Theatre Design & Technology - Spring 2018 - Public - 4

FROM THE EDITOR

W

elcome to the Spring 2018 issue of Theatre
Design and Technology.
In this issue, our authors celebrate our international connections, explore our history, and offer advice for
our future endeavors. Sabrina Notarfrancisco begins our
international coverage with a recounting of World Stage
Design 2017, with a focus on the active OISTAT Costume
Sub-Commission and Scenofest programming. We continue this WSD coverage by offering a view into some of the
productions that most inspired USITT members who were
able to attend the festival and conference. Emily Collett
continues this exploration of our international connections
while studying cultural appropriation in design and performance. She analyzes Beth Dean, a performer from the
United States who used makeup, costuming, and her status as a white woman to stage versions of Aboriginal performance traditions in Australia. Rick Boychuk also writes
about the challenges of conducting historical research. He
offers us an intriguing historiographical piece that details
how puzzling pieces of rigging hardware have the potential
to alter our received narrative about rigging history in the
United States.
Jerry Gorrell brings us into the present and future with
an explanation of how new OSHA standards impact our

workspaces. Crystal Herman asks us to think about how
we can capture the passion that led us into theatre by using mindfulness practices that will lead us to more fulfilling
workdays. And finally, we honor the passing of Petr Matásek
with a memorial piece by Delbert Unruh that celebrates his
contributions to international theatre.
I would like to thank Arnold Aronson, Linda Essig,
Heidi Hoffer, and Vinnie Olivieri for all of their work on the
Editorial Board over the past years. We welcome Andrew
Hopson, Andrea Bilkey, and Jesse Portillo to the team.
We have also restructured the positions a bit, with Anne
McMills stepping over into a new Emerging Technologies
position as we phase out the Computers and Software associate editor position.
Also, I would like to thank Francess Dunbar, a Grinnell
College Spring Break Externship Program student who was
job shadowing with me and assisted with the preparation
of this issue.
And finally, please note the following photo credit correction from the Winter 2018 issue: The photograph on
page 36 of Post Apocalyptic Little Red Riding Hood is by
Retro Hawk Productions and the page 42 photograph of
Demona is by Hidden Vision Photography. This has been
corrected online.

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Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2018 - Public

Contents
Theatre Design & Technology - Spring 2018 - Public - Cover1
Theatre Design & Technology - Spring 2018 - Public - Cover2
Theatre Design & Technology - Spring 2018 - Public - 1
Theatre Design & Technology - Spring 2018 - Public - Contents
Theatre Design & Technology - Spring 2018 - Public - 3
Theatre Design & Technology - Spring 2018 - Public - 4
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Theatre Design & Technology - Spring 2018 - Public - Cover3
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
https://www.nxtbookmedia.com