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If there is an emergency during rehearsal or performance between 8:00 a.m. to 4:30 p.m., call Campus Police (3386), campus nurse (3267), or the switchboard operator (0). Inform Campus Police of the emergency and if they deem necessary, they will call the Fire Department (911).
After 4:30 p.m. and weekends, Campus Police number is (3333). You may have them call the Fire Department for you.
Emergencies During Performance
It is the House Manager's responsibility to notify audience members, cast, and crew of any emergency situation and to take charge of an evacuation. During potentially dangerous weather, the House Manager and the Faculty/Staff on Duty will monitor the Department's emergency weather radio for severe weather announcements. Anyone in the cast or crew who notices a dangerous situation such as smoke or fire should notify the ASM/Deck Captain, who immediately notifies the Stage Manager, or the House Manager. The Stage Manager notifies the House Manager of the situation. The House Manager (or Stage Manager if the House Manager is unavailable) will initiate the emergency procedures described above by calling Campus Police and following their instructions.
If evacuation is necessary, the House Manager will contact the Stage Manager to halt the performance. The Stage Manager will contact the ASM/Deck Captain to notify cast and crew members who are backstage. The Stage Manager will have the house lights brought to full and the House Manager will step out onstage from the wings to announce the emergency and the evacuation procedure. If the House Manager is not available, the Stage Manager will make the announcement over the in-house public address system. Those on stage should stop their performance when they see the house lights come up and the House Manager appear on stage or hear the Stage Manager's announcement. The performers should calmly leave the stage from the nearest exit.
Panic should be avoided at all costs. The cast and crew should assist the House Manager or Stage Manager in evacuating the audience by holding doors, helping elderly or physically challenged patrons, and maintaining a sense of calm professionalism.
If a fire breaks out onstage during a Ransburg performance, the ASM/Deck Captain (or another designated crew member stationed stage right) should make sure performers and scenery are clear and lower the fire curtain immediately.
If a patron suffers an apparent heart attack, has a seizure, or undergoes any similar medical emergency, the House Manager should quickly go to that patron and assess the situation. If the patron desires and is able to leave the auditorium, the House Manager should assist him or her out and then initiate the emergency procedures described above by calling Campus Police and following their instruction. If the patron is unable or unwilling to leave the theatre, the House Manager should contact the Stage Manager to stop the performance and initiate the emergency procedures. The Stage Manager follows the steps outlined above of notifying cast and crew, bringing house lights up, and so on. Cast members on stage should calmly leave the stage via the nearest exit. The House Manager should make a very brief announcement when the house lights come up that there will be a slight delay in the performance.
If the emergency situation is rectified within a reasonable amount of time, the performance may continue. The House Manager should contact the Stage Manager and restart the performance as if it were the beginning of the show or after intermission. The Stage Manager chooses an appropriate moment prior to the point where the performance was halted and notifies the cast and crew. The Stage Manager makes sure all cast and crew members are set for restarting the performance and notifies the House Manager. After getting the go-ahead from the Stage Manager, the House Manager should step onto the stage from the wings and announce that the performance will begin in three minutes. The Stage Manager gives the cast and crew a three minute call followed by a two minute places call and the performance begins again. The Stage Manager should follow the typical house to half, house out, lights up pattern used at the beginning of the show.
Again, panic should be avoided. In the unfortunate instance that a performance must be stopped, the cast and crew should remain calm and focussed in order to be ready to recommence on short notice.
Fire/Disaster Evacuation Procedures for Esch Hall
Esch Hall is designed as a fire-resistant building but circumstances can develop so that it is necessary to empty the building of all people rapidly. When the fire alarm sounds, ALL people (including audience members in Ransburg Auditorium or the Studio Theatre) are to evacuate the building. During productions or work calls, after evacuating the building all theatre personnel should meet at the bell tower. The following are the official University procedures:
1. All persons on the ground floor will walk to the SOUTHWEST stairway (nearest the elevator) and leave the building by that exit. (Studio Theatre, Shops, Dressing Rooms, etc.)
