Its technIcal

By Dana Taylor

The movement towards standards in technical theatre education

technical theatre education in the average American high school usually takes on one of two forms: a program that addresses the technical needs of the show or one that serves the technical education of the students. Programs or classes rarely attempt to do both. The ones that are focused on production seldom even identify what students need to know beyond the requirements of the next show. It would be better if we redesigned our methodology, examined the core knowledge required to perform tasks, and turned technical theatre into an area of curricular study. Unfortunately, few of us have a dedicated technical theatre class and if we do, the enrolled students receive most of their instruction through the production of shows. Students may learn a great deal about technical theatre during their school career. But because so much of that learning takes place outside the curricular day, we dont necessarily take the time to evaluate those newly learned skills and the knowledge necessary to execute them. If this material is important enough to teach, isnt it important enough to test? Most of my fellow arts educators are not in favor of standardized testing, though such tests are a reality in the
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core subjects like math and English. As we all know, the arts are considered a core subject under the U.S. Department of Educations Elementary and Secondary Education Act, but districts are not obligated to test students in these subject areas. I may be in the minority, but I like tests, particularly as a way to evaluate students technical theatre expertise. The simple fact is that students who can pass my technical theatre exams are almost always of greater value to our crews than the ones who cant. Of course I have students who dont perform well on the written exams but do show great skill in the scene shop and control booth, but not often. I am confident that my technical theatre grading system takes into account both skill and knowledge; hard workers always pass my classes easily, even if their test scores are a bit low. The test I use is one I created, and it works for me and my students (examples from my technical theatre exam are on page 32). Why then would I want to consider using a standardized technical theatre exam? The short answer is that such a test would provide guidance as to what we should be teaching. The long answer is that unless we are told what is important, we

will likely only teach those things that we are most comfortable with and in our current skill setthats as true of me as anyone else. Its not enough for us to simply teach what the next show needs or how to use a new piece of equipment. What would be of greater value is to teach what the colleges and universities expect of our students and what the entertainment technology industry requires of entry-level workers. At the very least, this would provide a baseline of knowledge and skill that every theatre studenttechnicians, performers, and administrative personnel alikeshould be expected to acquire. Just to be clear, I think both skill and knowledge are important for any student to be competent in technical theatre. Much of what technical theatre requires are skills: how to hang a light, build a platform, paint, sew, etc. The knowledge required informs the skill, and the skill makes the knowledge meaningful.
Above: welding a rail, San Jose State University. Clockwise from bottom left: sewing a costume, Ithaca College; using CAD to create a light plot, Willamette University; focusing an ERS at the 2010 Thespian Festival Tech Challenge; in the scene shop, Seton Hill College; assembling a flat, Tech Challenge; and working on makeup, Seton Hill College

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Sample questions from Mt. Vernon Senior High Schools technical theatre exams
An invisible line that divides the stage in half (SL-SR): a. Curtain line b. Center line c. Plaster line d. Proscenium line The most flexible performance space: a. Proscenium stage b. Thrust stage c. Arena d. Blackbox It uses NSP, MFL or WFL lamps: a. Fresnel b. PAR c. Ellipsoidal reflector spotlight d. Striplight The component parts of a Hollywood style flat are toggle, rails and____. a. Keystone b. Stiles c. Corner blocks d. Header Equalization refers to the manipulation of____. a. decibels b. amps c. frequencies d. potential acoustic gain A 1:1 weight ratio is a reasonable description of a____system. a. Double purchase b Single purchase c. Manual purchase d. Counterweight system All upstage measurements are taken from the____. a. Cue line b. Center line c. Plaster line d. Chorus line The creation of phantom frequencies by two or more wireless mics is called____. a. Multipath b. Dropout c. Intermodulation d. Phase Incoherence D.T.

What colleges expect

Based on an informal survey I conducted with college-level technical theatre colleagues, heres a list of the most desirable skills and knowledge: Mathematicsincluding algebra, calculus, and trigonometry but also basics like fractionsand its use in construction (even in just reading a tape measure and understanding dimensions), drafting, rigging, lighting, and scenic painting. Tool knowledge (function and use), both powered and manual, and their use in construction, electricity, and rigging. Basic knots and their use in rigging and construction. Basic electricity, including an understanding of loads, the relationship of volts, watts, and amps, as well as the appropriate techniques for wiring plugs. Basic construction techniques, including methods for fastening, legging, bracing, and putting set pieces together. Ability to read a play and analyze for scenic, lighting, and costume needs. A well-rounded knowledge of historical periods and how period can impact scenic, lighting, and costume needs, as well as the performance style associated with the play and its execution.
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An understanding of art movements and styles and how they can impact the look of a play. Ability to work cooperatively and develop an understanding of the value of a collaborative work environment, consensus building, and team effort that supports the common needs and goals of a production. Basic drafting skill that includes an understanding of scale, drafting conventions, and construction elements. Basic sketching skills that include the ability to create a rudimentary drawing that reflects a vision for a scenic, lighting, painting, or costuming idea. This list seems to be pretty fundamental to me, though one comment Ive heard is that colleges are teaching 1950s tech in the twenty-first century. I dont know if every college-level instructor would agree with that notion, but it does say something about what higher education tech programs deem important. Certainly the above list is not high-tech; it simply suggests that the skills and knowledge needed by students to succeed in technical theatre havent changed appreciably in the last fifty years. Of course, many things have changed, but not everythinga flat

