STUDENT H
ANDBOOK
Revised 12/7/2018
STATEMENT OF PURPOSE
The purpose of this handbook is to make known and accessible all guidelines, policies, and principles
concerning academic and administrative policies for the conservatory programs of The Theatre School.
It has been prepared for the specific use of the students, faculty, and staff with the intent of defining
and communicating requirements, processes, and procedures.
The handbook will be updated to reflect ongoing revisions in these areas.
Each student is responsible for familiarity and compliance with the handbook’s contents. The most recent
version of the handbook will be posted on the TTS Backstage intranet site.
TABLE OF CONTENTS
THE THEATRE SCHOOL COMMUNITY
1.1. Mission and Values
1.1.1. The Theatre School Mission and Vision Statements
1.1.2. The Theatre School Values Statement
1.1.3. The Theatre School Diversity Action Statement
1.1.4. On Professionalism
1.2. Who's Who
1.2.1. The Theatre School Faculty and Staff
1.2.2. Other University Numbers
2. THE ACADEMIC POLICIES OF THE THEATRE SCHOOL
2.1. Registration
2.2. Books
2.3. Tuition
2.4. Withdrawals
2.5. Refunds
2.6. Leaves of Absence
2.7. Class Attendance
2.8. Grades
2.9. Grading of Production Assignments
2.10. Advising
2.11. Dean's List
2.12. Commencement
2.13. Probation Policies
2.14. BFA and MFA Acting Program Evaluation and Continuance Policies
2.14.1. BFA Acting Program Capacity & Continuance Policies
2.14.2 BFA Acting Program Probation Policies
2.14.3 BFA Acting Program Warning Policies
2.14.4. MFA Acting Program Capacities and Invitations to Return
2.14.5. MFA1 Grading Procedures for the Acting Program
2.15. Design/Tech and Theatre Studies Programs Evaluation and Continuance Policies
2.16. Design/Tech and Theatre Studies Programs Warning Policy
2.17. MFA Directing Program Evaluation and Continuance Policies
2.18. Invitations to Return for All Programs
2.19. Invitation to Return Appeal Process
2.20. Rehearsal Clothing and Equipment
2.21. Program Credit and Biographies
2.22. Process for Rehearsing & Performing Intimate Contact
2.23. Nudity in Productions
3. THE ADMINISTRATIVE POLICIES OF THE THEATRE SCHOOL
3.1. Offices
3.2. Contact Information
3.3. Visitors
3.4. Computer Labs and E-mail
3.5. Public Relations
3.6. Building Hours
3.7. Good Neighbor Policy
3.8. Orderliness
3.9. Care of School Property
3.10. Building Regulations
3.11. Lockers and Personal Property
3.12. Lost & Found
3.13. Student Government
3.14. ST*RS
3.15. Work Study/Student Service
3.16. Merit Scholarships (for students entering 2015 and prior)
3.16.1 Scholarships (for students entering 2016 and after)
3.17. Outside Jobs
3.18. Early Leaves
3.19. Safety and Emergencies
1 THE THEATRE SCHOOL COMMUNITY
1.1 Mission and Values
UpdatedAssistantDean
1.1.1 The Theatre School Mission and Vision Statements
MISSION
The Theatre School trains students to the highest level of professional skill and artistry in an inclusive
and diverse conservatory setting.
VISION
• We will educate enterprising artists, thinkers, innovators, leaders, and globally conscious citizens
who transform communities across DePaul, Chicago, the nation, and the world.
• We will support an expert, passionate faculty and staff committed to advancing the vibrancy of live
theatre and performance while continually adapting to a broadening and changing profession.
• We will become a model of diversity and inclusion for the University and the field.
• We will produce public programs and performances that challenge, entertain, and stimulate the
imagination.
• We will foster cross--‐disciplinary collaboration to further student understanding and appreciation of
every aspect of theatre work.
1.1.2 The Theatre School Values Statement
EDUCATION
We advance intellectual development and ethical consciousness. We foster moral, spiritual, social,
political, and artistic growth. We promote participation in civic life.
RESPECT
We inspire respect for self, for others, for the profession, and for humanity. We embrace the Vincentian
model of service.
FREEDOM
We build a community founded on the principles of creativity and freedom of expression. We value
initiative, innovation, exploration, and risk taking.
IMAGINATION
We celebrate the primacy of imagination in our work.
SPIRITUALITY
We believe theatre is a place for reflection, awakening, and the development of moral awareness.
1.1.3 The Theatre Diversity Action Statement
The Theatre School is committed to fostering and nurturing the reality of who people are, who they
have been, and who they want to be. We embrace the diversity of what we see, what we hear and
what we feel. We give voice; we represent people and ideas. Our community engages in lively
exploration, between and beyond categories of race, ethnicity, gender, sexuality, class, religion,
nationality, ability and artistic discipline. We examine, appreciate and share the complexities of
culture through artistic collaboration, and in doing so, create a safe and supportive environment for
our students, faculty, staff, audiences and visitors.
1.1.4 On Professionalism
THEATRE. It’s a pleasant pastime for some. For others, it’s a passion.
Passion is a great and all-consuming emotion. It can lead us into adventures we have little
understanding of but a great feeling for. We just know it; it hits us in the gut — in a good way. That
instinct can’t be taught or learned. Each of us has it, and we hope we continue to recognize its power
in helping us become the most extraordinary artists we can be.
But a career in theatre, or any performing art, or anything for that matter, requires more than a strong
feeling. A successful career is built on hard work combining vision, knowledge, discipline and passion.
The Theatre School strives to provide the environment and education to increase knowledge and inspire
vision.
