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LastmodifiedApril23,2018
UndergraduateHandbook
BachelorofFineArtsinTheatreIn2002StephenHancockreceivedtheOutstandingPublicationCertificateofMerit—AwardedbytheNationalAcademicAdvisingAssociationforThe
DepartmentofTheatre&Dance’sUndergraduatePolicyHandbook.
THEUNIVERSITYOFMEMPHIS
DEPARTMENTOFTHEATRE&DANCE
April2018
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ilast
TelephoneNumbers
CollegeofCommunicationandFineArtsDr.AnneHogan,Dean...........................................................................................................................678-2350RyanFisher,AssociateDean..................................................................................................................678-2350LaurieSnyder,AssistanttotheDeanforUndergraduateStudies...........................................................678-2350RikaHudson,UndergraduateGraduationAnalyst...................................................................................678-2350
DepartmentofTheatre&DanceTheatreOffice(TH143)...........................................................................................................................678-2523Faxmachine(TH144)..............................................................................................................................678-1350
ChairHollyLau...................................................................678-2523...........................................hclau@memphis.edu
FacultyJacobAllen................................................................678-2863.........................................jgallen@memphis.eduSarahBrown..............................................................678-2523.....................................sbrown8@memphis.eduStephenHancock......................................................678-2570.....................................shancock@memphis.eduRobertHetherington.................................................678-2523.......................................rhether@memphis.eduAnitaJoLenhart........................................................678-3183......................................alenhart@memphis.eduJillGuytonNee..........................................................678-2815...........................................jgnee@memphis.eduMichaelO’Nele.........................................................678-2564.......................................monele@memphis.eduAnthonyPellecchia...................................................678-3172.......................................pllcchia@memphis.eduBrianJ.Ruggaber......................................................678-3186......................................bjrggber@memphis.eduJohnYorke................................................................678-2523.........................................jyorke@memphis.edu
StaffAliceBerry.................................................................678-3184.......................................aeberry@memphis.eduDelelahBryant........................................................678-2152...................................dabryant@memphis.eduRickMayfield............................................................678-1771.....................................rcmayfld@memphis.eduDeAnnaRowe...........................................................678-3192.........................................drowe@memphis.eduKristinShupe.............................................................678-2523........................................kshupe@memphis.edu
ProductionShopsCostumeShop..........................................................................................................................................678-3192ControlRoom...........................................................................................................................................678-2946SceneShop...............................................................................................................................................678-2954TicketOffice.............................................................................................................................................678-2576Security.................................................................................................................................678-4357(678-HELP)
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TableofContentsTheUndergraduateHandbook
Mission,ValuesandGoals.........................................................................................................0StatementofPurpose...............................................................................................................1
TheUniversityofMemphisWelcome...................................................................................................................................2TheTheatreBuilding.................................................................................................................2
CollegeofCommunicationandFineArtsGeneralDescription...................................................................................................................3Dean/AssociateDean..............................................................................................................3AssistanttotheDeanforUndergraduateStudies.....................................................................3UndergraduateGraduationAnalyst..........................................................................................3
DepartmentofTheatreandDanceGeneralDescription...................................................................................................................4BriefHistoryoftheDepartment................................................................................................4Chair..........................................................................................................................................4Faculty.......................................................................................................................................4Staff...........................................................................................................................................7GuestArtists..............................................................................................................................8StudentOrganizations...............................................................................................................8
YourFirstTwoWeeksFirstDayofClasses....................................................................................................................9Attendance................................................................................................................................9BulletinBoards..........................................................................................................................9Auditions...................................................................................................................................9MajorsMeeting.........................................................................................................................9FirstOrganizationalProductionLabMeeting..........................................................................10DockParty...............................................................................................................................10
StudentLifeGeneralDescription.................................................................................................................11Etiquette..................................................................................................................................11AccidentProcedure.................................................................................................................11Safety.......................................................................................................................................11
UndergraduateAdvisingGeneralDescription.................................................................................................................12Theatre/DanceMinor............................................................................................................12
CurriculumPlanGeneralDescription.................................................................................................................13GeneralEducation...................................................................................................................13TheatreCore............................................................................................................................14AreasofConcentration...........................................................................................................14Competencies(DesignandTechnicalProduction)..................................................................14
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Competencies(Performance—ActingEmphasis) .................................................................... 15Competencies(Performance—DanceEmphasis) ..................................................................... 16Competencies(MusicalTheatre) .............................................................................................. 16DirectedStudies ....................................................................................................................... 17
EvaluationGeneralDescription .................................................................................................................. 18StudentEvaluationofTeachingEffectiveness(SETE) .............................................................. 18StudentEvaluation ................................................................................................................... 18Grades ....................................................................................................................................... 18
B.F.A. ProgramGeneralDescription .................................................................................................................. 19AdmissiontotheProgram ........................................................................................................ 19Progression&Retention .......................................................................................................... 21GeneralGuidelines ................................................................................................................... 25ProgramStatusandDemeritSystem ....................................................................................... 27
InternshipGeneralProcedure .................................................................................................................... 29FinalGrade ................................................................................................................................ 30LeightonBallewInternship ....................................................................................................... 30
Conference&AuditionOpportunities ............................................................................................................... 31InstituteofOutdoorDrama ...................................................................................................... 31Mid-AmericaTheatreConference ............................................................................................ 31Mid-WestTheatreAuditions .................................................................................................... 31SoutheasternTheatreConference ........................................................................................... 31TennesseeTheatreAssociation ................................................................................................ 31UnifiedProfessionalTheatreAuditions .................................................................................... 31University/ResidentTheatreAssociation ............................................................................... 32UnitedStatesInstituteforTheatreTechnology ....................................................................... 32
ProductionGeneralDescription .................................................................................................................. 33RequiredInvolvement .............................................................................................................. 33SuggestedInvolvement ............................................................................................................ 34TheFacilities ............................................................................................................................. 34RehearsalEtiquette .................................................................................................................. 34BackstageEtiquette .................................................................................................................. 35InformationandRecommendationsforPerformersRegardingStageMake-Up ..................... 36TheatreSeason ......................................................................................................................... 39
Awards/Enrichment/Scholarships ...................................................................................................................... 39
Graduation ........................................................................................................................................................... 42SeniorExam/IntentiontoGraduate/Certification ................................................................ 42ParticipationinGraduationCeremony ..................................................................................... 42Diploma .................................................................................................................................... 42
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TheUndergraduateHandbookMissionStatementToeducatethenextgenerationoftheatreartistsforsuccessfulcareersintheperformingarts,theentertainmentindustryandartseducationandtocontributetotheenrichmentoftheculturalclimateofthecommunity,regionandbeyondasengagedpartners.Centraltothemissionisthebeliefthattheoreticalandpracticalcoursescombinedwithproductionexperiencesandpersonalizedmentorshiparecriticaltotheeducationandtrainingofourstudents.
VisionTocontinuouslycreateadynamic,richenvironmentthatfostersexcellenceinresearch,production,teaching,learning,communityoutreachandcollaboration.
ValuesTheDepartmentofTheatre&Danceembracesthefollowingvaluesinteaching,creativity,researchandservice;integrity,professionalism,innovation,respectandcollegiality.
Theprimarygoalsofthetheatreunitaretoprovide:
• Publiceducationdesignedtoenrichtheintellectualcompetenceandachievementofthepopulaceitservesregionallyandnationally.
• Anacademicenvironmentforeducational,creative,entrepreneurialandscholarlypursuits.• TheatreeducationandtrainingthatcombineaprofessionalfocuswithinaLiberalArts
foundation.• LeadershipandinvolvementintheartisticgrowthofMemphis,thestateofTennesseeand
thenation.• Anavenuededicatedtothediscovery,acquisition,dissemination,andpreservationof
knowledgefortheadvancementofourcommunity.
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TheUndergraduateHandbookStatementofPurposeAsanundergraduateinourB.F.A.program,therearemanyquestionsaboutthedepartment(andperhapsthecollegeanduniversityaswell)thatarenotfoundinotheruniversitypublications.ThepurposeofthisUndergraduateHandbookistobearesourceforyouandtoprovideinformationinastraightforwardmanner.Answersdealingwithquestionsregardingdepartmentanduniversityprocedures,classes,collegiality,andthegenerallifeofanundergraduateinourdepartmentcanbefoundherein.
Therearetwoimportantthingstoremember.First,thisdocument1ismeanttoSUPPLEMENT,notREPLACE,anyofficialuniversitypublication.OfficialuniversitypublicationsnecessaryforasuccessfulmatriculationthatarefoundonlineincludetheUndergraduateCatalog,theStudentHandbook:CodeofStudentRightsandResponsibilities,andtheClassScheduleforeachsemester.Second,forclarificationoradditionalinformation,alwaystalktoyouradvisororanotherfacultymember.Pleaseavoidrelyingonhearsayorthewell-meaningadviceofotherstudents.
Thecommitteecompilingthisbook,aswellasthefaculty-at-large,understandsthatthisdocumentcontainsalotofinformation.Pleaseknowthatthiswasnotdonetointimidateyoubutrathertomakeyourstudentlifehereattheuniversityand,moreimportantly,inthisdepartment,moreenjoyable.Thenextfouryearswillbeanexcitingtimeinyourlife.Asyouprogressthroughtheprogramaccumulatingthenecessarycreditstowardyourdegree,itisourdesiretoseethatyouarechallenged,learnaboutyouremphasistothebestofyourability,andhavepeerstimulation,aswellasfun.
Bestofluckwithyourendeavors,andthanksforchoosingtheDepartmentofTheatreandDanceattheUniversityofMemphis.
1Please note that some information contained in this Handbook may have, in part, been taken from existing documents such as university catalogues, student handbooks, or from the National Association of Schools of Theatre (NAST) guidelines.
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TheUniversityofMemphisWelcomeWelcometotheDepartmentofTheatreandDanceattheUniversityofMemphis.UofMisacomprehensiveurbanuniversitycentrallylocatedinthecityofMemphis,TN,thelargestcityinthestate.Comprisingelevencolleges—theCollegeofArtsandSciences,theFogelmanCollegeofBusinessandEconomics,theCollegeofCommunicationandFineArts,theCollegeofEducation,theHerffCollegeofEngineering,KemmonsWilsonSchoolofHospitalityandResortManagement,theLoewenbergSchoolofNursing,theSchoolofCommunicationSciencesandDisorders,theSchoolofPublicHealth,CecilC.HumphreysSchoolofLaw,andtheUniversityCollege—UofMoffersbaccalaureatedegreesinmorethan250areasofstudy,master’sdegreesin54subjects,anddoctoraldegreesin25disciplines.Withanenrollmentofover20,000students,UofMiscommittedtothescholarlyaccomplishmentsofitsstudentsandfacultyandtotheenhancementofthecommunity,state,andnationthroughprinciplesofacademicintegrity,soundmanagement,andequalopportunity.TheCommissionoftheSouthernAssociationofCollegesandSchoolsaccreditstheUniversity.
MemphisoverlookstheMississippiRiverandiseasilyaccessiblebyInterstates40,240,and55.ThecityishometotheBealeStreetHistoricDistrict,thePeabodyHotel,andtheOrpheumTheatre.Graceland,thehomeofElvisPresley,islocatedhere,asisthenationalheadquartersforFederalExpress.St.JudeChildren’sResearchHospital,aworld-renownedcancerresearchfacility,wasfoundedherebythelatecomedianDannyThomas.TheNationalCivilRightsMuseum,thePinkPalaceMuseum,theMemphisZoo,andtheCenterforSouthernFolklorearealloutstandingattractionsthatalsoeducate.Memphisisamulti-culturalcityofover650,000people,anditsharesitsgovernmentwiththatofShelbyCounty.Hot,humidsummersandrelativelywarmwintersareseparatedbyspectacularspringandfallseasons.Museums,shoppingmalls,restaurants,andtheMemphisPublicLibraryareallwithintwomilesofthisresidentialcampus.
Theatre&DanceBuildingsTheDepartmentofTheatreandDanceislocatedintheTheatreBuildingat3745CentralAvenue(situatedbetweentheArt&CommunicationBuildingandRudiE.ScheidtSchoolofMusicwiththeCommunicationandFineArtsBuildingdirectlybehindit).TheTheatreBuildinghastwofloorsandagroundlevelprovidingspaceforfacultyandgraduatestudentoffices,departmentaloffices,classrooms,rehearsalspaces,threetheatres,andshopspaceforscenicdesign,costumes,andlighting.TheMainstageTheatreisinthecenterofthebuilding.Thereisasmallblackboxtheatreoneachfloor—theStudioTheatreonthefirstfloorandtheLabTheatreonthesecondfloor.Facultyofficesareonthewestsideofthebuildingonthefirstandsecondfloors,whileclassroomsareonthesouthside.Costume,property,andfurniturestoragespacesarealsoonthegroundlevel.TheSceneShopisonthefirstfloorandisequippedwithmoderntechnologies.TheCostumeShopandtheLightingandSoundBootharebothonthesecondfloor.TheCommunicationandFineArtsBuildingisthehomeoftwodancestudios,thelargerofwhichisusedasaperformingspace.DanceperformancesalsotakeplaceattheRoseTheatre,a900-seattheatreclosetotheUniversityCenter.
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CollegeofCommunicationandFineArtsGeneralDescriptionTheCollegeofCommunicationandFineArts(CCFA),foundedin1977,includestheDepartmentsofArchitecture,Art,Communication,Journalism,TheatreandDance,andtheRudiE.ScheidtSchoolofMusic.TheOfficeoftheDeanislocatedonthesecondflooroftheCFABuilding,Room232(678-2350).ForfurtherinformationontheCollege,pleaseconsulttheUndergraduateCatalog.
Dean,CollegeofCommunicationandFineArtsDr. Anne Hogan previously served as the Director of Education at the Royal Academy of Dance, based in London, and as its Senior Advisor for International Partnerships, based in the US. Prior to joining the Royal Academy of Dance, Dr. Hogan was an Associate Dean in the Faculty of Humanities, Arts, Languages, and Education at London Metropolitan University, where she previously held the position of Academic Leader of Performing Arts, Film Studies and Theatre Studies.
Earlier in her career, Dr. Hogan taught in the department of Comparative Literature and English at the American University of Paris, where she later served as the Director of Alumni Relations and Annual Fund Giving, and was the Head of Postgraduate Studies and Research at London Contemporary Dance School. Her publications include Balanchine Then and Now and The Song of the Body: Dance for Lifelong Wellbeing. A former member of the Boston Ballet and Pacific Northwest Ballet, Dr. Hogan holds a BA in English Literature from Harvard University, and an MA and PhD in English Literature from Brown University.
AssociateDeanRyan Fisher, associate professor of Music Education, is in his fifth year at the University of Memphis and recently served as the music education coordinator and associate director of Choral Activities in the Rudi E. Scheidt School of Music. Before coming to the UofM, Dr. Fisher was assistant professor of Music Education at the University of Central Arkansas in Conway, Arkansas, where he received the College of Fine Arts and Communication Faculty Excellence in Research award. Choirs under his direction have been featured at the Arkansas Music Educators Association conference and Tennessee Music Education Association conference and made frequent guest appearances with the Arkansas Symphony Orchestra and Conway Symphony Orchestra.
He also served as the president-elect of the Arkansas Music Educators Association and was a member of the National Association for Music Education-Choral Council. He currently serves on the Tennessee Music Education Association state board, Tennessee American Choral Directors Association state board, and the Update: Applications of Research in Music Education editorial committee. Dr. Fisher is an active choral clinician and researcher. He earned a BME from Lee University, an MM in choral conducting and a PhD in music education from the University of North Texas. In 2016, he was named the Lee University School of Music Distinguished Alumnus of the Year.
AssistanttotheDeanforUndergraduateStudiesLaurieSnyder,M.A.inArtHistory—1989—UniversityofMemphis.HasservedastheAssistanttotheDeanforUndergraduateStudiessinceNovember1996.AgreatresourceforCCFAundergraduatestudents,Laurieisavailabletohelpwithmanyaspectsofyouracademiccareerincludingadvisingtransferstudents,providingguidanceontheacademicaspectsofstudyingabroadandgettinginternships,anddiscussingscholarshipopportunities.
