NAVMC 2787 ARTS AND CRAFTS HANDBOOK

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| Number | Change | Received | Entered | Entering Change | |___________|___________|____________|___________|_______________________| | | | | | | |___________|___________|____________|___________|_______________________| | | | | | | |___________|___________|____________|___________|_______________________| | | | | | | |___________|___________|____________|___________|_______________________| | | | | | | |___________|___________|____________|___________|_______________________| | | | | | | |___________|___________|____________|___________|_______________________| | | | | | | |___________|___________|____________|___________|_______________________| | | | | | | |___________|___________|____________|___________|_______________________| | | | | | | |___________|___________|____________|___________|_______________________| | | | | | | |___________|___________|____________|___________|_______________________| iii ARTS AND CRAFTS HANDBOOK TABLE OF CONTENTS CHAPTER TITLE PAGE 1 DANCE 1-1 2 THEATER 2-1 3 MUSIC3-1 4 VISUAL ARTS 4-1 5 FESTIVALS AND FAIRS 5-1 iii ARTS AND CRAFTS HANDBOOK PREFACE The need for a resource Handbook that provides background, ideas, and pro- gramming guidelines in the arts, designed specifically for special services, is great. Books, papers, and periodicals for the arts have always been available; however, having to muddle through 10 books, often esoteric and not applicable, to find that one tidbit of information can become very frustrating. The need for such a Handbook becomes apparent as arts-related programs and services mature. Where basic ballet, beginning guitar, and handicrafts were once considered sufficient arts program offerings, our patrons are demanding both more advanced and more varied exposure to the arts. This Handbook is designed to make the struggle to meet increased demands less time-consuming and more fruitful. The purpose of the Handbook is twofold: the first is to help program administrators organize their thinking about the arts in recreation. If recreation staffs are to bring any sort of balance to their art programs there obviously must be a more universal understanding of the kinds of activities within each basic art discipline. Possibly, as the profession continues to mature, recreators can build upon the structure used here. A second purpose for the Handbook is to provide ideas for program administrators and instructors. Those who question appropriate facility class sizes, course content, and the like, should find this material to have almost day-to-day use. The user will find that a great amount of knowledge is shared for each art form included. It is conceded that not every art form known to man is included. In cases where specific art activities are excluded, it is suggested that a related art form be reviewed. The user, in some cases, will not be able to turn to a page with exactly the information desired. Often the information on a related subject is applicable. It is also conceivable that additional material for the Handbook will become available in the future. ARTS AND CRAFTS HANDBOOK CHAPTER 1 DANCE ARTS AND CRAFTS HANDBOOK CHAPTER 1 DANCE PARAGRAPH PAGE Introduction................................................1000 1-3 Suggestions for Beginning and Maintaining a Dance Program..............................................1001 1-3 Contracting for a Dance Performance.........................1002 1-5 Dance Styles and Specific Requirements......................1003 1-6 Some Helpful Hints to Consider for a Dance Program....................................................l004 1-10 Figures 1-1 Mirrors and Ballet Bars 1-11 1-2 Portable Ballet Bars 1-12 1-3 Fixed Permanent Ballet Bars 1-13 ARTS AND CRAFTS HANDBOOK 1001 CHAPTER 1 DANCE 1000. INTRODUCTION 1. Dance has long been considered an art form exclusively reserved for gifted or talented individuals. This assumption has often prevented many people from participating in an art that can meet the needs of many individuals to maintain a sense of physical and mental wellness. The releasing of tensions, fears and frustrations, as well as the development of self-confidence, posture, muscle tone and coordination are a few of its many benefits. Dance can even aid in developing social skills, thus opening the door to new ways of exploring and experiencing others. 2. One of the main recreational goals of any leisure service agency is the interaction among participants of differing age groups and backgrounds. There is no better way to break the ice than through a social gathering that includes dancing among participants. In this type of setting, it is the role of the recreation professional to promote a feeling of relaxation and create a non-threatening environment for people to learn and enjoy the art of dancing. 3. There is a place for all types of people in the world of dance due to the large variety of dance styles and the different levels of ability. This assortment of styles would include creative movement (as in pantomime or free movement), dance technique, dance exercise and disciplined movement (as taught in a ballet or modern dance class). Dance has the unique ability of allowing an individual to express creativity through the sole use of physical movement. 4. Through the efforts of the recreation professional, dance can be promoted as a means to enrich one 9s life no matter what style is utilized. 5. Direct participation is not the only way by which one may enjoy the art of dance. Viewing professional or amateur performances can be an uplifting and worth while experience. Special services can take a direct role in supporting local professional and amateur performances by scheduling special event trips. 6. Once involved, the audience is able to see the feelings expressed and experience the beauty of dance when watching a dancer perform. Dancers have the unique talent of being able to build and create whatever mood is necessary to keep the audience involved in the presentation. This experience can occur in any type of performance whether it be classical ballet or a chorus line musical. In any style, dance is a powerful skill and its effect on one who views a performance can be breathtaking. 7. Special services can provide an ideal opportunity to promote the art of dance in all its styles to the people of a military community. Through programs, special events and trips, dance can be made less intimidating for people who feel they have "two left feet." As the cartoon character Snoopy once said: "To live is to dance and to dance is to live!" 1001. SUGGESTIONS FOR BEGINNING AND MAINTAINING A DANCE PROGRAM 1. As with any type of recreational offering, the process of planning for a dance program would need to focus on meeting specific needs in the following areas: a. Special requirements b. Equipment c. Program leadership d. Course offerings/times/class size 2. The recreation professional will have better control over the success of a dance program by meeting the specific requirements of the above areas. 