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THESISPROPOSAL
Joh Howe DYNAMIC MEDIA INSTITUTE
MASSACHUSETTS COLLEGE OF ART AND DESIGN
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THESISPROPOSAL
Joh Howe DYNAMIC MEDIA INSTITUTE
MASSACHUSETTS COLLEGE OF ART AND DESIGN
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TABLE OF CONTENTS
Ae o Iees . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . .1
Wh? . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . .7
Te Se o he A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
STEPPENWOLF THEATRE
AMERICAN REPERTORY
THEATRE
SIGNATURE THEATRE
SECOND STORY
SMALL DESIGN
M Wok So F . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . .27
KILLING GAME
MUSICAL THEATRE MAP
COMMEDIA TOY THEATRE
GHOST LIGHT
BARD BEAT DOWN
GHOST LIGHT: A PLAY
Poe Pojecs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Pojec Copoes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Tess Asc . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . 50
Seghs d Wekesses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Resouces. . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . .. . . . . 53
Poposed Bogph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
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My mother tells everyone that she knew I’ d be a musically-inclined guy rom an early age. She uses this picture as proo. Only recentlydid we all realize that I’m holding the ukulele backwards.
01
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AREA OFINTEREST
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Secod gde. S. M Goe
Choc Schoo. Ago, es.
Te schoo cho ws pu o
usc he sue d he
cho deco (d po
eche), M. Dz, ws hd
he o gos. I he sue
o he decded h ou
eee schoo ws ed o
Ge d Suv’s Te Mikado.
Lookg ck I’ve ws oud so s—he uu
goup o eee schoo kds peog ope-
e. Eve hough I ws jus pg e Jpese
he chous, he ee epeece ws gc.
Whehe ws he ceu pped sc oes
eoe he cu o he h o he ppuse I do’
kow, u hs s whee he hee ug oud e d
ched o o de e.
I hve oud h hee d desg e u o p-
es. Fo sce, ped ove desk s s o
cg ves. Whe I’ suck o pojec I c ee
o h s d e he c o ogo/pose/wese
My headshot. Age .
2
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(above) You’ll nd me in the back o this photo rom a production o Evita. (be-low) In summer 2011, I directed a production o Te Mystery of Edwin Drood or Stoneham Teatre’s Young Company.
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Although this energy fows chiefy rom perormer to audience
the perormer is rendered impotent unless he or she receives
in return a charge rom the audience. Tis can be laughter in
a arce, a shared sense o awe in a tragedy and even a physical
reciprocity to the achievement o dancer or actor. Te energy
must fow both ways so that the two orces use together tocreate an ecstasy which is comparable only to that experienced
in a religious or sexual encounter.
THEATRE & AUDIENCE HELEN FRESHWATER
desg s cg eecse. Wh s ojecve
hs “scee”? Wh ccs w I use o ech hs ojec-
ve? Ts hs oe goe e ps whe pgepc epsodes. I c, I oducg sophooe
pogph css o hese pes o coceps he
skech wok.
Te o hee es he hds o hose he ses
d hose o he sge, he wches d he wched.
As he c o hee-gog ecoes ess d ess p
o ou cuue, he o wchg s quck ecog
os o. Wh oe c dc ed p
hepg udeces ecoe ee wches? How c
dugs use dc ed d desg o ech
he udece? How c kees ke dvge o
hs ew ed o egge ew udece o e
esg oes? How c hese hgs hgs e cco-
pshed o gh udge, eg ccesse o
se hees? Wh pe o eggees woud e
o ees o udece? How uch eg s oo
uch o udece who s hee o e eeed?
Tese e he es h I’d ke o esech d epoe
hess.
A peoce does’ hppe vcuu—he
eoshp o sge o se s soue eces-
s. Bu s hee-gog hs ecoe ess p o he
se we hve posse os soe o he o “wch.” Wchg p s o ecess he se
hg s wchg sco o oo ge o
ove, hough ech he ws e os o hee.
Audece ouech s o ew hg o hee, u
oe desg s oveooked.
