Author Archives: Prof. Mendelowitz

Tumyaraq-qaa

Written and directed by Kavelina Torres. 
The UAF Department of Theatre & Film invited the community to a live studio-audience filming of the TV pilot Tumyaraq-qaa in the Lee H. Salisbury Lab Theatre from March 31st – April 2nd, 2023.

Click here for a PDF version of our playbill! 848kb – medium sized pdf.

Would you like to make a donation to support this production, and others like it?

Tumyaraq-qaa poster thumbnail
Live taping / studio audience poster.
Fairbanks Daily News-Miner article
The Fairbanks Daily News-Miner featured an article about “Tumyaraq-qaa” on 4/6/2023 – pdf
Sun Star Tumyaraq-qaa article
The UAF Sun Star (student newspaper) featured an article about “Tumyaraq-qaa” in their April edition. – pdf

Produced by Theatre/Film UAF, with generous support from UAF’s Department of Alaska Native Studies and Rural Development.

Photos follow the credits.

Bridge Crew Cast
Ellalluk, Captain ……………………………….……. Misty “Too Oozhrii” Nickoli
Atauciiq, First Mate………………………………………..…..…………… Kyle Moore
Naaq, Navigator………………………………………………. Donetta “Ditter” Tritt
Kaaktuŋa Communications Officer…………………… Sean Asikłuk Topkok
Suupaaq, Spiritual Advisor……………………………………………… David Leslie
Dr. Yuuncarista, Doctor…………………………………………… Debbie Mekiana
Earth Cast
Tekitua, Chief Engineer…………………………………………………………….……… Canaar Chanar
Tax Drone……………………………………………………………………………………….… Charlotte Gray
General……………………………………………………….………….………………..   Jaden Daniel Reed
World Leader 1………………….…………………………………………………………..  Kalesha Pearson
World Leader 2……………………………………………………………..…………….. William K. Rogers
World Leader 3………………………………………………………………………………. Theresa Sherron
World Leader 4……………………………………………………………………….…….…….    Ellen Lopez
World Leader 5…………………………………………………………………………….…  Kellie Bernstein
Squad…………….. August Cooper, Amanda Frantz, Patrick Rogers, Charlie Wolgemuth
Stage Production Team
Director & Writer…..………………………………………………………………….…… Kavelina Torres 
Ground Plan Design, Grip & Live Video Programmer …………………. Kade Mendelowitz 
Costume Design………………………………………………………….……………….… Stephanie Rivet 
Sound Design………………………….……………………………………………………… Flyn Ludington 
Props, Master Carpenter & Scene Shop Manager……………………..  Alex Gagne-Hawes 
Set Construction & Painters……….. Alex Armstrong, Alex Gagne-Hawes, Rori Kattnig
Stage Manager……………………………………………………………………….……….. Flyn Ludington 
Animation…………………………………….……………  Tyson Paris Hansen, Kade Mendelowitz
Production Manager………………………………………………………….…………….. Maya Salganek
Director of Photography…………………………………………………………………..  Maya Salganek
Producers………………………………………………………….  Maya Salganek, Kade Mendelowitz
Marketing/ Publicity…………………….. Maya Salganek, Kade Mendelowitz, Carrie Baker,
                                                                                                                  Tyson Paris Hanson
Costume Shop Manager…………………………………………………………………. Stephanie Rivet 
Costume Construction ……………………………….. Magnolia Altamirano, Steven Anderson,
                                        Michelle Bailey, Zorissa James, Vengre Pasilan, Stephanie Rivet
Board Operator ……………………………………………………………………………  Charlie Wolgemuth
Scenic Running Crew …………………………………………………………………………… Rori Kattnig
Linguistic Advisor……………………………………………….………………………………….  Lou Frenzl
Box Office Manager……………………………………………………………….… Sarah “Sam” Seifert
Box Office Ticketer ……………………………………………………………………………… Diana Berry
Film Production Team
Director ………………………………………………………………………………………….  Kavelina Torres
Executive Producer ……………………………………………………………………….    Charlene Stern
Producer & Film Set Instructor ……………………………………………………….   Maya Salganek
Production Designer …………………………………………………………………  Kade Mendelowitz
Casting …………………………………………………………………   Maya Salganek, Kavelina Torres
Technical Support……………………………………………………………………………..  Scott Hansen
1st AD/ Camera Switcher ……………………………………………………………………   Daisy Carter
Gaffer & Set Dresser ……………………………………………………………….   Alex Gagne-Hawes
Costume Designer …………………………………………………………………………  Stephanie Rivet
Camera Operators …………………  Bryant Womack, Jordan Gulbertson, Maya Salganek,
                           Molly Wilson, JB Brown, Naomi Green,  Hannah Greene, Eric Marshall,
                                             Payton Tobin,  Jaden Reed, Ben Rainwater, Kjrsten Schindler
Jib Operators ……………………. JB Brown, Payton Tobin, Kjrsten Schindler, Jaden Reed
Location Sound Recordist & Sound Designer …………………………………… Flyn Ludington 
Boom operator …………………………………………………….. Flyn Ludington, Tiffany Emmons
Sound Stage audio recordist ……………………………………   Scott Hanson, Seamus Knight
Script Supervisor …………………………………………………………. Nora Grochala, Jaden Reed
2nd AD ………………………………………………………………………          August “Austin” Cooper
Digital Image Transfer & Associate Editor ……………………………………………. Jaden Reed
Grip …………………………………………………………………………………………   Dawson Brannan
Editors ………………… Kade Mendelowitz, Maya Salganek, Jaden Reed, Flyn Ludington,
                                                                                                                                Daisy Carter

Photo Galleries – Production Photos and Behind the Scenes filming Earth.

Photo Galleries – Production Photos and Behind the Scenes filming Earth.

The Shape of Things

by Neil LaBute, Directed by Rachel Blackwell
February 24 – March 5, 2023 

Download the playbill. 710k PDF (pretty small)

Cast
Adam ………………………………………………………………………… Seamus Knight
Evelyn ……………………………………………………………………   Riley von Borstel
Phillip ………………………………………………….……………………  August Cooper
Jenny ………………………………………………………………………. Hannah Greene
The Shape of Things article previewThe Fairbanks Daily News-Miner featured an article about “The Shape of Things” – 199kb pdf (small)
Production Crew
Director …………………………………………………………………….. Rachel Blackwell
Writer ……………………………………………………………………………….. Neil LaBute
Set Design………………………………………………………………. Kade Mendelowitz
Costume Design …………………………………………………………  Stefanie Kramer
Lighting & Projection Design………………………………….. Kade Mendelowitz
Master Electrician ……………………………………………….. Alex Gagne-Hawes
Electricians………………………………..  Alex Armstrong, Alex Gagne-Hawes, Hannah Greene, Adrian Peterson, Seamus Knight
Sound Design ……………………………………………………………….. Frank Gamboa
Associate Producer & Casting Director ……………………………. Carrie Baker
Technical Director ………………………………………………….. Kade Mendelowitz
Stage Manager ………………………………………………………….. Kjrsten Schindler
Assistant Stage Manager ………………………………………..Deyanira Van Acker
Master Carpenter ………………………………………………… Alex Gagne-Hawes
Set Construction & Painters ……… Alex Armstrong, Alex Gagne-Hawes, Rori Kattnig
Costume Construction ……………………..Stefanie Kramer & Bryan Kramer
Dressers, Props and Flys ………….. Bethany Cohen & Charles Wolgemuth
Board Operator …………………………………………………………… Alex Armstrong
Scene Shop Manager …………………………………………….. Alex Gagne-Hawes
Costume Shop Manager………………………………………………. Stephanie Rivet
Theatre UAF Box Office Manager ……………………….. Sarah (Sam) Seifert
Box Office Ticketer ………………………………………………………… Diana Berry
Publicity …………………………………………………………………. Kade Mendelowitz
The Shape of Things at Theatre UAF
Featuring (l-r standing) Hannah Greene, Seamus Knight, Riley von Borstel, and August Cooper, 
Directed by Rachel Blackwell (seated).
The Shape of Things at Theatre UAF
Featuring (l-r standing) Hannah Greene, Seamus Knight, Riley von Borstel, and August Cooper,
Directed by Rachel Blackwell (seated).

Seminar

Seminar poster
Seminar Poster

a comedy by Theresa Rebeck
directed by Tom Robenolt
March 25 – April 10, 2022

The Cast:
Douglas-Kris Luddington
Kate-Sarah Williams
Izzy-Charlotte Gray
Martin-Charles Wolgemuth
Leonard-Bruce Hanson
ASM/Female understudy-Isabelle Nygren
ASM/Male understudy-August Cooper
Production Team:
Director – Tom Robenolt
Set & Lighting Design – Kade Mendelowitz
Costume Design – Stephanie Rivet
Sound Design – Adam Gillette
Props & Scene Shop Manager – Adam Gillette
Stage Manager – Steven Anderson
Producer – Kade Mendelowitz
Associate Producer & Casting Director – Carrie Baker
Box Office & Marketing – Tom Robenolt
Seminar review from the Fairbanks Daily News-Miner
Care to read the review?

Download the Playbill/Program here. 1.25mb pdf.

The Misanthrope production poster

The Misanthrope

Adapted by Timothy Mooney – Based on the play by Molière – Directed by Michael Shaeffer.

November 12-21, 2021

The Cast:
Alceste-Kris Luddington
Philinte-David Salado
Celimene-Riley Von Borstel
Eliante-Theresa Sherron
Arsinoe-Rachel Blackwell
Oronte-Eugene Cole
Clitandre-Sarah Williams
Acaste-Paloma Polanco
DuBois/Basque-Isabelle Nygren
The Guard-August Cooper
Production Team
Director – Michael Shaeffer
Set Design & Scene Shop Manager – Adam Gillette
Costume Design & Costume Shop Manager – Stephanie Rivet
Lighting Design – Kade Mendelowitz
Sound Design – Michael Shaeffer
Producer – Kade Mendelowitz
Stage Manager – Valeria Zamora

Pride & Prejudice

Pride and Prejudice production poster
Pride and Prejudice production poster
CAST:PRODUCTION TEAM :
Elizabeth “Lizzy” Bennet –  Isabelle Nygren
Fitzwilliam Darcy -Luke Williams
Jane Bennet – Riley von Borstel
Mary Bennet – Jared Olin
Lydia Bennet – Jessica Reed
Mr. Bennet – Michael Shaeffer
Mrs. Bennet – Paloma Polanco
Charles Bingley – Jared Olin
Caroline Bingley – Flyn Ludington
Charlotte Lucas – Kellie Bernstein
Mr. Collins – Steven Anderson
George Wickham – Charles Wolgemuth
Lady Catherine DeBourgh – Siri Tuttle
Anne DeBourgh – Paloma Polanco
Servant – Adam Gillette
Director – Rebecca George 
Scenographer & Video Editor – Kade Mendelowitz
Costume Design – Amanda Casterline
Sound Design – Flyn Ludington & Cody Peters
Dialect Coach – Carrie Baker
Producer – Carrie Baker and Kade Mendelowitz
Choreographer – Jay Paggi-Howe
Stage Manager – Mahala Gale
Props Master & Scene Shop Manager – Adam Gillette
Costume Shop Manager- Stephanie Rivet
Audio/Video Technical Support – Maya Salganek

THE STORY:

It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.

Pride and Prejudice by Jane Austen

“Despite these limitations, to produce a play as elaborate as a virtual “Pride and Prejudice” during the pandemic is an absolute achievement.”
Read the full review (pdf).

“This isn’t your grandmother’s Austen! Bold, surprising, boisterous, and timely, this P&P for a new era explores the absurdities and thrills of finding your perfect (or imperfect) match in life. The outspoken Lizzy Bennet is determined to never marry, despite mounting pressure from society. But can she resist love, especially when that vaguely handsome, mildly amusing, and impossibly aggravating Mr. Darcy keeps popping up at every turn?! Literature’s greatest tale of latent love has never felt so theatrical, or so full of life than it does in this effervescent adaptation. Because what turns us into greater fools…than the high-stakes game of love?”

Dramatists Play Service

Poster for SKM

She Kills Monsters: Virtual Realms

Review by the Fairbanks Daily News-Miner

by Qui Nguyen
directed by Tom Robenolt

December 4-12, 2020
Was available for streaming after the purchase of a “viewing link”.

CAST:PRODUCTION TEAM :
Narrator & Farrah the Fairy – Flyn Ludington
Tilly Evans – Emily Ross
Agnes Evans – Josie Adasiak 
Chuck – Luke Williams
Vera – Paloma Polanco
Miles – Jared Olin
Kaliope/Kelly – Melissa Buchta
Lilith/Lilly – Melia Hackney
Orcus/Ronnie – Charles Wolgemuth
The Great Mage Steve – Zachary Mason
Evil Tina – Miranda Reynolds
Evil Gabbi – Sarah Wallace
Director – Tom Robenolt
Producer/ Casting Associate: Carrie Baker
Scenographer & Animation/Visual Effects Designer – Kade Mendelowitz
Costume Designer – Amanda Casterline
Props Designer – Adam Gillette
Sound Designer – Flyn Ludington 
Video Editor- Kade Mendelowitz
Assistant Video Editors- Maya Salganek, Mahala Gale
Assistant Scenography – Maya Salganek  
Stage Manager – Mike Kampen 
Assistant Stage Managers – Steven Anderson, Jared Olin
Scene Shop Manager – Adam Gillette
Costume Shop Manager- Stephanie Rivet
Trailer for Theatre UAF’s production of She Kills Monsters: Virtual Realms, edited by Mahala Gale.

A short film by Kade Mendelowitz
Premiered November 2, 2019

“A Night for Conversation” is the story of William and Julia, a young married couple who seem to have it all: a nice home, a good income and a beautiful daughter. But there is a dark and unhappy side to the family – and Julia soon finds herself trapped in an emotional and physically abusive relationship, fearing for her life.

“A Night for Conversation” – full movie, 38 minutes.
Director
Writer
Executive Producer
Producer
Producer
Co-Producer
Kade Mendelowitz
Kade Mendelowitz
Kade Mendelowitz
Maya Salganek
Pete Van Nort
Sam Thompson
A Night for Conversation poster
Production Poster
Cast
Julia
William
Frank
Kathy
Tim
Brenda
Natalie
Peter
Dr. Rita
Father Gengulphus
Jude (Supervisor)
Diana 1
Diana 2
Blair
Pub Waitress
Bartender
Bar Patrons
On Date
Bar Patron
Mary Conlin
Darren Napoli
Jared Olin
Skyler Borane
Eric Barragan
Nicole Cowans
Nadia Nelson
Adam Gillette
Kellie Bernstein
Sam Thompson
Peter Van Nort
Kaiya Gillette
Ana Vas
Kate Casterline
Heli Valkama
Chris Garber-Slaght,
Frank Chythlook
& Emily Ross
Freddy Gryder

Interviews with the cast, behind the scenes featurettes.


Mary Conlin plays Julia

Darren Napoli plays William

Nicole Cowans plays Brenda

2 minutes with Writer / Director
Kade Mendelowitz

Behind the Scenes making
“A Night for Conversation”

Trailer – 30 seconds
We’re part of the Internet Movie Database!

Credits continue

Director of Photography Mika McCrary
Production Designer Keara Anderson
Production Designer Keziah Anderson
Editor Mackyle Bogachoff
CGI & Post Prod. Supervisor Kade Mendelowitz
Costume Designers Stephanie Rivet & Lara Lotze
Casting Director Carrie Baker, SAG-AFTRA
First Assistant Director Kyleigh Huntsman
Second Assistant Director Luke Alexander Williams
Story Editor Sam Thompson
Assistant Story Editors Keziah Anderson, Andrew Glynn
Make-Up & Hair Lara Lotze
Assistant Make-Up Artists Amanda Casterline, Keara Anderson, Keziah Anderson
A Camera Operator Andrew Glynn
1st Assistant Camera Daniel Montague
2nd Assistant Camera Sam Thompson
B Camera Operator Pete Van Nort
C Camera Operator Josh Chavez
Digital Imaging Tech, Stills Ian Borowski
Sound Mixer John Huynh
Boom Operator Fischer Knapp
Utility Sound Heli Valkama
Second Sound Zong Moua
Script Supervisor Kelsey Nore
Assistant Script Supervisor Kelsey Charlie
Art Dept. Coordinators Keara Anderson
Art Dept. Coordinators Keziah Anderson
Prop Maker Keara Anderson
Prop Maker Keziah Anderson
Art Assistants David Anderson, Adam Gillette
Prop Graphic Designers Mika McCrary, Sam Thompson, Heli Valkama
Gaffer Daniel Walker (XLVII)
Chief Lighting Tech Colby Freel
Key Grip Garrett Wilson
G & E PA Zach Locklear
Location Manager Chris Garber-Slaght
Key Set PA Eric Barragan
Set PA Chris Garber-Slaght
EPK, BTS Interviews, Website Pete Van Nort
EPK, BTS & Additional Stills Ian Borowski, Josh Chavez
Production Office Coord. Amanda Casterline
Music
“3 Seasons Grace” – Josh Eagle (ASCAP)
“My Blue Trick” – Stephen Landon & Joseph Michael McGregor (BMI)
“Centerline” – Kevin Harris (ASCAP)
“Change in Time” – Mark Chosak (BMI)
“Waltz For Josie” – Evelyne Datl (SOCAN)
“Down Home Funk” – Stephen Landon & Joseph Michael McGregor (BMI)
“Carol of the Bells” – Peter Wilhousky – (Digital Juice)
“The Little Drummer Boy” – Katherine Kennicott Davis – (Royal Rites)
“No Life” – Josquin des Pres, Nova Page & Fabien Renoult (BMI)
“Find The Way Home” – Jean Baptiste Bocle (ASCAP)
“Night Watch” – Jack Waldenmaier (BMI)
“Abandoned ” – Pierre Gerwig Langer (SESAC)
“Investigation” – Pierre Gerwig Langer (SESAC)
“Warning Signs” – Steve Skinner (BMI)
“No Life” – Josquin des Pres, Nova Page & Fabien Renoult (BMI)
Special Thanks
David Anderson
Botanical Gardens – UAF – Matthew Carrick and Katie Dikristina
Colville House – UAF Facilities Services
Hess Village Playground – Robin Johnson
Tanya Mendelowitz
Multimakers Multimedia
UAF Bowling Alley – Ryan Keele
UAF Clinic – Dr. BJ Aldrich
UAF Pub – Michael Willis
UAF Pub Parking – Sharon Dunham, Edward Tinajero
Chancellor Daniel M. White

Dead Man’s Cell Phone

Dead Man's Cell Phone official poster
Dead Man’s Cell Phone official poster

Dead Man’s Cell Phone by Sarah Ruhl directed by Carrie Baker
March 29 – April 7, 2019

CAST:
Jean – Emily Ross
Gordon – Heath Robertson
Dwight – Jared Olin
Mrs. Gottlieb – Siri Tuttle
Hermia/Stranger/Carlotta – Mary Conlin
Ensemble – Keara Anderson, Keziah Anderson, Eric Barragan, Sam Thompson

PRODUCTION TEAM :
Director  – Carrie Baker
Set Designer – Lara Lotze
Costume Designer – Amanda Casterline
Lighting & Projection Designer – Kade Mendelowitz
Sound Designer – Andrew Cassel
Stage Manager – Colby Freel

This promotional video was created by two FLPA students who were also part of the production.
A review of our production by the Fairbanks Daily News-Miner. Click this for an easy-to-print PDF.

Avenue Q

Ave-Q-Posterpresented by Interior Independent Theatre and Theatre UAF
November 8-18, 2018

Book by Jeff Whitty 
Music & Lyrics by Robert Lopez & Jeff Marx
Based on Original Concept by Robert Lopez and Jeff Marx
Directed by Gwendolyn P. Brazier
Orchestration & Arrangements by Stephen Oremus
Musical Direction by Scott Stephen Hansen

Brian ……………………………………………………………. Paul Adasiak
Christmas Eve …………………………………………………Tana Fudge
Gary Coleman ………………………………………….. Laquita Deans
Katie Monster ………………………………………….. Elsbeth Cheyne
Lucy T. Slut………………………………………………. Kellie Bernstein
Mrs. Thistletwat………………………………… Amanda Torgerson
Nicky………………………………………………………. David Martinson
Princeton ………………………………………………….. Bill Torgerson
Rod …………………………………………………………….. Bill Torgerson
Trekkie Monster …………………………………… David Martinson
Boxes/Bad Idea Bear 1 ……………………….. Amanda Torgerson
Boxes/Bad Idea Bear 2 ……………………………… Kayla Gilchrist

Director ………………………………………… Gwendolyn P. Brazier
Musical Director ……………………………………….. Scott Hansen
Stage Manager ……………………………………… Isabella Sellers
Producers ……………… Carrie Baker, Gwendolyn P. Brazier
Technical Director ……………………………………. Adam Gillette
Set Design …………………………………………………… Adam Gillette
Set Construction …………… Adam Gillette, Freddy Gryder
Costume Design ……………………………………….. Stephanie Rivet
Costume Construction ………………………….. Stephanie Rivet
Puppet Design ………………………………………………….. Jeff Nepple
Puppet Construction… Maite Agopian, Gwendolyn Brazier, David Martinson
Lighting design ………………………………………………. Colby Freel
Assistant Lighting designer ……………………….. Mary Conlin
Master Electrician ………………………………………. Mary Conlin
Electricians .. Ian Borowski, Mary Conlin,  Colby Freel, Adam Gillette, Freddy Gryder, Kade Mendelowitz, Paloma Polanco, Stephanie Rivet, Emily Ross, Daniel Walker, Garrett Wilson
Sound Design …………………………………………………. Josh Bennet
Projection Artist ………………………………………….. Lara Lotze
Props …………………………………. Colby Freel, Isabella Sellers
Board Operators ……………………………………………. Emily Ross
Follow Spot Operator ………. Mary Conlin, Darren Napoli
Scene shop manager …………………………………. Adam Gillette
Costume Shop Manager …………………………. Stephanie Rivet
Theatre UAF Box Office Manager ….. Amanda Casterline
Design Mentor/ Publicity……………………. Kade Mendelowitz

Article - News-Miner Avenue Qt

The Fairbanks Daily News-Miner did an article about “Avenue Q”. Click thumbnail to read the PDF.

