Student-Handbook by nuhman10


									                                    Department of Theatre Mission Statement

                             The study of theatre arts is an integral part of any liberal arts
                             educational experience which prepares students through a
                             breadth of knowledge and experience in order that they may
                             make informed choices and compete successfully in life and
Department of Theatre        in their chosen professions. In the spirit of the liberal arts
                             tradition, Northern Arizona University Department of
                             Theatre seeks to give the undergraduate theatre student the
                             broadest possible understanding of the art and craft of theatre
                             through the creative, critical and applied practice of the
                             theatre art, and provide opportunity through performance and
                             production for the theatre student to learn their art by doing
                             their art in a learner centered environment. In doing so, we
                             provide the university with low cost, high quality theatrical
                             entertainment that enriches and enhances the ―undergraduate
                             residential learning community.‖ We seek to maintain
                             nationally respected curriculum in Theatre Studies, Theatre
                             Education, Performance and Design and Technology.
                             Through these programs, we provide the theatre student with
                             a solid foundation in theatre so they can express themselves
                             logically and artistically as well as being able to pursue
                             further professional development in graduate school; teach in
                             the secondary school environment; seek employment
                             opportunities in professional theatre or in the general
 Student                     workplace.

   Revised August 2010

How Should I Best Prepare To Enter the University as a                  Take responsibility for your own development.
Theatre Major
                                                                     Each individual committed to the field of theatre brings a
The following information is from the National Association           unique set of talents, aspirations, and abilities to the
of Schools of Theatre (NAST) website: http://nast.arts-              profession. Although you are in school and probably studying                                 or participating in theatre, it is important to take increasing
                                                                     responsibility for developing your particular abilities toward
Acceptance to a professional studio school or an                     your specific goals. Begin by obtaining the admission
undergraduate program in theatre is based on many                    requirements of schools you may wish to attend--the earlier,
considerations. These vary widely among institutions. For            the better. Ultimately, you are responsible for choices about
example, some have stringent audition or portfolio                   how you use your time to prepare for your future.
requirements prior to admission while others have open
admission policies followed by thorough examinations at                 Become a fluent, effective English speaker and writer.
some point in the program to determine whether the student
may continue. For specific application requirements, contact         As a theatre professional, you will rely heavily on your
the institution directly. The suggestions below indicate how         ability to communicate in words. Everything from rehearsals
you can best prepare during the high school years, not what          to teaching, to writing grant proposals, to negotiating, to
you must achieve to apply or be accepted. The advice                 promoting your professional interests relies on fluent English
provided describes two things: first, an ideal set of                skills. Focus attention on learning to speak and write
knowledge and skills goals for college-level applicants;             effectively.
second, competencies needed by theatre professionals as they
practice the various aspects of the profession. In brief, you           Get a comprehensive high school education.
should learn as much as you can as early as you can.
                                                                     The theatre profession is big, but it is also part of a larger
   Balance your efforts.                                            whole. Theatre both influences and is influenced by the
                                                                     humanities, mathematics, the sciences, the social sciences,
Intellectual and artistic curiosity is essential to successful       and the other arts--architecture, dance, film, literature, music,
work in the theatrical professions. A breadth of knowledge           and the visual arts. For entrance into college-level study, you
and skills is critical. If you show achievement and promise in       are encouraged to gain a basic overview of ancient and
academics as well as theatre, institutions will want to admit        modern history, the basic thought processes and procedures
you and you will be better prepared for theatre study and            of math and science, and familiarity with works in as many
work.                                                                of the other arts disciplines as possible. Most professionals
                                                                     who work with theatre comprehensively develop a particular

sensibility about the connections among theatre, history,             your vision of what the theatre is by seeing as much
psychology, and the other arts. Work on understanding the             professional theatre as possible, if not in your region, then in
basics of math and the sciences support future work in theatre        other parts of the country while you may be traveling for
technologies. Social studies are related to understanding the         vacations, field trips, etc. Being familiar with the writing in
context for various theatre endeavors.                                national publications, such as the Sunday New York Times,
                                                                      will also help you extend your knowledge of the theatre. Ask
   Learn how theatre works.                                          your teacher to suggest publications that are suitable to your
Take opportunities to learn the basics of dramatic structure,
including how the various elements of theatre work together.             Develop your understanding of the arts.
Like so many other things in theatre, this knowledge is
developed throughout a lifetime. Those who are able to get            Take every opportunity to learn about dance, film/video,
started early have an advantage. Work with your drama                 music, and the visual arts. Some fields of theatre require
teachers, take classes at your local college or professional          knowledge and skills in music, dance, computing, or art and
studio school, or otherwise explore opportunities to gain             design.
initial acquaintance with this material.
                                                                         Practice, practice, practice.
   Master the basics.
                                                                      Whatever you do or intend to do in theatre; try to practice it
Be sure that you know the basic terminology, the major types          as much as possible. This applies not only to performance
of theatrical work, and have read a number of important               areas such as acting and design/tech, but also to other types
plays.                                                                of work in theatre. For example, if you are interested in
                                                                      teaching or directing, you should try to observe and gain
   See as much theatre as you can.                                   experiences under appropriate supervision. If you are
                                                                      interested in playwriting, theatre scholarship, or criticism,
You need to be familiar with far more theatre than that in            you should practice writing and speaking on theatre topics.
which you participate. Try to see as much theatre from as             No level of knowledge or skill that you can attain will be too
many historical periods, cultural sources, and media as               high.
possible. Ask your teachers to recommend a list for you that
cover the various repertories. Try to make sure that you have            Learn to care for yourself.
seen major works of all types in the particular area of theatre
that interests you. Seek more to learn the breadth and depth          Your body and mind are your instruments. It is critical to
of the repertory than to enjoy what is already familiar. Extend       take extremely good care of both. Learn about nutrition and

exercise, how to manage stress, how to prevent injury, and           you are here – to learn all there is to learn about the art and
how to maintain healthy habits that will promote long-term           craft of theatre. If you are cast in a production, you can
health and fitness. Work closely with your physician, your           expect to spend 16-20 hours a week in rehearsal: regular
parents, and your theatre teachers.                                  preparation outside of rehearsal is also expected. Shop and
                                                                     technical work can often reach or exceed 20 hours a week
                                                                     during rehearsal periods. This work is on top of your
   Think of everything you study as helping you become              academic studies: in no way does it excuse you from
       better in theatre.                                            attendance and assignments in any of your classes, inside and
                                                                     outside of the department. You should plan your outside
As we have already said, the best theatre professionals              work and social life accordingly. Be mindful of this while
continue to learn throughout their lives. They are always            considering joining fraternities, sororities and other groups
studying and thinking, always connecting what they know              with demanding time commitments. Your faculty is working
about theatre with their knowledge of other fields. Since you        the same loads and more, and they assume an equal
never know the direction your career will take, it is wise to        dedication from the students—the success of our mission, our
spend your high school years gaining the basic ability to            program and thus the quality of your training depends on it.
understand and work in a variety of fields beyond theatre.
Keep theatre at the center of your efforts, but accept and           While the regime is strenuous, the rewards are great, and it is
enjoy the challenge of gaining the kind of knowledge and             often the case that those who work the hardest find more
skills in other areas that will support both formal studies at       opportunities for success. First year students will receive
the advanced level and your theatre career beyond.                   encouragement and assistance from the more experienced
                                                                     students and everyone who takes the work seriously will
What is Academic Life                                                receive enthusiastic support and guidance from the faculty.

An Academic Regime: As a Theatre student you are                     Code of Conduct: The NAU Student Handbook which may
expected to excel much earlier than many of your fellow              be found on the university website
students in other disciplines. In addition, your workload will
be much heavier than almost any other discipline.                    lists expectations of NAU students. In addition to the NAU
Undergraduates should expect to work two hours outside of            Code of Conduct and Ethics, NAU Theatre Faculty, staff
class for each hour of class time, meaning that a course load        expects you to achieve and maintain high ideals founded on
of 15 hours should be considered a 45 hour week. In                  the sound principles of utilizing REASON before acting or
addition, as a Theatre student you are expected to take an           reacting; employing RESPECT for others, for ideas, for the
active role in department productions, whether on stage, in          law, for property; and recognize their RESPONSIBILITY as
production, or in front-of-house work. This is, after all, why       citizens and members of the campus community.