1-3 1001 ARTS AND CRAFTS HANDBOOK 3. Spatial Requirements a. A square shaped, well-ventilated room is necessary for any dance program. It is suggested that a minimum of 100 square feet be allowed per dancer with no more than 20 participants in a 2,000 square foot area. If using live music, allow additional space for the pianist or instrumentalists. The room should be located within the building so as to prevent outside noises from interfering with the class. b. A rectangular-shaped room allows for the addition of bars and mirrors. The minimum ceiling height for the dance room should be 16 feet with the recommended height being 24 feet. The room must be heated during the winter; and, although air conditioning is not necessary during the summer, it is suggested that the air be well circulated all year-round. c. The proper flooring is essential to ensure the success of any dance program. A non-skid hardwood floor or dance flooring allows the proper amount of cushion for this type of activity. Concrete floors do not "give" and can cause injury to the participants. This also holds true for tile floors which are usually laid over cement. d. Incandescent lighting is preferred; but natural lighting might also be considered. It is best if electrical outlets for record players and/or tape decks are located near the front of the studio. It is also suggested that separate dressing rooms be provided for each sex with entrances located outside the dance room to prevent participants from a later class disturbing a class in progress. 4. Equipment a. Mirrors (see figure 1-1) and ballet bars are essential equipment for the dance studio. Both items can be either portable or permanently fixed structures. b. Portable ballet bars can easily be constructed from wood and aluminum or stainless steel piping. Portable bars can be constructed to accommodate either fixed or adjustable requirements. Adjustment bars should have a height range of 35 to 42 inches (see figure 1-2). Fixed bars can be built with any dimensions. The design included (see figure 1-3) uses 30 inches for the bottom bar and 42 inches for the top. Fixed permanent bars will usually vary, extending 42 to 48 inches from the floor and 6 to 8 inches from the wall. The smooth surface of a bar should allow 5 feet in length for each participant. c. Mirrors can be permanent or portable structures in the studio. Portable mirrors should be on casters for easier mobility. Fixed mirrors may be installed from 12 to 18 inches off the floor and can be located either directly across from the bars or on the same wall. Many instructors prefer the former arrangement. d. Music is an essential component of any dance class, and there are two options which need to be considered in providing this element. Live music may be provided either by a single pianist or a group of instrumentalists. If a pianist is utilized, it will, of course, be necessary to have a piano available. Instrumentalists, by and large, provide their own instruments; but chairs and music stands need to be supplied. Make sure to have enough space available in the room for both the participants and the musicians. Another factor that needs to be considered when using live musicians is the cost involved. e. Recorded music can be supplied through either the use of a record player, tape deck, or a combination of both. The record player used should include tempo control which allows for variations in speed between the standard settings on a normal turntable. This feature allows the instructor to make variations in tempo without disrupting the original flow of the music. When deciding on a tape deck, both cassette and reel-to-reel systems should be considered. The exact type purchased is dependent upon personal preference and what fits best into an already established system. Specific records and tapes usually are supplied by the instructor. 1-4 ARTS AND CRAFTS HANDBOOK 1002 5. Program Leadership a. Instructors of a special services dance program should project a professional attitude, yet also understand the recreational needs of participants. The ideal candidate would be an individual and/or an instructor with a degree in dance, and with membership in at least one professional organization that certifies its members. The two major organizations which do thi5 are the National Association of Dance and Affiliated Artists (NADAA) and Dance Masters of America (DMA). b. When interviewing a particular candidate, ask pertinent questions about performing experience, education and previous teaching experience. A good suggestion is to familiarize yourself with local dance companies and studios so that you may better recognize a candidate1s qualifications. Discuss philosophy of dance instruction and compare the candidate 9s philosophy with your own. Above all, assess the candidate 9s ability to teach dance in a recreational setting. Remember that a skilled dancer is not always a good teacher. Good dance instructors usually combine performing skills with patience and various teaching skills learned through past training and experience. 6. Course Offerings/Time/Glass Size a. The type of dance courses offered by special services is largely dependent upon the interests and needs of the command. The purpose of a program, be it professional or recreational, depends on the philosophy of the command. b. The major styles of dance generally offered are ballet, tap, jazz, modern and social dance. c. It is best to start slowly by offering classes 45 minutes to 1 hour, once-a- week, for an 8 to 10 week session. Participating age groups should be divided into a minimum of three groups such as 3 to 5 year olds, 6 to 13 year olds and 14 years and older. The number of sections offered per set is based upon demand, but generally, the greatest amount of participation comes from pre-school aged children. d. Each succeeding session should offer courses for different levels of instruction from beginning to advanced. The teaching staff should plan lessons accordingly so as not to unnecessarily duplicate material between different levels of experience. e. The best time for courses to be offered depends on the age group involved. For children, after school hours (3:00 to 7:00 p.m.) and Saturdays are best. Adult and recreational classes could meet early in the morning, afternoon, or later in the evening. The number of times an established program meets during the week depends upon the philosophy of the agency. Recreational classes average 1 to 3 meetings a week; and the professional training classes meet 4 to 5 times. Class size is based upon the limitations of facility size and bar space. 1002. CONTRACTING FOR A DANCE PERFORMANCE 1. Special services can take a direct role in supporting professional and amateur dancers by sponsoring special event trips or contracting for performances. These services offer the individual, who does not participate in dance, an opportunity to become involved with and enjoy its benefits. The exact type of event sponsored by the agency is largely dependent upon its special limitations. 2. The most important requirement for contracting a company or specific performer is a need for adequate space. If a stage or other large special area is utilized, be aware of its dimensions and the type of flooring. Dressing rooms and warm up space are also convenient necessities for the performance. These requirements also hold true for outdoor performance areas. There should also be adequate distance between the performing area and the audience. Coffeehouse type stage areas usually do not provide the necessary requirements for dance performers. 3. Special services officers should be aware of the type of dance performance style that would be accepted by the community before contracting specific performers. 