Theatre Department Handbook | Willamette University

Introduction

This handbook is intended to support you as you navigate the department and our productions. It is a living document that shifts and changes as the makeup of the department shifts and changes. If you have questions, we urge you to not only check-in with faculty mentors and this document: we also encourage you to use the Student Resources on the Theatre Department’s website as you think through your academic and artistic goals

Please note that while the handbook does answer many essential questions, members of the Theatre faculty are always available to discuss with you individually either questions that are not clear or any particular concerns or interests. You are encouraged to ask a faculty member if you need help, are confused, or overwhelmed by assignments or expectations.

Theatre is 80% people. We seek to create, express, and share as a community and as such, we believe in direct, clear, and respectful communication. We believe in creating an atmosphere conducive to risk-taking and exploration.

Typical communication will be through email. Other forms of communication include regular in-person group meetings (production meetings, student-faculty meetings, student meetings), and one-on-one sessions (advising, coaching, mentoring).

We are theatre makers and we work with each other to build professional theatrical skills. We will take time to share skills and knowledge. We believe that building successful and repeatable processes will lead to strong performance outcomes.

Ask questions. Be curious. We encourage rigorous, generous, and creative explorations. We do not believe in a culture of silence.

We will often be learning with one another. Sharing in the process of learning and knowledge creation is a gift that we can give one another.

In our processes of discovery, learning, and creating, we will also prioritize safety protocols and practices.

We also believe in a sense of humor. Although we approach both our studies and our creative work very seriously, we also believe that we should never take ourselves too seriously. Humor and humility are useful antidotes to the pressures that surround us. In spite of all the demanding pressures of creating quality work on a tight schedule, we strive to make the theatre an enjoyable place to be.

The Company

Throughout this document, we refer to “the company:” this is understood to mean the community of teaching artists, students and other personnel who contribute to the academic work of the department, and to our productions.

Department Meetings

We are a company and a department. And while theatre and academia can be very hierarchical, we believe in direct and effective communication with every member of the community. We have found that regular meetings with the entire community as well as regular meetings focused on specific community projects/members is important to maintain direct and effective communication. Below, you will see the different types of group meetings we hold on a regular basis and attendance expectations. We encourage active participation in the meetings as a way to not only receive information but also to remain engaged in the community while developing soft skills important throughout our professional lives. If you would like to attend a meeting and don’t know if it is appropriate, speak to your faculty advisor, mentor, or supervisor.

STUDENT/FACULTY MEETINGS

The purpose of the Student/Faculty meetings is to maintain two-way communication between faculty, staff, and students. Agendas will be developed by the Student Advisory Board (SAB )and SAB’s faculty advisor one day in advance of the meetings. All students and faculty are welcome to add items to the agenda by contacting SAB or a faculty member by the end of the day, Thursday, prior to the next meeting.

Theatre majors, minors and scholarship holders are expected to attend Student/Faculty meetings as scheduled. The time and place of these meetings may be found on the WUT Production Calendar (third Tuesday of each month.) Meetings will be focused on topics germane to the successful and productive operating of the department and program. The meetings are conducted and organized by department faculty and/or elected student representatives, who function as the Student Advisory Board. Occasionally, guest speakers will be invited to talk to the department during this meeting.

A summary of each meeting will be made by the Secretary of the Student Advisory Board and uploaded to WISE - Theatre Production, and it is the responsibility of all us who are unable to attend a meeting to read this summary so that we remain current on departmental activities.

STUDENT MEETINGS

Students also meet independently of the faculty to share upcoming events/projects, professional opportunities/experiences, support/anticipate production process, mentor check-ins, and other student-centered happenings. These meetings occur on the first Tuesday of each month.

FACULTY MEETINGS

The Theatre Faculty hold meetings once a week (Wednesdays from 11:30-12:30). The primary purpose of these meetings is to support the curricular and co-curricular programming of the department. Students may request time on the agenda should they wish to speak with the faculty as a whole. Please ask the Department Chair to be placed on the agenda. Note: faculty and/or SAB may ask for a SAB representative to attend faculty meetings when student input is important to upcoming decisions. SAB members will have the opportunity to check-in with the students on matters discussed in the faculty meeting. Students are also welcome to meet with the Theatre Faculty on any issues of an individual nature. Please check-in with your faculty advisor, mentor, or supervisor.

PRODUCTION MEETINGS

Production meetings are held once a week during the weeks prior to production openings. As in professional theatre, production meeting attendees include the artistic team (director, designers, dramaturg, and assistants) as well as department heads (properties, lighting, sound, paint, technical director, production manager, stage manager, production stage manager), publicity & marketing, and patron services (front of house, box office). Meetings are generally held on Thursdays from 11:40-12:40 and may be confirmed on the WUT Production Calendar. Meetings are currently hyper-flex (Zoom & in-person) and participants are welcome to attend either medium. If you are unable to attend a production meeting, please let your faculty mentor/supervisor know in advance of the meeting. Production meeting notes will be distributed following each meeting by the production stage manager and posted in the shared folder for the production.

Student Advisory Board

STUDENT/FACULTY MEETINGS

STUDENT MEETINGS

FACULTY MEETINGS

PRODUCTION MEETINGS

Juried Portfolio Reviews, Interviews, and Auditions

All theatre majors and minors are required to participate in the juried auditions, interviews and/or portfolio reviews held each year. The auditions, interviews and portfolio reviews allow students to check progress, evaluate degree program placement, and assist the individual student with future presentations.

Non-major students are welcome to request an audition, interview or portfolio review.

Please check the WUT Production Calendar online for specific dates for these events.

