Chad Dell (cedell@students.wisc.edu), Department of Communication Arts, University of Wisconsin-Madison
Chad Dell 6033 Vilas Hall
office: 263-3996; home: (before 9 pm) 255-8922
Office Hours: Tues. 3:00-5:00; or by appointment
E-mail: cedell@students.wisc.edu
TA: Shari Goldin 6033 Vilas Hall
office: 263-3996; home: 233-4943
E-mail: slgoldin@students.wisc.edu
Acting For Television Seminar:
Patricia Boyette Prof., Theatre & Drama
6004 Vilas Hall; office: 263-3354
Maria DePalma 6173 Vilas Hall; office: 263-2336
Course Objectives: To conceive, write, produce and direct six
half-hour episodes of a soap opera, to be aired on cable
television this semester. In doing so, you will gain a holistic
sense of the process of creating and producing a television
program from the ground up. In doing so, we will critically
investigate serial narrative as a dramatic form.
Required course reading packet: available at Bob's Copy Shop,
Univ. Square Mall.
Acting Students only: one required book--Film and Television
Acting by Ian Bernard--is waiting at Canterbury Booksellers, 315
W. Gorham St.
Lab Fee: To cover the costs of videotape, props, preproduction
and production materials, and food for each studio taping, an
initial lab fee of 40 dollars will be needed from each student.
Shari Goldin will keep the books and authorize all payments.
COURSE REQUIREMENTS:
1. Attendance. Attendance and punctuality are required. Given
the nature of the course and your indispensability, if you must
be absent due to illness you must notify me prior to class that
you won't be there, with the reason. Call the dept. secretary
and leave a message (262-2543), or give us advance notice of any
conflict. All absences without prior notification will be
treated as unexcused.
2. Typing: ALL written materials must be typed unless noted
otherwise. Handwritten assignments will not be accepted.
Because of the amount of written material that will be passed
from person to person this semester, I want each student to sign
up for a free E-mail account at the Division of Information
Technology (DoIT), and use it during the semester. Go to the
Info Lab, in the basement of DoIT, 1210 W. Dayton Street, and ask
them about opening a free E-mail account. They're open 24 hours
a day, and have computers available. Then, send us a message via
E-mail saying you've opened an account.
The class has its own email list. Messges can be sent to the
entire class at the following address:
soap-653@lists.students.wisc.edu
3. Grading:
A. Production Students will be graded on the following: 1) two
episode analyses, worth 10% of your grade. 2) Due each Thursday
following a completed episode (one week later for post-production
positions): TWO COPIES of a 1-2 page typed "how-to" manual on the
position you just completed. How to do it, what you learned,
what you did right, what you'd do differently, and advice to the
next person in the position. One copy gets handed in, the other
goes into a folder for that position, passed on to the next crew
member. These will comprise 20% of your final grade.
Additionally, on the copy you hand in, include a letter grade for
your performance in the position, and any other notes you want
the instructor to read (including reports on difficulties or
problems with the position, with other crew members, etc.).
These will be assessed on the following basis:
Outstanding. Contributes relevant new material or ideas
about the position
Good. Doesn't contribute substantial new material, but
a thoughtful response
Below Average. No new contribution, rehashes old material.
0 Not handed in.
Due Thursday, May 11th: a file labeled with your name,
containing:
a) All your production assessments, clipped together.
b) Copies of the script pages you wrote, or re-wrote as head
writer (keep copies of the script pages you submitted or
rewrote).
c) A list of the scenes you directed.
d) A 1-2 page, typed self-assessment, discussing which show
you feel you made your best contribution to and why. Pick the
episode and position where you believe you did your best work
during the semester--work on which you'd like to be evaluated.
B. Acting Students will be graded on the following: in addition
to your class contributions and preproduction and production work
during the semester you will be assessed on 1) two episode
analyses, worth 10% of your grade. 2) Once we begin production,
you will be responsible for maintaining a journal, which will
include a minimum of two entries per week commenting directly on
the acting and production process, the soap genre, and your work
within it. This will be handed in twice during the semester, and
will comprise 20% of your final grade.
