A Welcome

A Short Sketch

• degree programs leading to a Bachelor of Arts and a Master of Arts
• approximately 200 undergraduate majors in Theatre
• approximately 20 graduate students working toward an M.A. in Theatre
• a gender balance of about 40% male and 60% female
• a department where over 50% of our majors tend to hold an outside job
• 10 full-time faculty members; 7 full-time professional support staff members; a variety of part-time faculty members (including professionals from the greater Los Angeles area)
• three theatres: A. a 450-seat proscenium theatre (SD100 - the Campus Theatre); B. a 250-seat proscenium theatre (SD121 - Little Theatre); C. a 100-seat flexible black box theatre (SD113 - Studio Theatre).

What to Expect

1. To provide a context in which students can improve the quality of their aesthetic experiences and meet aesthetic needs through the living theatre; 
2. To prepare students to teach Theatre Arts; 
3. To provide a production program which seeks to promote theatre as a significant element in the enrichment of the daily lives of persons in our diverse geographical community; 
4. To provide preliminary training for careers in the arts and the crafts of theatre; 
5. To contribute significantly to theatrical awareness of the community.

• a place to make theatre and an opportunity to express yourself through the theatre arts
• a chance to work under varying degrees of guidance, from rigorous faculty supervision to almost complete independence
• exposure to the history and the literature of the theatre and an opportunity to comprehend theatre arts and to appreciate them through various research perspectives -- historical, critical, and behavioral
• the means by which to prepare for a teaching credential and/or a life as an artist-scholar-teacher in a college and university situation
• to work together. Our ideal is not to be perfect but to be self-correcting, to have students and faculty listening to each other and to continuously correct things before they go too far wrong.

What Not to Expect

As indicated earlier, the department offers only two degrees: the B.A. and the M.A. The goal of these programs is to broaden an understanding of our cultural heritage, and to provide students with academic tools for coping with a bewilderingly rapid rate of social, artistic, and technological change. These degrees also serve as building blocks in an educational sequence leading to teaching and research in theatre arts.

Because Los Angeles is looked upon as the center of the entertainment industry and because it is so expensive to attend specialized programs, some theatre majors choose to come here when their career goals could be met more fully by a professional theatre training school. While it is true that this department brings in various visiting professional theatre artists, the department as a whole is not here to provide the intensive, daily work in theatre disciplines associated with the private professional schools. Our aims, as noted earlier, are and must be somewhat different in order to carry out our legislative charge.

The department is able to enrich its broad program with the presence of part-time professionals, but if you wish to spend your days exclusively in intensive training for the professional theatre, you might be well advised to carefully examine whether the program at CSUN is the right one for you.


A Place for the Old and New

The Theatre Department of CSUN tries to provide a congenial environment which shows respect for both past and present forms of theatre. We keep in touch with the accumulated culture of the past and also try to provide an environment that encourages experimentation with new forms. The thrust toward contemporary experimentation comes from students, faculty, and staff. Through a balanced program of modern and classical productions, we hope to provide for a living theatrical future as well as celebrate some of the greatness of past endeavors.


Theatre as an Economic Institution

As a theatre student, you must keep in mind the realities of the job market in your chosen field. Today, both teaching and professional jobs are scarce. Competition is tough in all areas. Your B.A. degree does not guarantee employment, nor does it ensure that you will be a finished product in your field. At CSUN we try to help in this situation, but all we can guarantee is that you will be presented with "opportunities to learn" in both classroom and production situations. If you apply yourself, you will know more at the end of your four years here than you did when you began. But even with all you learn, we cannot guarantee you job placement.


The Academic and the Professional

In this department, you will come in contact with several different kinds of teachers: those who are primarily artists and craftsmen of the theatre; those who are primarily scholars and educational engineers of the learning environment; and those who are some combination of both. We make an effort to have a variety of such faculty in this department to enrich the educational opportunities. You can learn from them all, but do not expect the same things from all of them. You will make the best use of your experiences here if you concentrate on getting from each teacher the best he or she has to offer.