EXPECTATIONS:

Students will prepare with diligence and respect as outside professionals are often invited to give their assessment and advice.
Theatre majors and minors with an Acting emphasis are required to audition.
Majors and minors with a Design, Technology, Stage Management, Directing or Performance Studies emphasis are required to interview and present a digital or physical portfolio where appropriate.
Students should check in with their advisors well in advance to ascertain the specific requirements, in line with their academic and career goals.

REQUIREMENTS:

Departmental Audition:

Materials memorized
Actor's resume (samples on WISE)
Headshot (samples on WISE)

Department Interview/Portfolio Review:

Discipline-appropriate resume (samples on WISE)
Digital or physical portfolio where appropriate (samples on WISE)

Please speak with a faculty member prior to these reviews to establish the necessary demands of auditions and/or portfolio presentation for your intended discipline.

Department Expectations and Student Responsibilities

STUDENT ACADEMIC RESPONSIBILITY

A production assignment, as cast or crew, will not be considered an acceptable excuse for late academic assignments or absences from class, either within or outside the department

STUDENT COMMITMENT

We expect everyone to satisfactorily fulfill the obligations and commitments that they undertake within the program. We operate on the assumption that all individuals will complete the production and academic responsibilities to which they have agreed. Signatures or initials are expected as an acknowledgment of all assigned acting roles and crew responsibilities posted on the production notice board. The signature or initial is also considered the agreement to honor and fulfill the responsibility. Finally, signing one’s assignment indicates that one has read and understood the production position description page (available on the departmental website). Clarification regarding the duties and responsibilities of any position may be obtained by conversation with any member of the Theatre Faculty, and should be sought before signing to accept a responsibility.

EMERGENCIES

If there is a serious emergency that compromises your ability to fulfill your obligation—and it is understood that serious problems do arise—it is your responsibility to let the rest of the team know as soon as possible, especially your immediate faculty supervisor. If the appropriate people are informed in time they can help solve the problem: don't let the production team discover the problem when it is too late to fix it. Be proactive, communicate, and we will support you.

EMERGENCY PROTOCOL

If you have a serious emergency that makes it impossible to run a show, it is your responsibility to let your crew head, the stage manager, and your faculty supervisor know immediately. If possible, helping to find a suitable, qualified replacement reflects industry best practices.

SCHEDULING

An online calendar is provided by the department as a guide to enable you to plan your year, and all departmental functions and known schedules are posted there. This will help you to avoid any conflicts that might render you unable to fulfill departmental commitments and responsibilities. Please note that this calendar is subject to change: it is your responsibility to check the production calendar daily. The calendar is listed as WUT Production in Google Calendars.

DEPARTMENTAL COMMUNICATION CHANNELS & EMAIL

Our regular form of communication is through email. Best practices ask each of us to check our email two-three times a day, depending on the rehearsal/technical/performance schedules. While we always try to give 24 hour notice for changes, this is sometimes impossible. Please develop the habit of checking your email regularly so that you may remain abreast of any changes.

EVENING COMMITMENTS

Our rehearsal schedule runs Tuesday through Friday evenings, and Saturday during the day. Performances are typically Wednesdays through Sundays. Students are encouraged to keep these evenings open, as major production assignments will frequently require participation during those hours. While we will be as flexible as possible, this may compromise your ability to adequately fulfill your commitment to the Theatre Major/Minor and/or Scholarship because, of necessity, nearly all rehearsals and performances take place during evening hours. Please share the co-curricular requirements of production with your advisor and employer in order to find the appropriate balance between evening commitments & your co-curricular work in the theatre.

STUDENT EMPLOYMENT

Many theatre majors receive financial aid in the form of student employment. Those students who receive their aid within the Theatre Department will usually be assigned to the scene studio, the lighting and sound studio, the costume studio, publicity, or the box office. Student employment hours are arranged around the student’s class schedule. Each work area has its own rules and guidelines, and individual supervisors will maintain a record of each student’s hours.

Students are responsible for filling out their time cards online via Workday. The students still need to work closely with departmental staff to fill out all forms and learn the system of keeping track of their hours.

Student employees are also expected to have read and understand the student employee handbook, found at: https://willamette.edu/offices/hr/student-employees/index.html.

MAJOR & MINOR EXPECTATIONS

Willamette University Theatre Majors and Minors are committed to excellence in the classroom as well as in production.

Theatre Major and Minors are expected to demonstrate the following competencies:

Attitude: a proactive and positive presence in the work and needs of the company
Dependability: honoring of commitments, resources, and academic responsibilities of oneself and the company
Commitment: proactive participation in company calls, rehearsal processes, and performances
Participation: regular constructive participation in the activities of the company
Skills: develop and maintains skills appropriate to the duties of the company

PRODUCTION COMMITMENTS FOR MAJORS, MINORS, ASSISTANTSHIP HOLDERS:

As stipulated in the Willamette University catalog, students majoring or minoring in theatre are required to be involved in company work related to creating and mounting theatre productions. Because of the diverse and rigorous requirements for making theatre happen, students should anticipate that this work will offer creative challenges, intellectual problem-solving, and practical tasks.

Majors, minors, and scholarship holders are required to earn credits for significant involvements within the Theatre Department production program prior to applying for Senior Thesis.

Specific production requirements are laid out in the CAS Catalog and SAGE.

THEATRE DEPARTMENT SCHOLARSHIPS

The Willamette University Theatre Scholarships were established to provide financial aid for exceptional theatre students.

Exceptional students with demonstrated potential to become leaders in the Theatre Department are awarded scholarships as recognition of their dedication to the Theatre Department and production program.

