USITT
2017 Conference & Stage Expo
Essential Skills for Secondary
Education Instructors
Presenters
Nancy Curtis
Jonathan Duell
Bob Fowler
Dana Taylor
What We Will Cover
1. Curriculum development and what
to teach.
2. Student skills documentation
3. Lesson plan development for the
shop.
4. Examining Common Core standards
for technical theatre and other
standards documents.
5. Training opportunities for educators
6. Testing options including eSET
(Essential Skills for Entertainment
Technicians)
7. Discussion about liability and our
protections
AND….WHAT DO YOU HOPE TO
GAIN FROM THIS SESSION?
EXAMINING COMMON CORE
STANDARDS FOR TECHNICAL THEATRE
AND OTHER STANDARDS DOCUMENTS.
CREATING PERFORMING
RESPONDING CONNECTING
CREATING PERFORMING
RESPONDING CONNECTING
CREATING PERFORMING
RESPONDING CONNECTING
Creating: Discipline: Theatre Artistic Process: Creating
Anchor Standard: Generate and conceptualize artistic ideas and work.
Process Component: Envision/Conceptualize
Enduring Understanding: Theatre artists rely on intuition, curiosity, and critical inquiry.
Essential Question(s): What happens when theatre artists use their imaginations and/or learned theatre skills while
engaging in creative exploration and inquiry?
CREATING PERFORMING
RESPONDING CONNECTING
Anchor Standard 1: Generate and conceptualize artistic ideas and work.
Anchor Standard 2: Organize and develop artistic ideas and work.
Anchor Standard 3: Refine and complete artistic work.
CREATING
Anchor Standard 1
Generate and conceptualize artistic ideas and
work.
CREATING
Anchor Standard 3
Refine and complete
artistic work.
CREATING PERFORMING
RESPONDING CONNECTING
Anchor Standard 4: Select, analyze, and interpret artistic work for presentation.
Enduring Understanding: Theatre artists make strong choices to effectively convey meaning.
Essential Question(s): Why are strong choices essential to interpreting a drama or theatre piece?
CREATING PERFORMING
RESPONDING CONNECTING
Anchor Standard 4: Select, analyze, and interpret artistic work for presentation.
Anchor Standard 5: Develop and refine artistic techniques and work for presentation.
Anchor Standard 6: Convey meaning through the presentation of artistic work.
PERFORMING
Anchor Standard 5
CREATING PERFORMING
RESPONDING CONNECTING
Anchor Standard 7: Perceive and analyze artistic work
Enduring Understanding: Theatre artists reflect to understand the impact of drama processes and theatre experiences.
Essential Question(s): How do theatre artists comprehend the essence of drama processes and theatre experiences?
CREATING PERFORMING
RESPONDING CONNECTING
Anchor Standard 7: Perceive and analyze artistic work
Anchor Standard 8: Interpret intent and meaning in artistic work.
Anchor Standard 9: Apply criteria to evaluate artistic work.
RESPONDING
Anchor Standard 9
Production elements: technical
elements selected for use in a
specific production, may include
design elements such as set, sound,
costume, lights, music, props, and
make-up, but also include elements
specific to the production like
puppets, masks, special effects, or
other story telling devices/concepts.
CREATING PERFORMING
RESPONDING CONNECTING
Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art.
Enduring Understanding: Theatre artists allow awareness of interrelationships between self and others to influence and
inform their work.
Essential Question(s): What happens when theatre artists foster understanding between self and others through critical
awareness, social responsibility, and the exploration of empathy?
CREATING PERFORMING
RESPONDING CONNECTING
Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make
art.
Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical
context to deepen understanding
CONNECTING
Anchor Standard 10: Synthesize and relate
knowledge and personal experiences to make
art.
EXAMINING ARIZONA’S CTE
CURRICULUM
UBD AND VIRGINIAS STANDARDS
Technical Theatre Course
Virginia Beach City Public Schools
Curriculum
Course Description:
• This course is designed to help students
interested in technical aspects of theatre to
integrate and build upon concepts and skills
acquired in Introduction to Theatre Arts.
