Theatre Design & Technology - Spring 1976 - 19

ON TRAINING TECHNICIANS, THEATRE
ENGINEERS AND SCENOGRAPHERS
GILBERT HEMSLEY, JR., GEORGE C. IZENOUR, JO MIELZINER
The following papers INere presented at the recent as/TT Congress in Prague, January 5-9, 1976.
ON THE TRAINING OF THE THEATRE TECHNICIAN
Ladies and Gentlemen:
Before I discuss the trammg of theatre technicians, I
would like to take a look at the future of the theatre.
The professional's pace is accelerating very quickly.
The advent of the Concord jet airplane makes it possible to live in Paris and work in New York. I had a Sunday morning meeting in Amsterdam, a Sunday afternoon meeting in New York and I attended the American
Ballet Theatre Sunday evening. Monday was spent lighting the new AIDA at the Metropolitan Opera House and
by Tuesday morning I was back in Prague for this conference.
I am carrying with me on this trip a small tape recorder
with a recording of AIDA. When we were students, did we
have the foresight to think we could carry an entire opera
in our briefcase? Before 1980, we will also be able to project the entire visual and vocal production on our hotel
wall, with video casette.
Music performances on records and tapes have begun
to introduce the world to itself. Technological advances
in sound applied to records and tapes have made it possible for opera lovers across the world to have an international knowledge of singers and productions. Through
the arts we can communicate and understand one another.
This Congress is an important example.
What has this modern technology done? It has only
wetted our appetites to see the real thing. In the past
two years, more opera companies than ever before are
traveling to each other's homes. The Swedish Opera went
to Moscow, the Bolshoi played in New York and in Washington, and the Metropolitan Opera from New York performed in Japan and is now thinking of Australia. La
Scala and the Paris Opera are coming to New York and
the Berlin Opera has just returned from Washington.
Dance Companies are also touring much more than in
the past. Amalia Hernandez in Mexico City found it
necessary to have two companies of the Ballet Folklorico.
The first to travel nationally and internationally, the
second to stay at home and perform for the tourists.
What does all this mean?
Ladies and Gentlemen, we are all like children and
dogs, once we have begun to hear, we have the natural
curiousity to see. If we cannot see it in a theatre, we are
going to expect our arts communication to be live on
television just as we now get the news and sports events.
At the Wolftrap Theatre outside Washington, D.C.
this past summer twenty-two productions were televised
during live performance and released all over the country.

I

USITT

I

The Metropolitan Opera is laying the groundwork to do
live television broadcasts every Saturday afternoon just
as it has done on radio for over twenty years. In Madison,
Wisconsin, where I live, the new Civic Center will have
all performing areas connected by video cables enabling
the Madison Community to enjoy what is happening at
its own arts facility by means of cable television.
Now - How does all this relate to the training of theatre students?
(1)
They are going to have to be more conscious of, and
concerned for, the entire world. Companies from many
countries are going to come to their local theatres and
they are going to be responsible for presenting their own
companies internationally.
(2)
In terms of visual presentation and leadership,
these students are going to have to learn and be responsible for the video recording of their own companies.
I am concerned with training the best production
managers, lighting designers and stage managers who can
get it all together, and then keep it all together.
I live and teach in Madison at the University of Wisconsin (about two hours northwest of Chicago). My
program for training theatre students is simply to combine
my teaching with my professional career. I am fortunate
to be working with some of the best artists both in
my own country and internationally and I am only interested in training the best people. The world is already too
full of mediocrity. I am not perfect, my program is not
perfect, but I do consider it successful as all of my former
students are working professionally and most of them are
with very good companies. Past assistants are now working as lighting designers for the Guthrie Theatre in Minneapolis, the Houston Opera, the Boston Opera, the Pennsylvania Ballet; and others as production or stage managers for the Alwin Nikolais, Murray Louis, Elliot Feld and
Twyla Tharp Dance Companies in New York.
It all begins in Madison Wisconsin, both at the University and in the community. The University has 37,000
students with a diverse range of studies from cows to computers, space science to texti Ie design. In the arts it has a
music school, a journalism school, and programs in dance,
opera, television, film, theatre, and even arts administration. This concentrated area also includes 14 performing
areas, 5 television studios, 1 radio station and an art gallery. The community (population of about 200,000) has
an opera company, an orchestra, a professional ballet
company, a cable television network, three theatre groups
(two amateur and one professional) and two art galleries.
I start each fall with about 120 beginning students
from both the University and the community. Students
are attracted from theatre, art, dance, television, film,

THEATRE DESIGN AND TECHNOLOGY

SPRING,1976

19



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

Contents
Theatre Design & Technology - Spring 1976 - 1
Theatre Design & Technology - Spring 1976 - 2
Theatre Design & Technology - Spring 1976 - 3
Theatre Design & Technology - Spring 1976 - Contents
Theatre Design & Technology - Spring 1976 - 5
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