Meredith,<P>I agree with what you say.<P>It's interesting to me, however, what makes people so passionate about what they do, in theater or dance in this case. I have worked with amazing electricians who have no interest whatsover to be a designer - yet my design would not be all it is without their input, quality control, suggestions for solutions, etc.

Absolutely, Barb; it's an arrogant designer who refuses to consider a suggestion made by an experienced electrician.<P>Unless, of course, s/he's a <I>costume</I> designer. . . .<P>------------------<BR>Jeffrey E. Salzberg, Lighting Designer<P>Online portfolio: <A HREF="http://www.suncoast.quik.com/salzberg" TARGET=_blank>http://www.suncoast.quik.com/salzberg</A> <BR>This Day in Arts History: <A HREF="http://www.suncoast.quik.com/salzberg/arthist.htm" TARGET=_blank>http://www.suncoast.quik.com/salzberg/arthist.htm</A><P><BR><p>[This message has been edited by salzberg (edited April 10, 2001).]

Babs, I guess it's a different type of 'passion' for us technicians. We groove on a different type of creative process;i.e., making the designs given to us actually function as required. Be it lights, sets or sound, etc. <P>I recall fondly one tech rehearsal where we had several people all on the same Clear-Com channel, and all of us were talking to different operators. I was talking to the video op; the LD was talking to the board op; the director was talking to the sound op. We managed to tech it all in very smoothly, and no one lost their temper on headset. I still don't know how we got through it. But hey: the show was a huge success and tight as hell. I guess people like me groove on things running right. I take pride in my job. I guess that's all that's left to be said. Oh, and also to have fun. Otherwise, why do it?<P>Meredith

So, we could say that technicians, and designers, have the same sort of passion about their art as those that do the dancing (or singing, or acting?)

Exactly, Babs. I guess you could say production people prefer to stay on the other side of that infamous "fourth wall." <P>Meredith

I come from a different perspective. My husband (lighting guy) and I (costume gal) have worked both sides of this fence. There is a different mindset doing one job or the other. Not all people can do both. Some can. It's a matter of turning a swith from techie to artsy and bach again. To design there has to be a "vision" and an "eye". I think it could be debated whether this can be taught. To execute there has to be extensive knowledge of the mechanics with the ability to interpret the ethereal into the concrete. Sometimes the best lighting technicians are the ones who have some experience designing. All of these observations are conditional on peoples egos not getting in the way.

I saw a ballet recently in which the choreographer designed everything! He did a great job but I wonder if he couldn't have achieved more by involving true designers.

Azlan: Probably.<P>Just as the choreographer is more familiar with the choreographic vocabulary than I am, I am undoubtedly more familiar with the lighting vocabulary than s/he is...and the same goes for any professional designer in any medium.<P>I'm lighting a play right now, the set for which was designed by the director (who is also the playwright and lyricist). It's ok. It's passable.<P>...But, done by a <I>real</I> set designer, it could have been very good...and my job as lighting designer would have been easier...and the lighting would have looked better.

I think there are many choreographers who are unwilling or unable to give up part of their control for the good of the vision. It's a difficult transition to make. I work with many choreographers trying to upgrade their production values by hiring pros. I have to tell them constantly to trust me. They can get really frantic, but usually once they see the end result, they are happy.

The choreographer I am speaking of is Nicolo Fonte who created a wonderful premiere for Pacific Northwest Ballet called "Almost Tango" (ref: Pacific Northwest Ballet 2002 - 'Tango Tonight') in which he designed the lighting, the costumes, the set, etc. It is one of the best ballets I've seen all season. He pretty much admitted in a post-show talk that he has trouble giving up control. One can't fault him given the quality of the ballet but I keep thinking if it couldn't be an even greater ballet.

<small>[ 08-09-2002, 21:37: Message edited by: salzberg ]</small>

That's a good point you make about trust LMCTech, it's certainly a hurdle to overcome--but one of the nicest parts of working on a production is when everyone lets go and you see something come together that could have never been produced by one person.

Absolutely. When I have worked on productions like that, the energy is so strong, your on a high for weeks.<P>Interesting what you say, Azlan. <P>There are other choreographers that have done this same thing (Alwin Nikolais comes to mind). There is a part of that thinks, "Well, if he can get a good product doing everthing then let him". Afterall, dictatorships are efficient and you don't have to "waste" energy on collaborating rather than creating. But I'm with you in wondering what could have been. Maybe he'll branch into that scary area in the future. Maybe that will be the next hurdle he decides to overcome.

Technical Talk - Qualifications
By Barbara Eifler for The Stage


There’s a lot of emphasis today on training and qualifications. Certificates are more important than experience and even those with 20 years under their belt find themselves hankering after bits of paper.

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