TABLE OF CONTENTS

LIST OF FIGURES iv

CHAPTER

I. INTRODUCTION 1

The Problem 2

Analysis of the Problem 2

Review of the History of the Play 6

II. REQUIREMENTS AND LIMITATIONS OF THE DESIGN . . . 8

Requirements of the Scenic Designer 8

Requirements of the Script 11

Requirements of the Director 12

Limitations of the Stage Facility 13

Limitations of Budget 14

Limitations of Time 14

III. SOLUTIONS TO THE LIMITATIONS AND

REQUIREMENTS OF THE DESIGN 16

The Designers Concept 16

The Floor Plan 17

The Elevations 19

The Properties 20

IV. EXECUTION OF THE DESIGN 21

Constructing the Setting 21

Painting 22

Assembling the Setting 23 V. SUMMARY AND CONCLUSIONS 24

11

ENDNOTES 26

BIBLIOGRAPHY 27

APPENDIX 28

ill

LIST OF FIGURES

1 . Photograph of the Rendering 29

2. Photograph of the Setting 30

3. Photograph of the Special Platforms 31

4. The Floor Plan—Scale: 1/2" = 1' 32

5. The Hanging Section--Scale: 1/2" = 1' 33

6. The Elevations — Scale: 1/2" = 1' 34

IV

CHAPTER I

INTRODUCTION

The Department of Theatre and Dance of Texas Tech

University allows for a production thesis in scenic design

among other areas. The purpose of the thesis is to

demonstrate knowledge and application of a design

methodology. The requirement is based in part on the

requirements of the Master of Fine Arts degree as listed

by the National Association of Schools of Theatre Handbook

that states:

The M.F.A. candidate should be required to present a final project showing professional competence in a specific area of work. While such presentation may be supported by a written document, such document (except for programs in playwrighting) in itself may not be considered the final project.

This thesis, then, is a report of a design project for

the Texas Tech University Theatre production of Godspell.

The purpose of this document is to demonstrate the

development and execution of a scenic design process as

applied to a specific production. Although research plays

a role in the design process, this thesis is not a

demonstration of scholarly research skills as are required

by some degree programs. It is, rather, a demonstration

of the design process.

This thesis is to record the scenic design process

for John-Michael Tebelak's Godspell which was produced

as part of the Texas Tech University Theatre Mainstage

Season, February 11-14 and 18-21, 1993. The location was

the Mainstage of the Texas Tech University Theatre.

The Problem

The purpose of the project was to design scenery for

the Texas Tech University Theatre Mainstage production

of Godspell. Godspell is a musical made to entertain and

educate the spectator. According to the script, it requires

a cyclone fence enclosure, basic lighting, and is very

dependent on small hand props and costume accessories.

A successful production would need to allow for an

actor-driven event. An actor-driven event is a production

that is predominantly controlled by the actors. The actors

actually change a majority of the scenery, the costumes,

the properties, the sound, and the lighting to move the

action of the play. The scenic design would have to meet

the requirements of the script and members of the production

team.

Analysis of the Problem

Godspell is based on the Gospel according to St.

Matthew and consists of clowns that act out each of the

stories as Jesus teaches them and the audience. The musical

opens with each of the cast members representing a major

philosophical figure from history (Thomas Aquinas, Martin

Luther, Buckminster Fuller, and Jean-Paul Sartre, for

example) forming the Tower of Babel. They are then called

by John the Baptist to "prepare ye the way of the Lord"

and come to be baptized. Jesus enters to be baptized as

the others exit. Then he sings "Save The People" as the

cast re-enters and they begin performing the parables.

They perform the parables about settling matters quickly

and the unmerciful servant. One of the most notable songs

of the musical, "Day By Day," is performed to honor Jesus.