―Young people who learn the arts do better in every phase of
their lives.‖ -Meryl Streep, Academy-Award winning actor

                      The Department
                                                                                        Theatre Production
The Department of Theatre offers degrees in:
                                                                     Typically, NAU Theatre produces four to five theatre events
       Bachelor of Arts with a focus in:                             each academic year (September to May). These productions
           Theatre Studies                                          are divided into these categories:
           Performance
           Design/Technology                                              Main Stage Productions - faculty directed and
                                                                            designed theatre in the Clifford E. White Theatre or
       Bachelor of Science with a focus in:                                 the Studio Theatre as part of the Department of
           Theatre Studies                                                 Theatre’s production season.
           Performance
                                                                           Second Stage Productions –student driven
           Design/Technology
                                                                            productions designed to offer opportunities for
                                                                            undergraduate students in acting, directing, design,
The Department of Theatre in the College of Arts and Letters
                                                                            production and management. Some productions are a
at Northern Arizona University is housed in the Performing
                                                                            part of the Department of Theatre’s production
and Fine Arts Building (Bldg 37) on North Campus. The
facilities include classrooms, an acting studio, costume shop,
                                                                           Studio 151 – student driven activities such as new
makeup rooms, scene and properties shops, storage, and
                                                                            play readings, freshman showcase performance, and
faculty offices. Theatre facilities include the 300-seat
                                                                            other student produced productions.
proscenium Clifford E. White Theatre and the flexible black
box, Studio Theatre, with a maximum seating of 140. Both
                                                                                          The Curriculum
facilities possess excellent lighting and sound systems, a
spacious lobby and seating.
                                                                     Students will take a common core of courses of 35 units.
                                                                     These courses are designed to offer each major a foundation
                                                                     which they augment with their chosen field of study: Theatre
                                                                     Studies, a general, more selective plan designed for the
                                                                     student pursuing graduate studies or simply wishing not to
                                                                     focus in one of the more specific areas of emphasis;
                                                                     Performance, primarily for students emphasizing acting

and/or directing; Design/Technology, for students seeking                             The Core Curriculum
career paths in design, production, stage management and
technical direction; and Theatre Education, for students           All Theatre majors will take the following courses:
interested in secondary school teaching. Majors vary from
45 to 50 total units. Minors in a second field of study are        TH 130                     Script Analysis
required for all majors.                                           TH 135                     Acting I
                                                                   TH 113                     Beginning Production 1/1/1
Although Freshmen are generally advised through the                (3 semesters in freshmen
Gateway Success Center, it is very important that the new          & sophomore yrs)
NAU Theatre student consult with the Department of Theatre         TH 113 (2 credit hours)    Extended Production
to make certain that he/she will accumulate the correct            TH 331                     Theatre History I
courses required for admission to their chosen focus. All          TH 341W                    Theatre History II
Theatre Students enter as a Theatre Major. Students will                                      (Junior Level Proficiency)
have an opportunity each spring to audition/interview for a        TH 352                     Directing I
particular focus (Performance or Design/ Technical).               TH 490C                    Senior Capstone Experience
In the first two semesters, it is recommended that a student       6 UNITS FROM:
complete the following courses:
                                                                   TH 122                     Lighting & Sound Design (3)
                                                                   TH 123                     Stagecraft (3)
              THE113 Beginning Production Workshop
                                                                   TH 124                     Costume Construction (3)
              (each semester)
              Two of the following:
                                                                   PLUS, 3 UNITS FROM:
                   TH122 Lighting    and      Sound
                     Technology                                    TH 202              Basic Costume Design (3)
                                                                   TH 204              Basic Scene Design (3)
                   TH123 Stagecraft
                                                                   TH 263              Basic Stage Lighting (3)
                   TH124 Costume Construction
              TH130 Script Analysis
                                                                   PLUS, 3 UNITS OF
              TH135 Acting I                                       DRAMATIC LITERATURE

                                                                   TH 451                     Modern Drama (3)

                     Transfer Students                                 Ben Alexander, MFA Southern Illinois University,
Northern Arizona University Theatre articulates with all                     Light & Sound, Technical Director
community colleges in Arizona. In-state transfers can expect
little difficulty in transferring hours in liberal studies or in       Patrick Battles, MFA Wayne State University
their major, especially if they enter with the Associate of Arts               Scene & Prop Design
degree. Transferring without the AA degree may mean
additional hours in liberal studies, however, all Theatre hours        Cathryn ―Kate‖ Ellis, MFA University of Texas
statewide do transfer in some equivalent category. Out-of-                    Costume Design
State transfer hours are dealt with on a case-by-case basis.
                                                                       Benjamin Grohs, BFA, Anderson University
                           Advisors                                          Assistant Technical Director, Shop Foreman and
                                                                             Facilities Manager
Every NAU Theatre student must have an academic advisor
from the Department of Theatre. Freshmen begin their                   Mac Groves, Ph.D. University of Colorado
advising in the Gateway Center but, they are encouraged to                   History & Acting
meet with Theatre Faculty as well. In the sophomore year
students will transition to the department for advising.               Nancy Parr, MFA Illinois State University
Students transitioning from Gateway or transfer students will                Costume Shop Manager
be assigned an advisor until they are admitted into their
emphasis; they may then select an advisor within their                 Bob Yowell, Ph.D. Bowling Green State University
emphasis.                                                                    Acting & Directing

                                                                       Darby Winterhalter-Lofstrand, MFA, Arizona State
                      The Faculty/Staff                                University
                                                                              Part time Instructor Acting & Voice
Kathleen M. McGeever, Chair,
MFA, Humboldt State University                                                           Student Organizations
       Directing                                                       The four student organization elect a representative to the
                                                                       faculty meetings for the purpose of sharing ideas, presenting
De Laine Brannen, Administrative Assistant                             proposals for events for approval, and discussion of issues or
                                                                       challenges. All ideas and events MUST be vetted through
                                                                       the faculty. The representatives rotate their attendance so

that only two representatives are at any given meeting.                performing talent, to encourage excellence in the training of
Student representatives meet during the first fifteen minutes          performing artists and to encourage the creation of
only due to the sensitive and FERPA related issues that the            production facilities and audiences.
faculty deals with on a regular basis. All student clubs must
adhere to the departmental rental policies for the spaces. If          NAUghty Bits is an improvisation group which mainly
the groups wish to use room 151, it is available and free to           practices the craft of improvisation but is occasionally asked
use but, classes take precedence.                                      to perform for outside groups.

Alpha Psi Omega is a national honorary dramatic fraternity             Educational Theatre Company (ETC) is open to anyone
that offers membership after a student achieves a certain level        interested in creating theatre with and for youth. ETC’s
of experience and academic performance. APO is also a                  mission is to cultivate the love of theatre through service and
service organization occasionally producing a full-length              performance, to enrich imaginations and to mentor future
play as a portion of the Second Stage and hosting the NAU              leaders. Members of ETC present workshops and adjudicate
Theatre annual Drama Days, a weekend event for Arizona                 at the annual Arizona State Thespian Conference.
High School Students. Membership is by application and
invitation.                                                                        Regional and National Affiliations

Arizona Playmakers is the student guild of NAU Theatre.                Northern Arizona University Theatre has long been a
Membership is open to all students, regardless of major, and           participating member of the Kennedy Center/American
the organization sponsors playwriting contests and the                 College Theatre Festival and, whenever possible, participates
production of original one-act plays. In addition, Playmakers          actively on both the state and regional levels. Productions
sponsors an improvisational troupe, NAUghty Bits that                  receive adjudication through ACTF, nominees for Irene Ryan
performs throughout the area and on campus.                            award, the design/production awards, and other interested
                                                                       students are often given the opportunity to attend regional
Northern Arizona chapter of the United States Institute for            conferences for the purpose of competition, adjudication of
Theatre Technology (USITT) is an organization for students             their work, and regional auditions and interviews for
that fosters excellence in technical theatre and theatre design.       internships and graduate schools.
USITT attends annual conferences and conducts production
workshops at regional high schools in production and design.           USITT is a national organization dedicated to promoting
Membership in USITT is open to all NAU students who                    excellence in theatre design and technology. NAU has one of
share in the mission of the organization. Which is to                  the oldest student chapters in the country. USITT students
encourage the performing arts as a right rather than a                 regularly attend national conferences for the purpose of
privilege, to encourage and stimulate the finding of

professional development, adjudication of their work, and
regional audition/interviews.                                        A word of advice – it is better to go through channels than
                                                                     around them. See your advisor or instructor (this includes
Additional opportunities for student travel for audition,            your director or supervisor) first with problems. In addition,
interview, professional development, graduate work and               the Chair of the Department and the Dean of the College of
employment through other regional and national                       Arts and Letters may be consulted if your problems continue.
organizations such as the Arizona Theatre Alliance, the              The university has a host of resources available for other
Southwest Theatre Association, and the Association for               problems and difficulties often encountered by the student
Theatre in Higher Education may also be available.                   including tutoring, counseling, grievances and appeals, and
                                                                     medical problems. To find out what resources are available
                       The Callboard                                 to you see your advisor or the Office of Student Life.

