Theatre Design & Technology - Spring 1999 - 17

but the 5" x 7" format is probably the best
choice. The survey results are a little more clear
cut about the number of photographs to include,
recommending not more than sLx photographs of
each production. It might even be prudent to include only four or five.
Having discussed the portfolio items
which should be included, it is now appropriate to discuss the number and types of productions to include. Clearly, the strongest interest
is in seeing work from four to six productions.
It probably is not \\~se to include more than
one unrealized production in the portfolio,
and you preferably should include some work
from dance and/or opera. A portfolio containing only theatre productions is not favored.
Likewise, a portfolio containing only samples
of work for that theatre's particular type of facility is not favored. Here it would seem prudent for the designer to have a stock of
portfolio items for at least one or two productions for each type of theatre space. Then, those
individual productions selected for each interview should be weighted heavily towards the type
of facility or facilities at the hiring theatre.
A number of general caveats are in order.
This study is defined only for regional theatres
which are hiring lighting designers for their
major facility. One might easily attempt to
project these same portfolio considerations
upon other theatre venues, but it is not necessarily true that the attintdes and approaches
revealed through this sntdy apply in the same
way for stock theatres, dinner theatres, community theatres, and showcase theatres. Moreover, these portfolio suggestions certainly
should not be applied to commercial theatres,
to portfolios being used for entry to graduate
schools, or for those seeking assistantship
work with professional lighting designers.
Like\vise, this study'S findings do not necessarily apply to regional theatres hiring lighting designers for their smaller facilities, where a
portfolio might be more Lmportant.
Last, remember that considerations for
lighting design portfolios are not necessarily
comparable to those for scenic or costume design, possibly because the latter two are much
more pictorial in nature. Perhaps additional
studies should be done to confirm the general
assumptions about the use of scenic design
and costume design portfolios.*:.

HISTORIC

~ 4'-' ~
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THEATRES
The League of Historic American Theatres
23rd Annual Conference and Theatre Tour
JULY

14-17, 1999

CHICAGO, ILLI

OIS

Contemporary Challenges
for Our Communities
Collaboration and
Competition
Presenting speakers Roger Ebert and
James Kunstler + visiting 15 historic
theatres + 20 workshops on restoration,
programming and management.
FOR MORE INFORMATION
REGISTRATIOI

I FORMATION:

877.627.0833
410.837.9664
El\IAIL: info@lhat.org
WEBSITE: wvvw.lhat.org

TEL (TOLL FREE):
FAX:

Robert L. Smith is TD&T's associate
editorfor scene design and teaches design
and tecbnical tbeatre at Kutztown
University.
TZ>&T

http://wvvw.lhat.org

Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 1999