Professional Careers in Theatre [ Part 2: Technical & Designing Careers]
By viewing & taking notes on these excellent PBS video interviews, and then completing a GROUP THEATRE DESIGNER PROJECT, students will be provided with a REAL PICTURE of:
1) How theatre tech professionals and the various designers [ who create costumes, makeup, sound, lighting,etc.] became interested in their professions, how they were hired, etc. 2) The amazing variety in sizes/types of theatres in which they work 3) The educational and/or volunteer experience that had an impact on these professionals & their career path, their learning curve, and hence their EMPLOYABILITY 4) the creativity, focus, and follow-through needed to complete design work WELL, AND ON TIME, for a show, 5) informative personal stories and memorable QUOTES to help you begin your journey, stay motivated, and make good decisions for your employable future!
Essential Question
What are the technical jobs and backstage designing jobs that are utilized in most theatres? Find out what is required of professionals in these positions, why they enjoy their jobs, and how to get the experience you need to take part in the action!
Grade(s):
- 8
- 9
- 11
Subject(s):
Recommended Technology:
Student Chromebook
Other Instructional Materials or Notes:
CURTAINS UP! spiral notebook [from Part 1]
pen
Lesson Progression
1. With your CURTAINS UP! notebook and pen handy, begin by watching the first video. Devote ONE page in your notebook to each video. Watch the video in its' entirety, & then watch again to make notes on each point below:
- Note the name of the theatre
- Write the designer or technician's full name
- List any details they give about their duties
- Recall any information they give about "how they got started" in this field
- Write ONE QUOTE from the interview that you think is important [and remember that quotes must be exact, with "quotation marks" on either end of the quote.]
- LIST your favorite things about this person's job, their attitude in speaking about their work & journey to it, the city in which they're working, etc.
- Your list of comments about the video & bullet points above should be at least 8-10 sentences
2. REPEAT THIS PROCESS FOR EACH VIDEO.
3. TURN TO THE CONTACTS PAGES in the back of your notebook. Write the names of any of the professionals in the interviews that were especially interesting to you; also, if you have family [aunts & uncles, grandparents, cousins, parents' old family friends, etc.] in of the cities mentioned, BE SURE to make a note about the theaters & professionals in these cities. [If you happen to visit on a family trip out-of-town, don't ever underestimate the value of attending a show in a theatre there, and perhaps making contact with any of the designers or technicians by leaving a note, waiting after the show,etc.]
ANNIE ON BROADWAY/ Costume Designer
Susan Hilferty is a successful COSTUME DESIGNER, and feels that she is actually a "storyteller", and she tells the story through her use of fabric, design, and style. This is a fascinating interview!
View ResourceLiz Vandel: Becoming a Costume Designer /Me, Dorothy
Beginning at 9 years old, Liz Vandel envisioned a career as a costume designer! Listen to her tips for taking this journey.
View ResourceSafety in the use of Makeup Products- a Handbook
Carefully read and TAKE NOTES on pp 39-42, in this University Theatre Handbook. Of utmost importance: only use real makeup on skin, never paint , or any other art supplies. Do not apply ground metals, as poisoning can occur . [Read about the episode of the Tin Man during the filming of THE WIZARD OF OZ.]
View ResourceANNIE ON BROADWAY/Lighting Design
What does a lighting designer do? Don Holder, lighting designer for ANNIE ON BROADWAY, describes the emotional impact that a well-crafted lighting design can bring forth.
View ResourceTHEATRE LIGHTING DESIGN/ Drama Arts Toolkit
The lighting designer in this interview says "I was planning on pursuing a career in acting , but on every show, I worked on the lighting rig...I thought I'd give lighting design a try, and I love it and haven't looked back since."
View ResourceANNIE ON BROADWAY/ Hair and Wig Designer
See the challenge of making a person look older, younger, bald, curly-haired, etc. when that is NOT what their hair is like! Research and techniques with hair & wig styling come together to help transform an actor into their character.
View ResourceANNIE ON BROADWAY/ What Does A Set Designer Do?
David Korins describes his lengthy process to build stunning and workable sets.
View ResourceANNIE ON BROADWAY/ What does a Sound Designer Do?
How are the sounds of the actor's voices, as well as music and sound effects, heard effectively throughout a huge theatre? Listen and learn!
View ResourceANNIE ON BROADWAY/ What Does A Choreographer Do?
This interview describes how the choreographer and the musical director work together to achieve phenomenal song and dance numbers in a Broadway musical.
View ResourceANNIE ON BROADWAY/ What Does a Musical Director Do?
How does a musical director make sure his music & songs fit the show, and reflect the emotions of a particular scene? This is a wonderful job for a person who loves music AND drama!
View ResourceAmerican Theatre Wing/Working in the Theatre/ Makeup
A character on the stage is shaped by many factors, and sometimes makeup is a dynamic part of the total metamorphosis from actor to character! This make-up artist was actually a visual arts major, and by several turns of fate....and LOTS OF HARD WORK, he is a full-time makeup designer on Broadway.