Review - News-Miner Avenue Qt

Read the Fairbanks Daily News-Miner official review about “Avenue Q”. Click thumbnail to read the PDF.

A Midsummer Night’s Dream

By William Shakespeare.
Guest director Andrew Cassel.
March 23-April 8, 2018.

[su_spacer size=”40″]

Cast:

The Course of True Love

The Athenians featuring (l-r) Ariana Polanco, Darren Napoli, Siri Tuttle, Rachel Blackwell, Michael Shaeffer, Brittany Bowling, Jared Olin and Elsbeth Cheyne

The Course of True Love
Theseus…Michael Shaeffer
Hippolita…Rachel Blackwell
Egeus…Siri Tuttle
Philostrate…Brittany Bowling
Hermia…Ariana Polanco
Demetrius…Jared Olin
Lysander…Darren Napoli
Helena…Elsbeth Cheyne

[su_spacer size=”40″]

The Players

The Players featuring (l-r) Lara Lotze, Alexander Gloger, Eric Heyne, Sam Thompson, Eugene Cole and Jessica Reed (sitting)

The Players
Peter Quince…Eric Heyne
Nick Bottom…Alexander Gloger
Francis Flute…Sam Thompson
Robin Starveling…Eugene Cole
Snug…Jess Reed
Snout…Lara Lotze
[su_spacer size=”40″]

Fairy Land

The Fairies featuring (Clockwise) Tim Sackett, Annabel Heyne, Brittany Bowling, Lily Larson, Audrey Fox and Kellie Bernstein.

Fairy Land
Puck…Annabel Heyne
Cobweb…Brittany Bowling
Mustard-seed…Tim Sackett
Pease-blossom…Audrey Fox
Oberon…Lily Larson
Titania…Kellie Bernstein

[su_spacer size=”40″]

Review by the News-Miner

Care to read the review?

PRODUCTION TEAM :
Director – Andrew Cassel
Producer/ Fight Choreographer – Carrie Baker
Set Design – Adam Gillette
Costume Design – Jay Howe
Lighting Design – Colby Freel
Sound Design – Chris George
Design Mentor & Publicity – Kade Mendelowitz
Stage Manager – Valerie Stilipec
Assistant Stage Manager – Natilly Hovda

This Girl Laughs, This Girl Cries, This Girl Does Nothing

This Girl Laughs Posterby Finegan Kruckemeyer
Directed by guest artist Abigail Van Patter
February 8-18, 2018

CAST:
Albienne: Emily Ross
Carmen: Paloma Polanco
Beatrix: Sarah Williams
Narrator: Mary Conlin
Father: Freddy Gryder

CREW:
Set, Lighting, & Projection Designer: Lara Lotze
Costume Designer: Frederica Matumeak
Stage Manager: Isabella Sellers

Featuring (left-right) Mary Conlin, Emily Ross, Sarah Williams, Freddy Gryder, and Paloma Polanco.

This Girl Laughs News-Miner review

This Girl Laughs News-Miner review (click image for easy-to-print PDF)

Winter Shorts – Fall, 2017

Winter Shorts poster, Fall 2017The Winter Shorts – fall, 2017
November 10-19, 2017

Presented by the UAF Student Drama Association featuring:
The Writer by Chip Bolcik, directed by Freddy Gryder
Over the Line by Freddy Gryder, directed by Adam Gillette
Home by Vinecia Coleman, directed by Mary Conlin
Ace by Frederica Matumeak, directed by Lara Lotze

 

Spring Shorts – 2017

Spring Shorts
April 21 & 22, 2017
A collection of one-acts written by Kavelina Torres

“Little Bits” by Kavelina Torres, directed by Amanda Casterline
“Gabby’s Descent” by Kavelina Torres, directed by Emily Ross
“Cacetugmi” by Kavelina Torres, directed by Frederica Matumeak
Readers Theatre:
“Coffee” by Kavelina Torres, directed by Nancy Nguyen
“That Time Last Summer When…” by Kavelina Torres, directed by Nancy Nguyen
“Jin and Baron” by Kavelina Torres, directed by Amanda Casterline

 

Five Women Wearing the Same Dress

Five Women Wearing the Same Dress poster

Production poster

“Five Women Wearing the Same Dress” by Alan Ball
Directed by Carrie Baker
March 24 – April 2, 2017

Cast
Frances……………………………Natilly Hovda
Meredith……………………….Sarah Williams
Trisha…………………………..Meghan Fowler
Georgeanne………………………Jill Shipman
Mindy…………………………….Brandi Larson
Tripp………………………………….Jared Olin

Photos follow the Production Crew listing.

Director… Carrie Baker
Set Designer… Kade Mendelowitz
Technical Director… Adam Gillette
Carpenters… Mary Conlin, Freddy Gryder
Costume Designer… Amanda Casterline
Costume Shop Supervisor… Jerene Mosier
Costume Construction… Lara Lotze ,Frederica Matumeak and Jerene Mosier
Lighting Designer… Colby Freel
Electricians… Elsbeth Cheyne, Colby Freel, Lara Lotze, Frederica Matumeak, Kailey Miranda and Emily Ross
Sound Designer… Andrew Cassel
Props Master… Kailey Miranda
Assistant Director / Understudy… Nancy Nguyen
Stage Manager… Emily Ross
Assistant Stage Managers… Amanda Casterline and Bella Sellers
Marketing / Box Office… Nannette Pierson
Poster Designer / Social Media Director… Kade Mendelowitz
Casting Director / Vocal Coach… Andrew Cassel

Official review from the Fairbanks Daily News-Miner

Official review from the Fairbanks Daily News-Miner

“Winter Shorts” – Fall 2017

October, 2016
The Winter Shorts, Fall 2017 included:

A Winter Conversation Written and Directed by Nancy Nguyen
Surface Break Written by Nate Cole, directed by Ariana Polanco
The Next Mrs. Jacob Anderson Written Written by Ann Wuehler, directed by Erlee Hjellen
The Stephen King Cameo Written Written by Michael Shaeffer, directed by Jill Shipman
Tipping Point Written by Paul McKinley, directed by Amanda Casterline

Cat on a Hot Tin Roof

Cat on a Hot Tin Roof production poster“Cat on a Hot Tin Roof” by Tennessee Williams
Directed by Rebecca George
April 15-24, 2016

BRICK…………………………………………………..Jaron Carlson
MARGARET…………………………………………..Mary Conlin
BIG DADDY………………………………………….Steve Mitchell
BIG MAMA…………………………………………………Siri Tuttle
MAE…………………………………………………Katrina Kuharich
GOOPER………………………………………………Thomas Petrie
DIXIE……………………………………………………….Molly Cable
TRIXIE………………………………………………………Lizzy Cable
SONNY……………………………………………………Josie Adasiak
POLLY………………………………………………Charlotte Phillips
DOC BAUGH……………………………………Michael Shaeffer
REVEREND TOOKER………………………..Sam Thompson

Photos follow the production crew listing.

Read the official review of the production.

Read the official review of the production.

Would you care to read the article written by the Fairbanks Daily News-Miner about the production?

Would you care to read the article written by the Fairbanks Daily News-Miner about the production?

Director…Rebecca George
Scenic Designer…Adam Gillette
Costume Designer……Amanda Casterline
Lighting Designer…Kade Mendelowitz
Sound Designer…Chris John George
Stage Manager…Andrew Cassel
Assistant Stage Manager, Prop Master…Ben Coffroth
Technical Director & Master Electrician….Adam Gillette
Sound & Light Board Operator….Carl Sage
Scene Shop Manager..Adam Gillette
Scene Shop Assistants…Katrina Kuharich, Thomas Petrie
Carpentry Crew……..Wally Drumhiller, Mary Conlin, Carl Sage
Costume Shop Manager…..Jerene Mosier
Costume Shop Assistants..Amanda Casterline, Stephanie Rivet
Wardrobe & Makeup Supervisor…Frederica Matumeak
Hair Supervisor….Kaylee Larson
Costume Stitchers…Amanda Casterline, Stephanie Rivet, Linnea Doumas, Frederica Matumeak
Publicity Photographers.Kade Mendelowitz & Nannette Pierson
Box Office Manager / Public Relations / Poster Design..Nannette Pierson
Box Office Assistant.. Stephanie Rivet
House Manager/Head Usher… Ariana Polanco

Closer

Closer poster

Left to right: Brandi Larson, Mallory Smyth, Katrina Kuharich and Andrew Cassel star in “Closer”

“Closer”

Written by Patrick Marber
Directed by Ian Buoncore

Presented by the UAF Department of Theatre & Film February 12-21, 2016

Set Designer: Carl Sage
Costume Designer: Jerene Mosier
Lighting Designer: Kade Mendelowitz
Sound Designer: Richard Atkin
Stage Manager: Ariana Polanco

Cast
(in order of appearance)
Alice Katrina Kuharich
Dan Mallory Smyth
Larry Andrew Cassel
Anna Brandi Larson

Fairbanks Daily News-Miner did an article about the production.

Fairbanks Daily News-Miner did an article about the production. (PDF)

Official Review

Official Review (pdf)

UAF Sun Star did a story (pdf)

UAF Sun Star did a story (pdf)

 

“Winter Shorts” Fall, 2015

Winter Shorts Poster Fall, 2015

Poster by Sam Thompson

This year’s Winter Shorts consists of three distinct segments: Antigone, Devised, and Ground Squirrel Improv.

December 11-13, 2015

Antigone, by Sophocles, is a classic tragedy set in the aftermath of a civil war in the Greek city state of Thebes. It details the consequences arising from Antigone’s choice to defy an edict from the new king Creon banning any memorial for Polyneices, one of the two royal brothers who were both slain in the war. The production is directed by UAF Senior Theatre major Carl L Sage, who also serves as the designer of all the shows technical aspects (scenery, lighting, and costumes). With the assistance of a production grant from the University of Alaska Fairbanks office of Undergraduate Research and Scholarly Activity (URSA),

Winter Shorts 2015 News-Miner Article

The Fairbanks Daily News-Miner featured a blurb on the production, Dec. 10, 2015.

Antigone is meant to serve as a capstone for Mr Sage’s undergraduate theatrical education. The productions ensemble based cast features Elsbeth Cheyne as Antigone, Mary Conlin as Chorus B, Roxy Lane as Teiresias/Messenger, Tristan Matson as Guard/Haemon, Emily Ross as Chorus A, Andrew Vey as Creon, and Justine Webb as Ismene/Eurydice.

Devised is a collaboratively created theatrical piece, created and choreographed by performers Cynthia Jones, Katrina Kuharich, and Sierra Trinchet. Using music and motion, Devised explores the themes of growth and self-discovery.

Ground Squirrel Improv is a locally based improvisational comedy troupe. Troupe members Elsbeth Cheyne, Eugene Cole, Skyler Evans, Andrew Graham, and Andrew Vey draw on audience input to create spur of the moment comedy.

Stop Kiss

“Stop Kiss”

Stop Kiss production poster

Stop Kiss production poster

Written by Diana Son
Directed by Carrie Baker

Presented by the UAF Department of Theatre & Film October 30-November 8, 2015

Set & Lighting Designer: Kade Mendelowitz
Costume Designer: Stephanie Sandberg
Sound Designer: Chris John George
Stage Manager: Colby Freel

Cast
(in order of appearance)
CALLIE Katrina Kuharich
SARA Sierra Trinchet
DETECTIVE COLE Nate Cole
MRS. WINSLEY/NURSE Cynthia Jones
GEORGE Corey DiRutigliano
PETER Mallory Smyth

Review from the Fairbanks Daily News-Miner

Review from the Fairbanks Daily News-Miner

Review from the Sun Star

Review from the Sun Star

"Stop Kiss" article in the Fairbanks Daily News-Miner

“Stop Kiss” article in the Fairbanks Daily News-Miner

Assistant Directer: Sam Thompson
Assistant Stage Managers: Mary Conlin, Andrew Glynn, Ariana Polanco, Paloma Polanco

Video spotlights are after the production photos below:


[su_youtube url=”https://www.youtube.com/watch?v=AyVUlfFf-rM”]



The Ash Girl

Ash Girl Poster“The Ash Girl”

Written by Timberlake Wertenbaker
Directed by Brian EG Cook

Presented by the UAF Department of Theatre & Film April 17-26, 2015


Cast:

  • Carrie Baker as Sadness
  • Kellie Bernstein as Gluttontoad
  • Melissa Buchta as Fairy
  • Molly Cable as Mouse 3
  • Elsbeth Cheyne as Slothworm
  • Amelia Cooper as Greedmonkey
  • Nicole Cowans as Ashgirl
  • Leilani Eames as Mouse 1
  • Freddy Gryder as Envysnake
  • Marley Horner as Prince Amir
  • Cynthia Jones as Angerbird
  • Brian Kerley as Man in the Forest
  • Katrina Kuharich as Ruth
  • Jessica MacLeod as Stepmother
  • Sambit Misra as Paul
  • Nancy Nguyen as Judith
  • Charlotte Phillips as Mouse 2
  • Ariana Polanco as Princess Zehra
  • Paloma Polanco as Owl
  • Mallory Smyth as Pridefly
  • Sierra Trinchet as Lust
  • Ethan Whitfield as Otter

Production Team

  • Director and Scenic Designer: Brian Cook
  • Costume Designer: Bethany Marx
  • Lighting Designer: Kade Mendelowitz
  • Sound Designer: Chris John George
  • Stage Manager: Ian Buoncore

Saucy Jacks and When All Else Fails

Winter Shorts LogoTwo one-act plays and some improv! UAF English Major Grace McCarthy’s “When All Else Fails”, and esteemed local playwright Michael Shaeffer’s “Saucy Jacks”, accompanied by improv from our very own Ground Squirrel Improv Troupe! Each play is directed, performed, designed, and crewed by UAF students.

When All Else Fails“When All Else Fails” by Grace McCarthy
Directed by Ian Buoncore
Featuring (l-r) Theodore Hooker, Mallory Smyth, Katrina Kuharich, Nancy Nguyen and Elsbeth Cheyne.
Set design & Technical Direction by Marley Horner
Costume design by Nicki Karl
Lighting design by Matt Hutter
"Saucy Jacks" by Michael Shaeffer. Directed by Tyler McClendon.“Saucy Jacks” by Michael Shaeffer.
Directed by Tyler McClendon.
Featuring (l-r) Theodore Hooker, Nate Cole and Sierra Trinchet.
Set design & Technical Direction by Marley Horner
Costume design by Fiona Zachel
Lighting design by Matt Hutter

All photos by Kade Mendelowitz

FilmUAF Video Resources


Intro: A 5-second .mov that includes the Theatre/Film UAF logo and website, featuring an Alpha-channel which can be used to automatically transition into your video (just 3 frames so it’s VERY short) and a dramatic music “bump” that goes with it.
1280 x 720, 30fps, 231 mb. http://theatrefilmuaf.org/resources/Theatre-Film-Logo-2014-Intro-w-alpha.mov (you may wish to “right-click” and “download” the file instead of opening it).


Outtro: A 15.04 second .mov that includes a “Swipe” with an Alpha-channel which can be used to automatically transition from your video (.5 seconds worth).  After the 1-second total swipe, the Theatre/Film UAF logo and website are in the upper left corner, as the official UAF paint-splatter “donut” plays…with the UAF logo and “Naturally Inspiring” eventually wiping on.  There is no music that accompanies this – it is an opportunity for you to continue your credits music.
1280 x 720, 24fps (that’s what UAF’s ‘donut’ was), 679 mb. http://theatrefilmuaf.org/resources/TheatreFilmUAFOuttro.mov (you may wish to “right-click” and “download” the file instead of opening it).

Theatre UAF 2011 LogoOverlay: An oversized version of the Theatre/Film UAF logo (with website) featuring an Alpha-channel which can be laid over your video or used as part of a credit crawl.
The logo is all in white.  It is oversized so that you may easily adjust it to fit your needs, and perhaps consider using a “drop shadow”, “alpha-glow” (set to dark) or “stroke” effect (or combination of any/all of those without quickly running into a “square” edge.
This effect can look very classy with the opacity of the logo layer dropped down (to 60% for example) so that some original movement or color shows through.
921×823 transparent .png, 77kb (small): http://theatrefilmuaf.org/resources/TheatreFilm-Logo-BW-with-website-Overlay.png (you may wish to “right-click” and “download” the file instead of opening it).
Note: May appear blank in a web-browser because the logo is white and is surrounded by a transparent background.  It will look fine in your video editor however.

Color (blue and white) version of the Theatre/Film UAF logo (with website) on an Alpha-channel.  Looks like the logo above; but larger.
http://theatrefilmuaf.org/resources/Theatre_Film_wUAF_LogoWebsite_2014.png

An Inspector Calls

An Inspector Calls production poster“An Inspector Calls”

Written by J. B. Priestley
Directed by Brian Cook

Presented by the UAF Department of Theatre & Film November 7-16, 2014

Rachel Blackwell (Mrs. Birling)
Ian Hendren (Gerald Croft)
Marley Horner (Inspector Goole)
Katrina Kuharich (Sheila Birling)
Nancy Nguyen (Edna)
Nolan Raapana (Mr. Birling)
Mallory Smyth (Eric Birling)

Costume & Scenic Designer: Bethany Marx
Lighting Designer: Adam Gillette
Assistant Director: Ian Buoncore
Stage Manager: Kellie Bernstein
British Dialect Coach: Carrie Baker
Assistant Stage Manager: Ethan Whitfield

An Inspector Calls official News-Miner review

News-Miner review

The Fairbanks Daily News-Miner did an article about the opening of the production.

News-Miner article

UAF Sun Star did an article about the production.

Sun Star article

UAF Sun Star review

UAF Sun Star review

 

215 Dramatic Literature

Reading, analyzing, and categorizing plays as maps for theatrical production. Students will be exposed to a broad range of plays from the classical and contemporary Western canon. Established theories and critical writings about the structure of plays will be explored and discussed to facilitate understanding of dramatic structure and dramaturgy. (Prerequisites: ENGL F11X or concurrent enrollment, or permission of instructor)


Sample Syllabus

332 Stage Directing I

History, theory and basic concepts of stage direction. Interpretive script analysis, creative visualization, conceptualization, use of space, focus, working with actors and designers, and direction of short scenes. (Prerequisites THR F121, F215, F335)

480 Documentary Filmmaking

JRN/FLM F480 F01Documentary Filmmaking

Spring 2013

Prof. Robert Prince

Office: Bunnell 105C

Office Phone: 474-6249

E-mail: rob.prince@alaska.edu

 

Required Reading:

Artis, Anthony Q., The Shut Up and Shoot Documentary Guide, Focal Press 2007

ISBN-10: 0240809351  ISBN-13: 978-0240809359

Our documentary filmmaking textbook is available online through our library link:

http://goldmine.uaf.edu/uhtbin/cgisirsi.exe/W3UnCqC9YN/UAFRAS/250960067/9  

 

Course Description:

JRN F480       Documentary Filmmaking (h)
3 Credits         Offered Spring

Basics of hands-on documentary filmmaking techniques, including preproduction, production and postproduction. Different documentary filmmaking directing styles and the process of distributing a documentary. Each student will produce a short documentary as the capstone of the course. Special fees apply. Prerequisites: Basic experience in shooting and editing video or permission of instructor. Cross-listed with: FLM F480. (3+0)

___________________________

Course Goals:

Upon successful completion of the course, students will be expected to have a working knowledge of how to effectively produce, direct, and edit a short documentary.

Student Learning Outcomes:

Upon successful completion of this course, students will:

1)      Know how to write a budget and treatment

2)      Know how to film a good story and acquire the necessary content

3)      Know how to organize the edit of their film and distribute it

Instructional Methods:

This course will be taught through lectures, class activities, and production work.

____________________

Expectations of Students:

  1. Push yourself to do your best work for this class.  If you don’t do your best work now, when will you do it?  Remember who writes your recommendation letters.
  2. Arrive to class on time.  Tardiness will result in a reduced grade (see “Attendance/Tardiness” below) and may prevent you from taking quizzes.
  3. Make sure your cell phones are on silent.
  4. Laptops are allowed in class, however I reserve the right to close your laptop if I suspect you are using it for non-class-related purposes regardless of whether or not I have evidence to support that suspicion.
  5. Come to class prepared, having completed the required homework and ready to participate in class discussions.
  6. Attend every class.  Unexcused absences will results in a reduced grade (see “Attendance/Tardiness” below).
  7. Participate in every class.
  8. Check your Blackboard e-mail every weekday.
  9. Respect your peers.  Support and encourage them and offer constructive criticism of their projects.
  10. Ask questions during or after class when you do not understand something or are having a problem.  If you don’t understand something, chances are at least some of your peers don’t understand it either.
  11. Take notes.
  12. If you are having a problem outside of class that is affecting your ability to perform in this class, please let me know as soon as you can.  You do not need to disclose the details of your situation.  Although doing well in college is very important and you need to work hard, do not let the pressure overwhelm you.  Your personal health and sanity are more important than good marks.  I consider myself a very easy person to talk to and encourage you to come speak to me if you need to discuss issues course-related or otherwise.

______________

Equipment Policies

Access to the computers and video production equipment is on a first come, first serve basis.  Access to the editing room is available virtually 24-7.  You will need permission from us to have security let you in the building during the weekend.

Cameras must be checked out and returned through Amy Simpson, the department assistant, Robert Prince or Jason Lazarus.  The Monday-Friday hours when you can do that will be announced as soon as possible.  We recommend that you reserve equipment well in advance of when you need it.  Cameras can be checked out for only one evening or the weekend. You have to sign a waiver before you can check out any equipment.  Cameras and editing equipment are also available for check out through the Rasmuson library.

