[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"detail-sidebar-cat-1-en-105":3,"doc-seo-237904-105":53,"doc-detail-237904-en":127},{"code":4,"msg":5,"data":6},0,"success",[7,14,19,24,29,34,39,44,49],{"id":8,"doc_module":9,"doc_module_name":10,"category_name":11,"show_sort_weight":12,"slug":13},11,1,"Template","Presentations",90,"presentations",{"id":15,"doc_module":9,"doc_module_name":10,"category_name":16,"show_sort_weight":17,"slug":18},12,"Resumes",80,"resumes",{"id":20,"doc_module":9,"doc_module_name":10,"category_name":21,"show_sort_weight":22,"slug":23},14,"Invoices",70,"invoices",{"id":25,"doc_module":9,"doc_module_name":10,"category_name":26,"show_sort_weight":27,"slug":28},15,"Posters",60,"posters",{"id":30,"doc_module":9,"doc_module_name":10,"category_name":31,"show_sort_weight":32,"slug":33},16,"Social Media",50,"social-media",{"id":35,"doc_module":9,"doc_module_name":10,"category_name":36,"show_sort_weight":37,"slug":38},17,"Forms",40,"forms",{"id":40,"doc_module":9,"doc_module_name":10,"category_name":41,"show_sort_weight":42,"slug":43},18,"Letters",30,"letters",{"id":45,"doc_module":9,"doc_module_name":10,"category_name":46,"show_sort_weight":47,"slug":48},21,"Paper Templates",5,"papers-templates",{"id":50,"doc_module":9,"doc_module_name":10,"category_name":51,"show_sort_weight":4,"slug":52},158,"General","general-158",{"code":4,"msg":54,"data":55},"ok",{"site_id":56,"language":57,"slug":58,"title":59,"keywords":60,"description":61,"schema_data":62,"social_meta":120,"head_meta":122,"extra_data":124,"updated_unix":126},105,"en","week-6-bringing-your-script-to-life","WEEK 6 - Bringing your script to life","","WEEK 6 guides creators on bringing a script to life through the backstage work that connects creative choices and day-to-day logistics. The session contrasts three production roles: costume design, producing, and marketing. 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To do this we:  \no Drew inspiration from famous 1970s sitcoms.  \no Used a costume design template to draw their designs on to.  \no Pulled costumes from our costume store, which most accurately represented our drawings.  \no You can also go to charity shops, buy online or raid your friends or family’s wardrobes (with permission!) .  \nProducing  \n• Hi, my name is Sarah. I’m one of the co-founders and co-producers of the Guildford Shakespeare Company.  \n• One of my main jobs as a producer is to choose the play that we are going to put on and the venue in which we are going to produce it.  \n• We are a site responsive theatre company, which means we don’t use theatres to produce our shows.  \no Depending on the feel of the show we might use a church or a castle or a wood.  \no Sometimes the choice of venue is easy, for example when programming Robin Hood, the woods felt like an obvious choice for us to stage our show. So, we found somewhere with lots of trees and created a rope bridge.  \no Or you might decide to perform Measure for Measure, where the main character is anun, in a church.  \n• Sometimes you find the venue first and then choose the play.  \no This happened with our production of The Merry Wives of Windsor performed at the Model Railway in Stoke Park.  \no I found the venue a few years ago and was really excited by it. I thought it would bean interesting place to create some theatre.  \n• You think about what feel that venue gives you.  \no The model railway was cute, very twee, with a suburban village feel.  \no So then you think about what kind of characters might inhabit this world?  \no I had a vision of The Merry Wives of Windsor, waving their husbands off as they commute to work.  \no It had the added bonus of a wood for Hearne’s Oak at the end of the play.  \n• Finding new venues is a fun and creative challenge.  \no The right venue can set the play alight and make it 3D.  \no You can’t just choose your favourite venue if it only fits two people.  \no You need to ensure that you can fit in enough seats, so that you can afford to pay your cast and creatives.  \n• Finally, you get to work with lots of interesting people.  \no Often people who may not usually go to the theatre but do so this time as you are producing in their church o","cbCairYapMEczmo4","https://ap.wps.com/l/cbCairYapMEczmo4","pdf",848831,"English","# WEEK 6: Bringing your script to life\n## Designing\n## Producing\n## Marketing","[{\"question\":\"What should costume designers research before choosing costumes?\",\"answer\":\"Designers should consider the world of the play, where it is set, and when it is set. They should also research the setting to understand the place and time period.\"},{\"question\":\"How does producing differ for a site responsive theatre company?\",\"answer\":\"A site responsive company does not use traditional theatres to stage shows. Producers choose venues such as churches, castles, or woods based on the feel of the show, and sometimes venue selection comes before the play.\"},{\"question\":\"What key elements should a marketing poster communicate?\",\"answer\":\"Posters must include essential event information (when, where, and ticket purchasing) and convey why audiences should come. The artwork should reflect the show type, style, and key themes while staying simple and easy to read.\"}]","WEEK 6 - Bringing your script to life | PDF",1789127698]