted in Process #2, above. Examples of Possible Practicum Projects: Please note all production responsibilities must be supervised by a faculty or staff member. BOX OFFICE and FRONT OF HOUSE Assistant marketing director Assistant box office manager House manager COSTUMES Shop supervisor Assistant shop supervisor Stitcher Cutter Draper Head wardrober First Hand Craftsperson and more DESIGN: Scenery, Lighting, Costumes, Props Designer Assistant Designer DIRECTING Assistant Director Director DRAMATURGY LIGHTING Head electrician Assistant head electrician Programmer/Board operator Followspot operator Deck Electrician PERFORMANCE (ACTING) A leading role A supporting role PROPERTIES Props head Props assistant TEACHING ASSISTANT History I Dramatic Analysis Introduction to Theatre SCENERY Technical director Assistant TD Head carpenter Charge painter Scenic artist Deck Carpenter STAGE MANAGING Stage manager First Assistant stage manager Second assistant stage manager Theatre Practicum Form—See Appendix Comb/Brush Mascara: (male/female both, this cannot be shared) Deodorant Make-up Remover: (Noxzema, Ponds cold Cream, Abolene, Baby Oil, etc.) Pencil Sharpener Other Optional items: moisturizer, soap, shampoo, astringent, cotton balls, and Q-tips. You will be assigned a dressing table for the show’s run. It is your responsibility to keep it clean and neat. We have cleaning supplies for touch ups. NO EATING IN THE DRESSING ROOM OR IN COSTUME!!! EVER!!! This includes opening night chocolate or candy. Food found in the dressing room will be confiscated. Water must be in a covered container. No cola, coffee or juice. Smoking is not allowed anywhere in the building. EVER!!! And absolutely not in an uncovered costume. You may choose to bring a washable bathrobe or wrapper and wear this while smoking outside. There is no smoking in artificial hair. EVER!!! You may choose to bring a washable bathrobe or smock to use for make-up or use between shows. We will launder these once a week. When in doubt, use common sense and courtesy. Please use stereo headphones, clothes hangers, the trash can, and ―please‖ and ―thank you‖. Avoid large mildewed piles on chairs, foul language and poor personal hygiene. If you’re still unsure stop by and ask. We are a friendly sort. Have a great Show! Theatrical Make-Up Kit Order Form See Appendix BASIC SAFETY RULES FOR THE SCENE SHOP AND BACKSTAGE IN CASE OF EMERGENCY DIAL 114 Or USE EMERGENCY PHONES LOCATED THROUGHOUT BUILDING General Safety 1. Approach those people who are working in the shop rationally and seriously as horseplay and ‖kidding around‖ often end in serious and painful injury. 2. Do not distract anyone who is operating power equipment or tools! 3. Keep aisles, exits, hallways, and work areas free from congestion. Also make sure floors, stairs, and work areas are free from hazards, which could cause slipping or tripping (especially sharp or pointed objects). 4. Get first aid immediately for all injuries. Report to the supervisor ANY and ALL injuries no matter how minor. An Accident Report is mandatory. Also, report to the supervisor any condition, which you feel is UNSAFE! 5. Beware of doors and doorways. Do not stand in front of them or in them! 6. When finished with a project, put all tools away. Never leave them lying on the floor. 7. BE AWARE AND ALERT AT ALL TIMES!! SAFETY FIRST!! Personal Safety 1. Wear adequate clothing and footwear whenever it is necessary to move through or spend time in the scene shop or backstage. NO sandals, DEFINITELY NO BARE FEET, tie back loose hair or loose clothing, and remove all excessive jewelry, ties, etc. 2. Wear proper eye protection when appropriate. Wear approved hearing protectors when noise levels are excessive. Wear dust masks or respirators when exposed to harmful or noxious dust fumes or gases. 3. Wear gloves when handling materials with sharp edges or rough surfaces or when exposed in liquids that require hand protection. 4. Remember, IF SOMETHING CAN HAPPEN, IT WILL! USE COMMON SENSE: BE PREPARED AND PROTECTED!! PRODUCTION AND PERFORMANCE OPPORTUNITIES Each year the Department of Theatre produces a minimum of five opportunities for production work or performance. They are broken down into the followings categories: 1. Mainstage Productions: Three of these are produced annually. They include theatrical presentations that range in style from classical works to contemporary plays. Though it is not a ―policy‖ we tend to produce at least one musical or ―play with music‖ per year. (Ten performances in two weeks per production.) 