The various bulletin boards located in the hallway by the
Costume Shop and Makeup Rooms, as well as those in the                              What You Can Expect of Us
greenroom to the CEW backstage entrance, are your most
immediate source of day-to-day information, particularly the         1. Sufficient opportunities for creative self-expression
callboard located on the north side of the hallway between              through class activities and department productions.
the Costume Shop and Men’s Makeup Room. Here you will                2. A variety of programs of study, academically competitive
find personal messages, audition information, rehearsal calls,          with most universities.
crew assignments and calls, and a variety of other pertinent         3. Access to qualified, dedicated faculty with academic and
information. NAU Theatre students are expected to check                 professional credentials.
the callboard once a day. Notices to students are considered         4. A rigorous sense of discipline and cooperation in group
―common knowledge‖ by the faculty once posted.                          work and responsibilities.
                                                                     5. Opportunities to work under close faculty supervision.
                  Information Gathering                              6. Opportunities to work independently.
                                                                     7. Exposure to basic and traditional methods of theatre
You are personally responsible for your own career and your             training and production technique.
future. No faculty advisor, dean or parent can relieve you of        8. Opportunities to experiment with new forms of drama
your burden of personal responsibility nor your right and               and new production techniques.
obligation to decide upon your own goals. There is,                  9. Exposure to a variety of dramatic and theatrical styles,
however, help available through your advisor and the                    techniques and theories.
faculty’s own unstructured policy that encourages direct
access to all faculty.

                                                                               faculty member, your advisor and then the Chair.
                   What We Expect of You                                       Success in dealing with issues can be measured
The NAU Department of Theatre is an academic and artistic                      significantly with following the chain.
department. This definition means that we are a group of                      Discretion and maintaining confidentiality
collaborative teaching and learning artists that hold as our top              Leave our egos at the door and respect the group
priority the learning environment. We are unique from a                        mission, vision and goals.
professional company in that student artists work hand-in-                    Academics come first including productions (which
hand with the teaching professional artists in a collaborative                 are theatre labs) and classes.
model that includes mentorship. We expect the entire                          Practice collaborative partnership embracing of the
company of student artists and teaching professional artists to                philosophy that individual greatness is grounded in
have at the top of their concern the welfare of the department.                group performance
                                                                              Honesty in academics, our art and, among our peers
Theatre is a collective art, requiring the collaborative work of               and the faculty and staff
many people in a situation varied in activity and limited in                  Embracing criticism as an essential step in the artistic
time who must conduct themselves in a professional manner                      process and the educational theatre process and
in order for the art form to be successful both in process and                 practicing constructive evaluation.
in performance and, model professional cooperative behavior
                                                                              NAU Theatre working and learning in this
to our students. It is therefore essential that all parties
                                                                               environment is a privilege so therefore you are not
(faculty, staff and students) conduct themselves in a
                                                                               entitled to specific assignments, grades or
responsible, courteous and professional manner.
To this end we expect commitment to the following:                      Other specific expectations:
      Respect of the process and the people which includes             1. To be punctual and meet deadlines.
       responsible, courteous, respectful behavior for and to           2. To know your program requirements as well as university
       faculty, staff and students.                                        social and academic requirements.
      The chain of command is recognized as the proper                 3. To accept and complete responsibilities.
       procedural steps in directing business or issues. The            4. High standards and work habits.
       chain of command for students is published on the                5. To fairly criticize and accept criticism.
       following website:                                               6. To share with the Department your frustrations, pleasures and filed                  and problems.
       under the appropriate heading (grades, grievances,
       etc.) Keep in mind, the first step is to speak with the

       Tuition Scholarships, Endowed Scholarships,                             in theatre courses and a 2.5 overall GPA in all university
                       Work Study                                              courses. Failure to maintain minimum grade point averages
                                                                               will result in suspension of the waiver and the student will be
The Department has a number of Tuition Scholarships that                       required to reapply for awards after the grade point
cover full to partial tuition.                Application for these            deficiency has been corrected. Theatre Donor Scholarships
scholarships as well as the endowed scholarships must be                       may have other specific requirements that the student will be
made to the Department Chair by a published deadline each                      expected to meet each semester.
semester     ( Tuition
Scholarships carry with them an obligation of ―activity‖ in                    2. A theatre scholar may not carry a Theatre Tuition
return for the award, typically enrollment in TH 113 or if you                 Scholarship after eight (8) total semesters. Likewise this
are a Senior, TH 490C in each awarded semester. Your                           policy is prorated from the time of award (freshman - 8
advisor can give you more information.                                         semesters; sophomore - 6 semesters, etc.) Endowed or donor
                                                                               scholarships vary according to donor guidelines.
The program also has a number of donor-type or endowed
scholarships available. Some of them are quite significant.                    3. Theatre scholars are required to maintain a high profile of
Application for these scholarships must be made to the                         leadership within the department of theatre and their area of
Department Chair by a published deadline each semester                         academic focus through regular auditions and acceptance of
(                             roles (if applicable); accepting design and technology
                                                                               assignments as offered; and participation in department of
Scholarships require an audition or interview. All                             theatre extra-curricular activities and organizations. This
scholarships must be applied for annually and do not have to                   policy includes maintaining good work habits, reliable
be based on financial need.                                                    attendance in academic classes and rehearsals, and
                                                                               professional conduct.
In addition to these awards, the department hires work-study
students and offers a small number of theatre assistantships                   4. Theatre scholars should understand that scholarships,
each semester. See the Area Coordinator for details.                           financial awards and stipends are not necessarily need-based
                                                                               and are granted because of recognition of a student’s
                                                                               potential to positively affect the overall program.
                NAU Department of Theatre                                      Continuing scholarship students must notify the department
               Guidelines for Theatre Scholars                                 in writing each year of their intention to continue at NAU.
                                                                               This notification includes a Letter of Intent, an updated
1. A theatre student awarded a Tuition Scholarship within                      Theatre Scholarship Application form and a minimum of
the Department of Theatre must maintain a 3.0 GPA overall                      three references of support from NAU Theatre faculty (a list

of three). The Department should be notified at this time of            accompanied by proper documentation in order to be
any changes in the student’s status.                                    excused. Arriving late to class or leaving class early will be
                                                                        considered an absence.         Students must provide an
5. In the event that a theatre scholar receives a probationary          institutional form to the professor for Official University
statement in relationship to an ongoing scholarship, that               event absences. Students with ten (10) MWF absences or six
scholarship will remain in effect for one semester only and             (6) TTH absences will be administratively dropped with an
the student will be required to reapply at mid year at which            “F.”
time the faculty will determine whether or not the stipulations
of probation have been addressed in a satisfactory manner.              Theatre Production is a group activity – plays are not created
The faculty can determine to 1) discontinue the scholarship,            by individuals working in isolation. Each member of a
2) continue probation for another full semester or, 3) reinstate        production company depends upon the other member of the
the scholarship without probation.                                      company in order to fulfill his or her production, artistic, and
                                                                        educational responsibilities and duties. A most serious
6. Scholarships are awarded at the discretion of the theatre            breach of theatre ethics is to fail to perform production
faculty.                                                                responsibilities on time. You are, therefore, expected to
                                                                        accept and complete all production assignments on time and
7. Scholarships and financial awards are not offered to                 to the best of your abilities. In case of unforeseen
students who have not declared a major in theatre.                      emergencies, it will be your duty to inform the faculty
                                                                        member in charge of your production area of the reasons why
8. Tuition Scholarships carry stipulations regarding                    you find it impossible to meet your schedule. You should be
participation in certain theatre workshops. Students                    aware that severe penalties—from grade reductions in
receiving such awards should consult with their major                   production courses, termination of participation and, even,
advisor regarding those responsibilities on a semester-by-              refused registration in further theatre courses—will result
semester basis.                                                         from consistent failure to fulfill production responsibilities.