You are Responsible

You are responsible for your own career. Don’t be afraid to ask questions and seek out information. You will probably find it is easier to go through channels than to go around them. Your first channels of information are the Theatre office (SD 110) and your adviser.

Please note that the Department of Theatre has mandatory advisement. This means that you will not be able to register for classes until you have seen an adviser.

You are assigned an adviser at the start of your residency here, whenever possible someone who specializes in your particular area of interest. If you have not been assigned to an adviser who best meets your particular needs, you are free to choose someone else. The first step for problems and questions involving theatre productions is the Production Program Coordinator. The Chair of the Department can be called on for problems which need to be resolved between student and teacher, adviser, or other students.


Where to Find Information

Watch those boards! The bulletin boards set up in the halls of the Speech-Drama Building are your most immediate sources of information. In the west hallway, boards are used for office memos, posting of department audition calls, ads, Theatre Guild information, new classes being offered, etc. Another board near the north entrance gives information on campus activities. Each adviser also posts information on or near his or her office door.

The theatre office and your adviser are other sources of information. So are the campus newspaper (Sundial) and the Department of Theatre Homepage on the WWW.

The ticket office located in the University Student Union handles tickets and lists information for department productions, as well as music events and outside events. Again, it is up to you to seek out information (and share it with others).


Off-Campus theatre Activity

The Department places no restrictions upon your participation in dramatic activity off-campus while you are a student here. Indeed, our philosophy recognizes quite clearly that important learning experiences can (and do) occur in the environment of your total life experience. For advanced students, an internship for credit can sometimes be arranged with off-campus organizations. Contact the department’s internship coordinator Peter Grego for more information on internships.


Attendance at Productions

The Department imposes no regulations upon attendance by theatre students or theatre faculty at University productions. The many productions done every year are, of course, a living laboratory of student and faculty expression and personal growth, and will at times have special interest for colleagues, teachers, and friends. Faculty who wish students to see certain productions will communicate such desires to the students involved. Similarily, if you have a production involvement you want to be observed by certain faculty members, take the initiative and invite them. Faculty who have worked closely with you will almost always respond favorably to such invitations.


About the Curriculum

The following comments about the course offerings may be helpful as you plan out your course of study:

Course Requirements

 

In order to graduate from CSUN with a Theatre Major you must fulfill the following Department requirements:

 


You must complete 58 units of studies with at least a 2.0 grade point AVERAGE in all upper division theatre courses. Some of these units will be from a traditional classroom mode of instruction, some will be from studio/laboratory classes, and some will be earned from working on or appearing in department productions.
 


Of these 58 units, 37 are in courses known as CORE REQUIREMENTS. These are courses that form the foundation of your theatre education, and are required for every major, no matter what your area of concentration may be.
 


Of the 37 units of foundation courses, 19 units are LOWER DIVISION CORE REQUIREMENTS. These are Freshman and Sophmore level courses (TH 100 and TH 200 ) and should be taken prior to enrolling in UPPER DIVISION (TH 300 above) classes. The LOWER DIVISION CORE is there to prepare you for the more difficult UPPER DIVISION studies. As you look through the University Catalog you will find that most of the TH 300 and above courses have as a prerequisite, completion of lower division core requirements.
 


The remaining 18 units of CORE REQUIREMENTS are UPPER DIVISION (TH 300 & above). Even though these are foundation courses, expect them to be more intensive than the lower division studies and when you plan out your semester schedule, plan accordingly!
 


Subtracting the 37 units of CORE REQUIREMENTS from the total 58 units required for the major, we find 21 units remain. These are "somewhat elective". You will be able to choose specific UPPER DIVISION courses from the different areas of theatre, such as acting, theatre history, theatre design, etc. Your choices should be discussed with your adviser as you map out your plan to graduation. You may select a broader more comprehensive selection for these 21 units, or you may be more interested in a tightly focussed area of concentration. In either case, your adviser will be able to provide valuable insight that will help in these tough decisions. After all, its only your life, right?
 


