Theatre Design & Technology - Winter 2020 - 43

with performance focus curriculum.
The total number of design and production classes offered at all institutions
offering any sort of theatre degree (not
including practica, capstone, independent/special topics, or internship course
designations) ranges in the subset from
57 named classes to none. The mean
average is 14.2 with the median value of
11. The closest corollaries for the total
number of design and production courses offered is the institution's total of all
theatre completions, BA or BFA degree
type, and whether the program offers
a production-focused major, emphasis/
track, or neither. The presence of graduate programs in the field also has an impact, but catalogs do not always make
it clear which or how many graduate
courses might be open to undergraduate students. Institutions producing the
largest volume of total theatre-related
completions average 34 named production courses and that incrementally decreases to the smallest volume category
at an average of three. The number of
design and production courses increased
in eight of the nine volume categories
considered from 2010 to 2017 but the
titles of courses also became more general: Advanced Problems in Design as
opposed to Scene Design II. Practicum
course work, although not included in
this count, seems to be becoming more
specific; there, titles are more likely to
be changing to Production Lighting Lab
from simply Production Lab.
All programs in the detailed examination described some kind of production experience as required, but it was
not always credit bearing. Curriculum
descriptions and requirements clearly
emphasize production as a very important part of the student learning experience, but data was not collected specific
to practicum credits in this study. In various programs it was labeled as lab, studio, practicum, or service and the credits
connected to the work varied widely. A
few programs indicated specific skills
and competencies connected to a distinct
practicum experience but most had a
general description. Unlike engineering,
product design, or visual communication,
few theatre programs indicated a lab experience that was clearly separate from
theatrical production and even then, it
was implied rather than explicit.
The bottom line is that design and

production training is a highly specialized area of study as compared to many,
if not most, other academic programs. A
higher than average total of credits is required for the major, with a very high percentage of those credits not shared with
other degree options under the theatre
umbrella. Although the number of fulltime faculty is more difficult to discover
than credits or degree requirements, the
faculty-to-student-major ratio is clearly
quite low.

Tradition, Tradition! (Fiddler on the
Roof, 1964)

Theatre at the post-secondary level has
been traditionally aligned with the humanities and the fine arts, and a tether
to this history may be contributing to
enrollment challenges. Humanities enrollments have fallen significantly at
most institutions and visual fine arts
completions are down nationally since
2010 by about 1.5 percent. At institutions that offer both theatre and visual
fine arts majors, the fine arts are down
modestly while theatre completions are
up by an equally modest percentage.
For institutions experiencing theatre
enrollment decline, the visual arts programs are struggling even more, down
by a net 6 percent. Fifty-four programs
declined by 10 or more completions per
year from 2010 levels, twice the number
that increased at a comparable rate. For
more than 300 visual fine arts programs,
the decline in completions exceeded 20
percent.
Finding patterns based on the institutional location of theatre programs
within university structures is challenging. Just over half of the institutions in
the catalog subset housed theatre within the same college as the humanities.
Enrollment in these programs grew modestly or declined over the period examined. Institutions housed within schools
of fine or performing arts showed more
volatility; though some institutions were
up significantly, this was offset by institutions in significant decline. Other organizational structures placed theatre with
Communication, Education, or Business.
Enrollments in this group were the
most volatile, but the set was also small.
Interestingly, at nearly all of these institutions, the visual fine arts enrollments
were in steep decline, while commercial,
product, and graphic design programs

were typically experiencing growth.
Program size appears to be an advantage, up to a certain point. Very large
institutions (by total undergraduate enrollment) with high theatre undergraduate completion volume tended to have
the most stable and traditional theatre
curriculum, and yet were also the most
likely to experience enrollment decline
over the period studied. As a group, the
largest institutional category is down by
just under 9 percent from 2010 levels.
Institutions just below those levels for institution size and volume performed the
best of any subgroup, however. Several
of the largest institutions and programs
are down by more than 25 percent, in
comparison. For now, that difference is
more than made up by nominal growth
in many smaller programs, but as higher
education continues to press for volume
and efficiency, the position of these smaller programs will become increasingly
precarious.
Even NAST affiliation, the very mark
of a sound if not traditional theatre program, does not seem to function as an advantage for member institutions. NAST
programs are collectively down in enrollment by just short of 8 percent, while
non-NAST institutions are collectively
up by nearly 9 percent. No matter how
you define it in the data-by curriculum,
structure, institutional history, organizational structure, or disciplinary accreditation standing-traditional is not looking
good.

Wouldn't It Be Loverly (My Fair
Lady, 1956)

A detailed curriculum survey was not
the object of the catalog reading. The
primary purpose was to verify the presence of a design or production emphasis or major and to be able to recognize
whether or not sufficient skill development coursework existed to support an
assumption that the program was intending to produce design and production
graduates prepared to enter the profession. Even as such, several trends were
discernable. Programs that eliminated a
production major/emphasis or reduced
required credits exclusive to the major
experienced the most significant decline.
Programs that have added major/emphasis areas or increased credits associated
with production-focused degrees have
tended to show modest net enrollment

WINTER 2020 | THEATRE DESIGN & TECHNOLOGY

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Theatre Design & Technology - Winter 2020

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

Contents
Theatre Design & Technology - Winter 2020 - Cover1
Theatre Design & Technology - Winter 2020 - Cover2
Theatre Design & Technology - Winter 2020 - 1
Theatre Design & Technology - Winter 2020 - Contents
Theatre Design & Technology - Winter 2020 - 3
Theatre Design & Technology - Winter 2020 - 4
Theatre Design & Technology - Winter 2020 - 5
Theatre Design & Technology - Winter 2020 - 6
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Theatre Design & Technology - Winter 2020 - 8
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