2. The Annual Holiday Production for Children: Performed seven times over three days, this production has become a much looked forward to event by local youngsters and their parents. An extraordinary opportunity for our students to perform for small children, specially challenged children and children of all ages! 3. The One Act Play Festival: A product of our Directing II class, these productions are entirely directed, designed, and performed by our students. Under the guidance of the faculty and staff, our students experience the whole range of production and performance opportunities. The number of performances changes according to the number of students enrolled in the class. 4. Independent Projects: Independent projects in an area of chosen student interest are welcomed by the faculty. In this venue the student works to create their own opportunity according to their own goals. Projects have included directing, designing and performance areas, and are limited only by the imagination of the student. Written proposals must be submitted to the chair no later than September 30th, and voted on by the faculty for approval. These are typically productions for which no credit is granted. 5. Theatre Practicum: THE 190: Theatre Practicum is a course by which a student gains credit for their practical work in the Theatre. 6. Afternoon Playhouse: The Department’s version of small scale ―black box‖ theatre projects are productions of plays where the primary area of focus is on the actor and the performance of the script. Some technical support is available. See the guidelines following. AFTERNOON PLAYHOUSE GUIDELINES All proposals for Afternoon Playhouse Production, or productions connected with Independent Study Projects must be submitted to the faculty/staff no later than September 30 th . Proposals must include Theatre faculty sponsor. Each proposal is reviewed and approved by the entire faculty and staff. Director must be a THEATRE student/faculty/staff. Lighting. Maximum of 20 instruments can be used. All hanging and focusing will be done during ―normal‖ working hours. NO work after 11:00 p.m. Well executed and complete light plot and hook-up will be submitted to John Forbes no later than one week prior to final dress. If deadlines are not met, lighting and lights will be strictly limited to what is hung, e.g. classroom lights. Scenery and Props. A satisfactory sketch and ground plan must be submitted. Scenery and props are limited to those items which are presently owned or controlled by the Department of Theatre. This does not necessarily mean that all existing scenery and props will be available. Any construction, reconstruction or alteration of scenery or props must have the approval of House T.D. (Patrick Orr). Deadline no later than two weeks prior to final dress. Costumes. Coordinator must submit to Martin Thaler basic ideas for minimal character statements in writing or sample sketches for approval two weeks prior to first dress rehearsal. No rehearsal costumes or costume pieces will be available. A storage rack and shelf in the Costume Shop will be made available to store costumes. ALL costumes and pieces must be returned to the shop after each dress rehearsal and performance. The costume coordinator will be held responsible for the safe and clean return of all costumes within 24 hours of final performance. NO SCENERY, COSTUMES OR PROPS WHICH ARE BEING USED IN A MAJOR PRODUCTION MAY BE USED. ANY WORK, REHEARSAL OR OTHER PREPARATION FOR AFTERNOON PLAYHOUSE PRODUC- TIONS MAY NOT IN ANY WAY CONFLICT OR INTERFERE WITH WORK, PREP AND REHEARSAL FOR MAJOR PRODUCTIONS. FRONT OF HOUSE Ushering Requirements The ushering staff is primarily made up from the students enrolled in THE 001: Introduction to Theatre each semester. This work satisfies the THE 001 service requirement. Ushers must dress appropriately: white or light tops or shirts, black slacks or skirt. Ushers must arrive one hour prior to curtain time so that the House Manager may tell them their duties and show them how our seats are numbered (see seating chart following this section). Ushers are responsible for occasionally folding and stuffing programs, ensuring the theatre is clean of debris before and after performances, opening the theatre doors for intermission and at the end of the performance, and helping to ensure patrons do not bring any food or drink into the theatre. Ushers should also notify the in-house Head Usher if any wrong behavior is seen going on in the theatre, i.e. photograph or video taking, eating, talking, or other such disturbances. Any student may usher for the department by permission from the Marketing Director, and may remain to watch the production. Once a certain number of ushers have signed up for a particular performance, usually 8 to10, no more names may be added. If an usher does not show up and does not notify the Marketing Director they may not usher again that season. Ushers are expected to remain in the theatre during the performance. Every attempt is made to provide seats for each usher; however, in the unusual event that every chair in the theatre is taken by a paying patron, ushers are asked to stand. Ushers may not leave the theatre building without the