Theatre Student Handbook

Theatre Student Handbook

Table of Contents

MTSU THEATRE MISSION

Our philosophy. Through a liberal arts approach to theatre training with innovative programs of educational discovery, students will explore their creative and intellectual potential to become future artists, scholars, educators and practitioners of the performing arts.

Who we are. The Theatre Program at MTSU is the leading comprehensive undergraduate program in Tennessee and is highly regarded throughout the Southeast region. The program averages 150 students and is the largest undergraduate program in the State. Graduates of this program can be found in professional theatre, film, television, and theatre education throughout the United States.

What we do. Our program is designed to assist students in becoming theatre professionals and successful graduate degree candidates.   With a strong commitment to undergraduate education, the program allows students to choose a focus on performance (acting and directing), design and technical theatre, or to work towards an Education degree with certification to teach theatre.  All MTSU theatre students are expected to gain a broad-based knowledge of all major aspects of production as well as a solid grounding in the history, theory, and literature of their art.  Students may also find instruction and opportunities to obtain skills in playwriting, stage managing, and the business aspects of the entertainment arts.  There are numerous opportunities for internships and participation in local, regional and national theatre festivals and conferences.  As a result of their work in the classroom, on the stage, backstage, or behind the scenes, as well as their participation in the opportunities mentioned above, MTSU theatre students will also acquire the communication and interpersonal skills necessary for effective collaboration within an ensemble.

Where we are going. We aim to be one of the leading comprehensive programs for theatre professionals and educators in the Southeast region through a continued focus on academic quality, creativity and dedication to student-centered training.

Our goals. We seek to:

  1. Prepare students to be quality theatre professionals and educators with a commitment to lifelong learning, creativity and teaching in the arts.
  2. Assist students in becoming responsible and productive citizens who engage the local and global community in creativity and in support for the arts.
  3. Train students to embrace diversity as an enhancement to creativity in the arts and as a means to celebrate our humanity.
  4. Contribute to the education of all MTSU students through quality performances in which culture, values and social awareness are artistically expressed.

ACADEMIC PROGRAM

Academic Advising 

You will be assigned an advisor from among the faculty of the Theatre program. Your faculty advisor may assist you in selecting courses and planning your schedule but will also serve as your official career mentor.  You should consult with your faculty advisor regarding production assignments, internships, and other professional development activities.

You will also be assigned a college staff advisor.  The staff advisor will facilitate filing of required paperwork (for graduation, etc.) and will assist with course selection.  The staff advisor will also monitor your academic performance and progression towards degree completion.

  • To find the name and contact information for your assigned advisor(s), check your PipelineMT account.
  • One of the best ways to ensure a successful academic career is to use the academic advising process. It is important that you maintain contact with your advisor(s) throughout your enrollment.
  • Faculty advisors post a schedule of office hours and you should feel free to call on them anytime you need assistance. You may schedule appointments with staff advisors using the online scheduling system in PipeLine.
  • Academic advising is a time for you and your advisor to discuss academic and career goals, schedules for the upcoming semester, and opportunities available to you in your major.
  • These advising sessions should occur at least once a semester.

Students who have earned less than 30 hours before the registration period are required to see an advisor before registering. A hold will be placed on your registration and removed once you have been advised.

Admission to Candidacy

All students are required to be admitted to candidacy to earn a B.S. degree in Theatre. Candidacy is required as a prerequisite to enrollment in some upper-division THEA courses, including THEA 3700, THEA 4800, THEA 4810, THEA 4900, and THEA 4990.

 For guaranteed admission to candidacy, a student must have

  • completed all learning support requirements;
  • completed all high school deficiencies.
  • completed 30 hours of coursework with a minimum cumulative GPA of 3.0;
  • completed all candidacy courses (12 hours) with a grade of 2.0 (C) or better: THEA 1015, THEA 2000, THEA 2100, THEA 2900, and THEA 3820; and earned a GPA of 3.5 on all THEA coursework.

Candidacy Appeals

Students who complete each of the above THEA candidacy courses with a grade of 2.0 (C) or better but fail to meet one or more of the other requirements may appeal for admission.

Please be advised that a student who completes each of the required THEA candidacy courses with a grade of 2.0 (C) or better but fails to meet one or more of the other requirements may appeal for admission to candidacy.  Details about the Candidacy Appeals process may be found online at https://www.mtsu.edu/theatreanddance/TheatreCandidacyAppeals.php

Students will be contacted by email in advance of each spring and fall registration period with information concerning their candidacy status.  It is the student’s responsibility to act upon this information, once provided.  Students should consult with their faculty or staff advisor for assistance, if needed

Mid-Program Review

During the semester a student will complete 60 hours, the student will be reviewed by the theatre faculty prior to registering for the next semester. This formative review will prepare the student for entrance to upper-level study. This consists of a comprehensive review of the student’s theatre record. A registration hold will be placed on the student’s registration until the student has completed the review process.

  • Transfer students who have completed 45 hours or more and who have completed at least 12 hours of course at MTSU will be reviewed in the second semester of his or her enrollment at MTSU.

Student Theatre Record will include:

  • Grades (transcript)
  • Overall Participation in Theatre major program (record)
  • Practicum assessments (THEA 4900)
  • Performance assessment (audition records, performance courses in record)
  • Design and Technology assessment (design/tech courses in record)
  • Program of study record (advising file)
  • In addition, the student will be asked to submit a portfolio and resume.

Review Process: 

Faculty Advisor will review the student record, consult with additional faculty familiar with the student’s work, and make recommendations about the student’s future progress in the program. The Faculty Advisor will meet with student to go over the Student Review.