UndergraduateGraduationAnalystRikaHudson,M.A.inRomanceLanguagesandLiteratures,Spanish—2012—UniversityofMemphis.HasservedasGraduationAnalystsinceSeptember2014.AllundergraduateCCFAstudentsarerequiredtohavea
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graduationcheckoutmeetingayearpriortograduationtoensurethatthestudenthasmetalldegreerequirements.
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DepartmentofTheatre&DanceGeneralDescriptionTheDepartmentofTheatreandDanceisafully-accreditedmemberoftheNationalAssociationofSchoolsofTheatre(NAST)andofferstheundergraduatedegreeofBachelorofFineArtswithconcentrationsinPerformance(emphasisinActingorDance),MusicalTheatre,andDesignandTechnicalproduction,aswellastheMasterofFineArtsdegreeinDirecting,CostumeDesign,LightingDesign,ScenicDesign,SoundDesign,andTechnicalDirection.TheDepartment’scurrentChairisHollyLau.Sheandtherestofthefacultyandstaffrunandmaintainadepartmentwithanenrollmentofapproximately120undergraduatestudentsandeighteengraduatestudents.AreaHeadsinthefourundergraduateareasofstudyareJacobAllen(MusicalTheatre),AnitaJoLenhart(Performance),JillGuytonNee(Dance),andMichaelO’Nele(Design/Technical).
BriefHistoryoftheDepartmentTheatrehaditsbeginningsintheEnglishDepartmentin1929,whichmakesusoneofthelongestcontinuallyperformingtheatreorganizationsinthecity.In1949,theDepartmentofSpeechandDramawasorganizedand“dedicatedtopresentthelivingtheatreinworthwhileplaysofpastandpresent.”Thetwo-persondepartmentproducedanddirectedfiveplaysaseasoninadditiontoasummerprogramthatconsistedofafull-lengthplayandaseriesofone-acts.In1952,theDepartmentbeganitscommunityoutreachwithstudentperformancesinschoolsandcivicclubs.Fiveyearslater,thefacultyhadincreasedtothree,andMemphisStateCollegebecameMemphisStateUniversity.In1964-65,anM.A.degreewasfirstoffered,andayearlateranewhomewasestablishedinthepresentbuilding,In1970,theDepartmentproducedthefirstuniversityproductionofthecontroversialmusicalHair.In1973,theM.F.A.degreewasinstituted.TenyearslatertheDanceareawasincorporated;and,in1995,theDepartmentofTheatre&Dancewasestablished.
ChairHollyLau,ChairoftheDepartmentofTheatreandDance,hasbeenaprofessorofdanceandtheatreperformanceattheUniversityofMemphissince1991.Asachoreographer,Lauhasworkedtoexpandtheaudienceformoderndance.In1993shereconstructedTheNegroSpiritualsbyHelenTamiriswhilealsopublishingarticlesonthepoliticsofraceinconjunctionwiththatreconstructionforwhichshereceivedtheSuperiorPerformanceinUniversityResearch(SPUR)award.OthersignificantdanceworksincludePrivateWords,TheHidingofAnneFrank’sDiary,GrandmasinTennisShoes,andTheGardenofTranquility(inaJapanesegarden).Hersoloshow,Transgressions:ThreeInstances,tourednationallyandinternationallyin2003-2004andreceivedtheDean’sCreativeAchievementawardin2006.In2012,ProfessorLauwasawardedtheprestigiousBenjaminW.Rawlins,Jr.MeritoriousProfessorshipAwardrecognizinghersustainedcontributionstoscholarly-creativeactivity,teaching,service,andoutreach.LauiscurrentlyacompanymemberofPlaybackMemphis,aprofessionalimprovisationaltheatreensemble.
FacultyJACOBALLEN,AssistantProfessor,M.Mus.—2009—EastmanSchoolofMusic.HejoinedtheB.F.A.facultyin2010withanemphasisinMusicalTheatre.Asadirector/performerJacobhasworkedthroughouttheMidwestandNewEngland.ProductionsincludeLesMamellesdeTiresias,HelenofTroy,ElCapitan,LittleShopofHorrors,TheLastFiveYears,LaTraviata,TheConsul,Ruddigore,MlleModiste,MerrilyWeRollAlong,AnythingGoes,JekyllandHyde,KissMe,Kate,andTheWinter'sTale.AnadvocateforAmericanLyricTheatreandArtSong,herecentlyperformedinthepremiereofLeeHoiby’sThisistheRillSpeakinganddirectedthefirststageproductionofJakeHeggie’sForaLookoraTouch.HeisfeaturedinmanyrecordingsofearlyAmericanmusicaltheatreandoperettainEnglishtranslationontheAlbanyRecordslabel,andDVDsofhisworkasbothperformeranddirectorareavailablethroughtheAmericanOperettaFoundation.
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SARAHBROWN,AssociateProfessor,M.F.A.—1994—YaleSchoolofDrama.Sarahisanactor,publishedplaywright,director,soloperformer,songwriter,andFulbrightscholar.SheisamemberofActors’EquitywhohasappearedinNewYorkandregionaltheater,aswellasfilmandtelevision,sinceshewassevenyearsold.Ms.BrownhasauthoredtwoplayswithmusicthathavebeenpublishedbySamuelFrench,Inc.,andherplays,publishedandunpublished,havebeenperformedorwork-shoppedinNewYorkattheNYTheatreWorkshop,ThePublicTheater,AmericanPlaceTheatre,AmericanJewishTheatreandtheMirandaTheatreCompany.She’sbeenhonoredtoperformherone-personshowsinboththeregionalUnitedStatesandatinternationalvenues,includingEdinburgh,Glasgow,LondonandIsrael.HersatiricalplayaboutartisticcensorshipduringthereignofQueenElizabethIwasproducedinLondonatTheatre503bythePracticumTheatreCompany.SarahreceivedaFulbrightScholarshiptoteachSoloPerformanceDevelopmentandCommediadell'ArteforayearattheUniversityofHaifa,Israel.Duringthatyearsheexpandedhercreativebordersfromtraditionaltheatretosite-specifictheatreandtheatrewithgiantpuppets.HerfortuitouscollaborationwithIsraeliartiststhenledtoherco-creationanddirectionoftwoprestigiousandsuccessfulsite-specificgiantpuppetshowsinJerusalem,IsraelandIzmir,Turkey.ThroughherlongtimerelationshipwithNewYorktheatreprofessionals,SarahhasenabledtheinternshipsofmanyUniversityofMemphisundergraduatesinaspecialprogramforburgeoningactorsanddirectorsinNewYorkCitycalledSPRINGBOARD-NYC:aprogramsponsoredbytheAmericanTheatreWingtohelpacclimateandprepareyoungtalentforanartisticlifeinthebigcity.
STEPHENW.HANCOCK,AssociateProfessor,M.F.A.—1984—PennStateUniversity.JoinedtheB.F.A.facultyin1998toteachacting,directing,andplaywriting.Histeaching/advisinghonorsincludetheThomasW.BriggsFoundation–ExcellenceinTeachingAwardforexcellenceinundergraduateteaching(2004);theKennedyCenterAmericanCollegeTheatreFestival"OutstandingTeachingArtist(RegionIV)inPlaywriting"(2007),andtheCollegeofCommunicationandFineArtsDean'sFacultyAdvisingAwardfor2002-2003.AsaplaywrighthisworkincludesNoReason,ConversationsinBed,4:00A.M.:RedmondandMeda,TheWriter'sBlock,TheHorroroftheLittleFamilyFarce,Revelations,TheLionessoftheLeopards,andZyrardów.HisplayshavebeenperformedorhadreadingsinNewYorkCity;NewOrleans;Minneapolis;Jackson,MS;Valdez,AK;andTorrington,CT.Hewasrunner-upinthe2005KCACTFCohenPrize;isatwo-timesecond-placewinnerofTheWriter'sDigestMagazineWritingCompetition;andhastwicebeenasemi-finalistintheHumanaFestival10-MinutePlayFestival.TheHorroroftheLittleFamilyFarcewasinvitedtoparticipateinthe2010KCACTF,RegionIVconference.HeisapastparticipantinTheSewaneeWriters'ConferenceandTheEdwardAlbeeLastFrontierTheatreConference.Hehasdirectedover50playsincludingOneMan,TwoGuvnors,TimeStandsStill,ClybournePark,TitusAndronicus,EdwinDrood,IAmMyOwnWife,Company,Chess,AWinter'sTale,andTheComedyofErrors.HehasbeennominatedforBestDirectortentimesintheMemphisTheaterAwardsandwonfourtimes.In2010hereceivedaMeritoriousAchievementAwardforExcellenceinDirectingbytheKCACTFforhisproductionofTheComedyofErrors.In2008,hewasawardedtheAlumniAssociationAwardforDistinguishedAchievementintheCreativeArts.HeisamemberoftheDramatistsGuild,AEAandAFTRA.
ROBERTA.HETHERINGTON,Professor,ABD—1979;MA—1976—NorthwesternUniversity.RobertA.HetheringtonholdsaFaudreeProfessorshipstartingin2015.HehasdegreesfromTheCollegeofWoosterandNorthwesternUniversity.HejoinedtheUniversityofMemphisin1997whereforfifteenyearsheservedasChairoftheDepartmentofTheatre&Danceandcontinuesassupervisorofthegraduatedirectingprogram.Histeachingspecialtiesareintheareasofdirecting,theatrehistory,anddramaticliterature.Hisprofessional
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directingcreditsoutsideofMemphisincludeworkattheStratfordFestivalofCanada,whereheworkedduringfourseasonsandisatwo-timerecipientofaTyroneGuthrieAward;ResidentDirectorforTheHumanRaceTheatreCompanyinDayton,Ohio;ContemporaryAmericanTheatreCompanyinColumbus,Ohio;LaComediaDinnerTheatre;DaytonOpera;andaresidenceatCanada'sShawFestival.HeisaregularguestessayistforthehouseprogramsatShawandStratfordFestivals.InMemphis,BobhasdirectedforPlayhouseontheSquare,CircuitPlayhouse,TheatreWorks,TheatreMemphis,OperaMemphis,andtheMemphisSymphony.HeisamemberoftheSocietyofStageDirectorsandChoreographers(SSDC),thenationaldirectors’union.ANITAJOLENHART,AssociateProfessor,M.F.A.—1985—FloridaStateUniversity.Inaddition,Joholdstwocurrentcertifications:oneinBikramYogateachingandoneinLessacVoiceandBodywork.ShejoinedtheB.F.APerformancefacultyin1987.Teachingfocusesprimarilyonvoiceforthestage,somatics,andacting.AmemberofAEA,sheisanaward-winningsopranosoloist,actress,anddirector.SheholdstheonlyLessacteachingcertificationinTennessee,andherteachingphilosophycanbefoundatwww.lessacinstitute.com.
JILLGUYTONNEE,AssistantProfessor,M.F.A.—2014—JillreceivedherM.F.A.inDancefromTheOhioStateUniversity,andbothB.A.inDanceandB.S.inBusinessManagementfromMeredithCollege.ShejoinedthefacultyasDirectorofDanceatUniversityofMemphisin2014.HermusicaltheatrechoreographiesincludeTheWeddingSinger,Chicago,WestSideStory,TheRobberBridegroom,Seussical,andGuysandDolls.Sheistheco-founderandArtisticDirectorofCJ40Productions,anAmericanContemporaryDanceTheatrecompanythatcelebratesindividuality,humor,andinnatetheatricalityofeverydaylife.Shehasperformed,created,andcollaboratedwithchoreographersSusanHadley,BebeMiller,MelanieBales,DavidDorfman,PamelaPietro,ShaneO’Hara,KatherineFerrier,TalaniTorres,andCarolFinley.Jill’steachingspecialtiesincludejazz,tap,ballet,contemporary,musicaltheatre,modern,choreographyandpedagogy.SheisamemberofCORD,NDA,andNDEO.
MICHAELS.O’NELE,AssociateProfessor,M.F.A.—1998—UniversityofMissouri-KansasCity.MichaelservesastheTechnicalDirector&ProductionManagerfortheDepartment,aswellasactingastheAreaHeadforDesign&Technology.Teachingspecialtiesincludetechnicalproduction,stagecrafts,andproductionmanagement.ProfessionalcreditsincludetheChautauquaInstitutioninChautauqua,NewYork;TheCoterieChildren’sTheatreandTheKansasCityRepertoryTheatre.HeisalsoamemberofUSITT.
ANTHONYPELLECCHIA,AssistantProfessor,M.F.A.—2009—TheOhioStateUniversity.Hejoinedthefacultyin2015andteachescoursesinlighting,sound,portfolio,andmultimediacontrolsystems.Besidesdesigninglightsandsounds,Anthony’screativescholarshipexploresthefusionofcomposition,automation,andprojectionswithliveperformances.Anthony’sprofessionalandacademicworkintheatre,dance,andoperahasreceivedawardsandrecognitionfromvariousorganizationsincludingtheKennedyCenterAmericanCollegeTheatreFestivalRegionV,USITTOhioValley,andUSAWeekender.AnthonypreviouslytaughtattheUniversityofSouthDakotaandisanactivememberofUSITT’slightingcommission.
BRIANRUGGABER,AssistantProfessor,M.F.A.UniversityofMassachusettsatAmherst.Hejoinedthedesignfacultyin2013.Ruggaberhasdesignedover80drama,musical,opera,anddanceproductionsinawidevarietyofprofessionalandacademicvenuesacrosstheU.S.includingTheShakespeareTheatreofNewJersey,TexasShakespeareFestival,BristolRiversideTheatre,Children’sTheatreofCharlotte,NewWorldTheatre,New
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CenturyTheatre,andSleevelessTheatreCo.InadditionhehasbeenaguestdesignerattheUniversityofMassachusettsatAmherst,OhioNorthernUniversity,andtheUniversityofSt.Francis.EighteenofhisscenicdesignshavebeennominatedforawardsandtheMetrolinaTheatreAssociationinNorthCarolinarecognizedhisdesignforCrimesoftheHeartatUNCCharlotteforOutstandingSetDesignbyanacademicinstitution.HeisanactivememberofUSITTandamemberoftheUnitedScenicArtists.
JOHNJ.YORKE,Instructor,M.F.A.—1997—UniversityofMemphis.Anadjunctprofessorsince1997,hejoinedthefacultyfull-timein2002.TeachingspecialtyisIntroductiontoTheatre.Hisdirectingcreditsinclude:MurderontheNile(Germantown),TheTwilightoftheGolds,andPavilion(TheatreMemphis)&TheRobberBridegroom(FindlaySummerStock).
StaffALICERAINEYBERRY—DirectorofPublicity&Promotion-M.F.A.–2012–UniversityofMemphis.Aliceisco-founderandArtisticAdvisorofVoicesoftheSouth.Amongthemanyoriginalproductionsshehasbeenapartofare:theroleofLilyinCicada,theroleofDeweyDellinAsILayDyingwhichwasinvitedtotheInternationalFaulknerConferenceinOxford,Mississippi;theroleoftheMotherintheworldpremiereofTerryTempestWilliams’Refuge:AnUn-naturalHistoryofFamilyandPlaceforwhichshereceivedaMemphisTheatreAward;theroleofMardyMurieinbothPlaceofEnchantmentwhichwasinvitedtoJacksonHole,WyomingandWildLegacywhichwasinvitedtotourthroughoutAlaska.TogetherwithalumJennyMaddensheco-createdthescriptsandstagingforshortstoriestheyperformedattheInternationalFringeFestivalinEdinburgh,Scotlandandmostrecentlyoff-Braodway:ListeningandWhyILiveattheP.0.byEudoraWelty;TheWindowbyEleanorGlaze;andTwentyWillNotComeAgainbyJoanWilliams.SomeofherfavoritedirectingprojectsincludeIt’sAllGreektoMe,OldForestFairyTales,TheArabianNights,FencesandRiverCity.
DELILAHBRYANT–AdministrativeAssociateII,M.M.invoice–2001–UniversityofMemphis.Joemanagesthefinancialandhumanresourcesareasforthedepartment.Beforejoiningthedepartmentin2015,hespenteightyearsasamunicipalbondinvestmentbankerinNewYorkandFlorida,eightyearsastheBusinessOfficerfortheRudiE.ScheidtSchoolofMusic,andfouryearsastheAssociateDeanforAcademicServicesatTheBostonConservatory.
