Actor’s rehearsal and performance behaviors.
signing the back of the audition card, you have committed yourself to certain
patterns of behavior. If cast, you must agree to
ALL REHEARSALS AND OTHER CAST CALLS AS ANNOUNCED.
In the event of illness or other genuine emergency, you must personally
notify the director, director’s assistant or the stage manager.
ALL PRODUCTION-RELATED ASSIGNMENTS.
include memorization, written character analysis, costume fittings, etc. as scheduled
by the director or the stage manager.
COMPLETE RESPONSIBILITY FOR A PROPER BUDGETING OF TIME to perform your acting,
academic and employment obligations.
A SCHOLASTIC LEVEL equal to, or higher than that of the previous quarter.
(A cumulative gpa of 2.00 is required for your participation.)
WILL SEEK NO EXCUSE FROM A CLASS OR COURSE ASSIGNMENTS using as argument
your participation in a University Theatre production.
OR RESCHEDULE YOUR COURSE LOAD to avoid major interferences with scheduled
WILL CONSULT WITH THE DIRECTOR EARLY if difficulties emerge.
WILL REQUEST MODIFICATIONS TO YOUR WORK SCHEDULE to
accommodate rehearsal and performance schedules.
ARE SUBJECT TO CALL AT ANY FREE HOUR shown on
the schedule on this card.
informal contract beween you and the production summarizes the essential elements
of rehearsal behaviors, with the possible addition of two additional expectations.
will arrive at rehearsal PUNCTUALLY (or even early),
FOCUS, WARM-UP and WORK HARD, putting aside the other issues
of the day. A professional attitude is required.
need to WORK ON YOUR ROLE OUTSIDE OF THE REHEARSAL PERIODS, either alone
or with other cast members. Rehearsals are a time
to show your character developments, the direction you plan to go with the
role. You must be self-actuating!
CASTING IN SPU UT PRODCTIONS IS TENTATIVE AND SUBJECT TO CHANGE AT ANY TIME BY
rehearsal period will normally go through a time-proven format:
cast read-throughs for comprehension and style,
character and action analysis,
3) on-feet read-throughs for clarity and discovery,
5) off-book scene work,
6) section run-throughs for pacing
7) technical rehearsals,
8) dress rehearsals,
the performance run.
the technical rehearsals onward, the stage manager assumes control of the production.
It is imperative that performers give this individual strict attention,
since she or he is the one link between cast, crews, and house activities.
Observation of rehearsals, an understanding of performance intent, and
intense attention to production concerns will have occupied the stage manager’s
time for the past several weeks. Hypothetically, no
one knows the production better than this individual.
specific regulations order your activities at times of performance.
It is of highest importance that these become part of your performance
Arrive at the theatre no later than your call time.
The Stage Door is your entrance. Sign-in on
the call sheet just as soon as you arrive. Do not
leave the building under any circumstances short of a flood, earthquake, or fire.
Toilet overflow does not count. Once signed-in
you are not permitted in the public spaces of the building, which means any place
an audience member might encounter you: the lobby, the public restrooms, the Kreider
Gallery. No mixing with the audience!
Apart from your preparations of costuming and make-up, you must
check your hand properties for placement and availability.
This must be done before the half-hour call, since the house will open
at that time.
Prepare yourself for performance through physical and vocal warm-ups.
The Studio Theatre is available for your use. Before
and during performance, avoid idle or distracting chatter.
Focus on the task at hand. Allow
your fellow performers their own space. Keep your
decorum in the Green Room at a professional level. This
is no time for a party.
It is our practice to join in group prayer before places are called.
Between your scenes, actors are not permitted to linger backstage.
All of the spaces downstairs are equipped with speakers which allow you
to follow the flow of the show. There is also a closed
circuit TV monitor in the Green Room. You are responsible for your own entrances.
Do not depend on the stage manager to call you to place.
If you use the kitchen for any purpose, clean up after yourself!
This is a good rule to follow for all spaces you use.
After performance, you may greet friends and family members in the
Studio Theatre, not on mainstage or the Green Rooom.
Ordinarily it is required that you change into street clothes before you
do this. Costumes belong in the performance setting.
Showers are available, but you must provide your own soap and towels.
Before you leave the theatre, report any costume or properties repairs
you require. Sheets are provided for this purpose
on the call board. It may also be prudent to notify
the stage manager of major difficulties with hand or set props.
Exit up the stairs and through the Stage Door. That’s
our special privilege. Our
special right, since the audience is forbidden use of this access. It helps to
keep us focused as performers, and is just one of the many patterns you need to
invent to keep what you’re doing special and focused.
Running Crew Behaviors