Theatre Design & Technology - Fall 1987 - 82

IV Costumer's information
A. brief written analysis of production costume requirements and problems.
B. studio bible.
C. actual or scale patterns and cutting diagrams.
D. identification of technological or artistic innovations
associated with the production.
V Statement of the candidate's perception of the institution's
standards and a self-evaluation
Among devices for evaluating the calibre of the costumer's
contributions, listed in random order are:
a. evaluation by professional peers, including costume, scenic
and lighting designers, directors and theatre managers, 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 costume technology panels/programs for
professional societies.
e. reviews, adjudications from regional/national festivals.
£. repeated engagements with an off-campus producing organization, as indicative of work satisfactory to the
organization.
g. inclusion in exhibits, particularly juried ones.
h. awards won.
Those charged with evaluating the work of the costumer may
expect to address appropriate issues among the following:
1. Are the technical solutions appropriate to the production concept? [As the costumer is not ordinarily responsible for the production concept, the retention/promotion/tenure evaluation team is not expected to determine the appropriateness of that concept.)
2. Do the technical solutions satisfactorily solve the problems presented by the script or scenario? And by the
designs? Are the movement needs of the performers
met?
3. Are the technical solutions appropriate to the budgets of
time and labor (including skills levels)?
4. Are the technical solutions appropriate to the theatre,
the stage, and the production schedule?
5. Does the candidate contribute to the creation of a positive learning environment?
6. 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?
In addition, the costumer hould demonstrate abilities which
are not production-specific, in such areas as seasonal budget
development, costume studio safety, scheduling of costume
studio personnel and activities, costume rental operations, and
sometimes maintenance of the facility. Thus an evaluation
should cover not only the costumer's short-term efficiency for
each production but also the candidate's management of resources throughout an entire season. If on-site inspection can
be arranged, it may be valuable for the evaluation team to
consider the qua Ii ty of the operation of the costumer's studio
independent of the requirements of a particular production.
Throughout the evaluation process, the reviewing team
should keep in mind the financial, physical, and human resources available for the assigned production load and maintenance activities. The nature of theatrical production is also
significant, and no one should be expected to maintain a spotless environment when a show is in production. Some useful
questions to ask concerning the effectiveness of the candidate
are:

14

TD&T SUPPLEMENT

*

FALL 1987

1. What is the quality of costume studio maintenance?
2. Are studio spaces and crews well organized for efficiency; safety; and congeniality?
3. How well are safety procedures followed? What are the
frequency and nature of accidents/injuries?
4. How well does the candidate maintain control of the
seasonal and single-show budgets?
5. How effectively does the candidate meet production
schedules (for example, frequent recurrence of rush
orders may indicate an inability to anticipate needs)?
6. Does the candidate generate appropriate paper work
which is effective in expediting the daily work of the
studio?
7. Has the candidate been active in keeping abreast of
contemporary costume technology?
8. Has the candidate or the candidate's students been active in exploring appropriate new technical or administrative methods?

DIRECTORS OF TECHNICAL PRODUCTION
The director of technical production is typically a senior member of the design/technology faculty who coordinates the activities of the scenic designers, lighting, designers, sound designers, technical director, and related staff. Occasionally this
person also oversees the activities of the costume designers and
costumer. The position is primarily associated with very active
theatre operations, often with more than one theatre facility.
There is no standard industry-wide title for this position; it may
be recognized by the job description.
The director of technical production should be knowledgable
about all of the design, production, administrative, and technological activities in hislher charge. However, it is most unlikely that the candidate will be equally profiCient in all areas.
Commonly; this individual will be higWy competent in one of
the fields of design, technology, or stage/production/theatre
management. Work in that area should be evaluated by the
criteria for that field. Secondary specialties should be weighted
proportionally by the time spent on them, as for the combinedspecialties position. Additionally; the director of technical production should have strong administrative and interpersonal
skills as required to coordinate the activities of professionals in
diverse areas.
Though competent individuals vary greatly in their depth of
knowledge and ability in anyone area, the range of profiCiency
typically expected of the director of technical production
includes:
A. Design and technology
I. strong capabilities in one or more of the areas of
theatrical design or technology, or stage/production/theatre management.
2. understanding of the creative processes and problem-solving methodologies of the other fields of
theatrical design and technology, stage management, production management, and theatre
management.
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 productions,
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.



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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