RICKMAYFIELD—AssistantTechnicalDirector,M.F.A.—1996—UniversityofTennessee.HisextensivebackgroundincludesservingasaTD/AssistantProfessor(FloridaStateUniversity),TD/Lecturer(OberlinCollege),TD(DaytonaBeachCommunityCollege),Carpenter(AlabamaShakespeare),andSpecialProjectsCarpenter(SpoletoFestivalUSA).
DEANNAROWE—CostumeShopSupervisor,M.F.A.-TheatreCostumeDesignandTechnologyUniversityofMissouri-KansasCity.DeAnnahasworkedasaCostumeDesigner,Cutter/DraperandCraftsArtisanatnumerousprofessionalandacademictheatrecompaniesthroughouttheUnitedStates.Inadditiontoherprofessionalcareer,DeAnnawasontheCostumeDesignandTechnologyfacultyatAllentownCollegeofSt.FrancisDeSalesandHeadoftheM.F.ACostumeTechnologyprogramatOhioUniversityinAthens,OH.Inhersparetime,DeAnnacontinuestorunherowncostumecommissionbusiness,GypsyDreamStudios.
KRISTINSHUPE—AdministrativeSecretary—BBA—1985—UofM.ShepreviouslyworkedasaLitigationParalegalandastheVolunteer/ProgramCoordinatorfortheMallory-NeelyandMagevneyHouses,whicharepartoftheMemphisMuseumSystem.SheassiststheGraduateCoordinators,theScholarshipChair,andtheAreaHeadforPerformance,and,ofcourse,theatremajors!SheisapainterandamemberofArtists'Link.Sheandherhusband,Dr.DavidDwiggins,whoisafacultymemberintheDepartmentofMathematicalScienceshereattheUofM,have13rescuedcats.
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GuestArtistsThedepartmentregularlysupplementsitscurriculumwithmasterclassesandresidenciesbyguestartistsfromallareasoftheatre.Opportunitiesforexposuretoawiderangeofprofessionalsinthefieldareessentialtobroadeninganddeepeningthetrainingandcareerdevelopmentofourstudents.
EdgarGodineauxChoreographer•TennesseeShakespeareCompanyProducer•DaveDemkeLinklaterSpecialist•DavidJ.DiamondNYCCareerCoach•KeithThompsonChoreographer•MilesPotterDirector•AlvinAileyChoreographer•PeggySchwartzAuthor•NorwegianCruiseLinesAuditions•JessieWrightMartinAlexanderSpecialist•AngeloRâpanConcertPianist/Musicaldirector•AmyQuanbeckActor•AshleyMonizActor•BalletHispanicoDance•KevinCovertChoreographer•RobinSandersDance•DanielMuellerDesigner/VideoTechnician•BruceBuiCostumeDesigner•AdamYakinEsteemedIsraeliNon-TraditionalTheatreArtist•PilobolusDance•ShaneOhmerActor•DariusWallaceActor•TonyHorneActor/Director/Dancer/Choreographer•CharleneA.DonaghyPlaywright•MononaRossolChemist/Artist/IndustrialHygienist•DonaldByrdActor•AdamYakinEsteemedIsraeliNon-TraditionalTheatreArtist•BillT.JonesDanceCompanyDance•RichardCrowellScenicDesigner•ZFXCertifiedRiggersRiggingSpecialists•MargaretEdsonPulitzerPrize-winningPlaywright•KathyBrookfieldDraper•DavidDorfmanChoreographer•CatherineLadnierPlaywright•DaytonContemporaryDanceCompanyDance•MicheleBottiniArtisticDirector/Headof Acting,Commediadell’Arte–Accademiadell’ArteinArezzo,Italy•EmilyWexlerChoreographer•YasuhiroUrataOneofJapan’sleadingNohTheatrePerformers•DennisKrausnickAFounderofShakespeare&Company/Director•ReneeKemperMusicalDirector•DavidDiamondNYCCareerCoach•DouglasGilpinScenicDesigner•ElizabethWichmann-WalczakandJulieA.Iezzi,AsianTheatreScholarsandArtists•CathleenChalfantActress•EllenMcLaughlinPlaywright/Actress•AlanLightmanNovelist/Physicist•A.C.T.O.R.FiveBritishActorsfromtheLondonStage• RoscoeLeeBrowneActor•DixieCarterActress•JohnDyeActor•MelissaGilbertActress•MingChoLeeScenicDesigner•LizLermanDanceExchangeChoreographer•ArthurLessacVoiceSpecialist•ScottMcKowenDesigner•BebeMillerChoreographer•CraigPattersonChoreographer•GiselleMesonChoreographer•LynnPecktalSetDesigner•ClairePorterDance/PerformanceArtist•LarryRileyActor•ShozoSatoDirector•Cybill Shepherd Actress•TedStarkDraper•KathieBrookfieldDraper•RandyLuttermanNYCcasting
StudentOrganizationsTheFredMertzAssociationisopentoallTheatreandDancemajorsandanystudentinterestedinUofMTheatre.Dependingonthecurrentadministration,theorganizationservesavarietyoffunctions:social(picnicsandsoccergames),informational(aconduitfromfacultytostudents),andfundraising(raisingmoneyforscholarshipsoractivities).EachspringtheorganizationproducestheFredMertzAwards,whichisaneveningofcomicskitsthatspoofthepreviousacademicandproductionyear,showcasegraduatingundergraduateandgraduatestudentwork,andpresentationoftheFredMertzAwards.
TheDanceAllianceistheUniversityofMemphisresidentstudentdancecompany.Wesponsorspecialprograms,performances,andmasterclassesbyguestartists,teachers,andvisitingdancecompanies.Asamember,youwillbeabletoworkcloselywithvisitingdancecompanies,participateinavarietyofmasterclasses,summerclasses,andspringperformances.
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YourFirstTwoWeeksFirstDayofClassesFallSemesterclassestraditionallybeginthelastMondayinAugust,whilethoseintheSpringSemesterstartinJanuaryontheThursdaybeforeMartinLutherKingDayorthefollowingTuesday.
Parkingcanbeproblematic,especiallythefirstthree-to-fourweeksofeachsemester,soplanaccordinglysoasnottoarrivelateforclass.
MWFclassesareusuallyfifty-fiveminutesinlengthandtypicallybeginat8:00,9:10,10:20,and11:30.MWandTRclassesareusuallyanhourandtwenty-fiveminuteseach(manyperformance-basedclassesaretwohours).TheMWtimesaretypically12:40and2:20,whiletheTRtimesaretypically9:40,11:20,1:00,and2:40.Thereisafifteen-minutebreakbetweeneachclasstoallowtimetogetfromonetothenext.
AttendanceAttendanceatallclassmeetingsisimportantandbeingontimeisexpected.Pleasenotethateachinstructorinthedepartment(aswellasintheuniversityasawhole)hashis/herownpolicywithregardtopenaltiesforabsencesandtardiness.Itisthestudent’sresponsibilitytolearnandcomplywiththesepolicies.
BulletinBoardsSeveralbulletinboardshavebeensetasidethroughouttheTheatreandCFAbuildingstoserveascommunicationlinksinordertogetinformationouttostudents.Pleasemakeitaprioritytoconsulttheseboardsonaregularbasis.
TheatreBuilding
• TheProductionNoticeboardinthefrontLobbybyTH145• TheFredMertzAssociationboard(onaneaselinthefrontlobby)• TheMessagesboardintheTHhallwayleadingtotheStudioTheatre.• TheProductionNotesboardnexttotheSceneShop
CFABuilding
• DancersusethebulletinboardinthehallwayoftheCFABuildingbetweentheDanceStudios(Rooms124and126).
AuditionsAsatheatremajorwithanemphasisinMusicalTheatreorPerformance(oraminorintheatreordance),oneoftheprimaryareasofinterestwillprobablybeinformationregardingupcomingauditionsthroughoutthesemester(andyear).Inanygivensemester,thereareampleperformanceopportunitiesthroughMainstage,DanceSpace,StudioTheatre,andLunchboxproductionsthatyouwillnotwanttomiss.Consultthevariousbulletinboardsforthemostcurrentinformation.
MajorsMeetingAtthebeginningofeachacademicyear,aMajorsMeeting—forallmajors—takesplaceintheMainstageTheatre.Attendanceismandatory.(ThisusuallyhappensthefirstTuesdayofthesemesterat1:30p.m.)Thisistheonetimeintheyearwhenallmajors—theatreanddesign,graduateandundergraduate—cometogetherinoneplacetomeeteachother,thefacultyandstaff,andhearimportantannouncementsconcerningthecomingyear.
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AseparatemeetingwithallmajorsinB.F.A.PerformanceandMusicalTheatreconcentrationsisalsoscheduledduringthefirstweeksofclasses.Thetime/locationofthemeetingwillbeannouncedatthefirstMajorsMeetingandontheFredMertzboardandProductionNoticeboardinthelobbyoftheTheatreBuilding.
FirstOrganizationalProductionLabMeetingAt2:40p.m.onthefirstTuesdayofclasses,followingtheMajorsMeeting,anorganizationalmeetingforallundergraduatestudentstakingProductionLabsisheld.Studentsareseparatedbyindividuallabassignments—Publicity,Scenery,Costumes,Lighting,Sound,Dance,andStageManagement—wherefacultymembersorgraduatestudentsupervisorsexplaintheexpectationsandresponsibilitiesrequiredbyeachlab.Ascheduleorplanisworkedoutbetweenthestudentandtheinstructorwherebythe50-hourminimumworkloadcanbeaccomplished.
“DockParty”Ataround4:00p.m.onthedayoftheMajorsMeetingandthefirstorganizationalProductionLabMeeting,a“DockParty”isoftenheldintheStudioTheatreoronstageoftheMainstageTheatre.ThepartygetsitsnamefromtheloadingdockintheSceneShop.Thisisanexcellentopportunityfornewstudentstomeetandgettoknowcurrentmajorsandfacultyandstaffmembersinaninformalsetting.
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StudentLifeDescriptionCollegeisoneofthebusiestperiodsinone’slife.Therearemorethingstodoherethananysinglepersoncouldeveraccomplish.Itisveryeasytogetinoveryourhead.Sotakeitslowanddon’toverextendyourself.Therearealwaysfaculty,friends,andpeerswillingtohelpifyouneedit.Thelifeofatheatreartistisoftenverydifferentfromotherdisciplines.Weworklonghours,latehours,weirdhours,andsometimejusttoomanyhours.Remembertosaveafewmomentsforyourself.Factortimeintoyourweeklyscheduletonurtureyourcreativity;giveyourselfanhourortwoeachweektobreathe;sit,relax,watchotherpeople,orwhateverclearsyourmind.Mostimportantly,taketimetoeatandstayhealthy.Tryingtoworkwhileyou’resickisbadenoughifyouarejusttakingclasses;butifyouaretakingclasses,workingonashow,anddoingaworkstudyjob,beingsickisasbadasitgets.Preventionisalwaysthebestmethod.
EtiquetteBecourteoustoyourpeers.Collegeisaboutlearningandhavingfun(nottheotherwayaround).Itisdifficulttolearnwhensomeoneinaclassisdistractingyourattention.Commondistractionslikecellphonesandotherelectronicsshouldbeturnedoffsothattheywon’tsurpriseanyone.Beontime!Latearrivalsarethebiggestdistraction,andpersistenttardinessoftenwillaffectyourgrade.
AccidentProcedureIfthereisanaccidentintheTheatreBuilding,findafacultymemberassoonaspossible,andtheywillcallCampusPolice,notifytheDepartmentSafetyOfficer,and/orfilloutanAccidentReportform.Ifthereisanemergency,dialHELP(4357)onanycampusphoneorpickuptheredemergencyphoneinthelobbyoranyemergencyphoneoncampus(denotedbybluelight).
SafetyTheUniversityofMemphisisanurbancampus.Ifyouseesomeonesuspicious,reportthistoafacultymemberorcampuspolice.CampuspoliceorTigerPatrolwillprovideanescortifyoufeelunsafewalkingtoyourcar.Keepyourbelongingswithyouatalltimesandremainawareofyoursurroundings.Doingsoshouldserveyouwell.
Sincerehearsalscangolateatnight,afterwards,allstudentsareadvisedtowalktotheparkinglotsorthroughcampustotheirdormsingroups,pairs,orwithanescort.
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UndergraduateAdvisingGeneralDescriptionUponadmissiontotheUniversity,everyincomingstudentisassignedanadvisoringeneralAcademicCounseling.Mosttheatrestudents,however,havedeclaredtheirmajor(andconcentration)intheapplication/auditionprocessand,ifacceptedintothedepartment,areassignedaspecificfacultyadvisorwithintheDepartmentofTheatreandDance.ItisinthebestinterestofanystudentwhowishestodeclareatheatremajortoscheduleanentranceauditionorportfolioreviewassoonaspossibleandpromptlybeginaPlanofStudywithatheatreadvisorwithintheDepartmentratherthanrelyonastaffmemberinAcademicCounseling.
IncomingFreshmenwhopre-registerduringoneofthesummertermsshouldnotethatthepersonwhoadvisesyouatthattimemaynotbetheassignedadvisorwhowilleventuallyworkwithyouduringyourfour-yeartenureinthisprogram.
Atthisfirstadvisingsession,thestudentwillbegivenaPlanofStudyandaCourseSequencethatoutlinestheclassesneededtosuccessfullycompletethedegreeprogramandwillbeadvisedforhis/herfirstsemester.TheuniversitynolongerpublishesScheduleofClassbooklets,soinformationpertainingtoclassschedulesisnowfoundonmyMemphisontheUofMhomepage.
Thereafter,studentswillbemadeawareoftheadvisingperiods.Atthattime,itistheindividual’sresponsibilitytomakeanappointmenttomeetwithhis/heradvisorforabriefsessiontoassesshis/herprogressandplanthecourseworkforthenextsemester.Studentsmustcometothesesessionsontimeandprepared—thatis,withacompletedclassscheduleinmind.Itisalsothestudent’sresponsibilitytokeepanaccurate,up-to-datecopyofhis/herPlanofStudy.ThestudentwillfindUMDegree,availableinmyMemphis,tobeaninvaluabletoolfortrackingprogresswithinone’sPlanofStudy.ThestudentwillberesponsibleformakingsuretheirtheatreconcentrationislistedcorrectlyinUMDegree.Asalways,facultytheatreadvisorsarestandingbytohelptheirindividualadviseeswithalloftheseconcerns.
Anypertinentcontactinformation(e.g.telephonenumbersoraddresses)thathaschangedsincethelastadvisingsessionshouldbeupdatedonaMajor’sInformationFormwiththeMainOffice,TH143.
Pleasenote:Sincepoliciespertainingtograduationcanchangeduringastudent’stenureasanundergraduate,knowthattheUniversity’sUndergraduateCatalogfortheyearinwhichthestudentwasadmittedintotheprogramservesastheofficialcontractbetweenthestudentandthisinstitution.
Theatre/DanceMinorAnystudentwishingtominorinTheatreorDanceintheDepartmentofTheatreandDanceshouldvisitthemaintheatreoffice,TH143.TheretheywillbeinstructedonhowtodeclareaminorinTheatreorDanceandwillbeassignedadepartmentaladvisor.Theminormustconsistofatleasteighteenhoursofapprovedcoursework,nineofwhichmustbeupperdivision.CourseworkforallminorswillbedeterminedbythestudentinconferencewiththeadvisorandapprovedbytheDepartmentChair.
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CurriculumPlanGeneralDescriptionTosuccessfullyqualifyfortheB.F.A.degree,astudentmustcompleteaminimumof120semesterhours.Thecredithourbreakdownisasfollows:GeneralEducationrequirements(41),TheatreandDanceCorecourses(22)andtheremainingconcentrationclassesandfreeelectives(57).Atleast42hoursmustbeupperdivision(3000and4000level).
PleaseconsultyourUndergraduateCatalogforamorecompleteexplanation.
Inordertocontinueintheprogram,astudentmustmaintainanoverallgradepointaverageof2.0.AminimumgradeofC-isrequiredinallTheatreandDancecoursesapplicabletothemajor.AnygradelowerthanaC-willrequirethestudenttoretakethecourse.