THEATRE DEPARTMENT SCHOLARSHIP EXPECTATIONS

To receive and retain the scholarship, a student is expected to demonstrate excellence in the following areas:

Leadership: to take initiative to lead and support the work of the company
Attitude: a proactive and positive presence in the work and needs of the company
Dependability: honoring of commitments, resources, and academic responsibilities of oneself and company
Participation: regular participation in the activities of the company
Skills: develops and maintains skills appropriate to the duties of the company
Service: to actively promote and advocate for the Theatre Department and company
Commitment: proactive and positive participation and leadership in company calls, rehearsal processes, and performances

ELIGIBILITY FOR SCHOLARSHIPS

Because only a limited number of scholarships are available each year for first year students and are usually a result of scholarship auditions and interviews the previous spring, it is frequently not possible to award a scholarship to all students deserving of one. However, students wishing to be considered for a scholarship should apply to the faculty of the Theatre Department in writing, explaining their need and interest. When possible, every effort will be made to assist.

FIRST YEAR SCHOLARSHIP STUDIO ASSIGNMENTS

First year students who are awarded scholarships are assigned to specific areas of the department (costume studio, scenic studio, lighting and sound studio) for 3 hours per week during their first year. All assignments will be scheduled during regular working hours, 8am-5pm.

The studio assignments are based upon departmental needs and, where possible, on the student’s preference. Our goal is to give each scholarship student as broad a skill base as possible in their first year so they are qualified to take on more significant duties as they progress through the program.

FIRST YEAR SCHOLARSHIP HOURS

Per the scholarship agreement, scholarship students are required to have completed 42 hours per semester in their assigned studio(s), for a year-end total of 84 hours. Students will receive 2 credits/semester for their work in the studios.

If a student fails to work 42 hours in the first semester (typically 3 hours per week, for 14 weeks), that student will be required to make up the missing hours, in addition to the remaining 42 hours, the following semester.

Failure to complete the first year scholarship hours in either or both semesters of the first year may be grounds for scholarship probation and/or termination.

THEATRE SCHOLARSHIP RENEWALS

The Theatre Department scholarships must be renewed yearly: students interested in retaining their scholarship must submit an application to the Theatre Faculty prior to the end of year evaluations. The Theatre Faculty will discuss the renewal application with the student at that meeting.

THEATRE SCHOLARSHIP DIFFICULTIES

The Theatre Department scholarship follows a three step process for resolution of difficulties with the scholarship: warning, probation, and termination. These steps are detailed below.

THEATRE SCHOLARSHIP PROBATION^[1] PROCESS:

OVERVIEW:

A student may be placed on Theatre Department scholarship probation for two reasons:

If a Theatre Department scholarship holder is placed on academic probation, that student will also be placed on Theatre Department scholarship probation.
If a student holding a theatre scholarship is unable to follow through on any of their contracted responsibilities as an active, contributing member of the theatre department, this could be grounds for scholarship probation.

WARNING:

If a student has not completed a production assignment satisfactorily, that student will be informed by the faculty and also receive a written notification from the Department Chair.
The student may be asked to meet with the Theatre Faculty to discuss the issue and to define a path to resolution. The agreement to resolve the issue will be distributed in writing to the student and the Theatre Faculty.

PROBATION:

If the aforementioned agreement is not followed, then the student will be placed on probation via written notice from the Department Chair. The notice will detail the terms of probation, including a path to resolution.

THEATRE SCHOLARSHIP TERMINATION PROCESS:

If the probationary agreement for resolution is not successfully completed or if issues are not successfully resolved, the scholarship will be terminated.
The student will be notified of the termination of scholarship via written notice from the Theatre Department Chair no later than the last day of classes of the probationary semester.

APPEALS PROCESS:

Any student may appeal any decision regarding theatre scholarship probation or theatre scholarship termination.

To appeal, students should first meet with a faculty advisor or alternative theatre faculty member, whose responsibility will be to help the student articulate the appeal, share resources, and help the student navigate the process.
Students should then send a written appeal to the Theatre Faculty. Within seven calendar days of receipt of the appeal, the Theatre Faculty will schedule a meeting with the student and a majority of the Theatre Faculty to discuss the student's appeal.
The Theatre Faculty will meet in closed session to discuss the merits of the student case and will issue a response within twenty-four hours. This decision is final and cannot be appealed.

ACADEMIC PROBATION:

For the most up to date information, please refer to the Catalog of the College of Liberal Arts^[2] for current policy on academic probation, as academic probation is not within the purview of the theatre faculty. Academic probation falls under the jurisdiction of the Willamette University Academic Status Committee.

In keeping with University policy, a student on academic probation is not allowed to publicly represent Willamette University. For students participating in the Theatre Department, this means a student will be given limited production responsibilities, with no performance opportunities, for the semester in which they are on academic probation. This is meant to give the student an opportunity to fulfill light production commitments whilst focusing on getting their academics back into good order. Under probation conditions, major, minor, or theatre scholarship holders will be expected to fulfill their production requirements in these limited capacities.

If you are placed on academic probation, your advisor or an alternative faculty member of your choosing is available to meet on a regular basis to help you improve your grades. They will do everything they can to help you get back on course and back into the creative process of doing theatre. The student should approach faculty as soon as possible to set up these meetings.

RESIGNING THE THEATRE DEPARTMENT SCHOLARSHIP

A student may choose to resign their scholarship. This is usually a mutually agreed-upon arrangement made between the student and the Theatre Faculty. This enables the student to maintain a departmental involvement at a level that the student finds appropriate for their individual time availability. Students wishing to resign should speak to any member of the Theatre Faculty to discuss options and process. Typically, the student will resign the scholarship via written notice to the entire Theatre Faculty.

Students who resign their scholarships are welcome to continue to be involved in the Theatre Department in any capacity they wish.

