Production Guidelines for Honors

Production Guidelines for Honors Thesis Projects with a Performance Component

The following guidelines are intended to supplement the Guidelines for Honors-Theatre listed on the Department of Theatre website and Course Catalog. The guidelines below pertain only to honors thesis projects with a performance component. Please review the information below regarding the categories of production available and parameters for each category. A production category should be included as part of your honors thesis proposal; as part of the approval process the Department may suggest a change of category based on the proposal. Production categories are intended as road maps but should not limit creativity in the proposal. If the proposing student has an idea that does not perfectly fit into a defined category the idea may still be proposed. Exceptions to guidelines may be approved based on the merit of the proposal.

Production Categories

The following categories include descriptions as well as the types of resources available for each, including budget, rehearsal hours, and production support levels. Category of production should be specified at the time of proposal. For students proposing new works, a reading is the most appropriate category. Students who have already completed a reading at the time of proposal may consider submitting a request for a workshop. Proposals submitted with production requests outside of the specified parameters will be considered on a case-by-case basis.

Category #1: Reading

Generally, the first step in the new play process or the development of a theatrical piece, a reading, provides the honors student with the opportunity to explore the piece read by actors, observed by an audience and receive feedback. At Williams College a reading is produced with the following parameters in place:

  • No more than 45 minutes in length (this may require limiting the proposal to only one act of a play or selected scenes, which should be specified at that the time of proposal)
  • No design support provided.
  • Number of performers (or range of the number of performers) should be included in the proposal.
  • The project will not use sets, props, wigs, make-up, projections or costumes. Chairs and music stands will be provided.
  • Sound and lighting elements will be available in a limited capacity for practical application only (For example; microphones to allow the actors to be heard over a musical instrument but sound cues are not used. The rep light plot is available for general illumination.)
  • Maximum of 29 total hours of rehearsal.
  • Actors on book (i.e., script in hand) with no memorization required and if the project has minimal staging the staging should be limited to standing and sitting in place or crossing to a different music stand.
  • 1 – 2 performances.
  • $250 budget for research materials.

Category #2: Workshop

Provides the opportunity for students to begin translating the text (or content) to the stage with the support of actors and minimal design elements. The workshop category may serve as the next step of development for a new work or a devised piece that has already completed a reading at the time of proposal. It also offers an effective platform for students who wish to explore experimental approaches to staging, design or texts. At Williams College a workshop is produced with the following parameters in place:

  • No more than 45 minutes in length (this may require limiting the proposal to only one act of a play or selected scenes, which should be specified at that the time of proposal)
  • Maximum of 20 weekly hours of rehearsal over 4 weeks. (A total of 80 hours)
  • 4 hours tech rehearsal and 4 hours dress rehearsal.
  • 2 performances. ● Number of performers (or range of the number of performers) should be included in the proposal.
  • Proposals may include requests for limited design support, to be granted at the discretion of the department. Collaborators must be committed to the project by week 6 of the Fall term to begin design conversations. All design collaborators must be approved by the Faculty Advisor and Production Manager.
  • $750 budget available for research materials and design support.
  • Experimental design-based work will be considered in this category on a case-by-case basis.
  • Site-specific work can also be proposed as part of a workshop. Location should be included in the proposal to determine feasibility of support.
  • For students who are proposing a musical production, the need for a Musical Director, Choreographer, and/or Musicians should be included in your proposal.
  • Proposals may include requests for additional collaborators (Dramaturgs, Intimacy Directors, Composers, etc…) and must be approved as part of the proposal process.