Jesus continues to teach the clowns by using the parables

about adultery, an eye for an eye, the good Samaritan,

love for enemies, and giving to the needy. Following the

song "Learn Your Lessons Well," the parable of the rich

fool is performed. "Oh Bless The Lord My Soul" is the

next musical number. Jesus then teaches the parable of

the lilies in the field and the Beatitudes. Jesus and

Judas perform the song "All For The Best" and the parable

of judging others. One of Jesus' most notable parables,

the parable of the sower, is then performed. "All Good

Gifts" is sung by the cast followed by the parable about

the lost son. Act I ends with the cast singing "Light

Of The World" and sharing wine with the audience.

Act II opens with two songs, "Learn Your Lessons Well"

(reprise) and "Turn Back O Man." Jesus is then questioned

by the Pharisees about His authority to which He answers

with the parable of two sons. He also teaches about paying

taxes to Caesar and the greatest commandment. Jesus sings

"Alas For You," a song based on the seven woes. Following

this song is the parable about the day and hour unknown.

"By My Side" is sung followed by the parable of the sheep

and the goats and the song "We Beseech Thee." Judas then

leaves to betray Jesus. After Jesus and the clowns act

out the last supper, Jesus goes to pray and is tempted

by Satan. He is then taken into custody and crucified

on the cyclone fence enclosure. He sings the beginning

of the "Finale" and dies. The clowns finish the "Finale"

carrying Jesus through the audience ending the performance.

After reading the script the scenic designer is ready

to begin designing the set. There are certain guidelines

that he can follow in order to reach the finished product.

According to J. Michael Gillette:

A problem solving model for theatrical design and production consists of seven distinct phases: (1) commitment, (2) analysis, (3) research, (4) incubation, (5) selection, (6) implementation, and (7) evaluation.

This is what is known as the design process. It is within

this process that the designer, along with the production

team, makes the decisions on how the play will be presented

These seven phases help aid the designer in developing

a scenic design. As with any good design there are elements

that need to be researched along with the history of the

play and the playwright. Lynn Pecktal states:

According to the type of work (drama, musical comedy, opera, ballet, for example) and the director's aims, the scenic designer and the director are concerned with these esthetic and mechanical elements: place and locale, time and period, theme, mood, scenic style, social status of the characters, movement and position of the actors, and changing of the scenery."

Godspell is not set in any particular time or place. As

stated earlier the production notes in the script simply

note the use of a cyclone fence, a platform for the band

and PAR lights. The musical is based on the Gospel

according to St. Matthew, so the theme is religious in

nature. However, the script also has references to current

events that tie in with the religious message. There is

no definite scenic style. Scenic style can be better

determined by how the production team works to be flexible

and resolve their ideas based on the demands of the script.

The production team works together to do the best job they

believe is appropriate for the play and the audience labels

it with a style. The ensemble cast plays several different

roles to act out the parables. According to the script,

the characters have the social status of clowns playing

the characters of the Jesus story. The actors need to

have complete freedom of movement as this is an actor-driven

event. The scene only changes with the placement of props

and costume accessories. The script allows for freedom

in design. Designers and directors can take advantage

of this freedom to work together on a common vision for

production.

Review of the History of the Play

John-Michael Tebelak wrote Godspell in 1971 for his

thesis project at Carnegie's Tech School of Drama, later

renamed Carnegie Mellon University. The lyrics were written

by Stephen Schwartz, also a Carnegie Mellon graduate.

The musical is based on the Gospel according to St. Matthew

with portions borrowed from the other three gospels.

Tebelak wrote Godspell after attending an Easter Vigil

service at the Angelican Cathedral in Pittsburg. According

to Tebelak, everyone in the church seemed bored. In an

interview Tebelak states, "The church has become so dour

and pessimistic; it has to reclaim its joy and hope. 4

I see Godspell as a celebration of life." The title word,

Godspell, comes from the archaic form of gospel and was

the catalyst that led Tebelak to write the play. "'I was

looking for a myth...a myth that would have meaning for

a contemporary audience.' This in turn led him to Christian 5

themes." The musical first performed at Carnegie Mellon

University and then moved to Off-Broadway at the La Mama

Theatre. At this time Stephen Schwartz was commissioned

to write a new score and lyrics. From the La Mama Theatre,

it opened at the Cherry Lane Theatre on May 17, 1971, and

ran 2,124 performances. The musical was an Off-Broadway

smash hit that eventually resulted in a movie. In 1976,

five years after it opened at the Cherry Lane, Godspell

opened on Broadway at the Broadhurst Theatre and ran 527

performances. With its unique message, Godspell has also

been performed all over the world.

