NYCPlaywrights October 3, 2015
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Nancy_GMAIL
Oct 3, 2015, 5:09:55 PM10/3/15
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Greetings NYCPlaywrights
*** FREE THEATER IN NYC ***
The Fools & Kings Project
JULIUS CAESAR
Athens Square Park Astoria Queens
Summit Rock, Central Park West Manhattan
"Julius Caesar" runs through Sunday, October 11th.
Below are all of the dates and locations for the performances.
Saturday, October 3rd @ 4:30pm at Summit Rock
Sunday, October 4th @ 4:30pm at Summit Rock
Saturday, October 10th @ 4:30pm at Athens Square Park
Sunday, October 11th @ 4:30pm at Athens Square Park
The Fools & Kings Project aims to produce Shakespeare's plays with a focus on character development. By delving thoroughly into the text, we use the language as a map to create engaging & timeless concepts with simple - but compelling - design. We are proud to be presenting our third show of this season, an all-female "Julius Caesar". Directed by Kristen Penner, Fight Direction by Jason Paul Tate, and Stage Management by Liza Penney.
The show boasts an ensemble cast of just 10 actors in a fast-paced, raw, 90 minute adaptation of the script. Featuring Nikita Chaudhry, Katya Collazo, Kisky Holwerda, Lorelei Mackenzie, Melissa Meli, Shannon Paul, Zoey J. Rutherford, Callan Suozzi-Rearic, Courtney A. Vinson, and Vanessa Wendt.
All performances run approx. 90 minutes without intermission and are free to the public.
Athens Square Park is located at 30th Ave & 30th St in Astoria - just one block away from the 30th Ave stop on the N/Q train.
Summit Rock is located just inside the 81st St & Central Park West entrance to Central Park.
More information
Promotional art:
*** SUBMISSIONS WANTED ***
Venus/Adonis Theater Festival 2016 ~ Our Eighth Festival Season
Acknowledgement in the form of excellent prizes: $2,500 for Best Play and $500 each for Best Actress, Actor and Director, as well as $300 for Best Musical and $200 for Best Original Play. This is more than any other U.S. festival that we know of.
There is no question why Venus/Adonis has taken the world of playwriting festivals by storm, becoming the second largest festival in the country in just 4 years.
It's because playwrights enjoy staging their plays with us!
We are a group of playwrights who, after years of staging our plays in NYC festivals, said: "Why don't we create a festival that includes everything we dreamt of having while being part of others? "
The result is beyond our wildest expectations. In just a few years, Venus/Adonis has caught fire as the number of submissions we receive continues to grow every year.
Is this sheer luck or an acknowledgment of what we offer?
Let's find out at: http://venusnytheaterfestival.com/
*** PLAYWRIGHTS OPPORTUNITIES ***
Women's Project Theater Lab Application
WP Theater is looking for 15 female-identified playwrights, directors, and producers who crave an artistic home, professional support, and the resources to launch them into the next phase of their careers to join the 2016-2018 WP Lab.
Lab provides up to fifteen artists with community, a vital professional network, entrepreneurial and leadership training, free rehearsal space and, most significantly, tangible opportunities for the development and production of bold new work for the stage.
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Greenbrier Valley Theatre (GVT) is pleased to announce that we are now accepting submissions for our 2016 New Voices Play Festival! This festival is an opportunity for up and coming or accomplished playwrights to submit their work which, upon selection, will be produced on the mainstage at GVT, the State Professional Theatre of West Virginia. The performance of these plays is an invaluable tool for playwrights to workshop what’s working in the play and what may need revision. The New Voices Play Festival has become a popular event among our patrons who are eager to enjoy these new works.
● Plays must be 5 to 10 minute one act plays.
● Playwrights may submit up to two works for consideration.
● Plays must be unpublished and must not have had a full professional production.
● The subject matter of submitted plays is open; however, excessively strong language is discouraged.
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Premiere Stages is committed to supporting emerging and regional playwrights by developing and producing new plays. Through our Play Festival script competition, Premiere Stages offers developmental opportunities to four playwrights. We provide playwrights with an encouraging and focused environment in which they can develop their work through discussions, rehearsals, sit-down readings, staged readings, and full Equity productions.
