Are YOU Teaching Relevant Lighting?

[MrsFooter]

In my personal opinion, the discussion of what gear is being taught is a mildly irrelevant one because despite the fact that no one can teach it all, everyone needs to know it all. Most of what a professional is going to touch is going to be somewhere in the spectrum between antiquated and cutting edge. In my rig, I have 60's era Strand Centuries and Chroma Q Colorforce 72s, and I have to know how to maintenance and repair both. I've been involved with shows that hung yoke to yoke Sharpies, and rooms that had a dozen glorified light bulbs in coffee cans. Unless your day job is lighting Lady Gaga, you're going to end up needing to get into the guts of something other than the latest and greatest at some point, so any time spent with gear is valuable experience.

That being said, I do believe that the production that is taught is wildly out of touch with that which is being produced in the real world. In my college experience, nothing was more important than the art of the production. Money was important, sure, insomuch as there wan't any, but time was a limitless resource. We never worked on a show that didn't spend at least a week in the space with as many man hours as we could bribe with beer and pot. Now, as Lighting Designer, I regularly walk into a space the morning of the performance with only a vague idea of what the rig looks like and no promise that everything works. I need to be fast, decisive, and incredibly efficient with my time. In college, we could talk about the problem, try some things out, re-do it four times, look at it six different ways, before finally coming up with a solution. Now, I need to identify the problem, solve it, (or immediately abandon it for Plan B,) and move on. Art is still important, sure. Nobody wants to put crap on stage. But art is third on the priority list after safety and time/money, and that was never acknowledged at my college. (Along with the concept that I deserve to be paid for the work I do, but that's a rant for a different day.)

I also believe that there is a frightening lack of fundamentals being taught in academia. Not the fundamentals of lighting design, but the fundamentals of electricity. Of course design needs to be taught; that's theoretically what we're all paying the big bucks to learn. But no one died from a bad lighting design. No one lost a parent because the stage lacked modeling. You can teach yourself how to design shows by a lot of trial and error and just being bad for a while, but there's not that kind of wiggle room when you're playing around with high voltage. My college flat-out refused to teach any of the production majors how to do a three-phase tie it, "Because you'll hire someone to do that." The only discussion of any kind of electrical theory was W=V*A. And bullshit like that is the reason that I have college graduates standing on my deck saying things like, "Oh, it doesn't matter what order you connect the cams when you tie in because they're on a generator." There is a lot of sketchie-ass gear out there in the world-- homemade hardware-store distros, people running around with wildly undersized feeder, homemade rigging packages-- that is flat-out dangerous, and without the knowledge of electrical theory, safety, and code, you have no idea the potential that you possess to kill someone. Since I educated myself and got my ETCP, I have been shocked and horrified by the amount of dangerous, wildly out of code gear that is out there used by professional touring productions and production companies, no less. When I think about relevancy in academia, this is what makes me angry. Not that they're not being taught movers or McCandless, but their potential to kill me, my husband, and my co-workers with their ignorance.

One final thought for the OP, from one blogger to another. You made it very clear in your writing that the purpose of your post is to change the minds of those who hold a different viewpoint than your own. (Or force your own opinion upon them, but now we're getting into semantics.) Yet, your second and third sentence are confrontational, condescending, and accusatory. Your entire post reeks of disgust for the intended reader. You may find that this is not a particularly successful strategy for changing hearts and minds, as you may have ascertained from a few of the more passionate responses above. Some mutual respect expressed in your writing may help you in your quest to change the world and the industry. (I also can't help but notice that in the 24 hours that this post has been up you've responded to comments left on your blog twice, yet seem to have little interest into any response to anything anyone has to say, supportive or dissenting, on this forum. Was your intention a true discussion, or google juice?)

 

[Colin]

I asked earlier if people were in concert or event work, but I could have come at it from the opposite direction-- who is producing theatre?

Yes @Footer I'd believe close to 100:1 more jobs in event production. I spent four years in events because there was a decent job available there when I needed one, but have chosen theatre production and education. It's a path for me-- how I started, where I am now, and where I intend to stay. I've done barn stock, LORT, avant-guarde black box weirdness, and college production, sometimes all in the same year. Together all that work fits within theatre production, and I'm comfortable moving in and out of all those subcategories way more than I was at first moving into event production, because they're different and I was trained in a theatre program. I had most skills I needed to be safe and adequately effective right off in events, and I was good at making the right decision fast, but the transition was still jarring. 3-phase and tie-ins have come up a couple times, and that was indeed a thing I had to learn more about, but remember that it is actually illegal in some locales if you're not a licensed electrician, so schools can't necessarily have students practicing (they certainly should be teaching the concepts though). @MrsFooter pointed out the difference in pace between her work (in events, right?) and her educational experience (in a theatre program, right?). That contrast carries through other levels and scales of producing theatre too. There's a different set of priorities/needs compared to local event production or touring.

The college programs I know about cater much more to theatre production. If someone's career doesn't match their college training, they might not be as satisfied with their college experience compared to someone who, for instance, went into regional theatre having learned a producing theatre model in college (albeit at an even more plodding pace). The pace and overall culture of the producing theatre environment is different than the most commonly available event production work. Seems like sometimes criticism comes out of a mismatch, and it isn't reasonable to expect all BA or BFA programs to address the full breadth of event and theatre production with the depth necessary to produce 100% prepared professionals. Some programs try, and produce graduates with some of the gaping holes in training that this thread discusses. Others choose to specialize, and they do a little better as long as their graduates are headed for the same specialty. Others are so wealthy and well-run that they can do it all, as long as the students will work hard. Still comes down to the individual student in the end. When you get a new employee or colleague who needs shaping up, you don't necessarily know if it's because of poor training, poor learning, or both.