Criteria for Complete Review

  • C (2.0) or better in all THEA courses
  • Successful completion of Gen Ed courses
  • Sufficient participation in productions: auditions, crews, etc.
  • Positive assessment of performance and design/tech coursework and practicums
  • Adequate compilation of portfolio materials and resume development
  • Adequate advancement in Program of Study

If a student does not meet criteria of the Review, Faculty Committee may recommend student to repeat the Review at the end of the next semester and/or for counseling to consider academic support or other options of undergraduate study. The nature and spirit of this review should be formative and intended to provide the student with effective feedback and support to facilitate successful completion of the theatre degree program.

Class Attendance and Preparation

The MTSU Theatre faculty subscribes to a policy requiring students to attend class regularly. It is vital for theatre artists to establish professional work habits, especially punctuality. It is expected that Theatre students will attend every class period and be consistently on time. Illness, religious holidays, or participation in athletic or University sponsored activities are acceptable excuses for absences, but official notification and arrangements should be made with the instructor by the student. The Theatre faculty publishes in the course syllabi and enforces these attendance policies for their classes. Faculty will request reasonable documentation or verification of claims regarding absences. Repeated unexcused absence or tardiness in Theatre courses demonstrates a lack of commitment to the program and will result in serious consequences to your course grade and success in the Theatre program. See the following:

  • Majoring in Theatre requires extensive work outside of class preparing scenes and monologues for acting, voice, and directing courses, completing projects for design and technology courses, and preparing for academic courses.
  • All theatre classes at MTSU require outside study and/or rehearsal.

THEA 4900 Production Practicum Policies

  • REGISTRATION RESTRICTIONS: Students may enroll in NO MORE THAN two (2) practicum courses during a single semester. 
  • QUALIFYING PROJECTS: Practicum projects are approved for work on MTSU Theatre & Dance departmental productions or for other on-campus productions (example: School of Music productions supervised by Theatre faculty) in which the student’s work is directly supervised by departmental faculty. Students may not receive practicum credit for student produced work, unless the responsibility is directly supervised by a faculty member (example: Student Success production director).  Likewise, projects that are not directly involved in the creation of a live theatre event (acting, directing, design, costume/scenic construction, run crew, etc.) do not qualify for practicum credit, as the goal of requiring production practicum credit is the development of experience in producing live theatre.
  • PERMISSION TO ENROLL: Faculty who supervise practicum projects – show directors, costume, scenic, lighting, and management area faculty – must provide approval of the practicum project to the departmental executive aide.  Students MUST work out details of the practicum assignment with that faculty supervisor first.  Upon receipt of the permission from the practicum supervisor, the departmental office will issue a permit (SPEC) to enroll. 
  • ENROLLING: After the permit has been processed, the student MUST enroll in the course via Pipeline or by processing a Late Registration form, if necessary.
  • GRADING: Grading for THEA 4900 courses will use the Production Practicum Rubricform (for performance or non-performance/design-tech, as appropriate). Consult practicum supervisor for details.  Practicum supervisors will complete a rubric form, assign a grade, and inform the Faculty of Record of the grade.  The Faculty of Record will post the final course grade at the end of the term.

Internships

Theatre Art and Theatre Arts Education Internship Guidelines

Objectives

  • To integrate classroom studies with supervised work experiences in a professional theatre environment.
  • To develop a working relationship between MTSU Theatre, our students, and professional arts and arts education organizations.
  • To provide practical experience and exposure to varied work methods not available on campus.

Eligibility

  • Students must possess a minimum cumulative G.P.A of 2.5 at the start of the semester in which the internship occurs. NOTE: A higher G.P.A might be required for certain internships.  This is at the discretion of the Faculty Advisor for the internship.
  • Students must have successfully completed a minimum of 15 credit hours in theatre courses by the start of the semester in which the internship occurs. Production Practicums are not to be included in these 15 credit hours.
  • Students must obtain a Permission of Department form. To be signed by both the Faculty Advisor for the internship and the Faculty of Record.
  • Student must possess demonstrated skills in area of internship. This is to be determined by the Faculty Advisor for the internship.

Application Process

(interested students should meet with the Faculty Internship Coordinator, Professor Scott Boyd, to establish internship guidelines)

  • Objectives- statement of student goals and how the internship can contribute to these goals.
  • Duration- length of internship and number of hours per week.
  • Student responsibilities- description of internship duties.
  • Method of evaluation- see academic requirements section.
  • Other forms as required by specific internships.

Academic Requirements:

Academic viability will be determined by the appropriate Theatre Arts Faculty using the following guidelines.

  • Internship duties must be of a scope and complexity to warrant academic credit.
  • Before embarking on an internship, the Student and Faculty Advisor must agree on a method of academic evaluation. The following would be required:
    1. Student will keep a journal recording experiences and observations of the Theatrical Art and/or Theatrical Arts Education process.
    2. During the internship period, the Student must keep the Faculty Advisor informed of their process at predetermined intervals, no less than every two weeks.
    3. Upon completion of the internship, the Student will be required to return to campus and turn in paper(s), project(s), presentation(s), etc. to the Faculty Advisor as mutually agreed upon prior to the start of the internship. This aspect should exhibit evidence of creative accomplishment.
    4. Internships may not be taken as “Pass/Fail” or as “Audit”.
  • In order to provide flexibility and to enable individualized attention to the internship, the following are recommended:
    1. The advisor may arrange an on-site visitation during the internship period.
    2. An additional research project may be developed in tandem with the internship.
    3. Other predetermined methods of evaluation may be applied to specific cases as mutually agreed upon by the Student as well as the Faculty Advisor.

Guidelines for granting credit.

  • The amount of credit to be granted should correspond with the number of work hours anticipated. The breakdown is as follows:

                  1 credit hour=45 hours minimum of internship work hours.