permission of the House Manager. Fulfilling Production Requirements House Manager: Theatre majors may receive 1 Practicum credit by serving as House Manager for no fewer than 16 performances. Box Office Manager: Theatre majors may receive 2 Practicum credits by performing the duties of Box Office Manager for one full semester. A complete list of duties for the above two positions may be obtained from the Marketing Director. No student performing the above duties as Workstudy may receive academic credit for their work. Workstudy Positions Any students eligible under the University guidelines may work for the Marketing Director in either of the following workstudy positions:  Box Office and Front of House Staff  Assistant to the Marketing Director  Webmaster OPPORTUNITIES FOR COLLEGE-WIDE HONORS PROJECTS A liberal arts education is designed to maximize an individual's options throughout life's pilgrimage. Choices made when the person is an undergraduate student may affect the number and quality of choices that materialize after graduation. Until someone devises a better method of evaluating a student's progress, grades will remain important, not as an end in themselves, but as a means of extending the range of one's options. The various honors programs are a reminder of the ultimate importance of and a goad towards academic excellence. University Honors The B. A. degree may be conferred with honors, by vote of the Senate, in recognition of general high standing in scholarship. Three grades are distinguished and indicated by inscribing on the diploma the words cum laude (top 5-10%), magna cum laude (top 2-4%), or summa cum laude (top 1%). College Honors The Arts and Sciences student who has an average of at least 3.20 and has been on the Dean's List for three semesters is eligible to apply, under departmental sponsorship, for College Honors, a program of individual research/artistic creation undertaken in the senior year. The proposal must be approved by the Committee on Honors and Individual Studies. The student enrolls in THE 193 (3 hrs.) and THE 194 (3 hrs.), pursues the project under faculty guidance, writes an approved report, and orally defends his/her work. The College Honors recipients are named in the Commencement Program. Departmental Honors A theatre student may graduate "with Departmental Honors" if he/she has a cumulative average of 3.0 or above, passes (with a 3.0 average or above) a comprehensive examination that synthesizes all the departmental courses taken by the student, and is recommended by the department. DEPARTMENTAL AWARDS The Department of Theatre participates annually in the University wide celebration known as Honors Day. This is a day set aside to honor those students who have excelled in both academic and extracurricular settings. The Department of Theatre honors two students annually, each for very different contributions that have been made to the Department. George B. Bryan Award for Scholarship The Department of Theatre instituted the George B. Bryan Award for Scholarship to reflect its belief that sound theatre practice is grounded in a firm grasp of theatre history, literature, and theory. To that end, it recognizes that departmental major or minor whose scholarly work reflects high achievement through effective research techniques, exemplary writing skills, and keen analytical insight. A student whose average in Theatre courses is 3.0 or better is eligible for consideration for the award, but that is not the only criterion. Of particular importance is the student’s performance in the history and criticism courses of the Department, but the student’s cumulative grade point average is also weighed. As in other areas of theatrical activity, the Department stresses the process as well as the product of scholarly endeavors. The award is determined by a majority vote of the faculty, which may decide to withhold it in any year or years. Outstanding Senior in Theatre Award The Outstanding Senior in Theatre Award is presented to that theatre major or minor who has demonstrated a competence in and enthusiasm for several areas of theatrical production. The recipient of this award will have provided substantial evidence of his/her understanding of the important interrelationships that exist between all aspects of theatrical production. A combination of quality work in the classroom (minimum G.P.A. of 3.0 overall) and production are the prerequisites for consideration for this recognition. The recipient of this award is nominated by members of the faculty and staff of the Department of Theatre and is selected by a majority vote of those same individuals. This award is given only when an individual who meets the above criteria is present in the department. In addition to the University Awards the department offers several additional awards. The Edward J. Feidner Award The Edward J. Feidner Award is presented