"Production Collaboration in the Theatre reveals the ingredients of proven successful collaborations in academic and professional theatre training, where respect, trust, and inclusivity are encouraged and roles are defined with a clear and unified vision. Garnering research from conversations with over 100 theatre professionals on Broadway and in Regional and Educational Theatre, the authors provide multiple approaches to working together that are designed to help students and teachers of theatre discover and develop the collaborative tools that work best for them. Each chapter offers practical application with discussion prompts from real-life scenarios to practice and develop critical problem-solving skills necessary for theatre artists to navigate common collaboration challenges. Compelling topical case studies and insightful interviews invite readers to explore the principles of collaboration and inspire them to build joyful, equitable, and collaborative relationships in academic and professional settings. Production Collaboration for the Theatre offers theatre faculty and students a practical approach to developing interpersonal skills necessary for a lifetime career in collaborating in the theatre. An ideal resource for actors, directors, designersand production teams, this book provides theatre artists in training with an opportunity to develop their collaborative style that will guide and support the longevity of a successful career"--
Production Collaboration in the Theatre reveals the ingredients of proven successful collaborations in academic and professional theatre training, where respect, trust, and inclusivity are encouraged and roles are defined with a clear and unified vision.
| Preface |
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ix | |
| Acknowledgments |
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xii | |
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|
xiii | |
| Introduction |
|
1 | (3) |
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1 Challenges and Guiding Principles: Seeking Common Ground |
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4 | (22) |
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|
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26 | (24) |
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3 Putting the Guidelines into Practice on a Production Timeline |
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|
50 | (25) |
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4 Case Studies: Spiderman: Turn Off the Dark and Ragtime |
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75 | (14) |
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5 Boundaries: Theatre Intimacy Education and Safe Working Environments |
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89 | (22) |
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6 Culture and Collaboration |
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111 | (27) |
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7 Including Students in the Collaborative Process |
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138 | (15) |
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8 Past, Present, and Future of the Theatre |
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153 | (21) |
| Appendix 1 To the Educator |
|
174 | (12) |
| Appendix 2 Casting in the Academic Environment |
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186 | (9) |
| Appendix 3 Seeing the Student and Encouraging them to Work from their Cultural Point of View |
|
195 | (2) |
| Appendix 4 What Would We Do? (The Scenarios) |
|
197 | (41) |
| Appendix 5 Contributor Biographies |
|
238 | (12) |
| Index |
|
250 | |
Rufus Bonds Jr. (AEA, SDC) is the resident director of The Lion King on Broadway and an an assistant professor for musical theatre performance in the Syracuse University Department of Drama. He is recognized nationally and internationally as a director, actor, and writer. Productions include: London Porgy in Porgy and Bess at the Regents Park Open Air Theatre; baritone-soloist for Duke Ellingtons Sacred Music, Carnegie Hall; Broadway Rent, Once on This Island , and Parade (Drama Desk nomination for Best Supporting Actor); national tours The Color Purple as Mister, The Lion King as Mufasa, and Miss Saigon as John. Directing projects range from Lysistrata to Into the Woods. Rufus is a Eugene ONeill semi-finalist for his play The Sisters of Rosewall High .
"Have Faith"
Maria Cominis (AEA, SAG-AFTRA, DG, NAAT), is an actor, playwright, author, and professor of acting at California State University Fullerton Department of Theatre and Dance. She is also a master teacher of the Uta Hagen and Michael Chekhov techniques. Her television credits include Desperate Housewives, New Girl, All My Children, and One Life to Live, and her theatre credits include Bernarda Alba, Diviners, Ivanov, and Knives are Silent. For more information, visit www.mariacominis.com.
Mark Ramont is an associate artist at Fords Theatre. He worked professionally as a director and theatre administrator for over 25 years before becoming head of directing at California State University, Fullerton. He was associate artistic director at New York Citys Circle Rep, where he worked with professionals such as Anne Bogart, Paula Vogel, and Joe Mantello. He is the recipient of the Princess Grace Foundation USA Statuette Award.