2. All persons on the first floor, south side, will walk to the SOUTHWEST stairway and leave the building by that exit. (Ransburg Auditorium)
3. All persons on the first floor, west and north sides, will walk to the NORTHWEST exit and leave the building by that exit. (Ransburg Auditorium)
4. All persons on the second floor, south side, will walk to the SOUTHEAST stairway and leave the building by that exit. DO NOT USE THE ELEVATOR.
5. All persons on the second floor, north side, will walk to the NORTHWEST stairway and leave the building by that exit. DO NOT USE THE ELEVATOR.
6. All persons on the second floor, west side, will walk to the SOUTHWEST stairway and leave the building by that exit. DO NOT USE THE ELEVATOR.
7. All persons on the third floor will walk to the NORTHWEST stairway and leave the building by that exit. DO NOT USE THE ELEVATOR.
8. Students, faculty, and staff may return to the building when it is deemed safe to do so by competent authority.
Work Call/Shop Safety/Cleanliness
Cleanup will begin 15 minutes prior to the end of each and every Work Call: all tools, power cords, hardware, and other materials will be put away in their proper locations (Shop, Light Room, etc.); uncompleted projects will be neatened and moved to unobtrusive and safe locations in the shop; and the shop floor will be cleared and swept. All students are expected to straighten up their own work space, but also to help with the general cleanup. When working in one of the theatrical spaces, the same rules apply--all tools and materials must be put away and the floor cleared and swept. There is a small closet in the Studio Theatre for temporary storage of tools and materials in use in that space. The Road Box or tool storage area should be inventoried and all tools and equipment accounted for by the Shop Manager or crew chief prior to the end of all work calls. The Shop Manager or crew chief is responsible for the cleanliness and safe condition of the shop and work spaces.
Before or during performances in Esch Hall, upon hearing the severe weather siren or being notified of a tornado alert, the House Manager notifies patrons and directs them to shelter in the central hallway in the basement until the all-clear is given. If a performance must be interrupted, the procedure outline above should be followed. The House Manager contacts Campus Police to inform them of the situation and to receive further instructions
Auditioning is a talent and a skill to be practiced and developed throughout your career. The following are some suggestions:
Be prepared, be prepared, be prepared. If the audition calls for a memorized monologue, make sure the monologue is thoroughly researched, memorized, and worked. If you are to sing, make sure you know the music and lyrics cold. If you are doing readings from the script, find a copy beforehand, read it, and study it thoroughly.
To get as much experience as possible, audition whenever and wherever you can.
You are auditioning as soon as you walk in the room. Be courteous, open, honest, friendly, yet professional. Be yourself--your audition is meant to present the best possible you, not someone you would like to be or think the auditors are looking for.
First impressions are important--dress appropriately.
Find your light. As you gain experience, this will come naturally, but in the meantime, as you enter the audition space, note where the brightest light is located and stand in it. You will eventually be able to feel where the "hot spot" is and will be able to stand with your face in it. Auditors do not look favorably on actors who stand in the dark.
Wait patiently for your auditors' attention and then introduce yourself with confidence but not arrogance. Give the name of the play and the character, but not the author unless asked. Do not give a synopsis or other background information--the monologue should stand on its own. This is extremely important: Take a beat (but only a beat) to finish your introduction and to "take the stage" before starting your monologue.
Do not use full stage makeup, extensive costumes or props (except a chair).
If you are speaking to an imaginary scene partner, DO NOT "place" him or her onstage--especially not in a chair on stage. The auditors will look where you look and not at you.
You may consider making eye contact with the auditors, but do not invade their space, and especially do not make physical contact with them. Eye contact is one of the great controversies in audition training. Some believe you should never make eye contact with auditors because it forces them into your scene and an activity in which they do not wish to participate; some believe you should ask the auditors if it is permissible to make eye contact; and others insist eye contact makes the audition more personal. Whatever you decide, be consistent.