GeneralEducationThegeneraleducationprogramisthepartoftheundergraduatecurriculumthatpromotesacommonbackgroundforallbaccalaureatecandidates.Theareasinclude:
Communication(9)EnglishComposition(6)OralCommunication(3)
FineArtsandHumanities(9)EnglishLiterature(3)IntroductiontoTheatre(3)TheatreHistory(3)
History(6)Science(14)
SocialScience(6)NaturalScience(8)
Mathematics(3)*
*Ifastudenthasnevertakenacollege-levelmathcourse,he/shemusttaketheALEKSplacementexaminationinordertobestdeterminewhichcoursefitshis/herabilitiesandneeds.
BasicCompetenciesinGeneralStudies
1. Theabilitytothink,speak,andwriteclearlyandeffectively.StudentswhoearntheirBachelorofFineArtsdegreesmustbeabletocommunicatewithprecision,cogency,andforce.
2. Aninformedacquaintancewiththemathematicalandexperimentalmethodsofthephysicalandbiologicalsciences;withthemainformsofanalysisandthehistoricalandquantitativetechniquesneededforinvestigatingtheworkingsanddevelopmentofmodernsociety.
3. Anawarenessofotherculturesandothertimes.4. Someunderstandingofandexperienceinthinkingaboutmoralandethicalproblems.5. Thedevelopmentofvaluejudgmentsandtheabilitytoperceiveandexposefallaciousreasoning.6. Thecapacitytoexplainanddefendone'sviewseffectivelyandrationally.7. Someunderstandingofandexperienceinartformsotherthantheatre.
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TheatreCoreTheatreandDanceCoreCourses(22hours)InorderforourDepartmenttopreparestudentsforprofessional,community,oracademictheatres,asignificantsectionoftheirstudieshasbeenselectedtoprovideacommongroundforallpotentialtheatreartists.TheCoreCoursesexpandthestudent’screativepowersanddeepenthecommitmentandappreciationoftheartoftheatre.Theseclasseswerechosentoenableeachstudenttolearnandpracticeareasoftheatreinwhichtheyarenotfamiliar,outsideoftheirchosenareaofspecialization.Insightandappreciationoftheartandcraftoftheotherareasofspecializationbuildacommonvocabularyforallstudentsnecessaryforstudentsoftheatreanddance.ThesharedcoursesthatarerequiredofallB.F.A.studentsare:
• THEA1561—IntroductiontoDesign(3)OR• THEA2511—IntrotoTechnicalProduction(3)
• THEA2531—PerformanceFundamentals(3)• THEA3600—ProductionLaboratories(4)• THEA4541—Internship(3)
AreasofConcentrationThemajorityofhoursthatyoutaketosuccessfullyfulfilltherequirementsoftheB.F.A.degreearethoseclassesinyourareaofconcentration(performance,musicaltheatre,dance,ordesignandtechnicalproduction).Beawareofthecoursesequencesinyourareaofconcentrationandknowthatsomeclassesareonlyofferedeverytwoyears.
CompetenciesBachelorofFineArtsDegreeinDESIGN&TECHNICALPRODUCTIONTheBachelorofFineArtsdesigner/technicianshouldleaveafterfouryearswithanadequateportfoliotosubmitforconsiderationforprofessionalemploymentorforadmissiontoaMasterofFineArtsprogram.
1. Knowledgeofthehistoryofdecor(furniture,decorativearts,andarchitecture,includingtheatre
architecture)asitmaybeusedintheatre.
2. Knowledgeofthehistoryofcostumesandtextiles,includingtheatricalcostumesasappliedtotheatre.
3. Freehanddrawing.
4. Technicaldrawing:projectiondrawing,mechanicaldrafting,andtheadaptationofthese
techniquestoscenicandtechnicaldrawingforthetheatre(floorplans,technicalelevations,painter’selevations,perspectivedrawingforsceneplates).
5. Studyofcolorandcontrolofthesepropertiesforaestheticuse.
6. Studiesintheprinciplesoftwo-dimensionalandthree-dimensionaldesignaesthetics(practical
problemsusingallcolormediumsandincludingparticularexposuretorepeatpatterns,abstracts,andsculpting,inclay,plaster,polystyrenefoam,metalwelding,andsculptingforcastinginplaster,resins,metal).
7. Workinmanyrenderingmediaincludinginks,watercolor,pastels,acrylics,andcharcoal.
8. Oncompletionofdegreework,eachstudentshouldhavedevelopedaprofessionalrésuméanda
portfolioofdesignworkinallareas.
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9. Inadditiontothebasiccompetencieslistedabove,eachstudentwilldevelopselectedcompetenciesrequiredforthespecificDesign/Technologicalemphasisorprogramthathe/shepursues,i.e.,CostumeDesign,ScenicDesign,LightingDesign,TechnicalDirectionorStageManagement.
10. Internship(SeeInternshipsection.)
NOTE:ItisunderstoodthatstudentsgraduatingwithaBachelorofFineArtsinDesignandTechnicalProductionwillhavehadanopportunitytodesignatleastonefully-realizedproductionintheareaoftheirspecialty.
BachelorofFineArtsDegreeinPerformance(ActingEmphasis)TheBachelorofFineArtsperformershouldleaveafterfouryearswithadequatetrainingandabilitytoauditionforprofessionalemploymentorforadmissiontoaMasterofFineArtsprogram.
1. Demonstratedabilitytoact,i.e.,toprojectone'sselfbelievablyinwordandactionintoimaginary
circumstances,evokedimprovisationallyorthroughtext.
2. Demonstratedabilitytoengageeffectivelyinimprovisationsbothbyoneselfandinanensemble.
3. Demonstratedabilitytocharacterizeconvincinglyfromplaysdrawnfromdifferentgenresandstylesinanensemblerelationshipwithotheractors.
4. Adevelopedtechniqueforanalyzingthespecifictasksrequiredinperformingvariedcharacters
fromwrittenplays.
5. Clearandarticulatespeechwithabsenceofregionalism;togetherwithdemonstratedabilitytousetheInternationalPhoneticAlphabet(IPA)tolearnandperformforeigndialects;demonstratedabilitytoanalyzeandscanversedramaandtoperformconvincinglyinverseplays.
6. Flexible,strong,andcontrolledvoicewithtrainedbreathsupport;appropriatevocalrangeand
freedomfromvocaltensioninrehearsalandperformance(andposturaltensions);demonstratedabilitytousethevoiceeffectivelyasaninstrumentforcharacterizationtogetherwiththeabilitytoprojectthevoiceeffectivelyindifferentsizetheatrespaces.
7. Flexible,relaxed,andcontrolledbodytrainedinbasicstagemovementdiscipline,includingmime
anddance;demonstratedabilitytousethebodyeffectivelyonstageasaninstrumentforcharacterizationandtoberesponsivetochangingtime/rhythmdemandsandspecialrelationships.
8. Thoroughcommandofmake-upmaterialsandoftheabilitytoapplyone'sownmake-upfora
varietyofcharacters;demonstratedabilitytousehair,rubber,orlatexaseffectiveaidsforstagecharacterization.
9. Understandingofthespecificdemandsofactinginplaysofeachmajorperiodandgenreof
dramaticliterature.
10. Demonstratedcomprehensionofthebasicbusinessproceduresoftheactor'sprofession.
11. Internship(SeeInternshipsection.)
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BachelorofFineArtsDegreeinPerformance(DanceEmphasis)TheBachelorofFineArtsdancershouldleaveafterfouryearswithadequatetrainingandabilitytoauditionforprofessionalemploymentorforadmissiontoaMasterofFineArtsprogram.
1. Demonstrateahighleveloftechnicalskillinatleastoneareaofperformance.
2. Achieveahighlevelofconceptualunderstandingofthemediumanditsexpressivepossibilities.
3. Haveafundamentalknowledgeofthebodyandkinesiology.
4. Demonstratebasicknowledgeandskillsindancepedagogy.
5. Demonstratebasicknowledgeandskillsinchoreographyanddevelopchoreographicpotentialin
studiesthatincludetraditionaland/orexperimentalapproaches.
6. Beabletoplacedanceinhistorical,culturalandstylisticcontexts.
7. Developanunderstandingofthecommonelementsandvocabularyandtheinteractionoftheseelementsandtobeabletoemploythisknowledgeinanalysisofdance.
8. Developtheabilitytoformanddefendanalysesandcritiquesofdanceandtocommunicatedance
ideas,concepts,andrequirementstoprofessionalsandlaypersonsrelatedtopracticeofthemajorfield.
9. Learntoanalyzedanceperceptivelyandtoevaluatecritically.
10. Beabletoformanddefendindividualcritiques.
BachelorofFineArtsDegreeinMusicalTheatreTheBachelorofFineArtsmusicaltheatreperformershouldleaveafterfouryearswithadequatetrainingandabilitytoauditionforprofessionalemploymentorforadmissiontoaMasterofFineArtsprogram.
1. Demonstratedabilitytoact,i.e.,toprojectone'sselfbelievablyinwordandactionintoimaginary
circumstances,evokedimprovisationallyorthroughtext.
2. Demonstratedabilityinbasicmusicalskillsincludingvoiceperformance,musicianship,sight-singing,andmusictheory.
3. Demonstratedabilityindanceskillsasappropriatetomusicaltheatre.
4. Demonstratedabilitytoengageeffectivelyinimprovisationsbothbyoneselfandinanensemble.
5. Demonstratedabilitytocharacterizeconvincinglyfromplaysdrawnfromallofthelyrictheatre
traditionandstylesinanensemblerelationshipwithotherperformers.
6. Adevelopedtechniqueforanalyzingthespecifictasksrequiredinperformingvariedcharacters.
7. Clearandarticulatespeechwithabsenceofregionalism;togetherwithdemonstratedabilitytousetheInternationalPhoneticAlphabettolearnandperformforeigndialects;demonstratedabilitytoanalyzeandscanversedramaandtoperformconvincinglyinverseplays.
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8. Flexible,strong,andcontrolledvoicewithtrainedbreathsupport;appropriatevocalrangeandfreedomfromvocaltensioninrehearsalandperformance(andposturaltensions);demonstratedabilitytousethevoiceeffectivelyasasingerandasaninstrumentforcharacterizationtogetherwiththeabilitytoprojectthevoiceeffectivelyindifferentsizetheatrespaces.
9. Flexible,relaxed,andcontrolledbodytrainedinbasicstagemovementdiscipline,includingmime
anddance;demonstratedabilitytousethebodyeffectivelyonstageasaninstrumentforcharacterizationandtoberesponsivetochangingtime/rhythmdemandsandspecialrelationships.
10. Thoroughcommandofmake-upmaterialsandoftheabilitytoapplyone'sownmake-upfora
varietyofcharacters;demonstratedabilitytousehair,rubber,orlatexaseffectiveaidsforstagecharacterization.
11. Understandingofthespecificdemandsofperforminginmusicalsofeachmajorperiodandgenreof
thelyrictheatre.
12. Demonstratedcomprehensionofthebasicbusinessproceduresoftheactor'sprofession.
13. Internship(SeeInternshipsection.)
DirectedStudiesTheadvancedstudentmayelecttocreateaDirectedIndividualStudiesinTheatreorDance(THEA4553orDANC4301).
TheProcedure:(1)Decideonatopic.(2)Findaninstructorwillingtosuperviseortutorthedirectedstudiesproject.(3)Developaplanofstudyoutliningthenatureofthedirectedstudies,whattheexpectationswillbe,thetimecommitment,andhowtheclasswillbeevaluated.ThestudentandfacultymembermustsignthedocumentandfileitintheTheatreOfficeduringtheadvisingsessionoftheprevioussemester.Failuretodosowillresultinadministrativewithdrawalfromthecourse.
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EvaluationGeneralDescriptionInordertomaintainhighstandards,theB.F.A.degreeprogramregularlyutilizesseveraltoolsforevaluatingtheeffectivenessofbothstudentandteacherperformance.Itisimportantthateveryoneinvolvedapproachtheevaluationprocesswithseriousnessandthoughtfulness.
SETEStudentEvaluationofTeaching:Asastudent,youhaveanopportunitytocommentonandevaluateyourcoursesandteachersonlinethroughtheStudentEvaluationofTeachingEffectiveness(SETE)neartheendofeachsemester.Attheappropriatetime,youwillreceiveanemailfromtheProvost’sofficegivingyouthedateswhentheonlineevaluationsareopen.Thestudentratingandcommentsarecompletelyanonymous.Writtenevaluationisanimportantaspectofthecontinuingdialoguebetweenyouandyourinstructors,andtheUniversityandDepartmentfeelyourinputisveryimportant.Facultywillbegiveninformationgainedfromtheevaluationsonlyafterfinalgradesaresubmitted.Thesedocumentsareanimportantpartofeachfacultymember'sdossier.
StudentEvaluationFacultyEvaluationofStudents:TheB.F.A.degreeisdesignedtodeveloptheatreprofessionalsintheareasofmusicaltheatre,dance,performance,anddesignandtechnicalproduction.Therefore,asystemofevaluatingeachstudent'sprogressinhis/herconcentrationhasbeendeveloped.TheB.F.A.Exam/portfolioreviewissetuplikeaprofessionalauditionandallowsforanin-depthlookateachstudent'screativework.Inaddition,theauditionisfollowedbyaninterviewwiththefacultymembers.FurtherinformationontheB.F.A.Exam/portfolioreviewcanbefoundlaterinthisdocumentundertheheadingTheExam/Portfolio.
GradesAnimportantdocumentineachclassisthesyllabusprovidedbytheinstructor.Thisisthecontractthestudentandteacheragreeonforthedurationofthecourseandincludesthecontent,assignments,expectations,evaluationcriteria,andabsencepolicy.Atthecompletionofthecourse,thestudentwillreceivealettergrade(A,B,C,D,orF).BeginningintheFallSemesterof2000,aplus/minusoption(A+,A,A-,B+,B,B-,etc.)wentintoeffect.
EachstudentmustreceiveaminimumgradeofC-inanyrequiredmajorcourse,orrepeatthecourse.
SpecialCircumstances:Addanddrop(withdrawal)dates:theUniversityhasstrictpoliciesontheaddinganddroppingofclasses.PleaseconsulttheRegistrar’swebsitefortheadd/dropdeadlines.
OnIncompletes:Ifyou,forsomevalidreason,areunabletocompletetherequiredcourseworkwithinthetimeallotted,yourinstructormayagreetoassignagradeofIncomplete.Inthatcase,youareexpectedtocompleteallrequirementswithinsixweeksfollowingtheendofthatsemester.
OnCourseRepetition:Mostclassescanberepeatedinordertoreplaceanunsatisfactorygrade.
OnGradeAppeals:TheappealprocedureisdesignedtoprovideanyundergraduateattheUniversityofMemphiswithaclearlydefinedavenueforappealingtheassignmentofacoursegradewhichthestudentbelieveswasbasedonprejudice,discrimination,arbitraryorcapriciousaction,orotherreasonsnotrelatedtoacademicperformance.Inallcasesthecomplainingstudentshallhavetheburdenofproofwithrespecttotheallegationsinthecomplaintandintherequestforahearing.Informationongradeappealscanbefoundat:http://www.memphis.edu/ugcatalog/acad_reg/ug_grade_appeal.php
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BachelorofFineArts(B.F.A.)DegreeinTheatre
GeneralDescriptionTheBachelorofFineArts(B.F.A.)Degreeisaprogramspecificallydesignedforstudentswhoseinterestsandabilitiesstronglysuggestpotentialforpursuingcareersasartistsintheresident,professional,community,oracademictheatre.ByenrollinginourprogramyouhaveelectedtocompletethenecessarycreditstoearnaB.F.A.degreeintheatrefromtheDepartmentofTheatreandDancewithaconcentrationinDesignandTechnicalProduction,Performance(ActingorDance),orMusicalTheatre.
AdmissiontotheProgram:PerformanceConcentration(ActingEmphasis)AdmissiontotheB.F.A.inTheatreforPerformance(ActingEmphasis)iscontingentuponsuccessfuladmittancetotheUniversityofMemphis.However,studentsinterestedinthePerformanceConcentrationortheMusicalTheatreConcentrationmustalsoauditiontobeadmitted.StudentsinterestedinauditioningforadmittanceintotheseconcentrationscanlearnmoreaboutauditionrequirementsbycontactingtheTheatreOfficeat(901)678-2523.