Many classes are not offered every semester. Some are offered in alternate semesters and some are offered only intermittently. It is important for you to make sure you take your required courses during the time span you have allotted yourself to complete the degree. Your adviser can assist in this process, but you must understand your requirements for graduation and plan for completing them.
 


Some classes change their points of interest each time they are offered, such as Production Preparation and Performance: Theatre for Young Audiences (376) and Issues in Contemporary theatre (479). You can get information about such offerings from your adviser, or from the Department main office during advisement time.

You have the choice of using classes in other departments for up to six units of theatre credit with prior written approval from your adviser.

 
 

PRODUCTION PARTICIPATION

Theatre majors are required to participate in a production activity every semester they are enrolled, until the maximum of eight participations has been achieved. Please note that these are eight participations not eight units of participation activities. To satisfy this requirement, the student must receive a passing grade in the participation course in which they are enrolled. The following courses are participation courses.

PRODUCTION PARTICIPATION COURSES

*TH 103	.TH 290	*TH 376
. TH 190	*TH 339	*TH 367
*TH 261	*TH 361 A/B	*TH 382 A/B/C
*TH 262	*TH 362 A/B	. TH 390 A/B/C
*TH 263	*TH 363 A/B	*TH 443
*TH 276	*TH 366	*TH 447
*TH 284	*TH 367	. TH 490 A/B/C/

NOTE: * indicates a production assignment is automatically a course component, and satisfies production participation requirement.
 


When a student is cast in a production, s/he will enroll in either TH 190, TH 290, TH 390, or TH 490.

A student who is not cast in a production or enrolled in a course listed above that automatically satisfies the participation requirement, can register for either TH 190, TH 290, TH 390, or TH 490 and request a production assignment from the Production Program Coordinator. It is wise to request an assignment as early as possible in order to get the position of your choice. Positions must be filled on a first come first served basis with TH 261, TH 262, and TH 263 assignments made within the area covered by the course.
 


TECHNICAL ASSIGNMENTS:
• Choices fall into three major categories:.
1. PREPARATION CREW
2. RUNNING CREW
3. MANAGERIAL/SUPERVISORY POSITION

 
 


PREPARATION CREW works in either scenery/props, costumes, or lighting/sound preparing the components for production. In TH 261, TH 262, and TH 263 students may work on one production or they may work on several productions over the course of the semester.

When a student requests a preparation crew in order to fulfill either TH 190, TH 290, TH 390, or TH 490 their commitment is to 60 hours per unit of credit. This averages out to about 5 hrs/week if it is begun early in the semester. YOU MUST COMPLETE ALL 60 HOURS BEFORE YOU CAN RECEIVE A PASSING GRADE. To schedule hours see Dennis Dillon (Scene Shop Foreman), Tom Slotten (Costume Shop Foreman) or Cliff Schneider (Lighting/Sound Supervisor).
 


RUNNING CREW works on a specific show backstage during set up, technical/dress rehearsals and performances. Running crew work in a concentrated time period, from approximately 1 1/2 to 2 weeks before the first technical rehearsal through strike after the final performance. Running crew members are responsible for arranging their schedules so they can be present at all set up calls for their crew and all tech/dress rehearsals, performances and strike. Evaluation and grade will be based on the criteria listed on the PRODUCTION ASSIGNMENT EVALUATION sheet.

 NOTE: RUNNING CREW MEMBERS MUST BE AVAILABLE FOR ALL OF THE LISTED ACTIVITIES! CHECK YOUR CALENDAR.

 
 

ALL CREWS NOTE: Read the production callboards DAILY and watch for pre-show organizational meetings. ALL CREWS will watch a run-through prior to the first technical rehearsal. All crews will help with the final strike of their production.

RUNNING CREW POSITIONS

SET/SHIFT CREW: Begins approximately 2 weeks before opening night. Under the supervision of the Shift Coordinator, Technical Director, and/or Stage Manager moves scenery during the production. Also helps with pre-show set up, stage prep, after performance and production strike.