4
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(top) My camp students at Stoneham Teatre greet me beore their Musicality Workshop. (middle)
In my vocal class at exas Arts Project, I like to give students the oppor tunity to dance it out on a
regular basis. (bottom) With the pit band or Craz y For You at Stoneham Teatre.
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Tis lobby display for a production of Venus by Susan
Lori Parks is well intentioned but horribly designed.
I’m sure a lot of passion is there, but as a designed
experience it is atrocious.
02
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WHY?
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Sesh, I w o coe ps-
sos o hee d desg. Fo he-
e, hs esech w cee ew
os o udece eco, oh
deepeg esg eoshps d
hepg cee ew oes. Fo desg,
hs esech coud s udg
ew cosuec— ew ce se—
d hep us udesd he udece
epeece oe.
A o o hees e g o do o dsps whou
sc epeece desg sks. Decos, poduces d
dugs c e ses o eecve coucod soeg o ehd he posceu u do’
g hose sks o p he copee epeece o
vsg he he. Ts s o due o ck o ce o
coce, u s usu spo o he ck o ud-
g d suppo o o-po s ogzos. I
ou d o desg o show w pc hve
ee doe he s ue vouees o e-
es o he hee s whose ohe esposesup he sk hd. S he soc ewokg
d ohe oe ecos e gee hded
ow-eve epoees o es—oe ecuse he e
oug d oe ouch wh h echoog.
8
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Sd, hese peope e’ we equped s soees o
epeece desges. Coseque, we ecoes
pce o pue ewee coguo sees opos ks o posve evews. Fceook s oe pce
o pooe cke dscous o spec oes. Eve sd-
de, he wese s usu ohg oe h dg
veso o he show’s pog wh coo phoogphs.
I’s o ecuse o dec egece hees
whee ou ws hve ced gh oks og
dge ehd he scees. Te chege s h o
eough peope e ookg hese ew os o co-
uco d cosdeg wh’s he es w o
ce poduco o ogzo o use he.
Tees eed gudce, edg owd ew pdg
o sevce desg he hee. Eve he spc-
o he queso “Whe does he p eg?”
e eough o ge he og o soe. Fo os,
hough, ce deed seges d sucueecoedos w e ke o ge deveope.
A specc s o equpe eeds s se o os
so o eco woud e w o s. o e-
couge hees o d oc ss d desges
o wok wh s ohe. I so e h hees
eed o e eded o he poce o he o
o he udece epeece. M esech shows,
oo, h ovve dc ed s see s ue “gc” h coss oo uch d kes oo
uch e. Ts esech shoud go og w owd
evsg h opo.
9
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Steppenwol Teatre
American Repertory Teater
Signature TeatreSecond Story
Small Design
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THE STATEOF THE ART
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STEPPENWOLF THEATRE
COMPANY LOBBY DISPLAYS
“o build this deeper relationship with its audience, Steppenwol has launched an on-
going dialogue around the process o creating theater. Audience members take part
in nightly post- show discussions, attend special thematic events, and enjoy a rich
selection o online content—including multiple videos, pod- casts, blogs, articles,
and slide shows—in which the artists discuss their work rom multiple perspec-
tives.” STEPPENWOLF THEATRE
Seppewo eds he w udece ouech wh sgc oe epe-
eces d deed, ch o dsps d spec hec eves desged o
ech d o ech p.
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AMERICAN
REPERTORY THEATER
“During its 3-year history, the A.R.. has welcomed many major American
and international theater artists, presenting a diverse repertoire that includes
premieres o American plays, bold reinterpretations o classical texts and pro-
vocative new music theater productions.” AMERICAN REPERTORY THEATRE
Te A.R. s oe o he edg ego hees he Ued Ses.Foes hs ee ecogzed o poducg goud-ekg, hough-
povokg wok. Tough he o desgs oe e, he c h he
ke ep hs eed o oe esech o how es o pes-
e oo o he udece.
