stage assignment

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timer Asked: Nov 3rd, 2018
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1 Ambrosita a ten-minute play about Pride Characters Ambrosita Lucero- F 19. Pretty and Proud Flores de Luna- M 26 Not that pretty. Setting FRONT PORCH OF FLORES DE LUNA. 2 There is no one onstage. Ambrosita Enters. She waits. AMBROSITA I know you can see me. She waits AMBROSITA Oye! Flores! She waits. AMBROSITA Flores! She waits AMBROSITA Stop pretending you're not in there. FLORES I aint pretending nothing. I'm waiting for you to have some manners. AMBROSITA What? FLORES Normal people knock. I gotta door. Aint no reason to yell. AMBROSITA No. FLORES No? AMBROSITA Come out. FLORES Why shouldn't I wait for you to knock? AMBROSITA Cause. Pause 3 FLORES That's not really a good reason, Ambrosita. AMBROSITA Then you know who's out here. FLORES Yeah. I been listening to you scream all over Portales since you were a baby. I know the sound of that voice. AMBROSITA Why come you won't talk to me? FLORES I'm talking to you. You just aint got no manners. AMBROSITA Please. FLORES That's a please that sounds like a now. AMBROSITA Come out here, Old Man, or I'm burning your house down. FLORES That's better. Enter Flores. Pause. AMBROSITA Hey. FLORES Hey What? AMBROSITA You're taller than I remember. FLORES That's good. AMBROSITA And younger. 4 Pause FLORES Yeah. And I'm wearing blue. AMBROSITA Yeah. FLORES Yeah. Pause FLORES And? AMBROSITA You know why I'm here. FLORES No. AMBROSITA Yeah, you do? FLORES I don't think I do. AMBROSITA Stop pretending. FLORES Ambrosita Lucero have you finally come to ask me for my hand in marriage? AMBROSITA ... No. FLORES No? AMBROSITA That's not why I came. FLORES I think it is. AMBROSITA 5 Well it aint. FLORES You finally got tired of having all the pretty boys chasing you around. And you finally decided it was time to find me. AMBROSITA I don't even know you. FLORES Sure you do. AMBROSITA Then it's true, then. What they say about me and you. FLORES They say alot of things about me. They say alot of things about you. AMBROSITA Mila says that the day I was born you came into our house and picked me up. And you told my Mama that you were going to marry me someday. FLORES You were born in a hospital. AMBROSITA So. FLORES How could I come into your house the day you were born, if you were born in a hospital? AMBROSITA Shut up. FLORES You shut up. Pause FLORES Go ahead. Glare your face off. It'll only make you wrinkle earlier. AMBROSITA And then you wouldn't want me. FLORES 6 All the boys wouldn't want you. I think it would do you some good. AMBROSITA Good? Good how? FLORES You're far too pretty for your own good. It's made you mean. AMBROSITA Mean? FLORES Ambrosita Lucero. The rock that all the boys in Portales break their hearts against. You started out cute and all the boys had crushes. Then you figured out it was fun and started to play with their minds. And when you turned eight you started enjoying the fact that no matter how mean you were they still wanted you. AMBROSITA So. FLORES And when you turned thirteen you got tired of them. You go tired of the game. AMBROSITA And now I'm nineteen. FLORES You want a cookie? AMBROSITA What? FLORES I made some cookies today. You want one? AMBROSITA You know how to cook? FLORES Some. AMBROSITA I thought you just sat here and played guitar all day. FLORES I play guitar all night, I do other stuff in the day. You want one or what? 7 AMBROSITA I'll take two. FLORES I don't know how your gonna take two when I'm only bringing you one. AMBROSITA I'll take one. FLORES I know. He exits and returns with a cookie and some milk. FLORES Here. FLORES Thank you? AMBROSITA Thank you. FLORES Well? AMBROSITA It's good. FLORES Yeah? AMBROSITA Yeah. FLORES Is it the best cookie you ever had? AMBROSITA I don't know. FLORES Just say it is. AMBROSITA Do people remember cookies? Do they rank cookies? 8 FLORES Some do. AMBROSITA Like who. FLORES People. AMBROSITA People who? FLORES People people. AMBROSITA It's a good cookie. FLORES Thank you. AMBROSITA You're welcome. FLORES So, you gonna ask me? AMBROSITA No. FLORES Fine. AMBROSITA You gonna ask me? FLORES No. AMBROSITA Fine. AMBROSITA I don't understand why you claimed me if you never wanted to ask me. FLORES I didn't claim you. 9 AMBROSITA Yes you did. Everybody in town knows it. FLORES They know what happened outloud. They don't know what happened not outloud. Inside. AMBROSITA What? What happened? FLORES I didn't claim you, Ambrosita. You claimed me. AMBROSITA Nuh uh. I was just a baby. FLORES You told me. The second I met you. AMBROSITA How? FLORES It was like I saw you for the first time, and you had a picture for me. AMBROSITA What? FLORES Like you were holding onto something in your little baby hands. You couldn't wait to give it to me. AMBROSITA What? FLORES You know the point of first and second street when they aint two different streets no more? Not two one way streets, but one regular street? Yeah. Over by the