1-5 1002 ARTS AND CRAFTS HANDBOOK 4. The cost of a performance is largely dependent upon the number of performances contracted for and the additional expenses incurred by the agency. These additional expenses include items such as lodging for the performers, traveling costs, and equipment rental. 5. The technical aspects of contracting for a performance center around determining which party is responsible for supplying necessary equipment. A dance performance normally needs lighting and sound equipment. Some command concerns in this matter are what type of sound equipment is needed (cassette, reel-to-reel, etc.), and who supplies and runs the equipment. 6. The command also needs to be concerned about responsibilities for publicity. It should be determined to what extent the command is required to promote a particular dance performance. Specific publicity items such as news releases, fliers and posters should be discussed to determine the exact responsibilities of the command. Dance companies often have publicity packets available. 7. Contracting a performance may be out of the question if adequate facility space is unavailable. In this case it might be possible to schedule special event trips to view local professional or amateur dance performances. 8. The possibilities for dance programming are vast and can offer many individuals worthwhile and rewarding experiences. It is the responsibility of the professional to assess community needs in order to provide adequate programming to create those experiences. 1003. DANCE STYLES AND SPECIFIC REQUIREMENTS 1. Ballet a. The origin of ballet can be traced to the Royal French Renaissance. The Ballet Comique de la Reine blended music, dance, and acting in an elaborate court presentation of the first ballet with a unified theme. Ballet began developing a definite technique during the reign of King Louis XIV with the establishment of the first dance academies. b. Until the 18th century, all ballet roles were danced by men. The acceptance of women in ballet was a major reform and led to a change from stiff, hot, long costumes to short, light attire. The "toe shoe" was created during the 19th century by darning the point of the soft ballet slipper, putting cotton batting inside the shoe to protect the toes and tying ribbons tightly around the ankle for support. This shoe evolved into the boxed point shoe which is associated with ballet today. c. In this century, the evening-long story ballet gave way to shorter plotless ballets which permitted greater program variety. d. Simple leotards and tights for dancers replaced the ankle-length skirts and shorter tutus found in early ballets in order to emphasize the change of focus from story to pure movement. The popularity of ballet in the United States is increasing and dancers frequently appear in the news. e. The purpose of a ballet course is to help the student obtain an understanding and appreciation of basic ballet theory, emphasize body alignment and placement, and develop turn out. Also, the student should obtain a working knowledge of basic ballet skills at the bar and center of the floor. F. Ballet challenges the entire body, aiding in coordination, flexibility, balance and rhythm. g. Ballet today encompasses a wide diversity of styles and practices. Instruction may range from the "classical" style of 19th century Russia to a dance that employs popular folk styles such as jazz or rock. The subject of a performance may be derived from a child 9s fairy tale, psychological drama, abstract idea or "pure ballet," within no subject at all. Dancers may wear point shoes, street shoes, or go barefooted, depending on the style chosen. 1-6 ART5 AND CRAFTS HANDBOOK 1003 h. Movement itself may be equally dissimilar. Dancers may display a grand noble manner or dazzle the audience with the speed of their turns and the beat of their legs. In the next dance, the same dancers may explore areas of body expression implementing a contemporary style rather than classical ballet style. i. Recreational based classes should meet once or twice a week. A well qualified teacher is the most important requirement of any ballet class. The primary concern here is that the teacher be knowledgeable of the human body. An instructor should break down an exercise into basic movements that need to be learned correctly and mastered to the best of the student 9s ability. The teacher should guide students and at the same time make the class enjoyable and exciting. j. The following are objectives of a ballet class: (1) That the student understand and be able to explain theory and concepts using the following: (a) Alignment and placement (b) Stage directions (c) Turnout (d) Spotting (e) Positions of the feet (f) En Dehors and En Dedans (g) Adage/Adagio - slow movements (h) Cechetti numbering system for the stage (i) Five fundamental movements of elevation (j) Allegro - fast movements (2) That the student be able to identify, explain, and accurately execute bar skills: (a) Plie 9, demi and grande (b) Releve (c) Battements - tendu, frappe, grande degage, petit, retire (d) Ronde de jambe a terre (e) Port de bras au corps cambre (f) Petit echappe k. Specific dance attire is usually required of students registered in a beginning ballet class. This attire consists of leotards, tights and ballet shoes. Male students may wear a tight fitting T-shirt and warm-ups. Students with long hair should pull their hair back. Check with the instructor for the preferred style and color of attire before having students purchase their attire. It is a good idea to have the instructor check the fit of the shoe for each student before the class begins. 2. Jazz a. Jazz dancing is the most popular of the American contemporary dances its origin being traced back to the highly emotional dances of the native Africans. These tribal dances placed great demands on the entire body of the participant. Following the Civil War, blacks in the South continued to develop cultural dance movements and combined these with the evolving jazz-type rhythms. 1-7 1003 ARTS AND CRAFTS HANDBOOK b. Jazz dance was considered a form of social dance until the 1940 9s. At that time, a new jazz style emerged consisting of ballet and modern dance fundamentals. This free style technique of movement allowed the dancer an opportunity to use unlimited expressions of the imagination. c. Choreographers have developed many forms of jazz from the melting pot of dance styles. Today, jazz is a prominent dance style used in musical theater, and on its own. 3. Modern a. Modern dance emerged in the 1930 9s with four primary dancers--Martha Graham, Doris Humphrey, Charles Weidman and Hanya Holm. These four dancers, known as the "Pioneers of Dance," were also instrumental in promoting the style of modern dance. Ruth Denis and Ted Shawn were two other significant dancers of this period who combined their techniques and called it "Denishawn." With the combination of these styles, later dancers were able to use their bodies as a resource to express feelings and concepts in their own unique way. b. Out of many earlier dance forms, modern dance emerged as a space-time-energy art style. It is the individual expression of emotions and ideas through the medium of meaningful movement. 