              NAU Theatre Attendance Policy                             All theatre majors and minors are required to attend all
                                                                        Theatre Department production. Likewise, theatre majors
Every student enrolled in a Department of Theatre course                and minors are required to attend called meetings and any
will be allowed three (3) ―sick days‖ or unexcused absences.            other posted meeting stating, ―attendance is mandatory.‖
Beyond this limit of three absences, the student’s final grade          Academic advisors are the only ones who can excuse a
will be lowered a one-third-letter grade for every unexcused            student from a mandatory meeting.
absence. (an ―A-‖ would become a ―B+‖ for example)
Emergencies, deaths in the family or severe illnesses must be

                           Auditions                                     broader experience in theatre that combines courses from all
                                                                         emphasis areas. Theatre Studies is recommended for
Auditions for all productions each semester are held in the              student’s intent on graduate studies, university teaching, or a
first week of classes, unless otherwise notified. Performance            more academic/traditional experience beyond the more
emphasis students are REQUIRED to audition - exemptions                  focused performance and production tracks.
may only be granted by the faculty in writing prior to the
callback auditions. Auditions are open to any student                    Admission into an Emphasis
enrolled at Northern Arizona University.
                                                                         All new students will be expected to complete the following
                 Department of Theatre                                   courses by the end of their second semester of residency.
               School of Performing Arts                                        TH 123, Stagecraft
     Policy on Admission to the Emphasis Programs                               TH 124, Costume Construction
                                                                                TH 130, Script Analysis
Growing enrollments and limited faculty resources dictate                       TH 135, Acting I
that the Department of Theatre, in an effort to maximize the
educational experience afforded all students, limit the                  Students wishing to be considered for admission to the
availability of course opportunities and cap admission to the            Design/Technology Emphasis must also complete drawing and
emphasis programs in Performance, Design and Technology                  rendering       and       any       one     of  the design
and Theatre Education.                                                   classes before they interview for the emphasis.

The maximum number of majors allowed in these emphasis                   By mid-term of the second semester of residency, or the
programs will be maintained at approximately the following               week following Spring Break, which ever comes later,
breakdown:                                                               freshmen students seeking admission to the Performance or
       55-60 students maximum from the sophomore, Junior                 Design Technical emphasis must formally apply to the
       and Senior Class allowed in Performance                           Faculty for admission to the program. Performance students
       20-30 students maximum in the Design/Technology                   audition for admission into Acting II and the Performance
       Emphasis                                                          Emphasis at that time. No admission to TH 235, Acting II
       10-20 students maximum in Theatre Education                       will be granted without an audition.       The maximum
                                                                         enrollment in TH 235 will be 20.
Theatre Studies Focus
                                                                         Admission to Design/Technology occurs in the mid-term of
 A Theatre Studies Emphasis maintains a broader, more                    the fourth semester of residency, or the week following
flexible nature. It exists primarily for those students seeking a        Spring Break, which ever comes later. Design/Technology

students must have a portfolio interview for admission to the
Design/Technology emphasis.                                           Auditions, Casting and Production Assignments

A student not admitted to an emphasis will automatically              By virtue of admission to the Theatre Program and any
become a Theatre Studies major for one semester and may               program emphasis, students acknowledge that participation in
re-audition for the emphasis following the completion of one          production assignments is essential to their educational
full semester’s work (summers are not included) after the             experience. Performance emphasis students are required to
interview/audition. If the student is not admitted following a        audition for all departmental productions.         Moreover,
second audition/interview they may continue as a Theatre              students are required to accept and fulfill roles assigned to
Studies major with consent of the faculty or as a Theatre             them through the audition process. Design/Technology
minor. (No faculty consent is needed for a minor).                    students, Theatre Studies students and Theatre Education
                                                                      students are likewise obligated to complete responsibilities as
Transfer Students                                                     assigned. Design Technology students must submit a letter
                                                                      of intent to apply for production positions. Letters are due
Transfer students must still complete TH 123, 124, 130, 135,          April 2 of the preceding year. A student, who reneges on
or their equivalents before any admission to an emphasis.             production responsibilities after casting or assignment
Transfer students are admitted to Theatre Studies until the           without the express consent of their advisor, or a viable
completion      of   the     application, audition/interview          excuse deemed family or personal in nature, is subject to
requirement. The interview/audition may be scheduled with             administrative dismissal from the program. The production
the faculty prior to entering NAU or during the regularly             program is designed to offer opportunities to as many
scheduled audition/interview period in March. Transfer                students as possible. With very few exceptions, students are
students, like freshmen, must formally apply by letter to an          typically cast in only one production per semester. Students
emphasis program.                                                     must have a GPA of 2.0 or better and cannot be on
                                                                      Academic Probation in order to participate in productions.
Sophomore/Transfer Review
                                                                      Non-Department Commitments
All second semester Theatre sophomores and transfer
students must participate in a formal review of their work at         While the faculty encourages students to gain theatrical
NAU. The faculty will set aside a length of time and                  experience outside the Department of Theatre, students must
individual meetings will be set to discuss the student’s              obtain consent of the theatre faculty through their advisor.
progress, goals and future steps. The Sophomore/Transfer              This policy includes work for remuneration, a vocational
reviews take place in January each year.                              experience, or work for another producing organization on
                                                                      campus. Students may only work outside the Department of

Theatre when they are not currently engaged in NAU Theatre               II should be introduced to physical control and movement
production or academic commitments during an academic                    and learn to view performances requirements from the
year. Students are expected to audition and/or receive                   overall integration of emotional, physical and vocal demands.
assignments first from the Department before seeking outside             Scene      work     should    remain     centered    in   the
opportunities. Failure to receive consent from the faculty of            modern/contemporary theatre; however, the individual
such outside work can result in dismissal from the program               instructor may wish to introduce specific demands created by
emphasis.                                                                style and genre. Prerequisite TH 135 (Acting I).

Performance Emphasis - Course Progression/Philosophy                     Acting III
                                                                         Acting III is an admission by audition or consent of the
Acting I                                                                 instructor. Course content is the choice of the individual
Acting I is a process-oriented course designed more toward               instructor but scene work should be related to classical
preparing the student to act than the acquisition of skills. The         theatre. Instructor may choose a content of his/her individual
first acting course in the sequence should be designed to offer          focus (i.e., Acting Shakespeare, Commedia dell’ Arte, etc.)
the beginning university student a firm foundation and                   or create a “styles” course that encompasses several periods
dependable process from which to create. Moreover, the                   of acting. Prerequisites: TH 235 (Acting II) and TH 222
student of Acting I should gain a common vocabulary                      (Voice and Diction).
necessary to understanding the process. Acting I should
cover beats, intention/motivation/objective, observation,                Acting IV
concentration, sense memory, individual energy paths,                    Acting IV is an admission by audition or consent of the
inhibitions, the need for strong choices, work habits and risk           instructor course, designed to offer a small group of
taking. The primary objective of this course should be to                advanced students the attention warranted in studio. The
create a dependable way to achieve honesty in performance                content of the course may vary according to the level of the
and strong acting values with an applicable system of                    group or the specific needs of the group. The course will
analysis. Scene work should remain centered in the                       focus on allowing the group to work intensively in areas in
modern/contemporary theatre.                                             which they are challenged or in areas that require them to
                                                                         overcome individual performance inhibitors. Advanced
Acting II                                                                Acting/Studio reinforces and/or introduces the student to
Acting II should review the concepts studied in Acting I and             images, dynamic risk-taking and methods to achieve
stress honest performance values. In addition, once the                  individual growth. Moreover, it should be designed to
instructor is satisfied that the class is operating on a common          challenge the advanced student to find ways to strengthen
level, the course should stress the acquisition of skills and the        and energize playing. A unit of Advanced Acting will focus
development of individual technique. The student in Acting               on personal marketing and career development/preparation.