square. FLORES That's what it was. Two streets no longer going their own ways. Both doing what they do, but joined together. AMBROSITA That's it? 10 FLORES Yeah. But I knew. I didn't even know what I knew until I said it out loud. "this is gonna be the girl that I marry". AMBROSITA Can I have another cookie... Can I , Please, have anothercookie? FLORES Yeah. AMBROSITA I changed my mind. FLORES What? AMBROSITA This is the best cookie I ever had. FLORES Are you sure? AMBROSITA Yeah. FLORES Thanks. AMBROSITA I mean, besides... only cookies I ever had before this came out of a box. I don't think I ever had em fresh baked. FLORES Verdad? AMBROSITA Yeah. FLORES Man, I gotta talk to your Mama. AMBROSITA Why, you going to make My Mama do something? FLORES No. I guess I aint. 11 AMBROSITA So, you gonna ask, or what? FLORES It was you that claimed me. You gotta ask. AMBROSITA Why? Cause you aint gonna have a woman unless she comes begging? FLORES I aint gonna have a woman who's afraid to tell me what she wants. Hell or doesn't know what she wants. You know what you want? FLORES Yeah. Yeah. I think I do. AMBROSITA Then get it. FLORES You think you can play me the way you play them boys. AMBROSITA You think you can play me the way you play that guitar. FLORES Naw. I can keep the guitar in tune. AMBROSITA And you can't keep me in tune? FLORES Keeping you in tune aint what it's about. AMBROSITA Oh. FLORES Oh? AMBROSITA Yeah. It aint. FLORES Yeah. It aint. 12 AMBROSITA You got nice eyes. Not as cute as you could be, but your eyes are nice. FLORES Thanks. AMBROSITA And a good voice. I think I dream about it sometimes. FLORES And I know I dream about yours. AMBROSITA So.. FLORES So... AMBROSITA Can I have another cookie and will you marry me? FLORES Yes. AMBROSITA To which? FLORES To both. AMBROSITA Good. End of play When a stage manager first gets a script, she does a analysis of a script. Usually, it is a break down of each scene of the play. She includes: -Which characters are in the scene -Costume needs as stated or inferred by the script -Set needs as stated or inferred by the script -Lighting needs as stated or inferred by the script -Sound needs as stated or inferred by the script. -Projection needs as stated or inferred by the script -Prop needs as stated or inferred by the script ( these are the items that actors might hold like a gun or a toothbrush) -Safety needs (is fire used? Are they breaking dishes that might cause shards to fly into the audience? ) Your assignment is to read the following play (it's a short one), and provide all of the previous information. You can create a series of lists or submit it as an excel spread sheet. For more materials: 1. Follow this link to Paynesounds many projection designs to see what how projections can be used in a theatrical way. https://www.paynepayne.com/index.php/media-arts/theatrical-projection-design 2. Follow link to podcast about wigmakers. https://www.npr.org/2014/06/08/319778329/while-broadway-sings-its-praise-the-wigmakerremains-unsung 3. Follow Link to Make up video. https://www.youtube.com/watch?v=4w1KjQYu5z8 4. Follow link to Puppet Design for Warhorse https://www.ted.com/talks/handpring_puppet_co_the_genius_puppetry_behind_war_horse Pre Production Week • Production stage manager is hired and on contract at least one week before rehearsal. This is standard in AEA contracts. Depending on the specific agreement (as well as budget and cast size) an ASM may be required to be hired at least one work day before rehearsal. Typical tasks to be completed during prep week: Break Down • Read script for all props, costumes, costume changes, scenic needs, and scene changes. This information is based on information provided in the script. The design team and director may very will add to or alter the final list of items needed. o Props- Determine what items will need rehearsal approximations for rehearsal. These items should either be pulled from storage, approximations provided by props master, or easily constructed approximations may be provided by stage management. Some prop items will require collaboration with costume and set. o Costumes- Determine with choreographer, director, and costume designer what pieces or approximations will be needed for rehearsal. (Example: Shoes, coats, hats, purses, gloves, hoop skirts, or other items that alter movement or action, are used on stage, or need to be factored into scene work. Some costume items such as gloves, purses, and jewelry may require collaboration with props. o Scenery- what items will need to be represented in rehearsal- Furniture items should be as accurate as possible- Do chairs have arm rests? How high are counter tops/ table tops? What is the height of a step? Where is the hinge on a door and does it open on stage or off? Where can a character exit? Where does he re enter? Are cross overs available? Some collaboration may be required with props for furniture and other items depending on script. o French Break down- Stage manager should make a scenic breakdown that when a character