Theatre Design & Technology - Fall 2012 - 17

HB: Teaching is a real passion of mine. I think education is the
springboard to what you are able to achieve. It was with me and
my education. I had a remarkable education. I had all these
amazing people that influenced me. Finding a good source for
finding out something that you needed to know, and it really was
clear that there is only a limited amount that you could know.
But knowledge was out there in the world, all you needed to do
was seek it. If you got it from the horse's mouth, so to speak, you
were getting the true word.
DL: This is what you mean about "going to the source?"
HB: That was one of the things that I always used as I was teaching.
DL: This practice was also very prominent in your practice of your
design work. You have shared a few instances regarding the
importance of knowing the culture or backgrounds of clients so
you can create a design that incorporates their needs.
HB: Don't pre-judge. No preconceived notions. Go in with an open
mind.
DL: You received a grant from the Ford Foundation in the 1950s that
was based on development of young professionals as teachers.
Can you tell me about that time?
HB: While working for Stanley McCandless, I got a Ford Fellowship
in teaching methodology. They were getting people, young
professionals who had never taught before, to teach a subject
to see what they would do as opposed to methods used by
established teachers' practices. Miriam Tulin of Hofstra
University was the center of this grant to allow these interlopers

to come to teach at the school. She asked me to write something
for the college catalog. I said, "You know, Dr. Tulin, the college
catalog is the downfall of education in this country. How many
professors that you know will write something in that catalog
that they can't do cold? That's not what I care about. What I
care about is what the student needs to know and then look to
teach that, not look to continue to spew out what I already know
cold. I'm sure that you and your people will be monitoring this
because this is an experiment in teaching methodology, so you
will be watching to see what I do. She said, "That is right." I
was invited back for another interview. So I show up again. She
said, 'Howard, we decided that under a few conditions we will
give you this job. You have to write something for the college
catalog, and since it is your subject you must grade the students.
How will you make this assessment?" "Come to the first class and
you will see." So, I am not on the payroll of the school, I'm on
the payroll of the Ford Foundation. All of the rules of the school
did not apply to me. They had a penalty that if you got a parking
ticket they would take it out of you salary. I got parking tickets
every time I showed up on campus. I just ignored them.
I used the big campus auditorium (1,500 seats). I gave
each student a ticket. Each student was seated all over the
auditorium, in the back of the house or second balcony or by
the orchestra pit, scattered miles apart from each other. I had
the crew put a little scene on the stage. I asked, "Can everybody
see the scene on the stage? Can you see it clearly? Yes? Good. In

f

a

l

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2012

theatre design

& technology

15



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 2012

Contents
Theatre Design & Technology - Fall 2012 - 1
Theatre Design & Technology - Fall 2012 - 2
Theatre Design & Technology - Fall 2012 - 3
Theatre Design & Technology - Fall 2012 - Contents
Theatre Design & Technology - Fall 2012 - 5
Theatre Design & Technology - Fall 2012 - 6
Theatre Design & Technology - Fall 2012 - 7
Theatre Design & Technology - Fall 2012 - 8
Theatre Design & Technology - Fall 2012 - 9
Theatre Design & Technology - Fall 2012 - 10
Theatre Design & Technology - Fall 2012 - 11
Theatre Design & Technology - Fall 2012 - 12
Theatre Design & Technology - Fall 2012 - 13
Theatre Design & Technology - Fall 2012 - 14
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Theatre Design & Technology - Fall 2012 - 36
Theatre Design & Technology - Fall 2012 - 37
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