• This course affords students the opportunity
to gain experience in all elements of technical
theatre through practical application.
Units of study
Theatre spaces
Stagecraft
Scenery construction and
painting
Scenic design
Properties construction
and management
Theatre management
Sound design
Masks
Stage Management
Lighting design
Costume design and
construction
Responsibilities and
careers
Makeup design and
application
Special Effects
Analysis and Response
“Students will study, analyze and respond to a
variety of theatre experiences” that will refine
skills in:
• communication
• collaboration
• analysis
• interpretation
• problem-solving
Process and Development
Technical Theatre will focus on the process and
development of
• performances from the technician’s
perspective
• expansion of students’s technical and artistic
abilities and appreciation of theatrical arts.
Units (protocols and principles )
• Unit 1: Safety
• Unit 2: Theatre
Response
• Unit 3: Principles
of Design
• Unit 4: Application
of Design
Principles
Units (process and production)
• Unit 5: Sound
• Unit 10: Scenery
• Unit 6: Lighting
• Unit 11: Technical
Production
Project/Execution
(per semester)
• Unit 7: Costumes
• Unit 8: Make-up
• Unit 9: Props
Units (management and careers)
• Unit 12: Stage Management
• Unit 13: Theatre Management and
Administration
• Unit 14: Technical Director
• Unit 15: Careers in Technical Theatre
Unit 1: Safety (General)
• Unit elements used in all classes that meet in
or have access to theatre space(s)
UbD Elements: Safety
• Established Goals:
• To create a culture of safety in the theatre
environment
• Essential Questions:
• What makes a space safe?
• For what is each person responsible to be
considered safe?
• What are the guidelines for working safely in
theatre?
UbD Elements: Safety
• Students will know...
• How to respond to an emergency in the theater
• What constitutes a safe work space
• What safety gear is needed for each person
• How to handle tools and systems safely
• How to maintain a safe work space
UbD Elements: Safety
• Enduring Understandings: Students will understand
that...
• The very nature of theatre involves some special
hazards, including safety hazards, fire hazards and
chemical hazards. Backstage crew, performers, and
sometimes even the audience can be at risk.
• It is the responsibility of everyone in the cast and
production staff to avoid accidents and to conduct
themselves safely in all phases of producing a play.
UbD Elements: Safety
• Students will be skilled in doing:
• Responding to an emergency in the theater
• Safely using, storing and maintaining tools, supplies and
equipment
• Climbing a ladder safely
• Lifting safely
• Keeping the space clean and orderly
SOL Elements: Safety
2013 SOL Strands:
Design and Production
Theatre History & Cultural Context
Analysis, Evaluation, & Critique
Aesthetics
Safety
Beyond the State Standards:
• VBO 5 The student must know how to
follow safety guidelines and demonstrate
appropriate safety techniques.
• VBO 6 The student will make connections
between theatre safety practices and real
world situations.
21st Century Skills Emphasis
21st Century Skills Emphasis
Critical & Creative
Thinkers
Innovators, and
Problem
Solvers
Critical Thinking
Creative/Innovative
Thinking
Problem Solving
Effective
Communicators and
Collaborators
Globally Aware,
Independent,
Responsible Learners
and Citizens
Information Literacy
Social Responsibility
Listening
Sustainability
Collaboration
Interdependence
Communication
Health Literacy
National Core Arts Anchor
Standards
Unit Organization
• Safety 1st!
• Align units with production needs WHERE IT
REALLY FITS
• Tech Production unit can work with actual
productions or can be done via models
• Design modules can align with literature in other
classes
Cornerstone Assessments:
Used to
• Assess student progress
• Align classes across the district
• Clarify purpose of instruction
Quarter 2: Cornerstone Assessment
Technical Theatre Cornerstone Assessment Quarter 2:
Problem Solving
• Each paragraph below describes an authentic theatre
production challenge that requires you to create a solution.
• Choose 1 of the 3 challenges to solve.
• Create a strategy to address the problem.
• Explain the sequence. Why did you choose that approach?