^[1] Please note: "probation" can mean either Academic Probation (within the University) or Scholarship Probation (within the Theatre Department). A discussion of Willamette's Academic Probation parameters may be found at https://willamette.edu/cla/catalog/policies/academic-probation.php

^[2] https://willamette.edu/cla/catalog/policies/academic-probation.php

Community Production ResponsIbilities

SELF CARE AND SCHEDULING

It is critical that you are proactive about self-care, and take care of your physical, spiritual and emotional health. This cannot be stressed strongly enough. Down time, social life, co-curricular activities, student organizations, nutrition, sleep, homework, etc. must all be balanced with the work of your major program(s) and production responsibilities.

We recognize that this balancing act takes time to learn: if you would like help or advice regarding this, please reach out to any member of the Theatre Faculty for help. It is always preferable to do so sooner, rather than later, so that forward-looking solutions may be found.

If students have a need or difficulty significant enough to warrant a change in schedule or responsibilities, they must reach out to any member of the Theatre Faculty as soon as possible with these concerns so that a solution can be reached. In these cases, it is not enough to let the Production Stage Manager or Stage Manager know: to get appropriate help in a timely manner, the Theatre Faculty must be contacted directly.

GENERAL RESPONSIBILITIES

All members of the production are expected to attend a company meeting scheduled for the first day of rehearsals. This meeting will be used to introduce each member of the company and clarify individual production responsibilities.

Everyone involved in the production, including the crew, box office, and house management staff will be expected to read or re-read the play after they have been given their production assignments. This should be done within the first two weeks of the semester. Complete familiarity and understanding of the work being undertaken is important in supporting the work of the company. A copy of the script is available on a shared drive.

COMPANY STRIKE

Company Strike (the dismantling of the production) takes place the day immediately after the last performance and will continue until finished. All cast and crew members, majors, minors and scholarship holders are required to attend. Please note that not every performance requires a company strike. The company strike will be posted on the WUT Production Calendar and is typically the last show of the year/semester.

THE WILLAMETTE UNIVERSITY THEATRE STANDARDS and CRP

Willamette University Theatre Department and its production program are committed to producing bold, risky and engaging work, while keeping safe all of its members and participants. We recognize that this kind of work takes special care and commitment to safe and repeatable process for all concerned.

At the same time, we assert that there is a crucial difference between safety and comfort, and commit to exploring moments, topics and material that may make us or our audiences uncomfortable.

We believe that great art can sometimes be uncomfortable even as it asks us to expand our boundaries and understanding of the human condition. To support this kind of work, we have implemented standards of working, based on the Chicago Theatre Standards, that provide a framework for approaching our work as a brave, joyful and engaged community.

One important way we can support this work is through transparency and communication. The Theatre Department seeks to resolve concerns early, before participants or the production are put at risk and before the concern escalates. Our Concern Resolution Path (CRP), updated for each process, is intended to provide a documented communication pathway to address issues in a production or within the Theatre Department. The CRP seeks to inform participants what to do and who to address with serious issues, and dispel the fear of reprisal for reporting issues of safety, harassment, or other serious concerns. The CRP is designed to provide pathways to respond to events, behavior, and conditions that create reasonably understood unsafe conditions, not uncomfortable situations.

We also hold that many concerns can be resolved through conversation with the parties involved. Whenever possible, participants should discuss challenges and concerns with one another. Sharing and hearing concerns with openness and respect can prevent situations from escalating further. If you cannot directly address the individual(s) involved, or if no resolution can be agreed upon, your next point of contact can be found on the CRP.

THEATRE DEPARTMENT PRODUCTION AUDITION EXPECTATIONS

Auditions for each semester's productions are usually held at the beginning of each semester for the fall and the end of the fall semester for spring. They usually consist of prepared monologues and of actors reading from the script of the production being cast. The auditioning procedure may vary from semester to semester, depending on the individual requirements of the plays and/or the directors.

Usually each mainstage theatre production in a semester will be cast following a general audition (see department website for details). After the general auditions a callback list will be posted.

Productions will be cast exclusive of one another wherever possible, allowing for students to have as wide a variety of production experiences as possible.

It is expected that those auditioning will:

prepare material for the general audition well in advance, according to the posted requirements
read the production scripts carefully prior to the audition
diligently check email during the audition process to stay aware of requirements

ALL Theatre majors with an Acting emphasis are required to audition for the departmental theatre productions and accept any role in which they are cast. All Theatre scholarship holders who hold an Acting scholarship (e.g. received a Willamette University Theatre scholarship based on an Acting audition) are required to audition for the departmental theatre productions and accept any role in which they are cast. Exceptions to this rule may be determined in consultation with the student's academic advisor and the department chair, according to Standards protocols, in the semester prior to the audition, and in no case after the audition process has begun.

All other students are invited to audition for each production.

It is expected and understood that auditioning for a production constitutes a professional commitment by the student and that a professional contract is complete when the student has initialed their acceptance of the role on the posted cast list.

TECHNICAL, DESIGN and PRODUCTION ROLES

We seek to communicate what we expect of our participants and what those participants may expect of us. We intend to include the following information about our productions, in audition notices and posted materials:

The title and author of the play, and where the play may be found and read;
Where possible, major conceptual changes to the play through production approach;
Role(s) that already have been cast;
Any role that depicts a character with a specifically stated disability;
Any potential stage combat, feats of physical daring, nudity, partial nudity, sexual content, intimacy or other reasonably-understood high-risk activities in the play;
An assertion that prospective participants can decline individual technical, design or production assignments without fear of losing future opportunities^[1];
The name of the director.

Those seeking a Technical, Design or Production role will be asked to fill out a form detailing, among other things, the area in which the person would like to work.

Additionally, all persons working on a project will be asked to sign a form stating that they have read and understood the play, and the audition/production disclosures. These forms will be kept by the department Production Supervisor.

BASIC HEALTH AND SAFETY

Performance-day problems are often preventable with careful planning, and we endeavor to create spaces and processes for auditions, rehearsals, and performances that are as physically safe as possible.

