Theatre Design & Technology - Fall 1992 - 58

ders wirh one immersed in conservarory
rraining. Yer in rhe rraining of arrists it
does no good for a piano srudenr ro have
a differenr piano reacher every quarrer.
Liberal arrs programs, on rhe orher
hand, rend ro rake advanrage of faculry
diversiry, exercising rhe crirical rhinking
skills of srudenrs rhrough rhe inrerplay
of ofren conflicring ideas. Trouble comes
when all srudenrs go ro rhe same rrough
for radicallv differenr educarional nourishmenr. "
\X!herher or nor you agree wirh poinrs
of argumenr wirhin rhe conservarory versus liberal arrs educarion debare, rhe
presence of rhe debare signals rhe lack of
clariry endemic ro rhearre educarion.
\X!ell-drafred guidelines will nor jusr
make room for necessary diversiry. They
will fosrer rhe clarity of purpose necessary
ro provide quality rhearre educarion.

Exit Standards and the
History of the USI"
Curriculum Guidelines
Curricular guidelines rend ro have a narcolepric effecr on mosr people. Face ir:
The laresr hydraulic widger or rhis year's
collecrion of renderings are far more
inreresring rhan such academic bullraco.
Yer arrendance ar round rabies and panel
discussions suggesr rhar we are all faced
wirh similar educarional challenges.

W/e seem ro realize rhe need for srandards. Ir was from an original projecr on
Model Curricula rhar rhe currenr doCllmenr was conceived (see sidebar be/olU).
Guidelines for consrrucring curricula
were preferred ro models, ir seemed,
because no one wanred ro imirare orhers,
bur rarher wanred assisrance in crearing
rheir own unique program.
Over rhe nexr vear formal and informal srudies were conducted ro garher the
collecti\'e wi dom of graduate schools
and various professionals. Ir was reasoned
rhat if one knew whar was expected from
gtaduates, then one could derermine exit
objectives ro match those expectarions.
In the most exhaustive survey, Konrad
Winrers from Old Dominion University
surveyed more rhan 40 graduare schools
offering design and technical production
degrees, and came up with trends and
specific information which were used ro
shape a large parr of the Curriculum
Guidelines. For insrance, ir was shown
rhar srudenrs enrering graduare school
should rypically have high levels of comperence in scripr analysis and rhearre hisrory. Ir was also very imporranr for applicanrs ro undersrand rhe principles of
acring, direcring and srage managemenr.
The guidelines are wrirren as a series
of competencies idenrifled by measurable
behavior, such as, " ... should be able ro
communicare graphically in a variety of

media." Preference was given ro sratemenrs rhar could be answered yes or no.
This ourcome-based narure of rhe
Curriculum Guidelines is an imporranr
fearure. Ir suggesrs applicarions of rhe
Guidelines as an assessmenr rool, and
maintains rhe aurhoriry of rhe masrer
reacher. Can Suzie "paint scenery ar a
moderare level of comperence?" Yes or
no? Ourcome-oriented objecrives also
draw focus away from whar ofren goes
wrong wirh curricular review: "coursebased" dialogue.

How the Guidelines
Can Be UsedChange and Assessment
"\X!ell, we need a course in scene painring," or "All programs need Inrroducrion
ro Acring, Inrermediare Acring and
Advanced Acting" are examples of
course-based dialogue. Ir srands in rhe
way of every honest arrem pr ro review
whar we do because ir doesn'r rell us a
damn rhing abour ir.
Curricular offerings exisr in rhe form
of courses. Their characrerisrics depend
upon rhe available resources, and even
rhe whims of faculty. Yer rhey give form
ro rhe absrracr objecrives of a program,
srated or orherwise. One musr rear down
courses in order ro ger ar rhe variables
which really counr.

AN EXCERPT FROM THE HUSln CURRICULUM GUIDELINES":
Specialized Competendes Recommended
for Preparation for GradUllte School

*
*

In addition

to the competencies mentioned above, funher competencies and
competencies at an advanced level are
needed for specific disciplinary interests.
For design programs which are scenographic in nature, or which combine
design and technical production, the
guidelines should be combined.

A srudent entering a graduate degree
program in Scenic Design should be able

*
*

to:

compile visual research
demonstrate an understanding
and control of the elements and
principles of scenic design
communicate graphically in a
variety of media
demonstrate an ability to design
scenery for theatre
paint scenery with common
techniques
draft ground plans, cross-sections, and working drawings
use the equipment and materials
of scenic construction
demonstrate an understanding of
art history

1. at an advanced level of competence:
*

demonstrate an understanding
and control of the elements and
principles of two- and threedimensional design
write a concept statement

2. at an ;,ztermediate level of competence:

1992 FALL

TD&T

3. at a beginning level of competence:

*
*
*
*

critically evaluate the scenic
design of others
create a painter's elevation
build a finished scenic model
render a perspective drawing
demonstrate an understanding of
the history of theatrical design

* employ construction methods of
metal and plastic materials
* supervise a scenery construction
crew

4. In addition to these competencies, a
Scenic Design student preparing for
graduate school should have had a
range of experiences over his or her
career. He or she should have:
successfully designed one full
length show (realized-not a
paper project)
* worked as an assistant to a scenic
designer
* worked in more than one type of
space (proscenium, thrust. etc.)
* performed a role on stage before
a public audience
* directed at the classroom level
* seen professional productions
outside of the educational institution
* visited an museums and other
non-theatrical cultural venues

Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1992