• Compare your strategy to other possible choices. (These
will probably be those that you brainstorm and choose not
to use.)
• Refer to the rubric for the criteria on which your solution
will be evaluated.
Cornerstone: Challenge 1
Deck: You are the head of the deck crew for a production
of South Pacific. A wedge-shaped (2’X4’X3’) pile of sand
and glitter must be removed from the stage floor (DC)
between Act I and Act II of every performance.
At your disposal are:
• 5 additional crew members, 3 dust pan/shovels, 4
standard brooms (not push brooms.)
• Additional tasks to be performed after clean-up are to:
strike 2 hinged walls, strike 2 chairs, strike 1 desk, set 2
- 4X8 platforms in the previous sand pile location.
• You have 1 minute for the shift.
Cornerstone: Challenge 2
Costumes: You are the head of the costume crew of a production of
Sweeney Todd.
An actor is double cast as a lower-class bum who gets his throat
slashed and his shirt bloodied before playing a well-to-do father.
You have 24 measures (40 seconds) to do the quick change.
• The bum must minimally have a shirt, trousers and shoes as his
wardrobe.
• The standard upscale wear for a gentleman of the period includes a
frock coat, trousers, a matching vest, white shirt and white cravat as
well as a top hat and spats.
• Starting with the first character create the costume plot for the
bum and the father and the track for the changes.
• State the fabric choices (content and color) for both.
• Illustrate your choices through diagrams, drawings and/ or charts.
Cornerstone: Challenge 3
Properties:
You are the properties designer for a production of Oklahoma,
and you have to create “the little wonder.” The “little
wonder” is a kaleidoscope-like device which houses a hidden
knife blade. There is a little button on the top that releases
the blade from the bottom at a 90 degree angle while the
person is looking through the eyehole. Another character can
then slam the device into the victim’s chest.
Create:
• a detailed sketch
• a materials list
• a building plan
• working construction drawing in ½” = 1” scale.
Teaching Technical Theatre Guide
• Joint publication between USITT and EdTA in
1986.
• Would there be interest in a republication?
UbD Format
& Standards
Publication could be in UbD format
Units would cite correlations with National Core
Arts Anchor Standards for Theatre
Electronic, editable publication for creating
learning plans
PROGRAM: TECHNICAL THEATRE
DESCRIPTION: THE TECHNICAL THEATRE INSTRUCTIONAL PROGRAM PREPARES STUDENTS
TO:
PARTICIPATE IN THE TECHNICAL AND MANAGEMENT AREAS OF THE
PERFORMING ARTS AND ENTERTAINMENT INDUSTRY. IN ADDITION, STUDENTS
WILL POSSESS THE FOUNDATION SKILLS NEEDED FOR POSTSECONDARY
STUDIES IN TECHNICAL THEATRE. AN INTEGRATED APPROACH TO TEACHING
AND LEARNING IS RECOMMENDED AS STUDENTS DEVELOP INTERPERSONAL
RELATIONS, CAREER DEVELOPMENT SKILLS AND TECHNICAL KNOWLEDGE AND
SKILLS ASSOCIATED WITH THE PERFORMING ARTS AND ENTERTAINMENT
INDUSTRY.
LEADERSHIP SKILLS ARE DEVELOPED THROUGH THE STATE RECOGNIZED
CAREER AND TECHNICAL STUDENT ORGANIZATIONS, SKILLS USA.
TECHNICAL THEATRE STUDENTS ARE ALSO ENCOURAGED TO BE ACTIVE
MEMBERS OF THE ARIZONA STATE THESPIANS.
EXAMINING ARIZONA’S CTE
CURRICULUM
SUGGESTED CLASSROOM SEQUENCE
ARIZONA CAREER PREPARATION STANDARDS
CHALLENGES OF WHAT TO TEACH
Where to Start and Sequence
Show as Syllabus?
STUDENT SKILLS DOCUMENTATION
What they know and when they knew it.
STUDENT SKILLS DOCUMENTATION
In a recent EdTA survey, fewer than 20% of respondents document
student knowledge of technical elements and skills.