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SIGNATURETHEATRE
“Signature is the rst theatre company to devote an entire season to the work o a single
playwright, including re-examinations o past writings as well as New York and world
premieres. By championing in-depth explorations o a living playwright’s body o work,
the Company delivers an intimate and immersive journey into the playwright’s singular
vision.” SIGNATURE THEATRE
Sgue kes s sso seous d uses o dsps o uhe he ud-
ece’s udesdg o ech pwgh. Te ew Geh-desged spce ws ce-
ed wh hs sso d d eues o o poe pos o pevous
sesos’ pwghs u so houses ge ouch scees o seso-wde d show-
specc dugc wok.
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SECOND STORY
“We create media experiences that harness deep sources o content and tell com-
pelling stories. We start with content and concepts and build stories that guide
people through a journey o their own choosing.” SECOND STORY
Secod So ged e ede. Skg vsu dsps o o-
pos h e euu o ook d e skg he ecos.Cocepu sog d eoo copeg, he e edes he
wod o epeece desg.
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SMALL DESIGN
“In making inormation accessible to people, it is necessary or designers to
rethink current design paradigms. By taking advantage o the ability o the com-
puter to display dynamic, fexible, and adaptive typography and imagery, we
can invent new ways or people to read, interact with, and assimilate inorma-
tion. Likewise, the combination o innovative visualization with architectural
space and well-designed physical interaces puts potentially limitless spaceswithin a human context.” SMALL DESIGN
Te ecos e houghu wheve sce o edu he e pe-
seed . pogphc de, eshec ce d echoogc svv
coe o p o e-chgg ecos.
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04
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MY WORK SO FAR
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KILLING
GAME RADIOEugee Ioesco’s Killing Game s he coc e o
pgue-dde ow. Ioesco s ess coceed wh
deh se h wh hppes o hu egs
soce h peceves se ude he. He s epo-
g how es hu eedos e coposed d
pued e. Kg Ge Rdo s ec-
ve ojec h shoud e epeeced he o o
hee dug poduco o Killing Game.
Bsed o equeces oud o he d 1953
Ds, es, hs do woks d souds jus ke
o do. Med og souds oe gh hve
hed he—pop usc, ejo, cou, jzz—hee
e ohe cued sos whch c sese o deh
d dkess. Eve sog s he hegh o eo-o—hpp, sd, eu, eoseu. Wh he
30 ue oop hee e ews epos o he pgue
sweepg he o. I he Asuds do, oe
o he ews epos povde useu oo. Jus
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whe he e ou o e ou how o e se o
whee he vus hs sped, sc kes ove d edes
he oo useess.
Wh woud ou do pgue wee cog? How woud
ou ec? Wh ou coud ge o e oo?
How w ou eedos e coposed d pu-ed e? B vg he udece o cosde hese
quesos eoe d e, sde d ousde he udo-
u, we c ehce he epeece o he p.
Ts hs ee good epe o he peope I’ve ked o
ou hess. Fs, povdes spe d ge
epe o ew kd o o eco. I so s
good epe o how udge-ed (oe d e) poposo coud e. I hee pus e eo
o udg sucue o oos, he cos o hs
su coud e . (Te do cos e $25 he soe,
u hee gh hve pued oe o pop soge.)
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MUSICALTHEATRESUBWAY MAPTs p ws desged s oo o hep sudes e
ou usc hee hso. A s I wed o
cee dse o sogs h woud hep udoes
d good udo sogs. You woud ee oo
ou he p ou e g ou o d woud e-
u sogs h e ppope. (See Io Ach pojec
ou udo sogs.) I esed he de wokshop
whch I woked wh sudes o deveop epeoe
o udo es, skg he quesos ou
wh ps he woud w o p d he gvg
he ppope sogs sed o ce. Bu wh
I ezed ws h whe he sudes e wh e-
sue ches o sog choces, he dd’ cu e
how o pck sogs o heseves. Rhe, he jus
sked e o e he d dd’ e o wchg
e pck o he.
I we ck o sque oe d eeced o how I ws
e o pck sogs. Wh ce dow o ws 2 hgs:
I’ we-vesed usc hee hso d
he c o choosg good udo sogs ce dow o
dwg coeco ewee he show ou’e ud-
og o d he sog ou choose o sg.
