Theatre Design & Technology - Spring 2010 - 57

one go to NYC to find gainful theatrical employment. Thus, the
expansion of the regional theatre movement went hand-in-hand
with the expansion of academic theatre.
The Directory of Regional Theatres noted in 2008 that
there were more than 350 regional theatres, of which about 300
were outside New York City. If each of those 300 did a season of
six shows and each show averaged eight actors, three designers, one director, and two stage managers, the result would be
25,200 employment opportunities each year. After adding all
the management and production staff of those theatres there are
more than 30,000 possible positions. However, this does not include positions at presentation houses, dinner theatres, summer
theatres, theme parks, collegiate theatres, public schools, professional staffs at community theatres, opera companies, dance companies, theatrical supply houses, theatrical manufacturers, or the
hundreds of small art theatres in the nation's largest cities. In the
last half century Theatre away from broadway became an industry-an industry that required well-trained theatre practitioners.
In most academic institutions theatre started as a few courses here and there, typically in some other department such as
English, Speech, Communications, or the Arts. As courses were
added, theatre often became a separate degree program within
such a combination department. Some institutions maintained
this combination relationship with theatre to this day, but generally most theatre programs grew to become a separate department of Theatre. Some even grew to become separate Schools or
Colleges within their parent institution. The natural evolution of
theatre was to move on to graduate programs in Theatre. because
of its eminence at mid-century, Yale School of drama served as
the model for new graduate programs, either because faculty
members had studied at Yale or because schools consciously
emulated the Yale program. In the 1960s there were a number of
Yale look-alikes, that is, programs offering a full range of theatre
specializations at institutions such as Stanford University, Tulane
University, and Columbia University. Ironically, these three closed
their programs and eventually reorganized them to serve a more
focused function.
According to the Directory of Graduate Programs in
Theatre Design and Technology, in 1978 about 175 academic
institutions offered some type of graduate degree in Theatre,
of which slightly more than fifty offered the MFA. despite the
author's impressions that there was a shaking-out-period for
graduate Theatre programs, Peterson's Graduate Programs in
the Humanities, Arts, & Social Sciences: 2009, lists over 200
graduate programs in theatre. by 2007, as reported in Directory of Theatre Training Programs, there were 105 programs
that offered the MFA. The most relevant observation is that in a
period of only thirty years the number of MFA granting institutions in Theatre more than doubled.
Not only has there been an expansion in MFA programs,
there has been an expansion in course offerings. For example, reputable graduate and undergraduate Theatre programs
in Production Technology now teach welding, a subject the
Academy would never have deigned to enter its hallowed halls

a century ago. Good lighting programs offer course work in
movable lights, an instrument not even invented half a century
ago. Today a student may major in sound design, an artistic
field not recognized forty years ago. Good Theatre programs
have had theatre design labs equipped with computers for
more than a decade. better Theatre programs have been so
equipped for more than two decades. The list goes on.

Outcomes and Accreditation
The liberal Arts preparation for theatre practitioners that
was sufficient at the start of the twentieth century became totally
inadequate for collegiate theatre training by the end of the century. The liberal Arts tradition was no longer a satisfactory outcome for serious theatre study. As the century progressed, the
liberal Arts became more and more the foundation on which
professional theatre training was erected rather than the end in
itself. The liberal Arts is still important as a foundation because
nothing is irrelevant to the training of a theatre artist. That
training requires exposure to and familiarity with all history, all
cultures, all nationalities, all styles, all arts, and all subjects.
late in the century it became necessary to think in terms
of how to determine the adequate preparation of students for
the developing industry-bearing in mind that the industry
was changing even as people were trying to determine what the
outcomes should be. As long ago as the American Theatre Association (ATA) (formerly known as the American Educational
Theatre Association), both of which have now been supplanted
by the Association for Theatre in Higher Education (ATHE),
some people were trying to establish standards. As a member
of one such ATA academic standards committee, I observed the
electrifying controversy and animosity generated by those initial
academic guidelines. I still remember one intrepid young faculty member, who was a one-person theatre program at a small
college, assert that he could teach acting, directing, design, and
theatre history at least as well as specialists in those disciplines.
Following similar ATA comment sessions, those guidelines were
forwarded to the nascent National Associations for Schools of
Theatre (NAST) where some were incorporated into NAST's developing accreditation practices.
ATA was not the only organization that was interested in
developing theatre standards. USITT initiated several specialized conferences where we generated standards that also found
their way to NAST. However, USITT didn't stop there. USITT was
involved with developing industrial standards, such as the electrical code and dMX standards and with producing documents
for collegiate theatre programs. Others specifically address collegiate theatre programs and courses with publications such
as Promotion and Tenure Guidelines, Practical Projects for
Teaching Lighting Design, Projects for Teaching Costume
Design and Technology, and Projects for Teaching Scene
Design-A Compendium.
by the end of the century NAST's guidelines and reputation
had matured significantly. Its accreditation guidelines now offer
an opportunity for non-member theatre programs to measure

S P R I N G

2010

theatre

design

&

technology

55



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

Contents
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
http://www.nxtbookMEDIA.com