CHAPTER II

REQUIREMENTS AND LIMITATIONS

OF THE DESIGN

Anytime a designer approaches a production, he is

faced with certain requirements and limitations. Finding

out the requirements and limitations is the first priority

of the scenic designer. He must deal directly with each

requirement and limitation to achieve a successful solution

to the design problem. The script, director, facilities,

budget, and time can all impose requirements and limitations

on the scenic designer. After the requirements and

limitations are defined, the scenic designer can begin

the design process.

Requirements of the Scenic Designer

Any theatrical production is usually blocked by the

scenic designer. Blocking is the process of laying out

the major traffic patterns of the actors movements for

easy maneuvering. The scenic designer provides the director

with the opportunity for blocking. Therefore, he should

carefully consider all the playing areas, entrances and

exits, furniture, and properties required of the script

or production team. According to Lynn Pecktal:

The scene designer is involved with the movements and positions of the actors

8

in all areas on the stage - including where the actor stands, walks, dances, sits, climbs, lies, runs, or performs^any other function on the physical stage.

After working with the director and other designers on

the visual look for the production, the scenic designer

can begin the design process by committing to the project

at hand so that he is promising himself the best work he

can do. He must gather all the information he can about

the play by reading it several times. This allows the

designer to get a feel for what the play is about and what

the characters are like. Reading the script also identifies

areas that will need further research. The analysis phase

of the design process also includes production meetings

in which the scenic designer can question the other members

of the production team about the play. "The more

information you receive, the more source material you will 7

have to draw on when you finally begin to design."

Background and conceptual research then becomes the task

of gathering information about the play. The scenic

designer researches the history of the play, the playwright,

and the time period in which the play is set. Multiple

solutions need to be developed so the production team has

as many solutions to choose from as possible. After the

analysis and research, the designer should allow the ideas

to incubate. This time period allows ideas to hatch and

may allow the scenic designer's subconscious mind to develop

solutions to the design problem. When the scenic designer

has spent an appropriate amount of time thinking about

the play, a selection can be made. A solution is developed

for the play. Then the solution is put into visual form

so it can be implemented. The scenic designer develops

sketches, renderings, models, and working drawings so the

design may be realized. Finally the scenic designer

evaluates the process. Questions are asked concerning

what worked and what did not work. These questions help

the scenic designer to evaluate his performance so he can

become better in his craft.

The communication between the scene designer and the

production team should always remain open to allow for

any changes. The scenic designer must keep the director

informed of any changes to the design and its execution.

During the developmental stage of the design work the scenic

designer has a responsibility to the needs of the production

concept as determined in the production meetings. Through

communication and a sharing of ideas, the scenery can

develop along with the production, allowing for any changes

to occur. "The form of the setting(s) must be designed

to accommodate the blocking and other stage business that o

the director had in mind." After considering the above

elements, the scenic designer then chooses the best solution

that fits into the concept for the play.

10

Requirements of the Script

John-Michael Tebelak states in the script:

The setting consists of a cyclone fence enclosure, securely braced, nine feet high and open on the audience. This enclosure sits on a bare stage. The band is visible on platforms upstage right (piano, organ) and upstage left (guitars, drums). Over the acting area hang nine PAR bulbs in three symmetrical rows of three each. The PARs hang about ten feet off the stage and are turned on and off by the actors pulling a string.

Clearly, John-Michael Tebelak wanted this piece to be an

actor-driven event. The script simply requires a bare

stage with an enclosure and simple lighting elements.