I ooked oe o he s quesos I sk se whe
choosg udo e: wh ohe shows dd heseceos wok o? Oe wes hve s
So, he pojec chged couses d ecoe ou
eg he hso s sees o coecos.
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COMMEDIATOY THEATREEpoo o soeg v pojeco-eed o
hee. Tough he sock chces o Coed
de ’Ae, uses e ved o use he povded sdd
soes o Coed o ke dvge o he od
ge o posses wh hese opes. Movg he
gues o d o he sge cuses chges ghgd soud o coespod wh he chces’ deg
s. Spe pops d se peces w gge scees.
Uses c choose o jup gh d pu o show,
use he povded scps s oues o he co
o choose o ee ehes o oe dced d
descpve epeece.
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GHOST LIGHTTe ghos gh s gh e o he hee e he ohe ghs
hve ee ued o. I s ug whe he s peso eves d e-
s whe he s peso ves he e d. Tee s cosc
he hee; soehg s ws gog o.
Te eso o ghos gh s cu uoc—’s he
pcc o soehg wh such eeg ue. Hsoc ,
hees gee do o hve gh swches sde he doos—espe-
c hose o e whou eecc. Oe woud hve o wk
cksge o ge de o u o he ghs. A ghos gh
de sue h oe woud o o ope p o up o sepeces. I hs espec, ghos gh s segud.
I hs ke o che eg, hough, s pece o hec ok-
oe. M peope hk s hee o couce wh he ghoss o
he hee. Te hk keeps he ghoss o hg he sge
gh o, ee, keeps he ghoss cop whe eveod hs
e.
M cos ee ve cose o he peope who hve ped he oes
he ps. Hamlet, o sce, hs ee ped housds o c-
os d ech o he eves e soehg o heseves ehd.
Ech gh ou p oe, ou ke ou k d eve hee s
p o he sp o he udg. I s h sp h he ghos gh
s hee o coo d ed ou o. Te ghos gh seves s he
eo o he hee, edg ou o wh hs ee e ehd.
So I wed o hk ou whee we sped o o ou e d
whee we uwg eve k. Wh we coud see es
o ou ps seves? I chose o coe hs wok o suw. M o
us sped o o e dow hose ues. I decded o cee
epeece o des o he mbta suw sse. O he ws op-
pose he pos he w e e o see eecos o he pevous
24 hous. Te e spe shouees, eecg he cos o he
po 24 hous eoe. I ddo hee w e vgue sees
d osevos ou he pevous d. Usg d coeced hough
he cpue, we w cee osevos copg esed d
od. Fo sce, s, “Moe peope e weg ck od
h esed” o “Peope e wkg se od”.
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FEAR NO MORE
SHAKESPEARE UNCHAINED
BARD BEATDOWN 1.0o esse he e o Shkespee usg huo s
e po. Ped os ow ou o eve peso-
zed Shkespee su o ed o ee. A chg wese ows uses o espod wh he
voe sus, she ges d use he uoed
su geeo o sed je o ed.
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3.
ACT [1]
SCENE [1]
GIELGUD
I'm telling you, it comes from an Icelandic noun.
Amlooi. Meaning fool.
(Looks at Booth.)
BURBAGE Absolutely not. We knew it from some common Irish
tale. The character was stark raving mad. Always
screaming about something... you know the Irish...
BERNHARDT
Amlodhe. Amlaidhe.
BURBAGE
Exactly. Willy loved listening to those stories.
OLIVIER
He stole from the best.
GIELGUD
You would know, bloody lush.
OLIVIER
Blow it out your ass, fairy.
BOOTHGentlemen! There are ladies present.
BERNHARDT
Where?
OLIVIER
(points to Gielgud)
Right there.
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FEAR NO MORE
SHAKESPEARE UNCHAINED
GHOST LIGHT,A PLAY Fve cos who ous poed He he
ees hep oug hgh schoo sude s he es
hs hd he oe. Wh od o o Soppd, hspwg eecse ceed wodeu oppou
o cosde wh es o e o he ps s we
pepe o he uue.