4. Tap a. Tap dancing has been an important part of our American culture for many years. The form of dance that we know today was developed around the early 1900 9s when variety shows in music halls attempted to include a more serious style. b. The basic dress of tap dancing became evening dress, top hat, shoes with a clicking heel and a stick or cane. Chorus girls and specialty couples began to learn tap and add it to their routines. Song and dance performers also became popular. c. Today, most variety shows include at least one tap dancer. d. Tap dancing is an easy skill to acquire and rarely do you find a person who can 9t learn a simple routine. Its irregular and syncopated rhythm, combined with a fairly quick tempo, can easily capture an audience 9s attention. Tap routines performed within a group are usually designed so that each individual with the group is performing the same routine. e. Tap can be beneficial to an individual 9s health and well-being by providing good cardio-vascular exercise, skill coordination, rhythmic training and an appreciation for different musical styles. The basic fundamentals of tap include the following steps: (1) Shuffle (2) Brush (3) Flap (4) Heel drop (5) Fall change (6) Slap (7) Stomp f. Routines are created when these basic steps are combined and choreographed to a particular piece of music. 5. Social Dance . There are four main types of social dance that are currently popular. Bach is listed below with its specific definition: 1-8 ARTS AND CRAFTS HANDBOOK 1003 a. Square Dancing is usually done with four couples starting in the shape of a square. A caller gives direction to the dancers, creating various figure patterns and movements. A good caller calls at the knowledge and experience level of the dancers. The dancer needs to be aware of his/her position in relation to the square at all times. Examples of figure patterns are visiting couple, single and double visiting, star figures, split the ring and arching figures. Basic fundamentals which are necessary for the dancer to learn in square dancing are allemande left, grand right and left, swing, promenade, do-si-do, pass through, ladies chain and many others. b. Round Dancing is the term used for a number of American dances performed by couples. Couples move around the room in one direction thus creating the cause for the name of this type of dance. Many of these dances have evolved from both folk and ballroom forms. Some of the older dances which have survived through the years include the following: (1) California schottische (2) Bolero (3) Varsourianna (4) Josephine (5) Blue pacific waltz (6) Penny waltz (7) Old time schottische (8) Laces and graces (9) Jessie polka c. Folk Dances are those dances which come from countries other than the United States. These dances stem from cultural sources and often have political or religious significance. Style is the element of folk dancing which shows the cultural aspects of a particular country. Each country 9s style becomes more apparent as the dancer becomes familiar with the unique cultural practices of a country. d. Ballroom Dancing is primarily a social activity danced by couples. This form of social dance is constantly influenced by changing trends in music and entertainment. Examples of ballroom dances include the following: (1) Foxtrot (2) Cha-cha-cha (3) Tango (4) Waltz (5) Jitterbug (6) Rhumba Each of these dances in turn has several variations and combinations of steps. 6. Pompons . Pompons is a regimented group activity for approximately 10 to 30 participants which utilizes dance movements to choreographed specific routines. Participants are usually members of a pompon team which performs its rountines at large group events such as parades, sports contests, and meets where they compete against other pompon teams. 7. Baton a. Baton can be traced back to the ceremonial dances of the SamoanIslands and later evolved into the marching routines of early drum majors. Major Booth of 1-9 1003 ARTS AND CRAFTS HANDBOOK Chicago officially sanctioned baton when he sponsored the first competition held in the Chicago land Music Festival in 1935. b. The baton is a chrome-plated thin cylinder (9/16 inch in diameter) that is controlled by the performer 9s fingers in twirls, rolled around the body without the use of the hands and thrown into the air to create aerial tricks. These tricks are combined with dance movements which are choreographed in synchronization with the twirls c. Four basic levels of skill with 15 fundamental tricks at each level should be learned by the beginning student. Each level must be mastered before progressing on to the next level. As each level is completed, skills are combined with dance movements and choreographed into short routines that are used in competition or in parades. d. Classes should meet once a week for approximately 45 minutes to an hour and consist of 15 to 20 participants. Additional practice time may be required for an upcoming competition or performance. Competitions can be done either solo or per- formed with a group. It is recommended that those participating in a special services program compete as a member of a group at the command level. e. Parades can be utilized as an acknowledgement of work or incentive to continue in the program. Integration of pompons and baton into youth activities sports programs can involve the non-sports participants and their families. 1004. SOME HELPFUL HINTS TO CONSIDER FOR A DANCE PROGRAM 1. Have a form available for parents to fill in the various sizes of their children. Include such items as measurement of waist, height, hips, bust, etc. This can aid the instructor or parent in ordering the proper attire. 2. Keep a running list of used dance items (such as shoes, leotards, etc.) with names and phone numbers of people willing to sell materials. Post this list in a convenient location near the dance studio. 3. Try to keep the same day and time in offering a future class to allow students easier transition in scheduling from one level of experience to another. 4. Consider having registration for a succeeding class starting the last week of a session in progress. This help: to maintain a sense of continuity with the students and staff of the program. 1-10 ARTS AND CRAFTS HANDBOOK Figure 1-1--Mirrors and Ballet Bars 1-11 ARTS AND CRAFTS HANDBOOK Figure 1-2. Portable Ballet Bars 1-12 ARTS AND CRAFTS HANDBOOK Figure l-3.--Fixed permanent Ballet Bars 1-13 ARTS AND CRAFTS HANDBOOK GENERAL INSTRUCTIONS 1) Cut 45 o angle on end of each base piece, bottom dimension = 36" 2) Center upright between two bases pieces at 90 o angle, clamp, drill two holes through first base piece and upright, then second base piece. 3) Insert 5" bolts through the two holes and tighten to hold w/o clamp 4) Cut 45 o angle on end of each support piece. 5) Loosen bolts screwing base pieces to upright and position one support piece on each side of upright extending down between and even with bottom of two chase pieces. 6) Check and adjust for flat or level base with supports and upright in position, tighten bolts and clamp each end of the base before drilling two holes for additional bolts at each end of base. (See diagram II) 7) Insert 5" bolts in both ends of base (two per end) and tighten. 8) Check 45 o angle of support against upright piece and adjust to fit. Figure l-3.--Fixed Permanent Ballet Bars--Continue. 