Theatre Design & Technology - Spring 2020 - 12

LEADERSHIP

Unprecedented
The collective responses of the theatre world
reinforce the creativity inherent in all of our art
forms, as we apply that approach to new ways of
teaching, learning, and artistic enterprise
BY MARK SHANDA

U

nprecedented. In the past, if I ever
had the occasion to use that word,
it was usually in reference to a world
premiere or an outstanding artistic experience. That word was not used to describe
the day-to-day activities of my colleagues
and friends at work or at home. However,
that word seems to best describe the situation in which we all find ourselves academically, professionally, and personally.
The necessary response to the
COVID-19 situation has impacted every
aspect of our lives, requiring of each of us
to modify our teaching and our daily enterprise. We have had to shift from normal
routines to the new work from home, shelter
in place, and social distance practices that
physically separate us from our coworkers,
students, friends, and family. We even had
to cancel our "family reunion," our Annual
Conference & Stage Expo that was planned
to take place in Houston. This response hits
especially hard all of the artists, scholars, designers, and technicians who make up the
performing arts and entertainment industry
workforce. We have lost much, we are grieving, and yet still trying to cope.
Typically, in a worldwide crisis, the artistic community provides our audiences
solace in theatres, auditoriums, and concert
venues; we gather collaboratively to address
the challenge being faced by responding
with remarkable creativity and with work
that connects us across boundaries of great
diversity. Thus, the avoidance of human
contact and connection goes against our
very nature, disrupts our artistic focus, and
creates a palpable, unsettled feeling in ourselves and our community. As trying as this

time is for each and every one of us, staying
at home and altering our lives in such a dramatic manner appears to be our very best
hope for minimizing the impact of this pandemic. The requested action is simple, but
the impact is enormous.
No one is happy with the decision to alter our daily practice in so many ways, both
big and small, to eliminate the opportunities
to thrill audiences with our performances,
or to not be able to inspire contemplation
by those who view our visual artwork. Our
world has changed, potentially forever altered, and we struggle to come to terms
with the seismic shift that continues to unfold.
Some have begun to describe our current circumstances as the "new normal."
The newness certainly resonates with me,
as each day seems to require absorbing new
information, grieving new losses, and altering our plans. We are facing challenges that
none of us ever anticipated. In fact, I can't
even think of a work of science fiction that
anticipated this current demand of "selfisolation" and "social distancing" and worldwide shut down of the performing arts. But
I will not accept the suggested normality of
what we face. I argue that there is nothing
whatsoever normal about this time.
Since early March, our entire academic
and artistic enterprise was pivoted to a new
set of delivery expectations, product line
changes, and shifts in workforce opportunities. Our new approach has ramped up
all of our technology skills and asked us to
modify our expectations of each other. We
are limited by lack of access to instruments
and equipment that have been standard in

12 | THEATRE DESIGN & TECHNOLOGY | SPRING 2020

the past, and this has forced us to deliver
whatever we could offer from home offices
and make-shift studios. Additionally, with
the closure of schools and daycare centers,
these forced alternative work sites are impacted by our new "coworkers." Parental
and child care duties supersede our scheduled efforts and preparation for what comes
next. Despite the perception suggested by
some that we "have more time," we all still
have the same 24 hours, but with very different demands on that time than we normally
face.
For all of the changes we have absorbed, for what we have accomplished
to date and how we have adapted, you
are to be applauded. Reports indicate that
many have found a new set of skills and
are better using the full capacity of learning management systems. Zoom software
use has enabled us to see the faces of our
students and colleagues in this necessary new meeting structure. Our displaced
students and clients, now spread in compassionate retreat all over the world, have
indicated their appreciation of our efforts
to stay connected despite the present limitations. Nationally, we have rallied around
this circumstance to share best practices,
learning from colleagues at other businesses and universities, applying our very best
creativity to make our teaching and learning and industry enterprise whole despite
COVID-19. My thanks go out to all of you for
your remarkable response.
We have also heard of many in our industry who have shifted their focus from
routine manufacturing to producing muchneeded personal protective equipment
(PPE). Staging companies have been called
upon to convert athletic facilities and convention centers from their normal uses to
state-of-the-art field hospitals. And individuals throughout the entertainment industry are applying their personal skill sets
in stitching masks for others, in delivering
meals and supplies, and using their understanding of temporary installations to aid
others in adapting to current challenges in
houses of worship, homeless shelters, and
drive-through testing facilities.
Our collective responses reinforce the
creativity that is inherent in all of our art
forms and we apply that approach to new



Theatre Design & Technology - Spring 2020

Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2020

Contents
Theatre Design & Technology - Spring 2020 - Cover1
Theatre Design & Technology - Spring 2020 - Cover2
Theatre Design & Technology - Spring 2020 - 1
Theatre Design & Technology - Spring 2020 - Contents
Theatre Design & Technology - Spring 2020 - 3
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Feb
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Feb
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
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
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