There must be room for all cast members to move freely

and the band must have adequate space to perform. The

cyclone fence enclosure must be able to hold an actor for

the crucifixion scene. Throughout the script we find added

scenic pieces and props the actors use. For example, in

the beginning of Act I the actor playing Jesus jumps off

a table and later he slides down some planks. Jesus also

uses a magic scarf to demonstrate a parable. The script

does not specifically require that a table be used or that

certain props be used. It simply requires that the

production be an actor-driven event.

11

Requirements of the Director

Both the director and the designer agreed the musical

had a message which communicated to all people in all times.

The director wanted to strip away old beliefs and old

practices down to the basics. The director did not want

the musical set in any particular time period. When the

musical was first performed in 1971 it had a definite

70's theme. References in the script tie into the popular

culture of the late 60's and early 70's. It was also a

desire of the director to have a basic set. However, the

director wanted many levels and planes to create composition

and picturization. Levels are areas of the stage on which

the actor can elevate above or descend below the stage

floor. Planes are a series of imaginary lines parallel

to the stage opening and apron. They are as wide as the

actor positioned in them and as long as the scenery opening.

Levels and planes aid the director and scenic designer

in achieving composition and picturization. "Composition

is the rational arrangement of people in a stage group...to

1 0 achieve an instinctively satisfying clarity and beauty".

"Picturization is the visual interpretation of each moment

11 in the play". Props and scenery needed to be easily

accessible to the actors. Giving the actors the freedom

to move and perform the parables was key to the directors

concept. Resurrecting Jesus was another requirement made

12

by the director. This requirement is not in the script.

These types of requirements and limitations imposed by

the director made the design process difficult for the

scenic designer.

Limitations of the Stage Facility

The form of any stage production is influenced

considerably by the physical facility in which it is

performed. The mainstage at the Texas Tech University

Theatre is a proscenium arch stage with an opening measuring

44 feet wide by 18 feet high. Wing space is limited to

approximately 15 feet on either side. From the datum line

to the plaster cyclorama measures 35 feet with a curved

apron that extends 12 feet into the house. The stage

features an orchestra pit that can be covered by the apron

for extended stage space, lowered and used for an acting

area, or, naturally, used for the orchestra. The pin rail

is elevated off stage right and services 21 double purchase

line sets and 4 single purchase line sets. The house has

continental style seating.

The scene shop is located off the stage right wing.

It accommodates the equipment and some scenic storage.

A bay door gives the shop easy access for loading and

unloading scenery. Most of the scenery is stored in a

separate storage warehouse on campus. The scene shop is

13

small and limits the size of scenery that can be constructed

within its walls. Large pieces of scenery have to be

constructed in place on the stage.

Limitations of Budget

Budget is always a concern in any project. The Texas

Tech University Theatre production budget allowed

approximately $1,500 for the scenery of Godspell. This

amount limited the scenic designer to work primarily with

existing stock scenery. Stock scenery is scenic pieces

in inventory the theatre has already built or acquired.

Because of budget limitations, a scenic designer must

demonstrate the ability to use the tools he has at his

disposal. He must always think of how he can adapt an

existing piece of scenery to fit the current needs of a

production.

Limitations of Time

Time is always a concern when it comes to production

schedules. The Texas Tech University Theatre production

of Godspell had a production schedule of approximately

five weeks. The scenic designer must determine if there

is enough time to construct what he has designed. Time

limitations impose on a scenic designer the need to

carefully plan out construction schedules, how complicated

14

the scenery will be, the available equipment, and his

accessibility to construction materials. Knowing what

he has to work with better aids the scenic designer in

determining the amount of time it will take to mount a

production.

15

CHAPTER III

SOLUTIONS TO THE LIMITATIONS AND

REQUIREMENTS OF THE DESIGN

This chapter is concerned with the scenic designer's

solutions to the limitations and requirements of the design

with regard to the production concept. The scenic

designer's responsibility is to convey the production

concept in the physical sense. He must make emotional

feelings come through in his design. The scenic designer

must have imagination and creativity to deliver the

production concept to the audience.