Choose a monologue suited to your age and "type." This requires serious self-reflection, self-awareness, and self-analysis on your part.
Do a monologue from a play you have done. Try piecing together a monologue from dialogue--delete the other characters' lines and you may find a unique monologue.
Be very wary of doing pieces from monologue books. Remember there are hundreds of other actors doing this same material. Never do a monologue from a book of monologues without reading and studying the entire play.
Clarify the requirements--for instance, if you are requested to do a classical piece ask, "When you say `classical' do you mean verse?"
Be prepared to sing without an accompanist. Always have a tape that is cued-up.
Keep strictly to the time limit--it is better to be under time than to run long. There may be a Stage Manager or Assistant at the audition with a stopwatch who will cut you off at the allotted time. If the limit is two minutes, your piece should be no longer than one minute and fifty to fifty-five seconds. This gives you some breathing room if disaster strikes and your dramatic pause turns into a Pinteresque silence as you search for your line. Auditors usually appreciate shorter yet captivating pieces, particularly after several days of grueling auditions. You will probably score more points for a brilliant one minute forty second monologue than for a mediocre one minute fifty-nine second one.
If you do go up on a line, GO ON. Do not apologize and ask to start again. The auditors have already heard the beginning of your piece once. Pick up from the next line you can remember. If you absolutely draw a blank, thank the auditors for their time, wish them a good day, and exit with confidence. This is particularly true if you blew the audition. There is nothing worse than an actor commenting on an audition. Remember, the auditors are not deaf--they can often hear screams of anguish and crashing furniture from the lobby even in the fifth row of the theatre.
This is extremely important: after finishing your monologue, take a beat to complete the moment. Then come to neutral (stand up if seated) and always sincerely thank the auditors for their time, wish them a good day, and exit with confidence. Remember, you are auditioning all the way out the door as well.
NEVER APOLOGIZE for your work in the theatre. "Don't say `sorry,' just don't do it again."
Have fun. If you are enjoying yourself, the auditors will enjoy watching you.
Code of Ethics
Part of the great tradition of the theatre is a code of ethics which belongs to every worker on the legitimate stage. This code, while tacit, has been observed throughout the centuries and will continue long after us. It is neither superstition, nor dogma, nor a statute enforced by law. It is an attitude towards craftsmanship, a respect for associates, and a dedication toward the audience. This code outlines a self-discipline which, far from robbing one of individuality, increases personal esteem and dignity through cooperation and common purpose. The result is perfection which encompasses all that is meant by "Good Theatre."
The Show Must Go On! I will never miss a performance.
I shall play every performance to the best of my ability, regardless of how small my role or large my personal problems.
I will respect my audience regardless of size or station.
I shall never miss an entrance or cause a curtain to be late by my failure to be ready.
I shall forego all social activities which interfere with rehearsals and will always be on time.
I shall never leave the theatre building or stage area until I have completed my performance.
I shall remember that my aim is to create illusion, therefore, I will not destroy that illusion by appearing in costume and makeup off stage or outside the theatre.
I will not allow the comments of friends, relatives or critics to change any phase of my work without proper authorization.
I will not alter lines, business, lights, properties, settings, costumes, or any phase of the production without consultation with and permission from the director.
I shall accept the director's advice in the spirit in which it is given for the director sees the production as a whole and my role as a portion thereof.
I shall look upon the production as a collective effort demanding my utmost cooperation, hence I will forego the gratification of ego for the demands of the play.
I will be patient and avoid temperamental outbursts, for they create tension and serve no useful purpose.
I shall respect the play and the playwright, remembering that "A work of art is not a work of art until it is finished."
I shall never blame my coworkers for my own failure.
I will never engage in caustic criticism of another artist's work from jealousy or an urge to increase my own prestige.
I shall inspire the public to respect me and my craft through graciousness in accepting both praise and constructive criticism.
I will use stage properties and costumes with care, knowing they are tools of my craft and a vital part of the production.