The hard drives on the lab computers will be erased every Friday afternoon to prevent the buildup of excessive files on the drives.  If you need an exception from this, make sure to let Jason Lazarus or me know.

Building Access:

Access to the Journalism computer lab is virtually 24/7 with your Polar Express card.  As long as you can get into the Bunnell Building, you can access the lab.  You can remain in the lab after the building has closed.  The lab is not open to students when classes are meeting in the lab.  Those times will be posted on the lab door.  If you are in the lab when a class is about to begin, you will be asked to leave.  Note that some classes meet only occasionally in the lab and professors do their best to post those times on the door in advance of the class meeting time.

Bunnell Building hours vary.  Note that sometimes the south entrance by the Journalism Department is locked while one or both of the north entrances by the flags are open, so try the other doors if you cannot enter through the south entrance.

_________________________

Final Grade Breakdown:

  • Attendance/Tardiness: 20%
  • Production Assignment—Interview:  15%
  • Synopsis, Treatment and Budget:  5%
  • Final Project: 30%
  • Midterm Examination: 25%
  • Quizzes:  5%

 

Expectations for grading components:

Attendance/Tardiness: 20%

 

“Eighty percent of success is showing up.”

—Woody Allen

 

Each unexcused absence in this class will reduce your final grade.  If you have six or more unexcused absences, then you will automatically fail the course REGARDLESS of if your other grades were high enough to allow you to pass the course.

Excused absences will not affect your attendance grade (though you will lose the extra credit).  An excused absence is when you have notified me before class that you will not be able to make it to class for a valid reason: sick, personal emergency, etc.  “I’m too busy” or “I can’t find a ride to class” are not valid reasons for missing class.

You must notify me BEFORE class for an absence to be excused.  Telling me hours or days later why you missed class will not excuse the absence.  Treat this class like a job.  If you don’t show up to work and don’t call in, you get fired.  The only exception to this rule is that I will accept a doctor’s note up to a week after you return to class as an excuse for an absence.

Students who have zero absences (excused or unexcused) and no tardies will receive extra credit in their final grade.  Any absence or tardy for any reason will remove this extra credit, unless you have earned a free tardy which I give out on occasion.

Make sure to contact me after an absence to see what announcements or assignments you missed.  I recommend you ask a fellow student for a copy of their notes from that class to see what material we covered.

 

“Twenty percent of success is showing up…on time.”

—Robert Prince

 

Because coming late to class disrupts class, at times can force us to wait for you, and can mean missing important announcements, every three times you arrive late to class I will add one absence to your grade.  Redefine “on time” to class in your mind to mean “five minutes early.”  If you do arrive to class late, make sure to see me after class to make sure I mark you as present and let you know about any announcements I may have made that day.  If you forget to tell me you were late for class, you will receive an absence.

 

Here is how your absences will affect your final grade:

 

0 Absences (and zero tardies) = 110% for attendance (equals +2% extra credit)

Unexcused Absence = -10% from attendance grade per each

6+ Unexcused Absences = Automatically fail the course

 

Production Assignment—Interview:  15%

Film an approximately five minute interview with a subject that you may or may not intend to use in your final project.  Pay special attention to the composition, background, audio, focus, white balance and exposure.  A detailed description of the assignment will be handed out in class.

 

Synopsis, Treatment and Budget:  5%

Write a synopsis, treatment and budget for the project you intend to do for this class.  The synopsis should be a one or two sentence core description of your project.  The treatment is an approximately one-page pitch for your project including style and format of the film.  The budget should include cost estimates for the entire production as if you were actually paying for the equipment the university is providing. A detailed description of the assignment will be handed out in class.

 

Final Project: 30%

The capstone assignment for this course will be short documentary between 5-15 minutes long.  Students who wish to produce a half-hour film with the intention of having it broadcast can do so with special permission.  The final documentary projects will be presented in a public screening during the final exam period. A detailed description of the assignment will be handed out in class.

 

Midterm Examination: 25%

Covers the readings and lectures.

 

Quizzes:  5%

Cover material from recent lectures and exercises.  Missed quizzes can be made up only for excused absences.

 

Final Exam: 

There will be no final exam, however I reserve use of the final exam period for a public performance of your final projects.

 

_____________________________________________________________________________

 

Grading Guidelines:

A:  An honor grade that indicates originality and independent work, mastery of the subject and the satisfactory completion of more work than is regularly required.  To get an “A,” students in my classes need to impress me with the work they’ve done on an assignment and go well beyond what I asked for in the assignment.

94%-100% = A, 90%-93% = A-

 

B:  Indicates outstanding ability above the average level of performance.  To get a “B,” students in my classes need to do exactly what I asked for in the assignment and do it well.

87%-89% = B+, 84%-86% = B, 80%-83% = B-

 

IMPORTANT GRADING POLICY INFORMATION

 

Implications of the Grade of ‘C’ (and below) for letter-graded

undergraduate courses which are:

 

–Prerequisites for other courses, or

–Degree major requirements, or

–Core courses

 

C+ (2.3): Satisfactory to Fair: satisfactory level of performance, with some

mastery of material.

C (2.0): Average: satisfactory level of performance and level of competency

in the subject. A minimum grade of ‘C’ (2.0) is required for all

prerequisites and major courses.

C- (1.7): Barely satisfactory: Minimum grade required for all Core (X)

Courses. A grade of C- (1.7) in a class which is a prerequisite for another

class or in a class required for a student’s major will result in the

student being required to retake the class.

77%-79% = C+, 74%-76% = C, 70%-73% = C-

 

D+ (1.3); D (1.0); D- (0.7): Below Average: Fair to poor level of competency

in the subject matter.  A grade of D+, D or D- in a Core (X) class will

automatically require the student to retake the class to receive core

credit, starting Fall 2011.

67%-69% = D+, 64%-66% = D, 60%-63% = D-

 

F:  Indicates failure to meet lowest standards.  To get an “F,” students in my classes will have missed major elements of the assignment and/or the content will be all—or nearly all—poor quality.

0%-59% = F

 

For additional grading policy information, see the UAF Catalog.

 

Course Policies:

Late work or quizzes will be docked 15% plus an additional 15% for each class period it is not turned in after the due date.  Backup your work, reserve video equipment, and work ahead of deadlines so you can avoid these problems.  If you miss the midterm exam, you will need documentation proving the legitimacy of your absence to avoid the 15% grade reduction.

 

Projects can be redone only if there is sufficient evidence that a requirement(s) of the assignment was described in a way that a reasonable adult would find confusing or ambiguous and that unclear element of the assignment directly related to the student’s reduced grade.

 

All work must comply with the University of Alaska Fairbanks policies on student conduct found online at www.uaf.edu/catalog/current/academics/regs3.html.

All work must be original productions for this course and plagiarism will result in a zero for the assignment, a possible F for the class, and potentially further academic discipline.  Ignorance of what it means to plagiarize will not be an excuse from punishment.  If you have questions about plagiarism, contact me before you hand in the assignment.

 

I will make reasonable accommodations for individuals with documented disabilities. Notify me within the first two weeks of the semester if you have any special needs.

 

Journalism Lab Policies:

Welcome to the Journalism Labs!  The following is a list of tips and guidelines for lab usage to insure that your experience in any of our labs goes smoothly and is highly productive.  If you have any questions at all about the following, please either ask your instructor or our Computer Tech, Jason, available at Bunnell 102b, 474-6020 or fyjbtech@uaf.edu.

 

•           First note that you’re working on Macintosh computers – if you’re not used to these types of computers, have limited computing skills, or are unfamiliar with OS X (the operating system), please inform the instructor of this so that extra help can be dispensed when needed.

•           Each of the computers in our three labs are password protected with different passwords for each lab – Please request passwords from your instructor only. Do not give out these passwords to anyone.

•           Many of you will opt to save your files on Thumbdrives (USB drives).  These work great for saving and transporting your work between home and school.  But, unlike PC’s, Macs expect you to “eject” or “unmount’ your thumbdrive before you unattach it from your computer.  Do so by dragging your thumbdrive from the desktop to the trash bin (which will change to an “eject” symbol).  Not doing this can cause you to lose your information and possibly ruin the thumbdrive.

•           Save and save often!  You will be able to not only save on your computer but have several other options to save your files – always use the default (saving to your computer) as well as one of the following secondary methods to insure you don’t lose your files.  Your instructor will give you access to the Journalism file server which can be used for all your files (short of large video files and personal files).  You can also use email to send files to yourself or use thumbdrives to carry your files home with you.  Additionally, Lab 128 and 106 are fully equipped with CD/DVD burners and 126 has several CD/DVD burners as well.  At any time your computer could crash and your files could be lost – save in at least one more location!  Additionally, this insures that if someone is using “your” computer, you don’t have to wait for them to get off of it.

•           Do not abuse the computers.  DCC as well as the Journalism Department monitors computer usage and will report improper use of departmental equipment.  Treat these computers as if someone is watching your usage – because they are!  Additionally, do not damage, hit, or take your frustrations out on any of our equipment.  If you’re getting frustrated – walk away and take a break.

•           Don’t leave any personal items in the labs after class.  Once or twice a week each lab will be cleaned and all personal items will be thrown away or placed in a lost and found.

•           No food/drinks are allowed in 126 or 128.  For Lab 106, please try to limit your food to the tables.

•           We have film scanners, flatbed scanners, DV/miniDV Decks, Minidisc Recorders and DV Cameras available in our labs as well as for checkout.  Please talk to your instructor about access to any of these if you need them for a class project.  Check out will be posted in the Journalism Office.

•           Do not access highly personal items on these computers such as bank accounts and anything dealing with your social security number.  We have seen far too many people leave access to their bank accounts open on lab machines far after they’ve left the room.  Be vigilant!

•           Most of all if you’re having any problems talk to your instructor or our Computer Tech, Jason.  We’re all more than willing to help you out with any problem!  Jason is available quite a bit during normal office hours – please consult his schedule on his door.

 

Support Services:

I will make reasonable accommodations for individuals with documented disabilities, for example, providing an in-class note taker, providing a quiet and solitary test-taking environment, or other reasonable accommodations in line with your documented needs.  Disability services will provide you with documentary indicating what kind of assistance you need and, based on that evidence, I will implement that assistance to the best of my abilities. Notify me within the first two weeks of the semester if you have any special needs.

 

The departments listed below provide resources for students with disabilities, help writing papers, and help preparing for class presentations:

 

Disability Services

e-mail. fydso@uaf.edu

tel. 907-474-5655

tty. 907-474-1827

Whitaker Building Room 208

www.uaf.edu/disability

 

About Disability Services

At UAF Disability Services, our goal is to provide UAF students with access to academic classes and course materials through an interactive accommodation process.

UAF Disability Services provides accommodations to students on the Fairbanks campus as well as on the Bristol Bay, Chukchi, Interior Aleutians, Kuskokwim, Northwest, Community Technical College (CTC), Center For Distance Education (CDE), and College for Rural and Community Development (CRCD) campuses.

Students using community campuses or distance learning programs should contact Disability Services via telephone, fax, e-mail, U.S. postal mail, or in person to request and arrange for accommodations.

We enjoy supporting individuality, promoting independence and celebrating graduations.

 

 

 

 

 

 

 

 

Writing Center

Dept. Of English

801 Gruening Bldg.

(907) 474-7193

faengl@uaf.edu

 

The Writing Center is a student-staffed, student-oriented service of the English Department. Our tutors, English Department teaching assistants and a few outstanding undergraduate students, can assist you in all phases of the writing process, including the following:

 

  • Brainstorming and generating topics
  • Organizing ideas
  • Developing research strategies
  • Use of citation styles — MLA, APA, and Chicago
  • Editing for clarity and correctness

 

We collaborate with each student on a one-to-one basis, and we will work with students at any phase of the writing process — planning, drafting, revising. We can also help writers discover ways of improving grammar, mechanics, and punctuation.

Tutorials. Tutorial appointments at the Writing Center are 30 minutes long, and we encourage you to call or stop by to make an appointment. Walk-in sessions are often available, but in the last half of the semester we are often booked.

Fax Tutoring. We provide a fax tutoring service for students enrolled in the College of Rural and Community Development (CRCD). Students can fax their papers to us (1-800-478-5246), and they will have a telephone tutorial with a tutor at a designated time. We offer fax tutorials Monday through Thursday evenings and Sunday afternoons. Phone the Writing Center (907/474-5314) to make an appointment.

 

Speaking Center

Dept. of Communication

507 Greuning Bldg.

(907) 474-5470

fyspeak@uaf.edu

What is the Speaking Center?

The Speaking Center is a student-oriented service provided to facilitate preparing public presentations. Students can recieve coaching in refining their presentation topic, in organizing their presentation effectively, and in practicing their presentation. The Center makes it possible to digitally record and to watch one’s practice presentation, receiving constructive feed back from a Speaking Center coach.

 

Who can use the Speaking Center?

The Speaking center is available to all students currently enrolled at UAF or at TVC.

 

Scheduling Procedures

Please call 474-5470 or e-mail fyspeak@gmail.com to schedule an appointment at the Speaking Center. Walk-ins are welcome, however, students can be served only if there are openings.

Individuals may schedule the Center’s practice room daily any time prior to Speaking Center hours.

 

About Your Professor:

I grew up in East Lansing, Michigan and graduated from Calvin College with a B.A. in Telecommunications.  After college I went to work in Chicago for Kurtis Productions, producers of the Investigative Reports series on A&E.  I then was hired as a Producer/Director for the PBS affiliate in Grand Rapids, Michigan where I directed live and pre-recorded programs for local broadcast.  In 2000 I went back to Calvin to run the video production department.  While working there I earned my M.A. from Michigan State University in Telecommunication, Information Studies and Media.

In 2005 I moved to Fairbanks to teach video production and documentary filmmaking in the Journalism Department at the University of Alaska Fairbanks.

 

 


 

Want more video classes?  Check these out:

 

JRN F251 Television Production

3 Credits / Offered Fall/ Prof. Prince

Television studio production, floor directing, audio, camera, staging, lighting and switching.

 

JRN F280 Video Storytelling (h)
3 Credits / Offered Fall / Prof. Prince

Basics of digital video production technology, composition, audio, lighting and editing as it relates to primarily non-fiction filmmaking. Students will conclude the course by producing their own short videos. Special fees apply. (Cross-listed with FLM F280.) (3+0)

 

JRN F290 Digital Video Editing

3 Credits / Offered As Demand Warrants / Prof. Prince

Introduction to the technical and aesthetic aspects of non-linear digital video editing. Students will go from little or no experience in non-linear editing to being comfortable with some of the advanced editing techniques. Address motion picture editing theories that are not bound to time or specific editing technology. Special fees apply. (Cross-listed with FLM F290.) (3+0)

 

JRN F453 Television News Reporting

3 Credits / Offered As Demand Warrants/ Prof. Prince

Electronic news gathering using videotape equipment, scriptwriting, location sound recording, interview techniques, editing, videography and other aspects of field news reporting. Prerequisites: COMM F131X or COMM F141X; JRN F451; JRN F452; or permission of the instructor. JRN F452 may be taken concurrently with JRN F453.

 

 

 

 

 

How do I log on to Journalism Lab Computers?

  • If you’re sitting at the logon screen, click “Other” to login.
  • If “Other” is unavailable, wait 10-15 seconds and it will pop up.
  • Use your UA Credentials (UA Username & password) to log in.
  • You will be prompted to enter your UA Credentials again to mount your Lab Shares –  you can choose to do this or “cancel”.

“UA Credentials”? What’s that?

  • Your UA Username & password are used for a variety of services at UAF, including UAF email through Gmail, Blackboard & ELMO.
  • Not sure of your UA Credentials?  At the computer logon screen, use the “JRNLABS” account to log in.  Your instructor can provide you with the password.  This is a shared account and does not provide the privacy of your individual account BUT it provides you with the exact same access to all programs.  From here, use an Internet Browser to visit  https://elmo.alaska.edu to reset your password or Blackboard / UAF Email to “check” that the password you’re using is correct.
  • DO NOT continue to “guess” the password.  You will lock yourself out of your accounts which requires OIT to reset.  In most cases when students can’t login, it’s because they’ve forgotten their password is case sensitive or they’ve forgotten the password altogether.
  • Are you logged into your UA account but it looks different than other students? Contact Jason Lazarus in Bun 114 or at 474-6020.

“Lab Shares”? What’s that?

  • All UAF students have paid a Technology Fee that gives them limited shared space that’s accessible from all OIT labs on campus – and now that same space is accessible in Journalism Labs.
  • Are your UA Credentials not working for the Lab Shares logon?  Click “Cancel” and continue – you’ll still be able to use the computer.  Contact Jason Lazarus in Bun 114 or at 474-6020 for additional assistance.
  • Lab Shares provides you with space to save files and have them accessible throughout all lab machines – saving on the desktop ONLY saves on that specific computer’s desktop.
  • When mounted, Lab Shares will be accessible from the right side of your dock.

Journalism “ASIP” Server?

  • This is where you’ll save your assignments so your instructor can grade your class projects.  This is shared Server space where anyone can see your files – so only save project material – not sensitive information!
  • Once you’re logged on and you’ve got a file you need to turn in for an assignment, your instructor will provide you with logon information for a specific folder for your class – click on “ASIP” (located on the right side of your dock) and use that login information.   Once you’ve logged on, you’ll be able to find “News-FS” (or “Photo-FS” or “Art-FS, depending on your logon info) on the left side of any finder window.
  • If you’ve got files you want to work on that are on the server, ALWAYS click-and-drag them to the desktop and THEN open them.  Once done, save & click & drag them back onto the server.  This insures you’re working LOCALLY – which is much faster and doesn’t bog down the computer.

As always, Journalism is not responsible for lost files on Lab Shares, ASIP or individual computers.  Every student is expected to back up their own data on thumbdrives, USB hard drives or CD/DVDs.

Questions?  Contact Jason Lazarus in Room 114, or 474-6020, for further assistance!

 


Tentative Course Schedule:

Date:

Subject:

ASSIGNMENT DUE:

WEEK 1

Introduction to the course

WEEK 2

Pre-Production Chapter 1: “Pre-Production”
– CONT’D Chapter 2: “Location, Location, Location”

Documentary Project Ideas

WEEK 3

– CONT’D 

 

BUDGETS, TREATMENTS, SYNOPSIS 

WEEK 4

WATCH DOCUMENTARIES  Using the CameraChapter 3: “Image Control and Camera Work”

WEEK 5

Lighting for DocumentaryChapter 4: “Lighting”

 

– CONT’D

WEEK 6

The Hardest Part:

 

Recording Clear AudioChapter 5: “Sound Recording”

Assignment:  Synopsis, Treatment and Budget – CONT’D 

WEEK 7

Getting the Shots you NeedChapter 6: “Composition & Coverage”

 

– CONT’D 

WEEK 8

Conducting the InterviewChapter 7: “Interview Prep” – CONT’DChapter 8: “Conducting Interviews”

WEEK 9

Spring Break 

 

Spring Break

WEEK 10

Review Interview FootageProduction Assignment: Interview Review Interview Footage

WEEK 11

The Cutting Room FloorChapter 9: “Post-Production”

 

– CONT’D

WEEK 12

View Raw FootageFinal Project Raw Footage View Raw Footage

WEEK 13

Publicity, Festivals, and Distribution

 

– CONT’D

WEEK 14

EXAM  IN CLASS EDITING PERIOD

WEEK 15

View Rough ProjectsFinal Project Rough Edits

 

View Rough Projects

WEEK 16

VIEW FINAL PROJECTSFinal Project Edits

 

VIEW FINAL PROJECTS

FINAL EXAM

Final project public screening:

1 – 3 p.m., Thursday, May 9

 

 

 

290 Digital Video Editing

JRN/FLM F290

Digital Video Editing

SPRING 2013

Prof. Robert Prince

Office: Bunnell 105C

E-mail: rob.prince@alaska.edu

 

Required Reading:

Media Composer 6: Part 1 – Editing Essentials (Avid Learning) [Paperback]

http://www.amazon.com/Media-Composer-Editing-Essentials-Learning/dp/1133727980/ref=sr_1_4?ie=UTF8&qid=1346114330&sr=8-4&keywords=avid+certification

Media Composer 6: Part 2 Effects Essentials (Avid Learning) [Paperback]

http://www.amazon.com/Media-Composer-Effects-Essentials-Learning/dp/1133788882/ref=pd_bxgy_b_img_y

Course Description:

This class serves as an introduction to the technical and aesthetic aspects of non-linear digital video editing on AVID editing software.  Students will go from little or no experience in non-linear editing to being comfortable with some of the advanced features of the program.  In addition, the course will also address motion picture editing theories that are not bound to time or specific editing technology.

Course Goals:

Upon successful completion of the course, students will be expected to have an intermediate to advanced knowledge of how to technically and artfully edit videos on AVID.

Student Learning Outcomes:

Upon successful completion of this course, students will be able to:

  1. Edit footage acquired from a variety of sources
  2. Take advantage of some advanced editing features
  3. Tell a good story using images and audio

Instructional Methods:

This course will be taught through lectures, class activities and editing outside of class.

Building Access:

Access to the Journalism computer lab is virtually 24/7 with your Polar Express card.  As long as you can get into the Bunnell Building, you can access the lab.  You can remain in the lab after the building has closed.  The lab is not open to students when classes are meeting in the lab.  Those times will be posted on the lab door.  If you are in the lab when a class is about to begin, you will be asked to leave.  Note that some classes meet only occasionally in the lab and professors do their best to post those times on the door in advance of the class meeting time.

Bunnell Building hours vary.  Note that sometimes the south entrance by the Journalism Department is locked while one or both of the north entrances by the flags are open, so try the other doors if you cannot enter through the south entrance.

