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Dance Production: Design and Technology [Minkštas viršelis]

4.71/5 (14 ratings by Goodreads)
(Eastern Michigan University, USA)
  • Formatas: Paperback / softback, 294 pages, aukštis x plotis: 229x229 mm, weight: 560 g, 149 Halftones, color
  • Išleidimo metai: 08-Dec-2015
  • Leidėjas: Routledge
  • ISBN-10: 1138795917
  • ISBN-13: 9781138795914
Kitos knygos pagal šią temą:
Dance Production: Design and TechnologyDidesnis paveikslėlis
  • Formatas: Paperback / softback, 294 pages, aukštis x plotis: 229x229 mm, weight: 560 g, 149 Halftones, color
  • Išleidimo metai: 08-Dec-2015
  • Leidėjas: Routledge
  • ISBN-10: 1138795917
  • ISBN-13: 9781138795914
Kitos knygos pagal šią temą:
Pastovi nuoroda: https://www.kriso.lt/db/9781138795914.html
Raktažodžiai:

Dance Production: Design and Technology introduces you to the skills you need to plan, design, and execute the technical aspects of a dance production. While it may not seem that staging a dance production is that different from a play or musical, in reality a dance performance offers up unique intricacies and challenges all its own, from scenery that accommodates choreography, to lighting design that sculpts the body, and costumes that complement movement. This unique book approaches the process of staging a dance production from a balanced perspective, making it an essential resource for dancers and designers alike.

Covering a broad range of topics, author Jeromy Hopgood takes the reader through the process of producing dance from start to finish – including pre-production planning (collaboration, production process, personnel, performance spaces), design disciplines (lighting, sound, scenery, costumes, projections), stage management, and more. Bridging the gap between theatrical and dance design, the book includes a quick reference guide for theatrical and dance terminology, useful in giving dancers and designers a common working vocabulary that will ensure productive communication across the different fields.