I will observe backstage courtesy and shall comport myself in strict compliance with rules of the theatre in which I work.
I shall never lose my enthusiasm for the theatre because of disappointment or failure for they are the lessons by which I learn.
I shall direct my efforts in such a manner that when I leave the theatre, it will stand as a greater institution.
(from the C.W. Post/Long Island University Department of Theatre and Film Handbook for Theatre Students, pg. 33)
Actors Theatre of Indiana
Booth Tarkington Civic Theatre
Buck Creek Players, Inc.
The Cabaret at The Columbia Club
Carmel Community Playhouse
Clowes Memorial Hall
Indiana Repertory Theatre
Mud Creek Players
New Harmony Project
Theatre on the Square
Asante Children's Theatre of Indianapolis, IN
Beef and Boards
Epilogue Players, Inc.
Madame Walker Theatre Center
Pike Performing Arts Center
Warren Performing Arts Center
Recommended Reading List
The following are readings with which every well-educated theatre artist should be familiar. Not every book or article may be readily available in the University of Indianapolis or Departmental Libraries.
Aeschylus: Oresteia, Seven Against Thebes
Aristophanes: Lysistrata, The Birds, The Frogs
Euripides: Medea, Trojan Women, Electra
Menander: The Grumbler
Plautus: The Twin Menaechmi
Sophocles: Oedipus Rex, Antigone, Oedipus at Colonus
Terence: The Brothers
Mystery of Adam
Quem Quaeritis Trope
Second Shepherd's Play
Beaumarchais: The Marriage of Figaro
Beaumont and Fletcher: The Maid's Tragedy
Calderon: Life is a Dream
Congreve: The Way of the World
Corneille: Le Cid
Dryden: The Conquest of Granada
Etherege: The Man of Mode
Farquhar: The Beaux' Stratagem
Ford: 'Tis Pity She's A Whore
Gay: The Beggar's Opera
Goethe: Faust, Part I
Goldoni: The Servant of Two Masters
Goldsmith: She Stoops to Conquer
Jonson: The Alchemist, Volpone
Kotzebue: The Stranger
Kyd: The Spanish Tragedy
Lessing: Miss Sara Sampson
Lillo: The London Merchant
Lope de Vega: Fuente Ovejuna (The Sheep Well)
Machiavelli: Mandragola (The Mandrake)
Marlowe: Dr. Faustus
Moliere: The School for Wives, The Misanthrope, The Miser, Tartuffe
Shakespeare: Hamlet, Othello, King Lear, Macbeth, Antony and Cleopatra, Richard III, Henry IV, Part I, The Merchant of Venice, Romeo and Juliet, A Midsummer Night's Dream, Julius Caesar, Much Ado About Nothing, Twelfth Night, The Taming of the Shrew, The Tempest
Sheridan: The Rivals, The School for Scandal
Tyler: The Contrast
Webster: The Duchess of Malfi
Wycherly: The Country Wife
Aiken: Uncle Tom's Cabin
Boucicault: The Octaroon, Rip Van Winkle
Buchner: Danton's Death
Chekhov: The Sea Gull, The Cherry Orchard, Three Sisters, Uncle Vanya
Dumas, fils: Camille
Gogol: The Inspector General
Gorki: The Lower Depths
Hauptmann: The Weavers
Hazlewood: Lady Audley's Secret
Ibsen: Peer Gynt, A Doll House, Ghosts, The Wild Duck, Hedda Gabler, The Master Builder
Jarry: Ubu Roi
Maeterlinck: The Intruder, The Blue Bird
Rostand: Cyrano de Bergerac
Sardou: A Scrap of Paper
Schnitzler: La Ronde
Scribe: A Glass of Water
Shaw: Arms and the Man, Man and Superman, Candida, Heartbreak House, Major Barbara, Saint Joan, Pygmalion
Strindberg: Miss Julie, The Father, Ghost Sonata, A Dream Play
Synge: The Playboy of the Western World, Riders to the Sea
Turgenev: A Month in the Country
Wilde: The Importance of Being Earnest
Albee: A Delicate Balance, The Goat or, Who Is Sylvia? The Man Who Had Three Arms, Seascape, Three Tall Women, Who's Afraid of Virginia Woolf? The Zoo Story
Anouilh: Antigone, The Lark, Waltz of the Toreadors
Apollinaire: The Breasts of Tiresias
Baraka (Jones): Dutchman, The Toilet, The Slave