Multiple Choice
7.______The safety zone around the saw is____.
A. 4”
B. 6”
C. 8”
D. 10”
8.______Wood should be held flat against the bed and firmly againt
the____.
Power Miter Saws
Written Competency Test
A. Blade Guard
B. Trigger
F
C. Fence
D. Miter locking handle
9.______The motor should be a____speed before starting a cut.
E
A. One Quarter
B. Half
C. Full
D. Doesn’t matter what
10.______Be certain that the____before removing the cut board.
A. blade has stopped
B. board looks good
D
C
C. sawdust is not covering the cut
D. pencil mark is still visible
T/F
11.______A miter cut is any angled cut.
12.______Safety glasses are usually required.
13.______What the saw blade “takes away” is called the kerf.
14.______Adjustments to the saw and/or blade can be made with
the saw running.
B
A
15.______Use of a jig can enable you to more accurately make
multiple cuts of the same length.
Fill in the blank:
1. A.
2. B.
3. C.
4. D.
5. E.
6. F.
Miter Saw Practical Test
Student will execute the following:
Student must correctly execute each of the following:
Measure and mark 3 1”x4” @ 10 ½” ______
______
______
Measure and mark 2 1”x4” @12”
______
______
Following safety protocols, the student will execute four 90 degree
cuts on the boards. Students are allowed up to 1/16 of an inch
variance in their cuts. Should there be an inaccuracy greater than this,
the student will have to repeat the cut.
1. ______
2. ______
3. ______
4. ______
5. ______
Automatic failure if:
1. Student fails to use safety glasses.
2. Moves hands within 6” of the moving blade.
3. Wears clothing/shoes inappropriate for the work assigned.
4. Wears hair in a fashion inappropriate for the work assigned.
5. Fails to follow any of the operational or safety guidelines associated
with this tool.
LESSON PLAN DEVELOPMENT
We will be developing lesson plans related to teaching aspects of LED
fixtures.
LESSON PLAN DEVELOPMENT
Objective
Tools
Standards
Assessment
RESOURSES
www.cteonline.org
Power Tool Institute
Backstage Apps
Stagecraft Academy
Rigging Safety
PLSN, Stage Directions, FOH
TRAINING OPPORTUNITIES FOR
EDUCATORS
USITT:
Glerum Master Classes
This PDW
EDUCATOR TRAINING
Theatre educators who want to obtain
advanced degrees might be interested in the
composite list below, prepared by Gai Jones.
University of Northern Colorado, Greeley, CA
Contact Dr. Mary Schuttler
[email protected] 2 years in Theatre
Ed-2 three week summer institutes and five
academic semesters, combination of online
classes, hands on work and theatrical
experiences; instate tuition for all
students; http://www.arts.unco.edu/tei/index.
html
Catholic University, Washington, DC
Dr. Rosalind M.
Flynn [email protected], [email protected]
http://www.drama.cua.edu/graduate/mate.cf
m; Masters of Arts in Theatre Education in 3
summers
University of Akron Modular Masters Program
3 intensive 5 week sessions over three
summers
www.uakron.edu/dtaa; Jim Slowiak
at [email protected] or Mary Cooke
at [email protected]
Florida State University, Tallahassee, Florida;
Lynn Hogan [email protected]
3 summers, five week session with class in
each of the academic years between summers
(two classes) Master of Science for Theatre
Educators
http://www.theatre.fsu.edu/pages/programs/g
raduate/ms/
Southern Oregon University
Masters of Theatre studies in Production and
Design;
Developed for high school and community
college teachers
2 week summer intensive with distance
learning assignments throughout the year
which incorporate the student’s production
program. Eric Levin at [email protected] 541 552
6364
Central Washington University
Ellensburg, WA, contact Scott Robinson,
Director of Summer
Institutes [email protected]. MA in
Theatre production; five weeks June 23-Jul 28;
3 summers, minimum, ma be extended to a
max. of 6 weeks; thesis is production in
teacher’s school with written documentation;
must have 3 ears in the
classroom; www.cwu.edu/~theatre/program/g
raduate/institute
Roosevelt University
(no information supplied-know that it is 3
summers, 6 weeks in Chicago)
ccpa.roosevelt.edu
University of Texas Pan American
Edinburg Tx; [email protected]; Dr. Eric
Wiley [email protected]; 36 hours of study, can
be completed in summers
only
University of Houston School of Theatre &
Dance
Summer MA Program
Kansas State University, Manhattan, KS; Sally
Bailey [email protected];
MA in theatre or MA in Theatre with a
concentration in drama therapy.
