What is an SMP?
The St. Mary’s Project is a year-long, 8-credit, independently designed and executed course of study intended as a capstone experience for a student’s time at St. Mary’s. Working in close conjunction with one or more professors, in or outside of the department, you have the opportunity to explore, in depth, a question or idea that interests you. Many—although by no means all—SMPs are interdisciplinary, bringing together threads from earlier classes taken across the curriculum. Many are highly personal, involving creative or innovative work that ties together four years of study in a meaningful way. SMPs can, in their final form, take the shape of research papers, collections of poetry, short films, web sites, graphic novels, musical compositions—all these, and more, have been done in years past.
The College has established certain guidelines for the SMP:
- It must be student-initiated
- It must demonstrate methodological competence (by identifying an area to be explored and proposing a method of inquiry appropriate for the topic)
- It must draw on and extend knowledge, skills of analysis, and creative achievement developed through previous academic work
- It must include a reflection on the social context, the body of literature, or the conceptual framework to which the project is a contribution
- It must be shared with the larger community through some form of public presentation
General SMP Forms
TFMS Guidelines for an SMP
The TFMS faculty impresses upon students that the following are only guidelines for a St. Mary’s Project. We encourage students to propose projects that show maturity of vision by combining disciplines within theater, film, and media studies and beyond in order to conceive of theater, film, and media studies in innovative ways.
A St. Mary’s Project (SMP) is a two-semester, eight-credit independent, original course of study in theater arts or in film and media. The project may be scholarly (e.g. a written thesis or research paper) or artistic (e.g. directing, acting, design, dance performance or choreography, playwriting, screenwriting, film/video making) in nature, but all projects must address reciprocity between theory and praxis and should encompass an appropriate range of liberal arts disciplines. Projects must receive the prior approval of a faculty member in TFMS. All projects will lead to some form of public presentation. All TFMS St. Mary’s Projects must have a TFMS mentor.
Procedures for proposing a St. Mary’s Project
- Students undertaking a St. Mary’s Project must submit a formal proposal that will fulfill the College and department guidelines for an SMP to their mentor no later than the eighth week of the semester preceding the academic year during which the work will begin. In other words, this deadline will occur during your junior year. For those proposing an SMP in directing for the main stage, final proposals are due for circulation to the entire department faculty on the first day of the first week of classes of the spring semester preceding the academic year during which the work will begin. Additionally, a student proposing an SMP in directing for the main stage must have secured a faculty mentor, or have been assigned one by the department chair, during the fall semester preceding submission of the final proposal. In other words, these deadlines will occur during your junior year.
- The department mentor is the faculty member of record for that SMP. This faculty member is ultimately responsible for evaluating the SMP.
- Artistic St. Mary’s Projects will be evaluated equally on the artistic accomplishments and on the ancillary written material: that is, on the production and on its scholarly component.
- Costume, Lighting, Technical, and Scenic Design Project applicants may make suggestions in their detailed written proposal regarding the type of production they wish to design, and the department will try to accommodate such requests.
- All scholarly St. Mary’s projects or written components of creative SMPs must conform to the Chicago Manual of Style or to MLA format.
- Archival requirements: refer to College guidelines.
Artistic and Scholarly St. Mary’s Projects
The St. Mary’s Project is intended to be an experience that challenges and demonstrates the senior’s knowledge and/or skills in the following:
- Performance or presentation of the project
- Substantial background in theater arts or film and/or media and liberal arts
- Integration of this background in theater arts or film and/or media and liberal arts with that specialized information required to accomplish the project
Performance or presentation of the project - Evaluation and discussion of the process and outcome of the final project
- Integration and communication of all of the above in written form
- Intellectual, social, and personal responsibility for choices
St. Mary’s Projects may be undertaken in the following project areas:
- Historical and Theoretical Theses
- Acting
- Directing
- Dance/Movement
- Scenic Design
- Costume Design
- Lighting Design
- Playwriting
- Screenwriting
- Film/Video Making
- Other
Historical and Theoretical Projects
- Must entail a scholarly investigation of issues associated with dramaturgy, theater history, dramatic theory or criticism, and/or performance studies; film history, film studies, media studies, and/or cultural studies.
- Must challenge and demonstrate the senior student’s ability to prepare and realize a substantial work of scholarship.
- The student must be capable of: focused research; cogent development of a thesis that argues a viable and original perspective on an issue associated with the discipline; analysis, discussion, and defense of conclusions reached in the process of this specialized research.
- At the discretion of the student and faculty, the paper may be given a public reading. If appropriate, this reading may be accompanied by performance or media support.
Acting Projects
- Must demonstrate the student’s ability to prepare and realize a performance from idea to strike, even though the majority of the student’s effort will be spent on the theory and praxis of acting.
- Must be a cohesive theatrical work of 45-60 minutes.
- Must be envisioned as a performance showcase or as a principal role in a fully mounted main stage production.