The essence of professionalism as outlined here governs every aspect of our lives as faculty, staff and
students at The Theatre School at DePaul University:
RESPECT
Recognizing that differences exist in the world and finding a way to accommodate needs and views
different from our own. Respect is to value what others say and believe, to honor another’s personal
space and creative needs, and to allow for artistic, cultural, sexual and religious differences.
DISCIPLINE
Consistently and consciously applying ourselves to achieve the best work in ways that go beyond the
basic expectations. It encompasses consistent, regular and dependable work and focus as well as
managing our behavior so that we remain true to the expectations of whatever obligation we have agreed
to meet.
RESPONSIBILITY
Consciousl
y and consistently following through on commitments and seeking assistance when
appropriate. Being responsible means taking ownership for our part of the project. To be responsible is
to be self-aware and to act on this knowledge; it means meeting a challenge with an open mind and
spirit.
COLLABORATION
Group int
eraction builds upon the work of individuals to create better results than one person alone. A
good collaborator understands that frustrations may arise, but actively seeks to create a solution rather
than avoid the challenge. Collaboration is the foundation of theatre and thus good collaborators are
highly valued in the school and the profession.
COMMUNICATION
The ability to communicate well is an art in itself. It involves consistently sharing productive
information, ideas and constructive criticism, and making ourselves available to others. Honesty is the
core element of communication.
MATURITY
Maturity in a professional sense means learning to see the world through others’ eyes — acknowledging
that our own concerns are not the only concerns that matter. Maturity can equal self-restraint in some
instances and in others it means being selfless, lending a hand when needed or making the tough choices
no one else is willing to make.
TIMELINESS
As theatre artists we need to spend time preparing our work and our day so that when we arrive we are
as creative and productive as possible. Timeliness extends beyond work in class, rehearsal, our offices,
or the theatre. When we are late, we jeopardize more than our own work and we reduce the time we have
to produce our best work.
HONOR
It’s last because it’s the most important. It is the one idea that governs all the others. It means behaving
with integrity and exercising a great sense of ethical conduct. Showing people that we can be trusted and
that we respect others’ time, health, energy and spirit. We put these ideas of professionalism into
practice and expect others to do the same.
1.2 Who's Who - And How to Contact Them
Updated Assistant Dean
1.2.1 The Theatre School Faculty and Staff
For biographies and contact information for The Theatre School’s faculty and visit:
http://theatre.depaul.edu/about/faculty-and- staff/Pages/default.aspx.
All faculty and staff of The Theatre School have e-mail and voicemail. Faculty and staff
mailboxes are located in Rm525.
1.2.2 Other University Numbers
The Theatre School Administrative Office (773) 325-7917
Script Library (773) 325-4729
Production Coordinators Office (773) 325-7951
Stage Manager's Office (773) 325-7923
Costume Shop (773) 325-7955
Prop Shop (773) 325-7936
Scene Shop (773) 325-7937
Monitor's Desk, TTS Lobby (773) 325-8407
The Theatre School Box Office (773) 325-7900
DePaul Public Safety (773) 325-7777
Facility Operations (773) 325-7377
DePaul Central (312) 362-8610
Housing Services (773) 325-7196
Complete University Directory information can be found at http://directory.depaul.edu/
2 THE ACADEMIC POLICIES OF THE THEATRE SCHOOL
2.1 Registration
Updated Associate Dean
Owing to the intensity of The Theatre School programs, and because some of our classes operate on a
different time schedule than those in the rest of the University, registration for Theatre School students
is coordinated by our administrative offices through the Associate and the Coordinator of Academic
Services. Each student's schedule is built specifically for him or her, according to the program based on
the recommendations of the audition committee, design supervisor, or area head.
All new students receive their Fall Qu
arter schedule of classes at orientation. Information about
registration for the Fall Quarter Discover Chicago courses will be sent to new students in the summer.
Watch the Registration Announcement Board for dates and times of registration periods.
All students are responsible for checking and maintaining their registration in every quarter through the
Student Center in Campus Connect. Registration information is posted each quarter on TTS Backstage
as well as the Associate Dean’s Board on the 5
th
floor outside of the Skylight Lounge.
2.2 Books
Updated Associate Dean
Most required textbooks are available through the DePaul Bookstore. You can visit this at:
http://depaul.bncollege.com/. Specific instructions regarding books and supplies will be provided by
instructors at the first class meeting.
2.3 Tuition
Updated Associate Dean
For the university’s tuition rates and for policies and information regarding tuition, visit:
http://offices.depaul.edu/student- financial-accounts/Pages/default.aspx.
2.4 Withdrawals
Updated Associate Dean
For university policy and information regarding withdrawals, visit:
http://www.depaul.edu/university-catalog/academic-handbooks/undergraduate/undergraduate-
academic-policies/Pages/withdrawal-policy.aspx.
Students wishing to withdraw from or drop a class must complete the withdrawal on the web
registration system by the appropriate university deadlines. Any questions or complaints can be
addressed to the Associate Dean.
SIMPLY CEASING TO ATTEND CLASSES OR NOTIFYING A FACULTY MEMBER DOES NOT
CONSTITUTE AN OFFICIAL WITHDRAWAL.
2.5 Refunds
Up
dated Associate Dean
For university policy, visit:
https://offices.depaul.edu/student-financial-accounts/faq/Pages/refunds.aspx.
Theatre School students are on a package tuition plan. Dropping or adding a course does not alter the
tuition as long as the total number of credit hours does not drop below the 12 hours required for full-time
student status.