TransferofCredit:Incertaincases,studentsmaybeadmittedtoanadvancedleveloftheB.F.A.program.Suchadmissionwillbebasedupon:(1)anauditionandinterview;(2)thestudent’spreviouscourseworkintheatre,particularlyintheareaofspecialinterest;(3)thestudent’spreviousinvolvementinproductionexperience;and(4)lettersofrecommendationfromformerTheatreArtsinstructorsand/ordirectors.Evenifadmittedtoanadvancedstanding,thestudentwillberequiredtoremedypreviouscoursedeficiencies.
AuditionsPerformanceConcentration/ActingEmphasisEntrancetotheB.F.A.PerformanceConcentrationisthroughauditiononly.TheentranceauditionsareofferedinNovemberandintheSpringSemesterandareavailablebothtoprospectivefreshmanaswellascurrentUniversityofMemphisstudents.Theauditionevaluatesstudents’abilitiesinacting,commandoflanguage,bodyawareness,andabilitytotakedirection.Spaceintheconcentrationislimitedandwillbegiventostudentswhobestexhibitpotentialfordevelopmentinthefieldbasedontheaudition.Whilemoststudentsareadmittedintotheconcentrationpriortothefreshmanyear,equalconsiderationforadmissionwillbegiventocurrentUniversityofMemphisstudents.UofMstudentscurrentlypursuinganothermajorareencouragedtoseektheadviceoftheiradvisoraswellasamemberofthePerformancefacultybeforeauditioningtoentertheB.F.A.Performanceconcentration.
Fortheentranceexam,studentsshouldprepare:● Oneshortmonologuefromaplaynottoexceedtwominutes.Themonologuemustbememorizedand
shouldbeperformedinthecontextoftheentireplay.Theemphasisisonsimplereality.Thoughnotrequired,studentsmaybringadditionalmonologuestotheaudition,whichmaybeseenatthediscretionofthefaculty.
Suggestionsfortheaudition:● Choosemonologuesthatareappropriateforyourageandexperience.Beabletodiscusstheplayasa
whole.Itisbesttoselectmonologuesfromplays,asopposedtospecialmaterialwrittenformonologuebooks.Avoidhistoricstyles,suchasShakespeare,andverseorpoetry.Avoiddialects.Usegoodjudgmentinselectingthemonologues,avoidingpiecesthatmaybeinappropriatebecauseoflanguageorsituation.
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PerformanceConcentration/DanceEmphasisStudentspursuingtheDanceEmphasisarenotrequiredtoaudition.Studentswillbeevaluatedeachsemesterbyfaculty.Theevaluationwillassesscommitment,professionalbehavior,andprogressindancestudies.
AdmissiontotheProgram:MusicalTheatreEntrancetotheMusicalTheatreconcentrationisthroughauditiononly.TheentranceauditionsareofferedintheSpringSemesterandareavailablebothtoprospectivefreshmanaswellascurrentUniversityofMemphisstudents.Theauditioniscomprehensiveandevaluatesstudents’abilitiesinsinging,acting,anddance.Spaceintheconcentrationislimitedandwillbegiventostudentswhobestexhibitpotentialfordevelopmentinthefieldbasedontheaudition.WhilemoststudentsareadmittedintotheconcentrationpriortothefreshmanyearequalconsiderationforadmissionwillbegiventocurrentUniversityofMemphisstudents.CurrentstudentsareencouragedtoseektheadviceoftheiradvisoraswellastheMusicalTheatrefacultybeforeauditioningtoenterthemusicaltheatreconcentration.
Fortheentranceexamstudentsshouldprepare:● Oneshortmonologuefromaplaynottoexceedtwominutes.Themonologuemustbememorizedand
shouldbeperformedinthecontextoftheentireplay.Theemphasisisonsimplereality.Thoughnotrequired,studentsmaybringadditionalmonologuestotheaudition,whichmaybeseenatthediscretionofthefaculty.
● Onesongfromthestandardmusicaltheatrerepertoire.Thesongmustbememorizedandshouldbe
performedinthecontextoftheentireshow.Anaccompanistwillbeprovided.Studentsmaybringtheirownaccompanistbutnorecordedaccompanimentwillbepermittedandstudentsmaynotsingacappella.Thoughnotrequired,studentsmaybringadditionalsongstotheaudition,whichmaybeheardatthediscretionofthefaculty.Studentsmayalsobeaskedtodosomeshort,pitch-matchingexercises.
● Adanceauditionwillberequired,whichwillconsistofashortballetclassattheconclusionofwhicha
musicaltheatrecombinationwillbetaughtandperformedforthefacultyinsmallgroups.Suggestionsfortheaudition:● Choosemonologuesthatareappropriateforyourageandexperience.Beabletodiscusstheplayasa
whole.Itisbesttoselectmonologuesfromplays,asopposedtospecialmaterialwrittenformonologuebooks.Avoidhistoricstyles,suchasShakespeare,andverseorpoetry.Avoiddialects.Usegoodjudgmentinselectingthemonologues,avoidingpiecesthatmaybeinappropriatebecauseoflanguageorsituation.
● Choosesongsthroughwhichyoucancommunicateaspecificsituationinaclearcontextwithanobjective
(goal).Makethesituationashonestandspecificaspossible.Selectmaterialthatissuitableforyourageandexperience.Choosesongsthatfitcomfortablywithinyourrange.Ifyouareusingatranspositionofasong,besurethatyouhavecorrectlyprintedthemelody,lyrics,andaccompanimentinthenewkey.Yourmusicshouldbeinabinderortapedwithoutpageturns.
● Thoughitisn'tpossibletopreparespecificallyforthedanceaudition,applicantsgenerallyhavebetter
successiftheyeitherhavedancetrainingorhavedancedtovariousdegreesinproductions.Whiletheperformanceofthemusicaltheatrecombinationisimportant,equalemphasisisgiventotheclasssectionoftheaudition.Studentswhoseemreadilytrainableinmovementwillbemostsuccessfulintheaudition.
AdmissiontotheProgram:Design&TechnologyEntrancetothedesign&technologyconcentrationisthroughportfoliopresentationandinterviewonly.TheentranceinterviewsareofferedintheSpringSemesterandareavailablebothtoprospectivefreshmanaswellascurrentUniversityofMemphisstudents.Theinterview,combinedwithaportfoliopresentationbythe
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students,providesthefacultyinsightintothestudentspotentialandqualificationsfortheconcentration.Studentswhoexhibitpotentialfordevelopmentinoneormoreoftheareasofferedwillbeadmitted.WhilemoststudentsareadmittedintotheconcentrationpriortothefreshmanyearequalconsiderationforadmissionwillbegiventocurrentUniversityofMemphisstudents.Currentstudentsareencouragedtoseektheadviceoftheiradvisoraswellasthedesign&technologyfacultybeforeauditioningtoentertheconcentration.
Fortheportfoliopresentationstudentsshouldprepare:● Atypedrésumé(fivecopies).Therésuméshouldcontaininformationinsuchareasaspersonal(name,
address,phone,etc.),educational(schoolsandtrainingprogramsattended,degreesattained),theatricalexperience(positionsheld,producedworks,theatreaffiliations,etc.),skills,relatedexperience,professionalaffiliationsand,mostimportantly,namesandphonenumbersofreferences.
● Imagesofpastshows,equipmenttheyhaveused,andanyresearchrelevanttotheirdesignwork.
● Examplesofpaperworkdemonstratingresearch,organizationalskills,drafting,orotherdocumentationof
anyrealizedwork.● Ashort(one-to-twopages)statementofpurpose.
Presentationsuggestionstoconsider:● Beorganizedinyourverbalpresentation.Clearlyintroduceyourselfandstatewhatyourobjectivesare.
Followthiswithalistofyourexperiencesandaccomplishmentsthatclearlyindicateyourpresenttalentsandgiveusanideaofyourfuturepotential.Closeyourpresentationwithasummaryofyourobjectivesandbringthepresentationtoadefinitiveconclusion.
● Includevisualmaterialsinyourpresentationthatillustrateyourabilitiesasanartist,adesigner,andasa
technician.Suchmaterialstypicallyincludeslides,photographs,renderings,drafting,sketches,audiorecordings,andrealizedclassprojectmaterials.
● Includematerialsfromrelatedexperiencessuchashobbies,non-theatreclassprojects,andwork
experiences.● Expectquestionsaboutyourwork,professionalphilosophy,andpersonalvalues.
● Prepareyourpresentationtosetupandstrikequicklyandefficiently.
ProgressandRetentionDesign/TechnicalProductionYourfirstindividualPortfolioReview/InterviewwilltakeplaceintheJanuaryofthebeginningofthesecondsemesterofyoursophomoreyear.Freshmanandtransferstudentswillbeinterviewedasagroupbutarestillrequiredtoprovideportfolioexamples.
DesignandTechnicalProductionPortfolioReview/InterviewTimeslotsforthePortfolioReview/Interviewwillbeassignedforallparticipatingstudents.Thelistofappointmentswillbepostedinvariouslocationsincludingtheproductionboards,theFredMertzboard,andtheDesignStudioinTC-216.
Theportfolioreviewwillbeintwoparts:
1. Aneight-minuteformalpresentation.
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Thisisaformalpresentation.Youshouldplanthepresentationforanunfamiliaraudience.Considerthisbothasatechnicalauditionandasanopportunitytoexpressyourdevelopmentalgoals.Thisbecomesanopportunityforyoutopractice“selling”yourself,yourart,andyourskills.Prepareyourself,dressandactaccordingly.
ThisisamandatoryreviewforallB.F.A.candidates.Otherstudentsarewelcometoparticipate,timepermitting.
Thisreviewisintendedtofulfilltheprogramretentionrequirementsoftheconcentration,toprovideadevelopmentalanalysisforthestudent,andtoensureastandardofqualitywithintheprogram.
Presentationsuggestionstoconsider:
● Beorganizedinyourverbalpresentation.Clearlyintroduceyourselfandstatewhatyourobjectivesare.Followthiswithalistofyourexperiencesandaccomplishmentsthatclearlyindicateyourpresenttalentsandgiveusanideaofyourfuturepotential.Closeyourpresentationwithasummaryofyourobjectivesandbringthepresentationtoadefinitiveconclusion.
● Includevisualmaterialsinyourpresentationthatillustrateyourabilitiesasanartist,adesigner,
andasatechnician.Suchmaterialstypicallyincludeslides,photographs,renderings,drafting,sketches,audiorecordingsandrealizedclassprojectmaterials.
● Includematerialsfromrelatedexperiencessuchashobbies,non-theatreclassprojects,andwork
experiences.
● Provideatypedrésumé(5copies).Therésuméshouldcontaininformationinsuchareasaspersonal(name,address,phone,etc.),educational(schoolsandtrainingprogramsattended,degreesattained),theatricalexperience(positionsheld,producedworks,theatreaffiliations,etc.),skills,relatedexperience,professionalaffiliationsand,mostimportantly,namesandphonenumbersofreferences.
● Expectquestionsaboutyourwork,professionalphilosophy,andpersonalvalues.
● Prepareyoupresentationtosetupandstrikequicklyandefficiently.
Someofthingswhichwewillbelookingfor:● Clarityinpresentation,includingyourpoiseandconfidence.
● Theabilitytorelateyourstrengthstoyourdesiredobjectives.
● Thechoiceofvisualmaterialsandtheirabilitytodisplayyourstrengths.
● Ademonstrationofrangeandpotential.
Ifthisisyourfirstreview,donotbeintimidated.Yourpresentationneednotbeelaborate,butratheritshouldbeanaccuraterepresentationofyourcurrentstateofdevelopment.Yourportfoliowillgrowasyougrowasanartist.Youshouldbeconstantlylookingforitemsforpossibleinclusioninyourportfolioandpayattentiontocreatingagraphicandphotographicrecordofallyourproducedwork.
2. Aten-totwelve-minuteevaluation.
Thisportionofthereviewisacommitteeanalysisofyourpresentation,yourgrowthasanartistandcraftsperson,andprogressinyourdegreeprogram.Bepreparedtodiscussyourpersonaldevelopmentschedulewithregardstoreading(plays,designandtechnicalresearch,etc.)andskillsacquisition
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(sketching,drafting,manualskills,etc.).Criticismconsistsofidentifyingboththepositiveandthenegativeaspectsofone'swork—youshouldexpectdiscussionofboth.Wewillconsiderthestrengthsandweaknessesinyourportfolio,yourabilities,andyourprogresstowardyourobjectives.Thisdiscussionwillincludeanevaluationandassessmentofyourpersonalcommitment,motivation,andtimemanagementskills.
Expectspecificadviceconcerningfutureworkandassignments.Thisisalsoatimeforyoutoinformusofwaysinwhichwecanhelpyoutoachieveyourgoals.Asthereviewprocesscontinues,wewillexpectcontinuedprogressfromyou.Theeffortyoudisplayisamajorconcernandexpectationofthereviewers—yourprogressisimportanttothem.
ANYCURRENTB.F.A.DESIGNCANDIDATEWHODOESNOTTAKEPARTINTHEPORTFOLIOREVIEWWILLAUTOMATICALLYBEPLACEDONPROBATION.
PERFORMANCE–B.F.A.EXAMSStudentsadmittedtotheB.F.A.PerformanceconcentrationmustcompletetheFreshmenandUpperclassmenshowcasesandpassannualB.F.A.Exams.ForallShowcasesandB.F.A.Exams,studentsmustcomedressedinproperauditioningattire.(Note:studentspursuingtheDanceEmphasiswillbeevaluatedeachsemesterbyfaculty.)
UponcompletionofaB.F.A.Exam,studentswillreceiveoneofthefollowingresults:
● Pass● ProvisionalPass,withnotesonspecificareasforimprovement● FailuretoPass,withnotesonspecificareasforimprovement● Non-Continuationintheprogram
TheB.F.A.ExamintheFallofone’sJuniorYearisknownastheQualifyingExam.Itisexpectedthatbythistimeinone’sprogram,astudentshouldbeabletodemonstratesuccessinacertainnumberofcompetencies.Oftenaspecialchallengeissetforthisparticularexam.Ifastudentreceivesa“FailuretoPass”ontheJuniorQualifyingExam,thestudentmustre-takeandpasstheQualifyingExampriortograduation.
TheShowcasesandB.F.A.Examscheduleisasfollows:
Freshmen:AB.F.A.ShowcaseisheldeachApril.
Sophomores/Transferstudents:B.F.A.AuditionExamtakesplaceeachspringsemester.
Juniors:B.F.A.QualifyingExamtakesplaceinthefallsemester.Juniorsmustcomewithanupdatedrésumé.JuniorsaresubsequentlyrequiredtoshowcasetheirauditionpackagesduringaLunchboxslotearlyinthespringsemester.
SeniorsB.F.A.AuditionExamtakesplaceinthefallsemester.Seniorsmusthaveanupdatedrésuméandacurrentheadshot.SeniorsaresubsequentlyrequiredtoshowcasetheirauditionpackagesduringaLunchboxslotearlyinthespringsemester.
WhentoSignUpEachsemesteraB.F.A.auditionorientationLunchboxisheldtoreceiveatimeslotfortheExamandtohearinformationabouttheExamprocess.TheJunior/SeniorOrientationtakesplacesinthefall,whileSophomore/Transferstudentsmeetinthespring.TheFreshmenShowcasesignupisheldinconjunctionwiththeSophomore/Transferstudentauditionorientation.
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TheB.F.A.PerformanceExamsconsistsofthreeparts:Audition,JuriedFeedback,andDiscussion.
1. Audition:Theauditionportionoftheexammayfollowavarietyofformats.Thetwomosttypicalformatsare:
NinetySecondPackage
● ThisformatisbasedontheprofessionalmodelthatastudentwillencounteratauditionssuchastheTennesseeTheatreAssociation(TTA),theSoutheasternTheatreConference(SETC),andtheUnitedProfessionalTheatreAuditions(UPTA).Thestudenthas90secondstoshowcasehis/hertalent.Timeisusedtoperformaportionoftwocontrastingmonologuesand/orsingafewbarsofasong.
ThreeMinutePackage
● Thestudentpreparestwomonologuesofdistinctlydifferentstylesand/orperiods,plusamusicalselectionofaround32measures,foratotalauditiontimeofroughlythreeminutes.Youmustbringyourownpre-recordedmusic.SingingacappellarequiresspecialpermissionbeforehandfromyourPerformanceareacoordinator.Themusicalcomponentshouldbetreatedasathirdactingpiecewithacharacterdrivensongfromamusical.