                  2 credit hours=90 hours minimum of internship work hours.

                  3 credit hours=135 hours minimum of internship work hours.

            The maximum credits for one internship is 3 hours.

  • The credits earned during an internship will be upper-division.
  • If internship program includes a stipend or salary, credit may only be given for accompanying academic work.

Target Theatre Art and/or Theatre Arts Education organizations.

Organizations considered for internships must meet the following requirements:

  • Demonstrated production and/or education excellence.
  • Skilled supervisors willing to participate in evaluation.
  • Possess facilities and equipment that match the scope of the project in terms of quality and quantity.
  • Provide opportunity for Student to participate on a professional level.
  • Provide safety of Student at all times.

Preparing Your Design/Tech Portfolio

Your portfolio should:

  • Include a wide range of work that represents your abilities as an artist, designer and technician.
  • Be neatly arranged so that it starts and ends with your strongest work. (You want to begin with a good impression and leave a good impression).
  • Include examples of design projects (both class work and realized), photos representing finished products (lights, sets, props, make- ups, costumes, etc) and artwork of all types.
  • Have at least one complete project that shows your process from start to finish including but not limited to: inspiration/concept ideas and/or concept statement, research, preliminary /thumbnail sketches, color palette, final sketches and/or a photograph of the set model, construction drawings (if applicable), photos of the completed design(s) and examples of the designs from the other members of the team.
  • Make sure that your portfolio and resume are reviewed by your mentors before you go on an interview. Remember that we are here to help you. All criticism is intended to be constructive and is given in an effort to help you become successful.

Preparing Your Resume

Your Resume should be 1 page and include:

  • Name
  • Contact Information
  • Work/Experience (select focus – lights, costume, etc.)
  • Related experience
  • Skills
  • Education
  • References

Writing Rubric for Theatre Courses 

An Above Average paper will demonstrate the following characteristics:

  1. The entire essay is related to the assigned topic; all task requirements have been addressed.
  2. Introduction is engaging, clear, and well-developed.
  3. The paper has a clear and well-defined thesis.
  4. Paper is well organized and well supported. Supporting points are presented in a logical sequence.
  5. Conclusion is thought-provoking and well-developed.
  6. Sentence structure is sophisticated; vocabulary is precise and suited to the purpose; the paper contains few serious grammatical errors

An Average paper will demonstrate the following characteristics:

  1. Most of the paper is related to the assigned topic, and the major requirements of the task have been addressed.
  2. Introduction has been attempted and is at least partially engaging.
  3. The paper has a thesis; however, the thesis may not be easily identifiable nor particularly original or thought-provoking.
  4. Meets requirements for organization and development.
  5. Main points are adequately supported
  6. Paper contains an adequate conclusion.
  7. Sentence structure has some variety; vocabulary is adequate and usually appropriate to the task.
  8. Paper may contain grammatical errors but not a consistent pattern of serious errors which make the paper hard to understand.

A Below-Average paper will demonstrate the following characteristics:

  1. Little or no attempt has been made to address the topic.
  2. Introduction & conclusions non-existent or poorly developed.
  3. Paper seems randomly organized and development is weak.
  4. Supporting details are vague.
  5. Sentence structure basic and there are many inaccurate word choices.
  6. Grammatical mistakes are numerous and distract from any understanding of the paper’s purpose. 

PRODUCTION PROGRAM

Participation in MTSU Productions

The MTSU Production program is an extension of classroom theory and training. The productions mounted are primarily for the education and training of theatre students. Students are given the opportunity to serve in almost any production role that he/she has earned through in class training, experience and proven skill.

As a theatre major, you must participate in the theatre production program. You should be involved in one major production per semester. Involvement in major productions includes any role in performance, design or crew.

Center Stage Series

The Department of Theatre and Dance Center Stage Series (CSS) exists to produce quality productions in an effort to educate the student population and provide performance and production opportunities as an extension of the classroom experience.  CSS productions are usually faculty led with opportunities available to students to design, crew, assist, and shadow in all majors areas in producing the show.

Student Success Series

The Department of Theatre and Dance Student Success Series exists to produce additional quality productions as an extension of the CSS and the classroom experience.  SSS productions are student led (directing, design, etc.) with faculty mentorship.

MTSU Auditioning and Casting Policy

  • Auditions for Center Stage and Student Success series productions are open to all MTSU students with a minimum cumulative GPA of 2.5.
  • Department productions are produced each semester. Theatre majors must audition for ALL showsto be eligible to be cast in any production that semester. If a student decides not to audition in a given semester, they remain eligible to audition in subsequent semesters.
  • Students must accept any role as cast. Directors may alter casting as needed.
  • Auditions for fall semester productions are normally immediately after the Majors Meeting on the first Wednesday of the fall semester.
  • Auditions for the spring semester are normally late in the fall semester.
  • Audition dates are announced by email (majors only) and posted on the callboard. Audition requirements and callbacks (monologues, cold readings, etc.) may vary among directors.
  • Students must indicate any conflicts with the rehearsal and performance period on the audition form. Unlisted conflicts on the audition form will not be excused. Missing or being late to a rehearsal may result in dismissal from the production.
  • Any student who withdraws or is dismissed from a departmental production, for reasons other than those agreed upon by the theatre faculty, will not be permitted to participate in any MTSU theatre productions for one calendar year.
  • The theatre faculty may make exceptions to the casting policy at their discretion.

