Theatre Design & Technology - Fall 1976 - 14

Make-up man at the Dresden College
Wardrobe man at the Dresden College and Berlin
Scene painter and sculptor at the Dresden College
All these professions require direct studies at a college
or vocational school.
3. Training theatres and survey of data
There are training centres at the following theatres:
German State Opera, Berlin; State Theatre, Dresden;
Leipzig Theatre; Municipal Theatre, Karl-Marx-Stadt;
Maxim Gorki Theatre, Magdeburg; Theatre of the City
of Cottbus; German National Theatre, Weimar; Municipal Theatre, Erfurt.
Individual training courses are held at a series of other
theatres.
Average number of students per year:
Scenery setters. .
Light electricians .
Theatre jo iners . . .
Theatre mechanics
Master for theatre engineering
Master for lighting engineering
Scene designers, Make-up men, Wardrobe men

70
25
20
. 8
25
20
23

GREAT BRITAIN
The Theatre Technician's Training In Britain
The Theatre Technician in Britain has trad itionally
been trained in the theatre as a junior member of a
department serving an informal apprenticeship. This type
of training was carried out in each of a large number of
theatres throughout the Country, many of which were
linked by common ownership and by being part of a
touring circuit. This type of training, although informal,
was efficient and achieved a consistant standard of technical competence throughout the industry. As many of
the theatres did not produce their own shows, there have
always been many independant sub-contractors providing
set and costumes and training their own staff on a similar
informal apprenticeship basis. Although the theatre's
lack of funds has over a number of years adversely affected this type of apprenticeship, it is still the most common form of training at this time.
Several types of pre-entry courses can be taken before
starting work in the theatre, and although not specifically
designed for the training of technicians, these courses,
in mounting. productions, give attention to the technical
and craft aspects of theatre work and can be used to
advantage by a would-be theatre technician. Courses run
by Drama Schools, University Drama Departments, Design
Schools and some Teacher Training Colleges fall into
this category.
In 1970 the Arts Council of Great Britain granted
funds to the Association of British Theatre Technicians
to carry out work on schemes for the training of technicians. Following negotiations between the ABTT, the
management organizations and the union, day release
schemes were started at Technical Colleges in London
for technicians already employed in the theatre, and a
Theatre Electricians examination has been approved by

14

FALL,1976

the National Technicians Examination Institution. Since
1970 the ABTT has conducted experiments with various
types of training, based both in London and at Regional
centres. Some of these experiments have taken the form
of financial incentives to theatres in an attempt to sustain the traditional type of apprenticeship training,
which many people believe to be essential for the acquiring of theatre skills.
In its training role the ABTT has to try to meet the
needs of the theatre industry, using the advice given by
careers organizations and the available facilities to this
end. The pattern is one of constant change, influences
by conditions in other industries, and in education, as
well as in the theatre, all of which are in turn influenced
by the economic climate. Acute staff shortages have
convinced theatres of the importance of training, and may
now provide the required momentum.
Scenographic Training In Britain
In the past and in the immed iate post-war years the
British Scenographers came from many walks of life such as painters, arr.hitects, theatre workers. Now, however, most of the new entries into the profession are
trained at Art Schools which run specialized courses.
At the moment there are four Art Schools, two in
London, one in Birmingham and one in Nottingham,
which run three year B.A. Honours Degree courses in
Theatre Design. Added to this there are two post graduate courses - a two year course at the Slade School of
Art and a one year course at the English National Opera
Company. Several smaller schools also run various types
of courses in Theatre Design.
Most of the students at these schools will have done
at least a year, and usually more, at foundation courses
in general art studies.
The problem lies in the fact that most of the courses
are ed ucationally, rather than vocationally, oriented
and the designer sometimes has difficulty in making the
transfer from his course into the work of the theatre.
Also, whilst the Art School may be turning out more
than fifty designers a year, the profession is not extensive
enough to absorb this number. Some designers find
their way into television and film, but union problems
make this difficult. The film industry has contracted so
much in the last ten years that it is very difficult for
newcomers to enter an already underemployed work
force.
The fringe, or small theatre group activity, is increasing greatly in Great Britain, but finds it difficult to pay
the designer a living wage, so that he has often to rely
on other activity for maintenance.
The Arts Council of Great Britain has experimented
with very limited funds in bridging the gap between the
Art School and the profession. Basically, these schemes
consist of taking a selected graduate student and placing
him in a theatre to act in a professional capacity under
supervision. The theatre concerned receives a grant from
the Art Council which amounts to about 60% of the
designer's salary for his first year. This scheme was initially most successful, but as more and more designers

THEATRE DESIGN AND TECHNOLOGY

I

USITT

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Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1976

Contents
Theatre Design & Technology - Fall 1976 - 1
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Theatre Design & Technology - Fall 1976 - Contents
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