is still a flat, and there hasnt been a recent technological upgrade for Cclamps. But the infrastructure, control, and communication tools for theatre production have changed exponentially. While these changes dont eliminate the need for the basic skills and knowledge listed, they do influence the way we teach these things and how we allow students to demonstrate understanding. And as college and university theatre departments continue to upgrade their own technical capabilities, tools, and resources, they will expect new students to be better prepared. It is our responsibility as secondary school theatre educators to provide the opportunities and training that will help students succeed in cutting-edge college and university technical theatre programs, as well as professional theatre. Creating a recognized body of knowledge and skills that technical theatre professionals agree constitute the standards in the field can be a foundation from which we can begin to create pedagogy and assessments.

Models for change: ESTAs glossary of terms

In 2002, the Entertainment Services and Technology Association (ESTA, now known as PLAZA North America) surveyed its membership on the need

for credentialing entertainment technicians. Founded in 1987 as the Theatrical Dealers Association, ESTA is a trade organization that supports its members through the encouragement of better business practices, research, and the development of technical standards that impact the industry. The survey results confirmed that the majority of respondents (entertainment equipment manufacturers, dealers, consultants, etc.) believed that certification would not only be reflected in improved skills and a more efficient workforce, but would also raise the standards for technicians by identifying specific skill sets, providing training, and offering an opportunity to test applicants competency. In response to the survey, ESTA formed the Essentials Skills Working Group, a committee of entertainment field experts whose task was to identify fundamental knowledge and skills required of all entry-level entertainment technicians, regardless of their specialization. Their first step was to identify a body of terminology required of beginning technicians, agree on a definition of each term, and ultimately, create an exam to measure a technicians understanding of this glossary. While the ESTA committees mission has been modified over the last several years, its recognized as the first attempt by any organization within the entertainment technology field to truly define what technicians should know. Additionally, it recognizes the importance of creating a common vocabulary within a jargon-filled industry. The most current version of the technical glossaryknown as Essential Skills for Entertainment Technicians (eSET)can be found at www.eset.net. Currently, access to it is by subscription only (annual fee is $15 for professionals and $10 for students). It includes more than 2,300 terms, tests for each discipline area, study guides, and practice tests. The specific disciplines covered are: Lighting and electrics: theatrical lighting and allied electrical applications Rigging: theatre and arena

Costuming: fabric and construction methods Multimedia: projection, camera, and recording Audio: sound reinforcement and recording Venues: theatrical spaces, work roles and protocols Properties: hand and personal props Staging and scenic fabrication: construction, materials, and set dressing Effects: audio and visual Safety in each discipline

Sample questions from the New York NOCTI test

Which of the following stage configurations has an audience on three sides? a. thrust b. proscenium c. in the round d. amphitheater Where is the proper place to measure the size of head? a. right above the eye brows b. around the head just above the ears c. around the head over the ears d. from the hairline on the forehead to the nape of the neck Stairs that run from the stage into the wings are called: a. escape stairs b. fire stairs c. grand staircases d. blank stairs Gel colors are usually described as: a. hot or cold b. tint or shade c. warm or cool d. soft or loud Stage safety suggests that hard hats are to be worn by the: a. audio crew b. stage managers c. rigging crew d. running crew

Vocational education and technical theatre standards

Federal law stipulates that all state vocational and technical education programsknown as Career and Technical Education (CTE)include an exit exam. Currently, five states offer vocational training in technical theatre: Arizona, Washington, New Jersey, Florida, and New York. Arizona and New York have the most comprehensive exams. Heres a brief overview of each technical exam. New York New York was the first state to acknowledge technical theatre as a vocational program within secondary schools. In 2007, the state created an exam for CTE technical theatre students with the help of technical theatre experts and educators, under the guidance of the National Occupational Competency Testing Institute (NOCTI). NOCTI is a private company specializing in the creation of vocational education exams and support materials. The New York NOCTI technical theatre exam includes 229 multiple choice questions (see the sidebar above for some examples) and a skills orientation performance component that features six different specialty skill sets (from which a student can choose one). The written test is available (online only at www.nocti.org) for $19 per test, and a pre-test, to better prepare students for the final examination, is $12. There is also a performance evaluation guide available for $7.50 per test. NOCTI recommends that students who take