2.6 Leaves of Absence
Updated Assistant Dean
Students who find it necessary to interrupt their attendance at The Theatre School should make a written
request to the Assistant Dean before leaving school stating the reason for the leave, the length of its
duration, and supplying valid addresses (including email) and phone number. For all Performance and
Design/Tech programs, the leave must be for an entire year. In the Theatre Studies program, leave times
are more flexible. The Dean will either accept, accept with alterations, or deny a student's request
based upon the recommendation of the faculty and communicate his decision, and all stipulations, to the
student in writing. If a student wishes to leave at the beginning of a Fall Quarter, the written request must
be received from the student before that student's program for that year begins (i.e., before orientation,
rehearsals, or classes begin, whichever is earliest). Students who wish to leave at the beginning of either
the Winter or Spring Quarters must request the leave in writing within 30 days of their departure from
school. Students on leave may re-enter the School upon expiration of the term of absence without
repeating the admissions procedure providing they have complied with whatever stipulations were given
by the Dean in his letter to them.
The request for a Leave of Absence should be submitted to the Assistant Dean, TTS Rm505.
2.7 Class Attendance
Updated Associate Dean
It is expected that students will attend their classes, rehearsals, performances, and crews and Production
Practice courses, regularly and promptly. Students are responsible for reporting their own absences from
all classes directly to faculty members. This should be done in advance when possible. If an absence
goes beyond two consecutive days or two consecutive classes in the same subject, the Assistant Dean or
the Associate Dean should be notified.
2.8 Grades
Updated Associate Dean
For university policy and information regarding grades including the key used for evaluation, visit:
http://www.depaul.edu/university-catalog/academic- handbooks/undergraduate/undergraduate-
academic-policies/Pages/grades.aspx.
Note to all Students: Students must receive a grade of C- or better in any course that is a requirement in
their major concentration. This university grading policy covers both core courses and elective courses
as set by the student's program in order to complete the requirements in the major field of study. Any
grade below a C- in these courses will not fulfill the requirement in the student's major.
2.9 Grading of Production Assignments
Updated Associate Dean
For actors, the director (or faculty advisor in the case of a student-directed workshop) makes the final
decision regarding grades for production assignments. Input from fellow faculty and staff is encouraged
but the director makes the final decision. A student director may call to the attention of the faculty advisor
assigned to his/her project any problems with attitude, work habits, rehearsal decorum, or over-all
development in the work that becomes apparent in the day to day rehearsal process. The faculty advisor
will take such information into account in arriving at the grades for the project.
Grades for student directors are handled in the sa
me manner as grading actors. The faculty and staff are
encouraged to submit input, but the advisor has the final decision.
Grades for Intros are assigned by th
e faculty member in charge.
Design students receive grades on t
heir assignments from the head of their appropriate design area
with input from other faculty and staff involved in the production process. Technical and stage
management students receive grades on their production assignments from their production supervisor
with input from the production's director (where applicable).
Theatre Studies students receive grades on their assignments from the coordinator of their area with input
from other faculty and staff involved in the production process and according to requirements in the
production practice syllabus.
2.10 Advising
Updated Coordinator of Academic Services
The Associate Dean, the Coordinator of Academic Services, and the Director of Advising, are the
academic advisors for The Theatre School. All matters pertaining to class scheduling, academic
requirements in the liberal studies area, adding and dropping courses, and transfer of credits must be
handled through their offices.
Early in the Fall Quarter of a student's first year, each student is assigned to a faculty advisor who is
available to help in academic, professional, or personal matters. Students will normally keep the same
advisor throughout their enrollment at The Theatre School.
All faculty will post office hours during which they regularly meet with students. Students are expected
to initiate contact with their advisor during these times. Students should talk regularly with the faculty
about their work and take the initiative to meet regularly with their advisor.
2.11 Dean's List
Updated Associate Dean
For university policy and information regarding the Dean’s List, visit:
http://www.depaul.edu/university-catalog/academic-handbooks/undergraduate/undergraduate-
academic-policies/Pages/deans-list.aspx.
2.12 Commencement
Updated Associate Dean
For university policy regarding commencement, visit:
http://oaa.depaul.edu/what/commencement.jsp.
All graduating Theatre School students are required to participate in The Theatre School’s
Commencement ceremony. Requests for exemptions must be submitted to the Dean in writing by May
1
st
. Requests should include a rationale for the exemption.
Undergraduate students must be enrolled in courses
that will fulfill all graduation requirements by the
end of the summer quarter in order to participate in the Commencement ceremony. Graduate students
must have completed any thesis requirements by the date of the ceremony as well as being enrolled in
all necessary classes in order to participate.
2.13 Probation Policies
Updated Associate Dean
ACADEMIC PROBATION is implemented by the Theatre School, based on the university’s
Academic Probation Policy which can be found at:
DISCIPLINARY PROBATION is implemented by The Th
eatre School when, upon the recommendation
of the faculty, a student is deemed negligent in meeting the regulations of The Theatre School as outlined
in this Student Handbook or when their behavior is disruptive to The Theatre School learning
environment. Notification of probation will ordinarily be made at the end of a quarter so that a student
will be able to correct any deficiencies by the end of the following quarter. Failure to address the
conditions of the probation may result in immediate dismissal from The Theatre School.
PROFESSIONAL PROBATION is implemented
by The Theatre School when, upon the
recommendation of the faculty, a student is deemed negligent in meeting Theatre School professional,
personal and/or academic expectations as outlined in course syllabi and the On Professionalism
document. Notification of probation will ordinarily be made at the end of a quarter so that a student
will be able to correct any deficiencies by the end of the following quarter. Failure to address the
conditions of the probation may result in reduction or removal of scholarships, restrictions on casting
or production practice assignments, and the inability to meet the school requirements in a timely
manner and thus delay graduation.