Barber: Enchanted April
Barry: Philadelphia Story, Holiday
Beckett: Act Without Words I & II, Cascando, Come and Go, Endgame, Footfalls, Happy Days, Krapp's Last Tape, Ohio Impromptu, Rockaby, Waiting for Godot,
Brecht: Baal, Caucasian Chalk Circle, Drums in the Night, The Good Person of Szechuan, Life of Galileo, Mother Courage and Her Children, The Resistible Rise of Arturo Ui, Saint Joan of the Stockyards, Three-Penny Opera,
Busch: The Tale of the Allergist's Wife, Vampire Lesbians of Sodom, Psycho Beach Party
Churchill: Cloud 9, The Skriker, Top Girls, Vinegar Tom
Cocteau: The Infernal Machine
Coward: Blithe Spirit, Hay Fever, Present Laughter, Private Lives
Cruz: Anna in the Tropics
Duerrenmatt: The Visit, The Physicists
Fierstein: Torch Song Trilogy
Fo: Accidental Death of an Anarchist, We Won't Pay, We Won't Pay
Frayn: Copenhagen, Noises Off
Friel: Dancing at Lughnasa, Translations
Fugard: Blood Knot, A Lesson from Aloes, Master Harold and the Boys,
Genet: The Balcony, The Blacks, The Screens
Giraudoux: The Madwoman of Chaillot
Greenberg: Take Me Out
Guare: Landscape of the Body, House of Blue Leaves
Hampton: Les Liaisons Dangereuses, Sunset Boulevard
Hansberry: A Raisin in the Sun
Hare: Map of the World, Plenty, Pravda
Hellman: Another Part of the Forest, The Children's Hour, Little Foxes, Toys in the Attic
Henley: Crimes of the Heart, Miss Firecracker Contest, The Wake of Jamey Foster
Howe: Art of Dining, Coastal Disturbances, Painting Churches
Hwang: The Dance and the Railroad, FOB, M. Butterfly
Ionesco: The Bald Soprano, The Chairs, Exit the King, The Lesson, Rhinoceros
Inge: Come Back Little Sheba, Picnic, Bus Stop
Kaufman and Hart: The Man Who Came to Dinner, Merrily We Roll Along, Once in a Lifetime, You Can't Take It With You
Kushner: Angels in America: Millennium Approaches, Angels in America: Perestroika
Leight: Side Man
Letts: August:Osage County, Bug
Lindsay-Abaire: Good People, Rabbit Hole
Lorca: Blood Wedding, The House of Bernarda Alba
Lucas: A Light in the Piazza, Prelude to a Kiss
Ludlam: The Mystery of Irma Vep, Stage Blood, Turds in Hell
McDonagh: The Beauty Queen of Leenane, The Cripple of Inishmaan, The Lieutenant of Inishmore, The Lonesome West, The Pillowman, A Skull in Connemara
McNally: Master Class, Love! Valour! Compassion!, Corpus Christi
Miller: After the Fall, All My Sons, The Crucible, Death of a Salesman, The Ride Down Mt. Morgan, A View from the Bridge
Mamet: American Buffalo, Glengarry Glenross, Sexual Perversity in Chicago, Speed the Plow
Medoff: Children of a Lesser God
Norman: The Color Purple, Getting Out, 'night Mother, Red Shoes, The Secret Garden
O'Casey: Juno and the Paycock, The Plough and the Stars
Odets: Awake and Sing! Golden Boy, Rocket to the Moon, Waiting for Lefty
Osborne: Look Back in Anger
Pinter: Betrayal, The Birthday Party, The Caretaker, The Dumbwaiter, The Homecoming, Hothouse, Landscape, The Lover, No Man's Land, Old Times, The Room, Silence, A Slight Ache
Pirandello: Six Characters in Search of an Author, Right You Are, If You Think You Are,
Rabe: The Basic Training of Pavlo Hummel, Hurlyburly, Sticks and Bones, Streamers
Rice: The Adding Machine
Reza: Art, God of Carnage
Saroyan: The Time of Your Life
Sartre: No Exit
Shaffer: Amadeus, Black Comedy/White Liars, Equus, Lettice and Lovage, Royal Hunt of the Sun
Shanley: Beggars in the House of Plenty, Danny and the Deep Blue Sea, Doubt: A Parable, Four Dogs and a Bone, talian American Reconciliation
Shepard: Buried Child, Cowboy Mouth, Curse of the Starving Class, Fool for Love, Geography of a Horse Dreamer, A Lie of the Mind, Red Cross, Simpatico, Tooth of Crime, True West, La Turista