The Designers Concept

In the scenic designer's analysis, the world of the

play has no real locale or time period. The message of

Jesus Christ is timeless and knows no boundaries. Because

the director limited the choices of locale and time period,

the scenic designer felt the scenery should not be set

in any one time period but in all time periods. The only

element that has been present during all of time has been

the stars in the sky. When one looks up into the sky at

night one sees the stars. A person 1000 years ago saw

the same stars, therefore, the only constant to all times

is the universe in which we live. The only being to live

16

on beyond each man's lifetime is God. John-Michael Tebelak

begins Act I of Godspell with a speech delivered by the

actor playing Jesus:

My name is known: God and King. I am most in majesty, in whom no beginning may be and no end. Highest, in potency I am, and have been ever. I have made stars and planets in their courses to go. I have made a moon for the night and a sun to light the day also.

Part of the design concept comes from this observation.

God exists in every time period, but man only exists in

a particular time. In other words, each man has his time

on earth, but God's time has no beginning or end. The

design reflects this by showing Jesus resurrected behind

the enclosure and the rest of the cast in front of the

enclosure. The scene designer's concept is based on Jesus

being the "fisher of men" and his ocean the entire universe.

The Floor Plan

The first step in developing a scenic design for

Godspell was the establishment of a floor plan. The floor

plan determines the traffic patterns and acting areas to

be used by the actors. The blocking, important actions

of the play, sightlines, and architectural plausibility

are all dependent on the floor plan.

In developing the floor plan (see Figure 4), the scenic

designer wanted to meet the requirements and limitations

17

of the script and the director, as well as the production

team. After determining these, the designer felt that

the best option for this production would be a multileveled

set (see Figure 1). This would create a variety of areas

for the director to block the parables and the

choreographers to create their dances. Interesting

composition and picturization can be achieved easily by

using a multileveled set, meeting one requirement of the

director. The entire stage area was used to accommodate

a cast of thirteen and a band of seven. The apron of the

stage was lowered to audience level to accommodate platforms

used as an acting area. The levels ranged from 3'-0" below

the stage floor to 7'-6" above the stage floor. Platforms

were placed at both sides of the proscenium arch, thus

taking full advantage of the proscenium opening. The set

extended 22'-0" behind the datum line giving some depth

to the scene. An area below the highest platforms was

used for the band (see Figure 2). The band was fully

visible during the whole performance and a part of the

action. Two smaller special platforms concealed under

the platforms on either side of the set were used for extra

performing areas (see Figure 3). A rope enclosure was

placed just behind the platforms. A black scrim was placed

just behind the enclosure to indicate the barrier only

Jesus passes through. A swing was hung on a line set behind

18

the black scrim for the resurrection of Jesus (see Figure

5). The actor playing Jesus gets on the swing and is

elevated out of the view of the audience during the last

part of the "Finale." He is then lowered back into the

view of the audience and illuminated by light for the

resurrection. By using a multileveled set the scenic design

met the requirements and limitations of the director.

The scenery let the actors have the freedom to move and

perform the parables as the director required.

The Texas Tech University Theatre Mainstage served

the design well. There was adequate space to construct

the set and for the actors to move freely. Lowering the

apron allowed the designer to give the director more levels

and playing areas. Most of the scenery was in stock and

only needed to be assembled to complete the design.

The Elevations

The elevations allowed the production team to see

the full benefit of the multileveled set (see Figure 5).

It also established how the enclosure would work. The

elevations show which line set Jesus flies in on, where

all soft goods are hung, and how the band fits under the

main platform. The elevations show how to construct the

19

special stair unit and where to place the P.V.C. pipe (see

Figure 6). Carpet rolls and P.V.C. pipes measured 6" in

diameter and ranged from 10'-0" to 15'-0" in height.

Midnight blue, sky blue, and white were the colors

used on the platforms and stage floor to give the look

of the universe. The carpet rolls and P.V.C. pipes used

in the enclosure were painted with dark browns and medium

yellows for a wood grain effect.

