Theatre Design & Technology - Summer 1993 - 11

THE

993

T T

FELLOWS

U
AC

FOR

THE

T""E

CE
ast year when
Don Swinney
asked me if I
would address
the USITT confetence in Wichita, I was of
course flarrered, but upon greater reflection I felt duty bound ro take this opportunity ro recognize who we are and what
USIIT has become over the past 27 years
of my participation in the Institute.
Reflecting upon my first published
theatre design in Theatre Design &
Technology in 1966, on having been chairman of the or-Cal Section after Chuck
Williams, and on having served several
years as a Board Membet and now as a
Fellow, I have learned that the goals and
objectives of the Institute have followed
certain trends in the theatre that do and
do not necessarily typify the cross section
of the membership. Clearly the cross section of the membership has changed over
the years, and will and should change in
the years ro come.
For instance, USITT anracred me, as
a student and young professional, by

LEe»

ADDRESS

TUR
offering the opportunity ro meet and get
close ro the established professionals who
were then my heroes, such as Donald
Oenslager, Jo Mielziner, Ben Schlanger,
Jean Rosenthal, etc. These were the individuals who, for me, in the Institute's formative years, established the quality and
essence of USITT: to provide a forum
where the best in the industry can communicate and pass on their experiences
and ideas.
These individuals shared with each
other, and fostered a membership of
young and enthusiastic theatre people
who, like myself, yearned ro be parr of and
to learn from these "heroes" and their
association. That process has been the key
to the success of the Institute. The work of
the commissions, the annual conference,
the section meetings, the master classes,
the design exhibits, the new products, the
commercial exhibits, the liaisons with
other national and international organizations and most of all, the sense of comradery, all caused the evolution of our
wonderful entity.
I do not know how others have viewed
USITT, but I have watched it evolve as a

~RD

result of the quality of its membership. It
has indeed evolved. Until this point in
time USITT has evolved to be what it
now is, it has not been consciously developed. It has gone through periods of
emphasis on scenography, costumes, lighting, technology, architecture, etc., etc. It
has lured the best of the professionals and
the thirstiest of the students. If you look at
the Fellows of the Institute, you see a cross
section of people of the theatre that are in
fact the hisrory of US ITT. We are, all of
us, ro a great extent, the legacy ofUSITT
ow that I have expressed an "introspective retrospective," I would like to
focus my thoughts on expectations: What
are we now doing and what will we do ro
anticipate a legacy for the 21st Century?
The meaning of legacy: that which is

willed and left behind; something of value
left behindfOr others. The establishment of
a legacy presents many questions. How do
we anticipate the future? How do we
determine what we do or pursue ro be a
lasting experience with value and meaning
for ourselves and for others ro follow? This
is not easy. Many may respond: "Are you
crazy? It's rough enough ro eke our a living

AUERB~CH
TD&T

1993 SUMMER

Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 1993