Theatre Design & Technology - Spring 1999 - 16

This strongly suggests that a lighting designer-and perhaps
everyone in theatre-should be scrupulously careful of his or
her professional life in order to ma.ximize positive contacts for
career growth.
The study also documents the relative unimportance of
the portfolio alone for employment as a lighting designer in
regional theatres. However, a clear caveat is in order here.
Even though the portfolio is not among the most important
considerations, that does not mean that it is irrelevant. To even
get to the point of being considered by a regional theatre, a
lighting designer will still need a portfolio for other employment. Even at that, a lighting portfolio may be needed in regional theatres as an adjunct to other considerations.
Under such circumstances, it certainly would be prudent to
have a portfolio which reflects what regional theatre managers want to see.
Thrning to the portfolio's contents itself, the numbers
clearly suggest that most regional theatre managers want to
see a concept statement, a light plot, and documentation or
pictures. Surprisingly, some theatres give top priority to evidence of research and others to lighting sketches. Ideally, if
one had the information, the portfolio could be tailored to the
specific wishes of each theatre. However, this is impractical
both in terms of ascertaining the theatre's desired contents
and in terms of completely reformatting the portfolio for every
interview. But some focusing for the individual theatre is appropriate.

Are\~ew of the individual respondent's survey forms suggests it would be prudent to have a concept statement, light
plot, and pictures for each production in the portfolio. Even
though one theatre noted that the concept statement did not
need to be written down, a more carefully crafted statement is
likely if it is written down. Additionally, there probably should
be two productions in the portfolio \\~th e\~dence of research
and lighting sketches. Hopefully, this would satisfy those theatres which give these items the highest priority and at the
same time satisfy those theatres which want to see them, but
give them lower pliority. The other portfolio items listed on
the survey form should be represented by at least one example
somewhere in the portfolio, and it probably would be a good
idea if one of the portfolio productions contained all the listed
portfolio items.
The issue of documentation is a mixed one. Some theatres imply they want only slides, others only photographs, and
still others indicate varying priorities between the two. Tlus is
one area where it probably is prudent to have complete documentation in both slides and photographs. Before the interview,
determine whether the theatre prefers slides or photographs and
take the appropriate documentation. nless the theatre specifically requests video, don't include it in the portfolio.
Though most respondents indicated that the size of the
photographs was unimportant, the fact that not one selected a
3Y2" x 5" format probably suggests that larger photos should
be used. The survey results do not supply a definitive answer,

*
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In

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Contents


Theatre Design & Technology - Spring 1999 - 1

Theatre Design & Technology - Spring 1999 - 2

Theatre Design & Technology - Spring 1999 - 3

Theatre Design & Technology - Spring 1999 - Contents

Theatre Design & Technology - Spring 1999 - 5

Theatre Design & Technology - Spring 1999 - 6

Theatre Design & Technology - Spring 1999 - 7

Theatre Design & Technology - Spring 1999 - 8

Theatre Design & Technology - Spring 1999 - 9

Theatre Design & Technology - Spring 1999 - 10

Theatre Design & Technology - Spring 1999 - 11

Theatre Design & Technology - Spring 1999 - 12

Theatre Design & Technology - Spring 1999 - 13

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Theatre Design & Technology - Spring 1999 - 17

Theatre Design & Technology - Spring 1999 - 18

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Theatre Design & Technology - Spring 1999 - 34

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Theatre Design & Technology - Spring 1999 - 40

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Theatre Design & Technology - Spring 1999 - 43

Theatre Design & Technology - Spring 1999 - 44

Theatre Design & Technology - Spring 1999 - 45

Theatre Design & Technology - Spring 1999 - 46

Theatre Design & Technology - Spring 1999 - 47

Theatre Design & Technology - Spring 1999 - 48

Theatre Design & Technology - Spring 1999 - 49

Theatre Design & Technology - Spring 1999 - 50

Theatre Design & Technology - Spring 1999 - 51

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Theatre Design & Technology - Spring 1999 - 53

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Theatre Design & Technology - Spring 1999 - 62

Theatre Design & Technology - Spring 1999 - 63

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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Feb

https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Dec

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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