2. JuriedFeedback:ThisisatimewhenthePerformancefacultycritiquesyourauditionpackage.Itisnot
necessaryforyoutotakenotesduringthissection.Youwillbesentacopyofanycommentswithyourstatusletterattheendofthesemester.
3. Discussion:Adiscussionofyouracademic,artistic,andproductionworkduringthepastsemesterwill
bereviewedandevaluated.Attheendoftheexam,youwillbegivenafewminutestogiveusyourfeedbackconcerningprogrammaticmattersorgeneraltopicsofconcern.
ANYCURRENTB.F.A.PERFORMANCECANDIDATEWHODOESNOTCOMPLETEAB.F.A.PERFOMANCEEXAMWILLAUTOMATICALLYBEPLACEDONPROBATION.
MUSICALTHEATRE–B.F.A.EXAMSOnceadmitted,MusicalTheatrestudentsfollowthesameauditionscheduleasthePerformancemajors.StudentsadmittedtotheMusicalTheatreconcentrationmustalsotakethemusicaltheatrediagnosticexamatthestartoftheirfirstsemesterintheprogram.Thisexamcoversbasicsofmusictheory,keyboardingskills,andmusicaltheatrehistory.Priorknowledgeintheseareasisnotnecessarilyrequired;however,studentsmaytestoutofsomecurricularrequirementsbasedontheresultsoftheseexams.Allstudentsmusttaketheexamregardlessofpreviousexperience.Moststudentswilltaketheexamduringorientationpriortothestartoftheirfirstyearofclasses.
Tipsfortheexam:
● TheexamwillcoverbasicMusicTheory:notereading,majorandminorscalesandkeys,andbasicharmonicanalysis;KeyboardingSkills:majorandminorscales,chordprogressions,andbasicsightreadinginbothtrebleandbassclef;basicMusicalTheatreHistory:knowledgeoflandmarkshows,differencesbetweenmusicaltheatreandopera/operetta,etc.
● Thediagnosticexamdoesnotaffectastudent’sstandingintheprogram,butitdoesserveasa
placementexamforsomeofthecurriculumand,dependingontheresults,studentsmaybeabletoomitcertaincoursesfromtheplanofstudy.
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StudentsintheMusicalTheatreconcentrationwillbegintheyearlyauditionprocessintheirsophomoreyear.ThesophomoreandsenioryearauditionswillbesimilartothoseofthePerformanceconcentration;however,studentsmustsingaspartoftheirpackage,and,ifadanceauditionisoffered,studentsmustparticipateinthataswell.
JuniorQualifyingExamFortheJuniorqualifyingexam/auditionstudentsmustprepare:
● Twocompletemusicaltheatresongs,oneofwhichmusthavebeenwrittenpriorto1965.The
songsmustbememorizedandshouldbeperformedinthecontextoftheentireshow.Anaccompanistwillbeprovided.Studentsmaybringtheirownaccompanistbutnorecordedaccompanimentwillbepermittedandstudentsmaynotsingacappella.
● Twocontrastingmonologuesfromastagework.Themonologuesmustbememorizedandshouldbeperformedinthecontextoftheentireplay.Theemphasisisonsimplereality.
● Studentswillalsoparticipateinadancecallthatwillincludematerialandtechniquesincludingballetandvariousmusicaltheatrestyles.
Thewrittenexaminationwillbesimilartothediagnosticexamgiveninthefirstyear;however,studentsareexpectedtoexhibitamoreadvancedknowledge-baseintheoryandhistory.
MusicalTheatreExamGradingStudents’performanceintheexamswillresultin(a)continuationintheconcentration,(b)probationarycontinuation,or(c)non-continuationintheprogram.
UponcompletionofaB.F.A.Exam,studentswillreceiveoneofthefollowingresults:
● Pass● ProvisionalPass,withnotesonspecificarea(s)forimprovement● FailuretoPass,withnotesonspecificarea(s)forimprovement● Non-Continuationintheprogram
Note:Ifastudentreceivesa“FailuretoPass”ontheJuniorQualifyingExam,thestudentmustre-takeandpasstheQualifyingExampriortograduation.
ANYCURRENTB.F.A.MUSCIALTHEATRECANDIDATEWHODOESNOTCOMLETEAB.F.A.PERFOMANCEEXAMORTAKEPARTINTHEPORTFOLIOREVIEWWILLAUTOMATICALLYBEPLACEDONPROBATION.
GeneralRequirementsWhileEnrolledFull-TimeintheB.F.A.ProgramThefactmustbeemphasizedthatadmissiontotheB.F.A.curriculumdoesnotimplyyourpermanenttenureintheprogram.Afteradmission,youareexpectedtopursuecontinuedcommitmenttocreativeexcellenceinyourfieldofstudyasyouhoneyourcraftasanartist.
Also,aslongasastudentisenrolledattheUofMfull-time,he/shemustfulfillALLoftheresponsibilitiesthatcomewiththedegreeinordertoremainingoodorsatisfactorystandingintheprogram.Therefore,evenastudentintheirlastsemesterasaseniortakingonlygeneraleducationcoursesinanattempttograduate(havingcompletedalltheirtheatrecourses)mustcomplywiththegeneralexpectationsandresponsibilitiesofthedegree,includingattendingmandatoryB.F.A.datesandattendingstrikes.
DESIGN/TECHNICALPRODUCTIONContinuingcommitmenttocreativeexcellenceimpliesaconsiderabletimecommitmentonyourpart.Amongyourresponsibilitiesare:
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● RegularparticipationinthesupportandproductionaspectsofallUofMTheatreproductions.● MandatoryattendanceatallstrikesofUofMTheatreproductions.● Mandatoryparticipationinannualportfolioreviews.
PERFORMANCE/MUSICALTHEATREContinuingcommitmenttocreativeexcellenceimpliesaconsiderabletimecommitmentonyourpart.Amongyourresponsibilitiesare:
● AuditioningforallSeasonShowsandalloncampus,springsemesterfirst-yearGraduate
DirectingProjects(Studentsareencouragedtoauditionforallotherdepartmentalprojectsbutarenotrequiredtodoso.)
● ParticipationinB.F.A.Exams● Participationinallstrikes● Contributiontotheprogramatlarge,i.e.beingagoodcitizen—attendingallproductions,being
supportiveofcolleagues,maintainingagoodattitude,attendingclasses,givingahelpinghandifnotinvolvedinashow,etc.
FailuretocomplywithB.F.A.rulesandregulationscouldresultinPROBATION.
REGISTERINGFORCLASSESIfastudentisnotregisteredforpermit-onlyclassesbytheendoffinalsweek,his/herpermitsCOULDbevoidedandhe/shewilllosetheabilitytoregisterforthem.Thestudentmayalsoforfeittheopportunityoftakingtheclass,thusdisruptingorperhapsprolonginghis/heracademiccareer.
GRADEMINIMUMINPERFORMANCECLASSESDepartmentpolicymandatesthateachstudentmakeaminimumgradeofa“C-”inalltheatrecourses;failuretodosomeansthattheclassmustberetakenandcouldprohibitthestudentfromprogressingforwardinthecoursesequence.
AUDITION/STRIKE/B.F.A.DATECONFLICTSItisexpectedthatastudentwillmanagetheirpersonalandworkscheduletofulfilltheirresponsibilitiesforallmandatoryB.F.A.datesduringtheyear.Alistofthesedatesispublishedatthebeginningoftheyear.Anyaddeddatesarepublishedinplentyoftimeforstudentstoarrangetheirschedules.IfastudentmissesaB.F.A.date,demeritswilllikelybeissued.IfastudenthasalegitimatelyunavoidableconflictwithanymandatoryB.F.A.date,auditionorstrike,he/shemustgivea48-hourwrittennotificationtotheirrespectiveB.F.A.AreaHeadtoavoidadditionaldemerits.Forexample,ifanauditionstartsonaThursdayevening,yournotificationmustbereceivednolaterthantheTuesdayofthatweekby5:00pm.Likewise,sincestrikesusuallyhappenonMondays,notificationmustbemadebythepreviousThursday.Notificationwillnotbeacceptedverballyinahallwayorinaclassroomconversation.Failuretodosowillbedealtwithintheappropriatemanner.
CASTINGWhenadirectorpostsacastlistandasksanactortowritehis/herinitialsnexttohis/hername,thisisdonetoindictthathe/shehasreceivedtheinformation.Therequestisnotmadeinordertofindoutiftheindividualacceptsthepart.Ifanactorhasauditioned,itisunderstoodthathe/shewillacceptANYrole.
HARDSHIPSTATUSEachmajormustauditionforeveryMainstage,StudioandGraduateProjectproduction.Wedo,however,understandthatfinancial,academic,orpersonalhardshipssometimepreventastudentfromfulfillingthisresponsibility.Ifastudenthasanacademicorfinancialhardship,he/shecanspeakwiththeirareaB.F.A.AreaHeadandrequesttobeplacedonahardshipstatus.
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Typically,thismeansthatthestudentisaskingnottobecastinshowsinordertoworkafull-timejobordevoteallofhis/herattentiontoacademicwork.Ifgranted,thisstatusappliesforafullsemesterand,therefore,astudentwouldnotavailableforcastinginthedepartmentorinthecommunity.Also,ifyourGPAfromtheprevioussemesterisbelowa2.5,youwillbeplacedonAcademicHardshipforthecurrentsemester.
ProgramStatusintheB.F.A.inPerformanceandMusicalTheatreProgramsandtheDemeritSystemWewantyoutoexcelintheprogramandinyourchosenfieldasaprofessionalartist.Therefore,weusedemeritsasameansofreflectingbacktoyouprofessionalareasinwhichyouneedtoimproveandalertingyoutocreateanactionplansothatyoucanattainsuccessinthefuture.
0–9points SatisfactoryStatus(InGoodStanding)10points ProvisionalStatus15points Probation
● Possibilityoflosingyourrighttobecastinshows● Writtenstatementtoyouradvisoroutliningyouractions/stepstoimprovethesituation● Findameansoropportunitytomakeupyourdeficiencyordeficiencies● Possibilityofcommunityservice
20points Reassessment
● TriggersameetingoftheB.F.A.Performance/MTfacultytodeterminewhethertoretainyouintheprogram;mayberequiredtomeetwiththefaculty–possibledismissal
● Mayloseyourrighttobecastinshowsforonesemester● Writtenstatementtoyouradvisoroutliningyouractionsstepstoimprovethesituation● Findameansoropportunitytomakeupyourdeficiencyordeficiencies
DemeritPointValuesOffensesthatwillresultinfive(5)demeritpoints
● MissamandatoryLunchbox/B.F.A.meeting● Missastrike(unexcusedabsence)orcometostrikeunpreparedornotdressedcorrectly(correct
footwearandclothing)● NotdressedappropriatelyforyourB.F.A.Exam/PortfoliooryourB.F.A.danceaudition● UnprofessionalbehaviorduringaB.F.A.Exam/Portfolio(e.g.talkingtoomuchduringtheB.F.A.
danceaudition)● Eachoccurrenceofunprofessionalbehaviorduringproductionrehearsals(e.g.lateness,failureto
learnlinesinatimelymanner,failuretoworkonrolebeyondrehearsalperiod)● Eachoccurrenceofunprofessionalbehaviorduringrunofaproduction(e.g.lateness,inappropriate
behaviorbackstage,inappropriateonstagebehavior,etc.)*Offensesthatwillresultinten(10)demeritpoints
● MissarequiredMainstage,StudioorGraduateDirectingProjectAudition(includingfailuretoobserve48-hourruleorprovideproperdocumentation.)
● Auditionforanoff-campusproductionwithoutadvisorconsent● NotdressedappropriatelyforamandatoryB.F.A.danceaudition—2ndoffense(youwillnotbe
allowedtoaudition)● Failuretoacceptapartafteranaudition,ordroppingoutofashowafterbeingcast
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● MissarehearsalforaseasonshoworagraduatedirectingprojectOffensesthatcanresultinuptofifteen(15)demeritpoints
● Undertheinfluenceofacontrolledsubstance—alcohol,pot,etc.—intheclassroom,atarehearsal,orduringaperformancewillnotbetoleratedandthestudentwillfaceanautomaticreassessmentintheprogramwiththeproperdisciplinaryactioncarriedouttothefullestextreme.
● Miss—orbelatefor—aB.F.A.ExamorB.F.A.DanceAudition● NotpreparedforyourB.F.A.Exam
*Aftereachproductionthestagemanagerand/ordirectorwillbecontactedregardingthesematters.
BottomLinePolicy
● Twosemestersoffullprobationduringtheprogram(theseneednotbeconsecutive)triggerReassessment—ameetingoftheB.F.A.Performance/MTfacultytodeterminewhethertoretainyouintheprogram.Youmayberequiredtomeetwiththefaculty.Youmightbedismissedfromtheprogram.
● ThreesemestersoffullProbation(theseneednotbeconsecutive)triggeranautomaticDismissal
fromtheprogram;onlyafacultymembermaymakeaformalappealonbehalfofthestudentinquestionandtheB.F.A.facultymustbeunanimousintheirvotetoretainthestudent.
● Youcouldcompromiseyourgraduationifyouractionsduringthelastsemesterofyour
academiccareercauseyoutobeplacedonProbation.Graduationmaybehelduntildeficienciesareaddressed.
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InternshipGeneralProcedureTheUndergraduateCatalogdescribesTHEA4541—Internshipasfollows:"Supervisedworkinactualuniversity,community,orprofessionaltheatreproductionsoninternshipbasis."
Theintentofthisdegreerequirementandcourseistoprovidethestudentexperienceinafull-timetheatresituation.Off-campusparticipationforasummerorasemesterisanessentialelementoftheB.F.A.degreeprogram.Sincethevaluefortheinternshipisthree(3)credithours,theworkload(jobresponsibility)shouldequalinmagnitudeandtimecommitmenttheworkloadofatypicalthree-creditclassduringthesemester.
TheB.F.A.studentmustfulfillthefollowingresponsibilities:
1. EMPLOYMENTARRANGEMENTS:
Youmustfindandmakearrangementsforemployment.Thejobmustinvolvea“meaningfullength”offull-timeemploymentinyourfieldofstudy.Theworkingsituationshould,ifpossible,beoutsidethecityofMemphis.
2. APPROVALOFADVISOR:
Priortobeginningyourtermofemployment,youmustreceivetheapprovalofyouradvisorinyourarea.AformwithinternshipinformationmustbefiledwithKristinShupeinthemainoffice.
3. LETTEROFRECOMMENDATIONFROMEMPLOYER:
Youmustalsoobtainaletterofrecommendation/evaluationofyourworkfromyoursupervisorattheendofyourtermofemployment.Thisletterwillspeakinmoredetailandbeusefultoyouasproofofprofessionalinternshipinthefuture.ThelettershouldalsobesenttoKristinShupe([email protected]).
4. DAILYJOURNAL:
YoumustmaintainadailyjournalwhileintheInternshipsituation.Thejournalmustbepresentedtoyouradvisorforevaluationuponyourreturn.AfterreceivingyourgradeinTH4541,yourjournalwillbereturnedtoyou.
5. WRITTENEVALUATIONOFSUMMERINTERNSHIPEXPERIENCE:
Uponyourreturn,youshouldwritea3-5pagesummaryevaluationofyourInternshipexperienceandgiveittoyouradvisor.Thepaper,typedandinmanuscriptform,shouldaddress:(1)thebestaspectsofyoursummerInternship;(2)theworstaspectsofyoursummerInternship;(3)howyourprogramofstudyattheUniversityofMemphispreparedyouforthisworkexperience;(4)howyourprogramofstudyattheUniversityofMemphisdidnotprepareyouforthisworkexperience;and(5)recommendationsforB.F.A.programattheUniversityofMemphis.
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FinalGradeYourfinalgradeinTHEA4541Internshipwillbebaseduponthesuccessfulcompletionofyourtermofemploymentandyouradvisor’sevaluationofthequalityofeachofthefollowingitems:
● Yourdailyjournalkeptintheinternshipsituation● Your3-5pageevaluationpaper● Letterofrecommendationfromyouremployer
Exceptionalqualityofalltheitemsabove=A.Aboveaveragequalityofalltheitemsabove=B.Acceptablecompletionofalltheitemsabove=C.