to that deserving undergraduate theatre major to help defray his/her educational expenses. The recipient, who shall be in his or her junior year, should be selected on the basis of academic merit having no less that a 3.0 overall GPA, and significant involvement in more than one area of Department of Theatre productions gained through involvement outside of course requirements. Special considerations will be given to those students who have demonstrated an affinity for the works of William Shakespeare. Where appropriate, financial need may also be considered. The William M. Schenk Award for Technical Excellence This award is given to a student who demonstrates excellence or the potential of excellence in one or more of the following areas of production (in this order of priority): (1)Lighting DESIGN, (2)Scenery DESIGN, (3)Technical Production The William M. Schenk Award for Technical Excellence is awarded annually to a Junior Theatre Major, who, in addition to the above criteria has a least a 3.0 accumulative overall grade point average and who has demonstrated a sincere interest in ALL areas of theatre production and education. In addition, it is understood that this award will be given only when there is a student with the above qualification; only when there is a student of existing merit. The Ossie Davis/Ruby Dee Award Professor Jennifer Cover, the first African-American woman hired and tenured by the Department of Theatre, created this award in 1981 to be presented to that student who has made outstanding contribution in enriching multi-culturalism in Theatre at the University of Vermont. In reference to its namesakes, this award is given to that individual who embodies the respect of heritage, the respect of community, and the respect of education in the arts. Sophomore status or above. Miriam Zadek Award for Excellence in Costume Design and Costume Construction The Miriam Zadek Award for Excellence in Costume Design and Costume Construction was created to honor both the senior student who has demonstrated excellence in the areas of costume research, design and construction and the woman for whom the award is named. Born the only hearing child in a family of three sisters and familiar with overcoming obstacles to positive communication, Miriam Zadek defied the limitations of the social roles of the times and went on to receive her Master of Arts in Social Work in 1952. In 1986 while working for the Hearing and Speech Agency of Baltimore, MD she founded the Centralized Interpreter Referral Service which continues to serve the needs of thousands of people annually. With her ever-present passion for learning, she remains a shining example of what students can achieve when they set extraordinary goals for themselves and work tirelessly to attain them. She continues to be an inspiration to generations of young people who are faced with physical, emotional and academic challenges that test and strengthen them. SCA: The oldest professional organization for those in educational theatre is the Theatre Division of the Speech Communication Association. This association maintains an excellent placement service (held at the annual convention) for those seeking employment in educational and related theatres. It publishes the Quarterly Journal of Speech, which includes scholarly articles on theatre and drama. USITT: The United States Institute for Theatre Technology is an association for those interested in the various technical arts of the theatre. Its journal is Theatre Crafts. SUGGESTIONS TO FOLLOW WHEN ASKING FOR LETTERS OF RECOMMENDATION Of great importance throughout life are letters of recommendation. Graduate and professional schools require them, as do most employers and many organizations. Even as an entering student, you should remind yourself that every teacher is a potential writer of recommendations and that the impressions he/she forms of you as you progress through his/her classes may influence the character of the letter that may be written when you graduate and afterwards. Be certain that each of your teachers knows who you are. There is etiquette of soliciting letters of recommendation, and any breach of it may result in a negative response. Here are some suggestions to follow: 1. The person who writes on your behalf should be well acquainted with your work and able to speak authoritatively about it. Mere friendship is not enough. The strength of a recommendation is proportionate to the professional attainments of the writer. Many application forms ask you to decide if the letter will be kept confidential or if you will read it. Your decision on this issue may be important. 2. Always request permission to submit someone's name as a recommender. [Incredibly, some teachers will decline the privilege of singing your praises, especially if you did not have permission in advance.] 