Whe sgc pojec s ow gh, hs so
ps p he Fe No Moe pojec, epog
wh es o ppoch Shkespee oe d
how we c p o he psso o ech o hs ps.
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POTENTIALPROJECTS
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4N+!6()N3 // SUMMER 2012
OBJECTIVE: Peo Antigone o we.
IDEA/CONCEPT: Wh e soe ws o peoce
o ech eod he udou d hee ws?
Wh does peoce o we ook ke?
FINAL FORM: wees
BARD BEAT DOWN 2.0 // SUMMER 2012
OBJECTIVE: Cee wese wh ew ecos.
IDEA/CONCEPT: Isu geeo wh soud d
o.
FINAL FORM: Wese, Moe App
LOBBY DISPLAY FOR PROFESSIONAL
PRODUCTION // FALL 2012
OBJECTIVE: Wok wh poesso hee he
ceo o dc o dsp o cu
show.
IDEA/CONCEPT: Specc de/cocep deped o he
poduco d guded he deco o he hee
s. Howeve, us e geue, ccesse, dve coe d eggg. Many projects in one.
FINAL FORM: Med
DRAMATURGICAL CAMPAIGN FOR LOCAL
PROFESSIONAL PRODUCTION // FALL 2012
OBJECTIVE: Wok wh oc poesso hee
o cee oe dugc cpg o
pcu poduco.
IDEA/CONCEPT: Wok wh hee h s usg soc
ed we o se ckes d see how dugc
ouech c e used o egge he udece.
FINAL FORM: Soc Med, Med
In 1968, Peter Brook insisted in Te Empty Space —a text
that is now a well-worn touchstone in theatre studies —that
he could “take any empty space and call it a bare stage’,
observing: A man walks across this empty space whilst
someone else is watching him, and this is all that is needed
for an act of theatre to be engaged.”
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SHAKESPEARE CLASS // FALL 2012
OBJECTIVE: Oseve d ec o he owe eve
Shkespee css mit.
IDEA/CONCEPT: Wok wh Poesso D Hedeso
o ce ce-ekg eecses o hs css hs de o sudes eu o Shkespee o o
cooe wh he guge.
FINAL FORM: Eecses, Wg, Osevo
LOBBY IDEA BOOK // SPRING 2013
OBJECTIVE: o ecod d skech o dsps
coceps o vous shows.IDEA/CONCEPT: ke coo poduced shows o
hgh schoos d cope des d skeches o
esouce-ded o dsps. Te ook w
o A esouce o o dsp pccoes d
povdg poo o cocep. Eve he sghes peces
c hve eggg dsp o cpg.
FINAL FORM: Book, Skechg, Wg
SO YOU WANNA MAKE A LOBBY DISPLAY
// SPRING 2013
OBJECTIVE: o cee spe ce d ough gude
o he ceo o successu o dsp o
schoo o cou hee pogs.
IDEA/CONCEPT: kg wh I’ve eed o he cs
o esech d kg, cee quck d es gude
o educos o wok wh he sudes o cee
copeg d dc dugc dsps o
he schoo poducos.
FINAL FORM: Wg
8:30, ALWAYS // SPRING 2013
OBJECTIVE: M gee sees ou whe he
peoce egs d how eve eds.
IDEA/CONCEPT: A c o co. ogh 8:30 s o
oge he o. Now we’e #evedk wod
d eed o ve ou udeces hous, o jus
whe we w oe o he.
FINAL FORM: Wg39
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PROJECTCOMPONENTS
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Tee s o oe-sze-s- swe
o hs queso whe coes o opc. Wh wok o oe
poduco o wok o -
ohe. I w go hough coupe o
epes d u he queso
oud o e oe swee.
A ve po cosdeo wh desg o hs pe
s h he epeece shoud coe o he coe.
Fo soe poducos, que epeece wok.
Fo sce, poduco o Te Glass Menagerie woud
ee oe o ospecve o epeece
skg he po o eec o he eo-
shps. Aee, A Streetcar Named Desire gh w
o puge ou o he ghe o New Oes wh ese u d vsu kedoscope.