the test have a minimum of three years of training and classes in technical theatre. The New York NOCTI exams seven evaluation areas (plus the performance skills test) include: 1. Understanding technical theatre 2. Costuming/makeup and hair 3. Scenic and prop construction 4. Electrics 5. Properties 6. Running crews 7. Stage management The performance skill sets (and task times) are: Costume: pattern and sew an apron (three hours)
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 Makeup and hair: period styling (two hours) Construction: construct a 2 x 4 fabric-covered theatrical style flat (two hours) Electrics: set up, hang, cable, and focus a three-unit light plot (two hours) Sound: set up a sound system (two hours) Stage management: tape out a ground plan (one hour), or create a mini-prompt book with blocking and cue annotation (1.5 hours) Detailed elements of the evaluation areas and the performance skill sets can be found on NOCTIs New York Assessment Blueprint pages at http:// www.nocti.org/newyork.cfm. Arizona Arizonas vocational education technical theatre test was completed in 2009, and the first test given in 2010. The test touches upon a broad range of experiences and knowledge, but it does not include a skills component. A full list of the competencies included in the Arizona test can be found at https:// www.azed.gov/cte/CurriculumFramework/technicalstandards Here are competency categories of the Arizona test: 1. Investigate how theatrical design components contribute to theatrical production. 2. Explore how technical theatre realizes the design process. 3. Scenery: practice theatrical construction techniques that realize the set design. 4. Costumes: practice theatrical construction techniques that realize costume design. 5. Properties: collaborate with the director and design team on a property list and set dressings. 6. Rigging: employ safe rigging practices. 7. Lighting: practice theatrical lighting that realizes the lighting design. 8. Sound: practice audio techniques that realize the sound design. 9. Stage management: apply organizational and communication skills to managing a theatrical production.
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10. Stagehands: perform tasks necessary to support the production. 11. Practice marketable workplace skills. Arizonas, New Yorks, and ESTAs efforts to evaluate the core competencies of technical theatre are commendable. In each instance, the exams focus on a broad range of elements that mark a well-trained technician, with particular emphasis on costuming, rigging, construction, electrics, and properties. (ESTAs eSET test lacks stage management and hair and makeup because, in the industry, entry-level workers would not be doing these tasks.) The Arizona test features one notable addition: it includes a practice marketable workplace skills section that lists competencies that are not included in the same kind of detail in the New York and eSET exams. They are: Exhibit computer literacy as related to technical theatre. Develop a technical theatre portfolio and rsum. Develop strong interpersonal communication skills. Utilize social networks appropriately to further career. Understand the role of unions and professional affiliations as they relate to theatre and related industries. Research job, internship, and higher/continuing education opportunities, including scholarships in technical theatre. Drawing attention to the marketability of skills learned in technical theatresocial networking, communication skills, educational guidance, portfolios, etc.clearly positions technical theatre as a business and a career choice and reinforces its CTE status.

ing exactly the same equipment. For example, in my school, we have a very nice audio system. It includes a digital mixing console, line array speakers, and thirty microphones, but we lack a small system that a student would need to set up to prove their understanding of audio components and signal path as required by the New York audio performance task. If your state has a CTE program that embraces technical theatre (or will soon), use the New York, Arizona, and eSET lists of competencies to evaluate your own program. Aside from your schools equipment and technology limitations, youll have to consider how skilled you are in teaching technical theatre. Further, class availability, teaching time, and financial considerations may inhibit your ability to upgrade your pedagogy to prepare your classes for a rigorous test much like the ones described here. As you reevaluate your technical knowledge and skills, and those of your students, consider starting work on things that are slightly more beginnerfriendly and perhaps less expensive. Make-up and hair, costuming, safety, and stage management are all reasonably tool free and should be easy to incorporate into your program. If you want to move into more tool-oriented work, begin with the basics of construction, counterweight rigging, and lighting. Technical theatre education needs to be more than just building shows. Defining a body of skills and knowledge that can be taught both in and out of the school day, will help our students learn and integrate all of the production elementslights, flats, audio, rigging, costuming, and yes, the performers who rely on technicians to make it all come together into something extraordinary when the curtain goes up. Dana Taylor teaches tech theatre at Mt. Vernon (Indiana) Senior High School and is technical theatre editor for Dramatics magazine. He co-chairs the media development committee for The ESTA Foundation.

Dealing with limits

In all three exams, knowledge, skills, and the proof that they have been attained are what really matters. However, the lack of a skills-competency thread in the eSET and Arizona exams highlights the challenge of creating technical performance exams. Every school is different, with no two hav-