3. Remember that nearly everyone is busy, particularly those who are best qualified to support your petition. Start the process in plenty of time so your advocate does not feel rushed. Be judicious in the number of letters you request. Even with the aid of computers, it is a time-consuming activity. 4. To write a persuasive recommendation, a person needs to have all the facts. Write down precisely what you want to be recommended for [the degree, the type of financial aid, and the specific issues that ought to be addressed, etc. Most graduate schools provide a form designed to provide that information. If several years have passed since you saw the potential recommender, he/she may not be able to link a name and a face; include a photograph of yourself.] You must make the writer aware of your accomplishments; primary documentation includes transcripts and résumés. 5. Provide a typed [this application may be the basis of the school's first impression of you; misspelling and incorrect punctuation will be noticed], addressed, and stamped envelope for every letter to be sent. Some schools want letters of recommendation to be sent directly to them; your recommender needs the proper address and the name of the person and/or group to which you seek recommenda- tion. On the other hand, you may be asked to collect all the letters and then to send them in a single package. 6. If someone thinks so highly of you that he/she writes on your behalf, you may be certain that he/she is interested in the outcome. Communicate; say ―thanks‖; inform your recommender of the ultimate decision. After all, you may need help again. THE ROYALL TYLER THEATRE The Royall Tyler Theatre owes its existence to a providential fire, which in 1886 demolished the University's ramshackle gymnasium. By 1898, both under-exercised students and faculty hotly protested the lack of physical culture facilities at UVM, so the next year President Matthew Henry Buckham reported that for $20,000 a very plain gymnasium could be provided. A site next to the Old Mill was selected in 1900, and plans were prepared by the Boston architectural firm of Andrews, Jaques, and Rantoul. President Buckham, unwilling to erect a costly building though expecting a gymnasium that would be harmonious with existing buildings, must have taken comfort in the fact that these architects were pupils of H. H. Richardson, whose handiwork, Billings Library, graced the campus. Work was begun in April 1901, in anticipation of finishing the basilica-type structure in October. The nave measured sixty feet in width, one hundred forty feet in depth, and fifty feet in height and was flanked by aisles of twenty feet. The brick exterior walls were ornamented with brownstone similar to that used in the Billings Library. North Carolina pine paneling stretched from the peak of the ceiling to the hardwood floors in the interior. As the work progressed, the costs mounted. Thirty thousand dollars, raised through subscriptions of alumni, faculty, and five hundred resident students, was required to finish and equip the new construction. The first public exhibition of the new Gymnasium, held on 14-16 October 1901, was a gala one, as it housed the Vermont Musical Festival, featuring the Boston Symphony Orchestra and a choir of four hundred. A spacious hall, the Gymnasium seated 1200 at each of the five concerts and at many others afterward. The structure proved a suitable location for physical activities, military drill, dances, Kake Walk, baccalaureate and commencement exercises, but especially for musical entertainments. Over the years, the roster of artists whose talents inspirited the building is most noteworthy and includes John McCormack, Jascha Heifetz, Fritz Kreisler, Geraldine Farrar, Mischa Elman, Alma Gluck, Amelita Galli- Curci, Jan Kubelik, John Philip Sousa, Sergei Rachmaninoff, Ruth St. Denis and Ted Shaw, Carolina Lazzari, Ephrem Zimbalist, Ernestine Schumann-Heink, Anna Pavlova, and Paul Whiteman, who presented Gershwin's "Rhapsody in Blue" soon after its original performance in New York. The Gymnasium also housed dramatic performances, both amateur, and professional. Various University theatre groups staged productions in the edifice, which also was the scene of performances of the Ben Greet Shakespearean troupe, including a youthful Sybil Thorndike and Sidney Greenstreet. By 1911 the use of the building as a drill hall was impractical, so a glass-roofed addition was erected at its rear. The initial construction and the annex housed indoor baseball as well as other sportive activities, while doubling as assembly and concert hall into the 1940's. Soon the University's physical education program outgrew the Gymnasium, which then was used for offices, classrooms, and the support facilities, while cultural presentations were housed in local theatres and the Memorial Auditorium. Meanwhile University theatricals were produced alternately on