Theatre Design & Technology - Winter 1975 - 24

Floor plans should normally be in one-half inch scale
and display an understanding of the normally accepted
drafting conventions and symbols. Floor plans should be
complete with elevation marks, center line, proscenium
line, proscenium wall, masking, backings, furniture, etc.,
and differentiation between full-height and partial walls.
In non-proscenium forms, the playing area should be
outlined with a distinctive line and, in the case of
Theatre-In-The-Round staging, there should be two
center lines perpendicular to each other.
Where a multiple setting is presented, the shifting
pattern should be clearly laid out. Elements flown or
suspended should also be indicated and a hanging plot
included.
(d) Construction drawings of one of the designs above,
or a series of construction drawings illustrating typical
scenic construction (perhaps executed as a class exercise.)
Drawings should be in one-half inch scale.
(e) Property sketches in pen and ink, charcoal, conte
pencil or other appropriate medium for one of the designs above, or similar sketches illustrating an understanding of the techniques involved. Sketches should
include proper scale or measured proportions and appropriate information concerning materials and construction techniques.
A t the completion of the Master's degree the scene
designer's portfolio should be expanded considerably.
At a minimum the student's portfolio ought to contain:
(a) At least twelve designs in color, as above; each
properly matted. These renderings should encompass
a wide range of dramatic pieces from a number of
historical periods. The artist should display a knowledge
of presentational styles including both proscenium and
non-proscenium staging. The portfolio should also contain designs for an opera, a ballet and a musical comedy.
At least one of the other designs should be for one of
the more frequently produced plays of Shakespeare.
Of these, at least one design should be completely presented including a number of thumbnail sketches of
individual scenes.
(b) From three to six of the designs above should
also be represented by color photographs of fully rendered color scale models.
(c) Floor plans for each design as indicated in the
section above.
(d) Front elevations, construction drawings, details,
sections, isometrics, etc., in appropriate scale (normally
one-half inch) as required for one of the designs above.
These drawings should be complete enough for the
design to be constructed by a commercial scene shop.
(e) One or more painter's elevations, to scale, for an
elaborate drop, show curtain, or other scenic item for
one of the designs above. In addition, sample painter's
elevations showing wood paneling, moldings, marble,
foliage, etc.
If) Property sketches in appropriate media for one
of the productions, as in the section immediately proceeding.
(g) Color photographs or slides of any of the designs
above actually produced. These should be properly

24

WINTER,1975

identified as to the producing group, director, date and
place of production.
It should be particularly noted that a student awarded
an M.F .A. with emphasis in design should be able to pass
the U.S.A.A. examinations after a year or two of employment in the field. To that end, the student's portfolio
should display a knowledge of architectural styles, research ability in historical detail, a range of painting and
rendering styles, and dramatic flair and imagination.
Li ghting Designers
High school students should keep a careful record of
work in this area including photographs of productions
and copies of light plots, instrument schedules, cue
sheets, etc., that the student may have used in connection with high school productions.
A t the completion of the bachelor's degree a lighting
designer should be able to demonstrate a knowledge of
the physical properties of light and electricity and ability
to apply that knowledge to stage use.
At a minimum the student should present the following:
(a) Light Plot{s): From one to three scaled floor
plans with lighting instruments placed in proper location
and the lighting areas outlined and numbered. The use
of the international lighting instrument symbols is recommended.
(b) Instrument schedule Is) for the plot{s) above to
include instrument numbers, instrument type, lamp
type and wattage, color media number and/or name,
special equipment (barn doors, double-jumpers, etc.)
outlet number, control circuit and area of focus or
function.
(c) Sample cue sheets for at least the major cues
in one production. It is suggested that the lighting portfolio be prepared in conjunction with the scene design
course; each student preparing a light plot for their own
scenic designs. If this is not possible, then the instructor
sh ould provide a sample design and the student prepare a
lighting design for it. In either case, a copy of the design
should be retained and presented with the work listed
above.
At the completion of the Master's degree the student
should demonstrate not only the craft, but the art of
lighting by presenting designs including the aesthetic
application of lighting principles to enhance the mood
and provide the illumination that the text requires.
At a minimum the student should present the following:
(a) Designs for six productions; with renderings in
color and/or black and white illustrating the effect of
the light at selected moments in the play. Such drawings
should include appropriately costumed figures as well
as backgrounds, if any.
(b) Light plots as above.
(c) Instrument schedules as above.
(d) Sample cue sheets for at least one complete
production.
(e) Include slides or photographs of actual productions.

THEATRE DESIGN AND TECHNOLOGY

I

USITT

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Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 1975

Contents
Theatre Design & Technology - Winter 1975 - 1
Theatre Design & Technology - Winter 1975 - 2
Theatre Design & Technology - Winter 1975 - 3
Theatre Design & Technology - Winter 1975 - Contents
Theatre Design & Technology - Winter 1975 - 5
Theatre Design & Technology - Winter 1975 - 6
Theatre Design & Technology - Winter 1975 - 7
Theatre Design & Technology - Winter 1975 - 8
Theatre Design & Technology - Winter 1975 - 9
Theatre Design & Technology - Winter 1975 - 10
Theatre Design & Technology - Winter 1975 - 11
Theatre Design & Technology - Winter 1975 - 12
Theatre Design & Technology - Winter 1975 - 13
Theatre Design & Technology - Winter 1975 - 14
Theatre Design & Technology - Winter 1975 - 15
Theatre Design & Technology - Winter 1975 - 16
Theatre Design & Technology - Winter 1975 - 17
Theatre Design & Technology - Winter 1975 - 18
Theatre Design & Technology - Winter 1975 - 19
Theatre Design & Technology - Winter 1975 - 20
Theatre Design & Technology - Winter 1975 - 21
Theatre Design & Technology - Winter 1975 - 22
Theatre Design & Technology - Winter 1975 - 23
Theatre Design & Technology - Winter 1975 - 24
Theatre Design & Technology - Winter 1975 - 25
Theatre Design & Technology - Winter 1975 - 26
Theatre Design & Technology - Winter 1975 - 27
Theatre Design & Technology - Winter 1975 - 28
Theatre Design & Technology - Winter 1975 - 29
Theatre Design & Technology - Winter 1975 - 30
Theatre Design & Technology - Winter 1975 - 31
Theatre Design & Technology - Winter 1975 - 32
Theatre Design & Technology - Winter 1975 - 33
Theatre Design & Technology - Winter 1975 - 34
Theatre Design & Technology - Winter 1975 - 35
Theatre Design & Technology - Winter 1975 - 36
Theatre Design & Technology - Winter 1975 - 37
Theatre Design & Technology - Winter 1975 - 38
Theatre Design & Technology - Winter 1975 - 39
Theatre Design & Technology - Winter 1975 - 40
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
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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