Theatre Final
Texto del Guión Gráfico
- Pre-Production - Years/Months in Advance of Opening Night
- I am constantly looking for plays that I am interested in producing. Once I pick the play I want to produce, I secure the funding for the project, begin hiring, and look for a theatre for the performance.
- I wrote the play. During the writing process, I have the ability to manipulate all of the tools of drama as I please. I could be dead when my play is produced, but the purpose of my writing should persist.
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- Pre-Production - Months in Advance of Opening Night
- We are hired and cast in this stage.
- I will read and re-read the play. I will research the context of the play, the playwright, and see if the play has been produced before. I examine the play to see the playwright's intentions and vision while injection my own thesis and interpretation to the production. I am the center for communications with designers. They are constantly showing me their ideas and reporting to me. I also begin auditions, or I could reach out to actors I am interested in for the production.
- Throughout the process, I oversee and rule the economic aspect of things.
- As the designers, we read the show. We begin communication with the director and start to brainstorm ideas for implementing design to the production.
- I facilitate communication between the director and everyone and between designers. I schedule meetings during this stage.
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- Pre-Production - Months to Weeks before Opening Night
- I meet with the director constantly thinking of where lighting will go in the acting space. While reading the play, I look out for places where light can be used. I will display my ideas to the director in a drawing/lighting plot. This shows where each lighting device will be placed.
- I search the play for moments of costume emphasis. Through communicating with the director, I will display my ideas in a costume plot. It is a visual record of what actors will wear in each scene of the production. I create costume rendering in this stage which involves showing the director pictures of the costumes on actors during meetings.
- After discussion with the director, playwright, and production team, I create a draft of what the stage will look like from overhead with props. I will create drafts showing the space and positions of different scenery within the acting space. I depict the set from the audience's point of view. I present these drafts to the director. The director can move things around and make suggestions off of a 3D plan.
- I design presentations. I continue oversight and meetings. I envision blocking.
- We will read the play, analyze the writing, and learn how to get into character.
- In production - Weeks in Advance of Opening Night
- While the actors are working with the given circumstances of the play, I work on scenes and oversee character development. I continue meeting with designers and seeing their plans come into action. I prepare for tech week and rehearsals.
- The three designers work together and with the director. The director must approve all of their plans. After this, the designers prepare for tech week and rehearsals. Lighting designer directs crew to work with instruments. Costume designer implement their plans to the actors - fitting the costumes and making adjustments, The Scenic designer works with the set will work.
- We share our ideas for physicalization and vocalization. We have increased communication with the other individuals on the team. We continue to practice, read the script, and get into character.
- We are likely hired by the producer at this point.
- In Production - Rehearsals
- I will conduct tech rehearsals and dress rehearsals. I communicate designers to work through any decisions or kinks from the rehearsals. Lighting and sound is shown first, then costumes are added.
- There may be a display of costumes during tech week. If not, the costumes will be the last part added.
- I work with the the playwright giving him my thoughts if he is producing his own piece. Although the director and others involved will do research, I do my own as well.
- rehearsals done in performance space
- I view the rehearsals paying close attention to the set, spacing, and how it may need to be changed before opening night, ie. if there are any prop malfunctions.
- I pay close attention to the lighting during rehearsals. I meet with the director and practice displaying the lighting after getting certain signals.
- Should any questions arise regarding the research part of the play/production, I will be able to answer them. I can also help with program notes in order to give the audience the information I know.
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- PRODUCTION TIME
- OPENING NIGHT
- I schedule costume fittings and work with the director.
- I can aid individuals on the production team throughout this process.
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- During rehearsals, I am in charge of the scheduling. I also make a performance report and a daily call.
- We fully get into character. We will make adjustments based on the directors reaction to rehearsals. Final choices about physical and vocal aspects are made. We study the created blocking and practice scenes.
- I book the rehearsal space and performance space and will supervise going forward. I hope to reach a large audience and work to campaign and encourage seeing our production.
- The Actors are the only individuals on display. All the practice, rehearsal, and work goes into this one night. The actors are ready to create a feeling among the audience through performance.
- All the work of the playwright, director, scenic designer, costume designer, lightening designer, dramaturg, and producer are tucked behind the curtain. The stage manager take the rains here a bit.
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