Prerequisites: TH 235 (Acting II) and TH 222 (Voice and
Diction)                                                              Acting (recital) 20-30 minute recital divided equally between
                                                                      scene work with a partner and in monologue requiring a
With the exception of Acting I, TH 135, admission into acting         character analysis for each role and self-evaluation.
courses is by audition.
                                                                      Design project approved by your advisor, both theoretical
                       Senior Project                                 and practical. Requires academic support papers and public
All Theatre Majors, with the exception of those in Theatre
Education, will complete a Senior Project as the capstone             Directing (either on Second Stage or, if approved, off-
experience in their undergraduate work. The Senior Project            campus) requiring academic support papers, complete play
(TH 490C) is a 3-credit-hour course (taught every fall                analysis for directing, journal, director’s notebook, and self-
semester only) to be taken in the senior year with the                evaluation. Public defense required.
approval of the Department Senior Capstone Committee. In
addition to a team-taught course in career development and            Research Project either as a traditional research project
preparation, the Senior Project must culminate in a practicum         approved by advisor or a playwriting project culminating in a
which MUST be approved during the spring semester of the              public reading of the new work. Defense required.
applicant’s junior year or the year immediately prior to
graduation. The project may be presented in the spring                     Student Designer and Assistant Designer Policy
semester and if it is the student shall receive an IP (In
Progress) grade until the project is fully realized.                  Design opportunities in scenery, costumes, lighting, sound
Applications are available on the Theatre Department website          and makeup are a privilege that must be earned. Before a
and are due February 1st of each year. Each student will be           student can be assigned as a production designer or as an
required to present a primary and a secondary proposal and if         assistant designer, they will have to complete all required
the project is not suitable students will be asked to resubmit        course work and meet the standards set by the design/tech
their proposal. Students cannot register for the Senior               faculty.
Seminar course without prior Senior Project approval. Every               1. Assistant Designers (AD’s) should have completed:
project will require a DEFENSE PRESENTATION                                   TH 123, TH 204, TH 223, TH 263, and TH 323.
completed during the Seminar class meeting. When making                   2. Designers should have completed: TH 313 for AD
a proposal keep in mind the following possible project areas:                 TH 323 or TH 423, TH 213/313 for Stage Manager,
                                                                              and the area design course TH 443, TH 453 or TH
Acting (Main Stage role) with character analysis, rehearsal                   483.
journal, self-evaluation, and a public defense presentation.

   3. All students must maintain a “B” or better in all               each spring semester. The paper is researched and organized
      theater design courses and at least 2.7 GPA overall.            in Theatre History I (TH 331), the prerequisite course for
   4. Student must have achieved at least a junior standing.          Theatre History II. Because enrollment is limited it is
                                                                      imperative that students take the writing requirement within
  Student Assistant Stage Manager and Stage Manager                   their junior year.

Management opportunities are a privilege that must be                 The Department of Theatre uses the MLA Style sheet in
earned. Before a student can be assigned stage management             academic research papers unless otherwise stipulated by the
positions, they will have to complete all required course work        instructor.
and meet the standards set by the faculty.
   1. Assistant Stage Managers must have completes TH                                     NAU Theatre
        xxx Stage Management or be taking the course                         Student Productions: Guidelines & Policies
   2. Management students MUST have completed: two                    A Student Production is a student-driven theatre event
        TH 113’s, TH 135 Acting I, TH 123, TH 122,or TH               designed to offer performance, design and production
        124                                                           opportunities for NAU Theatre students. The following
   3. TH 323 or TH 423, TH 213/313 for Stage Manager,                 guidelines will govern all Student productions. Exceptions to
   4. All students must maintain a ―B‖ or better in all               these policies may only be made by the Chair of the
        theater design courses and at least 2.7 GPA overall.          Department of Theatre in concert with the Technical
                            Writing                                   Director.

The Theatre Department believes in the traditional, liberal           1. All Student Productions MUST be approved during the
arts concept that a student’s ability to think is indicated              spring semester proceeding the season in which the play
significantly by their ability to write. There are a number of           is produced. Student Production proposals are to be
academic courses within the program that are considered                  submitted to the faculty each year and must include a
writing intensive by the university: TH 130, Script Analysis,            cover letter, written proposal, cast breakdown, directorial
TH 331, Theatre History I, and TH 341W, Theatre History II,              approach and a full copy of the script.
TH 451, Modern Theatre and TH 452, Directing II.
                                                                      2. Student Production directors must have completed TH
Theatre History II (TH 341W) is designated by the                        452, Directing II, or have faculty approval before being
department as the Junior Level writing requirement of all                assigned a production slot.
Theatre majors. A 30-page minimum research project will be
developed, edited and completed within this class, offered

3. Any NAU Theatre student, major or minor, may submit a
   Student Production proposal. Faculty may also submit                7. Student productions sponsored solely by the
   proposals under the same guidelines as students.                       organizations or outside groups and not a part of the
                                                                          regular season MUST be approved by the Faculty.
4. Student Productions MUST complete a contract with The                  Presentations can be made through the student
   Department of Theatre and follow the guidelines outlined               representatives to the faculty. NO PLANS MAY BE
   in the contract. The budget must be maintained clearly                 FINALIZED until a contract is presented, signed and
   and all paperwork turned in to the office of the Chair in a            guidelines agreed on.
   timely manner (outlined in the contract).
                                                                       8. Lighting for Student Productions is according to a pre-
5. Student Productions must be cast at the common audition                hung repertory lighting plot. Exceptions to this rule may
   held prior to the beginning of each semester but following             occur only if the Student Production has gained
   the posting of Main Stage productions scheduled in that                permission from the Technical director.
   semester.      Student Productions MUST follow the
   departmental casting requirements.            The student           9. Scenery available for Student Productions is limited to
   production may use only students whom auditioned each                  the rehearsal furniture provided.
   semester. Students not enrolled at Northern Arizona                               door and window units
   University may not be cast. In the event that a director                          Blocks
   needs, for a specific reason, to use a non-student by virtue
   of a specific talent or requirement possessed by that non-          10. Technical students will be assigned to the production.
   student, written requests must be submitted to the Chair
   of the Department of Theatre. Permission to use a non-              11. Properties may be pulled from Props Storage if they have
   student may only be granted by the Chair of the                         been approved by the properties manager, Mr. Patrick
   Department of Theatre. If student’s are granted                         Battles. Purchase of properties (perishables, food, and/or
   permission to cast students from other departments OR                   other items specific to the script and not otherwise
   institutions those students MUST follow the grade criteria              available) must be approved by the Technical Director.
   set for NAU students.
                                                                       12. Costumes must be provided by the student production.
6. Student Productions are allowed rehearsal time in the
   theatre space in which they are being performed however;            13. The ―strike‖ requirements must be approved by the
   the department schedule dictates the time allowed for the               Technical Director (Mr. Ben Alexander) and signed off
   rehearsal and a contract must be completed with Mr.                     by him before the project is considered complete.
   Grohs in a timely manner. (See Mr. Grohs for details)

14. The department will designate a stage manager for all                While individuals may contact local media on their own,
    Student Productions. Assistant Stage Managers (ASM)                  the Publicity Crew named each semester as a TH
    may or may not be designated depending upon the                      113/213/313 credit, has no involvement with Student
    demands of the production. The department must also                  Productions beyond that listed here. Student Productions
    assign ASM’s.                                                        are listed in the Season Brochure and sold as a portion of
                                                                         the NAU Theatre season and through single ticket sales.
15. Crews for Student Productions will be minimal and will
    be appointed by the appropriate faculty member.                   21. When students borrow production elements either from
                                                                          the department or from another source, the student group
16. During the regular season, Student Productions approved               is responsible for the maintenance and safe return of all
    by the faculty will be appointed a House Manager. If the              things borrowed. The items must be returned in their
    project is an additional event, the responsible student               ORIGINAL state.
    organization will have to pay for the House Manager
    according to the current rules, regulations and fee               22. When Directing II projects are part of the Student
    structure.                                                            Production season, all projects are collectively considered
                                                                          ONE Student Production in matters of production support
17. All student productions may be subject to fees consult                and faculty supervision.
    Mr. Grohs and the main office to complete the proper
    contract and to receive the fee structure. Deposits must                 ROOM 151 AND THE STUDIO THEATRE
    be made in advance.                                                     EXPECTATIONS FOR STUDENT GROUPS,
                                                                             SENIOR PROJECTS AND CLASSWORK
18. All student groups using the facilities MUST be affiliated
    with ASNAU in order to contract the use of department             Due to the increasing demand of departmental facilities by
    facilities.                                                       student and outside groups, the department has created an
                                                                      extensive production and event calendar leaving limited
19. Approved Student productions using room 151 will not              availability of our resources for rental. Due to the limited
    be charged fees. However, it is important to remember             availability and in and effort to maintain fairness for the
    that curricular restraints (class work, rehearsal studio,         space use for all and, in giving priority to class projects and
    etc.) take precedence over additional production work by          mainstage productions, the following guidelines and
    Student organizations.                                            expectations have been applied to the contractual and club
                                                                      project use of room 151 and the Studio Theatre.
20. Publicity for Student Productions is limited to calendar
    notices, one-color, Xerox-quality programs and posters.