Te pes o epeece hee e o ou he w he
e de. Rhe, he e codus o he udece’s
d—echg o hep he ech ou dug
he peoce. Te wos posse hg woud e
o hve copee opposed epeece—uess
supsg juposo s wh s ced o. I oewee o go see do poduco o No Exit d
wee peseed wh ock coce he o, he
pepo woud e coec cocepuzed.
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Williams at odds:
(above) Te delicacy
o Te Glass Menag-
erie versus the raw
brutality o (below)
A Streetcar NamedDesire.
A metal band would
not necessarily be
the natural compan-
ion or a production
o Sartre’s No Exit.
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Tee e eed o copee esve pe-
show epeece—oe h ees ke de h
o. Ige poduco o Te Rocky Horror Show.
I ou cke ws puchsed eough dvce ou
gh eceve weddg vo o Bd dJe. I ou e ou eceve ews epos ou
sge hppegs he cse o he h. You coud
so choose o oow he Mge’s we eed o ed
soe o R-R’s og. Te gh o ou schedued
peoce, ou ge wehe es: so s p-
pochg d e gh vees, espec oug
ewweds, shoud e e cuous. Eeg he
o ou d ouse weddg ecepo ohe oeeoed coupe. Movg uhe ou
dscove he u o D. Fk--Fue’s cse. You
e suouded odd d supsg gdges, sud
poue d ohe e o he show. Tee
s soud, pehps usc o he show o e ohe
hgs h e sped he cocep ehd hs
pcu poduco. Movg ges e o dsp:
sees o secu ce sped oud he heeog he sse h Fk hs se up hs
. A jo kew hs o s h ou hve
chce o e ou he hso o Rocky Horror s
ou pck up ou udece pcpo g d e
eg oesed he cs s “Rock vg.” Te
o s ucous d hoough eggg. A ushe
eds ou o ou se jus eoe she egs sgg
“Scece Fco: Doue Feue.”
A coupe o ohs e ou u ckes o poduc-
o o Rodges d Hese’s Oklahoma. Ts
poduco hppes o e hu epoduco o
he og. You ough cke o ou dughe d
eceve eg vg ou o spec eve
he oc chde’s useu h ocuses o oe
woe. Mewhe ou oce he hee’s wese
hs og o he duge ou he pocess o
hu eceg he og Bodw poduco.
Tee s evew wh he e suvvg ee
o he og cs. I ws he s Bodw show
d she es o he jo o h opeg gh. You e
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ved o su see ou he s e ou
we o he hee. You choose o ecod vdeo usg
sse o he se h ccesses ou wec. F-
’s he eveg o he peoce. You d ou
dughe ve he hee o d hee dsc o-
dsps. Fs s ge o eo o Okla-
homa’s og u. Tee e phoogphs d og
cosue peces seu ged. I ohe e s
spe dsp o scees dspg he esposes o
he wese. You dughe ghs up whe she sees ou
vdeo ppe. F, hee’s seco coeo-
Example o a pre-show fow or a production o Te Rocky Horror Show. Notice that you can
choose exacrly what you’d like to participate in.
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Sketch o an experience o Oklahoma. Much simpler and quieter than the one or Rocky, but no
less engaging and thought-provoking. Again, notice that you can choose exacrly what you’d like to
participate in.
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g he useu eve d ou dughe shows ou
how she eed o chu ue. Te o s que d
houghu. You oce h he hee s s dessed
ke ushes 1949 s he gude ou o ou se. Ae
he show hee e epoes he o skg o
he kds ou how uch he ejoed he s e
he hee. Tese vdeos ecoe p o he o
dsp d e show o he wese
Tese ew epes show how ved pe-/pos-show
epeece coud wok. A poduco o Rocky Horror
woud c o dee pe o epeece h oe o
Oklahoma. Ech, hough, hs he se go: o pepe
ou e, eoo d phsc o he showou e ou o see.
