That's OK, Azlan; dance is, after all, a collaborative art form.

So, what would be the pedigree you would need for someone to be called a designer?

It's a knowledge base, partially, but more than anything, it's an approach. It's basically the same thing you'd require of someone calling him/herself a "dancer": technique.

Upon further reflection:<P>It's a given that all the technique in the world can't make someone an artist if s/he has no talent; the reverse is also true -- "There is no art without technique" *.<P>One of the necessary parts of lighting design technique is the ability to recognize and use imagery, along with the ability to analyse movement and the knowledge of how to use light to reinforce it. <P>* Me

As Tom Stoppard put in his play, "Artist Descending a Staircase," Imagination without skill gives us contemporary art."<P>While this is certainly not true of all contemporary art, I have certainly seen a lot of it in all art forms.

I also think that in order to be a good designer you must be a collaborator. I have worked with several design teams where suddenly everything became all about one designer. For example, in one production the set designer was giving the lighting designer, costume designer and director notes on what they should be doing to make his set look the best. He undermined the unity of the artistic vision by being such a egotist.

A set designer was recently quoted to me as saying something along the lines of, "The purpose of lighting is to support the set."<P>Fortunately, we were not doing a show together.

This is what I'm talking about. When the set designer tells me the skirt needs to be 2 inches longer to hide the badly painted trim on a chair, I get a little peeved.

LMCtech, lol! I can sure see what you mean!

>A set designer was recently quoted to me as >saying something along the lines of, "The >purpose of lighting is to support the set."<P>>Fortunately, we were not doing a show together.<P><BR>Jeff, I thought that's what legging and stage braces are for. :>)<BR>

Back to SIHOs, I spotted one in full glory this evening at a dance event. It was one of those community events that allowed ordinary folks to mingle with the dancers and the staff.<P>However, there is one thing about this type of events that can go awry. When you have Self-Important Hangers-On (SIHO) mingling with the audience, there is much potential for harm.<P>I overheard one person clearly identify herself as a board member before making an artistic statement about "gaps" in the work. Even if she later expressed confidence that the choreographer would be able to fix the gaps by the premiere, the damage had been done, as the initial comment was made within earshot of audience members. And then she had the gall to admonish a visiting artist over some issues about shared technical scheduling. This was all within earshot of other people of course.<P>Now tell me if this is not an effective way to turn off community support for a company. If I were to be developing donors or board members for this company, I'd probably now turn my attention elsewhere. I wouldn't want to expose my friends to this SIHO.<P>One company I used to give money freely to had rules for board members, among which were: 1. Don't immediately identify yourself as a board member as if it were the most important position in the company; 2. Remind yourself that you serve on the board, with the keyword being "serve."<p>[This message has been edited by Azlan (edited October 09, 2001).]

Bravo!

BTW, here's a review of the play. No mention of the costumes...good or bad? I'm not sure.<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Cold Comfort<BR>Swanwhite is both a dissection of the conventions of romantic love and a testament to the hoped-for "love that transcends death."<BR>By Lisa Drostova <HR></BLOCKQUOTE><P><A HREF="http://www.eastbayexpress.com/issues/2001-10-03/theater.html" TARGET=_blank><B>more...</B></A><BR>

If we think dance reviewers never talk about the designs, theatre reviewers are a lot worse. Usually, they focus on the actors. However it appears that Lisa Drostova does do a fair job of writing about the set and the sound. No costumes or lighting though.<P>Is the play still running, LMCtech? I'll need to check out your costumes.<BR>

Azlan, you could, of course, check out my lighting, along with Peter Boal's exquisite dancing, in a charmingly intimate space this weekend.