Everyone: Your grade for the semester will be based on the
above, along with attendance, punctuality, exercises,
contribution to reading discussions, and, significantly, our
assessment of your overall performance and contribution to the
preproduction, production and postproduction phases of this class
during the semester. This will include, for example: your
preparation for each episode, your contribution, organization,
production attitude, ability to work with others, and ability to
give and take direction as appropriate.
4. Financial liability: You have access to thousands of dollars
worth of equipment in this course. Our insurance coverage has a
$1,000 deductible, which you are personally responsible for (at
minimum) in the event of equipment loss or purposeful or
neglectful breakage.
5. Please: Equipment does break down in the course of use. When
it does, please fill out an equipment trouble report--on any
equipment that is broken or malfunctioning. Don't let the next
person check out broken equipment; report it, and we'll get it
fixed. If you're not sure, write a trouble report for
it anyway.
SPRING SCHEDULE--1995
T 1-24 Course introduction; the soap opera genre; view soap
episode; preproduction committee assignments, meetings.
R 1-26 The Lexicon of Soaps; Bible Committee: discuss storylines
w/ class
READINGS: Hayward, "Day After Tomorrow" (extract)
T 1-31 P: Remote Camera Instruction; Remote & studio camera
exercises.
A: 6-8 pm: Intro; distinctions between stage & camera;
Listening and Reacting.
8-9 pm: work w/ Bible committee: Story/Character Improvs
READINGS: Bernard, pp. 1-11. Memorize Exercise #3.
R 2-2 Reading discussion: "soap style" (Butler, Timberg,
Hayward) Preproduction reports;
READINGS: Butler, "Notes on the Soap Opera Apparatus"
Timberg, "The Rhetoric of the Camera"
DUE: EPISODE ANALYSIS, PART 1
T 2-7 P: Remote audio; Remote Audio Exercise; Studio InstructI
A: Preparation and Character; work on script for casting
session.
READINGS: Bernard, pp. 23-48.
R 2-9 Reading discussion; Preproduction reports; Studio
Instruct II
READINGS: Modleski, "The Search for Tomorrow in Today's
Soap Operas"
BIBLE DUE Monday 2-13; SCRIPT #1 OUT TO WRITERS
T 2-14 P: CASTING SESSION
READINGS: Rabiger, "On Acting", and "Director and Actor
Prepare a Scene"
A: 6-7: CASTING SESSION
7-9: Preparation and Character, cont. Work on script for
Blocking Exercises
R 2-16 Blocking & Business; Dialogue v. Action; Directing
Preparation; Preproduction Reports;
READINGS: Bernard, "Blocking and Business",
Armer, "Staging the Camera" (excerpt)
T 2-21 BLOCKING EXERCISES; Everyone have blocking script
memorized.
Script # 1 COMPLETE
R 2-23 Lighting Guest Lecture;
Begin Preproduction show #1: Read through Script #1;
Script #2 out to writers
READINGS: Calhoun, "Guiding Lights"
Sunday 12-6pm: SETS CONSTRUCTION
T 2-28 P: A/B Suite & Postproduction Instruction; Lighting
Exercise
A: Focus, The Close Up, The Workplace
READINGS: Bernard, pp. 49-59, 91-107. Off book on Ex. #23
(pt 1-2) or #14
R 3-2 Reading Discussion; Continue Preproduction #1
READING: Fiske, "Gendered Television"
DUE: EPISODE ANALYSIS, PART 2
**PRODUCTION BEGINS**
Sat 3-4 Remote taping, episode #1
Sun 3-5 Rehearsal - part 1 of Episode #1
T 3-7 Tape show #1 (part 1); Script #2 complete
R 3-9 Continue Preprod #1; Read Through Script #2; Preprod
#2; Script # 3 out to writers
**SPRING BREAK BEGINS Sat 3-11 -- ends Sun 3-19
Sunday 3-19 Rehearsal for #1 (part 2)
T 3-21 Tape show #1 (part 2)
R 3-23 Continue Preprod #2;
T 3-28 Tape #2 (part 1); Script #3 complete; Script #4 out to
writers
R 3-30 Preprod continues #2; Read through Script #3; begin
Preprod #3; View # 1
T 4-4 Tape #2 (part 2); Script #4 complete; Script #5 out
to writers
R 4-6 Finish preprod #3; Read through #4; Preprod #4