Design/Stage Management/Technology Production Assignment Policy

Applications for design, stage management, and technology positions are taken in the Spring semester for the following academic year.  Applications are reviewed by the production faculty.  The production faculty will assign designers, stage manager, and technicians to productions based on, but not limited to, previous production work, progress in coursework, qualifications, and needs within comprehensive theatre experience.  To be eligible, students must meet the following requirements:

  • Completed minimum coursework in theatrical design and production
  • Design positions require completion of/or concurrent enrollment in THEA 3050: Design Concepts and the entry level design class in the area of assignment.
  • Technology positions require completion of or concurrent enrollment in THEA 2100: Production Practices and/or the entry level design/technology course in the area of assignment.
  • A minimum cumulative GPA of 2.5(at the time of assignment) is required for assignments
  • Students must maintain eligibility through the production assignment by maintaining minimum academic requirements and meeting all applicable deadlines.
  • If a student falls below minimum GPA requirements, the assignment may be revoked.
  • If two production deadlines are missed (example: research is not completed on time, preliminary ground plan not completed on time) the assignment may be revoked.

*Faculty reserves the right to waive academic requirements on a case by case basis.  Any unfulfilled positions may be filled at the judgment of the faculty member in each design area in consultation with the Production Manager.

*Run crew assignments may be a requirement of theatre department coursework.

Production Roles

Every season allows students to take on varying roles in producing a Department of Theatre and Dance Production. Below is a list of some major roles available to students and some of the expectations of that position.

DIRECTOR: A Theatre Production involves the teamwork of many individuals working together in a creative endeavor to stage a live Performance before an audience. As with any team, there has to be a leader, a central figure who has the twin responsibilities of supplying the unifying vision and of making the final decisions to support the playwright’s storytelling. In the Theatre, this individual is the Director. While, the team should work collaboratively, all artistic decisions, including those involving acting and design, are confirmed or modified according to the concept of the Director. Each individual member of the Company contributes ideas to help reinforce those of the Director and support the story. The Director guides and gives a sense of direction unifies the production elements through a clear point of view, bringing about a "wholeness" to the events on the stage.

ASSISTANT DIRECTOR: The Assistant Director is the right arm of the Director of the production. While the job will specify based on the needs of the individual director, some responsibilities will include assisting with pre-production paperwork such as scenes breakdowns, observing rehearsals and giving notes to the director, taking notes for the director during run thrus and technical rehearsals, and serving as a sounding board for directorial ideas throughout the process. Some directors will task the assistant director to lead rehearsal warmups, rehearse scenes in a separate room, run lines with actors, and lead understudy rehearsals. Serving as Assistant Director may not always feel like the most active position but is an excellent opportunity to closely observe a director’s process and occasionally opportunity may present itself to step into a more active role. Certainly, the Assistant Director is a sounding board and second “eye” for the Director.

PRODUCTION MANAGER: The Production Manager is primarily responsible for overseeing the broad budget, staffing, and schedule of the production. The PM is responsible for securing the rights to the materials, the use of the facility, and the developing the overall timeline and expectations for the production. They coordinate all departments to ensure the vision of the Director is upheld and executed safely. Working in tandem with the varying department leads, designers, managers, actors and crew, the production manager ensures communication flows freely, resources are allocated effectively, and the technical requirements of the production are met safely, on time and within budget.

STAGE MANAGER: The Stage Manager is a critical role in the organization and execution of a production. Beginning in pre-production, Stage Managers facilitate communication among the Director and Production Team, and begin to organize and keep record of the details of the production process. During rehearsals (and in consultation with the Director and the Production Manager), they are responsible for scheduling and calling actors, setting up and running rehearsals, communicating to the design team after each rehearsal, maintaining a record of the process in their prompt script including detailed notes about the blocking, and generally preparing for the next phase of the process. During Tech and Dress rehearsals, Stage Managers incorporate the contributions of design areas by organizing the areas and leading crews backstage, and calling cues which are also recorded in their prompt script. Once the show is open, the Stage Manager is responsible for maintaining the artistic integrity of the Director’s story-telling. Stage Managers are generally organized, calm problem-solvers and leaders with an interest in all aspects of producing a play.

ASSISTANT STAGE MANAGERS: The Assistant Stage Managers work with the Stage Manager to form the Stage Management team. Each team is responsible for the organization and execution of a production. In addition to the general set up, running, and re-setting of rehearsals, Assistant Stage Managers will assume responsibility for certain aspects of the process, like prop organization, chorus/ensemble tracking, line notes, or scenic transition tracking. Once the rehearsals transition to the stage, the Assistant Stage Managers become the point of contact for both cast and crew and oversee backstage activity during Tech and Dress Rehearsals and for the run of the show. An effective Stage Management team is alert and invested during the whole process, anticipates issues, and is accountable for the success of the production.

ACTORS: The Actor is the principal instrument through which the director speaks and interprets the playwright's ideas. The Actor, therefore, represents to the public the combined activity of all backstage members of the company and bears significant responsibilities and obligations. The Actor will:

- Make every effort to cooperate with other members of the company. The Actor will do so in order that a better production will result.

- Recognize the importance of the director, regardless of whether the director is a student, a member of the faculty or the staff, or a guest.

- Be on time for all rehearsals and appointments.

- Check the call-board and their email twice a day (morning and afternoon) for notices and calls during the rehearsal period.

- Take clear notes, memorize blocking (movement, business, timing), and lines outside of rehearsal. The Actor will come to rehearsal prepared to work and perform the direction given to him by the director.

- Notify the Stage Manager or Director if you need to leave the rehearsal hall.

- Treat his costumes and properties with respect and return them to their proper places.

- Respond to any supervisory instructions of the director, assistant director, or the stage manager with a positive and helpful manner.