1-14 ARTS AND CRAFTS HANDBOOK 9) Drill holes through two of support into upright to accommodate lag bolts STEP #9 10) Insert and tighten lag bolts 11) Repeat above procedures, or the sore efficient ones you come up with in trying to follow these for 2nd stand. 12) Mount pipe flanges with bolts, nuts, and washers. The important thing here is that flanges are mounted such that when pipes are screwed in place top pipe (BAR) is 42" from floor, and bottom bar is 30" from floor. 13) Cut to fit and staple foam rubber padding, carpet piece, or similar material on bottom of each stand. This will prevent slippage and damage to the floor. Figure l-3.--Fixed Permanent Ballet Bars--Continued. 1-15 ARTS AND CRAFTS HANDBOOK CHAPTER 2 THEATER ARTS AND CRAFTS HANDBOOK CHAPTER 2 THEATER PARAGRAPH PAGE Introduction............................................ 2000 2-3 Suggestions for Beginning and Maintaining Theater Programs.........................................2001 2-3 Theatrical Skills and 3pecific Require- ments....................................................2002 2-6 Some Helpful Hints to Consider for a Theater Production.......................................2003 2-10 Scheduling................................................2004 2-10 2-1 ARTS AND CRAFTS HANDBOOK 2000 CHAPTER 2 THEATER 2000. INTRODUCTION 1. No single art form is as demanding as theater. It blends together a variety of different technical and artistic skills for the dual purposes of audience enjoyment and artistic expression. Technical requirements include an understanding and application of electronics and carpentry; a few of the artistic demands are artistry of set construction) lighting design, costuming and makeup of characters, choreography of dance as well as on stage movement and the actual presentation of dialogue and music. The director of a production must understand the specific requirements of each art form and know how these crafts can best complement each other to create a memorable dramatic presentation. 2. This assortment of skills and talents will produce only the active portion of a production that will consume hours of rehearsal and preparation. 3. Theater also requires behind-the-scenes management of time, money and resources. The recreation professional can use skills acquired in other areas of programming to publicize and manage the business aspects of a production. Special services can aid the progress of a dramatic presentation by creating an audience to view and enjoy the production. This blending together of artistic resources with an appreciative audience can produce a unique experience for the many individuals involved. 4. Many lives are enhanced by a theatrical experience, whether the production is professional or amateur, praised by the critics or enjoyed by grandparents. Beware though, for the theater is a demanding endeavor. Its needs are insatiable and the time it consumes is enormous, but it rewards those who share its magic with the best of leisure enjoyment and fulfillment. 2001. SUGGESTIONS FOR BEGINNING AND MAINTAINING THEATER PROGRAMS 1. Special Requirements . Traditional stage areas can normally be found in every community. The three basic stage areas are as follows: (The type of stage utilized is largely determined by what is readily available in the community.) a. Proscenium . A proscenium stage is the most common type of performance area and can be found in community schools, churches, etc. The scenery for a play produced on a proscenium stage is designed to be viewed only from the front. The action itself takes place within or behind the proscenium which forms a "picture frame" effect for viewing. A curtain can be used to denote passages of time, changes of act, scene and location. Many plays are written with certain scenes to be performed in front of a closed curtain while scenery is being changed. This technique allows the play to continue without disrupting the dramatic flow of a performance. An orchestra pit usually separates the stage area from the audience, but is not necessary. b. Thrust . The separation between audience and performers does not exist on a thrust stage. This type of structure literally brings the performance to the audience. Seating is arranged around three sides of a raised platform that extends into the auditorium. Very little scenery is used so that view of the performance is not blocked by large elaborate structures. The director must plan effectively for this type of performance area so that all the elements of a production may be clearly seen from three sides. c. In-the-round . The relationship between audience and performer is even closer in theater-in-the-round. Seating is arranged in bleacher fashion around four sides of an open space at floor level. Scenery is limited in size and shape so as not to obstruct visibility. A theater of this type usually seats no more than 200 persons. Both this structure and the previously mentioned facility can be found on the local level in dinner theaters, and other non-traditional performance facilities. 2-3 2001 ARTS AND CRAFTS HANDBOOK 2. The ideal auditorium includes one of the three stage areas mentioned, as well as fully equipped shops to make costumes and scenery, rehearsal and dressing rooms, storage space, lighting booths and office space. Most of the auditoriums available for use on the local community level do not include many of these areas. This does not mean that a facility shouldn 9t be used. It should be decided early in planning as to whether the production is well suited to the available stage type. 3. Dressing rooms should be available to amply serve the cast. Dressing rooms should be well lighted and equipped with mirrors, hanging space for clothes and work tables. Dressing areas must also remain clean and sanitary to provide a safe and pleasant environment for cast members. Separate facilities should be provided for male and female cast members, with special consideration given to those who require multiple costume changes during the production. 4. When booking rehearsal space, find an area close in size to the actual performing area. This assists performers in making an easier transition from rehearsal. Utilize props and set pieces as often as possible during rehearsal, especially if the stage is not being used until production week. 5. Fire protection and prevention standards should be checked on a regular basis. Access to fire doors and escape outside the facility is necessary for the audience as well as the performers . Check with the base fire marshal to ensure compliance with existing regulations. Fire curtains are provided in certain types of structures to prevent backstage fires from spreading to the audience. Fire extinguishers should be available backstage and checked on a regular basis. Scenery, lumber and other flammable materials should be properly stored to prevent a fire. 6. Backstage hanging apparatus may also prove hazardous if not checked on a regular basis. Pipes, light fixtures, drapes and other overhead items should be properly weighted to prevent possible injury. Hemp rope becomes dry and can break under heavy use. All backstage chains, clamps and bolts should be periodically checked for strength and tightness. 