Theatre Design & Technology - Fall 1985 - 17

Painters decorated the scene. In Italy the set designer is still
called decor({(ore and in France decorareur. Later, when the
master builders began using stone to provide a permanent
frame\\'ork for the theatres, the decorators became technicians installing themselves within this framework. It is quite
interesting to observe, within its historical context, the continually changing occupational foundation of the head technician. At the start, it was the painter-the decorator-followed by the joiner-the carpenter. During the industrial
revolution it became the metalworker-the mechanical engineer. ow it will most likely develop more and more in the
direction of the electro-technician and electronic engineer.
Where, then, within this roughly condensed historical survey, do we find the necessity of formal training? How did the
director come about? Perhaps the most intelligent member of
the acting troupe began to say hO\\' things ought to be done.
As the audience became more critical, and the creation of the
work more complicated, a literary director became necessary
to find out what, in fact, was to be done and why, exactly, in
a particular way.
The principal of the troupes-half patriarch, half businessman-in the times when theatre came under royal dominion, was given the official military-administrative title of
"Intendant." What does all this mean? Is it a tradition, attention to customs, an addiction to titles? Or is it just the accidental result of a rampant development from a country fair
platform right up to the double-floor revolving stage?
On our stages today, things are no longer romantic, but
technical. For this reason, the ongoings are seldom merely
merrily improvisational, but more often dangerously chaotic.
The work is no longer performed in an impromptu manner,
but instead is organized by civil servants, technocrats, and
functionaries, It is, moreover, dictated by employment requirements, audience committees, contracts, and, occasionally, by artistic necessity. Above all, however, it is a subject of
debate for a general public to whom the theatre is neither the
hub of the universe, nor a tolerated minority but, rather, one
part, like any other, of society.
This society involves divisions, distinctions, groups, and
professions on the one hand, and wage scales, standards,
regulations, and laws on the other. It is, then, no real wonder
that in the theatre, just as in industry, the trades, commerce,
and public administration, we talk about occupational outlines, training regulations, educational programs, trainee vacancies, continuing education, and educational leave.
Lagging behind-in some cases in terms of centuries, in
most cases in terms of decades-does not exactly enhance the
desire to participate in the solution of the problems involved,
Since, however, the technical- industrial development is racing ahead in a steep upward curve, the theatre, having just
freed itself with some effort from its patriarchal troupe system, must catch up and participate.
Anyone receiving mail from advice-seeking beginners asking how they can learn a particular theatrical profession has
felt a certain embarrassment at having to ask, "What should
I, in fact, say? Doe a standardized course of training exi t?
What suggestions can I make?" Whoever is familiar with this
dilemma will recognize that the theatre is, in fact, an unknown world. Unknown to the degree than it is not under the
spotlight and in full view of the audience and general public,
nknown, unfortunately, even to our own legal representatives and to the owners of the theatre,

In Germany, this situation results from the fact that the
theatre owners are rarely private individuals, but, rather, institutions, municipal administrations, or state ministries. Information about the the theatre's \vork often gets lost there
amidst the flood of other information to which these authorities are subjected.
We hould not only direct our attention, ho\\'ever, to the
out ide. In contrast to America, there is no common training
in the first year's course of study. Seldom does the singer who
steps out onto the stage really know \\'hat work has gone into
that costume which is flattering his not terribly attractive
figure. Even a director is hardly aware what amount of work
and rethinking in workshops may result from a small change
of his ideas. Conversely, does a prop person know what a
close relation an actor develops to his prop, and what distress
it can cause him should this prop not be available in time?
Thus, unfortunately, we have in our theatres many members
of the various occupations with little knowledge of the work
and requirements of their colleagues in other areas.
This obviously presents a danger, both from the outside
and from the inside. The external danger for the theatre is
that of running up against a lack of understanding on the part
of those political institutions responsible for its expenses. Internally, we risk creating unnecessary problems amongst ourselves by not knowing each other's work. This internal development has been, and still is, aggravated by what I believe
to be an unfortunate development in the collective wage agreements. The entire development of the wage scale system resulted in division instead of integration. It determines what
one employee is allowed to do and what the other is not.
Anyone familiar with theatre work abroad, especially in
Anglo-Saxon countries, knows that the development has
reached an even more extreme degree, There, during a rehearsal, a director is not permitted even to pick up a chair and
move it from one place to another; this must be carried out
by the one employed for such work according to the collective
agreement. In Germany, thank God, we do not have these
conditions yet.
We do have another sore spot, I am afraid, in common
with you, Let me change my topic to "Who Runs the Theatre, and How Does One Learn This?" As we know, there is
no formal training in this area. Theatre managers learn their
profession according to trial and error. This system is familiar to us particularly through animal experiments. If you
recall: Rats must press a certain lever in order to receive food.
If they press the wrong one they recei ve an electrical shock
instead of food, The difficulty in the case of theatre managers
is that when they press a wrong lever-that is to say, make a
wrong decision-it is not only they who receive the shock, but
also the entire house, with all their co-workers. For this
reason, a formal training program for theatre managers \\'ould
be de irable. The training should not be in those actual areas
which make a theatre manager a good one, since these can
probably be learned only through practice, but training in
\\'hat I would simply call the theatre manager's craft. If they
were to acquire knowledge in this area-in the admini trative,
financial, and operational sectors-prior to taking on the sole
re ponsibility for the running of a theatre, much would be
gained. These matters can be learned as crafts and it i a dire
necessity that these skills be included amongst the criteria
according to which a theatre manager is hired. And it should
be made clear to those doing the hiring that certain pre... continued on page 20



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1985

Contents
Theatre Design & Technology - Fall 1985 - 1
Theatre Design & Technology - Fall 1985 - 2
Theatre Design & Technology - Fall 1985 - 3
Theatre Design & Technology - Fall 1985 - Contents
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Feb
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Feb
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
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