Students, faculty attend theatre technology conference
Eleven international theatre production students and three theatre design and production faculty members attended the United States Institute of Theatre Technology (USITT) conference, held March 26-29, 2014, in Dallas, Texas.
Four students, Kaylah Duling, a senior from Sylvania, Ohio, Hillary Abbott, a senior from Southlake, Texas, Jacob Novak, a senior from Floyds Knobs, Ind., and Nicole Giangola, a sophomore from Ashtabula, Ohio, competed in the Rosebrand Action Design competition. The event connects student who have never met into separate teams, each consisting of a college level scenic designer, costume designer, lighting designer and technical director. Each team was charged with creating a themed design, from concept to execution, in just 3.5 hours, in a 100 square foot "show floor" booth space. Abbott was the technical director for the winning team, using the theme “Leap Day” and was also named best technical director.
At the Tech Olympics, Duling and Abbott came in second place in costume quick-change, which pits school teams of students against each other in various theatre tasks.
Novak and Tyson Miller, a senior from Marblehead, Mass., displayed their work in the Designer Expo. Novak showed his lighting design from Dancing at Lughnasa and Miller displayed his lighting design for Zombie Prom. Both shows were in ONU’s fall season performed in the Stambaugh Theatre. Kathleen DeVault, resident lighting designer, and Brian Phillips, technical director for the Freed Center, displayed design work from ONU as well.
Phillips led a panel with Christopher Sprague, BA '98, Denise Phillips and Jim Lile titled Project Management as an Approach to Technical Direction. The panel discussed the following proposition: Project management is the process and activity of planning, organizing, motivating, and controlling resources to achieve specific goals. Business and industry use specific standards, best practices, and global credentials to define and certify project management. How/can we apply these practices and techniques to all levels of theatrical production? How can we use these standards when communicating our processes and terms with non-theatre board members, administrators, and corporate clients?