Production Pitch: Theatre Appreciation Online 1 Overview

Production Pitch Theatre Appreciation Online 1 Overview (as reflected on the syllabus)

This project requires students to prepare a pitch for Qui Nguyen's She Kills Monsters. Each student will select ONE scene from the play (excluding Publicist and Dramaturg roles) and assume ONE of the following primary theatrical positions: director, dramaturg, publicist, or designer (scene/set, costume, lighting, sound). Students will create a digital portfolio—using PowerPoint, Prezi, PDF, or similar—that showcases their understanding and vision for their assigned role within the production. The project aims to explore students’ creative strengths and deepen their knowledge of theatrical processes.

The portfolio must include role-specific content, such as the directorial concept, dramaturgical research, publicity materials, or design proposals, all presented professionally. Upon completion, students will also submit a reflection paper analyzing their process and learning experience. This assignment encourages students to engage with various aspects of theatre production, emphasizing research, artistic vision, and technical understanding, while adhering to academic honesty and presentation standards.

Paper For Above instruction

Introduction

Producing a theatrical pitch offers a comprehensive perspective into the multifaceted nature of theatre arts, combining creative interpretation, scholarly research, and technical expertise. For the production of She Kills Monsters, which blends fantasy and contemporary themes, participants can explore innovative visions to bring the play to life on stage. By assuming distinct roles—such as director, dramaturg, designer, or publicist—students engage with the fundamental components that compose a successful production. This paper discusses each role's responsibilities and illustrates how students can utilize their strengths to contribute meaningfully to the theatrical process while aligning their efforts with the overarching artistic vision.

Role-Specific Strategies

Director: The director acts as the creative leader, shaping the play's vision through a clear concept that encompasses thematic focus, setting, stylistic choices, and audience engagement. For She Kills Monsters, the director must consider the play’s fantasy elements and contemporary themes, selecting an appropriate style—perhaps a stylized, immersive approach—that underscores its unique narrative and emotional tone. Developing detailed blocking for key scenes facilitates actor movement that reflects character development and story progression. The director’s approach might draw inspiration from influential productions or directors discussed in academic texts, such as Julie Taymor’s imaginative staging or Robert Wilson’s visual focus, to craft a compelling visual and emotional experience.

Dramaturg: Serving as the informational backbone, the dramaturg provides contextual research and analytical insights. Key responsibilities include exploring the playwright’s background, examining the production history, analyzing critical reviews, and uncovering cultural references within the script. For She Kills Monsters, an effective dramaturg would compile a bibliography with scholarly sources, media critiques, and historical context to deepen the audience’s understanding and enhance the production’s interpretative layers. Summarizing the play’s themes and cultural significance in a succinct manner can guide marketing and educational outreach efforts, such as program notes and press releases.

Publicist: The publicist crafts promotional materials to generate interest and communicate the production’s essence. Developing a compelling press release involves highlighting the play’s unique aspects and scheduling information. Visual branding, such as designing a logo and creating a poster, must reflect the tone and genre of the play—perhaps incorporating fantasy motifs or bold typography. A well-designed program cover and poster motivate audiences to attend and foster community engagement. Effective publicity strategies include leveraging social media, press outreach, and community partnerships, effectively translating the artistic vision into accessible messages.

Designer (Scene/Set, Costume, Lighting, Sound): These roles involve translating the director’s concept into visual and auditory elements. Scene designers must research visual inspirations, create detailed ground plans, and craft set renderings that support the thematic and stylistic choices. Costume designers focus on character-specific attire that reflects personality, time period, and fantasy elements, supported by sketches, fabric samples, and final renderings. Lighting designers develop cue sheets that establish mood, focus, and time/place, using principles such as contrast, color, and movement to enhance storytelling. Sound designers select and manipulate sounds to underscore emotional beats and world-building, creating cues that align with the scene and overall concept. Each designer’s work must be justified through written explanations demonstrating how their choices reinforce the production’s artistic goals.

Conclusion

Creating a comprehensive theatrical pitch requires a synergy of artistic vision, meticulous research, and technical skill aligned with one’s personal strengths. Whether leading as a director, supporting with contextual research as a dramaturg, crafting promotional materials as a publicist, or designing visual and auditory elements, each role contributes critically to the success of the production. Through this assignment, students develop an integrated understanding of theatre production’s collaborative nature, fostering skills in communication, creativity, and critical analysis. Proper research, adherence to academic standards, and innovative presentation are essential for delivering a compelling pitch that captures the imagination and interest of theatre professionals and audiences alike.

References

• Barber, K. (2013). Theatre Theory and Performance. Routledge.
• Goldberg, M. (2019). Stage Lighting Design: Principles and Practices. McGraw-Hill Education.
• Hischak, T. S. (2012). The Encyclopedia of New York Stage Comedy. Rowman & Littlefield.
• Kraus, C. (2018). Understanding Theatre: Performance and Analysis. Routledge.
• McAuley, R. (2009). Costume Design 101. Routledge.
• Neel, M. (2017). Theatre and Audience. Routledge.
• Prendergast, R. (2016). The Dramaturgy of Adaptation. Routledge.
• Sanderson, S. (2020). Public Relations in Theatre. Palgrave Macmillan.
• Sullivan, J. (2014). Stage Management and Tour Production. Routledge.
• Wilson, R. (2019). The Techniques of Stage Lighting. Routledge.