Theatre Design & Technology - Fall 1987 - 78

6. competence in the higher level planning required
in seasonal or repertory contexts.
Competence in the lighting designer requires the ability to
consistently integrate knowledge in the above areas with an
understanding of the conceptual aspects of a given production.
The result should be a lighting design which is both artistically
and technologically sound and within the limitations of budget
and available labor and equipment for the producing organization. Such expertise is demonstrated by participation in production, either on or off campus.
Because of the ephemeral nature of light, the lighting designer is best evaluated by attending an actual performance of a
production for which the designer is responsible. Examining a
light plot may reveal fine drafting skills and a sense of the
organizational arrangement of lighting in relation to designated
acting areas, but does little to evaluate ability in design. Plots,
color charts, paper work, etc. should be made available to an
evaluator but should never substitute for the viewing of an
actual production. The lighting designer is best evaluated by
professional peers in lighting design and theatre, who should be
agreed on in advance by the lighting designer and the
administration.
It is the responsibility of the candidate to provide evaluators
with evidence of his/her competence. We suggest that, prior to
performance, the following information should be provided for
use by the evaluating team:
I. Basic information-title of the play; names of the playwright, producing theatre/organization, director, and other
designers; resume of the lighting designers.
II. Production details - because the execution of the design in
production is critical to its success, information should be
provided pertaining to the level of experience of the stage
manager, electricians, and other relevant crew members.
ill. Technical information (especially important if the evaluator is a lighting designer) -light plot, section drawings, cue
information, color charts, etc., and specifications on the
theatre space and available equipment; budget and crew
limitations should be included.
IV Design information
A. approximate time available for research, design, put-in;
B. a brief written script analysis and statement of the
design concept;
C. identification of artistic or technological innovations
associated with the production.
V Collaborators' input-post- or pre-performance interviewing with or written statements from the director and/or
choreographer and the other designers, if available.
VI. Statement of the candidate's perception of the institution's
standards and a self-evaluation.
Among methods of evaluating lighting design quality, in random order, are:
a. evaluations by professional peers and colleagues, including
scenic and costume designers and directors, of work done
over an extended period of time.
b. evaluations by professionals in the field.
c. evaluations by other members of the production team, including support personnel.
d. participation in design panels/programs for professional
societies.
e. reviews; adjudications from regional or national festivals.
f. inclusion in exhibits, particularly juried ones.
g. repeated engagements with off-campus producing organizations, as indicative of work satisfactory to the organization.
h. awards won.

10

TD&T SUPPLEMENT

*

FALL 1987

Those charged with evaluating the work of the lighting designer may expect to address appropriate issues among the
following:
1. Is the design appropriate to the production concept? (As

2.
3.

4.
5.
6.
7.

the lighting designer is not solely responsible for the
production concept, the retention/promotion/tenure
evaluation team is not expected to determine the worth
or appropriateness of that concept.l
Does the design satisfactorily solve the problems presented by the script of scenario?
Does the design satisfactorily support or enhance the
work of the other designers, the director, and/or the
choreographer?
Is the design appropriate to the budgets of time and labor
(including skills levels)?
Is the design appropriate to the theatre, the stage and the
production environment?
Does the candidate contribute to the creation of a positive learning environment?
Does the work demonstrate competence appropriate to
the professorial rank (instructor, assistant professor, associate professor, or professor) of the candidate, based on
the prevailing written standards of the institution?

COSTUME DESIGNERS
The costume designer is an artist/scholar/teacher who focuses
on designing for performers costumes which enhance a given
production in general and a characterization in particular. The
designs should also enhance or harmonize with the functions of
the other visual elements such as scenery and lighting. Achieving this goal requires research and interpretation of both historic dress and the drama.
Though competent individuals vary greatly in their depth of
knowledge in anyone area, the range of proficiency typically
required for the costume designer includes:
A. Design and technology
1. competence in recording the artist's intentions in
sketches, renderings, or drawings in various media.
2. knowledge about the impact of color, line, shape,
texture, and movement, and competence in manipulating these design elements.
3. knowledge of the materials and methods of costume construction, including textiles, pattern development, fitting, tailoring, etc.
4. knowledge of movement for dance and stage combat, and understanding of related requirements in
dress.
5. knowledge of fabric modification, including dyeing, painting, lamination, distressing.
6. knowledge of techniques in makeup, hair, wigs, and
masks.
7. understanding of the techniques and skills of directing as they relate to costume design.
8. knowledge of safety procedures and regulations
that apply to costume design.
9. understanding of the related production design
areas-scenic design, lighting design, makeup
design.
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 historic dress, including ethnic and
folk dress and accessories, non-western and unique
ethnic theatrical costume, western theatrical costumes (Greek tragedy; opera, ballet, rock video,



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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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973May
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Feb
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
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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