Page History

h1. StageIt
{pagetree2:StageIt}

h3. GR1 - Project Proposal and Analysis


h4. Who We Are

* Tami Forrester
* Antonio Moreno
* Arthi Vezhavendan

h4. Problem Statement

to be entered

h4. User Analysis

Our two user classes are *choreographers* and *stage directors/managers*.
Note: Names of interviewees have been changed.

h5. Choreographers


h6. 1. Danny (R)

Stuff goes here yo

h6. 2. Sandy (M)

stuff goes here yo

h6. 3. Betty (S)

* stuff goes here yo
**  

h5. Stage Directors


h6. 1. Jean Luc (J)

I interviewed Jean Luc, who was the director last year for one of MIT’s premiere acting group. This yearJean Luc clarified that the acting troupe he worked with was rather small, but he isworked thewith danceprofessional director forover the same groupsummer, so he was able to give us both perspectives. The interviewedinterviewee gave us insight as to how a director works with their actors and managers in order to coordinate their vision. (also through this interview I learned the process of making actors move to different places is blocking)
Jean Luc clarified that the acting troupe he worked with was rather small, so he was able to 
Current Process:

\* maintain most of his notes for blocking in his head. Anything major he just wrote in as a brief note on his script.

\* He also worked with a professional acting guild over the summer, and as assistant he was able to give insight as to how a professional director kept track of blocking. There is something called For professionals, there is a call book, which for each play, 

\*\* holds the script of the play adjacent to important calls

\**\* (lighting, music, soundboard,lighting

\**\* music

\**\* soundboard

\**\* other major scene/set changes) and a

\*\* holds diagram of the stage which held locations (and movements) of actors and props, and had blocking on it.

AsCurrent far as issues with the current set up go, they correspond mainly to two things, changes and communication. As a director rehearses with their ensemble, he/she will make changes issues:

\* Rapid changes

\*\* Changes on the fly asare theyhard seeto thingskeep they did not think of in the planning stage. So there aretrack of

\*\* The call book is full of scribbles and smudges in their call book with different formations, and the stage

\*\* Stage manager hasjots todown keepquick tracknotes ofon all those changes, and Jean Luc feels that the changes are too quickfast for thehim manager to jotpick down.up. 

\*\* These notes are stored in a text file on a dropbox folder, which is shared with a lot of people. This brings us to our second problem.

\* Communication

\*\* Communication with the lighting director, soundboard director, and music director isare critical, and a lot of things might get lost in between when there is a change .

\*\* Changes made on the fly by the director makes, that does might not go up to, for example, the lighting director.The dropbox system they have works withchain to the current small troupe, but it proves to be a challenge with a professional play.other directors.

\*\* This is fixed in a dress rehearsal when the whole play is put together, but dress rehearsals are usually not done until the end of the play, and many ideas are lost in the time in between. So something that would actively sync any changes would be helpful.

\*\* The dropbox system they have works with the current small troupe, but it proves to be a challenge with a professional play.



h3. Task Analysis

Stuff goes here yo