Expectations of Students:

  1. Push yourself to do your best work for this class.  If you don’t do your best work now, when will you do it?  Remember who writes your recommendation letters.
  2. Arrive to class on time.  Tardiness will result in a reduced grade (see “Attendance/Tardiness” below) and may prevent you from taking quizzes.
  3. Make sure your cell phones are on silent.
  4. Laptops are allowed in class, however I reserve the right to close your laptop if I suspect you are using it for non-class-related purposes regardless of whether or not I have evidence to support that suspicion.
  5. Come to class prepared, having completed the required homework and ready to participate in class discussions.
  6. Attend every class.  Unexcused absences will results in a reduced grade (see “Attendance/Tardiness” below).
  7. Participate in every class.
  8. Check your Blackboard e-mail every weekday.
  9. Respect your peers.  Support and encourage them and offer constructive criticism of their projects.
  10. Ask questions during or after class when you do not understand something or are having a problem.  If you don’t understand something, chances are at least some of your peers don’t understand it either.
  11. Take notes.
  12. If you are having a problem outside of class that is affecting your ability to perform in this class, please let me know as soon as you can.  You do not need to disclose the details of your situation.  Although doing well in college is very important and you need to work hard, do not let the pressure overwhelm you.  Your personal health and sanity are more important than good marks.  I consider myself a very easy person to talk to and encourage you to come speak to me if you need to discuss issues course-related or otherwise.

Grading:

Attendance/Tardiness: 20%

 

“Eighty percent of success is showing up.”

—Woody Allen

 

Each unexcused absence in this class will reduce your final grade.  If you have six or more unexcused absences, then you will automatically fail the course REGARDLESS of if your other grades were high enough to allow you to pass the course.

Excused absences will not affect your attendance grade (though you will lose the extra credit).  An excused absence is when you have notified me before class that you will not be able to make it to class for a valid reason: sick, personal emergency, etc.  “I’m too busy” or “I can’t find a ride to class” are not valid reasons for missing class.

You must notify me BEFORE class for an absence to be excused.  Telling me hours or days later why you missed class will not excuse the absence.  Treat this class like a job.  If you don’t show up to work and don’t call in, you get fired.  The only exception to this rule is that I will accept a doctor’s note up to a week after you return to class as an excuse for an absence.

Students who have zero absences (excused or unexcused) and no tardies will receive extra credit in their final grade.  Any absence or tardy for any reason will remove this extra credit, unless you have earned a free tardy which I give out on occasion.

Make sure to contact me after an absence to see what announcements or assignments you missed.  I recommend you ask a fellow student for a copy of their notes from that class to see what material we covered.

“Twenty percent of success is showing up…on time.”

—Robert Prince

Because coming late to class disrupts class, at times can force us to wait for you, and can mean missing important announcements, every three times you arrive late to class I will add one absence to your grade.  Redefine “on time” to class in your mind to mean “five minutes early.”  If you do arrive to class late, make sure to see me after class to make sure I mark you as present and let you know about any announcements I may have made that day.  If you forget to tell me you were late for class, you will receive an absence.

Here is how your absences will affect your final grade:

0 Absences (and zero tardies) = 110% for attendance (equals +2% extra credit)

Unexcused Absence = -10% from attendance grade per each

6+ Unexcused Absences = Automatically fail the course

Notes: 10%

You are required to take notes in this class.  Every two weeks I will ask to see everyone’s notes from the past lectures.  For each lecture I expect to see at least ½ page of notes.

Pop Quizzes: 5%

Cover the material in the course lectures.  If you miss a pop quiz, it can only be made up if your absence was excused and it must be made up before you return to class.  If you are late to class the day of a pop quiz, you cannot take it unless your tardy was excused.

Exams (2): 15% Each

Cover the material in the lectures.  They are not cumulative.

Basic Editing Assignment: 10%

Assemble a video that demonstrates your ability to do basic editing in AVID.

Final Project:  25%

            This will be a short video that demonstrates proficiency with the aesthetics and technology of non-linear editing.

 

Grading Guidelines:

A:  An honor grade that indicates originality and independent work, mastery of the subject and the satisfactory completion of more work than is regularly required.  To get an “A,” students in my classes need to impress me with the work they’ve done on an assignment and go well beyond what I asked for in the assignment.

94%-100% = A, 90%-93% = A-

 

B:  Indicates outstanding ability above the average level of performance.  To get a “B,” students in my classes need to do exactly what I asked for in the assignment and do it well.

87%-89% = B+, 84%-86% = B, 80%-83% = B-

 

IMPORTANT GRADING POLICY INFORMATION

 

Implications of the Grade of ‘C’ (and below) for letter-graded

undergraduate courses which are:

 

–Prerequisites for other courses, or

–Degree major requirements, or

–Core courses

 

C+ (2.3): Satisfactory to Fair: satisfactory level of performance, with some

mastery of material.

C (2.0): Average: satisfactory level of performance and level of competency

in the subject. A minimum grade of ‘C’ (2.0) is required for all

prerequisites and major courses.

C- (1.7): Barely satisfactory: Minimum grade required for all Core (X)

Courses. A grade of C- (1.7) in a class which is a prerequisite for another

class or in a class required for a student’s major will result in the

student being required to retake the class.

77%-79% = C+, 74%-76% = C, 70%-73% = C-

 

D+ (1.3); D (1.0); D- (0.7): Below Average: Fair to poor level of competency

in the subject matter.  A grade of D+, D or D- in a Core (X) class will

automatically require the student to retake the class to receive core

credit, starting Fall 2011.

67%-69% = D+, 64%-66% = D, 60%-63% = D-

 

F:  Indicates failure to meet lowest standards.  To get an “F,” students in my classes will have missed major elements of the assignment and/or the content will be all—or nearly all—poor quality.

0%-59% = F

 

For additional grading policy information, see the UAF Catalog.

 

Course Policies:

Late work or quizzes will be docked 15% plus an additional 15% for each class period that elapses after the due date.  Backup your work, reserve video equipment and work ahead of deadlines so you can avoid these problems.  If you miss the midterm exam, you will need documentation proving the legitimacy of your absence to avoid the 15% grade reduction.

 

Projects can be redone only if there is sufficient evidence that a requirement(s) of the assignment was described in a way that a reasonable adult would find confusing or ambiguous and that unclear element of the assignment directly related to the student’s reduced grade.  Not paying attention to the requirements of the assignment is not an excuse for doing the assignment improperly.

 

All work must comply with the University of Alaska Fairbanks policies on student conduct found online at www.uaf.edu/catalog/current/academics/regs3.html.

All work must be original productions for this course and plagiarism will result in a zero for the assignment, a possible F for the class, and potentially further academic discipline.  Ignorance of what it means to plagiarize will not be an excuse from punishment.  If you have questions about plagiarism, contact me before you hand in the assignment.

 

I will make reasonable accommodations for individuals with documented disabilities. Notify me within the first two weeks of the semester if you have any special needs.

 

Support Services:

I will make reasonable accommodations for individuals with documented disabilities, for example, providing an in-class note taker, providing a quiet and solitary test-taking environment, or other reasonable accommodations in line with your documented needs.  Disability services will provide you with documentary indicating what kind of assistance you need and, based on that evidence, I will implement that assistance to the best of my abilities. Notify me within the first two weeks of the semester if you have any special needs.

 

The departments listed below provide resources for students with disabilities, help writing papers, and help preparing for class presentations:

 

Disability Services

e-mail. fydso@uaf.edu

tel. 907-474-5655

tty. 907-474-1827

Whitaker Building Room 208

www.uaf.edu/disability

 

About Disability Services

At UAF Disability Services, our goal is to provide UAF students with access to academic classes and course materials through an interactive accommodation process.

UAF Disability Services provides accommodations to students on the Fairbanks campus as well as on the Bristol Bay, Chukchi, Interior Aleutians, Kuskokwim, Northwest, Community Technical College (CTC), Center For Distance Education (CDE), and College for Rural and Community Development (CRCD) campuses.

Students using community campuses or distance learning programs should contact Disability Services via telephone, fax, e-mail, U.S. postal mail, or in person to request and arrange for accommodations.

We enjoy supporting individuality, promoting independence and celebrating graduations.

 

Writing Center

Dept. Of English

801 Gruening Bldg.

(907) 474-7193

faengl@uaf.edu

 

The Writing Center is a student-staffed, student-oriented service of the English Department. Our tutors, English Department teaching assistants and a few outstanding undergraduate students, can assist you in all phases of the writing process, including the following:

 

  • Brainstorming and generating topics
  • Organizing ideas
  • Developing research strategies
  • Use of citation styles — MLA, APA, and Chicago
  • Editing for clarity and correctness

 

We collaborate with each student on a one-to-one basis, and we will work with students at any phase of the writing process — planning, drafting, revising. We can also help writers discover ways of improving grammar, mechanics, and punctuation.

Tutorials. Tutorial appointments at the Writing Center are 30 minutes long, and we encourage you to call or stop by to make an appointment. Walk-in sessions are often available, but in the last half of the semester we are often booked.

Fax Tutoring. We provide a fax tutoring service for students enrolled in the College of Rural and Community Development (CRCD). Students can fax their papers to us (1-800-478-5246), and they will have a telephone tutorial with a tutor at a designated time. We offer fax tutorials Monday through Thursday evenings and Sunday afternoons. Phone the Writing Center (907/474-5314) to make an appointment.

 

Speaking Center

Dept. of Communication

507 Greuning Bldg.

(907) 474-5470

fyspeak@uaf.edu

What is the Speaking Center?

The Speaking Center is a student-oriented service provided to facilitate preparing public presentations. Students can recieve coaching in refining their presentation topic, in organizing their presentation effectively, and in practicing their presentation. The Center makes it possible to digitally record and to watch one’s practice presentation, receiving constructive feed back from a Speaking Center coach.

 

Who can use the Speaking Center?

The Speaking center is available to all students currently enrolled at UAF or at TVC.

 

Scheduling Procedures

Please call 474-5470 or e-mail fyspeak@gmail.com to schedule an appointment at the Speaking Center. Walk-ins are welcome, however, students can be served only if there are openings.

Individuals may schedule the Center’s practice room daily any time prior to Speaking Center hours.

 

 

About Your Professor:

I grew up in East Lansing, Michigan and graduated from Calvin College with a B.A. in Telecommunications.  After college I went to work in Chicago for Kurtis Productions, producers of the Investigative Reports series on A&E.  I then was hired as a Producer/Director for the PBS affiliate in Grand Rapids, Michigan where I directed live and pre-recorded programs for local broadcast.  In 2000 I went back to Calvin to run the video production department.  While working there, I earned my M.A. from Michigan State University in Telecommunication, Information Studies and Media.

In 2005 I moved to Fairbanks to teach video production and documentary filmmaking in the Journalism Department at the University of Alaska Fairbanks.

 

Want more video classes?  Check these out:

 

JRN F280 Video Storytelling (h)

3 Credits / Offered Fall / Prof. Prince

Basics of digital video production technology, composition, audio, lighting and editing as it relates to primarily non-fiction filmmaking. Students will conclude the course by producing their own short videos. Special fees apply. (Cross-listed with FLM F280.) (3+0)

 

JRN/FLM F292 Hands on Documentary Production

3 Credits / Maymester / Prof. Prince

Production of a short video documentary from start to finish on a subject to be announced. The class will work collectively to produce the film. Students will have the opportunity to work in various positions from director, producer, camera operator, sound, editing, etc. Special fees apply.  (Cross-listed with FLM F290.) (3+0)

 

JRN F480 Documentary Filmmaking (h)
3 Credits / Offered Spring / Prof. Prince
Basics of hands-on documentary filmmaking techniques, including preproduction, production and postproduction. Different documentary filmmaking directing styles and the process of distributing a documentary. Each student will produce a short documentary as the capstone of the course. Special fees apply. Prerequisites: JRN F280 or permission of instructor. (3+0)

 

 

How do I log on to Journalism Lab Computers?

  • If you’re sitting at the logon screen, click “Other” to login.
  • If “Other” is unavailable, wait 10-15 seconds and it will pop up.
  • Use your UA Credentials (UA Username & password) to log in.
  • You will be prompted to enter your UA Credentials again to mount your Lab Shares –  you can choose to do this or “cancel”.

“UA Credentials”? What’s that?

  • Your UA Username & password are used for a variety of services at UAF, including UAF email through Gmail, Blackboard & ELMO.
  • Not sure of your UA Credentials?  At the computer logon screen, use the “JRNLABS” account to log in.  Your instructor can provide you with the password.  This is a shared account and does not provide the privacy of your individual account BUT it provides you with the exact same access to all programs.  From here, use an Internet Browser to visit  https://elmo.alaska.edu to reset your password or Blackboard / UAF Email to “check” that the password you’re using is correct.
  • DO NOT continue to “guess” the password.  You will lock yourself out of your accounts which requires OIT to reset.  In most cases when students can’t login, it’s because they’ve forgotten their password is case sensitive or they’ve forgotten the password altogether.
  • Are you logged into your UA account but it looks different than other students? Contact Jason Lazarus in Bun 114 or at 474-6020.

“Lab Shares”? What’s that?

  • All UAF students have paid a Technology Fee that gives them limited shared space that’s accessible from all OIT labs on campus – and now that same space is accessible in Journalism Labs.
  • Are your UA Credentials not working for the Lab Shares logon?  Click “Cancel” and continue – you’ll still be able to use the computer.  Contact Jason Lazarus in Bun 114 or at 474-6020 for additional assistance.
  • Lab Shares provides you with space to save files and have them accessible throughout all lab machines – saving on the desktop ONLY saves on that specific computer’s desktop.
  • When mounted, Lab Shares will be accessible from the right side of your dock.

Journalism “ASIP” Server?

  • This is where you’ll save your assignments so your instructor can grade your class projects.  This is shared Server space where anyone can see your files – so only save project material – not sensitive information!
  • Once you’re logged on and you’ve got a file you need to turn in for an assignment, your instructor will provide you with logon information for a specific folder for your class – click on “ASIP” (located on the right side of your dock) and use that login information.   Once you’ve logged on, you’ll be able to find “News-FS” (or “Photo-FS” or “Art-FS, depending on your logon info) on the left side of any finder window.
  • If you’ve got files you want to work on that are on the server, ALWAYS click-and-drag them to the desktop and THEN open them.  Once done, save & click & drag them back onto the server.  This insures you’re working LOCALLY – which is much faster and doesn’t bog down the computer.

As always, Journalism is not responsible for lost files on Lab Shares, ASIP or individual computers.  Every student is expected to back up their own data on thumbdrives, USB hard drives or CD/DVDs.

Questions?  Contact Jason Lazarus in Room 114, or 474-6020, for further assistance!

 

DIGITAL VIDEO EDITING:

Tentative Course Schedule

 

 

Date: Subject: Assignment Due:

WEEK 1

INtroduction to the course

WEEK 2

EXPLORING THE INTERFACE & PREPARING TO EDIT

EDITING ESSENTIALS

CHAPTER 1

(CONT’D)

WEEK 3

(CONT’D)

 

ASSEMBLING A BASIC SEQUENCE

EDITING ESSENTIALS

CHAPTER 2

WEEK 4

(CONT’D)
(CONT’D)

WEEK 5

INGESTING FILE-BASED MEDIA

EDITING ESSENTIALS

CHAPTER 3

 

MANUAL TIMELINE EDITING

EDITING ESSENTIALS

CHAPTER 4

WEEK 6

(CONT’D)
REFINING THE EDIT

EDITING ESSENTIALS

CHAPTER 5

WEEK 7

(CONT’D)

 

 

REFINING & MIXING AUDIO

EDITING ESSENTIALS

CHAPTER 6

WEEK 8

CUSTOMIZING MEDIA COMPOSER

EDITING ESSENTIALS

CHAPTER 7

INTRODUCTION TO MULTICAMERA EDITING

EDITING ESSENTIALS

CHAPTER 8

WEEK 9

SPRING BREAK

 

WEEK 10

(cont’d)
CREATING QUICK TITLES & BASIC TRANSITIONS

EDITING ESSENTIALS

CHAPTER 9

WEEK 11

(cont’d)

 

PrePARING FOR OUTPUT AND EXPORTING A FILE

EDITING ESSENTIALS

CHAPTER 10

WEEK 12

IN CLASS EDITING

 

IN CLASS EDITING

WEEK 13

VIEW PROJECTS

ASSIGNMENT #1:

BASIC EDITING

 

EXAM #1: avid Editing essentials

WEEK 14

INTRO TO AUDIO EFFECTS

EFFECTS ESSENTIALS

CHAPTER 1

INTRO TO VIDEO EFFECTS

EFFECTS ESSENTIALS

CHAPTER 2

WEEK 15

CORRECTIVE EFFECTS

EFFECTS ESSENTIALS

CHAPTER 3

 

RETIMING

EFFECTS ESSENTIALS

CHAPTER 4

WEEK 16

COLOR TREATING & CORRECTING

EFFECTS ESSENTIALS

CHAPTER 5

 

EXAM #2: AVID EFFECTS ESSENTIALS

 

FINAL EXAM

3:15 – 5:15 p.m., Thursday, May 9

Final Project

 