the lawn at Grasse Mount, in Southwick Auditorium, in the Arena Theatre in the Fleming Museum, and, at last, the arts have returned to the Gymnasium, now the Royall Tyler Theatre. The genesis of the Royall Tyler Theatre was not without pain and disappointment. Compatible facilities for the fine arts were envisioned by President Carl Borgmann as early as 1955, but funds were not allocated for devising a workable plan until 1967. In conjunction with a noted firm of Chicago architects, UVM's artists, musicians, rhetoricians, and thespians devised a performance complex that centered upon the old Art Building and the Fleming Museum, but these ambitions were not realized because of diminished budgets. Nor was money available in 1969, so Director of Theatre Edward J. Feidner revived a proposal that the old Gymnasium be fashioned into a new theatre. The plan offered distinct advantages: a campus architectural gem could be preserved and put into worthy use while saving money. Feidner's scheme was adopted and is now a happy reality. Passing beneath intricately carved eaves and entering through the ornate Romanesque arch, the visitor steps into a large foyer that contains box office, marketing office, business office, classroom, and the grand staircases that ascend to the upper lobby. From the stairwell one sees the magnificent woodwork of the original ceiling. The lobby itself serves a vestibule and concert hall. Faculty offices open onto the lobby as well. The spectator then passes through the main entrances to the auditorium decorated in warm shades of brown and red. Because of the fifty-foot ceiling, there is a sense of airiness and intimacy, for each of the 295 seats commands a clear view of the stage, which can be adapted to thrust, arena, and proscenium staging. Backstage are dressing rooms, a green room, and other spaces necessary to mount stage productions. Beneath the level of the stage are scenery and costume shops, stage areas, classrooms, and faculty offices. The Royall Tyler Theatre is a facility designed for teaching and learning, the goal of which is the liberation of the mind and enrichment of the spirit to which the College of Arts & Sciences is dedicated. HISTORY OF THEATRE AT THE UNIVERSITY OF VERMONT The twin muses of drama, Thalia and Melpomene, are not alien to the University of Vermont, for the theatrical arts have been fostered at UVM since the days of its first president Daniel Clarke Sanders (served 1800-1814). To placate delicate sensibilities, dramatic presentations were called ―odes and dialogues‖ or ―colloquies,‖ and as such formed a basic part of the ceremonies from the institution's first commencement in 1804. The courthouse, situated where Burlington City Hall now stands, was the scene of the earliest commencement at UVM, which included a ―Dialogue on the Languages‖ as well as two other similar presentations. After the first graduation exercises, the College Edifice was completed and contained a chapel, the scene of many later commencements and dramatic excursions. Disguised theatrical presentations continued to be a part of each commencement through the 1820s. The actual commencement program featured satellite festivities, including the Junior Exhibition, held on the afternoon or evening prior to commencement, and the Sophomore Exhibition. Student productions that were part of the Junior Exhibitions include The British in Philadelphia, or The Battle of the Kegs (1809), which was written by Norman Williams (1791-1868) and required seven actors to impersonate British and American characters. The production for 1810, Faith with Money by Timothy Tyler, was preceded by a debate on ―Are Theatres Beneficial?‖ In 1811 another play, Duelling, was composed and presented by Joseph Williamson (1789-1854) and several others. Amos A. Parker (1791-1893) and seven associates performed a piece called Pedantry in 1812. Thaddeus Stevens (1792-1868) was the author of the Exhibition play of 1813, The Fall of Helvetic Liberty, a three-act tragedy that was grand in scope and required fourteen actors. At their autumn Exhibition in 1812, the sophomores enacted Quackery, or The Dumb Gent by Royall Tyler, Jr. (1795-1813) On the same day they staged Physiognomy by Ira Bellows (1789-1855) Thus, from the earliest days of UVM, there was an appreciation of things theatrical both because of the influence of President Sanders and because classical drama was one of the major fields of study. The University bulletin of 1834 shows that third-year students perused the Latin plays of Terence in March and Greek drama in the early summer months. By 1839 that regimen had been expanded to four months' study of Greece's dramatic legacy. Moreover, a program in English literature was offered early in the University's history. Since Samuel Taylor Coleridge (1772-1834) was the inspiration of the course, possibly his theatrical writings were read. Undeniably, these studies bore fruit not only in disputation and argumentation but also in the formal forensic addresses that were a part of all commencement and exhibition programs from the beginning of the institution. Typical titles of these displays are ―The Greek Comedy,‖ ―The Romantic Drama,‖ ―Shakespeare and Goethe,‖ ―Shelley's Cenci,‖ and ―Crime in Macbeth and lago Compared.