7. Equipment . Equipment needs for a theatrical production are by far the most costly items required. Once a command decides on utilizing a particular facility, technical equipment needed for the production includes lumber, paint brushes, tools and other items to build sets, as well as proper lights and lighting controls, colored gels, replacement bulbs and fuses. Many lighting equipment needs are often readily available at the facility. Replacements are necessary, for bulbs and fuses are unpredictable and may burn out at any time. 8. Before casting a particular production, scripts need to be acquired for auditions. Locate the publishing company that handles the play to be produced. Write for permission to produce, a royalty quote and scripts. Script needs usually are one per actor and three additional scripts for directors and technical personnel. Order these materials at least 1 month prior to auditions. Make sure prompt payment is sent or the royalty quote may be withheld. Royalty rates are usually listed in the catalog as a specific fee for opening night and a reduced fee for succeeding performances. For example, $50.00 - $35.00 means that opening night royalty cost is $50.00 and all additional performances cost $35.00. Publishers may offer a "Royalty Reduction" upon request, if there is little or no financial backing for the production, or the play is produced in less than standard space or to small audiences. 9. Royalty payments must be paid to avoid legal problems. Current copyright laws hold both the individual and the agency responsible for copyright and royalty infringements. This simply means that if an agency copies scripts or produces a play without permission from the publisher, that agency can be sued by the copyright holder. Be warned, clipping services are used to detect advertised plays that have not paid the appropriate rights. No production should be permitted at a Marine Corps base without copyright permission. To avoid embarrassment, copyright permission should be obtained prior to the first rehearsal. 10. Additional needs for a theatrical production include the following: costumes, stage makeup, props, furniture and possibly some type of sound system. Costumes can be constructed, rented or borrowed by the agency. Stage makeup needs to be purchased from the appropriate distributor. Ben Nye, Bob Kelly and Playbill are common 2-4 ARTS AND CRAFTS HANDBOOK 2001 theatrical makeup manufacturers. If an ongoing program is planned, both costumes and stage makeup should be stored for use in a future production. 11. Scenery, props and furniture should include only what is necessary to establish a particular scene or mood. In some cases, lavish sets may be required to enhance the performance, but often elaborate sets and furnishings draw attention away from the performance if not skillfully designed. 12. A sound system is needed if the acoustics of the auditorium are so poor the performers can 9t be heard. Almost all types of equipment mentioned above can be borrowed or rented from local theater groups, high schools and colleges as well as commercial theater supply companies. It is suggested that as much equipment as possible be borrowed to keep costs of the production within the anticipated budget. 13. Program Leadership a. Selection of the director is the most important element in the success or failure of a theatrical production. Choosing the director may occur before or after the play selection depending on the policy of the agency. Don 9t hire a particular candidate solely based on a resume, interview or word of mouth unless the information source is trusted and reliable. Make sure a candidate has "real" credentials in the art. It 9s a good idea to view an example of his/her work before actually hiring the person. Most good directors are usually involved in several productions during the course of a year. b. Most leisure service agency productions are non-professional or amateur efforts. For this reason, it is important that the director be sensitive to the needs of the beginning performer. Determine whether or not the candidate is willing to be a teaching director and works well with first time performers. c. Adequate training should be provided to ensure that beginning actors are not allowed to go on stage unprepared. Allowing ample time for memorization, keeping a minimum number of late rehearsal changes and being able to display great patience are the keys to success for an amateur theater director. Directors must be aware of the value that people place on time and they should strive to achieve the most effective use of rehearsal time. d. Once the director is selected, have a contract signed prior to the start of the rehearsal schedule. The contract should clearly delineate for what the director will be responsible and for what the command will be responsible. 14. Course Offerings/Times/Class Size/Rehearsals a. Special services course offerings in theater generally center around producing a play or a similar type of presentation. b. Examples of other courses that utilize theatrical skills in classes are costuming, makeup, magic, clowning, and juggling. Class times and sizes of individual courses vary, depending on the limitations imposed by the instructor and the type of course offered. c. The number of rehearsals for a play is largely dependent on whether or not music is involved. A non-musical production needs at least 17 to 20 periods of rehearsal time. Musical productions need double that amount to meet choreographic and musical demands. Most rehearsals take place during the evening with participants meeting for a large block of time, usually 2 to 14 hours. d. With most shows, the final week of rehearsals requires meeting every night with extended rehearsal times. This need is best determined by the director based on what must be accomplished. Amateur performers should not be required to attend more rehearsals than necessary. A player with a brief appearance in Act II should not be required to attend all Act II rehearsals. e. The number of persons involved in an actual performance is not limited to those who have a specific role in the production. Many others are needed for 2-5 2001 ARTS AND CRAFTS HANDBOOK backstage work, in costuming, makeup, lighting and set construction. Support personnel are also needed for publicity, box office, and house and stage managers. These individuals are an essential ingredient. Technical personnel are often scarce. Performers in amateur productions should also help as much as possible in the technical areas; e.g., making their own costumes, doing their own makeup. 