Each April room 151 and the Studio Theatre will have                       Technical support for all clubs and Senior Projects
specific days with which the student groups can contract and                includes:
schedule use. We are encouraging groups to plan ahead.                          o A rep lighting plot which may not be changed
Only registered NAU Theatre clubs will be allowed to                            o A light board operator and stage manager will
contract the space. Outside groups can rent the CEW only.                           be assigned by Mr. Grohs
Room 151 may be made available for dressing room space                          o Sound is limited to the organization’s CD
for the large dance projects only if it has availability.                           player
Departmental and class projects will be scheduled early for                     o We understand a few Senior Projects and class
specific dates and they will be a part of the central production                    projects may have special issues or needs.
calendar maintained by Mr. Grohs.                                                   However, exceptions to the provided technical
                                                                                    support must be approved by the Design
EXPECTATIONS OF GROUPS BORROWING OR                                                 faculty (Mr. Battles and Mr. Alexander), Mr.
RENTING THE SPACES:                                                                 Grohs and the Department Chair.
   To use the spaces all student clubs must be registered                      o Black blocks (cubes and other shapes) along
     through ASNAU, supporting documentation will be                                with the door and window unit will be
     expected at the time of contract.                                              available for student projects in both Room
   ALL fund raising events must be approved through                                151 and the Studio Theatre
     ASNAU (as per university rules) and the department.                        o Properties and furniture are not available
     Any club or group planning a fundraising event must                        o Costumes are not available
     submit approval of the fundraiser at the time of                           o Design teams will not be assigned
     contract. Fund raising events not associated with a                        o If an audience is present, a House Manager
     club event must also be approved by ASNAU and the                              will be assigned
     Department.                                                           Groups are allowed one 4 hour block contracted in
   Contract is to be completed one month prior to the                      either space for an event (keep in mind that there are
     event                                                                  5 student organizations and in fairness each should
   Deposit must be made one month prior to the event                       get an opportunity to use the facility.) If a Senior
   Senior Project contracts will be completed through                      Project or Club performance needs rehearsal time it is
     the TH 490C course in the fall semester and students                   not guaranteed. However, every effort will be made
     do not need to complete individual contracts                           to make some time available. Please remember
   Two weeks prior to the event a club officer must meet                   though that the spaces are in high demand and there is
     with Mr. Grohs to go over all tech needs but, please                   only limited amount of time that may be available.
     keep in mind that limited technical support is                         Please consult with Mr. Grohs at the time of contract.
     available.                                                             Please remember that this does not include the

       regularly scheduled meetings in room 151. However,              your fitting in the costume shop, keeping in mind that an
       to use the space for a regularly scheduled meeting the          appointment in the Costume Shop is a regular actor call just
       club must be registered with ASNAU and the meeting              like a rehearsal. However, if you know you are going to be
       must take place after the last class of the day and must        late, please call the costume shop (928) 523-2473.
       be scheduled with Mr. Grohs at the top of the fall
       semester for the entire year.                                   Shoes:
      ALL outside rehearsals in room 151 for classes and              All women must provide their own black character shoes
       club projects must be scheduled 2 weeks in advance              upon request. All men must provide their own black hard
       with Mr. Grohs. A club or group cannot block off a              soled oxfords upon request. Both character shoes and
       large time period in room 151 as it is often used as a          oxfords must be in good condition.
       rehearsal space for class projects and mainstage.
      Room 151 has a room capacity of 49 which includes               Ideally, women should also have tan character shoes and men
       the performers, teacher or group leaders. The event             should have brown oxfords. This is not required, but it is
       cannot exceed the room capacity – there are no                  recommended.
       exceptions to the rule as it is dictated by the Fire
       Marshall for safety concerns.                                   Make up:
      All behaviors outlined in the contract must be adhered          All actors must provide their own basic makeup kit. (see the
       to or the group will face the loss of their deposit. The        Costume Design faculty for the appropriate color.
       behaviors include issues with food, trash and respect
       for property.                                                   Make up may be ordered through the following company:
Mr. Grohs is available for scheduling on FRIDAY’S before                     Ben Nye Crème Personal Kit ($18.00)
noon ONLY. However, you MUST make an appointment                             Ben Nye Theatrical Crème Kit ($50.00)
with him in advance.
                                                                       You must also provide your own:
ACTOR GUIDELINES FOR WORKING WITH THE                                        Makeup up Wedges               Face towel
COSTUME SHOP (8/31/10)                                                       Facial Cleanser
                                                                             Baby wipes                     Moisturizer
Appointments:                                                                Astringent
Actors are required to arrive for fittings showered, wearing
deodorant or anti-perspirant, and wearing appropriate                  Actors should not leave the theatre with theatrical makeup on
underwear. Please remember that thongs, sport bras, and                their face.
lack of underwear is not permitted. Please arrive on time for

OTHER CLUB INFORMATION TO FOLLOW:                                       Backstage Etiquette and Other Department Production
It is important that your constituents understand certain                              and Shop Expectations
policy and protocol enforced through student life. In
particular some of the language in the documents holds your            1.    All actors and crew members must sign in at the call
officers responsible for the group’s behavior. This will be a                board when they arrive at the theatre. Once you have
very good exercise to encourage your members and                             signed in, do not leave the theatre without notifying
yourselves to make sure that you familiarize yourselves with                 the Stage Manager and/or Assistant Stage Manager.
the websites listed below. The faculty expects you to follow           2.    All crew members must provide their own ―blacks‖
these guidelines.                                                            for the running of crew assignments (please see the
                                                                             Scene Shop Foreman for definition).
      The student code of conduct:                                    3.    All students working in the shops must be                          appropriately dressed for the work they are expected
      The statement and policy on assembly:                                 to complete (please see the shop foreman or design                      faculty for definition).
      SWALE which stands for the Safe Working and                     4.    No smoking backstage, in dressing or makeup rooms,
       Learning Environment:                                                 or in the green room. If you must smoke, you must                               bring a garment from home that will adequately cover
                                                                             your costume and secure it from any possible
            Supervision of Student Productions                               damage—however you must see the Costume
                                                                             Designer in advance to authorize this.
Faculty supervision of Student Productions will be assigned            5.    Actors are required to provide their own dance belts
to a faculty supervisor. Usually the department artistic                     and black dress oxfords, and women to provide their
director or faculty overseeing specific projects in these                    own black or tan character shoes as necessary for
venues related to academic credit (i.e., Senior Projects,                    productions and in preparation for the professional
Independent Study projects, specific design assignments,                     world expectations.
etc.). In the event that a project is not connected to academic        6.    Actors are also required to dress properly for
credit or a specific degree program, the Artistic Director is                measurements and fittings this includes complete,
charged with faculty oversight of projects either directly or                modest underwear (please see the Costume Shop
through the appointment of an appropriate project advisor.                   Manager for definition).
When a student theatre organization develops a project, the            7.    No one is allowed to leave the building in costume.
faculty advisor of that organization is considered the project         8.    Put on your make-up before you put on your costume.