2.14 BFA and MFA Acting Program Evaluation and Continuance Policies
Updated Assistant Dean
2.14.1 BFA ACTING PROGRAM CAPACITIES & CONTINUANCE POLICIES
The faculty takes very seriously the regular evaluation of student work and is alert to the need to
communicate both matters of commendation and of concern.
Each quarter your work will be evaluated using these four criteria: 1) imagination, 2) progress in the
program, 3) discipline, and 4) collaboration.
Your work will be evaluated on these criteria by the faculty in your department and, as appropriate,
your advisors, supervisors, and/or directors in your production assignments. When appropriate,
feedback from the evaluation will be provided by your advisor, Head of your program, or Chair of
your department.
2.14.2 BFA Program Probation Policies
If a quarterly evaluation of a student’s progress indicates that appropriate progress is not being made
or there are concerns in one of the four criteria area that is jeopardizing the student’s progress, the
faculty could choose to initiate a probation period. The two types of probation which could be
initiated are:
DISCIPLINARY PROBATION is implemented by The Theatre School when, upon the
recommendation of the faculty, a student is deemed negligent in meeting the regulations of The
Theatre School as outlined in this Student Handbook or when their behavior is disruptive to The
Theatre School learning environment. Notification of probation will ordinarily be made at the end of a
quarter so that a student will be able to correct any deficiencies by the end of the following quarter.
Failure to address the conditions of the probation may result in immediate dismissal from The Theatre
School.
PROFESSIONAL PROBATION is implemented by The Theatre School when, upon the
recommendation of the faculty, a student is deemed negligent in meeting Theatre School professional,
personal and/or academic expectations as outlined in course syllabi and the On Professionalism
document. Notification of probation will ordinarily be made at the end of a quarter so that a student
will be able to correct any deficiencies by the end of the following quarter. Failure to address the
conditions of the probation may result in reduction or removal of scholarships, restrictions on casting
or production practice assignments, and the inability to meet the school requirements in a timely
manner and thus delay graduation.
At the end of each quarter, your core faculty discuss the progress of each student in regard to the four
criteria and your advisor will meet with you to convey any commendations or concerns. You may
receive an email from your advisor requesting a meeting, or a letter from the Head of the Program or
Chair of Performance at any time during the year if your progress on these four criteria are
questionable or your good standing is in jeopardy. This communication is intended to express our
concerns, or in more serious cases, to give you specific criteria to address by the end of the Spring
quarter.
At the end of the school year, these evaluations lead to an Invitation to Return for the next year of
study. There are no pre-determined limits on the number of students returning to these programs. Your
success is squarely in your hands.
2.14.3 BFA ACTING Program Warning Policies
If the quarterly evaluation of a student’s progress indicates that appropriate progress is not being made
the formal communication of concern is called a WARNING. A warning is a caution that unless a
substantial improvement occurs by the end of the next quarter, the student may be dismissed from the
program.
The Warning gives specific information gathered from the relevant faculty and production staff which
explains where improvement is necessary and is issued in writing to the BFA Acting students by the
dean within the first two weeks of the quarter.
Usually, warnings are only issued to students in the first and second years of the BFA programs.
2.14.4 MFA Acting Program Capacities & Invitations To Return
The MFA Acting program is a three-year program divided into two phases: the probationary phase and
the production phase. The first year of the program is the probationary phase. This phase allows a
student to test his/her potential and self -discipline to make acting a profession and a career. At the same
time, as a culmination of on-going evaluations, the faculty meets at the end of the first academic year to
discuss the work of each student and to determine which students will receive invitations to continue
into the production phase of the Acting Program (the second and third year). These decisions are based
on the student's 1) imagination, 2) progress in the program, 3) discipline, and 4) collaboration.
A maximum of 10 students are selected to enter the first year of the MFA Acting Program with no
pre-determined limit of students into the production phase. This capacity has been set to ensure a
student to teacher ratio that allows for focused individual attention to each and every student,
maintains thorough and rigorous training, and provides the student with ample performance
opportunities and production experience.
2.14.5 MFA I Grading Procedures For The Acting Program
Acting Program courses are divided into categories during the probationary phase of the MFA
Acting Program. The procedure for grading these courses is as follows:
During these years the courses are divided into two categories: Core and Synthesis.
1. The Synthesis courses consist of MFA 1 Acting and Rehearsal & Performance: The MFA One
Actors Project. Synthesis events attended by the Performance Faculty are the Mid-quarter Winter Scene
Showing, the Winter Final Scene Showing, the Spring Final Scene Showing, and Rehearsal &
Performance: MFA 1 Actors Project.
2. All other courses taught by Theatre School faculty are considered Core courses and are given a
letter grade at the end of each quarter.
The Synthesis courses take place over three quarters (with the exception of the MFA I Rehearsal
& Performance: The MFA One Actors Project which lasts for one quarter). All Synthesis courses taken
in the fall and winter quarters will receive the grade "R" which means that the work of the course is
continuing and extends beyond the quarter in which the "R" grade is assigned.
During the final week of the fall quarter, the MFA 1 Core Performance Faculty will meet one-on-one
with each student to discuss an informal letter evaluating their work over fall. Within the first two weeks
of winter quarter, students are required to meet with their Advisor to discuss the informal letter.
The Faculty meets again at the end of the winter quarter and issue to each student a formal
evaluation at the beginning of the spring quarter. Again, within the first two weeks of Spring
quarter, students are required to meet with their Advisor to discuss the formal letter.
