Theatre Design & Technology - Winter 2010 - 77

SOund deSign
published in July, 1991. i believe this was the first international standard
that was completely created without the members having a single physicial
meeting because it was all done virtually. sadly, it was done under the auspices of usitt but it is rarely acknowledged by the institute.
i presented the newly ratified show control standard at the usitt conference in boston (1991) and also made a special presentation to the stage
Managers association. the stage managers apparently didn't appreciate the
benefit of controlling complex cues through Mcs because many of them reacted as though i was trying to take their jobs away. elymarie Kazle, a board
member who was active in the Management commission, tried valiantly to
defuse the situation but it seemed hopeless to me. i continued promoting
show control to usitt for a short time as TD&T's associate editor for show
control (1995-1996) and wrote a couple of articles about Msc but ceased
being a member shortly afterward.
the 1993 conference in Wichita was a real low point in my participation in usitt activities. the sound commission sponsored a special sound
room where virtually every sound manufacturer of any importance displayed their equipment. Most of the arrangements were made by an outside
sound consultant who failed to contact my company, rsd. We had a booth

in stage expo, as we had done for several years, but no presence in the special sound exhibit at all. ironically, i heard that some of the sound experts
who spoke at the event recommended rsd equipment and software. after
being shut out or ignored like that, rsd never exhibited at stage expo again,
nor did i significantly participate in the annual usitt conferences.
i did come back in 1995 to las vegas to accept being made a fellow
of the institute, which was much appreciated and again in 2000 to denver
where i received an achievement award and attended a few sound design
sessions, but the nicest aspect of these was the opportunity to get together
with so many great old friends with whom i had worked in the '70s and
'80s and helped try to build the foundations on which the usitt has now
been laid.
and now i find us living in parallel lives, wishing i had much more to
do with usitt and willing to do so but finding every year that i really don't
even though my love is and has always been first and foremost for the theatre and live performance and always will be.
thanks!
charlie

technicAl PrOductiOn

By Bill Browning

assignment: write a retrospective which focuses on some aspect related to
the technical Production commission for the usitt 50th anniversary issue of

Two of the seven cash award recipients in the 1995 Tech Expo, Richard Donnelly (left)
and Loren Schreiber (right) with Tech Expo Committee chair, Ben Sammler (center).

TD&T. Hmmm...? How about looking at the things we regularly use
today, but that didn't exist fifty years ago? let's see, there's computers,
...and the internet, ...and ...and velcro! Well, maybe, maybe not. i'm
guessing computers and the internet will be well covered by others
and i suspect the costume commission will have velcro pinned
down. Perhaps a straight forward look at the origin, extraordinary
accomplishments, and very impressive leadership of the technical
Production commission would be a better tack to take. better still, i'll
focus on one of the commission's most significant accomplishments,
one that is considered by many to be its "crown jewel."

as i look back over the history of the technical Production commission, there is one accomplishment of which every leader and member is
most proud. i am, of course, referring to the tech expo. it is an event that
continues to contribute to the entire usitt membership every two years
with an always interesting, if sometimes bizarre, exhibition of a collection of
ingenious solutions, techniques, or new products which address some technical theatre problem. due to its egalitarian and eclectic nature, it features
exhibits from any and all commissions. but i'm getting ahead of myself. first
a little history of the technical Production commission, its origin, and the
events which led to the creation of the tech expo.

A Committee or a Commission?
in the early days of the institute, the various interest or discipline divisions
were designated as standing committees. by september of 1968, the list of
standing committees included: theatre Presentation, theatre architecture,

theatre engineering, theatre administration, Publication, research, Membership, Public relations/communication, and Ways and Means. With the
approval of a new set of by-laws at the 1972 san francisco conference,
the designation of the various interest/discipline committees was changed to
commissions to reflect the distinction of those groups for their research and
project development as opposed to the more administrative activities of the
standing committees such as membership, publications, nominations, and
finance. those earliest commissions included: administration, architecture,
codes, engineering, Performing arts training and education, and Presentation technology, with the costume commission being added in 1975. technical Production is noticeably absent, but the times they were a changin'!
as a result of the first ever commissioners' retreat held in June 1976,
then 2nd vice President randy earl announced the creation of two new
commissions: scenography and technical information. at the same time the
Pate (Performing arts training and education) commission was renamed

W I N T E R

2010

theatre

design

&

teChnology

75



Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 2010

Contents
Theatre Design & Technology - Winter 2010 - 1
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