THEA 3915 Sound project 1 (Studio 115)THEA 4915 Sound project 2 (Babcock)Fall 2007, Spring 2008T.TH. 12:25PM – 1:45PM: (production meetings) ROOM: TBA
INSTRUCTOR: Joe Payne Office: PMT 235C Telephone: 585-5856 E-mail: joe.payne@ptc.utah.edu Office Hours: by appointment.
Prerequisite: THEA 3500 Sound Design 1
Course Description: Assigned technical projects to support departmental productions, mentored by PADP faculty. Course credit for completing assigned technical projects on departmental productions.
1.0 to 5.0 credit hours
Course Objectives: To create and implement a sound design for a department of theatre production.
Teaching and Learning Methods: Practical application of a sound design in a true performance production setting according to the following guidelines found in the "Student Sound Design Contract."
Evaluation Methods: Fulfillment of the “Student Sound Design Contract”
Grading scale: Grading will be based on quality of finished product, meeting deadlines on time, your process, and effort. To earn an A, you must exhibit superior performance in all aspects of the project and produce work of the highest quality. To earn a B, you must exhibit high quality performance in some of the project, satisfactory performance in the remainder. To earn a C, you must exhibit a generally marginal performance and evidence of some learning. To earn a D, you must exhibit very minimal learning and low quality performance. To earn an E, you must exhibit a complete absence of evidence of learning.
Text: The play for which you are designing.
Weekly schedule and/or due dates: following the guidelines in the following “Student Sound Design Contract”, and adhering to the dates laid out by The Director and Stage Manager of the assigned production.
Student Sound Design Contract:
name _____________________________ production______________________________________
The Sound Designer is responsible for finding music (unless a composer has been assigned to the show) and creating or finding sound effects, generating the playback medium (computer playback, CD, etc…), and setting volume and speaker positions in the theatre space. The sound designer is also responsible for any sound reinforcement needs of the production, including procurement of the equipment, set-up and configuration of the sound system, and setting of the “mix”. The sound designer is also responsible for procurement and set up of practical sound effects such as doorbells and telephones. Non-bell practical sound effects can be negotiated with props and scenery.
It is the responsibility of the Sound designer to find music and effects that fit within the Directors vision for the show, regardless of the designer’s independent views, choices, ideas. Remember that it is, in the end, the Directors production, and all decisions have to support the Director’s vision of the show. Because of this, you may have a director who wants very specific music and effects, and will dictate that to you. While I encourage all directors to let the team be artists, sometimes this situation is unavoidable, and it is the designer’s ultimate responsibility to give the director what he/she wants when it comes to sound.
Note: The sound department (Joe Payne) will never assign a composer for a production. Composers are found by the director, and if you wish to be the designer and composer, it is completely up to the director to decide. The same kind of support will not be given to composers as we do not have a composition program. If you wish to compose, the director must be made aware that you are not composing as part of your sound design responsibilities.
The Sound Designer is required to have at least a preliminary sound plot to director and Stage manager prior to first rehearsal.
The final sound plot must be in the hands of the Stage Manager on or prior to the Friday night before the first technical rehearsal.
The Sound Designer must attend the paper tech. if one is scheduled.
The Sound Designer is required to have a minimum of 4 meetings with the director regarding sound and music choices.
The Sound designer is required to see at least one run through of the show prior to technical rehearsals.
All cues in the show must be approved by the director (director has heard every piece of music and every sound effect) prior to the date of the first technical rehearsal.
All cues programmed and play ready (not necessarily volume or level set ready) prior to first technical rehearsal. No Exceptions.
The sound system must be play ready (checked and problem solved) prior to the first technical rehearsal. No Exceptions.
The Sound Designer is required to attend every technical rehearsal, every dress rehearsal, and every preview performance. No Exceptions.
The Sound Designer is required to teach the sound board operator how to set up all Clear-Com (communications) prior to the start of the first technical rehearsal. (The evening of the first tech, but prior to beginning the rehearsal itself.)