Premiere Stages will accept submissions of unproduced new plays from playwrights born or currently residing in the greater metropolitan area (New Jersey, New York, Connecticut, and Pennsylvania). There is no fee to enter. All plays submitted to the festival are evaluated by a professional panel of theatre producers, dramaturgs, playwrights, scholars and publishers. e presented in one evening, so plays that have minimal tech and set requirements are preferred.
*** FOR MORE INFORMATION on these and other opportunities see the web site at http://www.nycplaywrights.org ***
*** STAGE LIGHTING ***
Stage lighting is the craft of lighting as it applies to the production of theatre, dance, opera and other performance arts.[1] Several different types of stage lighting instruments are used in this discipline.[2] In addition to basic lighting, modern stage lighting can also include special effects, such as lasers and fog machines. People who work on stage lighting are commonly referred to as lighting technicians.
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American Association of Community Theater
The Lighting Designer’s Job
At its most basic, stage lighting functions to make the actors and their environs visible to the audience. But it can also be used to:
- Evoke the appropriate mood
- Indicate time of day and location
- Shift emphasis from one stage area to another
- Reinforce the style of the production
- Make objects on stage appear flat or three dimensional
- Blend the visual elements on stage into a unified whole
The Designer's work
The lighting designer begins by reading the script to be produced noting the type of light it calls for in each scene. Designer and director share their ideas about how light could be used to enhance the production concept at their first meeting. Early meetings with the set designer are also important because the set and lighting designers must collaborate on how to achieve the desired "look" for the play. The plan for the set may influence the placement and direction of the necessary lighting instruments, so flagging any potential problems in this area as early as possible makes sense.
Lighting designers attend rehearsals to get a feel for the lighting cues and to plan how to light the actors as they move from place to place on stage. When the blocking is set, the lighting designer can start to work out which lighting instruments will be used and where each one will be located.
More…
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How to Work with a Lighting Designer
by Jeffrey E. Salzberg
Many people think the lighting design is created in the technical rehearsal. This is not so. Others see the myriad pieces of arcane drawings and paperwork which surround the professional designer and think that they constitute the design. Again, not so. The lighting design is created in the designer's head over the course of several weeks before the production loads into the theater. The technical rehearsal is when the design is realized. The various pieces of paper serve as road maps to further us on our journey. This is why designers find it frustrating when choreographers turn to us during technical rehearsals and say things such as, "Oh, I wanted this section to be blue." The subtext of that (which the choreographer may not even realize but which the lighting designer most certainly does) is, "The time you've already spent working on this dance means nothing to me." The choreographer certainly has the right to have that particular section be blue, but it would have been more respectful of the designer's time -- and art -- for that information to have been shared earlier.
How much time have I already spent on the dance by that point? I've watched it, either live or on video at least three times -- usually 5-6 times. I've analyzed the movement in terms of focus, mood, and tempo. I've spent an hour or more (depending on the length, complexity, and overall nature of the dance) transcribing notes and writing cues. I've spent a total of 4-8 hours drafting the light plot and preparing the associated paperwork. The stagehands have spent 4-8 hours (sometimes much, much more) hanging the show and I've spent several hours working with them to focus each fixture
When I begin working on a dance, I first watch it one or two times to get the general "feel" of it. I rarely take any notes at this point; the idea is to get an overview of the work. After this, now that I have a frame of reference, I like to talk to the choreographer and get her or his ideas (more on this later). I then begin to take detailed notes on movement and music, watching the dance two or three more times.
In most cases, by this point I have not yet written a single light cue. I then watch the dance several more times, first taking general lighting notes and progressively getting more detailed. At this point, I have several pages of notes, none of which are in any form that a stage electrician could use to realize the design in the theater; in other words, I have a lighting design, but not in a usable format. After I've watched and made my decisions for each dance on the program, I must draft the light plot (the drawing which tells the stagehands which lights go where) and prepare the various documents which contain explanatory detail.