T 4-11 Tape #3 **begin long nights**;Script #5 complete; Script
#6 out to writers
R 4-13 Finish Preprod #4; Read through #5; Preprod 5; View #2
ACTORS: JOURNAL PART #1 DUE
passover/easter weekend
T 4-18 Tape #4; Script #6 Complete
R 4-20 Finish Preprod #5; Read through #6; Preprod #6; View #3
Friday Night Screening, Episodes 1-3
T 4-25 Tape #5
R 4-27 Finish Preprod #6; View #4
T 5-2 Tape #6
R 5-4 View #5; Course Evaluations
T 5-9 Studio/Props Return
R 5-11 Production Evaluation Packets/Journals Due; View #6;
Last day of classes, Friday 5/12 -- Friday Night Screening,
Episodes 4-6 PRODUCTION SCHEDULE:
(Based on approximately three week preproduction schedule for
each show. Check schedule for exact
dates.)
1. Tuesday (Day 1): Head Writer quickly reviews previous script;
assigns dialogue scenes to writers with approximate timings.
2. Sunday (Day 6): Writers deliver dialogue scenes to Head
Writer, both on paper and diskette (use DoIT to scan typed sheets
into text files if necessary). Meet collectively to review &
rewrite. Head Writer then revises dialogue, numbers scenes, and
transforms into script form.
3. Tuesday (Day 8): Head Writer sends script in script form via
e-mail to Exec. Prod. (CD) by noon. Copies to Continuity person
and next head writer as well.
4. Thursday (Day 10): Script is sent via e-mail to class as a
whole. Printed copies are made for cast; a read-through of the
script is held during class.
5. Weekend: any needed revisions are made by head writer, and
revised scenes are send to class if needed.
6. Thursday (Day 17): Producer hands out Production
schedule/phone list for Saturday remote rehearsal/taping, Sunday
studio rehearsal and Tuesday taping. During week: Directors
design blocking for script, Actors begin memorization.
7. Saturday (Day 19): All Remote scenes are rehearsed and taped.
8. Sunday (Day 20): Studio Scenes are rehearsed in studio,
beginning at 12 noon.
9. Tuesday (Day 22): Tape the studio scenes. Deliver footage to
editor.
Editors have one week to edit footage/music/sfx together, deliver
episode by following Thursday night lecture.
PRODUCTION POSITIONS:
Some positions may be combined or enlarged, as size of our crew
and the needs of the show become more evident.
Producer: Oversees, coordinates and troubleshoots all physical,
scheduling and timing aspects of production. Ensures props, sets
and wardrobe departments are up to speed (and works with on
creative aspects). Meets with executive producer and breaks down
scenes assigned to each director. Can delegate scheduling to
Asst. P. Gets timings, logs from AD, works with directors to get
timings down. Oversees remote crew, particularly on timings.
Sits in on final edit with editor.
Assistant Producer: Assistant to the Producer as needed.
Coordinates and posts upcoming production schedule on bulletin
board, listing rehearsal times, locations, taping schedule and
personnel needed, and where and when remotes are being shot.
Liaison with studio physical properties team (sets, props,
lighting directors).
Studio Directors (production): Generally, there will be three
studio directors for each episode, each charged with directing a
certain number of studio scenes. Directs technical and
aesthetics aspects of studio production, coordinating with other
directors to insure continuity and flow. In charge of technical
crew; meets with the heads of departments to work out aesthetics
of production, i.e. lighting needs, sound design, wardrobe,
props. Works out camera blocking with performance director, has
scenes completely blocked and shot lists/storyboards by Sunday
rehearsal. Issues any blocking changes through performance
director. Works out camera rotation, and gives shot list to each
camera operator. Directs taping. When not directing, assists in
studio sets, props and lighting changes as needed.
