Theatre Design & Technology - Fall 1976 - 13

OISTT REPORTS ON THEATRE TRAINING:
GERMAN DEMOCRATIC REPUBLIC; GREAT BRITAIN; JAPAN;
CZECHOSLOVAKIA; HUNGARY
Editor's Note: One of the most useful and interesting portions of the OISTT Congress was the reports by the member
nations on their methods of training scenographers and theatre technicians. Herein are reproduced several of these reports
which will give the reader some idea of the variety of training found outside our own country. John Bracewell presented
a paper on Training in the U.S.A. as our representative. Because of the familiarity of the USITT membership with American
Theatrical Education this report has not been included. Other American presentations bV Gil Hemsley, George Izenour and
Jo Mielziner appeared in the Spring, 1976 Issue of Theatre Design and Technology.

GERMAN DEMOCRATIC REPUBLIC
1. General Information
In the GDR the system of training for scenic engineers
and scenographers is an integral part of the national socialist education system. This means that all levels of
training constitute a continuum, making it possible for
them to pass on to the next higher level by appropriate
measures of qualification. All forms of training are based
on programmes examined and approved by the state.
These programmes of training ensure that students do not
enjoy only a good professional training, but also are
instructed in the civic, economic and cultural-aesthetic
aspects of their professions. Another characteristic feature
of the training programmes is the complexity of the
content of education and the close connection with
practice. This makes it possible to train skilled workers
who are well educated in politics and the arts and can be
assigned a variety of tasks. All forms of training lead
to a state examination with the respective certificates
on the level of qualification reached.
This system, which gives anyone working at a theatre
the chance to improve his professional skills and qualifications, is to ensure that the qualified, and thus highly
efficient, skilled worker feels closely linked to the theatre
and is able to develop a genuine professional ethos. For
this reason all theatre engineers have to acquire knowledge
in the arts, too, and the practice of training scenographers
in the technical disciplines is gaining ground. As a result,
all professional groups involved in theatrical production
come to a better understand ing of the work done by the
others, avoiding any one-sidedness. It is also important
to ensure that everyone will work in a job which corresponds to his level of qualification.
2. Training for theatre engineering and scenography
2.1
At a number of training centres there exist two levels of training for the profession of theatre engineer:
the level of skilled worker and of master.
Level of skilled worker
Prerequisite: Conclusion of the 10-class general polytechnical secondary school.
Profession
Scenery setter
Light electrician
Theatre joiner
Theatre mechanic

USITT

Duration
of training
2
2
2
2

years
years
years
years

Theatre hairdresser
Sound man
Theatre tailor
Theatre shoemaker

2
2
2
2

years
years
years
years

workshops
sound department
workshops
workshops

Practical training takes place at the respective theatres.
Theoretical knowledge is imparted at state vocational
schools or in crack courses organized by the Institute for
Cultural Buildings.
2.2

Level of Master

Prerequisite: 10-class general polytechnical secondary school and skilled worker certificate.
Branch

Duration
of Training

Training
Institution

Master for scenic
engineering

2 years

Institute for Cultural
Buildings (jkb)

Master for lighting
engineering

2 years

I nstitute for Cultural
Buildings (jkb)

Master joiner

2 years

Chamber of Hand icrafts

Master mechanic

2 years

Chamber of Handicrafts

Master tailor

2 years

Chamber of Handicrafts/
ikb

Master shoemaker

2 years

Chamber of Handicrafts/
ikb

Training comprises three levels:
A. Basic training in philosophy, economics, industrial
management, science of work, pedagogics, psychology.
B. Vocational training, including engineering, equipment
and apparatus technology, material economy, cultural
aesthetics and history of theatre.
C. Practical course in the future place of work at the
theatre.
For the professions of soundman and theatre hairdresser there are no courses for receiving a master's
degree.
After four years of studies at the College for Film
and Television a sound man becomes an engineer.

Place
of Employment

After three years of studies at the Dresden College
a theatre hairdresser becomes a makeup man.
2.3 Scenographic training.

stage, workshops
lighting department
workshops
workshops

The following professions are taught:
Scenic designer at the College of Plastic and Graphic Arts
in Dresden
Scenic designer at the Art College in Berlin

THEATRE DESIGN AND TECHNOLOGY

FALL,1976

Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1976