- Carefully budget their time to provide adequate time for study, and homework. They are not excused from other academic work outside or within the Department because he/she is cast in a show. (adapted from TCU)

SCENE DESIGNER: The Scene Designer is responsible for the spatial look of the production. In some cases, it is from the scene design that all other design elements of the show evolve. Because the arrangement of space is essential to blocking the movement of the Actors, the Director often provides the Scene Designer with the placement of critical objects in the set: fireplaces, doors, windows, and prominent furniture. Based on meetings with the director and the production staff, the Scene Designer helps to place the action of the play in time, space, and style: all of which are subject to the approval of the Director. To present these visions, the designer relies upon models of renderings of the stage set, ground plans, front elevations, and painters' elevations. In all cases, the Scene Designer oversees the painting of the set; and when without a scenic charge, they often paint it themselves.

LIGHTING DESIGNER: The Light Designer is responsible for all the lighting needs of the production whether the units are stage lighting instruments, fireplace effects, projections, or practicals (working lamps and chandeliers). To achieve the lighting design, he must create a vision which meets all the necessary lighting needs of the production and enhances the production concept of the director. Depending on the type of facility, the Lighting Designer may have permanent stage lighting circuits and mounting positions from which to work or must plan on renting all equipment, cables, control systems to take into it. In all cases, The Lighting Designer is responsible for the planning of all light cues and effects. It is expected that the lighting designer present their design through the following artifacts (hand drafted or CAD software – Vectorworks preferred)

  • Light Plot
  • Section (preferably center line – dependent on theatre and design elements)
  • Detail drawings of any deck mount units, practicals, etc.
  • Lightwright paperwork (including Instrument Schedule, Channel Hookup , instrument inventory of the show, color schedule/count)
  • Magic Sheet indicating all angles of light and channels utilized
  • Shop Order/Instrument inventory for all in house and rented equipment, and an estimation of the number of hours required to hang and focus the Production.
  • Listing and sourcing information for any practices utilized in the production
  • Master Cue Sheet showing all cues
  • Followspot Cue Sheet (if utilized in the production)
  • Lists of groups/pallets/presets/etc. that will be utilized during the programming process.

Due dates for all items are communicated at the first production meeting. It is expected that all items are completed on time.

TECHNICAL DIRECTOR: The major responsibilities of a Technical Director are the coordination and supervision of technical areas of the Production, especially with regards to scenery and props. For Departmental Productions, they supervise the crew and conducts Technical Rehearsals. In collaboration with the Facility Director, Production Manager, Master Electrician, and shop managers, the Technical Director is also responsible for the general management and maintenance of the Theatre facilities: the Scene shop and its equipment, the Stage and its equipment and control systems, and all other work areas. Additional responsibilities include purchasing and maintaining an inventory of stock supplies, maintaining all hand and power tools in a safe and operating condition, and training and testing the personnel who use them in their safe and effective use.

COSTUME DESIGNER: The costume designer works as a collaborative artist with the director, choreographer, fellow designers, actors, dancers, and costume technicians to create characters using the visual language of the stage to tell the story of the play or dance. This creative process begins with script and character analysis, research in fashion, history, sociology, psychology and art and continues with developing design concepts and ideas and then visualizing the characters on the page through drawings and renderings. The designer works with the costume department staff and assistant designers who help accumulate, organize, manufacture, fit, and alter the costumes for a production of a play or dance piece. The designer’s goals and responsibilities vary from the attention to the detail on a blouse to the overall look of a set of costumes within a production. The creative process culminates with the realization of actual costume pieces worn by the performers on stage. (adapted from UCD, 2007)

The Costume Designer shall design the costumes according to the following guidelines:

  1. Conduct appropriate research and create designs and/or collages for each costume under the supervision of the Design Mentor and Director. Designs will be completed and approved at least one week prior to the beginning of the build process. This deadline will be set in advance by the Design Mentor and the Costume Studio Supervisor (CSS). The Costume Designer may be required to work extra hours in order to complete the costumes in a timely manner.
  2. Attend production meetings regularly and attend at least one run through prior to dress rehearsals.
  3. Pull costume items from stock as supervised by the CSS. Costumes are off-site and pull appointments must be scheduled with the CSS at least 24 hours in advance.
  4. Shop and select fabrics/notions for designed costumes. The Costume Designer must schedule shopping trips with the Design Mentor. All purchases must be pre-approved by the Design Mentor. Shopping should be done during regular shop hours.
  5. Schedule regular meetings with the CSS regarding the build/fitting/alteration concerns or questions.
  6. Communicate effectively and thoroughly with the Makeup/Hair Designer and provide design examples and/or other necessary visual information.
  7. Complete dressing lists, costume inventories, and other necessary paperwork prior to dress rehearsals. This paperwork should be given to the CSS in time for duplication and distribution.
  8. Attend and watch all dress rehearsals and provide the CSS with specific, legible, and articulate notes regarding changes and/or finishing.
  9. Show flexibility and be receptive to notes and/or concerns from the Director and Design Mentor.
  10. Assist with the show strike.

WARDROBE HEAD: Every semester, THEA 3200 students sign up to work on a crew or to perform lab hours in the Costume Studio. This is a significant portion of their grade. As the Crew Leader, the Wardrobe Head is responsible for the supervision and behavior of the crew. Please behave in a polite, pleasant, and professional manner while you are in charge. Your crew is expected to behave in a similar manner. Do not allow students to use the industrial sergers during crew hours (major repairs can be made the next day when the Costume Studio Coordinator is working). Be sure to review the safety procedures (listed below) with the crew.