The Sound Designer is responsible for teaching the sound board operator how to run the show (how to use SFX, or CD players, etc…), and is responsible for any paperwork the board op. may need during the technical rehearsal process.
The Sound Designer is required to have all other paperwork including portfolio materials ready to discuss with Joe Payne before grades are due.
The Sound Designer is required to restore all sound equipment and the sound system after the production is over.
The Sound designer is required to give the director and/or stage manager rehearsal CDs of any music or sound effects that will effect the rehearsal process. Preferably these rehearsal CDs will be given to the director / stage manager prior to being asked for them, but if asked, the designer will get them to rehearsals ASAP. Negotiated with director.
The budget for sound in any given production changes. Contrary to what you may have been told, there is no set budget for sound. Joe Payne will inform you of the Babcock sound budget. Studio 115 rarely gets any budget for sound, but there is always money for CDRs. Contact Joe Payne for CDRs for both spaces. It is preferred that you use the PTC studio stock of CDRs prior to buying any new stock. Joe Payne must be informed, and in many cases approve of any purchases prior to purchasing. All materials purchased with University money, or reimbursed by the University, will be property of the University Department of Theatre. Feel free to purchase the music on your own if you would like to take it home with you.
Every attempt will be made by the designer to have a pleasant working relationship with the design team, director, stage management, and crew. Life is too short for bad feelings. No one wants to work with difficult people, and your working relationships directly affect your ability to find work.
And of course you as the sound designer are expected to create the highest quality product that your ability allows.
Joe Payne is here to help as a resource for advice, help, and support. Please take advantage of it. You are not expected to know how to do everything. However, Joe will not do any of the work for you.
Joe Payne: 801-585-5856 office. 801-502-7256 cell (use sparingly please). joe@paynepayne.com
Name_______________________________________________________Date______________
Contact phone #___________________________e-mail_________________________________
I have read and understand the document above and agree that all of the above will affect the grade that I receive.
The designer is required to be registered for 3915 or 4915 to design for the University of Utah Department of Theatre. In the rare circumstance that the designer is not registered, failing to comply with this contract will result in being banned from any future design assignments for the Department of Theatre.
Thank you, and don’t forget to have fun.
Joe Payne___________________________________
ADA statement. www.hr.utah.edu/oeo/ada/guide/faculty/.
“The University of Utah seeks to provide equal access to its programs, services and activities for people with disabilities. If you will need accommodations in the class, reasonable prior notice needs to be given to the Center for Disability Services, 162 Union Building, 581-5020 (V/TDD). CDS will work with you and the instructor to make arrangements for accommodations.”
Faculty responsibilities. www.admin.utah.edu/ppmanual/8/8-12-4.html
“All students are expected to maintain professional behavior in the classroom setting, according to the Student Code, spelled out in the Student Handbook. Students have specific rights in the classroom as detailed in Article III of the Code. The Code also specifies proscribed conduct (Article XI) that involves cheating on tests, plagiarism, and/or collusion, as well as fraud, theft, etc. Students should read the Code carefully and know they are responsible for the content. According to Faculty Rules and Regulations, it is the faculty responsibility to enforce responsible classroom behaviors, and I will do so, beginning with verbal warnings and progressing to dismissal from and class and a failing grade. Students have the right to appeal such action to the Student Behavior Committee.”
Accommodations Policy: Some of the writings, lectures, films, or presentations in this course may include material that conflicts with the core beliefs of some students. Please review the syllabus carefully to see if the course is one that you are committed to taking. If you have a concern, please discuss it with me at your earliest convenience.
Respect for Diversity: We intend
that students from all diverse backgrounds and perspectives be well served
by this course, that students’ learning needs be addressed both in and out
of class, and that the diversity that students bring to this class be viewed
as a resource, strength, and benefit. Please let me know ways to improve the
effectiveness of the course for you personally or for other students or
student groups. |