We intend to make health and safety a regular topic at production meetings, and to maintain awareness and procedures that contribute to a safe environment at all times. We seek to prevent injuries, identify and remedy situations that might be considered unsafe or unhealthy, and respond to injuries and medical events, and seek medical attention when required.

We will strive to promote basic health and safety practices by providing the following:

Access to drinking water or disclosure of lack of availability;
A reasonable working temperature;
Lighting suitable for the work being carried out;
Reasonably clean and well-maintained rehearsal space;
Eye and ear protection as needed
Floors and traffic routes that are free from undue obstructions and tripping hazards;
Functional, non-expired fire extinguishers;
A suitably stocked first-aid kit;
A plan for costume maintenance and laundry.

At the first rehearsal and first tech day with actors, a safety walk with the SM should include:

Fire exit locations;
Locations of first-aid kits and fire extinguishers
Emergency procedures (including contact information for local police stations and the nearest ER);
Tripping or safety hazards in rehearsal settings and constructed stage settings;
Locations of restrooms;
Scenic units, stage floor surfaces, and special effects;
Areas of potential hazard that have or may require glow tape, including the opportunity for performers to point out where they need additional glow tape.

If unsafe conditions are discovered, they should be immediately reported to the stage manager, who should keep a record of concerns and their resolution. The SM will immediately report these concerns to the production stage manager. The production stage manager will also maintain:

Accident, incident, and first-aid reports;
A checklist of first rehearsal and first tech rehearsal walk-throughs.
If any aspect of this Standard cannot be achieved because of the nature of the rehearsal or performance space, it should be disclosed to all prospective and active participants.

DRESSING ROOMS

Performers need time and space to prepare for their performance. The space provided for this preparation is intended to be safe, respectful, and wherever possible, private. Willamette University Theatre has two dedicated dressing rooms to be used for this purpose.

Further, we follow these guidelines regarding dressing rooms and changing spaces:

Actors will be allowed to occupy the dressing room in accordance with their gender identification.
Minors will be given private dressing room accommodations whenever possible.
Reasonable accommodations will be made to respect individual modesty, and designated space will be provided for participants to change clothes and prepare for their performance.
Non-actors (with the exception of the SM and wardrobe staff) are not allowed in the dressing room during the time between 60 minutes before the performance begins and 60 minutes after the performance ends. In the event that is not possible, communication between the dressing room inhabitants and those who need to pass through is encouraged to establish the least intrusive way to share the space.
Where costumes are used, a clothing rack and hangers will be provided.
Recording by any means, and posting any recordings or photos online, is not permitted in the dressing room without the prior consent of all individuals present.
Reasonable accommodations will be made to respect the preferences of all participants sharing a dressing room, particularly with regard to the discussion of reviews or who might be in the audience.
Inhabitants of dressing rooms must respect the property and personhood of fellow inhabitants by limiting their use of perfumes, smelly or messy food, and behavior such as talking on cellphones, playing music (without consulting dressing room mates), or other similar activities.

CHOREOGRAPHY: NUDITY, INTIMACY, VIOLENCE, MOVEMENT, AND PHYSICAL THEATRE

Some forms of theatre and styles of movement carry with them a greater risk of harm than others, and the goal of this section is to outline considerations specific to these forms of higher-risk theatre, including onstage violence, intimacy, sexual choreography and nudity, and physical theatre. These forms share many of the same considerations, while some considerations are form-specific. The shared considerations also apply to other forms of physical theatre, including dance and other forms of choreography, and this section may serve as a guide for these forms as well.

FACILITIES

The following will be provided in all rehearsal and performance spaces in which high-risk physical theatre takes place:

First-aid kit, including cold packs
Accident report forms
Water
Telephone for emergencies
Adequate on- and off-stage lighting
Temperature control
Ventilation
Space for warm-ups
Floors and surfaces that are clean, well maintained, and appropriate for the activity
Padded and/or glow-taped corners and hazards

EQUIPMENT, WEAPONS, AND SPECIALIZED COSTUMES

All specialized equipment and costumes will be:

Suitable for the required choreography;
Installed by a qualified rigger, if applicable;
Inspected/maintained by a trained technician before each use;
Inspected by any actors who use the equipment before each use.
Handled only by those required to do so.

PREPRODUCTION AND AUDITIONS

A designer or choreographer will be engaged for any production that includes weapons, stage combat, intimacy, sexual violence, specialized movement techniques, or any similar high-risk activity.
At the time of audition, prospective participants should be asked to provide accurate descriptions of their physical abilities and limitations/injuries as they relate to the possible choreography.

REHEARSAL

The designer/choreographer will be introduced to the cast at the first rehearsal, or as soon thereafter as possible.
A schedule for rehearsing all choreography will be established and followed.
Adequate time will be allocated for warming up before all choreography rehearsals.
Adequate time will be given to teach, rehearse, and adjust all choreography or movement techniques.
Adequate time will be allocated at the end of rehearsal for cooling down, asking questions, and voicing concerns.
Before work starts the actors, director, choreographer, and stage manager should agree to the requirements of the planned activity (kiss, slap, dance, etc.). Participants are then responsible for staying within those agreed-upon boundaries.
Where necessary, a choreography captain (typically a cast member with experience in the form of physical theatre being taught) will be chosen to ensure that the choreography is rehearsed and doesn’t change unintentionally. The captain will be empowered to notify the stage manager or designer/choreographer of any issues with the choreography.
Choreography will be recorded (in writing or on video or audio, if appropriate) so that performers and captains have a reference for maintaining the choreography.
Time will be set aside at the beginning of rehearsal to run through choreography. These calls are particularly important before running the show. Calls should be conducted in a distraction-free, appropriately lit space.
Actors should communicate any injury, discomfort, or fatigue experienced before, during, and after rehearsals.
The director/choreographer and actors should agree on a vocabulary of safety (i.e., the word “hold” or “button” could be used to abandon a movement mid-execution).
Regular rehearsal reports will be sent to the designer/choreographer that include notes to the designer/choreographer if any adjustments need to be made to the choreography, or if any problems develop.
A comfortable working temperature will be maintained in the rehearsal space.