Acknowledgments viii
Introduction 1(6)
Part I Thinking Ahead
1 Collaboration
7(16)
1.1 Team Members and Responsibilities
8(4)
1.2 The Choreographer
12(1)
1.3 The Production Process
13(2)
1.4 Collaborative Models---How we Work Together?
15(3)
1.5
Chapter Review
18(5)
Interview The Choreographer's Perspective: An Interview with Julia Gleich
19(4)
2 Pre-production Planning
23(12)
2.1 Purpose
24(1)
2.2 Program Concerns
24(3)
2.3 Performance Space Concerns
27(1)
2.4 Production Calendar
27(4)
2.5 Production Budget
31(1)
2.6 Personnel
32(1)
2.7
Chapter Review
32(3)
Interview The Production Manager's Perspective: An Interview with Stacey-Jo Marine
32(3)
3 Performance Spaces
35(18)
3.1 Proscenium Theatres
36(11)
3.2 Non-proscenium Theatres
47(2)
3.3 Non-traditional Spaces
49(1)
3.4
Chapter Review
50(3)
Part II Production Areas
4 Lighting
53(26)
4.1 The Lighting Designer
54(1)
4.2 Functions of Dance Lighting (What Lighting can Accomplish)
54(3)
4.3 Properties of Dance Lighting (Controllable Qualities of Dance Lighting)
57(3)
4.4 Lighting Systems
60(2)
4.5 Lighting Positions and Angles
62(7)
4.6 Lighting Instruments
69(4)
4.7 Atmospherics
73(1)
4.8 Color in Lighting
73(3)
4.9
Chapter Review
76(3)
5 Creating the Lighting Design
79(16)
5.1 Working with the Choreographer
80(1)
5.2 Communicating the Design
81(6)
5.3 Hang and Focus
87(1)
5.4 Preparing for Technical Rehearsals
88(3)
5.5 Technical Rehearsals
91(1)
5.6
Chapter Review
91(4)
Interview The Lighting Designer's Perspective: An Interview with Seth Reiser
92(3)
6 Sound
95(14)
6.1 Thinking About Sound
96(1)
6.2 Sound Design for Dance
97(1)
6.3 Functions of Sound Design
98(1)
6.4 Properties of Sound Design
99(1)
6.5 Audio Equipment
100(4)
6.6 Sound Systems
104(1)
6.7 Legal Concerns
105(2)
6.8
Chapter Review
107(2)
7 Creating the Sound Design
109(16)
7.1 Working with the Choreographer
110(1)
7.2 Communicating the Design
111(2)
7.3 Sound Editing and Composition Tools
113(1)
7.4 Preparing for Technical Rehearsals
114(4)
7.5
Chapter Review
118(7)
Interview The Sound Designer's Perspective: An Interview with Sam Crawford
119(6)
8 Scenery and Props
125(18)
8.1 Scenic Design
126(1)
8.2 Functions of Dance Scenery
127(5)
8.3 Scenic Elements
132(7)
8.4 Dance Props
139(1)
8.5
Chapter Review
140(3)
9 Creating the Scenic Design
143(22)
9.1 Working with the Choreographer
144(1)
9.2 Communicating the Design
145(6)
9.3 Design Specifications
151(4)
9.4 Scenic Construction and Painting
155(2)
9.5 Props Design
157(2)
9.6
Chapter Review
159(6)
Interview The Scenic Designer's Perspective: An Interview with Campbell Baird
160(5)
10 Costumes, Hair, and Make-up
165(24)
10.1 The Costume Designer
166(1)
10.2 Functions of Dance Costumes (What Costumes can Accomplish)
166(4)
10.3 Properties of Dance Costumes (Controllable Qualities of Dance Costumes)
170(3)
10.4 Dance Costume Components
173(10)
10.5 Hair and Wigs
183(1)
10.6 Make-up Considerations
184(2)
10.7
Chapter Review
186(3)
11 Creating the Costume Design
189(18)
11.1 Working with the Choreographer
190(2)
11.2 Communicating the Design
192(4)
11.3 Executing the Design
196(3)
11.4 Preparing for Dress Rehearsals
199(1)
11.5 Dress Rehearsals and Beyond
200(1)
11.6
Chapter Review
201(6)
Interview The Costume Designer's Perspective: An Interview with Liz Prince
202(5)
12 Projections and Video
207(22)
12.1 The Projection Designer
208(2)
12.2 Assessing Projection Needs
210(4)
12.3 Functions of Dance Projection Design (What Projection Design can Accomplish)
214(4)
12.4 Projection Systems
218(1)
12.5 Projection Equipment
219(3)
12.6 Software Solutions
222(4)
12.6 A Word About Interactive Dance
226(1)
12.7
Chapter Review
226(3)
13 Creating the Projection Design
229(14)
13.1 Working with the Choreographer
230(1)
13.2 Communicating the Design
231(3)
13.3 Content
234(2)
13.4 Preparing for Technical Rehearsals
236(2)
13.5 Technical Rehearsals
238(1)
13.6
Chapter Review
238(5)
Interview The Projection Designer's Perspective: An Interview with Joao Beira
239(4)
14 Stage Management
243(18)
14.1 The Stage Manager
244(4)
14.2 Pre-production
248(2)
14.3 Rehearsals
250(3)
14.4 Technical Rehearsals
253(2)
14.5 During the Run
255(1)
14.6
Chapter Review
256(5)
Interview The Stage Manager's Perspective: An Interview with Julie Ballard
257(4)
Part III Quick Reference
15 Dance Terminology
261(12)
16 Theatre/Stagecraft Terminology
273(10)
Index 283
Jeromy Hopgood is a tenured Associate Professor at Eastern Michigan University, where he created the Entertainment Design & Technology program one of the only of its kind in the country. In addition to his teaching, Jeromy has designed more than 100 plays, musicals, dance, and opera productions over the last decade. Jeromy worked at the Williamstown Theatre Festival in its Tony Award-winning season alongside numerous Broadway designers, and he is an Artistic Associate for the Michigan Shakespeare Festival. Jeromy is also the author of QLab 3 Show Control: Projects for Live Performances and Installations by Focal Press.