‖ A critic of the Junior Exhibition of 1860 reported, ―Several well-written productions lost their effect upon the audience, from the fact that they were either spoken too low, or so indistinctly as not to be heard and understood by the audience.‖ The reader who deplores the state of the contemporary theatre may take heart in the knowledge that his/her concerns were shared by a student in 1861 and another in 1887, both of whom declaimed on ―The Decline of the Drama.‖ Although the College Maul, a mid-century student newspaper, featured numerous short burlesque dramas, none of these was produced. succeeded in that leadership position by W. M. Schenk (1980), whose appointment necessitated the hiring of a technical director, and Martin A. Thaler (1991), who was able to add a costume production coordinator to the staff. Bryan served twice more as interim chair (1990 & 1992). The director of drama was assisted at first by a secretary; then that position was upgraded to business manager. During Schenk's administration the position of business manager was altered in such a way that defined a new position of publicity and box-office specialist while assigning budgetary management to an administrative assistant. The new department recruited a procession of gifted theatre artists to its faculty ranks: Edward Feidner (1958), William M. Schenk (1966), Kathleen M. Robbins (1976), Jerry R. Collette (1976), Judith W. Williams (1978), Diana Greenwood (1978), Herbert Propper (1982), Martin A. Thaler (1983), Kelly C. Morgan (1984), Belinda C. Boyd (1989), Robin A. Fawcett (1989), Peter J. Tkatch (1992), Jeffrey R. Modereger (1993), Sarah Carleton (1997), Lynne Greeley (1998), John B. Forbes (2003), and Gregory Ramos (2006). Visiting professors such as John Millican (1974), Carol J. Blanchard (1981), James B. Graves (1981), Mark Alan Gordon (1986), Tom Bruno (1988), Bette Howard (1989), Bett Potazek (1991), Melissa Lourie (2004), Mark Nash (2004, 2005), and Dana Yeaton (2005, 2006) also made valuable contributions to the Department. History is always being made, and it is undeniable that ―there's nothing as permanent as change.‖ This, then, is not the end of the story of theatre at the University of Vermont. George B. Bryan, Ph. D. Professor of Theatre History September 1, 1971 to September 19, 1996 GLOSSARY OF TERMS USED IN THE THEATRE Actors’ Equity Association: The union of professional actors and stage managers in the United States. Most professional guest artists are members of the organization. AEA guarantees its members decent pay, benefits, and working conditions. Bio: A brief biographical statement about you, where you come from, and what past experience (if any) you have had in the theatre. Call or Call Time: The time at which you are expected to be at a rehearsal or performance. Cue-to-Cue: Working through the moments of a production, which involve some sort of production element (i.e. sound, lights, costume changes, scene changes). Dramaturg: Dramaturgs are professional historians, writers, and critics who provide pro- ducers, directors, and theatre companies with literary and research support to production. A major player historically in European theatres, dramaturgs are developing in prominence in American professional and educational theatre. Dress Rehearsal: A rehearsal of the play in full costume and make-up. Dry Tech: A rehearsal devoted to technical elements of the production without the presence of the actors. Fitting: The process of trying on costumes for the costume designer and his/her staff. Guest Artist: A professional artist who works with students on a production in some capacity (as an actor, director, stage manager, designer, choreographer, or technician). Half-hour: Thirty minute mark before a production begins. Professional artists are not called until half-hour, except under special circumstances such as a pre-show fight rehearsal or special make-up. Photo Call: Time set aside for publicity or archival photographs of the cast, in full costume with full technical support. Production Meeting: A weekly meeting overseen by the production stage manager with all members of the production team and director participating. Run-thru: A non-stop rehearsal of the entire play. Tech: A rehearsal, which incorporates all technical elements into the production including lights, costumes, sound, scenery and props. Tech/Dress: A stop-and-go rehearsal, which focuses on the production’s technical elements. Ten out of Twelve: A day in which cast and crew may work for a total of ten hours out of a twelve-hour call, including a two-hour meal break. APPENDIX: STUDENT FORMS A. THE 190: THEATRE PRACTICUM FORM B. THEATRICAL MAKE-UP KIT ORDER FORM C. SCENE SHOP SAFETY RULES D. ELECTRICS SAFETY RULES PLEASE NOTE You can take these forms from the website: http://www.uvm.edu/~theatre/Handbook Royall Tyler Theatre Scene Shop Safety Rules 1. Approved safety glasses are required when using the power tools in the shop or when using portable tools in other areas of the building. 