enters, exits, and who is on stage. This information will be needed for scheduling scene work, costume tracking, etc. Contact Sheet • The stage manager should have all contact information for all members of a production. The stage manager will distribute the appropriate information to cast, crew, and production team. This can be done in tandem with the company manager or producer. The stage manager should be clear as to what contact information is open for company knowledge and what information is confidential. • Many stage managers make a wallet card for their cast in crew. This card lists important numbers such as the PSM, ASM, Company manager. Who to contact if running late or in an emergency. Rehearsal hotline, stage manager email, venue or rehearsal hall information (key pad entry number ect.) • Schedule • Rehearsal schedule. This schedule will list all rehearsal, technical rehearsal, and performance of cast. Stage manager should also have a clear understanding of load in schedule, load out, and shop hours. The technical director, producer, and stage manager should work together to communicate the production schedule as a whole with each other. o Best efforts should be made to communicate photo calls, press events, etc. Even if these times are approximate. Cast shall be notified no less then 24 hours in advance of such events though earlier notification is ideal. o Stage manager should communicate within the document that the Schedule overview is subject to change. o When schedule overview is updated stage manager should distribute and communicate all changes to full company. • Stage manager will also communicate daily rehearsal schedule to company and staff. This schedule should be posted and distributed no less then 12 hours in advance. • Stage manager will assist in scheduling production meetings, paper techs, and other necessary meetings. Private information • Stage manager will contact and check in with all cast members regarding first day or rehearsal, schedule overview, and basic directions. Stage Manager may also use this time to schedule fittings or communicate other information. • Typically a stage manager will ask all cast and crew to fill out an information sheet. The sheet should be confidential. The following are items I ask for: o Preferred contact information (Also inquire after preferred name. Some actors have an equity name that differs from their legal name.) o Emergency contact and relation o Birthday (Celebrating cast and staff birthdays during the run is important for company moral) o Emergency medical contact info (Physician name and contact) o Optional: if there is additional medical information the individual feels should be communicated such as allergies or medical conditions. Setting up for Rehearsal • Set up rehearsal space. (The set up varies depending on whether or not the same space will be available to company for the span of rehearsal. If rehearsal is held in different spaces daily then stage management will take a more spartan approach as needed) o Table for director and stage management (might be separate) o Chairs for cast members when “off stage” o Area for company to place bags, coats ect. o Access to water (if water fountain perhaps have cups available. If not work with producer to come up with solution) o Coffee and Tea (again, work out this courtesy with producer) o Call Board- a place to post daily schedule, schedule overview, photo call announcements, company information ect. o Pens, pencils, highlighter, notebooks available for cast to take notes (talk to producer. If nothing else Stage Manager should have spare pencils. TRUST ME) • Set up rehearsal area with rehearsal props, scenic elements, and costume approximations. General info regarding rehearsal: Rehearsal • If production is part of Actors Equity a member meeting will be held to elect a deputy and review rules and proceedings. Please check your agreement for specific details • Rehearsal props, costumes, and scenery. o Stage Manager or Assistant Stage Manager will use this information to make “Run Sheets” paperwork that states the “Who, What, When, Where” of all action on stage. o Stage Manager or Assistant Stage Manager will also create preset sheets for the top of each act (and sometimes scenes) stating the placement of all props, costumes, and scenery. o Track these items as used in scene o Take notes regarding thoughts, needs, and request regarding this items as well as requests for additional items as discovered in scene work. • Time scene work and over all run of show. (This will be used for run sheets, producer, and house manager) • Create and distribute rehearsal report to be distributed at end of day. Rehearsal report shall include such information as: o This report shall be sent to producers, production, and creative team. o Information shall include ▪ Notes, questions, and requests to properties, scenic, and costumes ▪ Schedule updates and progress reports. ▪ Running times of scenes and acts ▪ Opportunities for designers to observe particular scenes or