Theatre Design & Technology - Fall 1987 - 76

II: RECOMMENDED GUIDELINES FOR
EVAWATIONS

ealistic evaluation is an imperative responsibility of members of the academic co=unity. Because production, performance and design activities do not exactly correlate with
modes of publication, these activities must be evaluated from
different perspectives by qualified evaluators. As impartial professional peer review is the primary indicator of quality in
published research, it is also the appropriate basis for assessment in creative work, whether scenic, lighting, costume or
sound design, or in the other areas of creative artistic problem
solving such as technical direction and costuming.

R

COMBINED SPECIALTIES POSITIONS
Many faculty positions in the areas of theatrical design and
technology require the faculty member to work in two or more
design/technology professions. Frequently the technical director is also the lighting designer, who teaches and produces in
both fields. Often the costume designer is also the costumer.
Where there is a single design/technology position, the professor typically designs both scenery and lighting for departmental productions, manages and participates in the work of
the scenic studio staff and the lighting crew, handles materials
and equipment acquisitions and fiscal management, and
teaches all courses offered in the design/technology areas. This
professor may have responsibility for costumes as well. In such
situations the designer/technical director must typically devote the majority of all working time to production activity.
Evaluators are urged to read carefully the faculty contractual
agreement (sometimes the faculty handbook), the candidates
job description, and the passages of this report on Teaching!
Work Loads and Required Creative Activity.
In evaluating the creative activity carried out in a combinedspecialties position, reviewers should use criteria appropriate
to each specialty in which the individual is actively engaged.
The weight accorded evaluation in each area should be commensurate with the distribution of time spent working in that
area. Thus if 50% of one's creative/research time is spent as a
scenic designer, then evaluation of the work as scenic designer
should be weighed as approximately half of the overall creative/
research evaluation. Additionally, if production activity is half
of the assigned work load, then evaluation of that activity
should be weighed as half of the overall evaluation.
It should be noted that persons working in combinedspecialties positions usually will be unable to reach as high a
level of achievement in any single area as the person working
essentially in one field for the same period of time. The person
working in the combined-specialties position should not be
penalized for this circumstance. Further, greater breadth of
knowledge and capabilities is required of these candidates and
should be recognized.
SCENIC DESIGNERS
The scenic designer is an artist/scholar/teacher who focuses on
designing for the theatre scenery which enhances a given production. The scenery should visually express the stylistic interpretation of the drama unique to the production. It should also
meet the needs of the actors and the director (and sometimes
dancers and choreographers) for appropriate movement space in
the action areas both within the scene and from scene to scene,
and, further, enhance the functions of other visual elements
such as costumes and stage lighting.
Though competent individuals vary greatly in their depth of
knowledge and ability in anyone area, the range of proficiency
typically required of the scenic designer includes:

A. Design and technology
1. competence in recording the artist's intentions in
sketches, storyboards, renderings, or scale models;

8

TD&T SUPPLEMENT

*

FALL 1987

2.

3.
4.
5.
6.

7.

drafting of plans and sections; scheduling and listing equipment, materials, and scenic set-ins; and
painting to reflect the agreed-upon designs of
productions.
knowledge about the impact of color, line, shape,
texture, and movement, and competence in manipulating these design elements.
knowledge of the materials and methods of scenic
construction.
knowledge of movement for dance and stage combat, and the related spatial requirements.
understanding of the techniques and skills of directing as they relate to scenic design.
understanding of the related production design
areas - costume design, lighting design, sound
design.
knowledge of standard safety procedures and
regulations.

B. Literature and history
1. knowledge of dramatic literature, including historic genres, and competence in textual analysis of
scripts.
2. knowledge of the history of theatrical production,
with emphasis on the visual elements of scenery,
properties, lighting, and costume.
3. knowledge of art history (artists, historic styles,
and genres), especially architecture and decor.
4. knowledge of economic, social, and popular history, as providing insights into consumer desires
and needs.

C. Administration
1. competence in oral and written co=unication
skills needed to secure sensitive translation of designs into workable sets.
2. ability to work and collaborate with various artists
and technologists, any or all of whom may be relatively unskilled students, under pressure
3. knowledge of fiscal management of scenic production, acquisitions, and maintenance.
4. ability to oversee the technical execution and operation of the scenic elements of the production.
5. knowledge of studio personnel management and
scheduling.
6. competence in the higher level planning required
in seasonal or repertory contexts.

Overall competence in the scenic designer requires the ability to integrate knowledge consistently, in the areas noted
above, with an understanding of the conceptual requirements
of any given production to create scenic designs which are both
artistically and technologically sound and within the limitations of budget and available labor for the producing organization. Such expertise is demonstrated by participation in production, either on or off campus. The scenic designer is be t
evaluated by profeSSional peers in scenic design and theatre,
who should be agreed on in advance by the designer and the
administration.
It is the responsibility of the candidate to provide evaluator
with evidence of his/her competence. The scenic designer
should submit for evaluation a portfolio which might include a
resume, selected and representative original or photocopied
renderings, models, plan, sections, construction drawings,
painters' elevations, and selected photographs, matching some
of the color design renderings or models. To reveal the designers's approach to his/her art, several examples of a relatively
complete design process should be provided. For selected designs, we suggest that the following information be provided for
use by the evaluating team:



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
Theatre Design & Technology - Fall 1987 - 6
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