Contents
- I. Acknowledgements
- II. Introduction
- PART 1: Thinking Ahead
- Collaboration
- 1.1 Team Members and responsibilities
- 1.2 The Choreographer
- 1.3 The Production Process
- 1.4 Collaborative Models - How we Work Together?
- 1.5 Chapter Review
- 1.6 The Choreographer's Perspective: An Interview with Julia Gleich
- Pre-Production Planning
- 2.1 Purpose
- 2.2 Program Concerns
- 2.3 Performance space concerns
- 2.4 Production Calendar
- 2.5 Production Budget
- 2.6 Personnel
- 2.7 Chapter Review
- 2.8 The Production Manager's Perspective: An Interview with Stacey-Jo Marine.
- Performance Spaces
- 3.1 Proscenium Theatres
- 3.2 Non-Proscenium Theatres
- 3.3 Non-Traditional Spaces
- 3.4 Chapter Review
- PART 2: Production Areas
- Lighting
- 4.1 The Lighting Designer
- 4.2 Functions of Dance Lighting (What Lighting can Accomplish)
- 4.3 Properties of Dance Lighting (Controllable Qualities of Dance Lighting)
- 4.4 Lighting Systems
- 4.5 Lighting Positions and Angles
- 4.6 Lighting Instruments
- 4.7 Atmospherics
- 4.8 Color in Lighting
- 4.9 Chapter Review
- Creating the Lighting Design
- 5.1 Working with the Choreographer
- 5.2 Communicating the Design
- 5.3 Hang and Focus
- 5.4 Preparing for Technical Rehearsals
- 5.5 Technical Rehearsals
- 5.6 Chapter Review
- 5.7 The Lighting Designer's Perspective: An Interview with Seth Reiser
- Sound
- 6.1 Thinking about Sound
- 6.2 Sound Design for Dance
- 6.3 Functions of Sound Design
- 6.4 Properties of Sound Design
- 6.5 Audio Equipment
- 6.6 Sound systems
- 6.7 Legal Concerns
- 6.8 Chapter Review
- Creating the Sound Design
- 7.1 Working with the Choreographer
- 7.2 Communicating the Design
- 7.3 Sound Editing & Composition Tools
- 7.4 Preparing for Technical Rehearsals
- 7.5 Chapter Review
- 7.6 The Sound Designer's Perspective: An Interview with Sam Crawford
- Scenery & Props
- 8.1 Scenic Design
- 8.2 Functions of Dance Scenery
- 8.3 Scenic Elements
- 8.4 Dance Props
- 8.5 Chapter Review
- Creating the Scenic Design
- 9.1 Working with the choreographer
- 9.2 Communicating the Design
- 9.3 Design Specifications
- 9.4 Scenic Construction & Painting
- 9.5 Props Design
- 9.6 Chapter Review
- 9.7 The Scenic Designer's Perspective: An Interview with Campbell Baird
- Costumes, Hair, and Make-up
- 10.1 The Costume Designer
- 10.2 Functions of Dance Costume Design
- 10.3 Properties of Dance Costume Design
- 10.4 Dance Costume Components
- 10.5 Hair and Wigs
- 10.6 Makeup Considerations
- 10.7 Chapter Review
- Creating the Costume Design
- 11.1 Working with the Choreographer
- 11.2 Communicating the design
- 11.3 Executing the Design
- 11.4 Preparing for Dress Rehearsals
- 11.6 Chapter Review
- 11.7 The Costume Designer's Perspective: An Interview with Liz Prince
- Projections & Video
- 12.1 The Projection Designer
- 12.2 Assessing Projection Needs
- 12.3 Functions of Dance Projection Design (What Projection Design can Accomplish)
- 12.4 Projection systems
- 12.5 Projection equipment
- 12.6 Software Solutions
- 12.6 A Word about Interactive Dance
- 12.7 Chapter Review
- Creating the Projection Design
- 13.1 Working with the Choreographer
- 13.2 Communicating the Design
- 13.3 Content
- 13.4 Preparing for Technical Rehearsals
- 13.5 Technical Rehearsals
- 13.6 Chapter Review
- 13.7 The Projection Designer's Perspective: An Interview with Joao Beira
- Stage Management
- 14.1 The Stage Manager
- 14.2 Pre-production
- 14.3 Rehearsals
- 14.4 Technical Rehearsals
- 14.5 During the Run
- 14.6 Chapter Review
- 14.7 The Stage Manager's Perspective: An Interview with Julie Ballard
- PART 3: Quick Reference
- Dance Terminology
- Theatre Terminology