View Resourcetheatrical makeup designs
Photos of an amazing number of makeup designs for different characters!
View ResourceAmerican Theatre Wing/ Working in the Theatre/ Wig and Hair Design
Paul Huntley, a lifelong hair and wig designer shows what a lengthy & skilled process it is to create wigs, fit wigs, organize wigs for shows, etc....but it is an IMPORTANT key to a completely believable character onstage. Hair design is also used, but actors sweat onstage, ruining the style sometimes...so wigs are very useful.
View ResourceA List of Basic Makeup Supplies/Thoughtco
This is a listing of the basic items that all theatre/film makeup designers have on their worktable. SAFETY is of the utmost important...so NEVER SHARING a lipstick from lip to lip [ instead using cotton swabs on everyone], etc. is primary in not spreading germs.
Also, only use makeup products on skin, NEVER visual arts supplies.
DRACULA TAKES THE STAGE...West Virginia Public Television
By watching the process of putting together a community dance production of the Dracula story, many aspects of technical and design theater tasks are described and shown.
View ResourceStandards
Assessments
COMPLETING THE TASKS IN THIS PROJECT [listed below] IS YOUR ASSESSMENT.
1. Your production group will choose a fairy tale. [One student should be deemed "NOTE TAKER" to write down all the decisions of the group, but everyone should be active in generating IDEAS.
- Agree on a "time period" for the setting of your play; this will influence the style of the set, costumes, make-up , and hair designs.
- Check out books from library/media center that have drawings of towns, buildings, and people from this time period, as a reference resource...including titles, authors, and publishers.
2. Remember to be professional when someone else is expressing an idea; no put-downs are necessary if you don't like/don't agree with suggestions.[PROFESSIONALS in business situations need to express concerns/different opinions politely in the workplace, assuring harmony among workers and GOOD VIBES!]
3. Agree on & select 2 SCENES from that particular story, & 4 total characters in those scenes, for which you each will "tackle" your design work.
3. Within your project group, each student will choose a job for which they will be responsible, but only ONE STUDENT PER DESIGN JOB. [ALL JOBS do not have to be filled, as there may not be enough members in the group, but each designer will work solo, in this activity.]
TASKS FOR DESIGNERS:
*Set Designer- STEP 1: Choose 1 scene of your group's play, & draw/ color a replica of the main stage for this scene of the play, on drawing paper. The drawing should be measured to SCALE, [ perhaps 1/2" = 1 foot] using a tape measure,& the stage in your own school. Include any platforms, backdrops, room dividers, furniture, trees, or *WHATEVER* you imagine the scene requiring. STEP 2: Construct an actual model of the stage for this scene [cardboard, posterboard, balsa wood, etc.] Be sure to construct all the trees, platforms, walls, etc. to place/attach onto your model. [Remember that actors need enough room to exit through doors, and walk safely from one place to another on stage.] Aside from using watercolors, you can use scrapbooking paper, or old wallpaper samples as "wall coverings".
*Costume Designer: STEP 1: Research and draw designs for 4 different costumes, 1 design for each character in the play. Each design will be sketched & colored on a separate sheet of drawing paper. STEP 2: CONSTRUCT 1 hat/headpiece, *OR* alter 1 piece of apparel to become a costume piece for the production. [ The definition of "altering" in this sense is to get a thrift store coat, dress, pants, etc...THEN cut, hot glue, stitch, add glitter, lace, etc. until this piece of apparel has become a "costume piece" for 1 of the characters.]
*Hair & Make-up Designer: STEP 1: Research and design make-up AND hair for the 4 characters for 1 scene in the production, producing a final "working pencil sketch" of each. STEP 3: on a separate sheet of paper, list ALL OF THE MAKE-UP SUPPLIES/HAIR SUPPLIES needed. [Research online where to buy theatre make-up, & hair/wig needs, list prices of each product needed.] STEP 2: Choose 2 of these "working sketches", lightly pencil EACH sketch/ design onto its' own sheets. drawing 2 paper & colorize with a watercolor/ outline with a sharpie if needed. Step 3: On a separate sheet of lined paper, list ALL OF THE MAKEUP SUPPLIES/HAIR SUPPLIES that would be needed if you were actually the make-up and hair designer. [Use your online resource list provided in the RESOURCES section.]
*Sound Designer [music & sfx]: [ List the composer or source for each music segment] STEP 1: Choose 2 short segments of music for the opening of EACH of the 2 scenes [not the same for each scene!.. depending on that particular scene & what will be happening onstage], and ALSO music for 1 other important event that happens in one of the 2 scenes; record all these music segments on a device. STEP 2: Choose 2 sfx that would occur in the play...list 1st or 2nd scene, describe the sound & WHY/ WHERE in the scene the sfx will happen. You will need to find them online, or physically create them yourself ...then record on a device. STEP 3: Write all the information for STEPS 1, 2,& 3 neatly as a one page SOUND REPORT in your notebook, to turn in as part of your assessment, as well as your sound recordings, and a description of why you chose them to be effective for that part of the play.