The Properties

Acquiring properties was the responsibility of the

property master. With the artistic approval of the scenic

designer the property master worked under the supervision

of the technical director.

Properties where limited to those items essential

to the action of the play. Each actor carried a tote bag

which they kept costume pieces and props in for use during

each scene. When a prop was needed they simply retrieved

it from the bag. Properties were also stored on the set

under platforms and within the rope netting. A few props

are integral to the action of the play. The bread and

juice are needed for intermission and the last supper scene

Some magic tricks were needed to complete the parables.

Various properties were used during dances and parables

to complete the action of the musical.

20

CHAPTER IV

EXECUTION OF THE DESIGN

Once the design solution was complete, its execution

became the responsibility of the technical staff of the

University Theatre. In the process of executing the design

problems can be encountered. This chapter deals with the

process and means by which the design was realized, and

any solutions to the problems encountered in the execution

of the design.

Constructing the Setting

The first task was to pull the platforms from storage.

Six new platforms with angled ends were needed for placement

in the lowered apron. The stair unit was specially built

to fit at a slight curve so it could elevate up to the

upper platform. All platforms were legged with 2 X 4 lumber

and 3/4" plywood scabs. The legs were inset under the

platforms 1'-3". This was done to make the platforms appear

as though they were floating in the universe. All platforms

were faced with 1/8" masonite and the legs were covered

with black velour or painted black. The special sliding

platforms were legged up on frames to which casters were

attached. These platforms were extended out when needed

for various scenes.

21

Carpet rolls, P.V.C. pipe, and rope netted together

formed the enclosure. Only three poles were P.V.C. and

were supported by air plane cable from the top of the pipe

to the grid iron. This was done to accommodate an actor

for the crucifixion scene. The poles were cut in lengths

from lO'-O" to 15'0" and staggered in position to create

an uneven enclosure. The ropes were then weaved together

to form the netting and attached to the poles.

Painting

Once the platforms and stair unit were constructed

and in place the set was ready to be painted. The midnight

blue and sky blue were wet blended together on the floor

and facing of the set. Wet blending is the process of

blending two or more paints together on a surface while

they are still wet. With a common garden sprayer, the

white glaze coat was applied in swirling patterns to form

the stars of the universe. The whole set was then coated

with a sealer to keep the paint from wearing off.

The carpet rolls and P.V.C. pipes were painted to

look like wood. The base coat of paint for the carpet

rolls and P.V.C. pipe was a wet blend of dark browns and

medium yellows. Lighter and darker variances of those

colors were used to spatter and drag on the poles. The

spatter and drag process consists of thinning down the

22

paint, dipping a brush in the paint, allowing the paint

to fall in drops on the surface, and than dragging a stiff

bristled broom over the surface. This completed the wood

grain detail and the poles were then placed.

Assembling the Setting

The position of the platforms were located and marked

on the stage floor. Using these marks as guides, the

platforms were then legged, positioned, and secured

together. The legs were secured to the floor and cross

braced. After the special sliding platforms were attached

to their frames with caster, they were positioned under

the appropriate platforms. The carpet rolls and P.V.C.

pipes were positioned approximately I'-O" behind the

platforms and secured with rope from the top to the floor.

The P.V.C. pipes were also secured with air plane cable

from the top to the grid iron. The swing in which Jesus

flies in on was hung on line set 21 and a black scrim was

hung on line set 19.

23

CHAPTER V

SUMMARY AND CONCLUSIONS

The scenic design for Godspell took into account the

practical limitations of time and budget as well as the

requirements and limitations of the director, script, and

facility. Traditional scenic construction materials and

methods were utilized in the execution of the design.

A few unique construction problems were handled by the

Technical Director and scene shop staff. Time, facilities,

materials, and human resources were all considered and

handled effectively by the production staff.

In evaluating the scenic design, the scenic designer

felt that collaboration with the production team was the

most successful element. Working to satisfy the directors

requirements and limitations was difficult. However,

through collaborating with the director and the rest of

the production team, the production concept was realized.