At the end of the spring quarter, at the point at which the invitations to return to the next level of the
training are determined, Performance Faculty who have attended at least three out of four Synthesis
events (Mid-quarter Winter Scene Showing, Winter Final Scene Showing, Spring
Final Scene Showing, and Rehearsal & Performance: MFA 1 Actors Project) in consultation with the
MFA 1 Core Faculty, will vote to support those students who meet the four criteria – 1) imagination, 2)
progress in the program, 3) discipline, and 4) collaboration) – and shall be returned to the production
phase of the program the following year. Those students the faculty does not support as meeting the
four criteria will not be invited to return.
In consultation with the MFA 1 Acting Instructor(s) and the Director of the Rehearsal & Performance:
MFA 1 Actors Project, the faculty will issue a single grade for all three quarters of work in MFA 1
Acting and the one quarter of work in Rehearsal & Performance - that grade will replace the previous
"R" grades from fall and winter MFA 1 Acting.
There is an interrelationship between invitations to return and grades given in the Synthesis Courses: B-
will be the highest grade awarded should the student's efforts not earn an invitation to return.
Grading for all courses in subsequent years will be done by the individual faculty member
according to the terms of the syllabus.
2.15 Design/Technical and Theatre Studies Programs Evaluation and
Continuance Policies
Updated Design/Tech Chair
Students in the school are continued from year to year at the invitation of the faculty. The faculty takes
very seriously the regular evaluation of student work and is alert to the need to communicate
both matters of commendation and of concern.
The faculty evaluates the progress of every student at the end of each quarter. The evaluation criteria
are: 1) imagination, 2) progress in the program, 3) discipline, and 4) collaboration. The student’s advisor
communicates the results of these evaluations to the student. At the end of each school year these
evaluations lead to Invitations to Return to the next year of study. There are no pre-determined limits on
the number of students returning to these programs. An invitation to return to the third year of these
programs is for the duration of the respective programs provided that all academic requirements are met,
and that professional discipline is acceptable.
2.16 Design/Technical and Theatre Studies Programs Warning Policy
Updated Assistant Dean
I
f the quarterly evaluation of a student’s progress indicates that appropriate progress is not being made
the formal communication of concern is called a WARNING. A Warning is a caution that unless a
substantial improvement occurs by the end of the next quarter, the student may be dismissed from the
program.
The Warning gives specific information gathered from the relevant faculty and production staff which
explains where improvement is necessary and is issued in writing to the Design/Tech and Theatre
Studies students by the dean within the first two weeks of the quarter.
Usually, warnings are only issued to students in the first and second years of the BFA programs in
Design/Tech and Theatre Studies.
2.17 MFA Directing Program Evaluation and Continuance Policies
Updated Performance Chair
Continuation in the Directing Program from year to year is by invitation of the directing faculty. In
addition to meeting the academic standards of the curriculum, professional potential, progress in the
program, discipline, and collaboration are the criteria utilized in making decisions about advancement
into subsequent years.
At the end of the spring quarter the directing faculty evaluates first year students for continuation into
the second year. In addition to the above criteria, the quality of the spring quarter Short Play assignment
will be added. Students should be alert to the fact that, should it be the decision of the faculty not to
invite them to return to the second year, they will not have received a Warning prior to that decision.
During the second year any student whose continuance into the third year is in jeopardy will be issued a
written WARNING from the dean, as advised by the Head of the Directing Program, within the first two
weeks of the spring quarter. A warning is a caution that unless a substantial improvement occurs by the
end of the spring quarter, an invitation to return is unlikely. The warning will outline specific issues for
the student to address in the spring quarter. The student's work will be evaluated at the end of the spring
quarter to determine if the student will be invited to return to the program the following year.
Any questions about this policy should be addressed to the Head of the Directing Program.
2.19 Dismissal Appeal Process
Up
dated Assistant Dean
Students dismissed from their program have the option of initiating an appeal process.
1. The appeal mu
st be based upon the failure of the faculty to evaluate the student fairly and properly
according to the criteria of the program: imagination, progress in the program, discipline, and
collaboration, and/or according to school policies.
2. The student wishing to appeal must do so either by email or by certified mail with a time stamp
postmarked no later than one week from receipt of the dismissal communication. Any appeal postmarked
later than this date will not be considered.
3. The appeal must be addressed to the Dean of the Theatre School.
4. Upon receipt of the appeal, the Dean Committee (consisting of the dean, associate dean and
assistant dean) will determine if the appeal is based on the criteria above. If the Committee judges that
the appeal does not address the criteria, the appeal will be denied and the matter will end.
5. If the Dean Committee determines that the appeal is based on the criteria above the appeal will be
passed on to the Appeal Board (appointed by the dean and consisting of two faculty members from
the student's department and a third member from one of the remaining departments in the School) which
will reconsider the decision not to return the student. This reconsideration may involve the polling of
members of the faculty and/or a meeting with the student appealing. However, the responsibility for
making the decision rests solely with the Board.
6. The Board will make one of the following decisions: 1) return the student unconditionally; 2) return
the student with certain conditions and requirements; 3) deny the appeal and uphold the original
decision.
7. The Dean will communicate the decision of the Appeal Board to the student.
8. All decisions made by the Appeal Board are final.
This process is protected by the restraints of confidentiality so as to protect both the rights of the student
and the responsibility of the faculty to sustain the professional standards of The Theatre School.
2.20 Rehearsal Clothing and Equipment
Updated Performance Chair
All performance students are required to have with them tights and leotards for their movement
classes. There are several dance supply shops throughout Chicago where items may be purchased.
Prices vary and students are encouraged to shop carefully. All men in the Acting Company are
expected to provide a suit or sport coat and dress shoes. All women are expected to provide character
shoes (preferred, will last many years of your career) or short-heeled pumps and an ankle length, full,
rehearsal skirt. All performance students are also required to purchase both a yoga mat and a yoga
belt which students may usually purchase from The Theatre School.
