Theatre Design & Technology - Fall 2010 - 6

from the

e ditor
I don't know about you, but I'm getting tired of the U.S. economic recession. Friends on unemployment, arts organizations and theatres making severe budget cutbacks (some

theatre
design &
technology
T he peer-review jour nal
for design, production and
technolog y professionals
in the perfor ming arts and
entertainment industr y.

EdITORIAl OFFICE
DAviD roDger
editor

closing their doors for good), colleges and universities

DeborAh hAzLeTT

eliminating whole departments. It's grinding away at so many
Maybe that's why this issue is infused with a kind of en-

*
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couraging helpfulness. Four of the six articles are about process; sharing information to help others

ASSOCIATE EdITORS

things that we've fought so hard to acquire.

achieve their own goals.

Art Director

rAYMoND KeNT

laurie Kincman thought she had a pretty good stage management training program, but she

Architecture

peggY roSefeLDT

wondered if other colleges and universities might have a magic formula for balancing class work

Costume Design & Technology

with practical experience. So she surveyed over 100 schools to find out exactly how they went about

Computers & Software

it. She didn't find any secrets, but she did confirm that there are quite a few successful paths to the

WiLLiAM KeNYoN

perfect stage manager. Next, Todd debreceni tells makeup artists how to duplicate a technique he

jerrY gorreLL

learned from award-winning makeup artist Christien Tinsley for creating three-dimensional special
effects like gun shot wounds, lacerations, bites, and extreme old age. In a companion piece, Susan

pATriCK M. fiNeLLi
education

engineering

DAviD C. gLoWACKi
health & Safety

LiNDA eSSig

brown-Strauss reviews several temporary tattoo products for their usefulness in stage productions.

Lighting Design

Her school cast an actor to play Oberon who's back was pretty much covered in body art and she

riChArD peTerSoN

needed to find makeup solutions to not only add more tattoos to match the actor's permanent ones,

roberT L. SMiTh & heiDi hoffer

but create similar ones for Titania as well. Finally, brad berridge, a sound designer who specializes
in dance, describes some of the lessons he learned when starting out. He also gives plenty of advice
on FOH system design, mixing, and using live music. He will continue his exploration of sound design for dance in a subsequent issue of TD&T.

Management

Scenic Design

DAve ToSTi-LANe
Sound Design

biLL broWNiNg

Technical production

ArNoLD WeNgroW

Two more pieces take us back to the early twentieth century. Ronald Naversen writes about W. T.

book reviews

WiLLiAM j. bYrNeS

benda, a commercial artist whose work was featured on numerous Life magazine covers and whose

inside USiTT

beautiful and exotic papier-mâché masks inspired such theatre greats as Eugene O'Neil. Then, Tom

CONTRIbUTING EdITORS

Young and Randi Minetor trace the history of stage rigging through the catalogs of J. R. Clancy, the

arnold aronson * eric fielding *
sarah nash gates * joel e. rubin *
beeb salzer * delbert unruh *
tom watson * arnold wengrow

first of which was published in 1886. -dr
U s i t t M i s s i o n s tat e M e n t
United States Institute for Theatre Technology, Inc. (USITT) connects performing arts design and technology communities
to ensure a vibrant dialogue among practitioners, educators, and students.

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TD&T (ISSN 1052-6765) is published five times a year-Winter, Spring, Summer, Special Issue, and Fall-by United States
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theatre

design

technology

2010

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Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 2010