Theatre Design & Technology - Fall 1982 - 17

Even when he has reached his required
goal. he still goes on - sometimes despite
medical advice." (The "required goal" in
costuming is almost always so barely
attainable. that workaholism becomes less
easily detected.) "The workaholic is afraid
of his emotions: Being occupied makes him
feel good - he's safe. It gives him a
convenient. socially acceptable excuse for
avoiding intimacy or facing up to difficulties
in his relationships. If he didn't keep so
busy. he'd probably become depressed. Or
he may associate staying at home with
playing. and thus feel guilty." One wonders
whether unusual amounts of work could not
touch off this syndrome as well. One of the
types of personalities that might be most
vulnerable to addiction defines the
stereotypical costumer: "passiveaggressive types who appear pliant and
submissive. but who harbor a great deal of
aggression underneath. who seethe below
the surface" (pp. 88. 94)
4 Sue Millar. "Stress Makeovers - How
Three Busy Women Learned How to Use
Their Time Better." Glamour (April 1981).
Coincidentally. an almost identical exercise
appeared in this magazine at the same time
as the Cleveland conference. The
published logs break down the entire day.
not just working hours. as shown in this
article. This represents the first of three
columns The second column records the
subject's feelings about the expenditure of
each time segment. The third column
represents" recommended stress reducers"
made by time management consultant
Carol Sapin Gold. president of her own firm
in Marina Del Rey. California This author's
favorite piece of advice: "Build a time bank.
If she knows it takes an hour to organize a
lecture. thirty minutes for lunch. she should
give herself an extra fifteen to thirty minutes
for each activity so that no matter what
comes up. she won't be thrown behind and
have to scramble around at the last
minute."
5 "None" indicates no changes. with the
understanding that each actor is supplied
with a single costume. However. 1-5
changes in costuming jargon indicates that
the actors possess 1-5 costumes. not 2-6
costumes. An actor possesses a minimum
of one costume. a maximum of five.
6 New York State Department of Labor.
"Unemployment Insurance Information for
Claimants" (1978-79). p. 10.
7 John T. Molloy. The Woman's Dress for
Success Book (New York: Warner's Books.
1978). p. 175. According to Mr. Molloy.
within the fashion industry there exist sexist
inequities with regard to craft itself: "Why
are some people who sew men's garments
paid more than people who sew women's
garments?"
8 Herbert Fensterheim. Ph.D" and Jean Baer.
Don't Say Yes When You Want to Say No
(New York: Dell Book. 1975). This is an
excellent self-help book for passive
aggressives. It is a behavior therapist's
guide to assertive behavior in all areas of
life including work. love. and dieting. 0
USITT/Fall. 1982

E

Liability
and the
lechnidan
in the
*

RANDALL W. A. DAVIDSON
LIABILITY: generally, any legally
enforced obligation.

LIABILITY INSURANCE: any form
of coverage whereby the insured (in this
case the entertainment technician) is
protected against claims of other parties
The insured's liability for any damages
(under liability coverage) usually results
from his or her (the technician's)
negligence.

Any technical occupation in entertainment can and does meet the criteria
for legal liability (an enforceable obligation) - the technician may have legal
responsibility because of the nature of
his or her position or type of work. If
you are a paid professional, hired to perform a specific task, in a specific location. using equipment generally accepted throughout the Entertainment Industry. you are obliged by contractual
agreement to perform the task to which
you are directed. In this instance and all
instances, the liability areas should be
carefully considered.
1 NECESSARY SKILLS. Do you
have the necessary skills and qualifications or certification, to perform the
task or function to which you have been
assigned? Select any occupation within
the Entertainment Industry: lighting,
sound, special effects, rigger, make-up
artist, scenic artist, camera operator,
carpenter, costume, shop technician,
stagehand, and more. What are the requisite ski lis for performing those job
Theatre Design & Technology

15



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1982

Contents
Theatre Design & Technology - Fall 1982 - 1
Theatre Design & Technology - Fall 1982 - 2
Theatre Design & Technology - Fall 1982 - 3
Theatre Design & Technology - Fall 1982 - Contents
Theatre Design & Technology - Fall 1982 - 5
Theatre Design & Technology - Fall 1982 - 6
Theatre Design & Technology - Fall 1982 - 7
Theatre Design & Technology - Fall 1982 - 8
Theatre Design & Technology - Fall 1982 - 9
Theatre Design & Technology - Fall 1982 - 10
Theatre Design & Technology - Fall 1982 - 11
Theatre Design & Technology - Fall 1982 - 12
Theatre Design & Technology - Fall 1982 - 13
Theatre Design & Technology - Fall 1982 - 14
Theatre Design & Technology - Fall 1982 - 15
Theatre Design & Technology - Fall 1982 - 16
Theatre Design & Technology - Fall 1982 - 17
Theatre Design & Technology - Fall 1982 - 18
Theatre Design & Technology - Fall 1982 - 19
Theatre Design & Technology - Fall 1982 - 20
Theatre Design & Technology - Fall 1982 - 21
Theatre Design & Technology - Fall 1982 - 22
Theatre Design & Technology - Fall 1982 - 23
Theatre Design & Technology - Fall 1982 - 24
Theatre Design & Technology - Fall 1982 - 25
Theatre Design & Technology - Fall 1982 - 26
Theatre Design & Technology - Fall 1982 - 27
Theatre Design & Technology - Fall 1982 - 28
Theatre Design & Technology - Fall 1982 - 29
Theatre Design & Technology - Fall 1982 - 30
Theatre Design & Technology - Fall 1982 - 31
Theatre Design & Technology - Fall 1982 - 32
Theatre Design & Technology - Fall 1982 - 33
Theatre Design & Technology - Fall 1982 - 34
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Theatre Design & Technology - Fall 1982 - 36
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