With varying official job titles that include “draper,” “firsthand,” and “costume project coordinator,” they customarily collaborate behind the scenes fitting stage actors and actresses for their costumes and making their theatrical attire. The mask makers, all women, are Clarissa Wylie Youngberg, Pat Van Horn, Mary Zihal, Stephanie Taff, Linda Kelley-Dodd, and Deborah Bloch. Yale researchers have also weighed in on the effectiveness of masks in slowing transmission of COVID-19 and are ‘We are makers’ Various other Yale departments have made donations of PPE equipment and are engaged in fabricating face shields and other medical equipment, including Yale School of Architecture. She is facilitating the mask-making effort, distributing supplies to the costume technicians at their homes, and delivering the masks to hospice on a weekly basis.
“We had already been talking as a group about what we could be doing and how we might contribute,” said Christine Szcepanski, the costume shop’s manager. Likewise, deputy dean and professor Victoria Nolan didn’t hesitate to offer the drama community’s help when Barbara Pearce, interim CEO of Connecticut Hospice, put out a call to area theaters for masks. Beeson Professor of Medicine and vice provost for faculty development and diversity, asked if the drama school employees - who under normal circumstances build the theatrical sets for School of Drama and Yale Rep productions - might apply their skills to meet new needs born of the pandemic. contributing their expertise in fabricating to these projects.īundy enlisted the help of the scene shop carpenters after Dr. I am inspired by the wisdom and creativity of our shop personnel in. We can all be grateful that they have turned their hands to support of the health care system at such a critical moment in time.” “As they are on every Yale Rep and School of Drama show, they have been resourceful, upbeat, and professional. “I am inspired by the wisdom and creativity of our shop personnel in coming up with such good ideas, and then contributing their expertise in fabricating to these projects,” said Yale School of Drama Dean James Bundy. All are working from home using their personal tools and sewing machines, and materials provided or purchased by the school. School of Drama design students have also recently joined the mask-making effort. Six members of the costume shop staff have spent the past three weeks making some 400 cloth masks for donation to Connecticut Hospice, and an equal number of carpenters are fabricating desperately needed plastic face shields for Yale New Haven Hospital. Use the dramatic writing process to generate a script.Yale’s theater stages have gone dark for now, but members of the School of Drama’s costume and scene shops are still hard at work: They’re putting their talents to use by making masks and face shields for local health facilities to address the critical shortage of these items during the COVID-19 epidemic. Utilize improvisation techniques to generate script ideas. Identify, analyze, and articulate the structure of a script.
Classify different points of view in a story. TA8.CR.2 - Develop scripts through theatrical techniques. Assume different roles and responsibilities in the rehearsal process. Design and create scenery, props, costumes, lighting, and sound. Evaluate the effectiveness of artistic and technical elements used in a theatre production. Identify and demonstrate both ensemble and leadership skills in the rehearsal process. Connect theatre vocabulary to the application of theatre performance. Incorporate dramatic elements through improvisation. Compare the relationships and interactions between characters by analyzing character motivation (objectives, obstacles, strategy, action, stakes, outcome). Differentiate the physical, emotional, vocal, and social dimensions of a variety of characters. TA8.CR.1 - Organize, design, and refine theatrical work.
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