Intensive weeklong grad courses in drama
therapy in summer
NYU Steinhardt School
Christina Marin, [email protected]; 4
summer sessions of approximately 3 weeks
each; also weekend intensives offered; no
thesis required; emphasis is educational
theatre across three concentrations: Applied
Theatre; Drama Education; Play Production for
Artists and
Educators. www.steinhardt.nyu/music/edtheat
re
Or contact Dr. Nan Smithner [email protected];
Program in Educational Theatre, Dept of Music
and Performing Arts Professions; they have 4
master’s degrees; but completed in the
summer is EDTC, a 36 point masters. The focus
is Ed Th in colleges/communities; graduates
find careers as teaching artists, teaching in co.
colleges/university, and ed offices of theatre
co. Also has Study Abroad component with
courses in London, Dublin, Brazil.
Not summer programs, but worth considering
The City University of New York’s School of
Professional studies
M.A. in applied Theatre; sequential, ensemblebased program for students interested in the
use of theatre to address social and
educational issues in a wide range of settings;
stress the unit of theory and practiced and is
linked to the professional applied theatre work
of renowned Creative Arts Team. Contact: Matt
Freeman, Kaplan Center
Manager; [email protected]; http:/
/www.sps.cuny.edu/programs/maat
CSU San Bernardino not a summer masters
program
The Master of Arts degree in Theatre Arts with
a Concentration in Theatre Education/Theatre
for Youth is a 45-unit program with lots of
classes offered in the evenings and even on
weekends. There is also the opportunity for
independent studies and projects, plus
internships, so you can use your own
classroom as your “lab” and earn units toward
your degree!
You may also contact Professor Michelle Ebert
Freire, Graduate Coordinator, at 909-537-7451
or [email protected].
MA Applied Theatre USC, Brent Blair, new MA.
Check their website, not a summer MA
program
TESTING OPTIONS FOR STUDENTS
NOCTI
eSET
TESTING OPTIONS FOR STUDENTS
NOCTI
TESTING OPTIONS FOR STUDENTS
eSET
LIABILITY FOR THEATRE TEACHERS
Risk Management, Duties of
Care, and Liability Concerns
for Theatre Teachers
Some Things to Think About
Jonathan Deull
•
•
•
•
•
•
Jack’s “Grumpy”
Former MS/HS Theatre Teacher
ETCP Certified Theatre Rigger
ETCP Recognized Rigging Trainer
Specialist in Acrobatic and Performer Flying/Rigging
Senior Safety Consultant, American Circus Educators
Association
• Voting Member, ESTA/ANSI Rigging Working Group
• Commercially Rated Airplane Pilot
• “Retired” licensed attorney in NY State
Caveat Emptor
• I am not a practicing attorney or a specialist in
any relevant legal matters
• This presentation is NOT legal advice.
My Approach
Safety and Risk Management for its Own Sake
How to Avoid Liability
Don’t have anyone get hurt!
The Bottom Line
•
•
•
•
Know What You Are Doing
Adopt Responsible Practices
Provide Appropriate Supervision
Teach Good Practices and Good
Choices
Key Area of Concern
•
•
•
•
•
•
•
Working at Height
Tool Use
Electricity
Rigging and Fly Systems
Toxic Materials
Weapons
Inappropriate Touching
Legal Structure of Liability
• Based on Tort Law
• Theory of Negligence
• Needs four elements:
– You have a duty of care to someone
– You did or failed to do something
– There was a harm, injury, or damage
– There was a “proximate” causal relation between
your action/inaction and the harm
Laws and Standards
are different
in every jurisdiction
Duty of Care
• You don’t have to be perfect or know
everything.
