Theatre Design & Technology - Spring 2011 - 57
Jen Brinker, Sam Shelton, and Alicia Adams at Cobalt Studios painting scenery for Ramonda's Wedding, décor by Chas B Slackman for
Les Ballets Trocadero de Monte Carlo. Photo courtesy of Rachel Keebler.
F scene Painting
F Theatre history
Industry professionals generally didn't rank theatre history as
an essential part of an undergraduate training program, but
they all admitted that they use their knowledge of theatre history
every day in some way. All agreed that they preferred employees
who are widely read. Larry Schoeneman said, "I keep an
eclectic bookshelf because you never know when knowing a
certain fact will bring that job home." His library ranges from
chemistry to costume design.
F Theatre Literature
The general consensus was that the more plays you know, the
more likely it is you can make yourself indispensable to your
employer, especially if you have a good idea of the technical
requirements for them. Knowing how to write a critique is
important. Julie Mausey (PRG) said, "The writing I did in the
history and literature classes and for my thesis is what really
prepared me for the writing I do in my job. Especially when
it comes to organizing theatrical projects, it taught me to
prioritize, communicate clearly and concisely, and really break
a project into its parts."
Anyone looking to work in a scene shop needs to have more
skills and knowledge than are offered in a basic scene painting
class. It's not enough to know how to cover a flat, how to clean
a brush, or how to scumble, dry brush, and wet blend. Rachel
Keebler (Cobalt Studios) said, "Developing the ability to see
through drawing and painting exercises is a must." And, she
added, a knowledge of art history is extremely useful.
Near the top of nearly everyone's list was a knowledge of
basic drafting, geometric constructions, and cartooning. It's
also important to know how to grid something up because
a projector is not always available. Rachel Keebler thinks
students need to focus on the "basics of perspective, textures,
and seeing accurate proportion."
Some of the many skills required when working in a
scenic studio included: familiarity with different kinds of paint;
knowing that there are several ways to do wood grain or marble
but being really good at one of the ways; being familiar with
several ageing techniques; knowing how to prime and paint
steel; knowing how to sculpt something in foam and how to
finish it so that it is strong; being able to use an industrial spray
gun; knowing how to make and use several types of scenic
dope or "spooge"; knowing how to read an MSDS information;
knowing when to use which personal protection equipment.
Donna Wymore (Cobalt) said, "You are a problem solver.
spring 2011
theatre design
& technology
55
Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2011
Contents
Theatre Design & Technology - Spring 2011 - 1
Theatre Design & Technology - Spring 2011 - 2
Theatre Design & Technology - Spring 2011 - 3
Theatre Design & Technology - Spring 2011 - Contents
Theatre Design & Technology - Spring 2011 - 5
Theatre Design & Technology - Spring 2011 - 6
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