Performance Directors: These positions will be held by members
of the core acting group, also on a rotation basis. Works with
production directors to direct actors in rehearsals; confirms
(and works through) blocking with production directors. After
camera rehearsal, gives actors notes on performance. During
taping insures lines are read as written, works to
focus/facilitate performances, reports to production director on
any problems.
Head Writer: Working with Exec Producer, determines and assigns
dialogue scenes to writers based on "bible." Makes dialogue
revisions as necessary. Puts together a one-page scene summary
listing all locations and actors/characters needed for script,
and a breakdown of locations and actors for each scene.
Responsible for producing final script, delivering to Exec.
Producer. Responsible for any needed rewrites, added or modified
scenes. Works with casting director to ensure all cast and extra
positions are filled. May be given studio duties as necessary.
Writers (4): Write dialogue scenes assigned by Head Writer.
Continuity/Catering: Oversees all continuity. Should have
working knowledge of entire show "bible," have early version of
script, flag all potential problems. Makes sure script follows
from last episode in time sequence, logic. Makes sure wardrobe,
character placement, and props are consistent during studio
tapings. Purchases/arranges food and beverages for cast and crew
(on budget) for studio taping. Directs catering clean-up after
taping.
Casting Director/Wardrobe: Ensures all parts are cast, casts
extras, schedules rehearsals. Works with 2nd unit director to
schedule remote shoots with actors. Coordinates wardrobe with
actors, ensures wardrobe continuity. During studio rehearsal and
tapings is first contact person for cast members. Ensures actors
don't wear white or black, have costumes appropriate to
characters, locations, and narrative.
Technical Director: Takes switcher commands from Director during
taping. Assists Studio Director(s) as needed.
Assistant Director/Character Generator: Assistant to Producers
as needed. Timings of scenes during rehearsals & tapings. Keeps
postproduction notes during taping. Assists director in giving
framing and focus instructions to cameras during taping. Operates
Character Generator during tapings, composes all graphics needed
for postproduction.
Studio Cameras: Know script, get shot lists from directors.
Attend rehearsals as necessary. Assist in sets, props and
lighting changes as needed.
Floor Manager/Make-up: Attends rehearsals and assists Directors,
Performance Directors and actors as needed. Keeps record of
blocking. During taping, relays commands from director to floor.
Insures makeup kit is in working order; applies makeup (powder)
to actors before taping and as needed.
Sets Director/Catering Assist: In episode preproduction, insures
that sets are up or ready, and in good working order, organizing
repairs as needed. Organizes and directs set changes from scene
to scene for rehearsals and tapings. Assists Continuity/Catering
in providing refreshments. Directs set strike after taping.
Audio Director: Responsible for sound design, including SFX
needed prior to taping, miking and audio mix during taping, in
coordination with Post-production Audio Director.
Asst. Audio (or Boom)/Sets: In episode preproduction, works with
Set Director to ensure sets are up/available and in good working
order. During production takes direction from Audio Director.
Works with Lighting Director to assure minimal boom shadow
interference.
Lighting Director: (During class preproduction phase, all
lighting directors will work with the Sets Committee to develop
generalized lighting plots for each set needed.) Coordinates
with Producer and studio directors on lighting plan for episode;
insures written light plot is available for each set. Directs
lighting set-up and focus prior to rehearsal and taping, and
adjusts as needed. Directs all lighting changes from scene to
scene. Coordinates lighting strike after taping.
Assistant Lighting Director: First assistant to Lighting
Director.
Asst. Lighting/VTR/Props: Works with Set Dresser in
preproduction. Assists Lighting Team, runs VTR in production,
and keeps legible tape logs (with notes on each take) for editor.
Props Director: Locates and coordinates all needed props,
ensures prop continuity. Directs set dressing for each set.
2nd Unit Director (2): Storyboards remote scenes, liaison with
producer before shoot. Secures remote locations as necessary.
