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By Dana Taylor

technicaltheatreeducation in theaverage American high school usuallytakes on one of two forms: a programthat addresses the technical needsof the show or one that serves thetechnical education of the students.Programs or classes rarely attempt todo both. The ones that are focused onproduction seldom even identify whatstudents need to know beyond the re-quirements of the next show.

It would be better if we redesignedour methodology, examined the coreknowledge required to perform tasks,and turned technical theatre into anarea of curricular study. Unfortunately,few of us have a dedicated technicaltheatre class and if we do, the enrolledstudents receive most of their instruc-tion through the production of shows.

Students may learn a great dealabout technical theatre during theirschool career. But because so much ofthat learning takes place outside thecurricular day, we dont necessarilytake the time to evaluate those newlylearned skills and the knowledge nec-essary to execute them. If this materialis important enough to teach, isnt itimportant enough to test?

Most of my fellow arts educators arenot in favor of standardized testing,though such tests are a reality in the

will likely only teach those things thatwe are most comfortable with and inour current skill setthats as true ofme as anyone else.

Its not enough for us to simplyteach what the next show needs orhow to use a new piece of equipment.

What would be of greater value is toteach what the colleges and universi-ties expect of our students and whatthe entertainment technology industryrequires of entry-level workers. Atthe very least, this would provide abaseline of knowledge and skill thateverytheatre studenttechnicians, per-formers, and administrative personnelalikeshould be expected to acquire.

Just to be clear, I think both skilland knowledge are important for anystudent to be competent in technical

theatre. Much of what technical theatrerequires are skills: how to hang a light,build a platform, paint, sew, etc. Theknowledge required informs the skill,and the skill makes the knowledgemeaningful.

core subjects like math and English. Aswe all know, the arts are considered acore subject under the U.S. Departmentof Educations Elementary and Second-ary Education Act, but districts are notobligated to test students in these sub-ject areas.

I may be in the minority, but I liketests, particularly as a way to evaluatestudents technical theatre expertise.The simple fact is that students whocan pass my technical theatre examsare almost always of greater value toour crews than the ones who cant. Ofcourse I have students who dont per-form well on the written exams but doshow great skill in the scene shop andcontrol booth, but not often. I am con-dent that my technical theatre gradingsystem takes into account both skill

and knowledge; hard workers alwayspass my classes easily, even if their testscores are a bit low.

The test I use is one I created, andit works for me and my students (ex-amples from my technical theatre examare on page 32). Why then would I

want to consider using a standardizedtechnical theatre exam? The short an-swer is that such a test would provideguidance as to what weshouldbeteaching. The long answer is that un-less we are told what is important, we

Its technIcalThe movement towards standards in technical theatre education

Above: welding a rail, San Jose State University. Clockwis

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 at, Tech

Challenge; and working on makeup, Seton Hill College

ISToCk.Com

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What colleges expectBased on an informal survey I conduct-ed with college-level technical theatrecolleagues, heres a list of the most de-sirable skills and knowledge:

Mathematicsincluding algebra,calculus, and trigonometry but alsobasics like fractionsand its use in

construction (even in just readinga tape measure and understandingdimensions), drafting, rigging, lighting,and scenic painting.

Tool knowledge (function anduse), both powered and manual, andtheir use in construction, electricity,and rigging.

Basic knots and their use in rig-ging and construction.

Basic electricity, including an un-derstanding of loads, the relationshipof volts, watts, and amps, as well as

the appropriate techniques for wiringplugs.

Basic construction techniques,including methods for fastening, leg-ging, bracing, and putting set piecestogether.

Ability to read a play and analyzefor scenic, lighting, and costume needs.

A well-rounded knowledge of his-torical periods and how period can im-pact scenic, lighting, and costume needs,as well as the performance style associ-ated with the play and its execution.

An understanding of art move-ments and styles and how they can im-pact the look of a play.

Ability to work cooperatively anddevelop an understanding of the valueof a collaborative work environment,consensus building, and team effortthat supports the common needs and

goals of a production. Basic drafting skill that includesan understanding of scale, drafting con-

ventions, and construction elements. Basic sketching skills that include

the ability to create a rudimentarydrawing that reects a vision for a sce-nic, lighting, painting, or costumingidea.

This list seems to be pretty funda-mental to me, though one commentIve heard is that colleges are teaching

1950s tech in the twenty-rst century.I dont know if every college-level in-structor would agree with that notion,but it does say something about whathigher education tech programs deemimportant. Certainly the above list isnot high-tech; it simply suggests thatthe skills and knowledge needed bystudents to succeed in technical theatrehavent changed appreciably in the lastfty years.