Category #3: Full Production

A full production is appropriate when the text or content is a published or otherwise well-established work. The full production category offers students the opportunity to collaborate with a full creative team under the guidance of faculty mentorship. At Williams College a full production of an Honors Project is produced with the following parameters in place:

  • No more than 45 minutes in length (this may require limiting the proposal to only one act of a play or selected scenes, which should be specified at the time of proposal.) In the case of a devised work, before heading into full production a workshop should have already occurred.
  • Director is a required member of the production team if the person proposing the honors project is planning to perform in the thesis.
  • Maximum of 20 weekly hours of rehearsal over 5-6 weeks.
  • 16 hours of technical/dress rehearsals or (4) 4-hour technical/dress rehearsals.
  • 2 – 3 performances.
  • Number of performers (or range of number of performers) should be included in the proposal.
  • Full design collaboration. Collaborators must be committed to the project by week 6 of the Fall term to begin design conversations. All design collaborators must be approved by the Faculty Advisor and Production Manager.
  • $1750 budget available for research materials and design support.
  • For students who are proposing a musical production, the need for a Musical Director, Choreographer, and/orMusicians should be included in your proposal.
  • Proposals may include requests for additional collaborators (Dramaturgs, Intimacy Directors, Composers, etc…) and must be approved as part of the proposal process.

Technical/Design Support

When an Honors Thesis proposal is accepted, the Honors student is required to meet with the ProductionManager and Faculty Advisor to discuss appropriate technical support and a production calendar.

For a full production or workshop with design elements, the production team must consult with the Production Manager on all elements of production. This is to ensure that the demands on the time and expertise of the technical areas are within realistic bounds and can be met. Regular design and production meetings will be scheduled by the Production Manager to track progress of the design and production elements.

When collaborating with Designers, please review the expectations below for each design role below and discuss them with the proposed collaborator. Collaborators must be committed to the project by week 6 of the Fall term to begin design conversations. All design collaborators must be approved by the Faculty Advisor and Production Manager.

Scenery and Props

  • When a project warrants a Scenic Designer, the student collaborator should be enrolled in or completed THEA 201. Student collaborators with production experience who have not completed THEA 201 will be considered on a case-by-case basis.
  • Designers should be prepared and available to meet with the Director and Design Team for Design meetings during the fall term.
  • Designers will be expected to follow a production calendar, created by the Production Manager, that includes design deadlines and technical rehearsal schedule.
  • Designers are expected to work within the allotted production budget.
  • Designers are expected to attend production meetings.
  • Designers are expected to respond to daily rehearsal reports with questions about the design area.
  • Scenic Designer is also responsible for theatrical properties, unless a Props Coordinator has been assigned to the project.
  • After having designs approved, the pulling and/or construction of all scenic/prop elements will be coordinated by the Technical Director.
  • Designers are expected to attend Technical and Dress Rehearsals.
  • Serving in a Designer role for an Honors Thesis will satisfy a production credit requirement.

Lighting

  • When a project warrants a Lighting Designer, the student collaborator should be enrolled in or completed THEA 201. Student collaborators with production experience who have not completed THEA 201 will be considered on a case-by-case basis.
  • Designers should be prepared to meet with the Director and Design Team for a Design meeting during the fall semester.
  • Designers are expected to follow a production calendar, created by the Production Manager, that includes design deadlines and technical rehearsal schedule.
  • Designers are expected to attend production meetings.
  • Designers are expected to work within the allotted production budget.
  • Designers are expected to respond to daily reports with questions about the design area.
  • Designers are expected to attend Technical and Dress Rehearsals.
  • Serving in a Designer role for an Honors Thesis will satisfy a production credit requirement.

Costumes

  • When a project warrants a Costume Designer, the student collaborator should be enrolled in or completed THEA 201. Student collaborators with production experience who have not completed THEA 201 will be considered on a case-by-case basis.
  • After having designs approved, the pulling and/or construction of all costume elements will be coordinated through the Costume Shop Manager.
  • Designers should be prepared to meet with the Director and Design Team for Design meetings during the fall term and to meet with the Costume Shop weekly to provide updates during the spring term.
  • Designers are expected to follow a production calendar, created by the Production Manager, that includes design deadlines and the technical rehearsal schedule.
  • Costume Designer is also responsible for Hair and Make-Up, unless a separate collaborator has been assigned to the project in those areas.
  • Designers are expected to attend production meetings.
  • Designers are expected to work within the allotted production budget.
  • Designers are expected to respond to daily reports with questions about the design area.
  • Designers are expected to attend Technical and Dress Rehearsals.
  • Serving in a Designer role for an Honors Thesis will satisfy a production credit requirement.

