The Cape Cod Theatre Project is a nonprofit organization founded in 1995 by actors Andrew Polk and Jim Bracchitta, with the mission of collaborating with playwrights , actors , directors , and the public in developing new American plays. The performances are staged readings , after which the audience members may share their reactions with the playwright and help him/her revise the script. Playwrights who tried out work at the Project in its early years include Paula Vogel and Jeff Daniels . Performances are staged at Falmouth Academy , in Falmouth, Massachusetts .
24-4662: The Cape Cod Theatre Project also offers an internship program in which young people are able to learn about stage production and theatrical techniques. The Cape Cod Theatre Project produced 64 plays from 1995 to 2012. By year, these plays are: 1995 : Scaring the Fist by Ben Bettenbender , directed by Andrew Polk ; Stanton's Garage by Joan Ackerman , directed by Christopher Payton ; The Vast Difference by Jeff Daniels , directed by Joel Bishoff 1996 : Emil by Ben Bettenbender , directed by Andrew Polk ; The Mineola Twins by Paula Vogel , directed by Mark Ramont ; The Sanctuary Club by Wesley Moore , directed by Chris Payton . 1997 : After The Orchard by William M. Hoffman , directed by Joumana Risk ; Vick's Boy by Ben Bettenbender , directed by Michael Warren Powell ; Miracle Mile written and performed by Clark Middleton , directed by Michael Warren Powell ; The Kiss At City Hall by Joe DiPietro , directed by Joel Bishoff 1998 : A Sense Of Place by Lanford Wilson , directed by Michael Warren Powell ; Birdgirl by Anne Harris , directed by Jim Bracchitta . 1999 : Jack, Jesus And The Brazilian Marrano by Daniel Goldfarb , directed by Brad Rouse ; One Under by Israel Horovitz , directed by Joel Bishoff ; Women Who Steal by Carter W. Lewis , directed by Michael Warren Powell . 2000 : Longevity Abbreviated (or for Those Who Don't Have The Time) by Carter W. Lewis , directed by Gabriel Barre ; Wilder by Erin Cressida Wilson , directed by Lisa Portes . Musical direction: The Red Clay Ramblers ( Jack Herrick , Mike Carver ); Modern Orthodox by Daniel Goldfarb , directed by Christopher Ashley . 2001 : Lilia! written, performed and directed by Libby Skala ; The Infinite Ache by David Schulner , directed by Greg Leaming ; Welcome To Westchester by Jeannie Zusy , directed by Lisa Portes ; The Treehouse by Etan Frankel , directed by Ethan McSweeny . 2002 : Almost Maine by John Cariani , directed by Gabriel Barre ; Burning by Joe Hortua , directed by Marshall W. Mason ; Are We There Yet? by Garth Wingfield , directed by Ethan McSweeny . 2003 : Bay Windows And Shakes by Joe Hortua , directed by Marshall W. Mason ; Manuscript by Paul Grellong , directed by Ethan McSweeny ; While We Were Bowling by Carter W. Lewis , directed by Gavin Cameron-Webb . 2004 : BFE by Julia Cho , directed by Gordon Edelstein ; Kitty Kitty Kitty by Noah Haidle , directed by Carolyn Cantor ; World Thrown Tizzy by Joe Hortua , directed by Kate Whoriskey ; The Ugly American written and performed by Mike Daisey , directed by Jean-Michelle Gregory . 2005 : Port Authority Throw Down by Mike Batistik , directed by Gia Forakis ; Thanksgiving/Christmas by Joe Hortua , directed by Christopher Ashley ; Dearest Eugenia Haggis by Ann Marie Healy , directed by Pam McKinnon ; Autobahn by Neil LaBute , directed by Erica Gould . 2006 : Badcat by Leslie Ayvazian , directed by Martha Banta ; Love Lasts on Myrtle Avenue by Jimmy Breslin , directed by Gordon Edelstein ; Essential Self Defense written and directed by Adam Rapp ; Have You Seen Steve Steven by Anne Marie Healy , directed by Andrew Polk . 2007 : Out Of The Water by Brooke Berman , directed by Trip Cullman ; Back Back Back by Itamar Moses , directed by Pam MacKinnon ; A Wake On Chappaquidick by Jessica Provenz , directed by Kyle Donnelly ; Tongues Will Wag written and performed by Mike Daisey , directed by Jean-Michelle Gregory . 2008 : Evie's Waltz by Carter Lewis , directed by Loretta Greco ; REALITY! The Musical book by Itamar Moses , lyrics by Gaby Alter and Itamar Moses , music by Gaby Alter , directed by Michelle Tattenbaum ; Last Gas by John Cariani , directed by Andrew Polk ; Nocturama by Annie Baker , directed by Hal Brooks 2009 : Six by Zohar Tirosh , directed by Ian Morgan ; Creating Claire by Joe DiPietro , directed by Christopher Ashley ; Photograph 51 by Anna Ziegler , directed by Evan Cabnet ; Indio written and performed by Aladdin Ullah , directed by Hal Brooks . 2010 : Guidance by Daria Polatin , director Mark Brokaw ; The Color of Desire by Nilo Cruz , director Carey Perloff ; Second Year Senior by Neil LaBute , directed by Andrew McCarthy ; The Agony and
48-402: A Greek theatre's stage was the skene , a structure at the back of the stage, often featuring three doors. The usual setting for a classical Greek tragedy was a palace, and skenes were decorated to support that setting. On the audience-side of the skene, what are now known as flats could be hung. Flats evolved from one-sided to two-sided painted flats, which would be mounted and centered on
72-413: A crane for lifting actors over the skene, supported the conclusions of plays, whose storylines were often suddenly resolved by the introduction of a god. The mechane is the literal source for the contemporary phrase deus ex machina . Performances were lit by sunlight, often taking advantage of the particular time of day to support the story. Plays of Medieval times were held in different places such as