Of course, many things havechanged, but not everythinga at

An invisible line that divides thestage in half (SL-SR):a. Curtain lineb. Center line

c. Plaster lined. Proscenium line

The most exible performancespace:a. Proscenium stageb. Thrust stagec. Arenad. Blackbox

It uses NSP, MFL or WFL lamps:a. Fresnelb. PARc. Ellipsoidal reector spotlightd. Striplight

Sample questions from Mt. Vernon Senior High Schools technical theatre exams

The component parts of a Hol-lywood style at are toggle, railsand____.a. Keystone

b. Stilesc. Corner blocksd. Header

Equalization refers to the manipula-tion of____.a. decibelsb. ampsc. frequenciesd. potential acoustic gain

A 1:1 weight ratio is a reasonabledescription of a____system.a. Double purchaseb Single purchase

c. Manual purchased. Counterweight system

All upstage measurements are taken

from the____.a. Cue lineb. Center linec. Plaster lined. Chorus line

The creation of phantom frequen-cies by two or more wireless micsis called____.a. Multipathb. Dropoutc. Intermodulationd. Phase Incoherence

D.T.

is still a at, and there hasnt been arecent technological upgrade for C-clamps. But the infrastructure, control,and communication tools for theatreproduction have changed exponen-tially. While these changes dont elimi-nate the need for the basic skills andknowledge listed, they do inuence the

way we teach these things and how weallow students to demonstrate under-standing. And as college and universitytheatre departments continue to up-grade their own technical capabilities,tools, and resources, they will expectnew students to be better prepared.

It is our responsibility as secondaryschool theatre educators to providethe opportunities and training that willhelp students succeed in cutting-edgecollege and university technical the-atre programs, as well as professional

theatre. Creating a recognized body ofknowledge and skills that technical the-atre professionals agree constitute thestandards in the eld can be a founda-tion from which we can begin to createpedagogy and assessments.

Models for change:ESTAs glossary of termsIn 2002, the Entertainment Servicesand Technology Association (ESTA,now known as PLAZA North America)surveyed its membership on the need

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Costuming: fabric and construc-tion methods

Multimedia: projection, camera,and recording

Audio: sound reinforcement andrecording

Venues: theatrical spaces, workroles and protocols

Properties: hand and personalprops

Staging and scenic fabrication:construction, materials, and set dressing

Effects: audio and visual Safety in each discipline

Vocational education andtechnical theatre standardsFederal law stipulates that all state

vocational and technical education

programsknown as Career and Tech-nical Education (CTE)include an exitexam. Currently, ve states offer voca-tional training in technical theatre: Ari-zona, Washington, New Jersey, Florida,and New York. Arizona and New Yorkhave the most comprehensive exams.Heres a brief overview of each techni-cal exam.

New York

New York was the rst state to ac-knowledge technical theatre as a

vocational program within secondaryschools. In 2007, the state createdan exam for CTE technical theatrestudents with the help of technicaltheatre experts and educators, underthe guidance of the National Occupa-tional Competency Testing Institute(NOCTI).

NOCTI is a private company spe-cializing in the creation of vocationaleducation exams and support materials.The New York NOCTI technical the-

atre exam includes 229 multiple choicequestions (see the sidebar above forsome examples) and a skills orientationperformance component that featuressix different specialty skill sets (from

which a student can choose one). Thewritten test is available (online only atwww.nocti.org) for $19 per test, and apre-test, to better prepare students forthe nal examination, is $12. There isalso a performance evaluation guideavailable for $7.50 per test. NOCTIrecommends that students who take

for credentialing entertainment techni-cians. Founded in 1987 as the Theatri-cal Dealers Association, ESTA is a tradeorganization that supports its membersthrough the encouragement of betterbusiness practices, research, and the

development of technical standardsthat impact the industry. The surveyresults conrmed that the majority ofrespondents (entertainment equipmentmanufacturers, dealers, consultants,etc.) believed that certication wouldnot only be reected in improvedskills and a more efcient workforce,but would also raise the standards fortechnicians by identifying specic skillsets, providing training, and offeringan opportunity to test applicants com-petency.

In response to the survey, ESTAformed the Essentials Skills WorkingGroup, a committee of entertainmenteld experts whose task was to iden-tify fundamental knowledge and skillsrequired of all entry-level entertain-ment technicians, regardless of theirspecialization. Their rst step was toidentify a body of terminology re-quired of beginning technicians, agreeon a denition of each term, and ul-timately, create an exam to measure

a technicians understanding of thisglossary.While the ESTA committees mis-

sion has been modied over the lastseveral years, its recognized as the rstattempt by any organization within theentertainment technology eld to trulydene what technicians should know.

Additionally, it recognizes the impor-tance of creating a common vocabulary

within a jargon-lled 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 subscriptiononly (annual fee is $15 for profession-als and $10 for students). It includesmore than 2,300 terms, tests for eachdiscipline area, study guides, and prac-tice tests.

The specic disciplines covered are: Lighting and electrics: theatrical

lighting and allied electrical applica-tions

Rigging: theatre and arena

Sample questions from

the New York NOCTI test

Which of the following stage con-gurations has an audience onthree sides?

a. thrustb. prosceniumc. in the roundd. amphitheater

Where is the proper place to mea-sure the size of head?a. right above the eye browsb. around the head just above theearsc. around the head over the earsd. from the hairline on the foreheadto the nape of the neck

Stairs that run from the stage intothe wings are called:a. escape stairsb. re stairsc. grand staircasesd. blank stairs

Gel colors are usually described as:a. hot or coldb. tint or shadec. warm or coold. soft or loud

Stage safety suggests that hard hatsare to be worn by the:a. audio crewb. stage managersc. rigging crewd. running crew

the test have a minimum of threeyears of training and classes in techni-cal theatre.