Directing Projects
- Must demonstrate the student’s ability to prepare and realize a production from idea to strike, even though the student’s main focus will be spent on the theory and praxis of directing.
- Must be a cohesive theatrical work of 45-60 minutes.
- Must be envisioned as a performance showcase (e.g. a White Room production) or as a fully mounted stage production.
Dance/Movement Projects
- Must demonstrate student’s ability as a choreographer, performer, or both, to prepare and realize a program of original dance/movement work or works.
- Must be a cohesive dance/movement program of 30-40 minutes in length.
- Must be envisioned as a choreographic and performance showcase rather than an elaborated production.
Scenic or Costume Design Projects
Note: Students undertaking an SMP in scenic or costume design for the main stage must stage-manage for the main stage before they begin their projects.
- Must demonstrate the student’s ability to manage the entire design and/or construction challenges for a major production.
- Must include research, conceptualization, preliminary drawings and draftings, colored renderings or a three-dimensional model. Designers are responsible for shopping, meeting with the production staff, and keeping the integrity of the design intact throughout its construction phase.
- Must demonstrate the student’s ability to work within a strict budget.
Lighting Design Projects
Note: Students undertaking an SMP in lighting design for the main stage must stage-manage for the main stage before they begin their projects.
- Must demonstrate the student’s ability to manage the entire design and lighting challenges for a major production.
- Must include research, written concept, all related paperwork, and a drafted and noted light plot. Designers are responsible for creating the appropriate lighting environment for the production.
- Must demonstrate the student’s ability to work within a strict budget.
- Must include attendance at hang, focus, strike, and all technical and dress rehearsals.
Playwriting Projects
- Must demonstrate the student’s ability to research and script a theatrical or performance work.
- Must demonstrate the student’s understanding of the anticipated audience/performer relationship for the work.
- Must have a minimum of 30 minutes of playing time.
Screenwriting Projects
- Must demonstrate the student’s ability to research and write a screenplay for a feature-length narrative film. Required work will include: Pitch, Treatment, Outline, Character Biographies, multiple drafts, and a completed final screenplay.
- Must include a public table reading and discussion of at least three major representative scenes from the screenplay.
- Must demonstrate the student’s understanding of the anticipated audience for the film.
Film/Video Making Projects
Note: Students undertaking an SMP in film/video making must have taken a media production class at SMCM or have received permission of the mentor.
- Must demonstrate the student’s knowledge of film history and film practice and terminology.
- Should have a maximum running time of 30 minutes.
Outline of Materials to be Included in an Artistic Written Component
Digital submissions of the following materials are preferred.
Acting and Directing Projects
- A production history of the play, if appropriate
- A casebook that includes pre-rehearsal research, early blocking, diagrams, stage concepts, personal notes, research, and a summary of criticism about the play, if appropriate
- A discussion of the student’s view of the play compared to important historical views and/or criticism of the play
- A discussion of the features of the play that were to be developed and illuminated by the production approach
- A complete rehearsal and production schedule
- The prompt book with all finalized notes, blocking, and scene designs
- Production photos or slides
- A final essay that includes a detailed self-evaluation of the entire process. What worked? What did not work? What would you have changed? What did you try to change and could not? Why or why not? What did the audience tell you about your work? This essay should demonstrate the student’s ability to connect and integrate various elements of the production within the context of theatre history and practice, as well as other appropriate social and cultural contexts. The question of personal and disciplinary value of the work must also be addressed.
Dance and/or Choreography
- A discussion of the themes and creative problems that were to be explored as well as the overall goals of the project
- A complete rehearsal and production schedule
- A rehearsal journal with all notes, diagrams, choreographic ideas/patterns, and progress noted
- Production photos and slides and/or video
- A final essay that includes a detailed self-evaluation of the entire process. What worked? What did not work? What would you have changed? What did you try to change and could not? Why or why not? What did the audience tell you about your work? How did you grow as a performer? This essay should demonstrate the student’s ability to connect and integrate various elements of the production within the context of theatre history and practice, as well as other appropriate social and cultural contexts. The question of personal and disciplinary value of the work must also be addressed.
Scenic Design Projects
- A discussion of the features of the play that were to be developed and illuminated by the production approach
- A complete rehearsal and production schedule
The following exhibits:
- Scale model or full color rendering
- Ground plan
- Front and/or rear elevations
- Platform schedule
- Appropriate working drawings
- Production photos or slides
- Budget breakdown
- A summary of the process by which the student combined his/her research and creative ideas with the desires of the director to reach a production style or concept. This may take the form of a diary, but should include more than a simple recounting of events. What is more important is the impact of the events on the process and a clear articulation of the final concept.