251 Television Production

JRN/FLM F251 F01 TELEVISION PRODUCTION

FALL 2011BUNNELL 122
MON/WED/FRI: 2:15PM-3:15PM
Prof. Robert Prince
Office: Bunnell 105C
E-mail: rob.prince@alaska.edu
Recommended (not required) Reading:
Television Production Handbook, 10th Ed. by Herbert Zettl
Course Description:
Television studio production, floor directing, audio, camera, staging, lighting and switching.
Course Goals:
Upon successful completion of the course, students will be expected to have a working knowledge of how to technically produce a television newscast from start to finish.
Student Learning Outcomes:
Upon successful completion of this course, students will be able to:
1. Develop intermediate directing skills
2. Master the terms and directions used in studio production
3. Develop intermediate skills in all the studio production positions
Instructional Methods:
This course will be taught through lectures, class activities, and studio production work.
Journalism Lab Policies:
Welcome to the Journalism Labs! The following is a list of tips and guidelines for lab usage to insure that your experience in any of our labs goes smoothly and is highly productive. If you have any questions at all about the following, please either ask your instructor or our Computer Tech, Jason, available at Bunnell 102b, 474-6020 or fyjbtech@uaf.edu.
• First note that you’re working on Macintosh computers – if you’re not used to these types of computers, have limited computing skills, or are unfamiliar with OS X (the operating system), please inform the instructor of this so that extra help can be dispensed when needed.
• Each of the computers in our three labs are password protected with different passwords for each lab – Please request passwords from your instructor only. Do not give out these passwords to anyone.
• Many of you will opt to save your files on Thumbdrives (USB drives). These work great for
saving and transporting your work between home and school. But, unlike PC’s, Macs expect you to “eject” or “unmount’ your thumbdrive before you unattach it from your computer. Do so by dragging your thumbdrive from the desktop to the trash bin (which will change to an “eject” symbol). Not doing this can cause you to lose your information and possibly ruin the thumbdrive.
• Save and save often! You will be able to not only save on your computer but have several
other options to save your files – always use the default (saving to your computer) as well as one of the following secondary methods to insure you don’t lose your files. Your instructor will give you access to the Journalism file server which can be used for all your files (short of large video files and personal files). You can also use email to send files to yourself or use thumbdrives to carry your files home with you. Additionally, Lab 128 and 106 are fully equipped with CD/DVD burners and 126 has several CD/DVD burners as well. At any time your computer could crash and your files could be lost – save in at least one more location! Additionally, this insures that if someone is using “your” computer, you don’t have to wait for them to get off of it.
• New for Fall 2006, any student files meant to be saved at the end of class should be dragged and dropped onto the server as an additional place to save them– whenever you login to the computer, it’ll automatically mount the server shared drive, please make use of it! At any time during the semester, computers may fail and you may loose your files – keep two copies of them at all times – one on your computer and one on the server. Don’t forget to update these server files whenever you change the original! This, of coarse due to the size, does not apply to video students. Video students are expected to burn their work to DVD, transfer it to their own external hard drive or one provided by the department, or finish any projects before Friday – each Friday all the computers in 106 will be wiped.
• When you use the Journalism file server do NOT open your files directly off of the server!
Click and drag any of your files onto the desktop of the computer you are currently working on – not doing so bogs down the server and slows your work down too! When finished be sure to overwrite the old file on the server with the new version on your computer’s desktop!
• The files on your server may be available from your home computer – but do not expect that they will be. Due to security settings by OIT, your home computer may or may not be able to access files on the server from home. Consider this an additional place to save while at home, not a primary way to access your files.
• Do not abuse the computers. DCC as well as the Journalism Department monitors computer usage and will report improper use of departmental equipment. Treat these computers as if someone is watching your usage – because they are! Additionally, do not damage, hit, or take your frustrations out on any of our equipment. If you’re getting frustrated – walk away and take a break.
• Don’t leave any personal items in the labs after class. Once or twice a week each lab will be
cleaned and all personal items will be thrown away or placed in a lost and found.
• No food/drinks are allowed in 126 or 128. For Lab 106, please try to limit your food to the
tables.
• We have film scanners, flatbed scanners, DV/miniDV Decks, Minidisc Recorders and DV
Cameras available in our labs as well as for checkout. Please talk to your instructor about access to
any of these if you need them for a class project. Check out will be posted in the Journalism Office.
• Do not access highly personal items on these computers such as bank accounts and anything
dealing with your social security number. We have seen far too many people leave access to their
bank accounts open on lab machines far after they’ve left the room. Be vigilant!
• Most of all if you’re having any problems talk to your instructor or our Computer Tech, Jason.
We’re all more than willing to help you out with any problem! Jason is available quite a bit during
normal office hours – please consult his schedule on his door.
Building Access:
Access to the Journalism computer lab is virtually 24/7 with your Polar Express card. As long as you
can get into the Bunnell Building, you can access the lab. You can remain in the lab after the building
has closed. The lab is not open to students when classes are meeting in the lab. Those times will be
posted on the lab door. If you are in the lab when a class is about to begin, you will be asked to leave.
Note that some classes meet only occasionally in the lab and professors do their best to post those
times on the door in advance of the class meeting time.
Bunnell Building hours vary. Note that sometimes the south entrance by the Journalism Department
is locked while one or both of the north entrances are open, so try the other doors if you cannot enter
through the south entrance.
Expectations of Students:
1. Push yourself to do your best work for this class. If you don’t do your best work now, when will
you do it?
2. Arrive to class on time. Tardiness will result in a reduced grade (see “Attendance/Tardiness”
below).
3. Make sure your cell phones are OFF.
4. Laptops are allowed in class, however I reserve the right to close your laptop if I suspect you are
using it for non-class-related purposes regardless of whether or not I have evidence to support that
suspicion.
5. Come to class prepared, having completed the required homework and ready to participate in class
discussions.
6. Attend every class. Unexcused absences will results in a reduced grade (see
“Attendance/Tardiness” below).
7. Participate in every class.
8. Check your Blackboard e-mail every weekday.
9. Respect your peers. Support and encourage them and offer constructive criticism of their projects.
10. Ask questions during or after class when you do not understand something or are having a
problem. If you don’t understand something, chances are at least some of your peers don’t
understand it either.
11. If you are having a problem outside of class that is affecting your ability to perform in this class,
please let me know as soon as you can. You do not need to disclose the details of your situation.
Although doing well in college is very important and you need to work hard, do not let the
pressure overwhelm you. Your personal health and sanity are more important than good marks. I
consider myself a very easy person to talk to and encourage you to come speak to me if you need
to discuss issues course-related or otherwise.
Grading:
Attendance/Tardiness: 20%
I will allow you two unexcused absences for the entire semester before I begin lowering your
final grade with each additional absence. Each absence after the second will significantly reduce your
final grade. If you miss ten or more classes with no official documentation proving your absences
were legitimate, then you will fail the course REGARDLESS of if your other grades were high
enough to allow you to pass the course.
An excused absence is when you have notified me before class that you will not be able to
make it to class for a valid reason: sick, car trouble, family business, etc. You must notify me
BEFORE class for an absence to be excused. Telling me hours or days later why you missed class
will not excuse the absence. Treat this class like a job. If you don’t show up to work and don’t call in
beforehand, you get fired. The only exception to this rule is that I will accept a doctor’s note up to a
week after you return to class as an excuse for an absence.
Students who have zero absences (excused or unexcused) and no tardiness will receive 2%
extra credit in their final grade. An absence or tardy for any reason will remove this extra credit from
your final grade.
Although your absence from class may not directly count against your grade, any assignments
due that day that you did not turn in will still count against your grade. Make sure to contact me after
an absence to see what announcements or assignments you missed. I recommend you ask a fellow
student for a copy of their notes from that class to see what material we covered.
Because coming late to class disrupts class, at times forces us to wait for you, and can mean
missing important announcements, every three times you arrive to class late I will add one absence to
your grade. Redefine “on time” to class in your mind to mean “five minutes early.” If you do arrive
to class late, make sure to see me after class to make sure I mark you as present and let you know
about any announcements I may have made that day.
Here is how your unexcused absences will affect your final grade:
0 Absences (and zero tardiness) = 110% for attendance (equals +2% extra credit)
1-2 Unexcused Absences = No deduction from your attendance grade
3rd Unexcused Absences = 85% for attendance grade
4th Unexcused Absences = 70% for attendance grade
5th Unexcused Absences = 55% for attendance grade
6th Unexcused Absences = 40% for attendance grade
7th Unexcused Absences = 25% for attendance grade
8th Unexcused Absences = 10% for attendance grade
9th Unexcused Absences = 0% for attendance grade
10+ Unexcused Absences = Automatically fail the course
Midterm Exam: 20%
Multiple-choice, short answer, essay. Covers material from the lectures and exercises.
Quizzes: 5%
Cover material from recent lectures and exercises.
Interview Shoot 1: 5%
A studio shoot based on filming an interview.
Interview Shoot 2: 5%
A studio shoot based on filming an interview.
VO Package: 5%
A short voiceover package for the newscast.
News Shoot 1: 5%
A studio news shoot.
News Shoot 2: 10%
A studio news shoot.
News Shoot 3: 10%
A studio news shoot.
Final Newscast Evaluation: 15%
A final news shoot in which the class works as a whole to pull off a perfect newscast.
Grading Guidelines:
A: An honor grade that indicates originality and independent work, mastery of the subject and the
satisfactory completion of more work than was regularly required. To get an “A,” students in my
classes need to impress me with the work they’ve done on an assignment and go beyond what I asked
for in the assignment.
94%-100% = A, 90%-93% = AB:
Indicates outstanding ability above the average level of performance. To get a “B,” students in my
classes need to do exactly what I asked for in the assignment and do it well.
87%-89% = B+, 84%-86% = B, 80%-83% = BIMPORTANT
GRADING POLICY INFORMATION
Implications of the Grade of ‘C’ (and below) for letter-graded
undergraduate courses which are:
–Prerequisites for other courses, or
–Degree major requirements, or
–Core courses
C+ (2.3): Satisfactory to Fair: satisfactory level of performance, with some
mastery of material.
C (2.0): Average: satisfactory level of performance and level of competency
in the subject. A minimum grade of ‘C’ (2.0) is required for all
prerequisites and major courses.
C- (1.7): Barely satisfactory: Minimum grade required for all Core (X)
Courses. A grade of C- (1.7) in a class which is a prerequisite for another
class or in a class required for a student’s major will result in the
student being required to retake the class.
77%-79% = C+, 74%-76% = C, 70%-73% = CD+
(1.3); D (1.0); D- (0.7): Below Average: Fair to poor level of competency
in the subject matter. A grade of D+, D or D- in a Core (X) class will
automatically require the student to retake the class to receive core
credit, starting Fall 2011.
67%-69% = D+, 64%-66% = D, 60%-63% = DF:
Indicates failure to meet lowest standards. To get an “F,” students in my classes will have missed
several major elements of the assignment and the content will be all—or nearly all—poor quality.
0%-59% = F
For additional grading policy information see the UAF Catalog, pages 46-50.
Course Policies:
Late work or quizzes will be docked 15% plus an additional 15% for each class period it is not turned
in after the due date. Backup your work and work ahead of deadlines so you can avoid these
problems. If you miss the midterm exam, you will need documentation proving the legitimacy of
your absence to avoid the 15% grade reduction.
Projects can be redone only if there is sufficient evidence that a requirement(s) of the assignment was
described in a way that a reasonable adult would find confusing or ambiguous and that unclear
element of the assignment directly related to the student’s reduced grade.
All work must comply with the University of Alaska Fairbanks policies on student conduct found
online at www.uaf.edu/catalog/current/academics/regs3.html.
All work must be original productions for this course and plagiarism will result in a zero for the
assignment, a possible F for the class, and potentially further academic discipline. Ignorance of what
it means to plagiarize will not be an excuse from punishment. If you have questions about plagiarism,
contact me before you hand in the assignment.
Support Services:
I will make reasonable accommodations for individuals with documented disabilities. Notify me
within the first two weeks of the semester if you have any special needs.
The departments listed below provide resources for students with disabilities, help writing papers, and
help preparing for class presentations:
Disability Services
e-mail. fydso@uaf.edu
tel. 907-474-5655
tty. 907-474-1827
Whitaker Building Room
208
www.uaf.edu/disability
Writing Center
Dept. Of English
801 Gruening Bldg.
(907) 474-7193
faengl@uaf.edu
Speaking Center
Dept. of Communication
507 Greuning Bldg.
(907) 474-5470
fyspeak@uaf.edu
About Your Professor:
I grew up in East Lansing, Michigan and graduated from Calvin College with a B.A. in
Telecommunications. After college I went to work in Chicago for Kurtis Productions, producers of
the Investigative Reports series on A&E. I then was hired as a Producer/Director for the PBS affiliate
in Grand Rapids, Michigan where I directed live and pre-recorded programs for local broadcast. In
2000 I went back to Calvin to run the video production department. While working there I earned my
M.A. from Michigan State University in Telecommunication, Information Studies and Media.
In 2005 I moved to Fairbanks to teach video production and documentary filmmaking in the
Journalism Department at the University of Alaska Fairbanks.
Want more video classes? Check these out:
JRN F280 Video Storytelling (h)
3 Credits / Offered Fall / Prof. Prince
Basics of digital video production technology, composition, audio, lighting and editing as it relates to
primarily non-fiction filmmaking. Students will conclude the course by producing their own short
videos. Special fees apply. (Cross-listed with FLM F280.) (3+0)
JRN F290 Digital Video Editing
3 Credits / Offered As Demand Warrants / Prof. Prince
Introduction to the technical and aesthetic aspects of non-linear digital video editing. Students will go
from little or no experience in non-linear editing to being comfortable with some of the advanced
editing techniques. Address motion picture editing theories that are not bound to time or specific
editing technology. Special fees apply. (Cross-listed with FLM F290.) (3+0)
JRN F453 O Television News Reporting
3 Credits / Offered Spring / Prof. Prince
Electronic news gathering using videotape equipment, scriptwriting, location sound recording,
interview techniques, editing, videography and other aspects of field news reporting. Special fees
apply. Prerequisites: COMM F131X or COMM F141X; JRN F451; JRN F452. JRN F452 may be
taken concurrently with JRN F453. (2+2)
JRN F480 Documentary Filmmaking (h)
3 Credits / Offered Spring / Prof. Prince
Basics of hands-on documentary filmmaking techniques, including preproduction, production and
postproduction. Different documentary filmmaking directing styles and the process of distributing a
documentary. Each student will produce a short documentary as the capstone of the course. Special
fees apply. (3+0)
TELEVISION PRODUCTION: TENTATIVE COURSE SCHEDULE
DATE: SUBJECT: NOTES:
SEPT. 2 INTRODUCTION TO THE COURSE
SEPT. 5 LABOR DAY—NO CLASSES
SEPT. 7 STUDIO POSITIONS
SEPT. 9 THE CAMERA MEET IN MINOR STUDIO
SEPT. 12 DIRECTING TERMS
SEPT. 14 THE SWITCHER MEET IN MINOR STUDIO
SEPT. 16 STUDIO SHOOT MEET IN MINOR STUDIO
SEPT. 19 AUDIO MEET IN MINOR STUDIO
SEPT. 21 AUDIO CONTINUED MEET IN MINOR STUDIO
SEPT. 23 STUDIO SHOOT MEET IN MINOR STUDIO
SEPT. 26 DIRECTING
SEPT. 28 INTERVIEW #1 REHERSAL MEET IN MINOR STUDIO
SEPT. 30 INTERVIEW SHOOT #1 MEET IN MINOR STUDIO
INTERVIEW #1 GRADED
OCT. 3 INTERVIEW TECHNIQUES
OCT. 5 INTERVIEW #2 REHERSAL MEET IN MINOR STUDIO
OCT. 7 INTERVIEW SHOOT #2 MEET IN MINOR STUDIO
INTERVIEW #2 GRADED
OCT. 10 TELEPROMPTER MEET IN MINOR STUDIO
OCT. 12 RUNDOWNS
OCT. 14 STUDIO SHOOT MEET IN MINOR STUDIO
OCT. 17 VTR’S & CCU’S
OCT. 19 REVIEW FOR MIDTERM
OCT. 21 MIDTERM EXAM
OCT. 24 FIELD PRODUCTION
OCT. 26 FIELD PRODUCTION EXERCISE
OCT. 28 VIEW RAW VO FOOTAGE VO PACKAGE RAW
OCT. 31 INTRODUCTION TO DIGITAL VIDEO EDITING
NOV. 2 EDITING CONTINUED
NOV. 4 IN CLASS EDITING PERIOD
NOV. 7 STUDIO NEWS SHOOT REHEARSAL MEET IN MINOR STUDIO
NOV. 9 STUDIO NEWS SHOOT REHEARSAL MEET IN MINOR STUDIO
NOV. 11 STUDIO NEWS SHOOT #1 MEET IN MINOR STUDIO
NEWS SHOOT #1 GRADED
NOV. 14 VIEW PACKAGES VO PACKAGE
NOV. 16 STUDIO NEWS SHOOT REHEARSAL MEET IN MINOR STUDIO
NOV. 18 STUDIO NEWS SHOOT #2 MEET IN MINOR STUDIO
NEWS SHOOT #2 GRADED
NOV. 21 PRODUCING
NOV. 23 VIDEO CABLES / SIGNALS
NOV. 25 THANKSGIVING BREAK—NO CLASS
NOV. 28 INTERVIEWING
NOV. 30 STUDIO NEWS SHOOT REHEARSAL MEET IN MINOR STUDIO
DEC. 2 STUDIO NEWS SHOOT #3 MEET IN MINOR STUDIO
NEWS SHOOT #3 GRADED
DEC. 5 IN CLASS EDITING PERIOD
DEC. 7 IN CLASS EDITING PERIOD
DEC. 9 VIEW FINAL PACKAGES FINAL PACKAGE DUE
DEC. 12 REHEARSE FINAL NEWS SHOOT MEET IN MINOR STUDIO
DEC. 16 1:00PM – 3:00PM FINAL NEWS SHOOT MEET IN MINOR STUDIO

280 Video Storytelling

JRN/FLM F280 F01

Video Storytelling

Fall 2012

Bunnell 126

tuesday/thursday 11:30am-1:00pm

Prof. Robert Prince

Office: Bunnell 105C

Email: rob.prince@alaska.edu

 Required Reading:

Visual Storytelling, Osgood & Hinshaw, 2009

Course Description:

JRN F280 Video Storytelling (h)

3 Credits
Offered Fall

Basics of digital video production technology, composition, audio, lighting and editing as it relates to primarily non-fiction filmmaking. Students will conclude the course by producing their own short videos. Special fees apply. Cross-listed with FLM F280. (3+0)

Course Goals:

Upon successful completion of the course, students will be expected to have a basic knowledge of how to technically and artfully produce short, non-fiction videos.

Student Learning Outcomes:

Upon successful completion of this course, students will be able to:

  1. Capture attractive video images with useable audio
  2. Do basic non-linear editing in Final Cut Xpress
  3. Tell a good story using moving images and audio

Instructional Methods:

This course will be taught through lectures, class activities, and field production work.

 

Expectations of Students:

  1. Push yourself to do your best work for this class.  If you don’t do your best work now, when will you do it?  Remember who writes your recommendation letters.
  2. Arrive to class on time.  Tardiness will result in a reduced grade (see “Attendance/Tardiness” below) and may prevent you from taking quizzes.
  3. Make sure your cell phones are on silent.
  4. Laptops are allowed in class, however I reserve the right to close your laptop if I suspect you are using it for non-class-related purposes regardless of whether or not I have evidence to support that suspicion.
  5. Come to class prepared, having completed the required homework and ready to participate in class discussions.
  6. Attend every class.  Unexcused absences will results in a reduced grade (see “Attendance/Tardiness” below).
  7. Participate in every class.
  8. Check your Blackboard e-mail every weekday.
  9. Respect your peers.  Support and encourage them and offer constructive criticism of their projects.
  10. Ask questions during or after class when you do not understand something or are having a problem.  If you don’t understand something, chances are at least some of your peers don’t understand it either.
  11. Take notes.
  12. If you are having a problem outside of class that is affecting your ability to perform in this class, please let me know as soon as you can.  You do not need to disclose the details of your situation.  Although doing well in college is very important and you need to work hard, do not let the pressure overwhelm you.  Your personal health and sanity are more important than good marks.  I consider myself a very easy person to talk to and encourage you to come speak to me if you need to discuss issues course-related or otherwise.

 

Equipment Policies

Productions for this class will be all digital using Macs for the editing in this class. We will use Panasonic AG-HMC40 HD cameras for recording.  Access to the computers is on a first come, first serve basis.  Access to the editing room is available virtually 24-7.  You will need permission from us to have security let you in the building during the very late evening/holidays.

 

Cameras must be checked out and returned through the student equipment manager, the department administrator, Jason Lazarus or Robert Prince.  The Monday-Friday hours when you can do that will be announced as soon as possible.  We recommend that you reserve equipment well in advance of when you need it.  Cameras can be checked out for only one evening or the weekend. You have to sign a waiver before you can check out any equipment.  Cameras and editing equipment are also available for check out through the Rasmuson library.

The hard drives on the lab computers will be erased every Friday afternoon to prevent the buildup of excessive files on the drives.  If you need an exception from this, make sure to let Jason Lazarus or me know.

Building Access:

Access to the Journalism computer lab is virtually 24/7 with your Polar Express card.  As long as you can get into the Bunnell Building, you can access the lab.  You can remain in the lab after the building has closed.  The lab is not open to students when classes are meeting in the lab.  Those times will be posted on the lab door.  If you are in the lab when a class is about to begin, you will be asked to leave.  Note that some classes meet only occasionally in the lab and professors do their best to post those times on the door in advance of the class meeting time.

Bunnell Building hours vary.  Note that sometimes the south entrance by the Journalism Department is locked while one or both of the north entrances by the flags are open, so try the other doors if you cannot enter through the south entrance.

Final Grade Breakdown:

Attendance: 20%

“Eighty percent of success is showing up.”

—Woody Allen

Each unexcused absence in this class will reduce your final grade.  If you have six or more unexcused absences, then you will automatically fail the course REGARDLESS of if your other grades were high enough to allow you to pass the course.

Excused absences will not affect your attendance grade (though you will lose the extra credit).  An excused absence is when you have notified me before class that you will not be able to make it to class for a valid reason: sick, personal emergency, etc.  “I’m too busy” or “I can’t find a ride to class” are not valid reasons for missing class.

You must notify me BEFORE class for an absence to be excused.  Telling me hours or days later why you missed class will not excuse the absence.  Treat this class like a job.  If you don’t show up to work and don’t call in, you get fired.  The only exception to this rule is that I will accept a doctor’s note up to a week after you return to class as an excuse for an absence.

Students who have zero absences (excused or unexcused) and no tardies will receive extra credit in their final grade.  Any absence or tardy for any reason will remove this extra credit.

Make sure to contact me after an absence to see what announcements or assignments you missed.  I recommend you ask a fellow student for a copy of their notes from that class to see what material we covered.

“Twenty percent of success is showing up…on time.”

—Robert Prince

Because coming late to class disrupts class, at times can force us to wait for you, and can mean missing important announcements, every three times you arrive late to class I will add one absence to your grade.  Redefine “on time” to class in your mind to mean “five minutes early.”  If you do arrive to class late, make sure to see me after class to make sure I mark you as present and let you know about any announcements I may have made that day.

Here is how your absences will affect your final grade:

0 Absences (and zero tardies) = 110% for attendance (equals +2% extra credit)

Unexcused Absence = -10% from attendance grade per each

6+ Unexcused Absences = Automatically fail the course

Pop Quizzes: 5%

Cover the material in the course lectures and readings.  If you miss a pop quiz, it can only be made up if your absence was excused and it must be made up before you return to class.  If you are late to class the day of a pop quiz, you cannot take it unless your tardy was excused.

Exam: 25%

Covers the readings and lectures.

Production Assignment Basic Camerawork: 5%

Covers the basic composition skills.

Production Assignment Intermediate Camerawork: 5%

Covers intermediate composition skills.

Production Assignment Lighting: 5%

Covers the basics of three-point lighting.

Production Assignment Audio: 5%

Covers the basics of recording quality audio for video and using audio in storytelling.

Production Assignment Editing: 5%

Covers the basics of editing on Final Cut Pro.

Final Project: 25%

A short 3-5 minute video that demonstrates a cumulative knowledge of the subjects covered in the course.

 

Grading Guidelines:

A:  An honor grade that indicates originality and independent work, mastery of the subject and the satisfactory completion of more work than was regularly required.  To get an “A,” students in my classes need to impress me with the work they’ve done on an assignment and go beyond what I asked for in the assignment.

94%-100% = A, 90%-93% = A-

B:  Indicates outstanding ability above the average level of performance.  To get a “B,” students in my classes need to do exactly what I asked for in the assignment and do it well.

87%-89% = B+, 84%-86% = B, 80%-83% = B-

IMPORTANT GRADING POLICY INFORMATION

Implications of the Grade of ‘C’ (and below) for letter-graded

undergraduate courses which are:

–Prerequisites for other courses, or

–Degree major requirements, or

–Core courses

C+ (2.3): Satisfactory to Fair: satisfactory level of performance, with some

mastery of material.

C (2.0): Average: satisfactory level of performance and level of competency

in the subject. A minimum grade of ‘C’ (2.0) is required for all

prerequisites and major courses.

C- (1.7): Barely satisfactory: Minimum grade required for all Core (X)

Courses. A grade of C- (1.7) in a class which is a prerequisite for another

class or in a class required for a student’s major will result in the

student being required to retake the class.

77%-79% = C+, 74%-76% = C, 70%-73% = C-

D+ (1.3); D (1.0); D- (0.7): Below Average: Fair to poor level of competency

in the subject matter.  A grade of D+, D or D- in a Core (X) class will

automatically require the student to retake the class to receive core

credit, starting Fall 2011.

67%-69% = D+, 64%-66% = D, 60%-63% = D-

 

F:  Indicates failure to meet lowest standards.  To get an “F,” students in my classes will have missed major elements of the assignment and/or the content will be all—or nearly all—poor quality.

0%-59% = F

For additional grading policy information, see the UAF Catalog, pages 46-50.

Course Policies:

Late work or quizzes will be docked 15% plus an additional 15% for each class period it is not turned in after the due date.  Backup your work, reserve video equipment, and work ahead of deadlines so you can avoid these problems.  If you miss the midterm exam, you will need documentation proving the legitimacy of your absence to avoid the 15% grade reduction.

Projects can be redone only if there is sufficient evidence that a requirement(s) of the assignment was described in a way that a reasonable adult would find confusing or ambiguous and that unclear element of the assignment directly related to the student’s reduced grade.