More…
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CADD Drawings of NYC Area Theaters by Jeffrey E. Salzburg
These drawings are provided as a free service to the theatrical community. No guarantee of accuracy is either stated or implied. If you wish to contribute drawings to this library, many blessings will rain down upon your head. Please send as a DXF or DWG file to: je...@jeffsalzberg.com. All contributions will receive appropriate on-screen credit.
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Stage Lighting for Students
Jeffrey E. Salzburg with Judy Kupferman
It is important to remember that, although stage lighting may rely more heavily on technology than do most genres, it is no less an art than are singing, acting, and dancing. The lighting designer — like the choreographer, director, and actor — is an artist.
There is a tendency to become bogged down in the technology — to concentrate on that aspect rather than on the art. This is the equivalent of an architect's fixating on the wood and brick rather than on the overall appearance of the building.
Any designer who doesn't admit that her/his designs have on occasion been saved by good technicians is probably either very new to professional theatre, or lying. Being a technician is an honorable and admirable vocation, but there's a difference between designers and technicians. The technician is in no way "below" the designer; the two positions are equal in importance, but they are not the same. One person may well be both, but not necessarily so.
You should always remember that the designer is primarily an artist, and you should be kind enough to help your colleagues who are actors, dancers, musicians, and directors to remember it, also.
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A LIFE IN THE THEATRE: Lighting Designer Kenneth Posner Talks About 30 Years in the Business
Kenneth Posner, the prolific lighting designer who received three Tony nominations for the 2012-13 season, talks about 30 years in the industry.
"I discovered theatre at a young age, as a mechanism, frankly, to escape," Posner said. He was seven years old. His parents, who were immersing him in theatre, had just divorced. His mother created costumes for community stage groups in Westchester County, New York, where he grew up.
"She brought me and my brother along to the warmth and safety of these companies. I became involved in this world of storytelling, of creativity and expression. I never chose to leave it. I developed a passion for theatre, for telling stories in a proscenium arch."
More…
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Lighting Designer Time Line: 1877 -
1877- Brigham introduces Gel (color media) to the theatre world
1878- Joseph Swan "invents" the incandescent lamp
1879- Thomas Edison "invents" the incandescent lamp
1880's
1881- London's Savoy Theatre installs the first theatrical electrical lighting system
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1890's
1899- Appia's Music and Staging is published
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1900's
1900- Lamp dip is introduced to color the bulbs used in the border and foot lights
1903- Kliegl Brothers installs a 96 dimmer stage lighting system at the Metropolitan Opera House
1904- Louis Hartmann uses a "baby len" in Belasco's The Music Teacher
1908- Maude Adams installs a 2' deep by 32' wide light bridge in Charles Frohman's Empire Theatre.
1908- RoscoGel is introduced
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1910's
1915-Robert Edmond Jones designs The Man Who Married a Dumb Wife
1916- Norman Bel Geddes builds a 1000 watt Spotlight from a carbon arc lens box.
1916- Bel Geddes lights the Little Theatre of Los Angles entirely with 1000 watt Spotlights.
1918- Jones and Bel Geddes work together at the Pabst Theatre in Milwaukee
More…
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American Theatre Wing
Associate Lighting Designer
Associate Lighting Designer Caroline Chao takes care of all the details for a lighting designer, including handling the production schedule, helping to draft the lighting plot, and keeping track of notes, follow spots, and the cue list. She takes us through her role in the production process, and points out the advantages of being a lighting associate and assistant. Chao has worked on multiple shows at once with lighting designer Don Holder, and is seen here teching Spider-Man: Turn Off The Dark.
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Meet a Lighting Designer
Lucy Birkinshaw has completed a Bachelor of Arts (Curtin University) and an Advanced Diploma in Lighting Design (WAAPA). She has worked extensively in the industry as a Lighting Designer, Head Electrician, Lighting Programmer and Production Manager. Lucy is a founding partner of Filament Design Group, a creative and technical project management team producing theatrical, concert and corporate events.
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MIT Open Courseware
Lighting Design for the Theatre
This class explores the artistry of Lighting Design. Students gain an overall technical working knowledge of the tools of the trade, and learn how, and where to apply them to a final design. However essential technical expertise is, the class stresses the artistic, conceptual, collaborative side of the craft. The class format is a "hands on" approach, with a good portion of class time spent in a theatre.
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