PROP CREW: Begins approximately 2-3 weeks before opening. Under the supervision of Prop Coordinator, Technical Director, and/or Stage Manager organizes props handles them backstage during the production. Participates in pre-show procurement of props, organization of prop table, storage and repair of props, preparation of food for stage, clean up and production strike.

LIGHT CREW: Begins approximately 3 weeks before opening. Under the supervision of the Lighting Designer, Master Electrician, and or Light/Sound supervisor assists in the pre-show hang and focus, and preparation of instruments. Runs the light board, follow spots, or special equipment during the show. Runs pre-show instrument check, and assists in production strike.

SOUND CREW: Begins approximately 2-3 weeks before opening. Under supervision of the Sound Designer, Sound coordinator, Light/Sound Supervisor, and/or Stage Manager helps to locate, record and operate sound effects required for the production. Runs pre-show equipment check each night and assists in production strike.

SPECIAL EFFECTS CREW: Begins approximately 2 weeks before opening. Runs special effects equipment (fog machine, flying, pyrotechnics, etc) under the supervision of the Technical Director and/or Stage Manager. Also assists in nightly storage of equipment and production strike.

COSTUME CREW: Begins approximately 2 weeks before opening. Under supervision of the Costume Designer, or Costume Coordinator assists in the labelling and organization of pre-show storage of costumes. Assists the actors in dressing and quick changes. Does laundry and other maintenance during the run of the show as well as production strike.

MAKEUP CREW: Begins approximately 2 weeks before opening. Supervised by the Costume Designer, and/or Makeup Coordinator prepares makeup charts, wigs, and special effects. Assists the actors in applying makeup, doing hair-styles and may need to help with quick changes during performances. Assists in production strike.



MANAGERIAL/SUPERVISORY CREW HEADS

Consist of all key leadership positions on the various productions. All Managerial/Supervisory positions are required to attend all production meetings and are expected to be thoroughly familiar with the production prior to technical rehearsals. All Managerial/Supervisory positions will attend the strike of their assigned production. These positions are as follows:

STAGE MANAGERS: (Usually a 3 unit assignment) Both production stage managers and assistant stage managers are assigned according to interest and background. Stage management attends all rehearsals, records blocking and other pertinent information regarding the production, assists in organizing the rehearsal space and posting all information to cast and crew. The stage management team functions as the central communication device for most productions, especially with regard to cast and director. In many cases, the stage manager acts as executive secretary for production meetings (both calling the meetings and recording the notes from the meetings) in rehearsal phase, as well as distributing information to the designers, crew heads, crews, actors and technical director. When available personnel permits, productions have a stage manager and at least one assistant. The stage manager is generally the one who calls the show during performances. Attends the strike of the production.

TECHNICAL DIRECTOR: (Usually a 3 unit assignment.) Serves as the liaison between the scenic designer and the scene shop. Works on the plans and feasibility of the plans, including cost, person hours, scheduling of load-in (scenery, lights and sounds). In other words, the technical director makes the design work in conjunction with the director, scenic director, scene shop foreman and technical crews. The TD is largely responsible for implementation and requires a fair amount of knowledge about scenery construction, lighting, sound, properties and related special effects. The Assistant TD functions in a similar manner, assuming responsibilities as appropriate, from the description above. Supervises the strike of the production with assistance of the Assistant TD, the faculty TD, and the Stage Manager.

MASTER ELECTRICIAN: (Usually a 2 unit assignment.) Implements the lighting design by supervising the hang and focus of all lighting instruments, including circuits, dimmers, positions and special effects. Works closely with the lighting designer and the technical director to achieve the desired effects in the light design. Responsible for ensuring that the light board operators are properly trained prior to Technical rehearsals. Responsible for the light check for all technical rehearsals and performances. In some instances, the ME runs the light board. ME attends strike.

PROPERTIES MASTER: (Usually a 2 unit assignment.) Secures all props based on the prop list generated by the director and the scene designer, to achieve the effect desired for the props. Supervises the crew during performances by setting up prop tables, maintaining the props during the show and striking all props at the end of the run. Prop masters generally begin working on the production approximately four weeks before technical rehearsals begin.