All work must comply with the University of Alaska Fairbanks policies on student conduct found online at www.uaf.edu/catalog/current/academics/regs3.html.

All work must be original productions for this course and plagiarism will result in a zero for the assignment, a possible F for the class, and potentially further academic discipline.  Ignorance of what it means to plagiarize will not be an excuse from punishment.  If you have questions about plagiarism, contact me before you hand in the assignment.

I will make reasonable accommodations for individuals with documented disabilities. Notify me within the first two weeks of the semester if you have any special needs.

Support Services:

I will make reasonable accommodations for individuals with documented disabilities, for example, providing an in-class note taker, providing a quiet and solitary test-taking environment, or other reasonable accommodations in line with your documented needs.  Disability services will provide you with documentary indicating what kind of assistance you need and, based on that evidence, I will implement that assistance to the best of my abilities. Notify me within the first two weeks of the semester if you have any special needs.

The departments listed below provide resources for students with disabilities, help writing papers, and help preparing for class presentations:

Disability Services

e-mail. fydso@uaf.edu

tel. 907-474-5655

tty. 907-474-1827

Whitaker Building Room 208

www.uaf.edu/disability

About Disability Services

At UAF Disability Services, our goal is to provide UAF students with access to academic classes and course materials through an interactive accommodation process.

UAF Disability Services provides accommodations to students on the Fairbanks campus as well as on the Bristol Bay, Chukchi, Interior Aleutians, Kuskokwim, Northwest, Community Technical College (CTC), Center For Distance Education (CDE), and College for Rural and Community Development (CRCD) campuses.

Students using community campuses or distance learning programs should contact Disability Services via telephone, fax, e-mail, U.S. postal mail, or in person to request and arrange for accommodations.

We enjoy supporting individuality, promoting independence and celebrating graduations.

Writing Center

Dept. Of English

801 Gruening Bldg.

(907) 474-7193

faengl@uaf.edu

The Writing Center is a student-staffed, student-oriented service of the English Department. Our tutors, English Department teaching assistants and a few outstanding undergraduate students, can assist you in all phases of the writing process, including the following:

  • Brainstorming and generating topics
  • Organizing ideas
  • Developing research strategies
  • Use of citation styles — MLA, APA, and Chicago
  • Editing for clarity and correctness

We collaborate with each student on a one-to-one basis, and we will work with students at any phase of the writing process — planning, drafting, revising. We can also help writers discover ways of improving grammar, mechanics, and punctuation.

Tutorials. Tutorial appointments at the Writing Center are 30 minutes long, and we encourage you to call or stop by to make an appointment. Walk-in sessions are often available, but in the last half of the semester we are often booked.

Fax Tutoring. We provide a fax tutoring service for students enrolled in the College of Rural and Community Development (CRCD). Students can fax their papers to us (1-800-478-5246), and they will have a telephone tutorial with a tutor at a designated time. We offer fax tutorials Monday through Thursday evenings and Sunday afternoons. Phone the Writing Center (907/474-5314) to make an appointment.

 

Speaking Center

Dept. of Communication

507 Greuning Bldg.

(907) 474-5470

fyspeak@uaf.edu

What is the Speaking Center?

The Speaking Center is a student-oriented service provided to facilitate preparing public presentations. Students can recieve coaching in refining their presentation topic, in organizing their presentation effectively, and in practicing their presentation. The Center makes it possible to digitally record and to watch one’s practice presentation, receiving constructive feed back from a Speaking Center coach.

 

Who can use the Speaking Center?

The Speaking center is available to all students currently enrolled at UAF or at TVC.

 

Scheduling Procedures

Please call 474-5470 or e-mail fyspeak@gmail.com to schedule an appointment at the Speaking Center. Walk-ins are welcome, however, students can be served only if there are openings.

Individuals may schedule the Center’s practice room daily any time prior to Speaking Center hours.

About Your Professor:

I grew up in East Lansing, Michigan and graduated from Calvin College with a B.A. in Telecommunications.  After college I went to work in Chicago for Kurtis Productions, producers of the Investigative Reports series on A&E.  I then was hired as a Producer/Director for the PBS affiliate in Grand Rapids, Michigan where I directed live and pre-recorded programs for local broadcast.  In 2000 I went back to Calvin to run the video production department.  While working there I earned my M.A. from Michigan State University in Telecommunication, Information Studies and Media.

In 2005 I moved to Fairbanks to teach video production and documentary filmmaking in the Journalism Department at the University of Alaska Fairbanks.

  

Want more video classes?  Check these out:

 

JRN/FLM F290 Digital Video Editing

3 Credits / Offered As Demand Warrants / Prof. Prince

Introduction to the technical and aesthetic aspects of non-linear digital video editing. Students will go from little or no experience in non-linear editing to being comfortable with some of the advanced editing techniques. Address motion picture editing theories that are not bound to time or specific editing technology. Special fees apply. (Cross-listed with FLM F290.) (3+0

JRN/FLM F292 Hands on Documentary Production

3 Credits / MAYmester / Prof. Prince

Production of a short video documentary from start to finish on a subject to be announced. The class will work collectively to produce the film. Students will have the opportunity to work in various positions from director, producer, camera operator, sound, editing, etc. Special fees apply.  (Cross-listed with FLM F290.) (3+0)

JRN/FLM F480 Documentary Filmmaking (h)
3 Credits / Offered Spring / Prof. Prince
Basics of hands-on documentary filmmaking techniques, including preproduction, production and postproduction. Different documentary filmmaking directing styles and the process of distributing a documentary. Each student will produce a short documentary as the capstone of the course. Special fees apply. Prerequisites: JRN F280 or permission of instructor. (3+0) 

VIDEO STORYTELLING: Tentative Course Schedule

Date: Subject: Assignment Due:

8/30

Introduction to the course

9/4

Camera Controls / Tripods

9/6

Guts of a Video Camera Chapter 4: From Light to Electrical Energy

9/11

Camera Specs

9/13

Video Cables  

9/18

View Projects Production Assignment:  Basic Camerawork

9/20

Composition Chapter 5: Composition

9/25

Composition Activity  

9/27

Composition Activity  

10/2

View Projects Production Assignment:  Intermediate Camerawork

10/4

Lighting & White Balance Chapter 7: Lighting in the Field

10/9

Lighting Continued

10/11

Lighting Activity  

10/16

View Projects / audio SET-UP Production Assignment: Lighting

10/18

Audio RECODING Chapter 6: Audio in the Field

10/23

View Projects Production Assignment:  Audio

10/25

Editing as storytelling Chapter 8: The Aesthetics of Editing

10/30

Introduction to Editing Chapter 9: Post Production

11/1

Editing Continued

11/6

Editing Continued

11/8

Graphics & Effects Chapter 11: Graphics & Effects

11/13

In-class editing period  

11/15

In-class editing period  

11/20

View Projects Production Assignment:  Editing

11/22

Thanksgiving Break – No Class

11/27

Final Project Discussion / Exam Review

11/29

Exam

12/4

View Raw Footage Raw Footage for Final Project

12/6

In-class editing period  

12/13

Final Exam Period 10:15am-12:15pm View final projects

 

Nickel and Dimed

Nickel and Dimed poster“Nickel and Dimed”

by Joan Holden, based on the 2001 book of the same title by Barbara Ehrenreich

Directed by Brian EG Cook

October 25 – November 9, 2013*
Extended due to popular demand!

Click on any image for a larger view.

Following the Sunday, Oct 27 matinee, audience members and the general public were invited to a panel discussion about minimum wage issues, moderated by Cook. The panel included professors from the University’s departments of sociology and psychology, and the School of Management, as well as an academic advisor from the Office of Student Support Services, and the director of the local food bank.

News article

The Fairbanks Daily News-Miner featured an article on the production!

Fairbanks Daily News-Miner review of "Nickel and Dimed"

The official Fairbanks Daily News-Miner review.

Cast:
Rachel Blackwell Barbara
Melissa Buchta Woman, Daughter, Customer, Carlie, Marge, Patient 3, Lady
Daniels Gail, Maddy, Patient 4, Mom
Nicole Cowans Nita, Server 1, Hector, Rich Lady, Patient 1, Melissa
Ian Hendren George, Man, Boyfriend, Stock-boy, Pete, Timid Man
Marley Horner Editor, Philip, Customer, Ted, Howard
Katrina Kuharich Server 2, Joan, Holly, Social Worker, Sari
Nancy Nguyen Teenager, Manager, Cashier, Customer, Nan, Patient 2, Kim
Production Team:
Director: Brian EG Cook
Set, Lighting & Sound Designer: Kade Mendelowitz
Costume Designer: Bethany Marx
Assistant Director: Mary Ludolph
Stage Manager: Steve Keller

Call for Proposals (Directors / Winter Shorts)

Student Drama Association
CALL FOR DIRECTORS
For the Fall Winter Shorts
Deadline: 3/29
Requirements:

  • Two previously produced plays running no longer than 40 minutes, and no less than one. (Yes, Famous For Fifteen shows count)
  • Two to five copies of the scripts. (As many as required to easily read aloud in a group setting, not exceeding a reasonable amount for you to print)
  • A 1-sheet letter discussing the potential directors ideas and concepts for the proposed production.
  • Up-to-date contact information.
  • Applicants are asked to have completed the Directing class and stage managed a main stage pro-duction. All applicants are welcome but priority will be given to those students who meet the above mentioned criteria.

The Theatre UAF Faculty will need to approve the final applicants. The directors and plays cho-sen will be announced on April 12th at the S.D.A. meeting (which goes from 1:05 p.m. to 1:50 p.m.) in the Green Room located next to the Graffiti Hall. If you cannot make it to this meeting, make a note on your proposal.

Scripts and proposal letters should be turned in to the Theatre & Film UAF department office located in the Great Hall / Room 302. (Really? yes!)

ACTING THESIS GUIDELINES

A. Proposal
1. Write a one page proposal outlining the faculty-directed show and role that you would like to work on for your thesis project. This proposal needs to be approved by the faculty before registering for the thesis course.

  •     Title of play
  •     Role to be performed
  •     Dates and location of performances
  •     Name of producing organization (Theatre UAF)
  •     Name of the director
  •     What role you are interested in playing and why.
  •     A brief synopsis of the plot and description of the character that you are interested in playing.
  •     Why this play and character is an appropriate choice for you as an actor and what you hope to gain from the experience.

B. Advisor Meetings
1. You are expected to set up and attend bi-weekly meetings with your thesis advisor to discuss your progress on the project. It is your responsibility to set up these meetings with your advisor, not the advisor’s responsibility to track you down.

C. Project Binder
Please divide a three-ringed binder into the following categories:

  1. Analysis: detailed written analysis of the play, including style, character, structure, setting, storyline, relationships. Be as detailed as possible about all the characters, themes, concepts in the play.
  2. Research: historical research of the time period in which the play takes place, reviews of past performances, interviews with the playwright, articles written about the playwright or play, interviews with actors or directors who have been involved in past productions, academic analysis or commentary on the work, visual research or media viewed.  Please provide a detailed bibliography of sources used and collected.
  3. Character analysis and detailed character background of your character. Be as detailed as possible including character objectives/goals, others, obstacles, tactics, expectations, relationships, victories. Discuss in detail physical and vocal acting choices based on character’s physical and vocal attributes. Include any research for portraying character’s physical and vocal characteristics. Include your understanding of the director’s concept for the show and how that played into your character development.
  4. Detailed journal of rehearsal process and personal preparation outside of rehearsal done for role. Journal should also include reflection on performances and a final self-assessment of your work on the role.
  5. A personal “critique” of the project.  This critique should address the major facets of your performance journey. This may include discoveries you made during the production process, both personally and as an artist.  Your response should address specific challenges and/or breakthroughs you experienced in terms of preparation and the enactment/portrayal of your character.  Conclude your critique with comments regarding what types of things you would encourage others to repeat, avoid, or change if they were required to do a similar project.
  6. Copy of the rehearsal schedule.
  7. Copy of the script broken down into units and beats. Assign an active verb to each of your character’s lines and an objective for each unit.
  8. Copy of script with blocking clearly marked (can submit same copy as unit/beat copy if neat and readable).
  9. List of personal props and costumes used.
  10. Copy of all notes taken during the rehearsal process (can submit handwritten notes if legible. Please type up if illegible).
  11. Copy of publicity, posters, reviews, program, photographs from show.
  12. Copy of updated resume and headshot.

D. Thesis Defense

  1. You will have a public thesis defense where you will give a presentation on your work on the role and written project. There will also be an opportunity for the audience to ask you questions publicly.
  2. You will have a private thesis defense with the theatre faculty and staff who will be able to ask you further specific questions about your process, choices, and written project.

 

DIRECTING PROJECT GUIDELINES

Students proposing directing projects must meet all of the general guidelines for projects, as outlined in the General Guidelines for All Senior Thesis Projects.

All students proposing a “Senior Thesis” in directing must have a declared concentration in directing and must have completed THR 413W Playscript Analysis and THR 332 Directing Theatre prior to beginning actual production work on the thesis project. Students should have also functioned as an Assistant Director or Stage Manager on at least one faculty directed production prior to the submission of a directing thesis proposal. Students are reminded that this is a three-credit “capstone” course in the directing concentration; students must meet the thesis course guidelines as indicated below.

Senior thesis directing project proposals will be evaluated by the Theatre UAF faculty on the basis of previously completed coursework, practical directing history, the merit of the written proposal, compatibility with departmental season goals and schedules, and the availability of support staff. Previous directing experiences outside the department may also be considered in the evaluation and selection process.

The proposal for the senior thesis project in directing should include the following elements:

  •     Title and author of the proposed selection;
  •     Description of the style and genre of the play;
  •     Statement of cast size and gender distribution;
  •     Brief synopsis of the plot, as well as a description of primary characters and themes found in the work;
  •     Concept and design statement relating to HOW you will produce this show within the parameters of the project guidelines;
  •     Justification for WHY this play is a valid and appropriate choice for YOU as a director and for the theatre department as a whole.

For all senior thesis directing projects, the student must select a 45 minute- one Hour ONE ACT play script which can be effectively cast, designed, rehearsed, staged, produced, and presented in a minimalistic manner. (Any presentation which violates the time or staging requirements will be assessed a lower grade by the project advisor.)  More than one directing thesis project may be scheduled during the same evening. If this occurs, directors are expected to work collaboratively together as they plan and develop technical specifications which will work for each production. Each directing project will be presented two times for a public audience, free of charge. The Department has the authority to schedule the presentation dates and times to best fit time and space considerations.

As stated above, all senior thesis directing projects are to be presented in a minimalistic manner. Student directors will have access to a minimal budget (as determined by the faculty and department chair), which is to cover ALL production-related costs (except script purchase and royalties).  All purchases are to be approved by the faculty advisor prior to the purchase time. Remember the old adage: LESS IS MORE. After obtaining permission from the project advisor and faculty members in the design and technical production areas, directors may pull essential scenic, costume, and properties from department storage.  The faculty (in consultation with the student’s project advisor) must approve all production/staging elements of the production. Students are required to keep their assigned rehearsal space clean and organized at all times, and students who do not completely “strike” their technical elements after the project is completed will not be assigned a passing grade for the process portion of the project.

Student directors are responsible for coordinating and planning all aspects of the project, including the acquisition of necessary actors, staff, designers, technical personnel, and publicists. The Theatre Arts Department does not guarantee access to workstudy or practicum students, or to departmental staff in the shop areas – although it is our intent to help you fully produce your realized production.

The final grade for the senior thesis will be assigned by the project advisor, and will be based on both process (50%) and the final product outcomes (50%).  The remaining faculty members will provide the student director with written comments and reactions for their consideration.

Student directors must carefully document ALL aspects of the production process (as indicated by the project advisor) and compile a professional prompt book at the completion of the project. This prompt book MUST include the following elements:

  • finalized director’s concept/analysis statement (research when available)
  • finalized rehearsal schedule
  • scored script with blocking and textual notation
  • daily rehearsal records listing goals, activities, and outcome assessments
  • production meeting agendas and reports
  • marketing and publicity documents
  • a final self-assessment of both the PROCESS and FINAL PRODUCT

Advisor Meetings: You are expected to set up and attend bi-weekly meetings with your thesis advisor to discuss your progress on the project. It is your responsibility to set up these meetings with your advisor, not the advisor’s responsibility to track you down.

Faculty Feedback: You are expected to invite the entire faculty to at least 2 runs prior to opening. You are then expected to set up meetings with each faculty member for feedback.

Analysis: detailed written analysis of the play, including style, character, structure, setting, storyline, and relationships. Be as detailed as possible about all the characters, themes, and concepts in the play.

Research: historical research of the time period in which the play takes place, reviews of past performances, interviews with the playwright, articles written about the playwright or play, interviews with actors or directors who have been involved in past productions, academic analysis or commentary on the work, visual research or media viewed.  Please provide a detailed bibliography of sources used and collected.

Detailed journal of rehearsal process and personal preparation outside of rehearsal done for the production. Journal should also include reflection on performances and a final self-assessment of your work.

Thesis Defense

  1. You will have a public thesis defense where you will give a presentation on your work on the role and written project. There will also be an opportunity for the audience to ask you questions publicly.
  2. You will have a private thesis defense with the theatre faculty who will be able to ask you further specific questions about your process, choices, and written project.

 

DUTIES OF THE STAGE MANAGER

Planning Period
1.    Become thoroughly familiar with the play.
2.    Know your fire fighting equipment and the location where each is to be found.
3.    Know which switches on the S.M. console control each work light.
4.    Obtain a scaled floor plan of the set from the Designer and lay out the set on the rehearsal floor.
5.    In the event an Assistant Stage Manager is assigned to the show, give him/her whatever duties you feel are (1) too burdensome for you to carry out, (2) within his/her capabilities of carrying them out, or (3) necessary for his/her to assume because of geographic location.  These duties should be spelled out clearly at the onset of your working relationship and added to as your needs become apparent.

Rehearsal period
1.    Attend rehearsals to become thoroughly familiar with the Director’s interpretation and wishes, actors’ blocking and all other phases of the production that will later need your attention.
2.    You are responsible only to and will take orders only from the Director (and assistant if (s)he has one) and the Technical Director of the show.
3.    Assume full responsibility for a professional attitude backstage once technical rehearsals begin.  You alone are responsible for a perfect performance and must have instant respect and response from actors, crew heads and crews.  Report any infractions or dereliction’s of duties by anyone that you yourself cannot handle to the faculty member involved.  It is your responsibility also that the show remains intact as it was rehearsed and the integrity does not suffer because of changes that may slip in.
4.    Keys and/or lock combinations will be assigned to you by the Technical Director.  You will open all doors necessary to the proper functioning of the performance and no others.
5.    Make a complete list of all actors, crew heads, crew members, light and sound board operators, and anyone else connected with the success of the performance as soon as possible or as soon as crew members are determined, and get their address and phone number.  If anyone is not at the theatre at least one half-hour before performance – longer perhaps for actors – you will either call or send a runner after that person.  Have all company personnel report to you personally and check them off on your sign-in sheet.
6.    Enforce no smoking or eating or drinking on stage or in the auditorium unless it is called for in the script.
7.    Sweep the stage before each rehearsal and performance.  At times it may be necessary to also mop or vacuum as well.
8.    Rehearse all shift crews until they arrive at the proficiency that is expected of them during performance.  This should occur before technical rehearsals begin.  Walk through all shifts slowly at first and speed up as conditions permit.
9.    Spike the set as soon as furniture or other scenic elements are set.
10.    Place luminescent tape or paint wherever necessary for actor’s and technician’s visibility during blackouts.  Inform the Head Electrician where running lights are necessary backstage for the actor’s safety.
11.    Make sure we have as tight security as possible by locking the theatre securely after each rehearsal or performance.  Do not depend on anyone else doing this.
12.    If headsets are being used for communication among the production crew, keep your on even though you are not expecting a cue or other communication.  If you do take your headset off, inform the crew members that you will be off headset and when you will be back on headset.  Report same when you come back on.

Performance Period
1.    You have total authority during any performance and no one may dispute you.
2.    Keep all visitors out of the backstage area before, during, and after the performance.  Visitors backstage at any other time should have a guide.
3.    Before each curtain check entire set carefully; check all stage doors to make sure they work properly and are either open or closed as called for, check drapery hangings, furniture placement, pictures, props, etc.

Strike
1.    Assist in the strike until the end.
2.    Check on all Heads of crews to make sure all their equipment used for the play is put away properly.
3.    Take roll call at the end of strike and report to the Technical Director those people assigned to strike but didn’t make roll call.

DUTIES OF THE SOUND BOARD OPERATOR

Planning Period
1.    Become thoroughly familiar with the play.
2.    From the Head of  Sound, find out what sound effects are to be live and what is to be recorded.
3.    In consultation with the Head of Sound, decide on the most effective manner of recording the show, including which machine shall be used for each effect to assure the optimum conditions for running sound during rehearsals and performance.

Working Period
1.    The Head of Sound will show you how each unit in the sound system works.
2.    Once the show tape is made to the Head of Sound’s satisfaction, make dry runs of playing the tape back until you become familiar with the sequence of the machines in the show.
3.    Prior to Technical Rehearsal, set tentative sound levels with the Head of Sound and the Director.

Rehearsal Period and Performance
1.    Report in to the Stage Manager one hour before curtain.  You may have to be in working earlier however.
2.    You will be responsible for making sure the “house monitor” system is turned on at least one hour before the show begins and turned off as soon as the show ends.
3.    You will keep complete and accurate notes of all cues, levels, microphones used, and special sounds as they are set and rehearsed.  Whenever changes are made prior to Dress Rehearsal, you will practice until you are assured of running a smooth show.
4.    If headsets are being used for communication among the production crew, keep your on even though you are not expecting a cue or other communication.  If you do take your headset off, inform the crew members that you will be off headset and when you will be back on headset.  Report same when you come back on.
5.    Every night at the end of rehearsal or performance, turn off all amplifiers, tape decks, mixers, house monitor, etc.