2.21 Program Credit and Biographies
Updated Theatre Manager
All Theatre School students who wish to be listed properly in the production programs must have their
names and bios on file in The Theatre School database and ticketing system. At the beginning of fall
quarter, each student receives a form which must be returned to the Theatre Manager, Leslie Shook, or
the Administrative Assistant, David Keohane, within one week. Returning students will have current
information on the form. Please note changes in name spelling, address, and information. New students
should fill in the information on the form. Biographies are limited to 60 words and should contain only
professional information without personal acknowledgments.
The computer can accommodate a name of 28 letters and spaces, and your name may not exceed this
number. It is strongly recommended that you use your first name and last name with optional middle
initial. Any change of approved program names during the school year must be submitted to and
approved by the Assistant Dean. Names submitted for program copy by stage management should be
your currently registered name.
2.22 Process for Rehearsing & Performing Intimate Contact
Updated Assistant Dean
At The Theatre School, we train actors to be bold, to live moment-to-moment in the given
circumstances of the material, while being equally vigilant in ensuring their partner’s safety and
boundaries. We encourage actors to take risks in scene work, but an atmosphere of absolute trust is
necessary in order to truly take risks.
Clear boundaries must therefore be established and agreed upon among the artists involved, both in
rehearsals and performance, particularly in scenes depicting violence, sex acts, intimate contact,
abuse, or gestures of intimacy.
The Theatre School’s ON PROFESSIONALISM document outlines this with our expectation of
Respect, Discipline, Responsibility, Collaboration, Communication, Maturity, and Honor.
The following guidelines should be referenced when rehearsing or staging scenes of the nature
described above. This includes scenes for classes, auditions, or productions, both inside and outside
of class, with or without a director.
1. Scene partners (and the director*) must agree to the boundaries of the scene (e.g., kiss, slap, etc.),
whether explicit or implicit in the text. The actors (and the director*) must set down and agree on
those boundaries before the work starts. The actors are responsible for staying within those agreed-
upon boundaries.
*when a director is involved in the project or rehearsal
There are two general kinds of boundaries that scene partners can set:
a. A realm of contact that is acceptable to rehearse.
b. Specifically choreographed contact. [stage violence is always choreographed but may also
include non-“contact.”]
Scene partners should have a verbal check-in before any rehearsal in which intimate contact is being
rehearsed, to determine if/how that contact will be rehearsed in that rehearsal.
The boundaries may change over the rehearsal process. The boundaries may narrow, or they may
broaden. But any change to the boundaries must be discussed and agreed upon before the rehearsal.
2. Partners must agree to be listening for each other’s safety. The energy and direction of any action
needs to be in proportion to the partner’s energy, within the relationship and given circumstances.
3. Maintain the integrity of the agreed-upon structure of intimate contact once a show is in
production. All agreements are to be kept.
4. If you’re uncomfortable with the material or the process, or these criteria are not being met:
a. In class/ rehearsal outside of class/scene rehearsal: rehearsal/exercise should stop. Boundaries
must be re-established before moving forward.
b. In performance: The actors should report any variations from the agreed-upon boundaries or
actions to stage management.
An individual may also, at any time, discuss an incident with a faculty advisor, their academic advisor,
or another trusted faculty/staff member if they wish. The actor should be aware that the faculty/staff
member may have reporting obligations and may not be able to guarantee confidentiality. An
individual may also always make a report directly to the Title IX Coordinator or may also choose to
discuss incidents in a confidential space. Contact information for the Title IX Coordinator, as well as a
list of confidential resources, are detailed in the links below.
*****
The above document is about professionalism in the theatre at The Theatre School. DePaul
University resources include:
Sexual & Relationship Violence and Response Policy
http://policies.depaul.edu/policy/policy.aspx?pid=320
Public Safety Website: Title IX and Sexual and Relationship Violence Information
https://publicsafety.depaul.edu/relationshipviolence/index.asp
Health Promotion and Wellness Website
http://offices.depaul.edu/student-affairs/support-services/health-wellness/Pages/sexual-health-
violence.aspx
Confidential Resources at DePaul:
Office of Health Promotion and Wellness: mailto:[email protected]
University Counseling Services: Lincoln Park, (773) 325-7779, Loop (312) 362-6923
http://offices.depaul.edu/student-affairs/about/departments/Pages/ucs.aspx
In addition, DePaul has established an email alias that goes directly to the Title IX Coordinator:
titleixcoordinato[email protected].
2.23 Nudity in Productions
Updated Assistant Dean
Applicable to the Fullerton Stage and Healy Theatre series only:
1. During the season selection process, a director must make known at that time the possibility that
nudity may be used in his/her proposed production.
2. The Acting Company will be notified at the time the season is publicly announced.
3. All roles requiring nudity will be played by actresses/actors who are at least twenty-one years old.
4. At any point during the production process an actress/actor may decide against performing the role
nude.
5. Any actress/actor within the Acting Company may choose not to audition for a role that will involve
nudity.
There will be no nudity in Scene Showings, or Chicago Playworks, Studio, Introduction to Performance,
Theatre Arts Lab, Wrights of Spring, or independent project productions.
3 THE ADMINISTRATIVE POLICIES OF THE THEATRE SCHOOL
3.1 Offices
Updated Assistant Dean
Though you will find the doors to these offices open to you during normal business hours please
remember that these are private offices and should be treated as such. The administrative offices
(including the offices of the Dean, Associate Dean, Assistant Dean, and Admissions Office are located
on the fifth floor. The Marketing and Public Relations Offices are located on the second floor.