run through. ▪ This report is also an opportunity to communicate the progress of rehearsal. ▪ Report should be organized so that each department can easily find and read pertinent information. ▪ Track break down of rehearsal (how did it compare with the projected schedule. How did it change and why?) ▪ Great care and consideration should be taken by stage manager regarding what information should be shared with entire production team vs what should be shared in private conversation. Span of rehearsal and daily schedule notes • Ensure that all company members take breaks (AEA guidelines asks for 5 minutes for every 55 or 10 minutes for every 1:20.) • If a run through of an act exceeds 1:20 a break shall be taken after the run of 15 minutes. (This is under the condition that the scene work does not stop for notes or direction. • Ensure that all company members receive proper meal break (20 minutes for “Straight 5 or 6” or 1 hour in an “7 out of 8” or “8 out of 9”. Stage Manager should strive to ensure actor does not work longer than 5 hours without a meal break. This will include fittings and photo calls as part of the span • Stage manager shall also distribute the rehearsal schedule for the following day. This shall be made available to all company members. Stage manager will also communicate updates to the schedule overview as needed. • Fittings- work with director and designers to schedule fittings as needed. If it is not possible to have a fitting during rehearsal then the fitting will need to be scheduled immediately before or after rehearsal. This additional time will be considered in the actors span of day and will be taken into consideration regarding rehearsal and meal breaks. Technical Rehearsal, Opening, and run of show. • Paper Tech o Before tech Stage Manager shall meet with design team (separately or together depending on what works best) Stage manager shall discuss all cues. This will happen with enough time before tech begins so that the stage manager can make notes and adjustments to prompt book. • Prep Backstage o Prop Tables- Clearly label the placement of all props and costume pieces that are not preset in dressing rooms o Water Tables- cast and crew must have access to water o Call Boardo Changing Booths- if there are quick changes during show a private space is needed. o Signage- Stage Management should label dressing rooms, label doors to backstage, stage left, stage right, ect. o Backstage saftey • Stage Management shall work with Technical director to ensure that backstage is safe. o Running lights, masking, dress cables, white masking tape vs. glow tape. Stage manager Breakdown of Technical Rehearsal • Dry Tech o Often Stage Manager, crew, and production team will work through all cues and technical elements before the cast is called. • Cue to Cue o Before running through the show it is often beneficial for the stage manager to lead a cue to cue where the cast fast forwards to all cues and technical moments so that each item can be tweaked and finessed. This includes costume quick changes, light cues, scenic changes, sound cues, ect. • Run Through o After the completing cue to cue. There should be a stumble through of show in which a hold is only called when necessary. o If there is time left there shall be a run through where no holds are called o With proper notice, photos can be taken at this time in addition to photo call • Invited Dress o An invited dress is a run through in which guests are invited (at no cost) traditionally these are friends of company members and producers who are invited personally. o With proper notice, photos can be taken at this time in addition to photo call • Preview o Performances in which it is understood that the production is still receiving direction and notes. This tickets are usually discounted and audience understands that show is still in rehearsal as such there may be mistakes or missing elements. o With proper notice, photos can be taken at this time in addition to photo call. • Opening Night o First paid performance of show. Show is now “frozen” no new direction is given and no new design elements are added. Stage manager will work to preserve artistic integrity of show. o Notes given will be in an effort to preserve show. They will be communicated to cast before half hour (if not sooner). Ideally these notes should be filtered through PSM. • Photo Call o The purpose of photo call is document true moments of the performance for press release and for designer portfolios. o Photo requests from director, producer, marketing, and design team will be submitted to stage manager. All efforts will be made to combine shots and create a working list with in time constraints. o A notice for photo call will be posted no less then 24 hours in advance. o Photo call must ...
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Watsonn
School: University of Maryland

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Top quality work from this guy! I'll be back!

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