Theatre Design & Technology - Fall 2010 - 23

To put my analysis of this research in its proper context, I offer a bit of my own biography and background. My education
includes both a bA in theatre and an MFA in stage management, followed by professional work as a stage manager and production
manager of theatre and dance. I know that my own professional successes were due to a combination of my formal education and
on-the-job training. I needed all of it to get where I am today. And I suspect that is not unique.
When I began this survey project, I was looking to make curriculum changes to fill in what I considered avoidable gaps in the
students' education in a bFA program with an emphasis in stage management at a doctoral/research university. Somehow I expected that
looking closely at the "elite" training programs would teach me the secret to creating a plan of study with no compromises. Since then I
have changed schools and I now find myself building an emphasis in stage management at a smaller liberal arts college that has long had
student stage managers but not specific training. I was initially apprehensive about what I might no longer be able to provide students
but have instead found that I am changing only my approach-not my philosophy.
I titled this article "Stocking the Kit" because that is a key metaphor in my teaching approach. The kit is an iconic image for stage
managers. Over the course of a career their beloved tackle boxes will grow, and sometimes adopt wheels, so that by the end it is nearly
bursting with all of the unusual tools that have become useful over the years and it now seems difficult to do the job without.
In my mind, the education of a stage manager
involves building a different, less tangible kind of
kit. by the time young stage managers graduate from
college, I want them to have the skills and self-confidence to seek further study or professional work in
their field. They should possess a good basic kit of
knowledge that includes a number of tools they like
and know well, but which still contains open slots
for discoveries to come. I have a list of my standard
kit items, but each stage manager developes his
or her own favorites. Student should feel like they
understand what it takes to do the job well, and be
ready for new experiences to hone these skills.
I am heartened that this research suggests
that my plan of study, which combines good basic
training, a small amount of advanced coursework,
and show-specific mentoring, is a widely shared approach. And I am equally encouraged to learn that
when asked to identify something missing in their
programs or something they would do differently, the
responses from even the strongest programs suggest
that they are still looking to improve them.
This research is not complete, however, without asking, What do our students think? Are our
perspectives and curricular goals accurate? do
students believe that when they leave college they
have what they need? What things would they add
to their college education-or do they find that
their first foray into the professional world is the
correct final step of their educational journey?
Perhaps these questions will be the beginning of
further research. v
Laurie Kincman is an AEA Stage Manager
and an Assistant Professor at the University
of Wisconsin, La Crosse, heading the Stage
Management and Arts Administration emphases
in the Department of Theatre Arts. She is a
member of USITT and the Midwest Regional
Section.

2010

theatre

design

technology

Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 2010