Theatre Design & Technology - Summer 2019 - 39

tem integration typically occurs at a
higher network level, so low-level electronics knowledge-while certainly
interesting and valuable-is not really
a high-priority core subject for live entertainment technologists. If students
are interested in learning electronics, schools should wholeheartedly
encourage them, perhaps by seeking
out more hands-on education than one
would receive in the theoretical, mathintensive courses often offered by college physics departments.
* Advanced Electrical Power. Large
scale entertainment power systems
have a variety of issues (power transformers, power factor, breaker sizing,
etc.) that are important but need experience to understand.
* Structures. As scenic designers get
more daring, and as insurance and
liability issues increase, it is important that technical designers are able
to help push the envelope safely. The
only way to do this is to actually learn
and do some engineering. A few wellknown grad schools teach this very
well.

* Mechanics and Scenic Automation.
Because a huge number of shows today rely on automated scenery, the
basic concepts of machine tools, mechanisms, motion control and methods
should be introduced. Several grad
schools also cover this area well.
* Certification. At the time of the
original article in 2002, ESTA's Entertainment Technician Certification
Program (ETCP) was still several
years in the future. Today, in another
sign of the industry's maturation, certifications are widely recognized in the
electrical and rigging fields. Although
undergraduate students likely are ineligible to sit for these tests, they should
be aware of them and working towards
them. Working professionals should
strongly consider sitting for the test in
their area of expertise.
* Other Technologies. As of this writing, a number of buzzword technologies have emerged, including virtual
reality (VR), augmented reality (AR),
extended reality, "holographic" projection, etc. While some of this technology has become cheaper and more

widely available in recent years, few of
these technologies are really new; VR
has existed for decades, and today's
so-called "holographic" projection is
really a retooling of a 150-year-old
Pepper's Ghost effect. None of these
have yet risen to "core" technology status for live shows, although of course
VR and AR have great uses in pre-visualization and show preparation. But of
course, all these areas should continue
to be investigated and explored.

Build a Bridge

In 2019, is conservatory-style training
still the right approach for a student
who is passionate about working backstage? At several enlightened conservatories I know, the backstage faculty
understand and embrace the realities
of the market and address them as best
they can in the larger context of the
school. However, I recently met with the
head of a major theatre conservatory,
and he told me about the thousands
of performer applicants the school receives each year for the dozen or so

BUILDING THE BUSINESS OF SHOW BUSINESS

www.esta.org
SUMMER 2019

THEATRE DESIGN & TECHNOLOGY

| 39

http://www.esta.org

Theatre Design & Technology - Summer 2019

Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 2019