96-578: A direct hand in their respective designs. Within significantly larger productions, for example a modern Broadway show, effectively bringing a show to opening night requires the work of skilled carpenters, painters, electricians, stagehands , stitchers, wigmakers, and the like. Modern stagecraft is highly technical and specialized: it comprises many sub-disciplines and a vast trove of history and tradition. Greek theatre made extensive use of stagecraft, and Greek vocabulary and practice continue to influence contemporary Western stagecraft. The defining element of
120-428: A rotating pin. Rope would run around each consecutive pin, allowing the flats to be turned for scene changes. The double-sided-flat eventually evolved into the periaktos . Greek stagecraft was essential to the storytelling of its works. An ekkyklema , similar to a contemporary wagon , was used to present the death of a character by rolling out their dead body, instead of showing their death onstage. The mechane ,
144-406: Is a technical aspect of theatrical , film , and video production . It includes constructing and rigging scenery; hanging and focusing of lighting; design and procurement of costumes; make-up; stage management ; audio engineering ; and procurement of props . Stagecraft is distinct from the wider umbrella term of scenography . Considered a technical rather than an artistic field, it is primarily
168-473: The Ecstasy of Steve Jobs created by Mike Daisey , directed by Jean-Michele . 2011 : The Dark Pines by David West Read , directed by Ian Morgan ; 23 Feet in 12 Minutes by Mari Brown , director Pam Berlin ; Pookie Goes Grenading by J.C. Lee , directed by Giovanna Sardelli ; And When We Awoke There Was Light and Light by Laura Jacqmin , director Jackson Gay . 2012 : The Orient Express (Or,
192-552: The Fourth Turning by Will Arbery , directed by Danya Taymor ; Broken by Jon Kern , director Carolyn Cantor ; Bearded Ladies by P.K. Simonds , director Adrienne Campbell-Holt . 2019 : Pictures from Home by Sharr White , directed by Hal Brooks ; Nonfiction by Eboni Booth , director Candis Jones ; The Elephants by Mat Smart , directed by Logan Vaughn ; The Great Moment by Anna Ziegler , director Branden Abraham . Stagecraft Stagecraft
216-1216: The Lobbyists and Seth Moor , directed by Liz Carlson ; The New Sincerity by Alena Smith , director Stella Powell Jones . 2015 : Hillary and Clinton by Lucas Hnath , directed by Chay Yew ; Residence by Laura Jacqmin , director Hal Brooks ; a way to reach me by Kevin Armento , directed by Ben Kamine ; Love Shack in ’87 by Ryan King, director Stella Powell Jones . 2016 : The Trump Card created and performed by Mike Daisey , directed by Isaac Butler ; Burying Augustus by Ryan King, director Mike Donahue ; Unseen by Mona Mansour , directed by Johanna McKeon ; 1980 (Or Why I am Voting for John Anderson) by Patricia Cotter , director Hal Brooks . 2017 : cul-de-sac by John Cariani , directed by Moritz Von Stuelpnagel ; Continuity by Bess Wohl , director Kimberly Senior ; How To Load A Musket by Talene Monahon , directed by Hal Brooks ; East of West Town by Cusi Cram , director Kip Fagan . 2018 : (end of message) by Laura Jacqmin , directed by Monty Cole ; The Best We Could by Emily Feldman , director Will Davis ; Heroes of
240-731: The Value of Failure) created and performed by Mike Daisey , directed by Jean-Michele Gregory ; American Hero by Bess Wohl director Leigh Silverman ; Chrysalis by Joshua Allen , directed by Hal Brooks ; The Money Shot by Neil LaBute , director Carolyn Cantor . 2013 : Schooner by Rinne Groff , directed by Trip Cullman ; The Snow Geese by Sharr White , director Hal Brooks ; Grand Concourse by Heidi Schreck , directed by Kip Fagan ; Luce by JC Lee , director May Adrales . 2014 : The End of Beauty by Cory Hinkle , directed by Mike Donahue ; Just Lean Out Your Window and Shout by Hamish Linklater , director Hal Brooks ; SeaWife by
264-436: The audience's experience, from the skilled application of lighting to the elaborate creation of scenery and costumes. Stagecraft promotes flawless performance execution and amplifies the emotional impact of storytelling by coordinating the interaction of visual and aural elements. Stagecraft is essential to producing captivating and unforgettable theatrical moments, whether it is through the creative application of makeup and wigs,
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#1732779871828288-442: The electricity igniting the gas lines. Modern theatrical lighting is electrically-based. Many lamps and lighting instruments are in use today, and the field is rapidly becoming one of the most diverse and complex in the industry. A wide range of disciplines are included in stagecraft, all of which are crucial to creating compelling and immersive theatrical productions. Stagecraft is the foundation of any theatrical play, impacting
312-402: The inventive use of mechanical scenery, or the well-planned fusion of sound and visual effects. Stagecraft brings dramatic dreams to life by a fusion of artistic innovation and technical mastery, making a profound impact on audiences all over the world. Stagecraft comprises many disciplines, typically divided into a number of main disciplines: The theater designer, responsible for orchestrating