3.2 Contact Information
Updated Assistant Dean
If a student’s contact information ever changes it should be updated in the demographics panels in
Campus Connect. It is very important that the School has correct and up-to-date contact information. This
information is confidential and is available and accessible only as allowed under FERPA.
3.3 Visitors
Updated Assistant Dean
Visitors are not allowed to observe classes or rehearsals without the permission of the instructor.
3.4 Computer Labs and E-mail
Updated Assistant Dean
Details about the computer labs on all DePaul campuses can be found here:
https://offices.depaul.edu/information-services/services/labs-
classrooms/computer-labs/Pages/default.aspx
All students registered with the University are given a free e-mail account. Details about student e-mail
can be found here: https://offices.depaul.edu/information-services/services/email/Pages/default.aspx
Some Theatre School computer areas are available to all students such as the first floor student lounge.
The fifth floor MAC lab, RM529, is available to Theatre School Students only. The CAD lab, Rm518, is
available to designated students and the Administrative Work area is for administrative student workers
while they’re working.
3.5 Public Relations
Updated Director of PR/Marketing
All press releases, announcements and appearances on radio or television or before any organization are
arranged by and subject to the approval of the Dean. Under no circumstances will any student represent
him or herself as a spokesperson for the University or the School or permit any interview for newspaper,
radio or television without the knowledge and approval of the Dean.
3.6 Building Hours
Updated Assistant Dean
Building hours for The Theatre School outside of class time vary according to rehearsal schedules and
are posted weekly on the first floor of the building near the elevators. Information on building hours is
available from the Technical Operations Manager. To see when the university/Theatre School is
officially closed, refer to the Academic Calendar: https://offices.depaul.edu/oaa/academic-calendar
3.7 Good Neighbor Policy
Updated Assistant Dean
The Theatre School is located in the middle of a residential area. You are asked to respect the privacy
and property of the residents in the Theatre School's neighborhood. All outdoor activities that are not a
part of your regular class work should be confined to the lawn areas of the university campus.
This is particularly important during, and after, late night rehearsals and performances.
3.8 Orderliness
Updated Assistant Dean
In order to maintain workable and pleasant surroundings in which to study and work, it is necessary that
everyone share responsibility in keeping all areas clean and tidy. Do not leave personal articles or
rehearsal props in the lounge, classrooms, washrooms, or backstage areas. Use your locker. Eating is
permitted only in the student lounges and the Green Rooms.
3.9 Care of School Property
Updated Assistant Dean
Each student is responsible for the protection and care of all tools, equipment, costumes, books or
properties issued to him or her. The student will be fined in cases of loss or damage to any School
property. University property, including lounge furniture, may never be removed from the designated
areas or used in scenes or rehearsals.
3.10 Building Regulations
Updated Assistant Dean
No smoking is allowed anywhere on Theatre School property including the outdoor courtyard on the
fourth floor.
Movement & Voice Lab regulations include; no shoes, only water, no glass containers, no tape on
the floors, and no furniture other than the designated room inventory.
No food or beverage (other than water in plastic containers) is allowed in any Theatre School
classrooms. Instructors may make exceptions to this rule as long as students are responsible. Food
is allowed in designated lounge areas as well as faculty and staff offices.
Bicycles are not permitted inside of University buildings at any time.
Animals are not permitted inside of University buildings at any time. Exceptions are made only
for service animals.
3.11 Lockers and Personal Property
Updated Assistant Dean
There are not enough lockers in The Theatre School for every student. Each year, lockers are assigned
to all incoming students, and to all returning students who requested to have a locker for the year
during the previous Spring Quarter. If a returning student realizes s/he needs a locker, s/he should
request one in writing to ttslockers@depaul.edu. Personal property left outside of a locker is subject to
being thrown out by the custodial staff or to being stolen. Students do not provide their own locks but
are given the combination to a lock on the locker. Any unauthorized lock on any locker is subject to
confiscation. All lockers are to be emptied and cleaned (if necessary) by the student at the end of each
academic year.
3.12 Lost & Found
Updated Operations Manager
The lost and found of The Theatre School can be found on each floor by the west elevators. At the end
of each week, these boxes are emptied and items are donated or thrown out. Items of value should
be turned in to the main office receptionist on the 5
th
floor during regular business hours. At other times
if valuable items are found Public Safety should be notified. Items picked up by the custodial staff are
turned into the DePaul Public Safety office (Centennial, Suite 304, x57777). Missing items of significant
value such as wallets or purses, or suspected thefts, should be reported to the DePaul Public Safety.
3.13 Student Government
Updated Assistant Dean
Every fall quarter, elections are held to elect representatives for the first year class, and upper class
replacements to The Theatre School Student Government Association (TTSSGA). Students who are
elected to serve on TTSSGA will usually hold their position for the length of their stay at the school
provided they remain in the major they were in when first elected. The total number of representatives
varies slightly each year depending on the mix of students so that all areas and majors are represented.
TTSSGA elects its own officers and the Assistant Dean is advisor to the group. TTSSGA is a very active
organization. No Friday night rehearsals, curricular revisions, the more timely posting of all cast lists,
G.O.D. Squad, expansion of the class evaluation process, the revision of Rehearsal and Performance
regulations, and making The Theatre School a smoke free environment are examples of activities that
were changed or started because of participation in TTSSGA.
3.14 ST*RS
Updated Assistant Dean
ST*RS (Support Tomorrow’s Rising Stars) is a group of graduating students who hold events through
the year to raise funds to help offset the costs of the Graduate Showcase. Any student in their final year
of their program can participate. The group elects its own officers each spring prior to their final year
of study and is officially advised by the Assistant Dean.