TheTheatrefacultywillbeavailabletoassistyouinanywaypossible—helpingwithyourauditionselectionsorthedevelopmentofyourportfolio;suggestingwhat,intheirbestjudgment,arepossibleimprovements;andprovidinghonest,comprehensivelettersorreferences.However,pleasegivethefacultymemberseveraldayswarningpriortorequestingareferenceoranobservationofyourauditionscene.
REMEMBER—YOUHAVETOFINDTHEJOB.
Ifyouhavequestionsorrequireclarification,pleaseseeyouradvisor.
LeightonBallewInternshipAnagreementexistsbetweenthedepartmentandTheatreMemphistoprovideinternshipexperienceforanystudentenrolledinourprogram.Typically,thedutiesfallintheareaofAssistantDirectingandStageManagement,thoughsomeadministrativeworkcouldbeincluded.Ideally,aninternshipshouldtakeplaceoutsidethestudent’scommunity,butcircumstancessometimesnegatethatoption.Inthosecircumstances,thisopportunityisanexcellentwaytofulfilltheinternshipdegreerequirement.
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Conference&AuditionOpportunitiesGeneralDescriptionThereareanumberofopportunitiesforstudentstofindyear-roundorsummeremployment,aswellasgraduateschoolprospects.Inadditiontotheinformationthatisprovidedhere,itisrecommendedthatstudentsspeakwiththeiradvisors,doresearchontheinternet,andlookatthepromotionalmaterialsthatisdisplayedonthebulletinboards.
IODInstituteofOutdoorDramaAuditions:heldinlateMarchatUNC–ChapelHill.Outdoordramacompaniesthroughoutthecountryauditionfortalentandinterviewtechnicians.Limitedto200pre-registeredapplicants.(Applicationfeeinvolved.)DEADLINE:Mid-March.
MATCMid-AmericaTheatreConferenceAuditions:heldthesecondweekinMarchinadifferentmid-Americalocation.MustbenominatedbyDepartment.Applicationfeesinvolved(approximately$25).Technicalinterviewsavailable.DEADLINE:Mid-February.
MWTAMid-WestTheatreAuditions:heldandsponsoredthelatterpartofeachFebruaryinSt.LouisbytheConservatoryofTheatreArtsatWebsterUniversity.Auditionopportunitiesforyear-roundandsummeremployment.MustbenominatedbytheDepartment.Applicationandfeesinvolved(approximately$25).Danceauditionsonlyopentoactorswhohavegonethroughtheauditionprocess.Tech/designopportunitiesareavailableaswellandportfoliopresentation/interviewscanbemade.DEADLINE:mid-December2.Forfurtherinfo,pleasecheckwww.websteruniv.edu/depts/finearts/theatre/mwta.
SETCSoutheasternTheatreConference:heldthefirstweekinMarchatacitywithinthesoutheastregion.Thisconferenceisthelargestregionalconferenceofitskindandisanexcellentsourceforsummerwork,year-roundprofessionalemployment,aswellasaresourceforundergraduateandgraduateTheatreandDanceprograms.
Auditioneestakenote—YoucannottakepartintheSETCauditionswithouthavingauditionedinyourstatetheatreassociationauditionsfirst.(SeeTTA)Studentactorsmustauditionregardlessofpreviousexperience.Thereareopportunitiesfordancersanddesign/techpeopleaswell.PeoplewhofallunderthesecategoriescanauditionorinterviewdirectlyatSETC.DEADLINE:February1.(www.setc.org)
TTATennesseeTheatreAssociationholdsathree-day,state-widetheatreconferenceinlateOctoberinamajorcitysomewhereinthestatewheremeetings,seminars,andworkshopstakeplace.AnauditioncomponentservesasthepreliminaryauditionsfortheSETCconvention.YoumustbenominatedbytheDepartment.Feesareinvolved.DEADLINE:Earlyfall.(www.tta.simplenet.com)
UPTAUnifiedProfessionalTheatreAuditions:heldandsponsoredinearlyFebruarybyPlayhouseontheSquare.Theseauditionsareprimarilyforgraduatingstudentslookingforfull-time,year-roundemployment.Feesinvolved.Technicalinterviewsavailable.DEADLINE:September.(www.upta.org)
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U/RTAUniversity/ResidentTheatreAssociation,thenation’soldestandlargestconsortiumofprofessionaltrainingprogramsandresidenttheatrecompanies,hostsaseriesofauditions—inNYC,Chicago,andIrvine,CA—eachyearthatleadstosummerpositionsandacceptanceintograduatetheatreprograms.Audition/InterviewdatesinJanuaryandFebruary.Feesinvolved.DEADLINE:lateNovember.Greatopportunitiesforundergraduatedirectingordesign/techstudentslookingforgraduateschools.(www.urta.com)
USITTUnitedStatesInstituteforTheatreTechnology:heldthethirdweekinMarchinamajorcityinNorthAmerica(sometimesinCanada).Thisconferenceisanexcellentresourceforjobsandcontactsinthedesignandtechnicaltheatrefields.Opportunitiesforstudentstoworkattheconferencetooff-setexpenses.(www.usitt.org)
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ProductionGeneralDescriptionProductionisthelifebloodofatheatreartisan.Weproduce.Wecreate.Wedoitasateam.Overandoveryouwillhearyourprofessors,yourpeers,andothertheatreartisansrefertotheatreasacollaborativeartform.Whatthismeansisthatweareallworkingtogethertocreatethesameendproduct:theplay(ordanceconcert).Itisimportantthateveryoneinvolvedrealizesthateachperson’scontributionisappreciatedandnecessary.Youwillfindthatthebusinessoftheatreanddance(notjustourDepartment)isacommunity.Thelongeryouareatheatreartist,themoreyouwillfindthatjobscomethroughpeopleyouknoworhaveknown.IntheDepartmentofTheatreandDance,everyoneisexpectedtocontributetimeandenergytoourcommunity.Allproductionsneedyoursupportandeffortinorderforthemtosucceed.Therearesomeactivitiesthatyouwillberequiredtodoandothersthatarerequestedofyou;allofthemareopportunitiesforyoutoexpandyourknowledgeandtobecomeawell-roundedartistandagoodcitizen.
RequiredInvolvementTherearethreetechnicalrequirementsforanyB.F.A.candidate.Theseareon-goingrequirementsthatservetwopurposes:
● toseethateachgraduateofourprogramhasasufficientunderstandingofallareasoftheatreso
thattheycansucceedandexcelasacollaborator.
● toseethatallmembersofanyproduction(yourselfandyourpeers,regardlessofspecialty)haveadequatesupportandthattheshowisrepresentativeofourpurposeandgoals.
1. ProductionLaboratories:Thisisthebiggestcontributionyoucanmaketosupportyourpeers.The
moreyouhelp,thebettertheendproduct.Agreatshowcanonlyhappenwitheveryone’shelp.AllB.F.A.candidatesarerequiredtoenrollinanumberofproductionlabs.Therearelaboratoryclassesinalltechnicalareas,andeachrequiresaminimumofafifty-hourcontributiontotheproductionseason.Youmayworkthesehoursinagivenshoporserveasrunningcrewforashow.Gradesaregivenbasedonthecompletionoftheminimumrequiredhoursaswellasthestudent’sperformancewithintheclass.
2. Strikes:Ifyouhaveneverdoneone,strikeisthetakingapartoftheshow.Allscenic,costume,
lighting,andsoundelementsareremovedfromthestageandstored.Anyonewhoisamajorisrequiredtoattend.Thishelpsthestrikegoswiftlysonooneisherefortoomanyhours.Theaveragestrikelastsaboutfivehours(comparedtothefourweeksofbuild)andoftenrefreshmentsareprovidedafterward.Astrikeusuallyoccursthefirstschooldayafterashowclosesitsrun.
Studentsareadvisedtowearproperfootwearinordertoavoidanyinjuries,aswellaswork-appropriateclothing.
Reportinjuriesofanykindtoafaculty/staffmemberimmediately.
3. ClassRequirements:Someoftheclassesyoutakemayrequireyoutocompleteacertainnumberof
hoursworkingonashow.Otherclassesoffersuchopportunitiesasextracredit.
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SuggestedInvolvementOverandabovetheworkthatisrequiredwithinthedepartmentarethoseopportunitiesthatstudentsmayelecttotakepartin.Theseinclude(butarenotconfinedto):
● Mainstage,Studio,andLunchboxperformanceandtechnicalopportunities● StudentandFacultyDanceconcerts
TheFacilitiesTherearethreemainperformingspacesintheTheatre(TH)BuildingandtwointheCommunication&FineArts(CFA)Building.
● TheMainstageTheatre(TH-100)isaflexibleprosceniumstagespacecapableofseating318people
thathousesourlargerproductions.Ithasalargeapronaswellassidestagestoaccommodatemanysettings.Thistheatrehashighendtechnicalsupportsuchascomputerautomatedmulti-channelsoundplayback,computerizedlightingsystemcapableofsupportingautomatedlighting,projection,and44counter-weightedlinesetsforrigging.
● TheStudioTheatre(TH-137)isanintimateblackboxcapableofanyconfiguration.Duetolimited
seating(between85-100),smallerproductionstendtobeproducedinthisspace.
● TheDanceSpace(CFA-124)isthelargerofthetwodancestudios.Equippedwithcomputerizedlightingcontrol,soundsupport,andflexibleaudienceseating,thisroomisusedbothasaclassroomandaperformancespace.
● TheLabTheatre(TH-235)isdirectlyabovetheStudioTheatreintheTheatreBuilding,thussharing
asimilarfloorplan.ThisspaceisprimarilyforclassworkandLunchBoxpresentations.
● DanceStudio(CFA-126)andRoom201(THBldg).Bothareprimarilyclassroomspacesbutmaybereservedtouseforrehearsals.
RehearsalEtiquetteSeekingaB.F.A.degreesuggestsastudent’sintentionofworkingprofessionallyaftergraduation.Therefore,itisnecessarytodevelopgoodrehearsalhabitsandetiquette.
● Beontime!
● Comeprepared!Thismeans:
Withthepropertools(yourscriptandapencil).
Intheproperdress(rehearsalclothesandshoes).
Withtheproperattitude(forgetaboutyourhorribledayandconcentrateontherehearsal).
Withtheday’sworkprepared(ifsupposedtobeoffbook,doso;ifsupposedtoworkonascene,showthatyouhavedoneso,etc.)
● Respectyourcolleagues!
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Ifnotrehearsing,pleaseremainquiet.Bringhomeworktoreadorstudyyourlines,butpleaseallowyourcolleaguestheopportunitytorehearseinasafeandquietenvironment.
● Keepyourstagemanagerupdatedatalltimes,whetherit’sforabathroombreakoraschedule
conflict.FYI:Thetemperatureofthebuildingtendstorunonthecoolersidethroughouttheyear,sopleasedressaccordingly.Wearlayersorbringadditionalclothingtokeepwarm.
BackstageEtiquette
BackstageinaUniversityofMemphisTheatre&DanceProduction
GeneralWardrobe/DressingRoomPolicies
● Pleasebeontimeforyourcall,andsignin.Pleasebeontimeforanyfightcalls,wigorwardrobeappointments,andbepreparedtoadjustyourpersonalwarmup,propcheck,andotherpre-showroutinessothateveryonecanmakecurtaininatimelymanner.
● Ifyouarriveearlyforyourcall,beadvisedthatyourclothingandgearmaynotyetbeavailable,and
crewmaybebusywithothertasks.
● Techanddressarelikerehearsal;itcantakeafewtimestogetitright.Yourpatienceandpositiveattitudebackstagearegreatlyappreciated.
● Yourwardrobewillbeassignedtoaspecificcrewmember(yourdresser)tocheckinandoutevery
performance.Pleasebeasspecificasyoucanwithrepairanddressingnotes,andgivethemdirectlytoyourdresserinperson.
● Pleasehelpyourdresserkeeptrackofallyouritems.Leaveyourcostumes,wigs,andaccessories
attheendofthenightjustthewayyoufoundthem.Onahanger.Yourmomisnotonthecrew.
● THEDRESSINGROOMSARESTRICTLYA"NO-FOOD"ZONE.Onlywaterincoveredcontainersbackstageplease.Thisincludesopening-nightcandy.Ifyouneedtobringyourdinnerinpriortoyourcall,pleaseeatinthegreenroomoranotherdesignatedplaceandcleanupafteryourself.Wedon'tneedaccidentalstains,spills,ortoattractbugs.
● AbsolutelyNOSMOKINGINCOSTUMEORWIGS.Ifyoumustfeedthataddiction,youmust
undress,removeyourwigandshiverinthecold.SMOKINGINCOSTUMEVIOLATESNOTONLYOURPOLICYBUTALLCOSTUMERENTALAGREEMENTS.Aswell,theUofMcampusisnon-smokingexceptindesignatedareas.Theonlyareanearthetheatrebuildingissouthofthebreezeway.Thedock,thebreezeway,andotheradjacentareasarestrictlynon-smoking.
● Ourdressingroomsareclosequarters.Pleasegoeasyonthepatchouliandfragrances.(Alsoplease
seenoteaboutsmoking.)Aneffectivedeodorantwillkeepyouinfriendlyrelationswithyourdressingroommates.
● Labelyourmakeupshirtandtowel,anditwillbewashedforyou.
● Ifit'snotyours,don'ttouchitormoveitunlessaskedtodosobyacrewmember.
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● Silenceyourphonebackstage.(Seebelowregardingbackstagephotos.)
● Itisthebestpolicynottobringanyvaluablestothedressingrooms;theycannotbeconsideredsecure.Theftscananddohappen,evenduringaperformance.Checkvaluableswithstagemanagementbeforehalf-hour.
● Respectthatothersmaynothavethesamepre-showprocessthatyoudoandthatyourdresser
mayhavealonglistofotherthingss/heisresponsibleforthatyouarenotawareof.
● Backstageisforcompanymembersonly.Donotinvitefriends,family,oranyonenotaffiliatedwiththeproductionwithyoubackstage.Meetyourpublicinthelobbyandoutofcostume!
● Payattentionandkeepthenoisedown.
● Reportemergenciestostagemanagementimmediately.
● Helpeachother.Listen.Learn.
DressingRoomEtiquette:CasualPhotographyandBackstage● Beadvisedthatbackstagephotographyandprocessphotographyisanimportanttoolforthe
department,forallofusastheatreartists,andfordesignandtechnologystudentsinparticular.Ifyoudon'twantyourphototaken,pleasesayso.
● Performers:Casualphotostakenforfunbackstagewillprobablycontainimagesofwork–perhaps
unfinished–oftechniciansanddesigners.YoudonothavetherighttopostthosephotosonFacebookoranyothersitewithoutfullcreditandpermission.Pleaseberespectfuloftheworkbeingdone.
● Technicians:Processphotoswithperformersinthemshouldbetakenonlywithpermission;all
subjectsanddesignworkdepictedshouldexpecttobecredited.Pleaseberespectfuloftheperformersandtheirlikenesses.
● Camerasandelectronicsbackstagepresentavarietyofissues:theyaredistractingandcompromise
yourartisticfocus,theycanmakeunwelcomesound,andtheyarevaluablecommoditiesthatcanattractthieves.Werecommendthatyoudon'tbringthemtothedressingroom,unlessyouhaveaverycompellingreason.
InformationandRecommendationsforPerformersRegardingStageMake-UpForTheatre&Danceproductions,pleaseprovideyourselfwithapersonaltheatricalmakeupkitandtoolsifyoudonotalreadypossessone.Thesearepersonalsuppliesand,forhygienicreasons,youshouldnotsharethem.Thedepartmentdoesnotsupplypersonalcosmeticproducts.Ifthedesignrequiresaspecialtyitemorcharactercosmeticnotincludedinafull-sizedbasickit,itwillbeprovided.
Recommended:Some"street"cosmeticsareusefuladditions;however,itisimportanttoobtainfoundationandcontouringproductsdesignedfortheatricalproduction.ThekitswerecommendarethetheatricalcrèmemakeupkitsbytheBenNyeCompany,whichareavailablelocally,butthereareothersonthemarketthatyoumayprefer.
ThereisaStudentKitthatdoesnotincludespiritgumandremover.ThePremiumKitismuchlarger,hasfullsizequantitiesofmostsupplies,andincludesalmosteverythingyou’llneedformostshows.
