Table of Contents

I. Acknowledgements

II. Introduction

PART 1: Thinking Ahead

1. Collaboration

2. 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

3. Pre-Production Planning

4. 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.

5. Performance Spaces

6. 3.1 Proscenium Theatres

   3.2 Non-Proscenium Theatres

   3.3 Non-Traditional Spaces

   3.4 Chapter Review

   PART 2: Production Areas

7. Lighting

8. 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

9. Creating the Lighting Design

10. 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

11. Sound

12. 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

13. Creating the Sound Design

14. 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

15. Scenery & Props

16. 8.1 Scenic Design

    8.2 Functions of Dance Scenery

    8.3 Scenic Elements

    8.4 Dance Props

    8.5 Chapter Review

17. Creating the Scenic Design

18. 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

19. Costumes, Hair, and Make-up

20. 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

21. Creating the Costume Design

22. 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

23. Projections & Video

24. 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

25. Creating the Projection Design

26. 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

27. Stage Management

28. 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

29. Dance Terminology
30. Theatre Terminology

About the Author

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.