9.    No loud music permitted in the dressing areas—this is                              Production Duties
      focus time.
10.   Do not eat or drink anything but water when wearing           The exact responsibilities of these production positions may
      your costume (throat lozenges must be cleared with            vary with each production, but generally follow this pattern:
      Designer/Costume Crew Lead).
11.   Remain in the green room area during performance,                     Executive Producer: Responsible for overall
      until you are ready to go onstage—do not loiter in the                budgetary and organizational support. At NAU, the
      wings, as this poses a safety hazard.                                 executive producer is the Chair of Theatre, who also
12.   The Stage Manager will hold all personal valuables in                 acts as the producer. In the professional world the
      a safety box; however, it is best to leave all jewelry                Executive Producer delegates most production
      and valuables at home.                                                responsibilities to the Producer.
13.   NO TALKING backstage during performance.
14.   No visitors backstage before or during performance.                   Producer: Responsible for production budgets,
15.   Immediately after performances: return all props to                   business, and organizational support.
      the prop table; take off your costume pieces and hang
      them up; and, remove your wig and place it on a wig                   Director: Responsible for preproduction research
      stand. Do all of this before you greet guests.                        and analysis, helping to create a visual and visceral
16.   Guests may meet you after performance at the stage                    vocabulary for the production team, developing an
      door or in the theatre lobby.                                         overall production concept, casting the production,
17.   Report any damage to your costume to the costume                      working with collaborative artists, preparing a
      crew before you leave the theatre.                                    rehearsal schedule, conducting the rehearsals, and
18.   Report any missing or damaged prop to the Stage                       overseeing the artistic continuity of the production.
      Manager before you leave the theatre.                                 The director is in the ―driver’s seat‖ but the best
19.   Do not touch any costume, wig or prop that is not                     directors are collaborative directors rather than
      yours, or that you have not been expressly authorized                 dictators.
      to handle. This is grounds for immediate
      termination.                                                          Assistant Director: Rehearsal assistant to the
20.   You are responsible for pre-setting and checking your                 director and may share rehearsal responsibilities with
      own props and costume changes. This must be done                      the Stage Manager. Some directors may involve the
      before the house opens (1/2 hour before curtain).                     AD in the preproduction work as well as the
                                                                            aesthetics of the production. The working
                                                                            relationship should be defined early in the process. If
                                                                            the director fails to outline the relationship for the

AD; the AD should then start the discussion. The                Assistant Designers: Responsible for assisting the
assistant director is usually a theatre student                 scenic, lighting, costume, or sound designers with
nominated by the production’s director or the Theatre           design research, drafting of plans, paperwork, or
faculty.                                                        other planning aspects of design.
Dramaturg: The dramaturg works closely with the
director in texts that have a production history and the        Technical Director: Responsible for technical
dramaturg works closely with both the director and              theatre support for each production, including
the playwright when dealing with new text. A                    scenery, properties, lighting, and sound.
dramaturg is the gate keeper making sure that text and
research remain true to the production and the                  Assistant Technical Director: Responsible for
playwright. The dramaturges responsibilities include            acting as an assistant to the Technical Director and as
researching historical period in written, musical,              construction crew supervisor for a given production.
and/or visual media; assisting in publicity; writing
program and newspaper articles; and other duties as             Stage Manager: Responsible for acting as a liaison
defined by the director or playwright.                          between the director and the cast during a
                                                                production, as a company manager during the
Choreographer: Responsible for dance and stage                  rehearsal period. In addition, the stage manager will
movement in certain productions, particularly                   open and lock the facilities, check with the crews to
musicals.                                                       make certain the set, props, costumes, lighting, and
                                                                sound are prepared for the top of the show, clear the
Musical Director/Orchestra Conductor:                           house and inform the house manager that the house is
Responsible for rehearsing and overseeing the vocal             ready to be opened, give calls to the actors, oversee
and orchestral elements of musical production. The              the backstage area during the run of the show, and
musical director and the orchestra conductor are                perform any other duties the director may assign.
sometimes separate positions.
                                                                Assistant Stage Managers: Responsible for
Designers: Responsible for designing the scenery,               assisting the Stage Manager during all stages of the
properties, lights, costumes, and sound for each                production, including providing daily reports on
production. The designer for all productions is                 production meetings, rehearsals and performances.
usually the faculty resident designer or a professional         During the run of a show the Assistant Stage
guest-artist. Advanced theatre students are                     Managers are responsible for coordinating all activity
occasionally designers. When a student designs a                backstage.
NAU production it is done with the guidance and
support of their faculty.

Performers: Responsible for acting, dancing,                  Electrician sometimes acts as either the Assistant
singing, and any other specialized duties as rehearsed        Lighting Designer
by the director. The specific responsibilities of the
performer are outlined under Audition Guidelines              Electricians: Responsible for rigging, hanging,
and Rehearsal and Production Guidelines                       circuiting, and focusing all lighting and electrical
subheadings of this handbook.                                 equipment for a given production.

Production Crew: Responsible for technical support            Light Board Operator: Responsible for executing
during the construction period of the production. The         light cues as designed by the Lighting Designer.
production crew is made up of TH 113 students, TH
volunteer student workers, theatre scholarship                Deck Electricians: Responsible for dealing with all
students, and students enrolled in appropriate                electrical needs during a production (re-patching
coursework. Crew work is extremely important to the           dimmers, moving instruments during scene shifts,
overall education of theatre students.                        changing color in instruments, etc.). Deck
                                                              Electricians sometimes act as Follow-Spot Operators
Master Carpenter: Responsible for coordinating all            when necessary.
scenic construction with the Technical Director and
the scenic carpenters. The positions of Assistant             Follow-Spot Operators: Responsible for executing
Technical Director and Master Carpenter are                   follow-spot cues as designed by the lighting designer.
sometimes combined.
                                                              Property Master: Responsible for coordinating all
Scenic Charge: Responsible for coordinating the               properties with the designer, as well as keeping track
painting of all scenery with the Designer and Scenic          of all appropriate paperwork. The Property Master
Artists. The Designer often serves as the Scenic              sometimes serves as the head of the properties crew
Charge.                                                       during productions.

Scenic Artists: Responsible for the painting of all           Properties Crew: Responsible for the placement,
stage scenery for a given production.                         maintenance, and security of all props.

Master Electrician: Responsible for coordinating all          Running Crew: Responsible for technical support
lighting and electrical needs of a production with the        during technical rehearsals, dress rehearsals, and
Lighting Designer and the electricians. The Master            performances of a production.

       Head of the Running Crew: Responsible for                     With each entry into this section of the handbook please keep
       coordinating all backstage operations of a production         in mind that the information is basic and is merely meant as a
       with the stage manger, Technical Director, and all            starting point.
       running crew members
                                                                     SETC—Southeastern Theatre Conference
       Shift Crew: Responsible for the shifting of all               Each March SETC hosts combined Professional Auditions
       scenery during a production.                                  for over 100 professional hiring theatres as part of the annual
                                                                     convention. SETC requires that all non-professional actors
       Wardrobe Manager: Responsible for organizing                  (students and adults) be screened on the state level before
       and maintaining the costumes as well as assisting cast        being accepted to the auditions in March. Each state holds
       members with their costumes. Quick Changes and                preliminary auditions in the fall in order to send the most
       Wardrobe issues are delegated to dressers by this             qualified actors to participate in the regional auditions.
       Crew Head.                                                    Arizona may audition through the Mississippi Screening
                                                                     auditions. Please visit the SETC website at:
       Dressers: Responsible for assisting the actors with  for information on how to
       their costumes. They may also assist with make-up             audition through Mississippi. For more information on
       and hair. Any minor repairs or laundry issues are the         specific audition details contact:
       responsibility of the Dresser.                       ,, 1-336-272-
       Sound Board Operator: Responsible for executing
       sound cues as they are designed by the Sound                  KCACTF REGION VIII NEXT STEP AUDITIONS
       Designer.                                                     These happen in conjunction with the Regional Festival
                                                                     every February. Participants MUST register by late
AUDITION OPPORTUNITIES FOR ACTORS                                    December/early January to audition/interview. Please
                                                                     consult the Regional website at
There are multiple opportunities for finding professional or
internships in Acting. The following information should              MWTA—Midwest Theatre Auditions
serve as a resource or starting point for your research.             The auditions are combined (Equity and non-Equity). No
However, remember that you must be proactive in the                  specific unions sanction the Midwest Theatre Auditions.
process and procrastination will lead you nowhere!                   Over 600 acting auditionees and 100 design/tech/stage
                                                                     management interviewees come to MWTA over a three day
                                                                     period. 50 - 70 theatre representatives attend. The auditions
                                                                     are located at Webster University in the Loretto Hilton

Theatre Center at 130 Edgar Road, St. Louis, MO 63119.                   Actors must receive an UNDERGRADUATE degree
Auditions are generally held in late February. Auditionees                (BA, BFA, etc.) in theatre by September of the following
must fill out and mail an application to receive a slot for               year.
auditions. For more information on specific audition details             Actors must be available for work year-round (in other
contact:              words, not going back to school in the fall or spring).                                                     Actors must have registration signed by the department
1-314-968-6937                                                            head of their theatre program.

