Theatre Design & Technology - Fall 1987 - 71

PURPOSE, ORGANIZATION, AND
TERMINOLOGY OF THE GUIDELINES

lip sign
romotion and Tenure Evaluation of the Theatrical Deand Technology Faculty: Issues and Recommended
Guidelines" has been developed to meet the needs of two
principal groups: I) administrators who must conduct evaluations of the professional activity of faculty members in theatrical design and technology; and 21 faculty members who are
themselves candidates for such a review. The report has been
designed as a reference handbook, with the intent that users
should be able to consult passages of particular interest and
understand them independently, without reading the entire
document.
In the first section we have placed information on issues
relating to the role of theatrical designers and technologists
within the theatre department and in the overall faculty of the
institution. The second section is devoted to detailed descriptions of six major fields of theatrical design and technology. For
each field we have provided
I) a brief definition of the field itself,
2) a description of the range of knowledge and capabilities
commonly required,
3) an explanation of how proficiency is typically demonstrated and the supporting materials which the candidate may be expected to present,
4) a list of suggested devices for evaluating the quality of
the creative activity, and
S) an outline of issues which may be addressed by the
reviewers.
Because we have anticipated that most users will not read the
guidelines from beginning to end, there is considerable repetition, especially in the second section. Though the more persistent reader may be annoyed by the repetition, this pattern
spares the user the necessity of flipping from section to section
in order to assemble complete information on a given position.
Readers may be unaccustomed to two terms as they are used in
the guidelines. These are "technologist" and "studio." In theatrical jargon the word "technician" is often applied to those
who execute theatrical designs, whether scenic, lighting, or
costume. This word connotes the skilled application of existing
techniques and may be appropriate for relatively uneducated
workers. We have chosen to use "technologist" in referring to
the highly educated and credentialed profeSSionals who bear
responsibility for the safety of all onstage and backstage personnel. Their knowledge is regularly used to devise new methodologies, not merely to use existing ones. These colleagues are
far more than skilled laborers; they are scholars of theatrical
technology; much as biologists are of biology or sociologists are
of sociology, and are thus appropriately termed technologists.
Similarly, in theatrical jargon the common term used is
"shops" rather than "studios" in reference to the locations in
which scenery and costumes are constructed. This usage is
perhaps derived from some of the types of equipment used or
from the terms applied to secondary school manual-training
facilities and courses. However, art works are produced in studios, as we recognize in referring to sculpture studios (which
commonly have equipment imilar to that in scenic studiosl.
The products of theatrical designers and technolOgists are art
forms, and are also produced in studios. The stlldents constructing scenery, properties, or costumes are artists-intraining, learning to make esthetic judgments in the course of
executing designs. The use of terms such as technologist and
studio is important in changing a common misperception of
theatrical designers and particularly technologists as closely

akin to less-educated custodial staff and maintenance workers.
This report concerns the evaluation of theatrical design and
technology faculty in six areas: scenic designers, lighting designers, costume designers, technical directors, costumers, and
directors of technical production. We also deal with single
positions combining two or more of these specialties. Since
costume designers and costumers often teach courses in costume history, they are sometimes mistakenly evaluated by
criteria appropriate to that field. Thus we have included costume historians, though they are neither designers nor technologists, so that the differences may be apparent.
These guidelines deal only with the major deSign/technology
positions common to large numbers of institutions. We recognize that larger or very active departments frequently have
additional faculty specialists in other deSign/technology areas,
including scenic painting, properties design/construction,
sound design, makeup, stage management, etc. These important positions are beyond the scope of this report, though we
hope to include them in a later document. Where such positions
exist, we suggest that the theatre faculty use these guidelines as
a model and develop appropriate descriptive materials for their
own use.
We note that faculty members at most institutions of higher
education can expect promotion and tenure evaluations to
focus on the following categories:
I. Teaching and Advising
II. Creative Activity/Research/Scholarship
III. Service to the Institution, Profession, and Community
Iv. Professional Development

Ideally, evidence of creative activitY/research/scholarship is
required by institutions in order to ensure that professors continue to contribute actively to their areas of specialization and
to maintain their professional competence.
The goal of this report is to provide guidelines for evaluating
creative activity which is beyond the scope of traditional academic criteria. No attempt will be made to deal extensively
with evaluation of excellence in teaching and advising or service to the institution and community, since these may be
evaluated for the deSign/technology faculty as for other members of the academic community. Professional development
will be discussed briefly.
SUGGESTIONS FOR IMPLEMENTATION

broughout this report we stress the importance of peer
evaluation, such as external professional peer evaluations
and evaluations by the institution faculty in the related areas of
theatrical design, theatrical production management and technology; and faculty in performance areas.
We strongly encourage all departments of theatre to devise
means of securing written evaluations of all major aspects of
each production. If only selected productions are evaluated,
each designer and technologist should participate in the selection process and be aware of the evaluation schedule. It is
important that productions viewed by the designers and technologists as their best works be evaluated, as well as those in
which the acting and directing are higWy regarded. The evaluation process should include evaluations by participants, departmental colleagues, other members of the campus community,
and po sibly students. Outside evaluations should be included a
well. The accumulated evidence of such evaluations, gathered
over a period of years, is far more significant than any single
adjudication. Further, providing timely critiques allows all
members of the production team land especially newcomers) to
have an opportunity for growth and to remedy deficiencies
before a tenure or promotion review is imminent.
At some institutions an on-campus evaluation by faculty
members outside the theatre program is required. As in other

T

TD&T SUPPLEMENT

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FALL 1987

3



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1987

Contents
Theatre Design & Technology - Fall 1987 - 1
Theatre Design & Technology - Fall 1987 - 2
Theatre Design & Technology - Fall 1987 - 3
Theatre Design & Technology - Fall 1987 - Contents
Theatre Design & Technology - Fall 1987 - 5
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