  • All Crew Member must adhere to MTSU and Costume Studio safety procedures including:
  • Always use the locking ladder (never use a chair) when retrieving items from wall shelves/cupboards in the Costume Studio, Laundry Room, Dressing Rooms, or Storage Room and exercise caution while climbing up and down the ladder
  • Use caution while operating the professional irons to avoid burns and injury (the shop irons are much hotter than home irons)
  • When repositioning items on the ironing board, be sure to place the iron squarely on the safety pad (not the ironing board)
  • If minor clothing repairs are made using the Bernina 220, be sure that face and hair are kept away

from the machine’s moving mechanisms and long scarves and necklaces are removed

  • Do not engage in any type of horseplay, running, or throwing objects while in the Costume Studio
  • Cell phones are never allowed in the Costume Studio

Costumes

The Crew Leader should refer to the costume checklist for each actor/actress (distributed prior to the dress rehearsal by Costume Studio Coordinator).

Costume Checklist

  • Assign various crew members to oversee the costumes of certain cast members.
  • Be sure that all items are checked in at the top of the show—All items must be accounted for.
  • Press/steam/make emergency repairs to all necessary items prior to call time.
  • Costume repairs may be made using safety pins, hand sewing, and/or machine sewing (Bernina 220). Supplies are located in various bins and boxes in the Costume Studio. Please replace supplies when you are through with them.
  • Be sure that all items are checked in at the end of the show—All items must be accounted for.
  • Launder/clean necessary items or leave a note regarding an especially soiled item for the Costume Studio Coordinator
  • Mend torn items or leave a note for the Costume Studio Coordinator.

Closing Up The Shop

At the end of the night, be sure that the lint tray in both dryers are cleaned out, all doors are locked (Laundry Room, Dressing Rooms, and Costume Studio—both doors), supplies/materials are put away, and irons/lights are turned off.

Striking the Show

After the show is over, there are a few additional responsibilities that must be completed by the crew including:

  • Clean Costumes (If in doubt about the proper method to clean any clothing item, leave it for the Costume Studio Coordinator)

MAKEUP DESIGNER: The Makeup/Hair Designer shall design the makeup/hair according to the following guidelines:

  • Take cast photos and prepare overlays/designs for each character. These must be completed at least two weeks prior to the dress rehearsal.
  • Meet with the Mentor Costume Designer and/or mentors on a regular basis to ensure that the makeup and hair designs are integrated with the costume design.
  • Attend production meetings regularly.
  • Consult with mentors regarding the selection of Makeup/Hair Assistants (Note: This must be done prior to contacting the potential Makeup/Hair Assistants).
  • Conduct makeup/hair tutorials with each performer prior to dress rehearsals and provide each performer with written instructions and/or a copy of the overlay.

SOUND DESIGNER: The Sound Designer will select appropriate music, select or create sound effects, record or supervise their recording, and edit a show tape for the Production. The Sound Designer is responsible for the following: all sound effects, mechanical or recorded; all sound reinforcement of voice or orchestra; and proper functioning of both the intercom system and of the monitor system. The Sound Designer will work primarily with the sound equipment of the Department and maintain up-to-date records of the condition of all sound equipment.

SCENIC ARTIST: The Scenic Artist is responsible for preparing the paints, painting the scenery and scenic units, cleaning up, and storing properly all scenic paints and supplies. As the Scene Designer is responsible for preparing Painters' Elevations, the Scenic Artist is responsible for painting all scenic units to those specifications.

PRODUCTION ELECTRICIAN: The Production Electrician will be on the Running Crew for the Production and will be in charge of a crew of three to six members. The Production Electrician will be responsible for seeing that all lights for the Production are hung and focused on schedule and will assign crew members specific duties. The electrician will be responsible for the Light Crew and its work. Once in Technical Rehearsals and Performances, the Electrician will be expected to maintain discipline over the Light Crew and to fully cooperate with the Stage Manager.

SOUND TECHNICIAN: The Sound Technician is Head of the Sound Crew and runs Sound for the Production. His major responsibility is to execute the sound design as planned by the Sound Designer. As a result, the Sound Technician will assist the Sound Designer in every way possible. In return, this experience will help train the Sound Technician as a Sound Designer for subsequent productions. The Sound Technician, in consultation with the Sound Designer, will assign specific responsibilities to each member of the Sound Crew, which is responsible for the following: all sound effects, mechanical or recorded; all sound reinforcement of voice or orchestra; and proper functioning of both the intercom system and of the monitor system.

PROPERTIES MASTER: The Properties Master will be on the Running Crew and will be responsible for organizing and placing the Prop Tables and for helping the Stage Manager to organize all properties shifts. To find props, it will be necessary for the Properties Crew to borrow properties from the community at large, individuals, businesses, and other schools and colleges. These borrowed items will be signed out on the Loan Form and shall be properly stored and secured. All borrowed items will have extra care to maintain them and more importantly, to maintain good relationships with the lenders. The principle is that a borrowed item will be returned to its owner in better condition than when it was borrowed. The Properties Master has a most important job ahead: gathering property items for the Production. Since the Crew Head cannot do all the work alone, he must be organized, tactful, resourceful, and use all members of the Properties Crew. It is also the responsibility of the Properties Master to see that the Stage is swept and mopped prior to each Technical Rehearsal, Dress Rehearsal, and Performance.

HOUSE MANAGER: Front of House operations are essential to the success of any Production because they help establish the expectations of the audience: the audience makes its first direct contact with the people who take their ticket orders, hand them their tickets, take them up, and seat them. No single aspect will spoil a Production more quickly for the audience than an ill-prepared or obnoxious House Crew. As a result, courtesy and politeness are essential assets for all those who work in the Box office or who usher. Part of the responsibility of the House Manager and head of the Box Office is to train Ushers and Box Office Personnel in the correct and efficient methods of sorting and collating tickets. Instructions need to be demonstrated to make certain that everyone understands the process of reserving, selling, distributing, taking, and then collating tickets for the Production. Additional training of all Box Office Personnel ensures that they have good telephone manners and can take and verify ticket information from patrons.