- Discussion of the construction process
- A final essay that includes a detailed evaluation and self-evaluation of the entire process. What would you have changed? What did you try to change and could not? Why or why not? What did the audience tell you about your work? This essay should demonstrate the student’s ability to connect and integrate various elements of the production within the context of theatre history and practice, as well as other appropriate social and cultural contexts. The question of personal and disciplinary value of the work must also be addressed.>/li>
Costume Design Projects
A discussion of the features of the play which were to be developed and illuminated by the production approach and a complete production schedule
The following exhibits:
- Color renderings for all characters
- Color swatches
- Costume plot and action chart
- Production photos or slides
- Budget breakdown
- A summary of the process by which the student combined his/her research and creative ideas with the desires of the director to reach a production style or concept. This may take the form of a diary, but should include more than a simple recounting of events. What is more important is the impact of the events on the process and a clear articulation of the final concept.
- Discussion of the construction process
- A final essay that includes a detailed evaluation and self-evaluation of the entire process. What would you have changed? What did you try to change and could not? Why or why not? What did the audience tell you about your work? This essay should demonstrate the student’s ability to connect and integrate various elements of the production within the context of theatre history and practice, as well as other appropriate social and cultural contexts. The question of personal and disciplinary value of the work must also be addressed.
Lighting Design Projects
- A discussion of the features of the play which were to be developed and illuminated by the production approach
- A complete schedule for design, hang, focus, and production technical and dress rehearsals
- The following exhibits:
- Hook-up sheets
- Instrument schedules
- Magic sheets
- Production notebook with blocking notation and preliminary and realized cues
- Drafted and noted light-plot
- Production photos and slides
- Budget breakdown
Playwriting Projects
- Two bound hard-copies of the script
- Copies of all major drafts and revisions
- Distillation and evaluation of all supporting research
- An outline detailing the play’s opening event, basic situation, characters, disturbance (inciting incident), dramatic question, conflicts, crises, obstacles, complications, climax, and resolution
- A final essay that includes a detailed evaluation and self-evaluation of the entire playwriting process, including the public table reading (or minimally staged reading) and discussion of the play. What would you have changed? What did you try to change and could not? Why or why not? If presented, what did the audience tell you about your work? This essay should demonstrate the student’s ability to situate the work within the context of theatre history and practice, as well as other appropriate social and cultural contexts. The question of personal and disciplinary value of the work must also be addressed.
Screenwriting Projects
- Three DVD copies, each of which includes: the abstract of your screenplay (per SMCM SMP requirements), PDF copy of the final screenplay, PDF copies of Pitch, Treatment, Outline, Character Biographies, multiple drafts of screenplay in progress, and PDF copy of your reflective essay. (One DVD copy will be submitted to the SMCM Registrar per SMCM SMP requirements and two copies will be submitted to the mentor for TFMS departmental archives.)
- A final reflective essay that includes a detailed evaluation and self-evaluation of the entire screenwriting process and that addresses the following questions: What research did you conduct and how did it affect your final screenplay? What would you have changed? What did you try to change and could not? Why or why not? If presented, what did the audience tell you about your work? What did you learn from your table reading? This essay should demonstrate the student’s ability to situate the work within the context of film history and practice as well as other appropriate social and cultural contexts. The question of personal and disciplinary value of the work must also be addressed.
Film/Video Making Projects
- Three DVD copies of the finished film or video. (One copy will be submitted to the SMCM Registrar per SMCM SMP requirements and two copies will be submitted to the mentor for TFMS departmental archives.)
- Three DVDs, each of which includes PDF copies of: an abstract describing your film (per SMCM SMP requirements), the shooting script, call schedules, cast and crew credit lists, copies of all major drafts and revisions of the screenplay, final storyboard, and reflective essay. (One DVD copy will be submitted to the SMCM Registrar per SMCM SMP requirements and two copies will be submitted to the mentor for TFMS departmental archives.)
- A final reflective essay that includes a detailed evaluation and self-evaluation of the entire film/video making process and that addresses the following questions: What would you have changed? What did you try to change and could not? Why or why not? What did the audience tell you about your work? This essay should demonstrate the student’s ability to situate the work within the context of film history and practice as well as other appropriate social and cultural contexts. The question of personal and disciplinary value of the work must also be addressed.
Alternative Capstone Experience
TFMS majors are not required to complete an SMP; instead, they may elect to take an additional 4 credit hours of 400-level TFMS coursework.
Highlighted SMPs
One Way Town (2016), an animated film, by Eli Ayres. Winner of the 2017 Visionary Award (or “Best in Show”) at the international Visions Film Festival & Conference, hosted annually by the Film Studies Department at the University of North Carolina Wilmington
“Negotiating with Seurat and Sondheim: A Theatrical Design Exhibition of A Sunday in the Park with George” (2014), by Hannah Sturm
A Living Museum (2012), a documentary short about the historical recreation ship, the Maryland Dove, and her crew, by Emily Sillcox
Were They Here before the War? (2012), a 13-minute abstract documentary about Point Lookout State Park, the site of a Civil War camp for Confederate soldiers, by Justin Foreman
Faces of the Appalachian Trail (2011), a feature-length documentary, by Danny Ruthenberg-Marshall