Sound

  • When a project warrants a Sound Designer the student collaborator should be enrolled in or completed THEA 201. Student collaborators with production experience who have not completed THEA 201 will be considered on a case-by-case basis.
  • Designers should be prepared to meet with the Director and Design Team for Design meetings during the fall term.
  • Designers are expected to follow a production calendar, created by the Production Manager, that includes design deadlines and technical rehearsal schedule.
  • Designers are expected to attend production meetings.
  • Designers are expected to work within the allotted production budget.
  • Designers are expected to respond to daily reports with questions about the design area
  • It is assumed that no microphone amplification will be used in the Directing Studio unless specified in the project proposal.
  • If microphone support is needed for a production, it must be proposed in the initial proposal and approved. Generally, this is only approved for musicals.
  • Designers are expected to attend Technical and Dress Rehearsals.
  • The use of audio equipment for Honors Projects will be coordinated with the Sound and Media Manager.
  • Serving in a Designer role for an Honors Thesis will satisfy a production credit requirement.

Projections

  • If a Director or Designer is interested in utilizing projections in a production, projections must be requested and approved at the time of proposal.
  • When a project warrants a Projection Designer the student collaborator should be enrolled in or completed THEA 201. Student collaborators with production experience who have not completed THEA 201 will be considered on a case-by-case basis.
  • Designers should be prepared to meet with the Director and Design Team for Design meetings.
  • Designers are expected to follow a production calendar, created by the Production Manager, that includes design deadlines and the technical rehearsal schedule.
  • Designers are expected to attend production meetings.
  • Designers are expected to work within the allotted production budget.
  • Designers are expected to respond to daily reports with questions about the design area.
  • Designers are expected to attend Technical and Dress Rehearsals.
  • The use of projections equipment for Honors Projects will be coordinated with the Sound and Media Manager.
  • Serving in a Designer role for an Honors Thesis will satisfy a production credit requirement.

Stage Management

  • Stage Management support is considered essential for project success. All productions will be assigned a Stage Manager by the Production Manager with consultation from the Faculty Advisor and the Honors Student.
  • Stage Managers will receive mentorship from the Production Manager throughout the process.
  • The Stage Managers are expected to attend all rehearsals and production meetings.
  • The Stage Managers are expected to generate the daily schedule and daily rehearsal reports with an overview of the rehearsals and questions for the production team.
  • Stage Management for an Honors Thesis for a workshop or full production will satisfy the production credit requirement in Stage management for theatre majors. Assistant Stage Management for a workshop or full production will be considered to satisfy the production credit requirement on a case by case basis. Stage Management for a reading will not meet the requirements of the stage management production credit.

Additional Collaborators

Projects may require the assistance of additional collaborators such as Dramaturgs, Composers, Fight Choreographers, etc… Additional Collaborators should be indicated at the time of proposal and approved by the Faculty Advisor.

A note, about working with collaborators: Although working with collaborators is an important part of the theatrical process, keep in mind that the more people working on a project the more difficult it can be to coordinate schedules. When selecting collaborators for an honors thesis it is important to discuss the scope of the role and the time commitment required. If a collaborator can not fully commit to the project, it may impact the honors student’s ability to complete work on the thesis. Ultimately, collaborators on an honors project are not the students being evaluated as part of the honors program and students proposing an honors thesis should be intentional when choosing collaborators. Faculty Advisors and the Production Manager are available to discuss and advise on which collaborators are necessary at the time of proposal and may suggest that students limit the amount of collaborators involved for a successful honors project.