PERFORMANCE

Choreography calls must occur before every show, and will take place in a focused environment free of interruptions or distractions.
Performance reports will include the designers/choreographers, noting any issues that arise and any actor injuries (whether related to the choreography or not).
Performers will have a communication plan with the stage manager to report (on the day it occurs) any inappropriate or potentially unsafe changes in the performance of choreography and/or use of equipment or weapons.
The stage manager will check in before and after performances with each actor involved in the choreography, confirming that the choreography is maintained and consent/boundaries have not been overlooked.
If any choreography is altered during performance, actors should notify the stage manager as soon as possible.

SPECIFIC CONSIDERATIONS: VIOLENCE

Onstage violence can be a shove, a slap, the use of weapons, elaborate fight sequences, sexual violence and more. We believe that performers should not routinely incur pain, bruises, or other injury while enacting simulated violence. Our intention is to prepare for and mitigate the risks of onstage violence to create a safe space in which to take artistic risks.
A fight captain should be selected from the ensemble to maintain the choreography and run fight calls.
The stage manager should have a good line of sight to any fight choreography so that they can monitor and discuss any changes during the run of the show.

SPECIFIC CONSIDERATIONS: INTIMACY, SEXUAL CONTENT AND NUDITY

Intimacy, Sexual Content and Nudity (I/SC/N) require careful consideration as early as the season selection process. Artists in scenes with I/SC/N take great personal risk, and our goal is to allow them to take that risk in an environment that is as safe, supportive, and comfortable as possible. I/SC/N will only be included in a production when it can be done responsibly and according to the following recommendations. We seek to replicate the conditions, detail and documentation and accountability traditionally employed for fight choreography for scenes with sexual choreography, and with further consideration and care to the nature of the work.

If the I/SC/N or intimacy needs of a project are significant, an intimacy choreographer will be engaged for the production and included in pre-production meetings, or at any time if requested by the involved actors.

PREPRODUCTION AND AUDITIONS

I/SC/N should not be required or requested at any audition.
Actors performing nude must be at least 18 years old, and will provide proof of age at the audition.
Discussions around sensitive requirements and how they will be handled should begin during preproduction meetings.
Actors who will be asked to perform I/SC/N as part of the production should confirm consent to performing I/SC/N at the time of audition.

REHEARSAL

Prior to rehearsing scenes with I/SC/N, the actors, director, intimacy choreographer, and stage manager will discuss the content and establish consent language, acknowledge boundaries and affirm communication standards for the rehearsal. A safe word (such as “hold” or "button") should be established for I/SC/N rehearsals.
Stage managers must document the terms of consent and details of sexual choreography.
Actors performing nude scenes will be allowed to have and wear robes or other coverings when not rehearsing. Robes will be provided and regularly laundered for all actors who will appear fully or partially nude.
Actors will be given 24 hour notice prior to rehearsing scenes with nudity.
Actors will have the option to decline I/SC/N elements added after audition disclosure.
Nude actors will not be photographed or recorded on video at any time during rehearsal, tech, or performance without prior written consent. Performers will have the ability to retract consent at any time before or after the performance. Use of materials will be restricted to academic research and portfolios. Specific use will be shared with the performers prior to use. This policy will also be communicated to the photographer hired to document the production. This policy will also be communicated to the photographer hired to document the production.

TECHNICAL REHEARSALS

Nudity during technical rehearsals will be limited to those times when it is absolutely necessary. Flesh-colored clothing or a robe may be worn when nudity is not required.
Technical rehearsals will be closed to visitors during scenes with I/SC/N.
The stage manager will be vigilant in identifying and resolving potential physical hazards for nude actors, such as splinters and rough edges.

PERFORMANCE

Only participants whose presence is required will be present in the wings or in any backstage space with a view of the stage. Those engaged in any form of voyeurism will be removed from the space.

CONSENT

We believe that engaging in the language of consent among participants is an important part of creating an atmosphere of trust and communication. We intend to recognize the following practices when building consent among participants:

A consent-building conversation will specify the range of contact that is acceptable (e.g., anything but the front and back of the pelvis is within the range, etc.).
The boundaries may change over the rehearsal process, either narrowing or broadening, but any change to the boundaries will be discussed and agreed upon before the rehearsal.
There will be an opportunity to discuss potential boundary intrusions at the end of each rehearsal and performance.
The agreed-upon structure of intimate contact will be maintained once a show is in production.
Actors should inform the stage manager and their scene partner(s) if they are sick (sore throat, cold sore, etc.), and alternate choreography will be defined for sick days.

SPECIFIC CONSIDERATIONS: HIGH-RISK PHYSICAL THEATRE

High-risk physical theatre uses performance techniques that carry with them a greater chance of injury than traditional theatre practices. This includes but is not limited to acrobatics, tumbling, performing on silks or other equipment, and performing in motorized set pieces. This type of work will not be undertaken without the extra attention, equipment, and precaution needed to do so safely.

SEXUAL HARASSMENT

We seek to understand sexual harassment as it pertains to the theatre, provide procedures to prevent it, and outline recourse when it occurs. We recognize the potential for harassment in rehearsal, during performance, and outside the theatre among participants, staff, faculty, and audience members. We acknowledge theatre environments can court confusion about the difference between chemistry, artistic freedom, and harassment; we believe participants can be bold and live “in the moment” of theatrical material while maintaining choreography, fellow participants’ safety, and agreed-upon boundaries.