M hpohess s h desges, poduces, decos
d duges who w o ehce he pe-show
epeece shoud ud veo o equpe. A
ved seeco o eecocs d such woud ow o
e ecos o he eeds o ech show. Ts cche
coud cude pojecos d soud equpe o gedsp, s scee o e/soo use, duo
od d ccouees o phsc ecos d
coupe o s ches o hde vous eeds. Aso
o hd shoud e ve o desges, ss d
egees o c o o specc eeds.
Te eeds w v o spce o spce, oo. A se
o ke Te Hugo Tee’s coud o hdehe ow o pos s we s g phsc ec-
ve epeeces. Te Loe D Cee, hough,
hoe o Aec Repeo Tee, hs oo o
spe d coud es hde egossg epeeces
oe useu-eh-ke epeece.
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ABSTRACT
Te o hee es he hds o
he wches d he wched; s coveso ewee co d udece. A peoce co hppe vcuud hs eoshp o sge o se s soue ecess. Wchg p s oecess he se hg s wchg
sco o oo ge o ove, houghech he ws e os o hee. Bus hee-gog hs ecoe ess p o hese we hve posse os soe o he o wch.
Le, I’ve ee skg se: “Whe doeshe p eg?” Ised o he dgo he house ghs, he epeece o showegs og eoe he cu hs se. I e h he e oe povokes hough.
I so e h he pose desg spes ew pespecve, s coud he c o puchsg cke o eve he de o hehee. A hese eves hve eec oech udece ee.
Moe oe h o, hough, udeces e o s ow devces oce he ckehs ee puchsed. Foowg he
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peoce, oo, udece s ed ouo he ses d, oo oe, us cve sech o oppoues o coued
epoo d peso dscove. Ousdeo he udou hee e osg geoppou o dscusso.
Tees hve cede sse h soe oveooked s spe sospce: he o. Moe oe h o, o s eed s ohg oe h hw d sepe o oce e s o uchoe h ew. Ad hs o cecoe epded de, echg ousde
o he wed oudes o he peoceudg d ecopssg he eephsc d e joue o d o hehee.
B cog he ees o sevce desg,dc ed d dugc ouechhow c we deepe he udece’s epeeceo wchg p? How ws c weouch po d hep he udesdwh he e ou o see o hve jus see?
How c we eed he epeece o showousde o he hee udou? How che ee pe-/pos-udou eve eee desged?
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STRENGTHS &WEAKNESSES WHAT DO I NEED TO READ, LEARN?
I w e sudg coceps o o checue heo, he eoshp
ewee udece d sge, d keg eos ew ed. Add-
o I w e eg ou sevce desg d cosdeg how c
p o he hee-gog epeece. F, I w o e oe ou
he phosophes o hee d eshecs wh egds o udece.
WHAT NEW SKILLS DO I NEED?
I eed o ud o pogg sks o e e wh pojec oppo-
ues. I so w o deveop soge udg d cosuco sks
o udg phsc dsps.
WHAT DO I ALREADY KNOW?
I code d cooe wh os specs o vsu desg, soe
pogg, evoe dsps, hee go
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SELECTEDRESOURCESTHEATRES
+ Aec Repeo Tee, Cdge, ma
+ Seppewo Tee, Chcgo, il
+ Ae Tee, Houso, tx + Sgue Tee, New Yok, ny
+ Hugo Tee, Boso, ma
PEOPLE
+ D Hedeso, mit
+ Je Soeug, mit
+ Dug Pog, art
+ Bev O’G, Hugo Tee
+ C Lows, Soeh Tee
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PRELIMINARY BIBLIOGRAPHY Feshwe, Hee. Teatre & Audience. Houds, Bsgsoke, Hp-
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Ho, Co Meeke. Te Teory o the Teatre, and Other Principles o
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Woodu, Pu. Te Necess o Tee: Te A o Wchg d Beg
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Bee, Sus. Te Role o the Teatre Audience a Teory o Production and
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audience member experiences an individualized and memorable event
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Te original source of this book was
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PDF. Images in the book were enhanced and edited using Photoshop. Te fonts are
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Book designer: John Howrey
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