Straw Hat Auditions                                                   Specific guidelines and forms are posted yearly. For more
Straw Hat is an organization that supports the careers of non-        information on specific audition details contact:
equity actors and technical artists looking to start and    
continue their professional careers in the theatre. Its main
activity is to produce the Straw Hat Auditions, which are held        1-901-725-0776
in New York every spring. Over three days, over 750 actors,
technicians, and staff from over forty theatres attend. Actors
audition for available positions in the theaters' summer              URTA—University/Resident Theatre Association
seasons while technicians have their resumes posted online            The University/Resident Theatre Association is the country's
for phone or onsite interviews. Auditionees must register             oldest and largest consortium of professional theatre training
online to receive a slot for auditions. For more information          graduate programs and associated professional theatre
on specific audition details contact:                                 companies. Every year, URTA holds the NUA/Is or National                                    Unified Auditions and Interviews. Participants can audition                                           for graduate programs in theatre and/or professional theatres.
                                                                      URTA usually holds three yearly auditions in late January or
UPTA—Unified Professional Theatre Auditions                           early February in Midwestern, Eastern, and Western
UPTA is a combined audition held every February in                    locations. Guidelines are detailed and applications change
Memphis, Tennessee providing an opportunity for year-round            yearly. For more information on specific audition details
professional actors to audition for quality participating             contact:
theatre companies. UPTA has both professional and non-      
professional auditions. The non-professional criteria are as          1-212-221-1130
                                                                      National Outdoor Drama Auditions
                                                                      On a date in mid-March, approximately 15 outdoor historical
                                                                      dramas from across the country hold auditions for summer

jobs as performers and technicians. The auditions, sponsored           ArtSearch
by the Institute of Outdoor Drama, are open to anyone 18 or            ArtSearch is published in online and traditional print formats.
older with previous theatre experience. Jobs require a nine- to        Job postings are divided into 5 main categories:
12-week commitment, including two weeks of rehearsal.                  Administration, Artistic, Production/Design, Career
Actors auditioning present a one-minute prepared monologue             Development and Education. A copy is generally posted
and may offer another at callback interviews. Singers should           outside the Theatre Chair's office for your research. Please
prepare a one-minute song. Dancers are led through warm-               do not remove the journal from the Theatre Hall and replace
ups, combinations and routines featuring a variety of                  it immediately after you have completed your research. If
choreography. Interested auditionees must mail an                      you would like to subscribe to prices vary depending on the
application or complete an online form. For more                       services selected.
information on specific audition details contact:                            Contact:                                              , 1-212-609-5900
                                                                       SETC BULLETIN
AUDITION RESOURCES                                                     SETC operates a free online classifieds bulletin for actors,
                                                                       directors, designers, and technicians.
Backstage has online and traditional print formats. The                Contact:
Department subscribes to the magazine and the copies are
housed in the Departmental library. The publication includes
articles, career advice, and theatre job postings. The website         INTERVIEWING FOR PROFESSIONAL WORK FOR
covers both the east and west cost, while the print format has         THE DESIGN/TECH STUDENT
a New York and West Coast edition. If you wish to purchase
your own subscription the prices vary depending on the                 Production Work
services selected.                                                     For Design and Technical theatre students the faculty
                                                                       encourages you to be pro-active in your career and your
Contact:                        future. It is vital that you seek out employment, internship or                                                     assistantship opportunities as often as you are able. Summers
1-800-562-2706                                                         are an excellent time to work with professional and semi-
                                                                       professional theatres and learn more about your craft as well
                                                                       as adding credits to your resume. The ―job search‖ aspect of

your career will be continual process. Here are some                   Volpone
resources to get you started.                                          Phaedra
NATIONAL                                                               The Rover
The following sites are listed under auditioning in-depth and          The Country Wife
listed again in brief for your reference.                              The Rivals
                                                                       The Contrast
      ARTSEARCH:                                          Fashion
      BACKSTAGE:                                    Miss Julie
      SETC:                                              A Doll’s House
      KCACTF Next Step Interviews (see acting section)                Arms and the Man
      URTA(see acting section)                                        The Cherry Orchard
      UPTA(see acting section)                                        Playboy of the Western World
                                                                        Our Town
      USITT:
                                                                       Six Characters in Search of an Author
       6443 Ridings Road Syracuse, NY 13206-1111
                                                                       The Importance of Being Earnest
       Phone: 800 93USITT (800 938-7488)
                                                                       The Adding Machine
       FAX:          866 FXUSITT (866 398-7488)
                                                                       Long Day’s Journey into Night
                                                                       House of Bernarda Alba
                                                                       Mother Courage and Her Children
                                                                       No Exit
                       Reading List                                    The Glass Menagerie
The following lists are plays and texts that every theatre              A Raisin in the Sun
student should read by the time of graduation from NAU.                Death of a Salesman
Most of the texts are available in the NAU library but, it is a        Who’s Afraid of Virginia Woolf?
good idea to begin building your own personal library.                 Waiting for Godot
                                                                       The Bald Soprano and The Lesson
       Antigone                                                        True West
       Oedipus Rex                                                     The Birthday Party
       Lysistrata                                                      Marat/Sade
       Everyman                                                        Master Harold and the Boys
       Dr. Faustus                                                     Rosencrantz and Guildenstern are Dead
       Hamlet                                                          Sticks and Bones
       A Midsummer Night’s Dream

       Equus                                                           Rosencrantz and Guildenstern are Dead, directed by Ms.
       Cloud Nine                                                      Kate Ellis
       How I Learned to Drive                                          You’re a Good Man Charlie Brown (Student Directed
       Angels in America Millennium Approaches                         Second stage), directed by Shelby Brimhall
       Fences                                                          The Miser (KCACTF Region VIII Festival Invited Scene
       Prides Crossing                                                 nominee), directed by Ms. Kathleen M. McGeever
       Top Dog/Underdog
       Zoot Suit                                                       2008-2009
       Twilight Los Angeles                                            The Fantsticks, directed by Ms. Kate Ellis
       M. Butterfly                                                    12th Night, directed by Dr. Mac Groves
       The Heidi Chronicles                                            The Importance of Being Earnest, directed by Dr. Robert
       Oleanna                                                         Yowell
       The Beauty Queen of Leenane                                     Catholic School Girls (Student Directed Second stage),
       Ruined                                                          directed by Jonathon Sangster
                                                                       The Lesson and The Bald Soprano translations by Tina Howe
This is just a start . . . many of these plays you will read in        and directed by Ms. Kathleen M. McGeever. Tina Howe was
courses taught in your curriculum but, we encourage you to             the Artist in residence.
read, read, and read!
                                                                       Summer Town and Gown Theatre
NAU Theatre Production History 2006 - Present                          A Funny Thing Happened on the Way to the Forum, 2008,
                                                                       directed by Dr. Robert Yowell
2006-2007                                                              The Odd Couple, 2009 directed by Darby Winterhalter
The Diviners, directed by Dr. Mac Groves                               Lofstrand
The Rivals, guest director                                             Psychopathia Sexualis, 2010 directed by Kathleen M.
Still Life with Iris, directed by Dr. Barbara Joe Maier                McGeever
The Grapes of Wrath, directed by Dr. Robert Yowell
                                                                       2009/2010 Season:
2007-2008                                                              Vanities
Belles, directed by Dr. Mac Groves                                     A Christmas Carol
Rhinoceros (Student Directed Second stage), directed by                Macbeth
Missy Gibbs                                                            Charles Mee’s Big Love
The Cripple of Inishmaan (KCACTF Region VIII Festival
nominee), directed by Dr. Robert Yowell

Upcoming 2010/2011 Season:
The 25th Annual Putnum County Spelling Bee
An Evening with Luis Valdez
The Last Days of Judas Iscariot
A Servant of Two Masters
Icarus Refried


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