15. Publicity a. Publicity is one of most important elements in producing a successful play. Standard methods of publicizing a production include the following: free radio and television spots, press releases, pictures, posters and local marquee signs. Full acts or sections of the play can be performed for such groups as wives 9 clubs to help generate interest in the play. b. Tickets are also an excellent way to publicize a production. These publicity tools are the first item to reach the audience. Tickets should be professional in quality and small enough to fit into a standard size wallet. Printed information on the ticket includes proper reference to place, date, time, and name of the play. Reserved seating also requires some reference to seat number and location. Make sure all this information is printed correctly to avoid possible confusion. Ushers are needed to help seat patrons if reserved seating is utilized. Consider using individuals who have proven to be trustworthy helpers for the command. c. Another publicity tool that may become a lasting souvenir of the play is the program or handbill. The purpose of a program is to list cast members, the titles of songs, and names of characters who sing specific musical selections and act, scene and locale. It is suggested that extraneous information not be included in the program so that its main objective is met. 2002. THEATRICAL SKILLS AND SPECIFIC REQUIREMENTS 1. Outdoor Theater a. Outdoor theater refers to the dramatization of literature in an open-air setting. A stage or bandshell is generally utilized for performances. This environmental change tends to reduce the formality often associated with theater and attracts audiences who wouldn 9t normally be exposed to the art. b. The location of an outdoor theater should have pleasant surroundings. A park, school, churchyard or even a parking lot can be utilized if located away from major traffic noises and street lighting. c. The performance area itself should be situated near a source of electricity so stage lighting and any sound equipment have the necessary power. d. Acoustics are a major concern since voices are often lost outdoors. To prevent vocal strain and help solve this problem, a good sound system with plenty of microphones (four to six) is essential. e. Temperature and weather are uncontrollable factors which need to be taken into consideration when planning an outdoor performance. Due to the electrical needs of lighting and sound equipment, it would be extremely dangerous to hold a performance in the rain. Rain dates should always be planned along with performance dates. Performances should also be planned only during a warm weather season. f. One to four separate productions can be successfully produced during a 3- month period. The number of plays produced is largely dependent on the amount of funds available. 2. Puppetry and Puppet Theater a. A standard classroom or gym is appropriate for use with puppet theater. b. Puppet construction is more suited to indoor areas although a performance can take place in almost any setting. Due to glue, paper mache 9 and other materials used in puppet construction, the flooring should be some type of concrete or tile, 2-6 ARTS AND CRAFTS HANDBOOK 2002 which can be easily cleaned. It is recommended that older clothing or smocks be worn by participants to prevent damage to clothing during this phase of the course. c. The equipment utilized for puppet performances can be either portable or permanent. A simple stage can be constructed from a cardboard refrigerator carton. As the program continues to grow, a more permanent stage can be made from wood. Permanent stages need to be constructed for the specific type of puppet used. d. Instructors for a course in puppetry need some background in crafts and/or theater. Widespread acceptance and interest in this art has given rise to courses in puppetry being taught at local community colleges. Qualified candidates should include at least one college level course in their credentials. e. For younger participants, there should be one instructor for every six children. This ratio can go up as age level increases. f. The amount of time necessary for completion of individual puppets is determined by the type of puppet constructed. Puppet crafting can usually be completed in two to three 1-hour sessions. Rehearsals for performances are then scheduled to meet at least once a week for 1 hour. Participants from pre-school to second grade need to rehearse for 2 to 3 weeks; students third grade and older meet from 6 to 7 weeks. The following is a list of appropriate puppet types for various age categories. g. Pre-school to Second Grade (1) Stick Puppets . A cardboard cutout mounted on a stick. (2) Mouth Puppets . Made from socks with added features. (3) Paper Bag Puppets . This type of puppet is usually not durable enough to withstand the amount of use it goes through for performance. (4) Paper Mache 9 . Secured on milk cartons from muslin bodies. (5) Styrofoam Ball . Used as a head with glued on features. h. Grades 3 to 6 . This age group can learn shadow puppetry in addition to handmade puppets. Puppets constructed by this group are more detailed because children are able to work with a larger variety of materials. i. Grades 7 to Adult . This age category also builds many of the basic puppets utilizing new methods of crafting and different texturing. Simple marionettes made from styrofoam or wood can be a challenging construction project for this level. 3. Mime a. An indoor space large enough for freedom of movement is necessary to learn and practice this art form. Mirrors are highly recommended; a dance room is ideal for teaching mime. Equipment needs are minimal as mime does not necessarily require costumes, props, stage or other extraneous equipment. b. Basic mime techniques can be learned in 1- to 2-hour sessions meeting once a week for 6 weeks. Each class follows a simple format beginning with warmups and moving on to simple mime exercises. These include exercises such as slanted, partner work (as in the "mirror" or "marionette" exercise), small group team work, active and calming exercises. Make up technique is introduced in the fifth week. c. It is suggested that the mime chosen for a performance have a program centered on one theme or subject. The program itself should be designed to appeal to the age level of the audience. 14. Juggling a. Juggling is one of the few activities that can be done both in and outside with certain restrictions. If attempted outside, be aware that sun glare or wind can present problems. By juggling against the wind, its effect can be minimized. 2-7 2002 ARTS AND CRAFTS HANDBOOK b. An indoor area should have a high ceiling with sufficient lighting. Spotlights temporarily blind the juggler so they should not be used. A room with little or no furniture is ideal. Windows should be closed and protected from objects that are being juggled. The best indoor area for this activity is a gymnasium or a stage. c. Very little equipment is needed when participating in this activity. Balls are used to learn basic skills. They are usually brightly colored to add special effects. Lacrosse balls and balls purchased in a pet store are solid and bounce well. Tennis balls can also be utilized for the first few lessons. Comfortable clothing should be worn with a short or tight-sleeved shirt. This type of attire allows the articipant free movement when juggling. Course may be offered to any age level. Young children can participate as soon as they learn to throw and catch a ball. d. Performance experience in juggling is the most important requirement when selecting an instructor. A beginning course usually starts by teaching simple stunts based on basic body orientation and position. The cascade is learned first with one ball and moved progressively up to four balls after a short period of time. This skill can then be combined with various body movements and positions. Additional stunts are also learned in progression, moving from simple to difficult, low energy to high energy, and from solo to partner work. 5. Magic a. Instruction for this activity can take place in any setting inside or out. A portable stand or table is needed to meet the most basic equipment requirement. Additional props needed include a standard deck of cards, handkerchief and a few coins. b. Practice is the most important element in developing skills in magic. A trick must be practiced many times by the student after the trick is demonstrated and explained. A 1- or 2-day workshop works best because of the amount of practice involved. c. Performance is also necessary in choosing an instructor because stage presence is an important element in performing magic. Participants begin by learning basic sleight-of-hand tricks using cards) coins and balls. Once these tricks are mastered, students then move on to apparatus magic utilizing handkerchiefs, ropes and rings. 