Clear boundaries will be established and agreed upon among all participants involved, both in rehearsals and performance, particularly in scenes depicting violence, sex, intimate contact, abuse, or gestures of intimacy.

As an additional point of information, the Willamette University policies regarding sexual harassment may be found here:

https://willamette.edu/offices/hr/policies/policy-harassment/index.html

SEXUAL HARASSMENT IN A THEATRICAL WORKPLACE:

In a theatrical context, harassment can be additionally defined as one or a series of comments or conduct of a gender-related or sexual nature outside the boundaries of consent or production content, which is known or ought reasonably be known to be unwelcome/unwanted, offensive, intimidating, hostile, or inappropriate. It is worth noting that the higher the emotional/sexual risk a production asks of its artists, the greater the diligence needed to foster an environment of emotional safety.

In the Theatre, sexual harassment includes but is not limited to:

Unwelcome remarks, jokes, innuendoes, or taunts about a person's body, attire, gender, or sexual orientation outside the boundaries of consent or production content;
Negative stereotyping of race, gender, religion, color, national origin, ancestry, marital status, sexual orientation, ability, or other status protected by law outside the boundaries of consent or production content;
Any unwanted or inappropriate physical contact such as touching, kissing, massaging, patting, hugging, or pinching outside the boundaries of consent or production context;
Unwelcome inquiries or comments about a person's sex life or sexual preference outside the boundaries of consent or production content;
Leering, whistling, or other suggestive or insulting sounds outside the boundaries of consent or production content;
Inappropriate comments about clothing, physical characteristics, or activities outside the boundaries of consent or production content;
Posting or displaying materials, articles, or graffiti that is of a sexual nature outside the boundaries of consent or production content;
Requests or demands for sexual favors, especially those that include, or imply, promises of rewards for complying (e.g., other production opportunities) and/or threats of punishment for refusal (e.g., denial of opportunities) outside the boundaries of consent or production content;
Attempting to engage in sexual behaviors offstage that are choreographed for the stage;
Suggesting an actor who appears naked onstage or in rehearsal is not allowed physical boundaries and/or privacy backstage or in the dressing room and/or not respecting those boundaries;
Intentional failure to observe the dressing room standards laid out in this document;
Inviting an actor to rehearse sexual content outside of scheduled rehearsals;
Invitation/suggestion to take relationships of a sexual nature beyond the stage;
Using the text of a production that is sexual, violent, threatening, or offensive in offstage discourse;
Improvising sexual content without expressed consent.

Participants have the right to be free from:

Sexual solicitation or advance made by a person in a position to confer, grant, or deny a benefit or advancement outside production content;
Reprisal or threat of reprisal for the rejection of a sexual solicitation or advance where the reprisal is made by a person in a position to grant, confer, or deny a benefit or advancement outside production content.

Any of the behaviors outlined here have the potential to create a dangerous and/or unsafe environment for individuals or groups. It should be noted that a person does not have to be a direct target to be adversely affected by a negative environment. It is understood that creative atmospheres are not always “emotionally sanitary”—they can safely be bawdy, profane, vulgar, and challenging. We assert that having (a) a practice of building consent and (b) an environment that allows for response to clear boundary violations can broaden our opportunity to be challenging and fearless in our work.

Concerns about harassment, safety, or an unsafe environment of this nature should be reported using the Title IX reporting system, located at

https://cm.maxient.com/reportingform.php?WillametteUniv&layout_id=5

DIVERSITY, INCLUSION AND REPRESENTATION

Theatre engages the full spectrum of humanity. Telling the stories of complex human experience often includes representations of violence, racism, homophobia, abuse, and other challenging content. We seek an ethical atmosphere when engaging in this content, working with diverse groups of participants, and particularly when producing culturally sensitive work.

We make the following commitments to all participants who work with us:

When invited to audition, prospective participants have the right to make inquiries about how their cultural personhood will be included within the production, particularly when the work will be devised (when there is no script at the time of audition). Inquiries will receive a thoughtful response and will remain confidential.
Whenever possible, diversity and inclusion will be considered both in casting and in assembling production and design teams. In particular, culturally specific work will seek production personnel who can speak to that cultural experience.
During the rehearsal process, participants should voice concern if they feel uncomfortable with the use of their cultural personhood, which may include:
Costume pieces that can reasonably be understood as culturally demeaning, which were not disclosed at audition/casting, and could not have been expected by a reading of the script or otherwise available materials;
Staging (culturally based violence or abuse, for example), which was not disclosed at the time of audition/casting;
Accents or dialects to underscore a cultural representation not disclosed at the time of auditions/casting;
Make-up that can reasonably be described as “black face,” “brown face,” or similar portrayal, which was not disclosed at the time of audition/casting.
When staging scenes of cultural violence, or other culturally charged narratives and language, we will follow the same practice of consent building outlined in the Sexual Content and Nudity standard. Disclosure of this type of performance will be made at the audition, and the emotional risk associated will be recognized throughout the process.
We seek to address concerns with generosity and humility through the channels of the Concern Resolution Path as outlined in this document.

^[1] Personnel who decline a specific technical, design or production role will be assigned to a different production role in the play.