336-404: The latter part of the 19th-century paved the way for the development of special effects to be used in film. Lighting continued to develop. In England, a form lamp using a blowpipe to heat lime to incandescence was developed, for navigation purposes – it was soon adapted to theatrical performances and the limelight became a widespread form of artificial light for theaters. To control the focus of
360-441: The light, a Fresnel lens was used. After candles, came gas lighting, using pipes with small openings which were lit before every performance, and could be dimmed by controlling the flow of gas, so long as the flame never went out. With the turn of the 20th century, many theater companies making the transition from gas to electricity would install the new system right next to the old one, resulting in many explosions and fires due to
384-745: The period would have consisted of candles, used as foot-lights, and hanging from chandeliers above the stage. Stagecraft during the Victorian era in England developed rapidly with the emergence of the West End . Prompted by and influx of urbanites in the greater London area, Parliament was forced to do away with previous licensing laws and allowed all theaters to perform straight plays in 1843. Electric lighting and hydraulics were introduced to draw large audiences to see on-stage storms, explosions, and miraculous transformations. Technologies developed during
408-416: The practical implementation of a scenic designer 's artistic vision. In its most basic form, stagecraft may be executed by a single person (often the stage manager of a smaller production) who arranges all scenery, costumes, lighting, and sound, and organizes the cast. Regional theaters and larger community theaters will generally have a technical director and a complement of designers, each of whom has
432-422: The stage manager is the one who manages the intricate collaboration between all of these important participants. Serving as the production's center point, the stage manager makes sure that every aspect, from staff to materials, works in unison to realize the theatrical concept. Their responsibilities are broad and include managing backstage operations, organizing technical cues, and arranging rehearsals. In addition,
456-464: The stage manager plays a pivotal role in mediating issues and fostering constructive communication between the actors and the creative team during the course of the production. As a result, even if the actors and directors receive most of the attention, the stage manager's hard work and knowledge behind the scenes preserves the integrity and professionalism of live theater production. Marshall W. Mason Too Many Requests If you report this error to
480-550: The streets of towns and cities, performed by traveling, secular troupes. Some were also held in monasteries, performed by church-controlled groups, often portraying religious scenes. The playing place could represent many different things such as indoors or outdoors (as in the Cornish plen-an-gwary amphitheatres). They were played in certain places so the props could be used for the play. Songs and spectacles were often used in plays to enhance participation. More modern stagecraft
504-537: The theaters had circular-design, with an open area above the pit to allow sunlight to enter and light the stage. Proscenium stages, or picture-box stages, were constructed in France around the time of the English Restoration , and maintain the place of the most popular form of stage in use to-date, and originally combined elements of the skene in design, essentially building a skene on-stage. Lighting of
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#1732779871828528-499: The tone by revealing the date and setting. Stage designers intentionally select elements to craft the audience's perception of the depicted worlds in a play, rather than simply replicating settings realistically. For much of theatrical history, there was no dedicated scenic designer role. Instead, theater practitioners relied on stock scenery or utilized the space itself to establish settings. While playwrights, producers, directors, designers, and performers all have specific roles to play,
552-428: The visual and auditory aspects of a stage production, is traditionally known as the set designer. This convention has emerged for practical reasons, ensuring efficiency in the design process. Upon entering a theater, viewers are immediately drawn to the set design, shaping their initial impression of the show. In this moment, designers establish the show's concept, define its style, evoke mood and atmosphere, and establish
576-552: Was developed in England between 1576 and 1642. There were three different types of theaters in London – public, private and court. The size and shape varied but many were suggested to be round theaters. Public playhouses such as the Globe Theatre used rigging housed in a room on the roof to lower and raise scenery or actors, and used the raised stage by developing the practice of using trap-doors in theatrical productions. Most of
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