Dance Production

Design and Technology
 
 
Routledge (Verlag)
  • erschienen am 7. September 2015
  • |
  • 294 Seiten
 
E-Book | ePUB mit Adobe-DRM | Systemvoraussetzungen
978-1-317-63540-6 (ISBN)
 
Dance Production: Design and Technology introduces you to the skills you need to plan, design, and execute the technical aspects of a dance production. While it may not seem that staging a dance production is that different from a play or musical, in reality a dance performance offers up unique intricacies and challenges all its own, from scenery that accommodates choreography, to lighting design that sculpts the body, and costumes that complement movement. This unique book approaches the process of staging a dance production from a balanced perspective, making it an essential resource for dancers and designers alike.



Covering a broad range of topics, author Jeromy Hopgood takes the reader through the process of producing dance from start to finish - including pre-production planning (collaboration, production process, personnel, performance spaces), design disciplines (lighting, sound, scenery, costumes, projections), stage management, and more. Bridging the gap between theatrical and dance design, the book includes a quick reference guide for theatrical and dance terminology, useful in giving dancers and designers a common working vocabulary that will ensure productive communication across the different fields.
  • Englisch
  • London
  • |
  • Großbritannien
Taylor & Francis Ltd
  • Für höhere Schule und Studium
  • 149 Farbfotos bzw. farbige Rasterbilder
  • |
  • 149 Halftones, color
978-1-317-63540-6 (9781317635406)

weitere Ausgaben werden ermittelt
Jeromy Hopgood is a tenured Associate Professor at Eastern Michigan University, where he created the Entertainment Design & Technology program - one of the only of its kind in the country. In addition to his teaching, Jeromy has designed more than 100 plays, musicals, dance, and opera productions over the last decade. Jeromy worked at the Williamstown Theatre Festival in its Tony Award-winning season alongside numerous Broadway designers, and he is an Artistic Associate for the Michigan Shakespeare Festival. Jeromy is also the author of QLab 3 Show Control: Projects for Live Performances and Installations by Focal Press.
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

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