• Typically – the care that a reasonably prudent
teacher would exercise in similar
circumstances.
• What does that mean?
"At the time of the accident, due to required education
preparation and certification requirements, teachers and school
administrators in the case would have known that, under our
constitution, each individual has the right to the inviolacy of
his/her person, and not be the subject to injury caused by acts
by public school officials. The circumstances revealed in this case
clearly demonstrate indifference by school district employees for
the safety and well being of students in their care and custody.
That indifference is demonstrated in the district's lax
development of policies and procedures, and the non-existent inservice training of personnel to ensure that the policies and
procedures in the matter would be understood correctly and
strictly followed....everyone involved demonstrated deliberate
indifference to equipping or re-installing safety devices. If safety
devices were actually removed and not re-installed, such
removal by school employees was simply a much more
egregious act of indifference toward the safety of students."
Con. Cas. vs. Hall, 761 S.W. 2d 54 Texas App. Ct.-Houston, 1988
Know What You Don’t Know.
• Qualified Person
– A person who, by possession of a recognized degree or certificate
of professional standing, or who by extensive knowledge, training,
and experience, has successfully demonstrated the ability to solve
problems relating to the subject matter and work.
• Competent Person
– A person who is capable of identifying existing and predictable
hazards in the workplace and who is authorized to take prompt
corrective measures to eliminate them.
• Authorized Person
– a person approved or assigned by the employer to perform a
specific type of duty or duties or to be at a specific location…
Risk and Hazard Assessment
•
•
•
•
What could possibly go wrong?
What are the consequences if it does?
What is the likelihood of it happening?
What can we do to prevent or mitigate it?
Risk and Hazard Assessment:
Adolescent Version
Things to Look For
• Building Code Violations (Steps, stairs, railings, doors, aisles, exit routes,
signage)
• Fire Code Violations (Fire containment, suppression, & extinguishing
systems, alarm systems)
• Electrical Hazards (Wiring, grounds, lighting, dimming, control)
• Personnel Hazards (Sharp corners, trip hazards, fall hazards, training,
security)
• Chemical Hazards (Make-up, paints, adhesives, solvents, fire retardants,
ventilation, asbestos)
• Mechanical Hazards (Rigging, portable staging, platforms, lifts, cables,
ropes, stage anchors)
• Tool Hazards (Guards, wiring, protective clothing)
• Thermal Hazards (Heat shields)
• Drapes, Costumes, & Properties (Correct use of fire retardants, nonflammable materials)
Know Standards and Best Practices
•
•
•
•
•
Manufacturer Instructions
ANSI Standards
OSHA Guidelines
AHJ Requirements
Other?
Plan for Things To Go Wrong
Supervision and Access Control
Training for Student Users
(and everyone else involved)
PLAY IT SAFE: Introduction to
Theatre Safety
Documentation and Record-Keeping
Maintenance and Inspection
Permission Slips, Waivers, Releases
Make Everyone a Part of the Team
Integrate Safety into Everyday Practice
“Normalize” Good Practices
• Policies, procedures, and records which could demonstrate that
reasonable care has been taken in the purchase, use, teaching, and
maintenance of facilities and equipment.
• Training of Employees, Students, and other users of the facility. Training
should include First-Aid, CPR, knowledge of location and proper use of fire
control and alarm systems, and accident reporting procedures. Training
should also include proper and safe operation of the technical systems.
• A regularly scheduled inspection program indicating dates and describing
all the items inspected and their condition.
• Standard procedures for notifying all users of the space and equipment
when potentially hazardous conditions are known or suspected.
Procedures for isolating hazards from use.
• Ensure all personnel that NO penalties will be directed toward them for
reporting damaged or hazardous equipment. Make everyone part of the
safety team.
Lots of Resources Available
to help you
http://www.globalhealthandsafety.net/go/resources/books/the
ater-health-safety-book.html
[email protected]
WHAT DID WE FORGET?