TEN RULES FOR A HAPPY RUNNING CREW

  1. Wear black. Black shirt (preferably long sleeve with no designs on it), black pants (no shorts or capris), black socks, black shoes (no sandals or flip-flops). Black underwear is optional.
  2. Arrive early. Call time is when you begin to work, not when you should show up. Standard industry practice is to arrive 15 minutes BEFORE call time.
  3.  Turn off and stash your cell phone, iPod, and/or laptop.
  4. Sign in IMMEDIATELY upon arrival.          
  5. Use proper theatre etiquette. Using “please” and “thank you” will yield better results than not using them.
  6.  Do not touch props, set pieces, or equipment unless you are qualified to use and/or responsible for said props, set pieces, or equipment.
  7.  Stay out of areas where you do not belong. If you must ask the question “should I be in here or standing on this?” then the answer is more than likely “NO!”
  8. Leave the actors alone. Give them their space and time to prepare for the performance.
  9. Once the house is open, do not walk across the stage or enter the house from the stage.
  10. When in doubt – ASK!

Attending MTSU Theatre Productions

Preview Performances

  • Every Theatre major not directly involved (i.e., not in the cast or on the running crew), with a Center Stage Series production is encouraged to attend each preview performance to support your fellow students and faculty and enhance your theatre education. Tickets to Preview Performances are generally not required for these Preview Performances.

All other performances

  • Ticket Prices: 
    • Center Stage Series (Play)
      • $10 - General Admission; $5 - MTSU Faculty & Staff and K-12 students; MTSU students and Theatre Faculty one FREE ticket with valid ID. Limit one per student.
    • Center Stage Series (Musical)
      • $15 - General Admission; $10 - MTSU Faculty & Staff and K-12 students; MTSU students and Theatre Faculty one FREE ticket with valid ID.
    • Student Success Series
      • $5 - General Admission
    • To Purchase Tickets: Tickets may be purchased online at www.mtsu.edu/theatreanddance. Tickets may also be purchased at the door beginning one hour prior to performance.
    • Free Student Tickets: Students MUST present a valid MTSU ID to receive a free ticket. M#'s are not accepted. Students may receive 1 FREE ticket per production (not Performance). Reservations may not be taken for FREE student tickets. Students must present their MTSU ID at the Box Office to receive their ticket.
    • Attendance Credit: Attendance will be reported by use of the student's MTSU ID. The card will be scanned at the close of each performance (no early scans permitted) and a report of attendance will be sent to all theatre instructors following the close of a production. Attendance will not be credited without an ID (no M#'s).
    • Late Arrival: Tucker Theatre does maintain a late arrival policy. Students arriving more than five (5) minutes after the show has begun will not be admitted to the performance and are not eligible for attendance credit, regardless of whether they have a ticket. Note that lines can be long at the box office, so arrive early or get your tickets in advance. Seating for shows begins 30 minutes prior to show time.
    • Complimentary Ticket Requests: Persons requesting complimentary tickets should Contact the Production Manager via email at John.Underwood@mtsu.edu.

Student Key and Swipe access Policy

If you are assigned to a production role or shop/laboratory position, you may be issued keys or swipe access for entry to perform tasks. The assignment of keys should be regarded as a responsibility and a symbol of trust. You will be responsible for the keys and the security of the space. You are expected to follow the following agreement:

I understand that key control is a matter of workplace safety, ensuring building security and minimizing potential for loss or theft of property. As such, I agree to use assigned keys for official Middle Tennessee State University (MTSU) purposes only. I agree to maintain assigned keys in a secure and responsible manner. I will not allow an unauthorized person to use keys assigned to me. I understand that any loss or failure to return an assigned key may make my work unit subject to costs of key replacement and/or rekeying. I agree that upon employment separation, I will return to MTSU all keys that have been issued to me. If I fail to return an assigned key, I understand that a $50 irretrievable key fee per key may assessed to the account listed on this form.

OTHER STUDENT OPPORTUNITIES

MTSU Theatre prides itself on providing students with an abundance of opportunities outside the traditional classroom. Below are some of the ways students may participate and contribute toward their professional and personal development – both on and of the campus.

Alpha Psi Omega

Alpha Psi Omega was organized as an honorary dramatic fraternity for the purpose of providing an honor society for those doing a high standard of work in dramatics and, through the expansion of Alpha Psi Omega among the colleges and universities, to provide a wider fellowship for those interested in the college theatre. The fraternity is not intended to take the place of the regular dramatic club or other producing groups, but as students qualify, they are rewarded by election to membership in this society.

Membership Eligibility:

  • Membership is based on a point system specified in the local chapter Constitution.

Humana Festival of New American Plays at Actors Theatre of Louisville

Each March, students and faculty from MTSU Theatre attend College Days of HumanaFest.  During the weekend, students enjoy multiple world premiere productions, workshops, and keynote speeches by noted playwrights or artistic directors.  MTSU traditionally supports student’s participation in this annual event.

Kennedy Center American College Theatre Festival (KCACTF)

Through regional and national festivals, KCACTF participants celebrate the creative process, see one another's work, and share experiences and insights within the community of theater artists. The KCACTF honors excellence of overall production and offers student artists individual recognition through awards and scholarships in playwriting, acting, criticism, directing, and design. In February of each year, The KCACTF Region IV (Southeast) festival showcases the finest of our region's entered productions and offer a variety of activities, including workshops, symposia, and regional-level award programs.  MTSU traditionally support students’ participation in this annual festival.

United States Institute of Theatre Technology (USITT)

Each spring, students and faculty attend the United States Institute of Theatre Technology (USITT) conference and stage expo.  The conference features over 200 sessions spanning all areas of design and technology as well as specialized training opportunities.  The Stage Expo showcases products from leading vendors and manufactures.  Students are strongly encouraged to participate in the USITT Student Volunteer Program, a selective program that provides financial assistance for registration cost.  Departmental support may be available on a year by year basis.

