Theatre Design & Technology - Fall 1987 - 83

C. Administration
1. awareness of the legal responsibilities and liabilities of the theatrical production studios and
stage operations.
2. strong capabilities in oral and written communication and especially strong interpersonal skills,
which increase the credibility of decisions and the
sense of fairness in conflict resolution.
3. ability to set priorities, establish goals, and determine the resources needed to meet them.
4. strong understanding of the time and personnel
required for various production and technological
activities, and the related scheduling requirements/limitations.
5. ability to control expenses for materials and labor
for production areas of the budget, including use of
student and volunteer time.
6. knowledge of the practical realities of mounting
productions, needed in preparation of adequate
budgets and production schedules.
Competence in the director of technical production requires
consistent integration of knowledge in the areas noted above,
used to secure smooth operation of production facilities and
personnel. Such expertise is demonstrated through participation in production. The competence of the director of technical
production is best evaluated by peers in technical production
direction and in the related areas of theatrical design, technology, and management.
It is the responsibility of the candidate to provide evaluators
with evidence of his/her competence. In addition to the materials appropriate to the candidate's designltechnology/management specialty, materials demonstrating his/her administrative proficiency should be presented. These may include season
calendars or schedules, calendars or schedules for each studio,
personnel schedules, fiscal records, and other documentation of
activities.
Among devices for determining the quality of the contributions of the directOr of technical production are:
a. evaluations by peers in theatrical design, technology, and
management, including directors of technical production,
technical directOrs, scenic designers, lighting designers, costume designers, costumers, and stage/production/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 theatre's production
staff, including support personnel.
d. participation on technology, design or management panels/
programs for professional societies.
e. consulting activities for other production organizations.
Those charged with evaluating work of the director of technical
production may expect to address appropriate issues among the
following:
I. Are productions consistently mounted on time, within

budget, and with efficient use of human resources?
2. Is there a stable employment pattern among the theatre's designers and technologists?
3. Is morale generally high among designers and technologists, indicating a good working environment and reasonable expectations of productivity?
4. Does the material provided by the candidate reveal a
smooth and steady flow of information to and from
other per onnel, particularly the designers and technical personnel (and the costumer, if the director of technical production supervises this person's activityj?
5. Does the candidate contribute to the creation of a positive learning environnlent?

6. Is there a consistent level of quality among productions
throughout the year, indicating good mangement of fiscal and human resources?
COSTUME HISTORIANS
The costume historian is a scholarlteacher whose focuses on
accumulating and disseminating factual information about the
appearance, use, and construction of historic dress and accessories and historic theatrical costume. As we have noted
elsewhere in this report, the costume historian is not a theatrical designer or technologist. We include this field here because
many costume designers and costumers teach courses in costume history as a part of training student designers and costumers. These faculty members are sometimes mistakenly
evaluated as if they were primarily costume historians. We
hope to make the distinctions among these fields evident.
Though competent individuals vary greatly in their depth of
knowledge in anyone area, the range of proficiency typically
expected of the costume historian includes:
I. knowledge of historic dress, including ethnic and folk

2.

3.
4.
5.
6.
7.

dress and accessories, non-western and unique ethnic
theatrical costume, western theatrical costumes (Greek
tragedy, opera, ballet, rock Video, etc. I, and differing
national styles of histOric dress and theatrical costume.
knowledge of historic textiles and textile decoration,
including theatrical materials and artifacts such as
masks.
knowledge of and skill in historic costume documentation procedures.
knowledge of museum costume collection and conservation procedures.
knowledge of art history (artists, historic styles, and
genres).
knowledge of social and popular history, and of economic history (consumer desires and needs).
knowledge of theatre history, including literature, production styles and designers.

The PhD. is recognized as the appropriate terminal degree for
the costume historian.
This area of costuming is most readily evaluated through
traditional academic procedures. Suggested means of demonstrating the costume historian's knowledge and skills, listed in
random order, are:
a. publication of books, monographs, or papers concerned with
the historic dress of a particular period, genre, or
occupation.
b. publication of factual articles concerning specific costumes,
patterns, accessories, primary sources, or bibliographies.
c. participating in costume histOry program panels for or presentation of papers to professional societies.
d. lectures given and/or courses taught concerning an area of
historic dress.
e. specialized lectures provided to directors, actors, acting
coaches, and/or costume designers on a particular period or
style, and the resulting movement patterns and activities
unique to the period.
f. development of a documented collection of histOric dress or
theatrical costumes and accessories for study and public
display, in a museum, gallery, or university collection.
g. conservation work in a major collection for a museum or
educational institution.
h. interdisciplinary lectures or discussions with faculty or students in the areas such as histOry, comparative literature,
music jopera), dance, sociology, art histOry, and home
economics.
i. research and writing of theatre program information germane to the costumes and design style of a particular
production.*

TD&T SUPPLEMENT

*

FALL 1987

15



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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