Theatre Design & Technology - Spring 1991 - 48

light differently, says lighting designet
Pat Collins. "Lighting in the theatre is
much more aggressive now; audiences
can rolerate more light. For Jean
Rosenthal back in the Fifries, 500 wam
was sometimes a lot of light. ow, we
can take 10,000." The technology makes
this possible, but also necessary: We are
used ro flashing electronic images on TV
and video games. Contemporary lighting
designers use light ro srartle and
sometimes shock an audience.
More subtly, those flashing MTV
Images and Ninrendo games not only

centuries, they also must be allowed
freedom ro explore their own visions.
Lighting designer Collins, who does
not reach, says, "Technique can be
taught. Bur what is needed is a largess of
spirit that allows the designer ro leave rhe
ego behind and work in the service of
the larger idea, which is the production."
Designers and educarors alike agreed
that a love of learning in general and a
love of an in panicular must be instilled
in the rheatre anist.
In terms of training a balance is needed
berween rhe anisric and rhe rechnical, and
most designers
agree wirh CoIIi ns rha t technique-the
drafting, rhe use
of rhe computer
equipment, the
rools -can be
taught. What is
more clifficult is
letring rhe inclividual talent
emerge from
rhe srudent; and
while some felt
Participants on the opera panel of the NYU design education
that a very
symposium (left to right): director Nick Muni, designer John
young student
Conklin, moderator Lloyd Burlingame and desiger Bob Israel.
did not have a
reservoir of exinfluence the audience's perception of
perience ro draw upon in order ro create,
light, but also of productions themselves,
orhers coumered rhat 20 years is adequate,
causing direcrors and designers in the
insisting rhat a person experiences a great
19905 ro be more and more concerned
deal in rhat rime.
with rhat surfeit of images that can be
What is cenain is that there is a real
both "enjoyed and endured."
need for a forum, a symposium if you
Sophisticated computer systems offer
will-Professor Burlingame expresses his
designers a chance ro create threepleasure in the dictionary definition of
dimensional renderings and ro change
the term: "a drinking parry or social
them swiftly and easily; fax machines
gathering in which there is a free
make it possible for a direcror and
interchange of ideas"-that allows
designer ro be oceans aparr and still
designers ro discuss issues, problems and
communicate their ideas ro one another.
concerns. According ro Tisch School
With this multitude of issues and
Associare Dean J. Michael Miller, "The
opporrunities confronting the estabneed for design professionals ro have a
lished professionals, how then can
place ro ger rogether and discuss coneducarors best prepare the young
cerns and ask questions is one of the
designer for a career in the rheatre of the
rhings thar led us ro host this sym21 st century?
posium. Many issues were presenred;
Ot only the panelists bur also
many questions were asked. [t is hoped
professors of design from schools and
that some of rhe questions will be further
institurions as varied as the California
explored when we meet again next year.
Institure of rhe Arrs, the 0' eill Cenrer
And I'm sure there will be orher,
in Connecricut, Indiana University, rhe
equally compelling concerns raised rhen
University of Texas at Austin, the
as well."
ffi
Juilliard School, Carnegie-Mellon, and
Penn State agreed that students must be
Barbara J esrer is a .fanner high school
encouraged ro explore the mysrery of
dl'flJlla teacher and children's theatre
thearre, ro quesrion what plays mean ro
director. Current~y she is a writer fOr New
rhem. While all young designers musr be
York Universit), who also does freelance
trained in and have access ro the hisrory
articles in the areas ofpublic broadCflsting
and sryles of design through the
alid the arts.
46

1991

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Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 1991
