| TH 3699 Production Management
(max 8 cr; prereq #; 60 hrs work)(A-F only) Call Number__________, Weaver,
A. , 2cr. |
| Indicate (year) 19______, (term) ____________. |
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________________________________________________________________,
Prop Master
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Student name above
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| Assignment: _________________________________________________________________________ |
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Production Title (titles) above
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| A prerequisite before becoming a Prop Master is that: the
student experience a formal craft class, or participate as a properties
assistant in a practical situation, or receive permission from the area
faculty. |
| Guidelines for the Property Masters and Assistants |
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1. |
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Communication |
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a. |
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Attend a minimum of two runthrough rehearsals to better understand
prop usage and eliminate confusion.
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b. |
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Regular communication with production designers and stage
managers to keep updated on changes. |
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c. |
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Prop technicians must be well-informed (in person, by note
or telephone) daily of all changes and materials needed. |
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d. |
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Prop list deadlines are to be established and kept by all
parties, including the scenic designer and technical director. |
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2. |
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Responsibilities |
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a. |
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Prop Master is responsible for overseeing all props needed
for the production. |
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b. |
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All props must be furnished on time, meet the needs of the
show, in context (the right |
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c. |
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Budgeting and planning will be worked out with prop technicians,
production designer, and prop master. No purchasing is to be made without
approval of shop supervisor . Keep complete records. Clear current purchasing
procedures with shop supervisor. |
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d. |
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Taking the initiative for and following through of the organization
and execution of properties are specifically the responsibility of the property
master and not the shop supervisor. |
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3. |
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General Procedures |
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a. |
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Pre-construction Preparation should include the following:
read the script or libretto, attend all production meetings, meet with production
designer, meet with shop supervisor and construction crew, begin organizing
work priorities and prop book, establish prop deadline dates. |
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b. |
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Rehearsal Props: obtain list from stage manager;
plan meeting with stage manager to pull props together (note: this is best
because the SM knows the blocking and usage of props); pull props that are
not the real thing, but are resonable facsimilies, rehearsal props may require
minor building and assembly, real props may be used where special blocking
occurs; make an inventory of rehearsal props, give copy to shop supervisor,
place copy in prop book, give copy to stage manager; rehearsal props then
become the responsibility of the stage manager. |
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c. |
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Development of the Prop Book 1. must be made
out before any work commences; 2. use it to organize and keep valuable information
in one place; 3. must stay in the prop shop at all times, EXCEPTION: a.
may be kept overnight and returned by noon the following day, b. notice
must be given to the shop supervisor; 4. the following categories must be
in the book: a. the script, b. rehearsal props, c. contact sheet, log of
all telephone calls made, who-where-for what-when-why; Individuals from
whom information was gathered; d. borrowed or rented items from: costume
shop, individuals, businesses or other theatres; e. returned items: from
costume to props, from props to costume, to individuals, to businesses or
other theatres; f. divide set and dress props into acts or scenes, g. divide
hand props by actor or character, h. notes and questions, and i. money receipts. |
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d. |
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Gathering and Development of Props (Note: all
props finished and in progress are to be stored on the current show table
or areas designated). 1. Record work to be done on work list located on
current show table, a. keep updated between prop book and work list, b.
record job delegation if applicable; 2. pull as many props from stock as
possible; 3. pull furniture and set pieces and evaluate condition; 4. begin
building as soon as possible, this work may be delegated to assistants or
anyone willing; 5. purchasing small props is expected, normally major purchasing
is done by staff, all money is checked in and out by shop supervisor or
faculty, a. check out money from shop supervisor, b. keep all receipts,
and return change; 6. when calling around town and acquiring information
in regards to props: use shop phone, keep log in prop book, calls out of
218 area code must be approved; 7. any modification of stock must be cleared
through the shop supervisor and/or the scenic designer; 8. costume props
are checked out in advance from costumes with copies to costumes and prop
book; 9. set pieces and set dressing must be clarified at the initial production
meeting; 10. the business manager must approve and be informed of any program
credit or complimentary tickets to be given out to business donors; 11.
take all portfolio pictures prior to strike, plan ahead, take pictures of
work in progress and finished. |
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e. |
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Strike and cleanup 1. The prop shop is to be kept as clean
and safe as possible during show preparation. Clean up your work areas.
2. You are required to strike your show on strike night. 3. You are to assist
in supervising the prop crew in breakdown and storage . 4. Props are to
be properly returned to their right place in the department, to outside
sources, and individuals as soon as possible. |
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4. |
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Additional notes provided for this students
involvement during this project: _____________________________________________________________________________________________ |
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5. |
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Students class schedule attached to this form for future
reference. a. Record all your productive shop hours in the lab log book;
b. set up a scheduled time to meet with your supervising instructor on a
regular basis; c. upon completion of the described project, the prop master
(student) will provide the instructor with a self-evaluation, no greater
in length from one typed written page; d. A grade will be assigned after
the instructor receives the proper information. |
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6. |
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Student goals established. I have read the proceeding information
concerning the Properties Master responsibilities. |
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______________________________________________________________________
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signature of student / date
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 142 Marshall
Performing Arts Center | 10 University Drive | University of Minnesota
Duluth | DULUTH MN 55812-2496 |