Southeastern Theatre Conference (SETC)

Each year, the Southeastern Theatre Conference invites theatre lovers of all kinds — actors, singers, dancers, designers, technicians, stage managers, directors, playwrights, teachers, students, professionals, academicians, etc. — to gather together in celebration of the art of theatre. The annual SETC Convention brings over 5,000 members of our theatre community together for three and a half days of workshops, keynotes, performance festivals, auditions, college recruiting, job interviews, and more. MTSU traditionally support students’ participation in this annual convention.

SETC Auditions

Students desiring summer acting work are encouraged to audition at the SETC professional auditions. Screening auditions are held at the TTA (Tennessee Theatre Association) annual conference in October (location varies within the state of Tennessee). If you pass the screening audition at TTA, you are eligible to audition at the SETC professional auditions held in March at the SETC annual conference (location varies throughout the southeastern United States). Guidelines and application procedures for the TTA screening auditions can be found at www.tn-theatre.com. Guidelines and application procedures for the SETC professional auditions can be found at www.setc.org/theatre/auditions. You will need the signature of a faculty sponsor on the application. In order to represent MTSU at any audition, the student must agree to participate in coaching sessions from a MTSU faculty member to prepare for the audition.

SETC Job Fair

Students desiring summer production and design work are strongly encouraged to interview at the SETC Job Fair. Guidelines and application procedures for the SETC professional auditions/interviews can be found at www.setc.org. 

  • In order to represent MTSU at any interview or in any design competition, the student must agree to participate in portfolio review process/portfolio workshops as well as coaching sessions from the faculty member in their primary area (Costume Faculty for Costume Designers, Lighting Faculty for Lighting Designers, etc.).
  • To receive departmental support for attendance, students are required to participate in Mock Interviews and portfolio workshop/reviews in the Spring semester in preparation for any conference.
  • Students will need the signature of a MTSU Theatre Faculty and/or MTSU Theatre Staff member on the application.

Additional Conference and Interview Opportunities

Students are also encouraged to audition and/or interview at MWTA (Midwest Theatre Auditions), Institute of Outdoor Theatre, NETC (New England Theatre Conference) U/RTA (University Resident Theatre Association), and LINK. For information, visit the conference websites.  Students will need the signature of a MTSU Theatre Faculty and/or MTSU Theatre Staff member on the application.

Departmental Funding for Student Travel to Conferences

  1. Students, at minimum, pay the registration cost for the conference/activity
  2. In addition, students will normally pay any remaining expenses (balance) not covered by other on-campus funding sources combined with the department’s budgeted funds.
    1. EXCEPTION:IF the amount of travel is less than the cost of registration (because of the amount of other on-campus funding), then students pay the sum of the event’s registration fee and the department’s liability for funding the event is reduced.
  3. Departmental funding is available to those MTSU Theatre and Dance students with a minimum cumulative GPA of 2.5.

Study Abroad

Through international study, students visit and study in locations across the globe. The department leads a London Winter trip and provides regular trips to locations such as Ireland, Russia, and Guatemala.  On these trips, students gain additional training as they tour original productions, participate in workshops, or work with youth as they apply skills learned on campus. The London trip also includes stops at historic theaters and performances in the famed West End.

 

STUDENT COMMUNICATION

Callboards

The various bulletin boards located in the hallway on the first floor of the BDA are your most immediate source of day-to-day information. These include the Student Projects, Faculty, Production and Community callboards. As a theatre major, you are expected to check the callboards once a day.

  • Student Projects callboard is reserved for announcements for student productions and projects.
  • The Faculty callboard is for faculty to use to announce information to students about projects, classes, etc.
  • The Production callboard is the major communication tool for the current productions. Here you will find audition information, rehearsal calls, crew assignments and calls, and other pertinent information.
  • The Community callboard is for all postings other than faculty, productions and student projects/productions.

Theatre Majors’ Meetings

A meeting for Theatre majors will be held at the beginning of each fall and spring semesters. All Theatre majors are expected to attend. This meeting is an important tradition to the Theatre program. The meeting provides an opportunity for all students to receive important information about the program and the campus, meet the faculty and be a part of the Theatre culture.

Theatre Majors’ List-serve

An email list-serve for Theatre majors provides information to students throughout the year.  You will be added to this list at the beginning of every fall semester. You should consider the list-serve as a valuable source of information. The mission of the list-serve is to announce and promote MTSU Theatre curriculum events and MTSU Theatre sponsored co-curricular activities. Announcements include but are not limited to MTSU Theatre advising calls, auditions, and majors’ meetings, etc.

Social Networking and Information Technology Policies

  • As a MTSU Theatre student, your online behavior will be held to the same standard of conduct as your face-to-face behavior. See MTSU Academic Misconduct and Disruptive Behavior Policies.
  • Be professional at all times. You are preparing yourself to be a career professional. Think before posting photos or messages that might compromise your future. 
  • Students are encouraged to help publicize department productions and events through social networking sights such as Facebook, Instagram, and Twitter. However, students may not present themselves as the MTSU Theatre Program. This includes, but is not limited to, posting ‘MTSU Theatre’ or similar title as the title for an internet page or site, or using any MTSU or program logo or artwork without permission.
  • Students should also be very cautious about discussing any Theatre program events that the Theatre faculty has not yet announced to the public.
  • MTSU assumes no obligations to monitor student online community accounts; however, as with other public arenas, when brought to the attention of officials, the University may respond to activities that violate MTSU’s rules and regulations of the Information Technology Resources Policy.

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