Dance Production : Design and Technology (Hardcover)

I. Acknowledgements

II. Introduction

1. 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

　

2. 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.

　

3. Performance Spaces

　

3.1 Proscenium Theatres

3.2 Non-Proscenium Theatres

3.3 Non-Traditional Spaces

3.4 Chapter Review

　

PART 2: Production Areas

　

4. 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

　

5. 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

　

6. 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

　

7. 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

　

8. Scenery & Props

　

8.1 Scenic Design

8.2 Functions of Dance Scenery

8.3 Scenic Elements

8.4 Dance Props

8.5 Chapter Review

　

9. 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

　

　

10. 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

　

11. 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

　

　

12. 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

　

13. 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

　

14. 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

　

15. Dance Terminology

　

16. Theatre Terminology