Sherwood: There Shall Be No Night
Simon: Barefoot in the Park, Biloxi Blues, Brighton Beach Memoirs, Broadway Bound, California Suite, Chapter Two, Come Blow Your Horn, The Good Doctor, The Goodbye Girl, Jake's Women, Laughter on the 23rd Floor, Last of the Red Hot Lovers, Lost in Yonkers, The Odd Couple, Plaza Suite, Prisoner of Second Avenue, Rumors, The Sunshine Boys
Soyinka: The Bacchae, The Strong Breed
Stoppard: Arcadia, Coast of Utopia, Hapgood, The Real Thing, Rosencrantz and Guildenstern are Dead, Travesties
Uhry: The Last Night of Ballyhoo, Driving Miss Daisy
Vogel: The Baltimore Waltz, How I Learned to Drive
Wasserstein: The Heidi Chronicles, The Sisters Rosensweig, Uncommon Women and Others
Weiss: The Investigation, Marat/Sade
Wertenbaker: Galileo's Daughter, Our Country's Good
Wilder: Our Town, The Skin of Our Teeth
Williams: Camino Real, Cat on a Hot Tin Roof, The Eccentricities of a Nightingale, The Glass Menagerie, The Milk Train Doesn't Stop Here Anymore, Night of the Iquana, The Rose Tattoo, A Streetcar Named Desire, Suddenly Last Summer, Summer and Smoke, Sweet Bird of Youth,
Wilson, A.: Fences, Gem of the Ocean, Jitney, Joe Turner's Come and Gone, King Hedley II, Ma Rainey's Black Bottom, The Piano Lesson, Radio Golf, Seven Guitars, Two Trains Running
Wilson, L.: The Fifth of July, Hot L Baltimore, Rimers of Eldridge
Wright: I Am My Own Wife
Appia: The Work of Living Art
Aristotle: The Poetics
Arnold, Richard: Scene Technology
Aronson: American Set Design
Artaud: The Theatre and Its Double
Avery, et al.: The London Stage, 1660-1800
Ball: Backwards and Forwards
Barton: Historic Costume for the Stage
Berry: The Actor and His Text
Bigsby: Twentieth-Century American Drama
Blunt: Stage Dialects
Boal: Games for Actors and Non-Actors
Brecht: "A Short Organum for the Theatre," "The Modern Theatre is the Epic Theatre"
Brockett: A History of the Theatre
Brook: The Empty Space
Campbell and Quinn: Reader's Encyclopedia of Shakespeare
Chinoy and Walsh: Women in American Theatre
Clark: European Theories of the Drama
Clurman: On Directing
Corson: Stage Makeup
Craig: On the Art of the Theatre
Craig: Design for the Theatre
Crowell Handbook of Classical Drama
Crowell Handbook of Modern Drama
Davis and Evans: Theatre, Children and Youth
Davis and Watkins: Children's Theatre
Esslin: Theatre of the Absurd
Goldberg: Children's Theatre
Gorelick: New Theatres for Old
Grotowski: Towards a Poor Theatre
Hainaux: Stage Design Throughout the World
Horace: The Art of Poetry
Jones, R.E.: The Dramatic Imagination
Matlaw: Modern World Drama
McCandless: A Method for Lighting the Stage
McGraw-Hill Encyclopedia of World Drama
Mielziner: Designing for the Theatre
Nagler: A Source Book in Theatrical History
Odell: Annals of the New York Stage
Ottemiller: Index to Plays in Collections
Oxford Companion to the Theatre
Parker and Smith: Scene Design and Stage Lighting
Pecktal: Design and Painting for the Theatre
Russell: Stage Costume Design: Theory, Technique, & Style
Simonson: The Stage is Set
Smith, Ronn: American Set Design 2
Spolin: Improvisation for the Theatre
Stanislavsky: An Actor Prepares, Building a Character, Creating a Role, My Life in Art
Stern: The Stage Manager's Handbook
Strindberg: "Preface" to Miss Julie
Styan: Drama, Stage, and Audience
Zola: "Naturalism on the Stage"
Performers should always have a résumé ready and eventually should have 8x10 black and white headshots available. Designers and technicians should have an updated portfolio available. A portfolio is a visual record of your artistic and creative work. You should make photographs of any scenery, props, or costumes you design, build or paint. You should include examples of your drafting, painting, designs, swatches, renderings, etc.