2. All persons will operate or use a power tool only after having a through introduction to the operation of that tool by qualified shop personnel. It is the individuals’ responsibility to inform shop personnel it they are unfamiliar with or unsure of the safe operation of a tool. 3. Do not wear neckties, scarves or other loose clothing or jewelry when operation power tools. Long hair should be securely tied back. Open toe shoes, stocking or bare feet are not permitted in the shop. 4. Make sure the tool you are using is appropriate for and properly set up for the operation you are performing. If you are unsure, consult with qualified shop personnel 5. Make sure all blades, bits or cutting tools come to a complete stop before removing scrap materials or making adjustments to the tool. Unplug tools before changing blades, bits or cutting tolls. 6. Keep the area around fixed power tools clear of loose material and slip or trip hazards. After you are finished with a project return tools and hardware to their proper place and police your work area. 7. Never operate machinery or enter a work area while under the influences of alcohol, drugs or medications that may make you inattentive or drowsy. Do not operate equipment or tools when you are overtired. 8. These rules have been established as a safety guideline for all who use the shop. Failure to follow these rules or other safety instructions by qualified personnel will result in the loss of some or all lab hours, shop privileges or Workstudy. 9. The Scene Shop at the Royall Tyler Theatre is only for use by faculty, staff and students employed by the Theatre or enrolled in classes in the Theatre Department. I have read and agree to follow these shop rules. Name: (printed):_______________________________ Date:___________________ Signature:________________________________ Instructor:___________________ ELECTRICS SAFETY RULES ROYALL TYLER THEATRE Safety during the hang, focus, rehearsal, run and strike of the productions produced in Royall Tyler Theatre, safety is a high priority. To protect yourself and others, please observe the following rules: 1. Pay close attention to what you are doing. Many accidents happen when people are simply not paying close attention to what they are working on. Pay attention. 2. Ask questions – do not bluff. If you are unsure about something you are requested to do, ask a supervisor to explain what is required and the proper way to do it. When in doubt, ask. 3. Wear appropriate clothing. Avoid loose clothing. Open shoes or sandals, bare or stocking feet are not permitted. 4. Tie back long hair. 5. When climbing the ladder (in the sound booth) to the grid, one person on the ladder at a time. Say ―clear‖ when you are off the ladder. 6. When working overhead: a. Empty your pockets of keys, loose change, etc. before doing any work overhead. b. Tie off all necessary tools securely when working overhead. Leave the ones you don’t need. c. Make sure that no one is standing directly below you. If someone is standing below where you are working, stop, ask them to clear the area and do not resume work until the area below is clear. d. If something should drop from above, immediately yell out to warn people below. e. Belt buckle rule: When working on the grid, a ladder or a lift, do not lean out further than your belt buckle without wearing a safety harness. 7. Make sure the power is off when changing a lamp or doing other work inside lighting instruments and when circuiting them. 8. Every lighting instrument and barndoor hanging over the stage or house must have a safety cable attached through the yoke and around the pipe. When in doubt, use a safety cable. 9. Make sure that at least one person is steadying the base of a ladder or lift when anyone is working on top of it. 10. The production areas and equipment in Royall Tyler Theatre are for the use of students, staff and faculty enrolled in classes or employed by the University of Vermont only. I have read and understand these rules and agree to follow them when I am working in Royall Tyler Theatre. I further understand that failure to observe these rules or other safety instructions from qualified personnel will result in the loss of lab hours or Work Study. Name (print) _______________________________________ Date_____________ Signature_____________________________________ Instructor_____________