Strike
1.    Collect all sound equipment you have used and inspect for signs of damage or wear.  Any problem you have experienced, or anything you think might become a problem should be reported at once to the Technical Director.  Do not attempt to fix, modify, alter or otherwise change any equipment.
2.    Make sure that al equipment is picked up and put away in its proper place (including headsets).
3.    Leave the sound booth and its equipment room as neat or neater than when you started working there.
4.    Report to the Stage Manager that you have finished striking the sound equipment and have him/her examine your area before you leave.

DUTIES OF HEAD OF SOUND

Planning Period
1.    Become thoroughly familiar with the play.  Obtain a copy of the script from the Director.
2.    Attend all Production Meetings.
3.    List all sound and music effects (both live and recorded) in chronological order as called for in the script.  (Music will hereafter be implied as part of sound).
4.    Confer with the Director to determine what additions or deletions (s)he wants to make; and the kind, quality, duration, and direction of sound for each effect.
5.    Know what equipment and effects are available to you from the Sound Assistant and learn how to use the equipment.
6.    If live musicians are used, consult with the Musical Director to find out what his/her needs are in the form of musician’s stands, lights, mics, speakers, power lines, instruments, etc.
7.    Plan placement of microphone, speakers, cables or other equipment wherever needed.
8.    In conference with the Director plan on time schedules for sound rehearsals.

Working Period
1.    Supervise the work of the sound crew and be responsible for all sound for the show.
2.    Learn what is available in stock, what can be borrowed, rented or bought and from where, and what can or must be constructed.
3.    Have the Director check on the sound., if possible, before recording it on the final tape.
4.    Make the final show tape on top-quality tape with adequately marked leader tape between cues on reel-to-reel tapes.  be sure to double check order of cues, duration’s, and timing, and relative sound levels.
5.    Instruct the Sound Board Operator how to operate the equipment (s)he will be using during the performance.
6.    Check to make sure all headsets are working. If they are not, report same to the Technical Director.
7.    Prior to technical rehearsals, in consultation with the Director only, but with the aid of the Sound Board Operator, take tentative readings of sound levels for each cue.

Technical Rehearsals
1.    Attend all technical rehearsals and remain in close proximity to the Director and be prepared to effect immediate changes or to take notes on further work that still must be done.
2.    Be prepared to take over the Sound Board Operator’s position in case of an emergency during any of the technical or dress rehearsals or performance.

Strike
1.    Strike and secure all sound equipment in its proper place.
2.    Report to the Stage Manager when your work is finished so (s)he can check you out.
3.    Return any borrowed items on the next Weekday following strike.

DUTIES OF THE HEAD OF PROPERTIES

Planning Period
1.    Become thoroughly familiar with the play.  Obtain a copy of the script for you and your crew’s use.
2.    Attend all Production Meetings.
3.    Obtain a copy of the script for your own use and make a list of all properties including set props (furniture, rugs, mirrors, drapes, etc.), hand props, costume props and food stuffs.  Check this list with the Scene Designer and Costume Designer to determine which props they will be responsible for on the list.
4.    Check next with the Director and obtain from him/her a complete and accurate description or sketch of each and every item
(s)he wants in the show and the allowable minimum (s)he will settle for if the wanted item is unavailable.  Consider lengths, widths, depths, style, color, material from which it is made, texture, added decorations, sound, condition (shabby-elegant, old-new, soft-hard, flexible-rigid, etc.), use or strain to which it will be put, trick effects or anything else that may apply.
5.    Check again with both the Designers to ensure correctness of historical accuracy and visual effectiveness of the Director’s needs and wants.  If a dispute arises, let them settle it between them and notify you of the decision.
6.    Go with the Property Master and only examine at this time all items in property storage that can be used in the show, and check these off you list.  Have him/her reserve these for you.
7.    Repeat above with the Costumer and check off usable costume props.
8.    Determine what the budget is for properties from the Technical Director.
9.    Break down the complete prop list into four separate lists: things in stock. things to buy, things to make, things to borrow.
10.    Post property-crew calls on the Call Board if appropriate.
11.    Check with the Director to find out essential rehearsal props the actors will need.
12.    With the Theatre Technical Director, plan work space, time schedules, what materials are available for your use, formulas, working methods or procedures to use, and current ground rules for the shop.

Working Period
1.    Fashion or furnish reasonable substitutes of the real item for use as rehearsal props.
2.    Get prop cabinet keys from the Theatre Technical Director and secure all props including rehearsal props at once and always.
3.    Check out all department props with the Property Master.  You will be held responsible for each prop checked out to you and for item return in good condition.
4.    Repeat above with the Costumer.
5.    Begin work of making props by starting on the most difficult ones or the most time-consuming ones first.
6.    Begin the search for borrowed or rented items.
7.    Buy necessary items; see the Theatre Technical Director for purchase options.
8.    Make complete check lists of props on the stage and their exact placement; those off-stage right, left and elsewhere; when, which and where props are struck; the same for those which are placed on stage or shifted; and who is responsible for edibles.  Note: Wash all food containers, glassware or silverware that an actor is to put to his/her lips, and maintain sanitary conditions around them as you would in your own home.

 Technical, Dress Rehearsals and Performances
1.    Replenish expendables.  Food, cigarettes and other goodies are not to be consumed off-stage by actors or stagehands.  Keep your purchase of these items to a minimum (bare necessity) and keep
secure.
2.    Check in  with the Stage Manager at least one hour before curtain.  If the show opens with the curtain up, allow enough time to set up props so that the House Manager can open the house 3/4 hour before curtain.
3.    Secure all props each night in locked areas.  Any broken or damaged items must be repaired in sufficient time for the next performance.  Consider the drying time of paints and glues.

Strike
1.    Strike all props immediately to their proper place and in their proper order.  Check in appropriate departmental props to the Property Master or Costumer.
2.    Secure all borrowed props until they can be returned to the owners on the first weekday following strike.
3.    Check out conditions with the Stage Manager before you leave strike.
4.    Return all borrowed or rented props, and clean out all cabinets.  Everything in them has a place of repose elsewhere.

DUTIES OF THE CONTROL BOARD OPERATOR

Planning Period
1.    Become thoroughly familiar with the play.
2.    Attend blocking rehearsals or run-throughs with the Master Electrician to observe entrances, exits and major business of the actors.
3.    Obtain a script for your use in the booth from the Lighting Designer.
4.    Obtain enough tracking sheets for each major cue from the Theatre Technical Director.
5.    Learn how to operate the control board from the Master Electrician.
6.    Study the light plot for areas, specials, backing lights, etc.

Working Period
1.    May be required to attend focusing session and heat or dim individual lights as they are called for.
Technical Rehearsal
1.    Set light levels for each scene or for each change of lights within a scene as called for by the Lighting Designer.
2.    Record each dimmer reading on the appropriate form in soft pencil only as each scene is set.
3.    Know what action must be taken to go from cue to cue and record everything you do in the script so that in an emergency the Master Electrician can take over.  Erase old orders and record new changes as they are made, however ephemeral.
4.    You may receive orders to change cues, timing or sequences only from the Lighting Designer or Stage Manager during the show.
5.    Practice on your own in a dry-run situation, if necessary, after the first technical rehearsal until you know your board, the play, the cues and the lights you are controlling.
6.    If headsets are being used for communication among the production crew, keep yours on even though you are not expecting a cue or other communication.  If you do take your headset off, inform the crew members that you will be off headset and when you will be back on headset.  Report same when you come back on.
7.    Lighting alone cannot make a bad show good, but it can make a good show bad.

Dress Rehearsal and Performances
1.    Let no one enter the control booth except the actual control board operator.  Ask anyone else to leave and enforce it!
2.    Maintain as near-absolute silence as possible in the booth.
3.    Do not bring drinks into the booth or allow drinks to be brought in.  One spilled container might short out the whole board.  Cost? $ 7,000.00.
4.    Concentrate on your work.
5.    Be alert.  Don’t get caught napping through a cue.  Always know what your action will be and prepare for it.
6.    Develop a light, delicate tough, e.g., don’t “whomp” up house lights after a dimly lit scene.

Strike
1.    Clean control booth and control board, remove labels and markings that you have made.
2.    Run all dimmers to 0.
3.    Put everything in order.
4.    Assist the rest of the lighting crew on stage.

DUTIES OF THE MASTER ELECTRICIAN

Planning Period
1.    Become thoroughly familiar with the play.
2.    Attend all Production Meetings.
3.    Review the light plot with the Lighting Designer until you are as familiar with the plans as (s)he is.
4.    Schedule work sessions and post light-crew calls on the Call Board.
5.    Become familiar with the operation of the Control board.
6.    Know where all theatre circuit breakers are located and the general areas they control.

Technical Rehearsals
1.    Attend all technical rehearsals.
2.    Be prepared to make immediate changes (or receive notes about changes to be made later) on any work you may have previously done or additional work that you may be asked to do.
3.    Be prepared to take over the duties of the Control board Operator in an emergency.

Performance
1.    Check in with the Stage Manager at least one hour before curtain and check each light for power and for proper electrical and artistic characteristics.  Repair any trouble that may exist.
2.    Stand by to trouble shoot during the show if necessary.

DUTIES OF THE COSTUME DESIGNER

Planning Period
1.    Become thoroughly familiar with the play.
2.    Attend all Production Meetings
3.    Make a chart showing which actors are in which scenes in the play.
4.    Make this chart available to the Assistant Costume Designer.
5.    In consultation with the Director, compile a complete list of costumes and accessories demanded by the script or by the Director.
6.    Know what your entire costume budget is, and how much you must allow for laundry costs.
7.    Make rough sketches and get Director’s approval on style and interpretation before proceeding.
8.    Make finished color sketches with material swatches, if possible, and get Director’s final approval.
9.    Provide all necessary working drawings for the construction crew and cutter.
10.    Plan the construction of costumes, and make crew assignments.

Working Period
1.    Attend earliest run-throughs to become familiar with actors’ movements and business.
2.    Check with the Director or Stage Manager for the need for quick costume changes and prepare for such.  Notify the Head of Wardrobe of same.
3.    Select and purchase fabric, accessories and other needed items.
4.    Confer with the Head of Special Effects in the event costumes figure in his/her effects.
5.    Attend all final fittings.

Dress Parade, Dress Rehearsals
1.    Attend Dress Parade and all Dress Rehearsals.
2.    Take notes on costume adjustments and relay information to the Head of Wardrobe as soon as possible.
3.    Make any changes in costumes up to but not after the final Dress Rehearsal.

DUTIES OF THE LIGHTING DESIGNER

Planning Period
1.    Become thoroughly familiar with the play.  Obtain a copy of the script for you and your crew’s use from the Director.
2.    Attend initial Production Meeting for Director’s interpretation and wishes and blocking rehearsals or run-though.
3.    Obtain the inventory list of all lighting instruments from the Technical Director.
4.    Examine a blue-print of the ground plan for the set and sectional if necessary.
5.    Obtain a copy of the circuit plot.
6.    Examine existing mounting positions and any possibilities of new additional ones.

Working Period
1.    Attend blocking rehearsals or run-though to observe actors’ movement.
2.    Make complete light plot which contains:

  •     Breakdown of stage into numbered (or lettered) light areas and specials.
  •     Mounting positions of each instrument.
  •     Outlet number into which it is connected (or space for the electrician to notate this).
  •     The area into which it is to be focused.
  •     Type of instrument and wattage of lamp.
  •     Color media type and number.
  •     Special accessories or alteration of instrument.
  •     Power patch interconnections plan.
  •     Instrument schedule filled out.
  •     An indication on tracking sheets of which dimmers are used in each scene / cue.

3.    Meet deadline for completing plot.
4.    Go over complete plans with the Master Electrician until (s)he understands the light plot as thoroughly as you do.
5.    Attend focusing session and either focus lights yourself or supervise the work of others.
6.    With the entire light crew and the Director, set tentative light levels before technical rehearsals.

Technical Rehearsals
1.    Attend all technical rehearsals.
2.    With the Director’s approval, direct subtle changes or nuances that might occur in lighting levels, speed of changes, timing of cues, etc.
3.    Observe color effects of colored lights on color of set, costumes and make-up to ensure enhancement of them.
4.    Make whatever changes you and the Director deem necessary up to but not including the last dress rehearsal.

DUTIES OF THE SCENE DESIGNER

 

Planning Period
1.    Become thoroughly familiar with the play.  Obtain a copy of the script for your and your crew’s use from the Director.
2.    Attend initial Production Meeting and exchange ideas with the Director concerning visual aspects of the play.
3.    Know your budget, space, time and personnel limitations.
4.    Do necessary research.
5.    Check:

  • Technical demands of the play.
  • Sight lines and relationships of the auditorium to the stage.
  • Alteration possibilities of the proscenium arch.
  • Trace of house and asbestos curtain.
  • Light bridge position.
  • Size and shape of the stage and all architectural features.  Obtain or make a ground plan and section drawing of the stage.
  • Trace of the cyclorama.
  • Rigging equipment.
  • Shop facilities and equipment.

6.    Check artistic and practical requirements.
7.    Obtain the inventory of flats from the Theatre Technical Director (if one is available).
8.    Make initial rough drawings and periodically check with the Director for further clarification and assurances that a unity of production styles is evolving.
9.    Use stock scenic items in your set whenever possible without destroying the integrity of the unit.
10.    Make complete working drawings: ground plan, elevations, detail drawings and, if necessary or wanted, a model, colored perspective sketch, rear elevation, hardware charts, etc.  Have 3 blue-lines made of the ground plan.
11.    In consultation with the Theatre Technical Director, run an accurate cost estimate for all new materials needed and check against the allowable scenery budget.
12.    Meet your deadline for turning over completed drawings to the scene shop.
13.    Go over the entire set of plans with the Production’s Technical Director until (s)he is as familiar with the plans as you are.  Include cost estimate.
14.    Go over the designs and painters’ elevations with the Head of Paint Crew and discuss the order in which units are to be painted, style of technique, color mixing and any other information pertinent to your show.
15.    In consultation with the Director and the Head of Properties, select the proper style and period of all props: size, color, shape, special demands, sound, type of material, texture or any other information that will clarify each and every prop.  Design props when called to do so.

Work Period
1.    Select draperies, upholstery material or any other item that will demand only your artistic judgment.
2.    Supervise the Head of the Paint Crew yourself.

Technical Rehearsal Period
1.    Check trim of curtains, drapery folds, set decor or trimmings and those times which directly affect the scenic contribution to the performance.
2.    Make any changes which are visually necessary to make a dynamic scenic contribution to the performance.
3.    Give special instructions to the Stage Manager concerning those scenic items that need his/her special attention during the run.

DUTIES OF THE TECHNICAL DIRECTOR

DUTIES OF THE TECHNICAL DIRECTOR

Planning Period
1.    Become thoroughly familiar with the play.  Obtain a copy of the script for you and your crews’ use from the Director.
2.    Attend all Production Meetings.
3.    In consultation with the Scene Designer, go over the plans and working drawings until you are as familiar with the plans as (s)he is.
4.    Examine all units that can be pulled from stock.
5.    Prepare a list of materials that are needed and turn this over to the Theatre Technical Director for requisitioning.
6.    Steps 3, 4, and 5 might be repeated with variations for the Lighting Designer, Head of Properties, Sound Composer, Head of Special Effects and the Stage Manager.
7.    In the event you are assigned an Assistant Technical Director, share with him/her these items stated herein that you wish to relinquish.  Although you will ultimately have the final responsibility, settle on a clear-cut division of duties before you start work.

Work Period
1.    You will be responsible for all the staff under you as outlined in the PRODUCTION ORGANIZATION CHART.  Although you may not do all or, for that matter, any of the work in a particular category, you should be sure crews are filled, work progressing satisfactorily and that workers are being trained in preparation for Technical Rehearsals.
2.    Post all crew calls.
3.    Supervise the work and work habits of crew members.  Insist that all safety measures are observed and all are aware of possible dangers inherent in a job.
4.    Always keep your work areas as clean as possible.  Put away all material and equipment, tools, hardware and the like at the end of every work session.  Insist on an orderly, clean, safe shop.
5.    Prepare stock items for use.
6.    Build any new units as needed as quickly, as easily, as strong, as well assembled and as safe as is possible.
7.    Prepare all flats and other units for painting.  Check to make sure all edges of flats are glued tightly, dutchmen applied where necessary, holds patched or covered, flats are scrubbed or non-bleedable or not thickly covered with paint, etc.
8.    Meet all pre-established deadlines.
9.    In consultation with the Stage Manager, the Head of the Shift Crew, the Head of Properties, the Wardrobe Head or with anyone else who may be affected, work out a choreographed scene shift master plan plus a breakdown of the plan into individual crew members’ movements and duties.
10.    Prepare stage for scenery setup and supervise movement and positioning of units in their proper place.
11.    Make any necessary adjustments or repairs through to the final performance.

Technical and Dress Rehearsal Period
1.    Attend all Technical and Dress Rehearsals.  Stay in close proximity to the Director.
2.    Keep all crew members quiet.
3.    Receive all complaints, comments or instructions from the Director and pass it on to the Head of the crew involved either immediately or after the rehearsal.
4.    Assume all the responsibilities for the proper technical functioning of the entire production except for the Director’s responsibilities.  You have an equal voice with the Director for correcting errors of a technical nature committed by anyone at any time unless the Director does not want to stop or interrupt a scene for any reason.  Do not waste the actors’ time, however, by correcting a time-consuming task that could be corrected more easily the next day during working hours.

Strike
1.    Plan the strike: the sequence in which items are to be removed, assign responsibilities to Heads of crews, and check their work before they leave.
2.    In consultation with the Stage Manager prior to the final performance decide which actors are to be excused from strike.
3.    Leave the stage swept clean and all stage equipment neatly stored away.  Possibly paint the stage before leaving.
4.    Leaving a clean shop, a clean stage and everything stored in its proper place is your final responsibility.  Check with the Theatre Technical Director for his/her approval and release.

DUTIES OF TECHNICAL ASSISTANTS

DUTIES OF TECHNICAL ASSISTANTS AT UAF
*Work assigned hours a week in your given job to fulfill your assistantship
*Assist the Theatre Technical Director directly and, consequently, others indirectly in whatever capacity you can or whatever assignment has been given to you.
*The technical assistant will instruct and help all other students regardless of their class standing, their job assignments, personalities, or their previous knowledge or ignorance to fulfill as far as possible their latent talents, to instill a love of “good” theatre in their hearts, to lead them to a sense of accomplishment in a job well done, to encourage scholastic as well as production excellence, and to inspire as senior-student leaders a constant desire to improve on what has gone before.  As immediate supervisors you will probably be in the best position to lead these neophytes to greater excellence than anyone else.
*The “shop” assistant will work as a member of the team with the Technical Director (Costumer for Costume Shop assistant).  Their responsibilities will be his/hers in a minor fashion.  (S)he will assume full charge in their absences.  (S)he should be fully acquainted with all production-job duties, know how to operate all equipment and tools safely, know shop operations and procedures, know all technical skills, and be able to function with a maximum of level-headedness during periods of stress.
*The “sound” assistant will supervise the inventory, maintenance and repair of all sound equipment within his/her ability to do so.  (S)he will instruct as many students as possible to the proper use of the equipment so that there will be a continuing flow of capable talent.  (S)he will supervise the cutting of sound tapes and supervise the sound cues, levels, and board operation during the technical rehearsals.  (S)he will report needed expendable items to the Theatre Technical Director well in advance of their being critically needed.
*The “light” assistant will supervise the inventory, maintenance and repair of all lighting equipment within his/her ability to do so.  (S)he will instruct as many students as (s)he can as to the proper use of the equipment so that there will be a continuing flow of capable talent.  (S)he will supervise the work of the head electrician, and supervise the lighting cues, intensity readings and control board operation during the technical rehearsals.  (S)he will report needed expendable items or needed repairs or maintenance beyond his/her ability to the Theatre Technical Director well in advance of their being critically needed.
*The “properties” assistant or Property Master will supervise the inventory, maintenance and repair of all properties owned by the School that is within his/her ability to do so, and maintain order, cleanliness and security in the storage areas.  All properties are to be his/her responsibility, and (s)he will maintain such records that (s)he will know where all properties are at any given time.  Anyone checking out properties will sign a PROPERTIES CHECK-OUT SHEET or EQUIPMENT BORROWING FORM (see Appendix).  All properties will be checked in and out personally by the Property Master at times specified and posted on the property storage room door by him/her.  (S)he will assist whenever (s)he is available in helping students gather together, select, buy or make properties to be used in any production although the responsibilities stated in DUTIES OF HEAD OF PROPERTIES are not his/hers in any way.  When available, during show-construction times, the properties assistant will aid the “shop” assistant.
*The shop assistants will work well within the confines of any safety standards set forth by either Theatre UAF regulations or common sense.  (S)he will not knowingly let anyone else work in a careless or reckless fashion.
*The shop assistant will work with such decency as good manners, good taste and good judgment dictate.