Second semester juniors are required to undergo a résumé/portfolio review that includes the presentation of their pictures/résumés or portfolios and audition monologues. At this time, advisors will discuss each student's career plans. Students are responsible for scheduling this review.
The following example is for reference only. If you plan to pursue both on-camera and theatrical work, you may want two different résumés with headings arranged in different orders to emphasize your experience in each area. You should consult with your agent(s) regarding their preferences and suggestions.
Do not have your home address or telephone number printed on your resumes. All contact should be through your agent(s). For theatre auditions, it is expected practice to hand write or stamp your telephone number on your printed résumé.
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Suggested Supplies List
The following are supplies that every Theatre major should own:
Non-Musical Theatre Performers Women
Black or Tan Character Shoes (required)
Rehearsal skirt or petticoat
Theatrical Makeup Kit (required)
Black lace up Dress Shoes (required)
Dark Sports jacket
Theatrical Makeup Kit (required)
Musical Theatre Performers Women
Black or Tan Character Shoes (required)
Theatrical Makeup Kit (required)
Black Oxford Jazz Shoe (required)
Dark Sports Jacket
Theatrical Makeup Kit (required)
It is strongly suggested that performers supply any special needs items in regards to Costume/Hair & Makeup
(e.g. Unusually large shoe or hat sizes, orthopedic shoes,etc.)
25' tape measure
Flat head screwdriver
Phillips head screwdriver
The following are supplies that you may want to possess for certain specialties:
Drafting board and supplies
Hot glue gun
The Ten Commandments of Theatre
I. The Director is God. Thou shalt not take notes from friends nor family, coaches nor critics.
II. Thou shalt not take the name of thy producer thy angel in vain, for he shall sign thy checks.
III. Remember thou keep holy the half-hour; keep in mind that an actor is never on time, an actor is always early.
IV. Honor thy author and thy composer, for in the beginning were the words and the notes.
V. Thou shalt not kill laughs nor step on lines; still, thou shalt pick up thy cues.
VI. Thou shalt not adulterate thy performance, for thy stage manager is always watching.
VII. Thou shalt not steal scenes nor focus nor props.
VIII. Thou shalt not bear false witness in thy bio nor résumé; indeed, thou shalt be truthful in thy entire performance.
IX. Thou shalt not covet thy neighbor's lines; for truly, there are no small parts, only small actors.
X. Thou shalt not covet thy neighbor's good fortune; for in fact, all actors must pay their dues.
This above all: The Show Must Go On
Mary McTigue, Acting Like a Pro (Cincinnati: Better Way Books, 1992) 119
ACTF (American College Theatre Festival)
This is a national organization that involves the viewing and adjudication of college productions as part of a competition at several levels. Outside adjudicators visit colleges to review productions, give feedback, and choose productions to advance to the regional festival held in January (one adjudicator for a nonparticipating production and two for a participating production). Chosen productions are performed at the regional festival where they undergo another round of adjudication. Regional winners travel to Washington, D.C. to perform at the Kennedy Center.