3.15 Work Study/Student Service
Updated Operations Manager
There are a variety of work study positions available at The Theatre School, including jobs in specific
areas, such as the Scene Shop, Costume Storage, Reskin, Prop Shop, Script Library and others, along
with jobs as a student assistant for a particular faculty member. If a student is interested in a position
s/he can contact the area supervisor / faculty member directly. Alternatively, the student may also contact
the Assistant Dean, TTS Rm505, to see if any positions are available.
Theatre School students can also work at other departments or schools of the University. Details about
these positions can be found at the Career Center: Lincoln Park Campus - Schmitt Academic Center,
Room 192, (773) 325-7431; Loop Campus - DePaul Center, Room 9500, (312) 362-8437.
http://careercenter.depaul.edu/
3.16 Merit Scholarships (for students entering 2015 and prior)
Updated Assistant Dean
At the end of each academic year, each student is automatically considered for a merit scholarship. The
faculty in the student's area of study will evaluate each student and merit awards are announced after
the end of the spring quarter. Further information can be obtained from the Assistant Dean TTS Rm505
or the Chair of each curricular area (Design/Tech, Performance, Theatre Studies).
3.16.1 Scholarships (for students entering 2016 and after)
Updated Assistant Dean
All available departmental scholarships available from The Theatre School are awarded as part of the
initial offer of admission. Designations of named scholarships may be made in subsequent years but those
designations do not come with additional scholarship dollars.
3.17 Outside Jobs
Updated Performance Chair
The immediate objective of The Theatre School is to provide instruction. Required participation in crew
work, rehearsals, and performances make it difficult for students to accept jobs outside of School at
regularly scheduled times. (For instance, all actors must remain available for rehearsal at a 24-hour notice
and all crew members must remain available for all technical scheduling.)
During the academic year, no performance student may acc
ept theatre, television, radio or film work of
any kind, amateur or professional, paid or unpaid with one exception. Theatre School Performance
students in their 3rd year of the MFA and 4th year of the BFA programs are eligible to participate in
student or faculty initiated film projects sponsored by the School of Cinematic Arts. Student actors
participating in School of Cinematic Arts projects must adhere to the following policies:
Eligible student actors may participate in School of Cinematic Arts film projects provided the
project does not interfere with the actor’s rehearsal and performance commitment, including
auditions, rehearsals and performances, or class obligations, and scene showings.
Participation in School of Cinematic Arts film project activities must conclude at least 12 hours
prior to TTS rehearsals and performances.
If a student actor accepts a role in a film project, the student is responsible for emailing their
advisor and department chair with a copy of the shooting schedule.
Eligible student actors interested in participating in School of Cinematic Arts film projects are
required to email JoAnne Zielinski at [email protected] the beginning of each quarter and
provide the following information:
Name: Address: Phone: Cell:
Email Address: Availability:
Student actor contact and availability information will be entered into a database. An email
will be sent to student actors announcing a casting search. The email will contain specific information
including a cast breakdown. The student actor will respond directly to the casting notice and make
arrangements to set up an audition or meet with the director.
Design, Technical, Producti
on and Theatre Studies students may be involved in outside employment, as
long as it does not interfere with their responsibilities within the School, and they consult with their
advisors about the employment.
Any student whose work outside
of the school interferes with an assignment will risk dismissal
from the program.
3.18 Early Leaves
Updated Assistant Dean
Requests to leave school early for the summer must be submitted in writing to Assistant Dean using
the early leave form available on TTS Backstage. The request should contain the reason for the early
leave, the date the leave would begin, a list of current Theatre School teachers with their signatures
signifying their approval of the early leave, and the student's full contact information. The Theatre
School has no authority to release students early from non-Theatre School courses. The reason for the
early leave must involve an internship or work related to the student’s field of study. Reasons other
than this will not be considered.
The submission deadline is May 15
th
, or at least one week prior to the anticipated last day of
attendance, whichever is earlier.
Once the request is submitted, the Assistant Dean
will confer with the chair of the student’s area for
input and then make a recommendation to the Dean who will then make the final decision,
communicating it to the student in writing. Each decision is reached on a case by case basis. Neither the
committee nor the Dean is bound by a prior decision.
3.1
9 Safety and Emergencies
Updated Assistant Dean
It is imperative that you be aware of your surroundings at all times. Excessive trash, disorganization of
materials and personnel, and lack of concentration all contribute to accidents that should not occur. Do
not take unnecessary risks. Appropriate protective equipment (shoes and eye protection when in the
scene shop, masks when welding, gloves when dying, etc.) should be worn at all times. Obtain
instruction on the proper use of safety equipment before beginning a task. Be aware of who is working
around you and what they are doing.
If an accident should occur, immediately notify your supervisor, who w
ill notify DePaul Security Public
Safety (ext. 57777 or ext. 28400 if at the Reskin). If necessary, they will contact the fire department, the
police, or call an ambulance to deal with the emergency. As a safety precaution, know the location of
any fire extinguishers and take responsibility for knowing their type and specific uses. Also be aware of
all exits from any space in which you are working. With a little forethought and awareness, accidents
can be kept to a minimum.
For minor incidents which do not require a
ttention beyond a Band-Aid or similar simple remedies an
Injury report form must be filled out and submitted to the main office of the theatre school as soon as
possible.
To deter theft, students should keep their belongings with them or in sight at all times. Lockers are
available on campus to any students who wish to use them. Personal tools and other such property
should be clearly marked with owner's name. An etching tool is available for student use through the
DePaul Security office. Any suspicious persons should be reported to the faculty supervisor and, if
necessary, to DePaul Public Safety (ext. 57777 or ext. 28400 if at the Reskin).