REHEARSAL AND PRODUCTION ETIQUETTE

REHEARSALS:

Be prompt. All necessary cast and crew should be ready to begin work at the start of rehearsal. This means that you should arrive at least 15 minutes prior to your call time, in order to be ready to begin work at the appointed time. SMs, ASMs, ADs, etc. will be called even earlier, to ensure enough time to have their preparatory work done for the start of rehearsal.
Actors should have completed their warm-ups, line run-throughs, costume preparations before rehearsal, etc. and be ready to start promptly at their call time.
All materials from building the set during the course of the day will be cleared away at least thirty minutes prior to the commencement of rehearsals by the scenic studio crew.
Refrain from eating food in the theatre during rehearsals.
Keep focus on the work onstage while in the theatre. If you do not have a specific production responsibility required of you at the time, and you wish to read a book, or do homework you may do so. If you choose to work in this manner, it is expected that you move out of the theatre or rehearsal space into the lobby or green room. Ensure that you have checked with the stage manager before you leave and that the stage manager knows where to find you in the building.
Computer use in the theatre is strictly restricted to production support. No internet use unless requested by the director. During technical rehearsals there will be NO non-production use of computers or cell phones without the approval of the production supervisor.
The use of cell phones is strictly prohibited. Turn off your cell phones and store them.
Keep food and drink out of control booths. Water in an approved spill-proof container is the ONLY exception to this rule.
No street shoes are allowed on the dance floor.
Bring homework or study work to do should rehearsal schedules change due to unforeseen circumstances and should you not be needed for half an hour. Again, do not do this work in the theatre. Check with the stage manager and ensure that they know where you can be found within the theatre building.
It is imperative that you respect the work of your peers. Please support them by giving them a quiet, disciplined environment in which to do their best work.

THE TAKING OF NOTES DURING REHEARSAL: PROTOCOL FOR EVERYONE

When you are given a note by the director or your immediate supervisor, write it down.
When you are given a note by the director or your immediate supervisor, say “Thank you.”
If an actor does not understand a note, ask the director for clarification after the note session.
Do not engage in disagreements or discussion in front of the company unless requested to respond by the director, supervisor, or unless it has significance for the company as a whole.
Show respect for the director, your supervisor, for the work of your peers, and your own work.
Listen actively to all notes. There is something to learn from someone else’s notes, about the play, about the director’s vision, or about theatre.
Be aware that protocol may change to accommodate every guest director. If you are unsure, ask your stage manager.

PERFORMANCE:

Keep all food and drink (except water in spill proof containers) out of control booths.
The stage manager is responsible for keeping the booth strictly limited to those required to be there: running crew, Director, Technical Director, Production Supervisor, Designers. Do not compromise the efforts of your stage manager by trying to cajole them into allowing you, or your friends, into the booth if you or they have no business being there.
The Stage Manager is responsible for keeping conversations on the headsets focused to the work on stage.
No backstage crew or performers should be in the front of house during performances.
Backstage crews should always be in their areas during the run of the show and on headsets if that is their responsibility, unless released by the Stage Manager.
Crew assignments are for the duration of the whole performance, that means always at your post (especially backstage.) You are expected to be there physically and paying attention in case of mishaps or emergencies. It is also important for all company energy to be focused on the performance.
Crew member dress code is basic black. Shirts and pants may not have writing on them. Shirts (with collars preferred) must be tucked in and pants must have belt loops and a belt must be worn (unless otherwise directed.) The crew members are expected to make the necessary arrangements to be appropriately attired.
Anyone assigned to headset is expected to stay on headset unless granted specific permission to go off headset by the Stage Manager. The stage manager needs to know where all crew members are at all times.
Set and rehearsal furniture and properties are strictly for performance only and not for any other purpose. They cannot be sat upon, read, played with, or borrowed.

ACADEMIC CURRICULUM

THEATRE PRACTICUM CREDIT HOURS

Credited hours (as "X" activities courses) can be earned by students working in all production areas. Credit is awarded at the end of each semester to all students involved in theatre production work (1 – 4 credits per assignment depending on the scale and demands of the project.)

For theatre majors and minors, production credits that count towards graduation are listed in your emphasis. Additional Practicum Credit will not count towards graduation. However, the department faculty strongly recommends recording the credit to ensure that the transcript accurately records the considerable co-curricular activity in which you have been involved.

INTERNSHIPS

Although we highly recommend internships for students, since the theatre department does not require students to fulfill an internship as a major requirement to graduate, students majoring in theatre can currently take 4–8 credits of internship as part of their course load: these will count towards the 80 credits outside the department for graduation. It is, therefore, entirely possible to complete theatre-related internships and earn Interdisciplinary Studies/IDS (e.g. non-Theatre!!) credit for them. Students wishing to explore the possibility of an internship or the possibility of summer production internships being eligible for outside academic credit should talk with their major advisors for further details and to discuss the options available.

COMPLIMENTARY (comp) AND RUSH TICKET POLICY

All students involved in cast or crews are entitled to ONE comp ticket good for a Wednesday, Thursday or Saturday matinee. There will be a comp list posted in the box office for each production. Student names will be checked off when they reserve their tickets. Students should make their reservations early. Please check into the box office to pick up your complimentary ticket prior to taking your seat.

In addition to this, all theatre majors and scholarship students are also entitled to rush tickets: you may use any unclaimed theatre seats that are available two minutes prior to house closing. These are available on a first come, first served basis. Majors and scholarship students are encouraged to take this opportunity to watch the work many times over.

PLEASE NOTE: Rush tickets are strictly for personal use and are not intended for family or friends.

THEATRE DEPARTMENT HONORS AND AWARDS

THEATRE DEPARTMENT HONORS

At the end of the year Theatre Faculty meet to discuss the presentation of Theatre Honors to graduating Seniors. Theatre Department Honors award is based primarily on an active involvement in the life of the department, in both classes and the production program over the time of a student’s involvement at Willamette. Also, during that time there should have been displayed a consistent and high standard of work in both the classroom and the production environment. Theatre Honors are awarded to students who have made consistently exemplary contributions by:

Fulfilling a leadership role within the department.
Contributing to the health of the department.
Showing commitment to the work at hand.
Showing respect for the work of their peers.
Being a positive role model.
Mentoring incoming students.
Showing initiative.
Displaying a positive and constructive attitude.