SOUND COORDINATOR: (Usually a 2 unit assignment.) Makes the sound tapes and oversees the set up and installation of all required equipment for the production. Works closely with the sound designer (if there is one), the technical director, the director and the stage manager to achieve the desired sound effects for the production. Responsible for ensuring the sound crew is adequately trained in the running of the sound equipment for performance, and the procedures for a sound check on all equipment prior to curtain. May participate in the running of the sound equipment during the show. Attends strike.

SHIFT COORDINATOR: (Usually a 2 unit assignment.) Supervises all set shifts on stage during the run of the performance. Responsible for ensuring the adequate training of the crew prior to Tech rehearsal on the safe and timely handling of set pieces. Works closely with the scene designer, technical director, director and stage manager in organizing the shifts and coordinating the activities of the crew in relation to the set shifts. Attends strike, as well as pre-production meetings and run-throughs.

COSTUME COORDINATOR: (Usually a 2 unit assignment.) Supervises the wardrobe during performances and technical rehearsals. Compiles dressing lists, orchestrates quick changes and supervises the crew during technical rehearsals and performances. Supervises the laundry and maintenance of costumes. Attends strike.

MAKEUP COORDINATOR: (Usually a 1 unit assignment.) Secures all makeup supplies necessary for a production, supervises and trains the crew in assisting the actors with makeup and hair styles. Maintains all equipment used during rehearsals and performances as well as hair pieces. Attends strike.

HOUSE MANAGER: (Usually a 1 unit assignment.) Attends rehearsal to understand the production and the timing of the play, and coordinates appropriate late seating and intermission times. Attends safety demonstrations for clearing the house in the event of an emergency, supervises all ushers on a show-by-show basis and trains them in appropriate etiquette, seating of patrons, and how to work out problems with the patrons. Organizes the intermission food concession. Coordinate with the stage manager regarding the house open and "go" times. House managers must be able to deal with a wide variety of potential problems with heating, air conditioning, patrons eating, taking photos, parking, etc. The house manager is in a very prominent position and must handle public situations with tact and care.

ASSISTANT DESIGNER: (a 1 to 2 unit assignment, depending upon the needs of the production.) Works closely with the designer in the area of interest. Generally, an assistant helps with organizational tasks related to the design of a production, and assists in the day-to-day construction or implementation of a production design. An assistant may be called upon to run errands, both in-house and for the production (to pick up supplies, coordinate rentals, do pre-shopping with a Polaroid, etc.) as well as cover an aspect of the design. An assistant may be called upon to actually design a component of the production with the guidance of the faculty designer. An assistant designer should be aware of the entire design process and attend all design meetings, as well as production meetings. Area-specific duties vary, depending upon the design, the designer, and overall production concept. (Generally not available for TH 382 credit)



Transfer Students

If you are a transfer student and have not already seen an adviser in this department, you should do so as soon as possible for an evaluation of theatre classes which can be accepted as transfer credits.

During the first three weeks of classes, cards giving office hours of faculty members will be posted outside the faculty member's office. You will also find a schedule of office hours posted on the department main office window. On your first visit with an adviser, bring a copy of your official transcript or a catalog from the school you previously attended. The Admissions office at CSUN is so overloaded with work that it may take quite some time before transcripts are received at the Theatre Department office. Whatever documented information you can bring, will help your adviser greatly.


Incompletes

Once in a while, it is impossible for a student to complete all the work in a particular course by the end of the semester. If this happens to you and the instructor recognizes good reasons for awarding a grade of incomplete, you may secure a form in the Theatre Department main office which gives you a chance to complete the work during the following year. Remember: if the incompleted work is not made up, the grade for that course will be computed as an F.