6. Clowning a. Room size for a class in clowning must be large enough to allow creative movement by all participants. A room without furniture is best. If juggling and tumbling are involved a gym is recommended. Since clown makeup tends to be quite messy, a washable tile or cement flooring is recommend. b. There are no specific equipment requirements for clowning; however, supplies are needed to create a character. Clown makeup can be purchased for a reasonable rate in most novelty and theatrical supply stores. Clown white is less expensive if purchased in a 16- or 32-ounce tin. Other makeup needed includes grease paint, eye- brow pencils, baby powder, brush, mirror, paper towels, cotton swabs, paint brushes, and cold cream. A shaving brush is often the best buy for applying powder to the face. Baby oil is less expensive and can be used in place of cold cream. A clown nose holds best when attached with toupee tape. c. The most unique clown costumes are those made from odds and ends collected at home rather than a ready-made suit. Thrift shops are a gold mine for anyone wishing to make a costume. Clown costumes are normally multi-piece, baggy and over- sized outfits. The basic garment can be made from a pajama pattern adding collar, cuffs, dickies, patches, pockets, suspenders, and anything else that strikes the imagination. Shirts, shorts, tights, gloves, socks, and hats add special touches to a costume. d. Props are not always necessary; however, they often add an extra bit of humor to any clown act. Props can be man made or purchased from any novelty or magic shop. Various types of props include the following: 2-8 ARTS AND CRAFTS HANDBOOK 2002 (1) Ordinary Objects such as a chair, hammock, hat, rope, broom, etc. (2) Constructed Objects such as a collapsible chair, bucket of confetti, over-sized boxing gloves, etc. (3) Ready-made Objects such as handcuffs, rubber chicken, plastic thumb, wilted flower, etc. e. Clown workshops and courses are presently being taught in many community colleges and local universities. Potential instructors for a program may be individuals who either taught or took such a course, or professional clowns who have graduated from clown college. f. A clown should start to develop a unique and unusual character from the beginning. It is not enough to simply dress as a clown; one must also act out the character as well. A basic clowning class seems to work best when scheduled for one 2-hour session a week for 8 weeks. One instructor for every 10 students is a comfortable ratio. g. From the start, students should begin to develop unique gestures and movements to create their own character. A repertoire of bits, sketches and other routines are then created once a character is established. A good clown goes beyond basic clowning to develop skills in other areas such as juggling, acrobatics, dancing, ballooning, magic, puppetry and mime. These skills can add an extra advantage to any clown 9s entertainment capabilities. 7. Acting/Improvisation/Creative Dramatics a. Since many people have the desire to audition for community theater productions, but don 9t have the talents or skills in order to be cast, course offerings in basic acting, improvisation, and creative dramatics should be offered. As with any course, appropriate class offerings should be divided amongst age groups. (1) Creative dramatics is usually offered for younger age groups; i.e., 3 to 5 years, 6 to 9 years. Creative dramatics employs many of the techniques used in more advanced levels but with less emphasis on the perfecting of skills. Being able to create a skit from a given situation, inanimate and animate imitation skills, and imagination are the basic skills learned in such a class. (2) Improvisation can be offered for ages 10 through adult. Improvisation demands a creative mind, glib tongue, and flexible body as scenes, situations and characters are created on the spot. A good game to use in class is Freeze! In the game of Freeze two people start by creating a situation. At anytime after the scene has been created, a class member yells "Freeze!" The two people from the scene freeze their action immediately. The person who yelled freeze then goes up, taps one of the characters and changes places with him; e.g., if the person tapped is doing a push-up, the new person must assume that position. The scene then resumes, hopefully, with a different situation and characterizations. (3) Acting techniques are not limited to a particular age group, although these classes work best with those over the age of 2 2. An acting class can be designed in a variety of ways, as long as it covers the essential elements of voice, characterization, movement and scene study (how to approach a script). In each of these areas, the stimulus, reaction, realization, and response must be learned. These classes can be set up as 8-week sessions that meet for 2 hours each class meeting or as workshops meeting for 2-hour sessions in each area. Once a person has participated in a class, the ability to perform on stage comes more readily. b. Each of these courses should be scheduled in a space that allows room for movement and, preferably, is carpeted. Equipment needs are minimal to nil. Props for scenes can be brought in by participants or extraneous items lying around the building can be used. 8. Miscellaneous a. As an alternative to traditional theater class offerings, especially if there are space limitations, consider holding a play reading and discussion group, a 2-9 2003 ARTS AND CRAFTS HANDBOOK theater appreciation class, script writing, or an oral interpretation class. The room size needed is dependent upon maximum class size. Tables, chairs, good lighting, and a blackboard with chalk and eraser are the only facility needs. b. If facilities, equipment, and instructors are available, unique program ideas such as writing and performing a show for radio or public access cable TV are very realistic and attainable goals. Though these are not traditional theater classes, they do employ many of the same techniques. c. After a theater program has developed a good following, more technical classes can be offered in set design and construction, costume design and make up techniques. d. Those who are involved with programming for children should know the "official" definition of children 9s theater, which is "a play produced for children performed by adults." Most leisure service agencies are involved with productions performed by children rather than plays performed for children. In hiring a director for a children 9s production, make sure he is aware what age group is performing. 2003. SOME HELPFUL HINTS TO CONSIDER FOR A THEATER PRODUCTION 1. When budgeting for a major theater production, don 9t forget the essentials of royalties, costuming, props, makeup, sets, tickets, and publicity costs as well as directors 9 and technical personnel salaries

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