The New York NOCTI exams seven

evaluation areas (plus the performanceskills test) include:

1. Understanding technical theatre2. Costuming/makeup and hair3. Scenic and prop construction4. Electrics5. Properties6. Running crews7. Stage managementThe 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 4fabric-covered theatrical style at (twohours)

Electrics: set up, hang, cable,

and focus a three-unit light plot (twohours)

Sound: set up a sound system(two hours)

Stage management: tape out aground plan (one hour), or create amini-prompt book with blocking andcue annotation (1.5 hours)

Detailed elements of the evaluationareas and the performance skill setscan be found on NOCTIs New York

Assessment Blueprint pages at http://www.nocti.org/newyork.cfm.

Arizona

Arizonas vocational education techni-cal theatre test was completed in 2009,and the rst test given in 2010. The testtouches upon a broad range of experi-ences and knowledge, but it does notinclude a skills component. A full listof the competencies included in the

Arizona test can be found at https://www.azed.gov/cte/CurriculumFrame-work/technicalstandards

Here are competency categories ofthe Arizona test:

1. Investigate how theatrical designcomponents contribute to theatricalproduction.

2. Explore how technical theatrerealizes the design process.

3. Scenery: practice theatrical con-struction techniques that realize theset design.

4. Costumes: practice theatricalconstruction techniques that realizecostume design.

5. Properties: collaborate with thedirector and design team on a prop-erty list and set dressings.

6. Rigging: employ safe riggingpractices.

7. Lighting: practice theatricallighting that realizes the lighting de-sign.

8. Sound: practice audio techniquesthat realize the sound design.

9. Stage management: apply orga-nizational and communication skills tomanaging a theatrical production.

10. Stagehands: perform tasks nec-essary to support the production.

11. Practice marketable workplaceskills.

Arizonas, New Yorks, and ESTAs

efforts to evaluate the core competen-cies of technical theatre are commend-able. In each instance, the examsfocus on a broad range of elementsthat mark a well-trained technician,

with particular emphasis on costum-ing, rigging, construction, electrics,and properties. (ESTAs eSET testlacks stage management and hair andmakeup because, in the industry, en-try-level workers would not be doingthese tasks.) The Arizona test featuresone notable addition: it includes a

practice marketable workplace skillssection that lists competencies that arenot included in the same kind of de-tail in the New York and eSET exams.They are:

Exhibit computer literacy as re-lated to technical theatre.

Develop a technical theatre port-folio and rsum.

Develop strong interpersonalcommunication skills.

Utilize social networks appropri-ately to further career.

Understand the role of unionsand professional afliations as theyrelate to theatre and related industries.

Research job, internship, andhigher/continuing education opportu-nities, including scholarships in tech-nical theatre.

Drawing attention to the market-ability of skills learned in technicaltheatresocial networking, commu-nication skills, educational guidance,portfolios, etc.clearly positions

technical theatre as a business and acareer choice and reinforces its CTEstatus.

Dealing with limitsIn all three exams, knowledge, skills,and the proof that they have been at-tained are what really matters. How-ever, the lack of a skills-competencythread in the eSET and Arizona examshighlights the challenge of creatingtechnical performance exams. Everyschool is different, with no two hav-

ing exactly the same equipment. Forexample, in my school, we have a verynice audio system. It includes a digitalmixing console, line array speakers,and thirty microphones, but we lack asmall system that a student would need

to set up to prove their understandingof audio components and signal pathas required by the New York audioperformance task.

If your state has a CTE programthat embraces technical theatre (or willsoon), use the New York, Arizona, andeSET lists of competencies to evaluate

your own program. Aside from yourschools equipment and technologylimitations, youll have to considerhow skilled you are in teaching techni-cal theatre. Further, class availability,

teaching time, and nancial consider-ations may inhibit your ability to up-grade your pedagogy to prepare yourclasses for a rigorous test much like theones described here.

As you reevaluate your technicalknowledge and skills, and those of yourstudents, consider starting work onthings that are slightly more beginner-friendly and perhaps less expensive.Make-up and hair, costuming, safety,and stage management are all reason-ably tool free and should be easy toincorporate into your program. If you

want to move into more tool-orientedwork, begin with the basics of construc-tion, counterweight rigging, and lighting

Technical theatre education needs tobe more than just building shows. De-ning a body of skills and knowledgethat can be taught both in and out ofthe school day, will help our studentslearn and integrate all of the produc-tion elementslights, ats, audio, rig-ging, costuming, and yes, the perform-

ers who rely on technicians to make itall come together into something ex-traordinary 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 themedia development committee for The

ESTA Foundation.