Theatre Design & Technology - Summer 2008 - 17

So the question is not, how do I "think" outside the box. The real
question is how do I exist outside the box. How do I help create an "outof-box" experience that finally relegates the "in-the-box" thinking to be
just what it is, insular?
Why be concerned about the world of theatre, artists, and culture?
Because, if we don't reach out to our colleagues in a genuine gesture of
friendship and collaboration, then we may stifle our ability to be inspired
by new ideas, knowledge, and culture. We may isolate ourselves and become
apathetic, or even worse, we may distrust and fear that which is outside our
own experience, and that is a sure way to miss great opportunities.
This is a period of great change, quite often cataclysmic rather than
transitional. We (all of us sitting in this room) are fortunate. We have opportunities. We benefit from a wonderful life and culture. We can make
our lives better. Not everyone in the world can do that. We can share our
ideas and beliefs without fear of oppression. These birthrights come with
certain responsibilities. Our responsibility is to reach out and be partners
with our colleagues working in other countries and cultures. Why us? Because we have the means and we also are born into a belief that there are
benefits to multiculturalism. We live in a nation whose strengths are often
in the fact that we each bring different beliefs, backgrounds, and talents to
the table and out of that process the best can often emerge.
We live and work in a world of theatre art, not just a nation. We must

shed our "sea to shining sea" mentality. We must expose our students and
ourselves to artists and their work from outside our own realm of influence
and culture. We must share our experiences with our colleagues from other
places, not as being their betters, but in the true sense of sharing-for the
sake of entering into a beneficial collaboration. We must become believers
in the "what comes around goes around" philosophy.
As citizens of the United States we have many things to be proud of,
many accomplishments, but we must step outside our "box." If those of
us working in the arts cannot do this, who can? We have so much to gain
from our alliances with sister artists and technicians throughout the world
and so little to lose.
Make this a goal for yourself. Like most good intentions that stick,
start today-start tonight. Introduce yourself to one of our international
guests. Ask them about themselves, their work, their families. If they are
presenting a program, go see it. Share e-mail addresses, follow through
with a message. Keep in touch. I would venture to say, many of the projects Sandy told us about started in just this way. If you want to get more
involved in work outside the U.S., talk with any of us-or, we are only an
e-mail away. Begin now, tonight!
And, last but not least, if, deep down, you, like me, are concerned
about peace in our time and in our world, these steps we take to embrace the lives, work, and experiences of our colleagues across the face

David Grindle, stage manager, working at
the Czech National Opera, in Prague.

Sabrina Hamilton (left) at the Bibliotheca Alexandrina in Egypt with
lighting technician Marihan Mehelba.

Ingrid Schultz, lighting designer
(third from left), performing in a
"design as performance" piece at
PQ2007 in Prague.
Treva Reimer modeling an outfit for the China
Carnival in Rio de Janeiro.

theatre

design

technology

S U M M E R

2008

Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 2008