Theatre Design & Technology - May 1971 - 32

CRISIS AT COLUMBIA
(Continued from page 25.)

to serve the community itself, and where the production activities are all "work-shop," and where the cost to mount a
phantom production can be $1,000 to $3,000 for the average play and up to $10,000 for a "show piece?" The
reason for a production would be absent.
Wherein, then, besides the creation of another handful of
Ph.D.'s, is the justification for their education at such cost
rather than in an apprenticeship in the market place? Inevitably, the answer must lie in the need for drama in the
communities across the land.
There are many attributes that are natural to man, without
which he is not a complete human being. Love, for example,
seems to be one of these. That it has been, and will continue to be misused is not a clincher against it. Good food
and drink, stylish clothes, trinkets to decorate oneself also
seem necessary.

Maybe this
belongs in your
reference files ...
If you desire an understanding of the dynamic
Open St.age Theatre and its particular techniques,
write for Hub Bulletin 126. It contains discussions on auditorium design, size and shape of
platforms, nature of walls, floors, ceilings, and
seating.
Its 68 pages are also crammed with specific details of scenery design techniques, background
projection and parts of the lighting and lighting
control systems required for Open Stage.
Write today, on your letterhead, requesting Bulletin 126. It's yours without charge.
If you already are working with an Open Stage,
ask too, for Bulletin 121 "Freestanding Scenery"
by James Hull Miller.
HUB BULLETI
126 is the seventh in a
series. covering major areas of educational
theatre and educational TV as explored by
Hub with the help of leading designers and
consultants. This continuing research is why
our engineering and design staff "knows"
the exacting requirements of theatrical
lighting and lighting control systems.

HUB
ELECTRIC COMPANY, INC.
940 INDUSTRIAL DRIVE .
ELMHURST, ILL. 60126

RESIDENT ENGINEERS IN PRINCIPAL CITIES

So it is, too, with theatre. A study of past civilizations
and cultures seems to indicate that man over the ages has
played a part outside of himself or played himself in a
character or situation other than that to which he has been
tied by his circumstances.
This constitutes communication: an expression of an
event or a situation, a hope, a celebration, or an attitude
based on love, hate, or other human emotion. The art in the
situation is the manner in which the urges within the communication are transmitted and their purpose attained or
defeated.
Communication needs a community: theatre without an
audience is a nullity, and in the future for the theatre is
audience participation; the audience clamoring to bring its individual urgings forward for consideration and acceptance.
But it takes an artist to get his inner self across, as well
as a community to listen and react to his art. Thus, collective feelings for war or celebrations or trips to the moon are
expressed at group levels-the town hall, village, city and
state-and are accepted or rejected on a national scale. The
feeling of one individual for another can be expressed
through the medium of the classroom in a play school,
grade school, high school, or college.
Until recently, the teachers who develop this art of communication in the students have been trained for their profession in the drama schools at universities (the Theatre
Arts division of Columbia's School of the Arts is a highly
vocal and respected example). Hundreds of grade and high
schools have been urged by the graduates of this Theatre
Arts division to add theatre and theatre production to the
school curriculum and even to add a Theatre Arts division
Ph.D. to their staff to manage it.
Policy for these local schools is set by local school
boards. Undoubtedly, many of them will soon interpret the
closing of Columbia's Theatre Arts division as an indication
that Columbia in its newest wisdom is against theatre arts
and against the development of educators for it. Soon local
schools across the country may be directed by their school
boards to remove theatre from the curriculum.
We may soon have a movement to ignore the emotional
part of a child's nature-in fact, to suppress it. The complexities of life that are so often quieted by make-believe,
and the inner life that is so often struggling for understanding will be nailed-in within them until, to free themselves.
they will explode.
I think of these problems of today in theatre, and my
thoughts go back reflectively to my boyhood friend, Irwin
Edman. It is now my turn to get indigestion. D



Table of Contents for the Digital Edition of Theatre Design & Technology - May 1971

Contents
Theatre Design & Technology - May 1971 - 1
Theatre Design & Technology - May 1971 - 2
Theatre Design & Technology - May 1971 - 3
Theatre Design & Technology - May 1971 - Contents
Theatre Design & Technology - May 1971 - 5
Theatre Design & Technology - May 1971 - 6
Theatre Design & Technology - May 1971 - 7
Theatre Design & Technology - May 1971 - 8
Theatre Design & Technology - May 1971 - 9
Theatre Design & Technology - May 1971 - 10
Theatre Design & Technology - May 1971 - 11
Theatre Design & Technology - May 1971 - 12
Theatre Design & Technology - May 1971 - 13
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Theatre Design & Technology - May 1971 - 15
Theatre Design & Technology - May 1971 - 16
Theatre Design & Technology - May 1971 - 17
Theatre Design & Technology - May 1971 - 18
Theatre Design & Technology - May 1971 - 19
Theatre Design & Technology - May 1971 - 20
Theatre Design & Technology - May 1971 - 21
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Theatre Design & Technology - May 1971 - 24
Theatre Design & Technology - May 1971 - 25
Theatre Design & Technology - May 1971 - 26
Theatre Design & Technology - May 1971 - 27
Theatre Design & Technology - May 1971 - 28
Theatre Design & Technology - May 1971 - 29
Theatre Design & Technology - May 1971 - 30
Theatre Design & Technology - May 1971 - 31
Theatre Design & Technology - May 1971 - 32
Theatre Design & Technology - May 1971 - 33
Theatre Design & Technology - May 1971 - 34
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