Repeating a Course

You cannot get credit towards graduation for taking most theatre courses more than once. However, the department has several classes which are repeatable: 190 (max of 4 units), 298 (total of 8 units), 313 (total of 6 units), and a combination of 490, 491, 492, and 498 (total of 9 units). In instances such as these, the course numbers may be counted more than once towards graduation, but only where the work is different each time the number appears. For example, the 190 could appear as often as four times on your record, giving you one unit toward graduation each time -- however, each time 190 is authorized, the coordinator will have ascertained that a totally new project is involved.
• 190 (max of 2 units)
• 290 (max of 2 units)
• 390 (max of 4 units)
• 490 (max of 4 units)
• 249 (max of 4 units)
• 449 (max of 4 units)
• 296A-Z (max of 6 units)
• 396A-Z (max of 6 units)
• 496A-Z (max of 6 units)
• 382A-C (max of 3 units)
• 397 (max of 3 units)
• 498C (max of 9 units)
• 498D (max of 9 units)
• 594 (max of 6 units)
• 599 (max of 6 units)
• 699 (max of 6 units)
• 695A-Z (max of 9 units)


Maximum Academic Load

You may register for a maximum of 19 units, although during your first semester at CSUN, it may be advisable to take a lighter load. If you are certain you can handle a heavier course load, you can add units during the second week of instruction. To secure approval of this, see your adviser.


Graduation Check

The year before you plan to graduate , you will be making initial application for your diploma, by applying for a graduation check at the Admissions office. First see your adviser and have a departmental evaluation completed. After this is typed up in the Theatre office and signed by your adviser, take the original of this form to Admissions and Records and apply for a graduation check. A second copy will be given to you for your files.


The Green Room

A Green Room in the west hall is provided for students and can be used for relaxation and as a waiting room during performances. Do your own part in keeping the room clean by putting papers and food wastes in the proper containers. Please help keep our classrooms clean, too. In doing so, you are helping yourself and others avoid a polluted environment.


Public Phone

Only emergency messages can be accepted on the Theatre office phone. A public phone located in the Green Room (818) 885-9349 is used for other messages. There is usually someone around to answer it though, it is probably more efficiently used for your outgoing calls than for incoming calls.


Ways of Making Your Voice Heard in What Goes On

There are numerous ways in which the Theatre Department at CSUN is responsive to various interest groups. What follows is a brief description of the ways in which undergraduate students may importantly affect what happens here:

The Personnel Committee of the Department is an all-faculty group, because of the confidential nature of its evaluative activity and the neccessity to have access to private and privileged information about various faculty members. However, whenever a faculty member is coming up for reappointment, promotion, or tenure, the Personnel Committee posts an invitation to students to come and speak concerning the individual faculty member. Your comments are encouraged, and you should make every effort to respond to such invitations when they occur. 

Theatre Guild: This is an informal student organization which has existed at CSUN for many years. In the past, the organization has enriched student life by sponsoring productions, bringing in professional artist-lecturers, awarding scholarships to needy students, and developing workshops which supplement the course offering of the Department. Any Theatre major or minor can be a member of the Theatre Guild and can run for elective office in Theatre Guild.

These are some of the ways in which your influence can be felt in CSUN's Department of Theatre. Don’t hesitate to become acquainted with the student leaders of the various organizations and to talk with them about any problems you perceive. Feel free, also, to discuss problems with your faculty adviser and other faculty members. The Department Chair Maryellen Clemons makes an earnest attempt to serve as an ombudsman -- someone who can intervene quickly to solve complicated tangles that cannot be resolved by the parties concerned. If you have got into an academic/administrative snarl which your adviser is not able to straighten out, don’t hesitate to speak to the Department Chair. This is the person dedicated to listening to student problems and helping to resolve them as a first order of business.


Where Are You Going?

Although it may take some time to discover your goals in Theatre, the sooner you know what you want to do, the better able you will be to choose the elements necessary to your education. Some of our students have multiple goals, like the student who is mainly interested in technical theatre, but is also interested in picking up a teaching credential. You will find that many of our students are versatile in several specialties. We try to encourage the well-rounded theatre major who can act, run lights, know theory as well as theatre history, etc. But, you also have the possibility of concentrating in a particular theatre area after you have completed your required core courses.



Remember:
We want to be of help.
We want your progress here to be insightful.
We want your learning experiences, at least once in a while, to be ecstatic.
We want you to be a self-actualizing individual


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