Irene Ryan Acting Scholarship--A school is eligible to nominate at least one actor from the production under consideration for the Irene Ryan Acting Scholarship competition.
You are encouraged to attend the regional festival to participate in workshops, meet other theatre students from around the region, and see productions from other colleges.
ATHE (Association for Theatre in Higher Education)
This is the national organization for Theatre educators. ATHE holds a national conference annually (usually in early August) comprised of workshops, performances, and scholarly paper presentations. There are numerous Focus Groups within the organization that provide programs for special interests such as acting, directing, playwriting, theatre history, etc. ATHE also includes an employment service that brings employers and prospective employees together at the national conference. Members receive a subscription to Theatre Journal.
ECTC (East Central Theatre Conference), MWTC (Midwest Theatre Conference), SETC (South Eastern Theatre Conference) and SWTA (South Western Theatre Association)
These are regional organizations for theatre professionals. They hold annual conventions comprised of workshops, performances, and panels, and sponsors auditions and technical interviews every spring that you are encouraged to attend. Professional and summer stock companies attend these audition/interviews.
Institute of Outdoor Drama
Established in 1963, The Institute of Outdoor Drama is a public service agency in the College of Arts and Sciences of The University of North Carolina in Chapel Hill. It is the only organization in the U.S. providing national leadership in fostering artistic and managerial excellence and expansion of the outdoor drama movement through training, research and advisory programs, and it serves as a national clearinghouse for more than 120 constituent theatre companies across the nation.
The outdoor historical dramas are original plays, often with music and dance, based on significant events and performed in amphitheaters located where the events actually occurred. Born in North Carolina, uniquely American and epic in scope, they focus on the people who shaped the heritage of the country, preserving and bearing witness to the great things we've accomplished as a state and nation. They are part of the travel and tourism industry, designed to attract families on vacation.
MidWest Theatre Auditions
Every year, usually in February, the Midwest Theatre Audition/Interviews are held at Webster University in St. Louis. Representatives from summer stock companies, graduate programs, and year-round theatres attend. There are acting, dance, and tech/design opportunities.
StrawHat is an organization that supports the careers of non-equity actors and technical artists looking to start and continue their professional careers in the theatre. Its main activity is to produce the StrawHat Auditions, which are held in New York every spring. Over three days, over 600 actors, 75 "techies" and staff from over forty theatres attend. Actors audition for available positions in the theatres' summer seasons while technical people interview for positions.
Unified Professional Theatre Auditions
Combined auditions held in Memphis, TN. For performers seeking paid year-round positions, paid internships, paid job-in employment.
U/RTA (University and Regional Theatre Association)
This is a national organization made up of Universities and Regional Theatres around the country. They hold annual audition/interviews for admission into 32 Master of Fine Arts degree programs and producing companies in New York, Chicago, and Los Angeles.
USITT (United States Institute of Theatre Technology)
This is a national organization for technical theatre and design artists. USITT holds yearly meetings and includes an employment service. Members receive a subscription to Theatre Technology.
Forms are available which are intended to facilitate the day to day operations of the Department of Theatre. They are intended to provide continuity and uniformity. Please use them whenever indicated.
Click on the links below to open the forms in a separate Acrobat Reader window. For the best printing, experiment with the "Page Scaling" settings in the "Page Handling" section of the Print dialogue box. Most forms should print best with a page scaling setting of "none."