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(Note:ifyouareaUMemphisB.F.A.performancemajorexpectingtobecastinshowsduringthemajorseason,itismostcosteffectivetoobtaintheprokit.Thestudent-sizedkitsareoftenfinefortherunofasingleshow,buttheymaynotbeadequateforastylizeddesignwithoutsupplementalexpense–forexample,menwearingbeardsshouldhaveasupplyofspiritgum(ormedicaladhesive)andremover.)
Theexceptionhereiseyemakeup:thesekitsdonotincludeeyemakeups,andyoumustprovideyourownfreshmascara,liquideyeliner/falseeyelashes,etc.asnecessary.Itisexceedinglyimportantnottoshareeyeproducts.
Ifyouhavesensitiveskinorotherconcerns,oryoujustaren’tsureifyouhavewhatyouneed,pleaseconsultthedesigneroramemberofthemakeupteam.
Purchase:Youcanbuythesekitsonline,orgetthemlocallyatMainstageTheatricalSupplyInc.onBroadStreet.Wedorecommendyougothereinpersonsothatthestaffcanhelpyoupicktherightcolorkit.
MainstageTheatricalSupplyInc.www.mainstage.com2665BroadAve.Memphis,TN38112(901)452-1877mts-memphis@mainstage.comBesuretoaskforthestudentdiscount!
Beginningatfirstfulldress,inadditiontoyourmakeupkit,pleasebringtothetheatre:
● Abutton-frontshirtthatcangetmakeuponit● Haircontrolitemsifnecessary● Personaltowel● Yourfacialcleanserofchoice● Moisturizerandastringent
Labelallyourthings!GeneralStageMakeupandHairPoliciesforPerformers:
1. Wardrobewillprovidetissues,wipes,Q-tips,andabasiccoldcreamformakeupremovalfor
communityuse.Bringyourowncleanserandhandtowel.Labelit,anditwillbewashedforyou.2. Astringentandmoisturizertopreparetheskinishighlyrecommended;productselectionisapersonal
choiceandistheperformer'sresponsibility.3. Forhealthreasons,donotsharemakeup.Therearetoolsandsuppliesavailabletokeepyourmakeups
frombeingcontaminated.Labelalltheitemsinyourkitandcleanbrushesregularly.Becautiouswitheyemakeupinparticular:replacemascarasandliquidlinersfrequently.
4. Performerswithtattoosthatwillbeseenonstageareexpectedtoprovidetattoocoverproductattheirexpense.
5. ByacceptingaroleinaTheatre&Danceproduction,performersagreetoworkcollaborativelywithdesignersandcrewwithregardtohair,facialhair,andmakeupdesigns.Oncecast,performersareaskednottocut,color,orshavewithoutaproactiveconversationwiththedesigneroftheproject.
6. Weexpectacommitmentbyallpartiesinvolvedtorespectoneanother’sworkandpersonbycollaboratingoneffective,artisticallyappropriate,andfiscallyresponsiblesolutionstoanydesignand/orappearancechangesrequiredbyanyTheatre&Danceproduction.
7. Whenbudgetisavailable,theproductionwillprovide(orunderwrite)theexpenseofhairservices(haircuts,color,weaves,etc.)requiredspecificallybythedesign.Becausethesearealsopersonal
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services,theperformerisaskedtocontributebyatleastprovidingthetiptothestylist.Theproductiongenerallydoesnotexpecttopayfor“personalmaintenance”haircutsunlessitisastylechangerequiredbythedesign,butmaydosoonacase-by-casebasis,perbudgetavailability.
8. WardrobeorHair/MakeupCrewwillmaintainappliancesandwigsandprovideallrequiredhairandwigproductsandaccessories;performersareaskedtopleaserefrainfrommakingadjustmentsorusingpersonalproductsonwigsandfacialhair.
9. Performers:neverputonorremoveawigbyyourselfunlessyouhavebeengiveexplicitinstructionstodoso!
10. Hair/MakeupCrew(and/orstagemanagement)willsometimesgenerateapre-showschedulefornecessarywigcalls:pleasenoteitwillbeimportanttobeontimeforthatappointmentandtoadjustyourpre-showroutineaccordinglysothatwecanmakecurtaininatimelyfashion.
11. WhenHair/MakeupCrewareonhandinaTheatre&Danceproduction,theyaretoassistthecastwithquickchangesandwithstylizedmakeups.Theymayalsobeabletoprovideadviceandguidancetothenoviceperformerinthebasicstagecorrective.Generallyhowever,wedonotprovidestafftodoeveryone'smakeupforthem.Bepreparedtolearn!
12. Ifyoudevelopanallergicreactiontoanyproduct,pleasetellasupervisorimmediately.Ifyouhavequestionsaboutanythingrelatedtowigsandmakeup,pleaseaskthedesigner,costumefacultyandstaff,oranymemberofthehair/makeupteam.
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TheatreSeasonTheTheatreandDanceSeasonisdeterminedbythedepartmentalSeasonCommittee.MembersincludetheentireTheatreandDancefacultyplussecond-andthird-yearM.F.A.directingstudentswhoneedtodirectaproductiontofulfillrequirementstowardtheirdegrees.
Atthefirstorganizationalmeeting,theArtisticDirector,actingasproducer,willprovideguidelines,offersuggestions,andmakerecommendations.Anumberofconsiderationsarefactoredintotheselectionprocess—typesofshows(drama,comedy,musical),currenttalentbase,technicaldemands,andscheduling.Allthird-yearM.F.A. directingstudentsandanyinterestedtheatreanddancefacultymembersarethenencouragedtobringproposalstothesecondmeeting.Basedonproposalsthataresubmitted,aneventualTheatreandDanceSeasonisdeveloped.
Undergraduatestudentinputissoughtandencouraged.ATownHallMeetingisheldduringthespringsemesterinordertohearsuggestions.ItisalwaysthegoaloftheCommitteetohaveanannouncedseasonbymid-termofthespringsemester.Thereareanumberofhonors,awardsandenrichmentopportunitiesforCreativeandAcademicAchievementavailabletostudentsintheDepartmentofTheatreandDance.Inmostcases,formalapplicationmustbemadeinordertobeconsidered.However,thereareopportunitieswhereagoodrecordofacademic,creative,orcitizenshipisrecognizedandhonored.
AwardsUniversityLevel:The“WorksInProgress”Symposiumisanopportunityforundergraduatestopresenttheircurrentresearchprojectstofacultyandotherstudents.Intheperformancefield,creativework(choreography,directing,acting,anddancing)isrecognizedasresearch.ThesymposiumissponsoredbytheUniversityHonorsProgramandisheldintheFallofeachyear.
CollegeLevel:TheDean'sCreativeAchievementAwardisbasedonoutstandingcreativeactivityintheareasencompassedbytheCollege(Theatre&Dance,Music,Film,Art,orArchitecture.)DepartmentChairsselectoneCollegewinnerfromthecandidatesnominatedbyeachdepartment.
Ifselected,thestudentmakesa10-15minutepresentationbeforetheDean,AssociateDean,theCollegeDepartmentChairs,andCollegeAdministratorswhereavotewillbetaken.Thewinnerreceivesacashprize.
DepartmentLevel:TheRPTracksAwardisagenerousawardforaTheatre&Dancemajor.Itispresentedtoastudentwho,intheopinionofthefaculty,demonstratesthebestcombinationofacademic/artisticachievementandservesasarolemodelwithinthedepartment.
CityofMemphis:Eachyear,creativeexcellenceinuniversitytheatreisrecognizedthroughtheOstranderAwards.UniversityofMemphisdirectors,actors,dancers,andchoreographersareconsistentlyamongtherecipients.Inaddition,aseparateRisingStarcitation,alongwithacashaward,isgiveneachyeartoapromisingtalentinthefieldoftheatre.
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EnrichmentTheKeithKennedyTheatre&DanceStudentEnrichmentFundExpendituresfromthisfundshallbemadeforpurposesofprovidingtheatreanddancestudentswithopportunitiestobenefitfromprogrammaticenhancements,bothoncampusandinprofessionalvenues.Suchexpendituresmayincludeworkshopsandclassesconductedbyguestartists,awardsorprizestostudentswhodemonstrateoutstandingabilityand/ormakesignificantcontributionstotheDepartmentofTheatre&Dance,travelandfeesassociatedwithconferences,auditionsandportfoliopresentations,andotherexpensesasrecommendedbythedepartmentalawardscommittee.
EnrichmentScholarshipsTheDepartmentofTheatreandDanceoffersscholarshipopportunitiestoincomingfreshmenandtransferstudents(talent-basedtuitionscholarships)andtocurrentB.F.A.students(meritscholarships).InterestedapplicantscanobtainapplicationmaterialsfromtheMainOffice(TH144).
Talent-basedTuitionScholarshipsaredesignatedforincomingfreshmanandtransferstudents.Auditions(forperformanceapplicants)andportfolioreviews(fordesign/technicalproductionapplicants)arescheduledinthespringsemester.
Eachcandidateforthetalentscholarshipmustsubmitadepartmentalscholarshipapplication,transcriptsfromhighschools/collegesattended,andtwolettersofreference.Thedeadlineforsubmittingtheapplication,transcripts,andlettersofrecommendationforthetalent-basedscholarshipsisFebruary1.Pleasenotethatthecandidate’sessayportionofthedepartmentalapplicationisofparticularinteresttothescholarshipcommittee.
Thescholarshipcommitteewillscreentheapplicationsandthenwillselectfinalistsfromthepoolofapplicantstocompeteinanon-siteaudition.Eachfinalistwillbegivenascholarshipappointmenttime.Thescholarshipauditions(forperformancecandidates)orportfolioreviews(fordesigncandidates)aretypicallyscheduledforthelastSaturdayinFebruaryattheUniversityofMemphisintheTheatreBuilding.
Often,performanceauditionfinalists,inadditiontopresentingtheirindividualauditionpackages,maybeinvitedtoparticipateinanimprovisatorygroupworkshop.Theindividualperformanceauditionpackagemustconsistoftwocontrastingmonologuesand(optional)16barsofasong.Anysingingwillbepresentedacappella.Theentirepresentationmustlastnolongerthanfourminutestotal.Technicaltheatrefinalistsareinvitedtoparticipateinashortinterviewandtobringaportfoliooranyotherevidenceofpastworktopresentatthattime.Allfinalistswillalsobeabletoparticipateinaninformalquestionandanswersessionwiththecommittee.
Threefull-tuitionscholarshipscoveringin-stateenrollmentfeesareawarded.Considerationforthisawardincludesdemonstratedtalentintheselectedareaofconcentration,goodacademicstanding,evidenceofpreviousworkinthefield,andrecommendationsfromacademicteachersandartsspecialists.Thisisafour-yearscholarship.Recipientsmustbefull-timetheatremajorsandmaintaina2.80GPA,perform30hoursofworkinthedepartment,andbeactiveparticipantsintheirprogram.
InterestedstudentscandownloadanapplicationfromtheScholarshippageontheTheatrewebsiteorcontactKristinShupeat(901)[email protected].
MeritScholarshipsarethosescholarshipsavailabletoallundergraduateB.F.A.TheatreandDancemajorswhofitspecificcriteria.Theseawardsaregiveninthespringsemesterofeachyeartobeusedforthefollowingacademicyear.
APPLICATIONSAREANNOUNCEDINTHESPRINGSEMESTER.
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Meritscholarshipsarenotautomaticallyrenewed,sostudentsmustapplyeachyearforconsideration.(TheoneexceptionistheClementSantiScholarship,atwo-yearaward.)
● BetsyN.CrouchMemorialScholarship:ReceiptsselectedbyCCFAScholarshipCommitteefrom
eithertheTheatreprogramortheMusicprogram.Candidatesmustbefull-timefreshmenpursuingadegreeinvoiceand/ortheatre.
● ClementSantiMemorialScholarship:Thisisanendowedscholarship,halfMusic,halfTheatreand
Dance,inmemoryofClementSanti,donatedbyhisdaughterandson-in-lawWilliamandTinaFlaherty.Thisawardisgivenforatwo-yearperiodperrecipient.
● CybillShepherdScholarship:SelectionofstudentapprovedbytheDean.Recipientsmustmaintain
aBaverageandminimum3.0GPA.Recipientsmaybeeligibletoreceivethisawardforamaximumoffouryears.
● ElizabethandHaroldRobinsonScholarship:Thisisanendowedscholarshipawardedthroughthe
CollegeofCommunicationandFineArts.RobinsonscholarsmusthaveaminimumACTscoreof24andmaintaina3.00GPA.PreferencewillbegiventostudentsfromtheruralMid-South.
● ElvisPresleyEndowedScholarship:Thisscholarshipisgiventostudentswhodemonstrate
academicmeritandhaveafinancialneed.
● TheHohenbergFoundationDanceScholarshipisgivenyearlytoanupper-classdancestudentwhohasexcelledincreativeandacademicstudiesandhasmadesubstantialcontributionstotheUniversityofMemphisdance.
● TheIsaacHayesScholarship:ThisscholarshipgrewfromprofitsmadebyformerTheatreand
CommunicationprofessorErmaClanton’sproductionsofEveningofSoul,whichtwicefeaturedtheMemphisbornIsaacHayes.Recipientsmustcarrya2.0GPA,demonstrateaninterestinBlackTheatreorBlackRhetoricorboth,andshowbothprogresstowardadegreeandfinancialneed.
● JoannaHelmingAlumniScholarship:Full-timeperformanceordesign/techmajors(sophomoresor
above).Talent-based,withminimumGPAof2.5.Preferencegiventogreatestfinancialneed.Renewableuptofouryears.
● TheMaryS.McGaughranMusicalTheatreScholarshipFund:Thisfundwasestablishedin2010
andwillbeadministeredinconjunctionwiththenewundergraduateprograminmusicaltheatre.AwardsarerecommendedbytheDepartmentScholarshipCommittee.
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GraduationSeniorExamPre-Spring2006,theTennesseeBoardofRegentsandUniversityofMemphispolicyrequiredallseniorstocompleteageneraleducationtestpriortograduation.DuringSpring2006thispolicywaschanged.Thenewpolicyisthis:someseniorsselectedthroughrandomsamplingwillbeaskedtocompletetheexamination.Detailsregardingtheplaceandtimeoftheexaminationwillbeprovidedtothestudentatthetimeofthenotification.
IntentiontoGraduateAllstudentswhohavefulfilledtherequirementsoftheDepartmentandtheUniversityarerequiredtofileanIntentiontoGraduateFormwiththeAcademicAdvisorfortheCollegeofCommunicationandFineArtsintheDean’sOfficeduringthesemesterprecedingthesemesterofgraduation.Thedeadlinesforthisfilingareincludedintheacademiccalendarsofthecatalogsandthescheduleofclasses.Itistheresponsibilityofthestudenttoensurethatthisdeadlineismet.
Comepreparedwiththefollowinginformation:Coursescompleted(withgrades),CoursesinprogressinMajor,CoursesneededforcompletionintheMajor,GeneralEducationcoursesyettobecompleted,and,ifapplicable,coursescompletedinMinor(withgrades).
Oncetheformhasbeencompletedandassessed,signaturesfromthestudent’sdepartmentaladvisorandtheDepartmentChair,alongwiththestudent’sandtheCollegeAcademicAdvisormustbeobtained.
TheAcademicAdvisorstronglysuggests,however,thatameetingbeconductedoneyearpriortograduationinordertodouble-checkthestudent’sstatusandtomakeagraduationplan.
CertificationWhentheCollegeAcademicAdvisorreceivesyourfinalgrades,certificationofyourgraduationstatuswithbepostedviacomputer.
ParticipationinGraduationCeremonyItisgenerallyassumedthatyouwillparticipateinthegraduationceremonyforthesemesterfollowingthefilingofyourintenttograduate.Itistheresponsibilityofthestudenttobeawareofanydeadlinesandtomakearrangementsfortheorderingofhis/hercapandgownthroughtheCommencementOfficeintheUniversityCenter.
DiplomaDiplomasareissuedthroughtheUniversityCommencementOfficeviatheCCFAofficeandaremailedafterthecommencementexercise.Note:TheDepartmenthasnothingtodowithissuingdiplomas.AllmattersshouldbeaddressedontheCollegelevelviatheDean’sAcademicAdvisor.