Theatre Design & Technology - Winter 2017 - 53
ence of this when it is full scale in the venue in front of
an audience), while creating their unique lighting designs, in the present, to reveal this future event.
We don't have to be "good" at being still or even
demonize our electronic devices to start practicing
"staying." Start with your next meal, or the next pause
in your movement, maybe when waiting to cross the
street or for a meeting to start or, better yet, when you
are done reading this paragraph. Take in the sounds
around you, the temperature sensation on your skin, the
experience of your body where it meets the chair, or
your feet touching the ground. You will likely find this
not only to be a calming practice, but one that disrupts
the mind's tendency to ping pong around the same old
thoughts that don't produce anything new. The more
we can reduce these repeating thoughts, the more clear
space our mind has to generate a new thought, which is
critical for the act of creating design.
That said, like many theatre people and graduate students, Yeager's students still find it difficult to
sit still in light of all the things that need to be done.
It can be frustrating to stay awake seated silently with
your eyes closed when work days are long, they say. But
they all use what they've learned in personal ways.
J A Y
O .
MEDITATION AND THE DESIGN PROCESS
At the University of Arizona, contemplative pedagogy
has strong momentum but is in its infancy. As recently
as 2014, the university's Confluence Center for Creative Inquiry gathered a number of us into a "contemplative traditions working group." We received a grant
from the Association for the Contemplative Mind in
Higher Education (ACMHE) to found a "Contemplative Pedagogies Faculty Learning Community" where
ideas for bringing these concepts into classrooms are
shared among faculty from a variety of disciplines
around campus.
The realization that my contemplative practices
had been energizing my artistic activity was not sudden. It is an odd experience to relate, but at some point
I realized that my designs and other creative ideas were
"downloading" themselves into my brain during or following meditation. Kenton Yeager's reflections echo
a similar idea: "For me, it is about clearing the open
channel to creativity or the creative force. If I stay fully
present, the work flows effortlessly through me. It is
no longer work; it just unfolds naturally. This is now
happening in all aspects of my life, not just my work."
I began to wonder if it was possible to offer effective
G L E R U M
RIGGING MASTERCLASSES
S U M M E R
2 0 1 7
Entry & Advanced Tracks Available
Learn more at usitt.org/glerummasterclass
usitt.org
W i n t e r 2 0 1 7
theatre design
& technology
53
http://www.usitt.org/glerummasterclass
http://www.usitt.org
Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 2017
Contents
Theatre Design & Technology - Winter 2017 - Cover1
Theatre Design & Technology - Winter 2017 - Cover2
Theatre Design & Technology - Winter 2017 - 1
Theatre Design & Technology - Winter 2017 - 2
Theatre Design & Technology - Winter 2017 - Contents
Theatre Design & Technology - Winter 2017 - 4
Theatre Design & Technology - Winter 2017 - 5
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Theatre Design & Technology - Winter 2017 - Cover3
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