Coordinate shooting schedule with casting director. Arranges
equipment reservations. Makes sure best takes are marked in logs
for editor. Works with editor if needed.
2nd Unit Camera: Assists setting up lighting, runs camera based
on director's direction.
2nd Unit Audio/Logs: Microphone placement, monitors audio (on
headphones), VTR operation, responsible for slating each take,
keeping legible logs for editor.
2nd Unit Lighting Director/Audio Asst. After meeting with remote
directors to ascertain lighting needs, designs and sets up
necessary remote lighting. During taping, operates fishpole,
assists 2nd Unit Audio as needed.
2nd Unit Continuity/Performance Director: Attends rehearsals as
needed, coaches performances on remote, insures wardrobe, prop
and performance continuity on location.
Editor: Obtains log sheets and tapes from taping and remote
shots. Works with Producer, Post- production Audio Director and
Asst. Dir. on final edit and complete credits. Delivers final
edit prior to Thursday screening date.
Post-production Audio Director: Coordinates any production audio
needs with Audio & 2nd Unit Audio personnel. Locates all needed
post-production music, wildsound and SFX. Edits final audio mix
in conjunction with editor.
Publicity Director/Editor: Responsible for designing publicity
and promotional spots for episode, editing 30 second spots for
episode. Publicity for public screenings, coordinating contacts
with media to publicize show.
PREPRODUCTION TEAMS:
Bible: (5) Create Semester-long plotlines and characters.
Develop about 11 regular characters (and secondary characters as
needed), 4 interweaving plotlines; write out plot breakdown per
show, along with character descriptions, history, and
relationships. Consider and present class-submitted suggestions.
Research previous episodes of Campus Affairs, and use actors to
improvise/test plot & character ideas.
Wardrobe/Produce Intro: (6) Check each actor's wardrobe, and
compile a detailed list of clothes that are appropriate for a
variety of contexts (formal, casual, intimate), and for the
character they play-- avoiding white and black. Arrange to
obtain (borrow or purchase) costumes as needed.
Research Soap Opera "opens" (intros); research and learn the
advanced postproduction equipment available. Develop and
storyboard a new open and "bumpers" (short program IDs between
Acts), present concepts to class, produce by March 11th.
Casting: (6) Publicize casting call in school papers, posters,
announcements to Drama and Comm. Arts. Departments, etc.
Organize and produce the casting session and taping. (Still
photos of actors help in decision making; arrange for a still
camera [35 mm or Polaroid], and enough film.) Develop and
produce a ranking/comments sheet for class members. Compile
dossiers with application and photos of each person auditioning,
including availability, skills, etc. Make final casting
decisions (in conjunction with bible committee).
Contributions: (5) Meet with Diane Agans at Wisconsin Public TV
for fund-raising strategy session. Contact outside contributors
who may be willing to offer financial support, or donate or loan
goods such as set materials, props, videotape, food, materials,
etc., in conjunction with Props/Sets committee.
Props/Set Construction/Lighting Design: (8-9) Work with John
Glaeser (WHA-TV Scenic Director) to assess and refurbish
currently available sets; design and construct new sets, get
class approval, and schedule class labor to complete. Locate
and arrange to borrow or purchase props and furniture for sets.
Coordinate with Casting/Contributions committee on possible
donors or contributors of materials, props, etc.
Design lighting plot for sets in conjunction with Production LDs
(lighting directors).
Location Scouts/Acting Contract: (6) Scout and videotape a list
of remote locations for use during the semester. Secure
permissions for public locales (including permission to shoot
scenes later in semester as needed), complete location scout
sheets on each. Videotape and log stock footage of each site.
Develop an "Acting" contract to be used this semester between
remote directors and actors. Develop a set of expectations and
guidelines for negotiating remote shoots, length of tapings, etc.
Music Committee: (4) Coordinate with composers to locate and/or
write and record instrumental music. Locate and compile a master
"music reel" of appropriate instrumental music evocative of a
variety of storylines, moods or situations, to be used throughout
the semester.
Chad Dell, cedell@students.wisc.edu