Although the script requires simplicity in the setting

the director and scenic designer did want the levels to

create a more pleasant stage picture. The colors chosen

for the set seemed to be the only way to get a universal

feeling. With respect to the director, the scenic designer

felt this perhaps was not the best concept. The scenic

designer does agree that Godspell speaks to all times and

24

all people, however, he felt that it was speaking to our

time. As far as the other scenic elements are concerned,

the enclosure worked well for the crucifixion and to

separate the resurrected Jesus from the rest of the cast.

The rope and the poles that made up the enclosure seemed

to take away from the concept because they represent a

locale. They resembled masts and fishing nets from boats.

This was done to relate Jesus as the "fisher of men."

The scenic designer felt this did not fit into the

"universe" concept. Although Godspell speaks to all times,

the scenic designer would have preferred a setting that

represented a time period. However, this setting served

the action of the play and was successful in representing

the message of Godspell.

25

ENDNOTES

1 National Association of Schools of Theatre, Handbook,

(Reston, VA: National Association of Schools of Theatre, 1994), p. 75.

2 Lynn Pecktal, Designing And Painting For The Theatre,

(Fort Worth, TX: Holt, Rinehart, and Winston, 1975), p. 2.

3 J. Michael Gillette, Theatrical Design And Production,

2nd Edition, (Mountain View, CA: Mayfield Publishing Company, 1992), p. 17.

4 Joseph Barton "The Godspell Story," (America, Volume

125, December 11, 1971), p. 517.

John Beaufort, "'Godspell' joyfully serves religion with a contemporary beat," (Christian Science Monitor, July 22, 1971), p. 15.

Lynn Pecktal, Designing And Painting For The Theatre, (Fort Worth, TX: Holt, Rinehart, and Winston, 1975), p. 6.

7 J. Michael Gillette, Theatrical Design And Production,

2nd Edition, (Mountain View, CA: Mayfield Publishing Company, 1992), p. 20.

®Ibid., p. 120.

John-Michael Tebelak, Godspell, (New York, NY: Theatre Maximus, 1971), p. ii.

1 0 Carra, Lawrence, and Dean, Alexander, Fundamental

of Play Directing, Fifth Edition, (New York, NY: Holt, Rinehart, and Winston, Inc., 1989), p. 68.

^^Ibid., p. 127.

John-Michael Tebelak, Godspell, (New York, NY: Theatre Maximus, 1971), p. 1.

26

BIBLIOGRAPHY

Barton, Joseph. "The Godspell Story." America: Volume 125, December 11, 1971.

Carra, Lawrence, and Dean, Alexander. Fundamentals of Play Directing. New York: Holt, Rinehart, and Winston, 1989.

Gilette, J. Michael. Theatrical Design And Production. Mountain View: Mayfield Publishing Company, 1992.

Millen, Tice L., and Wilmeth, Don B. Cambridge Guide to American Theatre. Cambridge: Cambridge University Press, 1993.

National Association of Schools of Theatre. Handbook. Reston: National Association of Schools of Theatre, 1994.

Pecktal, Lynn. Designing and Painting for the Theatre. Fort Worth: Holt, Rinehart, and Winston, 1975.

Tebelak, John-Michael. Godspell. New York: Theatre Maximus, 1971.

The Gospel According to Matthew, The Holy Bible (Revised Standard Version). Grand Rapids: Zondervan Publishing House, pp. 7-36, 1971.

27

APPENDIX

28

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34

PERMISSION TO COPY

In presenting this thesis in partial fulfillment of the requirements for a

master's degree at Texas Tech University or Texas Tech University Health Sciences

Center, I agree that the Library and my major department shaU make it freely

available for research purposes. Permission to copy this thesis for scholarly

purposes may be granted by the Director of the Library or my major professor.

It is understood that any copying or publication of this thesis for financial gain

shall not be allowed without my further written permission and that any user

may be liable for copyright infringement.

Agree (Permission is granted.)

ht's Sigfj/efture Date

Disagree (Permission is not granted.)

Student's Signature Date