Company Rules

University of Alaska Fairbanks Theatre Company Rules
1.    Please sign in immediately upon arrival for each call. beginning with tech.  Never sign for another actor.
2.    Please use the stage left stage door if you are rehearsing on stage or in the Lab Theatre.
3.    Please use the dressing room level door for dress rehearsals and performances.
4.    Please do not open the sliding doors to enter the theatre.  Do not prop open or interfere with the latching mechanism of any door in the theatre.
5.    Please open and close the stage door quietly.
6.    Please do not open the sliding doors between the stage and the Lab Theatre or the doors between the stage and the Scene Shop.
7.    Please report to the Technical Director or Stage Manager if you break or notice the breakage of ANY THEATRE EQUIPMENT.  We accept that these things happen, but we can not fix it if we’re not informed it’s broken.
8.    Security is your job too.  Please lock up after yourself.  Return all tools, equipment, etc. to their proper place AS SOON AS YOU ARE DONE WITH IT.
9.    Smoking is forbidden anywhere in the theatre.  The only exception is the designated smoking area in the Lab Theatre.  If you do smoke, please use the ashtrays provided.
10.    Please do not eat in the house.  If you bring food to the theatre, please eat in the Lab Theatre only.  Please put all refuse in the trash cans that have been provided.
No smoking, eating or drinking will be allowed on stage after scenery is on stage, the sky cyc is down or curtains hung unless, of course, it is called for in a show.
11.    Please remain backstage after the house is opened on performance evenings.
12.    Please stay out of the box office.
13.    Please stay out of the Control Booth.
14.    Extremely important and emergency messages can get to you by calling 474-7751 during performances.  Other department phones may not be answered.
15.    No visitors are allowed backstage or in dressing rooms during performances.
16.    Please do not engage the Stage Manager in idle conversation during rehearsal or performance.  Wait until there is a break or intermission.
17.    Please do not mingle or otherwise make yourself visible to the audience during intermissions.
18.    Please do not talk loudly or engage in other noisy or distracting activities during rehearsal or performances.  Get used to whispering backstage early in the rehearsal process.  Be sensitive to the noise your shoes or other costume parts make while moving.  Try to make your movements backstage as silent as possible.
19.    Please wear appropriate clothing backstage.  Do not go barefoot.
20.    All cast members must take curtain call in complete makeup and costume.
21.    Please stay out of entrance areas during entrances and exits of other actors and during scene shifts.  Remember: if you can see the audience, they can see you.
22.    Please do not run backstage unless you are explicitly instructed to do so.
23.    Please be alert for your cues.  The Stage Manager is responsible for warns only at the top of each act, not before individual cues once the act has begun.
24.    If you have a conflict with other actors or members of the staff or crew, please bring the problem to the attention of the Stage Manager immediately.  Do not allow a small problem to become a full-blown crisis.
25.    You will be expected to attend strike following the final performance.  Your individual strike responsibilities will be assigned prior to closing night.  Please wear clothes appropriate for strike work.
26.    Please be aware of potential life-safety problems.  If you discover an unsafe situation, please make the Stage Manager aware of it immediately.  Please note that on the UAF campus the Emergency Phone number is 1911.
27.    Please make yourself aware of all exits and fire fighting equipment locations.
28.    Please make yourself aware of the location of the company first-aid kit.
29.    Never take costume items home with you during the run of the show even if the item is your own property (like jeans or shoes).  This will give the costume people a heart failure, and will set them rushing about all the next day looking for a replacement item under the assumption that the item has been lost.
30.    Put all accessory items in you accessory bag, including socks.  If you put your socks in your shoes the laundry worker won’t find them in the morning, and your socks won’t get washed.
31.    Keep your costumes to the right of the correct name board.  Even if you play more than one role.  This aids the staff in checking your costume in after the show.
32.    Shoes should be put on the lower platform of the rack under your costume.   Stack your shoes on top of others if necessary, but put them on the platform, not to one side, on the tables, or in your accessory bag.
33.    Hang each item on a separate hanger.  This speeds up check in, check out, and laundry.  If you lose your original hangers ask a dresser for new ones.
34.    Hang trousers by the cuffs through the fabric using safety pins on the top bars of the hanger.  Skirts should be hung in a similar fashion from the waist band.
35.    If you have any mending needs for your costume, please write it down on the “wish list”.  Write your name, describe the garment with the problem, and describe the problem itself as clearly as possible.
36.    Come on time to all fittings and measurement appointments.  If you absolutely can’t come when you are signed up for—call the costume shop to warn them you won’t be arriving.  If you forgot an appointment call them immediately upon remembering to schedule a new one.  People who repeatedly miss appointments are reported to the directors and get a reputation for unreliability.
37.    Take the time to be kind, considerate and friendly with the costume shop staff and dressers.  They are encouraged to do the same in return.  They are here to help you, but being mostly students, they don’t always know how without being told.  If you need something, ask in a polite, friendly manner and they will do their best to serve your needs.

Scene Shop Rules and Regulations

Scene Shop Operations, Rules and Regulations

Students not hired by the department are not allowed to be in the shop without a faculty member (or appointed student) to supervise.

Children are not allowed in the scene shop for safety reasons.

If you take tool out of the tool cage, you are responsible for returning the tool to its place.

Students are allowed to use the facilities to work on private projects – times must be cleared through the Technical Director.

Do not use tools you have not been trained on.  See the Technical Director, and (s)he will be happy to set up a time to train you.  If  available, (s)he will teach you at the time you see him/her.

Safety Rules for the Scene Shop

Any workplace that uses electricity, flammable and toxic materials, and tools capable of cutting, gouging, and sawing is an inherently dangerous environment.  With a healthy dose of common sense and a few safety rules, however, working in the scene shop can be safe, efficient, and enjoyable.

  1.     Wear clothing suited to the work:  long pants, short or long-sleeve shirt, and shoes or sneakers (not sandals or open-toed shoes).  Clothing should be reasonably close fitting.  Don’t wear flowing robes-they might get caught in power equipment.
  2.     Tie back, put under a cap, or otherwise contain long hair so that it won’t get caught in a power tool.
  3.     Always get instructions before operating any power or hand tool.  Be sure you know what you’re doing before doing it.
  4.     Pay attention to what you are doing.  Don’t operate any tool unless you are giving it your undivided attention.  Watch your work area for potential hazards such as wood protruding nails and potential fire or electrical hazards.  Either correct the hazard (if you know how) or report it to your supervisor.
  5.     Keep your work space clean.  If the shop is kept neat, clean, and organized, accidents are reduced and you can find tools and supplies you need.
  6.     Know where the first-aid materials are kept.  Disinfect all cuts and splinters, and bandage even minor cuts.  Report all accidents to your supervisor.
  7.     When working with materials that emit dust or fumes, make sure that the work area is well ventilated and that you wear an appropriate mask.

Organization Chart

UAF Department of Theatre & Film: Theatre Production Organization Chart

What follows in chart form is a Table or Organization for productions sponsored by Theatre UAF. This may be extended or condensed or jobs combined depending on prevailing conditions and complexity of a show. This is, then, the chain of personnel through which orders and information should flow.

Dean of the School of the College of Liberal Arts

Department Chair

Director

Assistant Director

Movement coach

Voice coach

Actors

    Musical Director

        Orchestra Leader

            Pit Musicians

        Backstage Musicians
Onstage Musicians

    Choreographer

        Dancers

Theatre Technical Director

Technical Director

Assistant Technical Director

Scene Designer

    Assistant Designer
Draftsman
Head of Paint Crew

Lighting Designer

    Head Electrician

        Light crew
Floor Electricians

    Control board Operator
Follow spot Operator

Head of Properties

    Property crew

Head of Sound

    Sound board Operator

Set Construction Crew

Head of Special Effects

    Special Effects Crew

Stage Manager

    Assistant Stage Manager

        Grips
Fly person

Theatre Costumer

Costume Designer

    Assistant Costume Designer

        Costume Crew
Wardrobe Head

            Wardrobe Crew

        Make-up Head

            Make-up crew

        Wig Master or Hair Stylist

Business Manager

Box Office Manager

        Box Office Crew
House Manger

            Ushers

Publicity Manager

    Publicity Coordinator

        Publicity Crew

Guidelines for Student Directing

Guidelines for Student Directing Opportunities – Practicum

The Lab Theatre Program, run through the Student Drama Association in conjunction with the Theatre UAF Faculty, includes all student-directed productions. See the S.D.A. for application requirements. Credit may occasionally be granted for “Lab Theatre” productions (Winter Shorts) – but the student must petition a faculty advisor for their production in advance of registering for the credits.. Credit rarely exceeds 1 Practicum Credit. To see an official copy of the course syllabus for Theatre Practicum; please visit http://theatreuaf.org/101-theatre-practicum/

It is advised that potential directors take at least one of the Directing courses offered (example: Directing Theatre or Film & Video Directing), Stage Manage or ASM for a mainstage production, and be involved in at least one mainstage production (as actor, running crew member, etc.) prior to directing a production of any scale.

Also see: Thesis Guidelines: Directing for additional information.

Theatre Practicum Performance

Theatre Practicum Performance
Credit is awarded for participation as a performer in UAF mainstage productions. Credit will vary from 1 to 3, depending on: a) size of role; b) length and difficulty of rehearsal process. Credit may occasionally be granted for “Lab Theatre” productions (Winter Shorts) – but the student must petition a faculty advisor for their role / production before signing up for credit (must be pre-approved). In these cases; credits will rarely exceed 1 or 2. Also see: Acting Thesis Guidelines for additional information.

To see an official copy of the course syllabus for Theatre Practicum; please visit http://theatreuaf.org/101-theatre-practicum/

Theatre Practicum Technical

Theatre Practicum Technical
Since no structured teaching takes place within the practicum format, the primary objectives are to develop previously acquired skills through participating in producing theatre and to develop new skills through on-the-job training in the production process.
The student may choose one of the following areas in which to concentrate his/her work or may combine two or more of these areas (as agreed upon in consultation with unit heads);

1. Scenery 2. Properties
a. construction and finishingb. running crew a. building and acquisitions
b. running crew
3. Lighting 4. Costumes
a. hanging and focusingb. running crew a. construction, hair dressing
b. wardrobe mistress & running crew
c. makeup crew
5. Sound 6. Publicity, Box Office, House Management
a. creating and recording
b. running crew
Job description available at box office
7. Production Staff
a. stage management
        39 Minimum hours for earning 1 credit;
        78 Minimum hours for earning 2 credits;

117 Minimum hours for earning 3 credits.

To see an official copy of the course syllabus for Theatre Practicum; please visit http://theatreuaf.org/101-theatre-practicum/

The student must keep a time sheet and accurately record the number of hours completed on a regular basis. Each Running Crew position is equal to 1 credit of practicum. Since production work is seasonal, the student is reminded that the approach of production deadlines often demand a more concentrated use of time; a written schedule will be maintained, keeping in mind that the hours cannot be completely equally spaced throughout the semester. If a student does not complete the required number of hours for registered credits, (s)he may receive an unsatisfactory or failing grade for the course. Student commitment and quality of work, as well as the student’s attitude towards learning will be examined upon the assignment of grades.

Student Drama Association

Student Drama Association (SDA)

The Student Drama Association is dedicated to the support and promotion of theatre UAF productions as well as providing additional performance opportunities for UAF students from all disciplines.  The group provides both moral and limited financial support for performance projects of members (after review and acceptance of project proposals by the general membership).  Membership is open to all UAF students upon payment of dues.  The association also receives financial support from the ASUAF.  Other activities include occasional “Open Stages”, “Alternate works”, etc.  Still defining their role at UAF, they ask that you get involved and help find/create their place in the world.

Complimentary Ticket Policy

One complimentary ticket will be given to each registered Theatre Major and one complimentary ticket will be given to each student registered in a Theatre class other than 200X – for opening night or any Matinee thereafter.  Majors enrolled in theatre classes will only receive one ticket per show.

Two complimentary tickets will be given to each production’s running crew, cast and designers – good for any performance during the show’s run.  Majors, or those enrolled in a theatre class will only receive two tickets for that show.

It is customary for the last dress rehearsal to be open for a reduced charge (typically free) to registered full-time UAF students.  Majors, Minors, etc. should feel invited to these runs.  These are called “Preview”

Laundry Facilities

The laundry facilities in the costume shop are for official use by the department, with their primary purpose being for cleaning theatre department costumes.  These machines are maintained by the Theatre Department.  There are laundry and shower facilities located in the Wood Center for general student use.

The Theatre Department generally allows declared Theatre Majors in good standing to use the machines for personal use when:

  • The costume shop is open for general shop hours
  • The machines are not being used for official business
  • Not to be used without express permission of the costume shop staff between First Dress and Closing performance of any production in the Salisbury Theatre complex or other Theatre Department production.
  • Student(s) bring their own laundry detergent & softeners
  • Students clean up after themselves, and clear the machines promptly upon the completion of their cycles

These general allowances are a privilege – not a right, and will be discontinued if the machines, facilities or costume shop staff are not treated with respect.

Security

School faculty, staff and theatre majors will all cooperate in maintaining prudent security practices.  Office doors will be kept locked when offices are unoccupied; strangers who are thought to be trespassing or handling Theatre UAF equipment will be politely queried; actions observed which are thought to be inconsistent will be reported to the Technical Director, Chair, or Security.

It is noted that loss or destruction of Theatre UAF property is not recoverable.  It is the policy to carry no insurance on most equipment.  The entire School and its programs suffers when equipment is lost, stolen or destroyed.  Therefore all members of Theatre UAF – you who are reading this – are urged to safeguard materials, tools, equipment, costumes, furnishing and fixtures.

The fact that there are over a dozen doors into the auditorium-stage-area alone that need locking should make it apparent that we cannot have doors open at will and still have protection.

Lock Combinations

Lock Combinations, Keys, and  The Green Room

The Green Room (Thtr 101) is for everyone’s use.  The combination is available to all theatre class and project participants.

Other Lock combinations and keys are available to Mainstage Stage Managers and others on a need-to-know basis.  Combinations will be changed after each show of the season.

All combinations are available through the Technical Director.

Lockers

There are a limited number of lockers available for rent in the Fine Arts Building, first floor outside of the women’s dressing room.  There are also a limited amount available located in the Scene Shop.

Rental is currently $5 per semester through the S.D.A. (Student Drama Association) office.  Issuance is on a first-come, first-serve basis with S.D.A. members
getting first priority for requests, and Theatre Majors getting second priority.

Strike

Strike Night

Strike night is the closing night of a production.  The strike refers to the taking down and storing of all scenery, props, costumes, lights, etc. from the show.  All actors and crew members are expected to fulfill assigned specified tasks following the last performance.  With everyone helping, the task is easier and takes a shorter time.  Generally actors will be dismissed 2 hrs into Strike – which may be followed by a non-alcoholic cast-and-crew party to which all major, minors and invited friends are welcome.

Valuables

Students should not bring valuables to the theatre.  Money, rings, watches, and similar items are easily stolen.  Do not leave such items in the dressing rooms or backstage.  Purses, wallets, money, rings, watches, keys, and other items of value should be given to the stage manager to be locked up in a secure place.  If you have a locker, use it.

Publicity policy

Actors may be needed for pictures to advertise the play. All actors should have a signed model release form on file with the department.

Taking of pictures during performance is not permitted, but individual actors may often procure photos of the production from production team members who take photographs for their portfolios.

High resolution versions of the UAF Theatre & Film Department logos, Winter Shorts logos, and selected production photos are available at http://theatrefilmuaf.org/publicity/.

Costumes, Makeup, and Props

In most cases costumes will be either made or purchased for each cast member.  Students are expected to furnish their own underwear, shoes, and possibly own outerwear for a show in modern dress.  If a costume needs to be fitted, it is the actor’s responsibility to be present when scheduled.  Actors should also report problems with costumes in a timely fashion. Men may be required to own a pair of black shoes and women a pair of black heels.  If rehearsal skirts or capes are necessary, the costumer will provide them.

An actor should learn to do his or her own makeup.  The actor should take the initiative to discuss with the director what is needed.  (S)he should begin early in the rehearsal period if a special, particularly difficult makeup is required.  A makeup crew will be available to help during dress rehearsals and performances requiring complex makeup.  Makeup may have to be supplied by the individual actor depending on the show.  Wigs will be provided by the department if needed.

Actors are encouraged to use props early in rehearsals.  Props will be in the care of the stage manager or the props manager and are always to be returned to them.  During rehearsals and performances, a special area will be established where props can be obtained .  Students are not, under any circumstance, to remove props from the theatre.

Rehearsals

In a Mainstage production, the rehearsal period for a play can run from a 4 weeks to the entire semester. Rehearsals are sometimes held 5 nights and one weekend afternoon a week. They generally last about 3 hours.  In other words, this is a major time commitment. Not every actor is called for every rehearsal.  Rehearsal schedules for student directed one-acts will be somewhat less intensive and somewhat more flexible.

Actors are given a rehearsal schedule usually on a weekly basis.  Actors should attend all rehearsals calling for their scenes. Attendance is extremely important.  If one person is missing from a scene, the absence makes working on that scene difficult. No one should miss a rehearsal unless there is an emergency.  If an actor must miss a rehearsal, s/he should notify the director or stage manager in advance.

Actors are expected to come to rehearsals prepared and ready to work.  They are expected to conduct themselves with a professional attitude which indicates self discipline, initiative, responsibility, openness, honesty, and the ability to work with others.  Students should plan to be at rehearsal on time.  Tardiness is unacceptable.

Actors should wear appropriate clothing to rehearsals so that they can work with a great deal of freedom and be comfortable  Rubber-soled shoes, slacks. and loose shirt/blouse are suggested.  The important thing is to avoid clothing that will hinder the freedom of movement needed for the performance.

Cast and crew who are found to be undependable because they frequently miss rehearsals or arrive late, who are found under the influence of alcohol or drugs, have contracted an extended illness or sustained a severe injury, or cannot successfully continue their participation because of extenuating circumstances will be dropped from the cast or crew and replaced according to the discretion of the theatre faculty.

Members of the production staff should check with the director or designer to find out when they are needed at rehearsals.  Generally, the stage manager and assistant director should plan to be at every rehearsal.  Props manager and assistants should plan to be at all run-though and dress rehearsals starting a week to ten days before opening.  Makeup and costume crews should be on hand beginning with dress rehearsals or earlier if special needs require it.

Visitors are generally not allowed during rehearsals.  These sessions are work periods and not finished productions, and visitors may inhibit actors or may report unfavorably on the production without understanding the work in progress.  Students are to ask the director’s permission before inviting visitors.  Visitors are also not allowed backstage before the shows or during performances, but friends are welcome to visit after the performances.

Backstage Positions

Because our production policy involves a total theatre concept, we expect each major to work in every area of the theatre and gain as much experience as possible over a four year period. In our view, an actor will be better if (s)he understands what is involved in technical theatre, stage managing, costuming, etc.—a costumer will understand the needs of the actor better with some experience in acting. We also encourage theatre minors and non-majors to participate in this total theatre concept.
Production work is usually done every afternoon. Volunteers and other workers should plan to work consistent hours if possible every week.
The following descriptions should help students to understand the kinds of jobs which are available, and more in-depth descriptions are listed in the back of this book.

  • Stage Manager: setting up for rehearsals, sweeping the stage when needed, arranging the furniture and the props for rehearsal, taking notes for the director. During performances the Stage Manager is in charge of running the show and of coordinating all backstage activities.
  • Assistant Stage Manager: prompting and helping the stage manager with the production.
  • Stage/Lighting Crew: Working on the set, to building and painting the set, hanging and focusing the lights. May also help with props or other jobs on stage.
  • Running Crew: Help change the scenery, costumes, and props during rehearsals and performance.
  • Costume Crew: Building or altering costumes for the show.
  • Props Master: Obtaining and maintaining all hand props for the play, supervising props assistants, assigning jobs, make, find, or buy the needed props, setting up prop tables. After performance, puts props away and returns any borrowed materials.
  • Props Assistants: Assisting Props Master.
  • Sound Crew: Creating, recording, and running the sound.
  • Makeup Crew: Assisting actors with makeup and hair.
  • Master Electrician: In charge of hanging and focusing lights.
  • Electrician/Board Operator: The actual running operator of the dimmer system. May also operate follow spots of the other “hands on” electrical/lighting equipment during the show.

Borrowing Practices

1. Properties belonging to Theatre UAF will be checked out only at specified times during the week and only by the Technical Director or appointed personnel.
2. Furniture and properties will not be loaned to faculty, staff, or students for personal use in their homes or apartments.
3. Tools may occasionally be loaned out for private use overnight or for short periods of time during the day if (1) they are not needed by shop personnel at that time and (2) they are checked out with the Technical Director personally. No one else has the authority to check out tools or equipment of any sort unless the Theatre Technical Director so delegates authority. Any individual checking out tools or equipment assumes the responsibility of returning each item in the same or better condition than when they picked it up. Borrowers will be held liable for payment or replacement in like kind if items are lost or broken.
4. A rental fee will be charged for any piece of stage equipment borrowed by any other organization at the standard rental fee of 10% of the purchase price per week with a minimum charge of one week rental.

Use of School’s Name

Any activity resembling theatrical activity, any acceptance of a grant or grant proposal, or any use of the space, materials or labor force found within the School,. or any like situation to which reference is made or implied that Theatre UAF is sponsor. co-sponsor, instigator or beneficiary shall be forbidden to students or others without the prior approval in writing from the Chair and Business Manager. The Dean has the privilege, of course, of reversing the decision.

Portfolios

All Technical Theatre Emphasis Theatre Majors are required to exhibit their portfolio to the design faculty at the beginning of each semester. Exhibition Announcements are posted at the beginning of the semester at the Theatre Office and on the S.D.A. Bulletin Board. Students will be expected to bring a portfolio representing a rounded background of all their work from the past. In this portfolio, the student should include past class and production work. They must also submit a recent resume at this time. A place and time will be announced – most likely for the Green Room. Students should arrive early and set up their display area. The faculty will arrive at the designated time to view all portfolios. At this time students are encouraged to inform the faculty how they wish to take part in the upcoming semester.

Were you looking for current Portfolio Review information? That’s available here.
This is the Department’s policy on Portfolios.

Casting

Casting is a difficult process both for those auditioning and for the director. Talent is not the only consideration. Cooperation, dependability, creativity, intellectual understanding, physical suitability, psychological suitability, emotional maturity, and many other characteristics are involved. Those actors who are not cast are urged to get involved working backstage and to audition again. A student is more likely to be cast in future productions if (s)he becomes known as a dependable and responsible worker. Our casting process is color, race, religion and gender blind. Casting in all Theatre UAF productions shall be open; i.e., no parts may be cast prior to Open Auditions. Non-majors, faculty, staff and members of the community are welcome to auditions for all productions. In the event of two actors of equal ability, however, priority on casting will be given to theatre majors.