Theatre Design & Technology - Spring 2004 - 15

three types of portfolios. In addition, digital portfolios not only exhibit
the students' talents as theatre designers and technologists, but they also
demonstrate their ability to negotiate a broad range of computer-based
programs that have applications reaching far beyond the world of theatre
design and production.
Figures 2 and 3 are samples from a portfolio in development. The
student was given specific guidelines about collecting and selecting
material as well as instruction on manipulation and composition of
the imagery. The student was encouraged to determine the sequence
and flow of the presentation. This portfolio served as a means to
present individual projects as well as a record of her achievements in
one class.
The criteria of self-reflection as well as an analysis of what was
gained in the learning process can be see in figures 4 and 5. This portfolio was the result of several classes in which new components and new
techniques were added to an existing portfolio. This student guides the
viewer through his presentation with instructions and other markers. He
also provides verification of his process as well as an indication of how
his work was evaluated.
Figures 6, 7, and 8 were selected from a senior dance student's final
portfolio; one that she used for seeking a job upon graduation. This presentation included audio and visual elements in a variety of formats. Not
only does it showcase the student as a dancer and chorographer, but it
also provides concrete examples of the student's technological skills, including digital video recording and editing.

Disadvantages
In spite of obvious advantages there is still some resistance to digital
portfolios for documenting artistic works. Some of the arguments against
such a practice, include:
* Not every school or theatre embraces new technologies;
* Recipients might not be able to view the portfolio;
* Different monitors and systems may not accurately display colors and
textures;

* Sometimes it is important for the viewer to have a tactile experience,
especially with fabric choices for costumes;
* If the student does not go beyond the stock graphics, backgrounds, or
fonts, many of the portfolios can look the same;
* If the student incorporates too many transitions, colors, or sounds,
the presentation can overwhelm the content;
* In spite of the many advancements made with technology, the academic world is still in a state of transition in coming to terms with the
impact of technology.
Many gifted artists in theatre have found their perceptions challenged by technology. Veteran designer Beeb Salzer characterized his response after reviewing an on-line portfolio:
"And looking at a Web site, one must wait as a peepshow effect,
slowly line by line, reveals a picture. Instead of getting the smashing impact of a total design artfully arranged on facing pages in a portfolio,
there is a virtual tease." (Salzer 2001, 8)
At the other end of the spectrum, students who have been raised in
the world of computer-generated animation tend to get carried away with
tools that enable them to have a taste of this virtual world. They become
preoccupied with the presentation structure and not necessarily with
framing their content in the most meaningful context.

...students who have been
raised in the world of
computer-generated
animation tend to get
carried away with tools that
enable them to have a taste
of this virtual world.
Showcase Portfolio - Still Production Shots
(used with permission Jill Tarket-Jackson)

Showcase Portfolio - Still Production Shots
(used with permission Jill Tarket-Jackson)
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TD & T

Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2004