Dance Production: Design and Technology introduces you to the skills you need to plan, design, and execute the technical aspects of a dance production. While it may not seem that staging a dance production is that different from a play or musical, in reality a dance performance offers up unique intricacies and challenges all its own, from scenery that accommodates choreography, to lighting design that sculpts the body, and costumes that complement movement. This unique book approaches the process of staging a dance production from a balanced perspective, making it an essential resource for dancers and designers alike.
Covering a broad range of topics, author Jeromy Hopgood takes the reader through the process of producing dance from start to finish – including pre-production planning (collaboration, production process, personnel, performance spaces), design disciplines (lighting, sound, scenery, costumes, projections), stage management, and more. Bridging the gap between theatrical and dance design, the book includes a quick reference guide for theatrical and dance terminology, useful in giving dancers and designers a common working vocabulary that will ensure productive communication across the different fields.
I. Acknowledgements
II. Introduction
PART 1: Thinking Ahead
- Collaboration
- Pre-Production Planning
- Performance Spaces
- Lighting
- Creating the Lighting Design
- Sound
- Creating the Sound Design
- Scenery & Props
- Creating the Scenic Design
- Costumes, Hair, and Make-up
- Creating the Costume Design
- Projections & Video
- Creating the Projection Design
- Stage Management
- Dance Terminology
- Theatre Terminology
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
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.
3.1 Proscenium Theatres
3.2 Non-Proscenium Theatres
3.3 Non-Traditional Spaces
3.4 Chapter Review
PART 2: Production Areas
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
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
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
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
8.1 Scenic Design
8.2 Functions of Dance Scenery
8.3 Scenic Elements
8.4 Dance Props
8.5 Chapter Review
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
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
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
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
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 João Beira
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
Biography
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.