 

[NateJanota]

Come work for me. Seriously.

That's probably the most straightforward job offer I've ever gotten! If I didn't have a soon-to-be wife desperately trying to put down roots, I probably wouldn't mind moving around and trying some more/other workplaces and stages!

You don't make it in this business just knowing the gear. You make it in this business with a KILLER work ethic and EXCELLENT reasoning skills. [...] At the same time stick around here and absorb as much as you can. When things are heated ask questions about why people are doing what they are doing. Be a sponge.

This is exactly why I'm on this thread posting. I'm curious. I have a good work ethic. 90% of the time I have to ask for more work because my location is unwilling to hand me more, not because of me personally or my skills, but because of bureaucracy. I'm actively looking for mentors willing to take me under their wing and hold me both accountable and to a higher standard than I'm currently held. I'm batting .000 on that right now, but eventually perseverance will yield results.

 

[MrsFooter]

@MrsFooter pointed out the difference in pace between her work (in events, right?) and her educational experience (in a theatre program, right?). That contrast carries through other levels and scales of producing theatre too. There's a different set of priorities/needs compared to local event production or touring.

Assumptions are fun to make, aren't they?

Actually, when I wrote that I was thinking of my work as Resident Lighting Designer for a modern dance company. It doesn't matter if you're in corporate, music, dance, or theatre, time=money. Every person that is there is an expense, and every minute that they're on stage is an expense. Even the (paid) work that I do that involves volunteer crew, time isn't infinate; volunteers have only so much patience and time to give. Some shows have more money than others, and thus, more time. But I guarantee you, unless you're working community or educational theatre (where labor is free,) time is a finite resource.

But to your point. You're correct, on one hand. It's not fair to ask a program to teach to 100% of the field. But as @Footer pointed out, look at the numbers. Exactly one person that we graduated with is doing anything even remotely resembling traditional theatre. Another few handfuls are doing "event" production, as you put it. And the large majority? Real estate agents and dog groomers. So if the program is going to be teaching to the sector of the industry in which most of us are going to land, why even bother teaching traditional theatre when less than 10% of your graduates are going to end out there? Why not teach how to light music? Why not teach how to light someone so that they look good on camera? Why not teach how to get a touring show in quickly and safely? All these skills would have been infinitely more helpful to me than teaching me that a leg is also called a tormentor.

 

[Colin]

Assumptions are fun to make, aren't they?

Actually, when I wrote that I was thinking of my work as Resident Lighting Designer for a modern dance company. It doesn't matter if you're in corporate, music, dance, or theatre, time=money. Every person that is there is an expense, and every minute that they're on stage is an expense. Even the (paid) work that I do that involves volunteer crew, time isn't infinate; volunteers have only so much patience and time to give. Some shows have more money than others, and thus, more time. But I guarantee you, unless you're working community or educational theatre (where labor is free,) time is a finite resource.

But to your point. You're correct, on one hand. It's not fair to ask a program to teach to 100% of the field. But as @Footer pointed out, look at the numbers. Exactly one person that we graduated with is doing anything even remotely resembling traditional theatre. Another few handfuls are doing "event" production, as you put it. And the large majority? Real estate agents and dog groomers. So if the program is going to be teaching to the sector of the industry in which most of us are going to land, why even bother teaching traditional theatre when less than 10% of your graduates are going to end out there? Why not teach how to light music? Why not teach how to light someone so that they look good on camera? Why not teach how to get a touring show in quickly and safely? All these skills would have been infinitely more helpful to me than teaching me that a leg is also called a tormentor.

Argh I don't have fun making assumptions, and really just wanted to make sure I understood your background. Your description of long processes in college sounded like a theatre program. Easily could be dance too. Not trying to call you something you are not.

In my work experience, extended (not inefficient) processes are common in resident and other modes of theatre, even though time is money. There is quite a relationship between some educational programs and nearby producing theatres, so it is sort of a gray area what is educational theatre and what isn't in terms of free or very cheap labor.

Yes, there is much more demand from employers in concert and event production compared to resident theatre. No, it doesn't make sense for the supply from colleges to be the opposite. These are the points I'm trying to tease out, because they speak to the effectiveness of Jim's criticism directed towards teachers. Teachers do the job they are hired to do. Many-- I dare assume most-- college programs offered for live performance design and tech are charged with missions focused on resident theatre and dance production, if not also in the context of the liberal arts. So, that is what their faculty will teach. Demand for a different curriculum is demand for a different department or major concentration. So folks should ask for that instead of berating teachers for teaching their expertise just as they were hired to do.

 

[RickR]

Yes, there is much more demand from employers in concert and event production compared to resident theatre. No, it doesn't make sense for the supply from colleges to be the opposite. These are the points I'm trying to tease out, because they speak to the effectiveness of Jim's criticism directed towards teachers. Teachers do the job they are hired to do. Many-- I dare assume most-- college programs offered for live performance design and tech are charged with missions focused on resident theatre and dance production, if not also in the context of the liberal arts. So, that is what their faculty will teach. Demand for a different curriculum is demand for a different department or major concentration. So folks should ask for that instead of berating teachers for teaching their expertise just as they were hired to do.

This goes right back to my point. Nobody should expect colleges to train for jobs. There isn't time or funds when trying to open minds and hearts to the wider world. Further, there are so many ways to go in the industry that specifics would be pointless. On the other hand I'm in favor of exposure to all fields and types of gear. Tour a manufacturing facility, see concerts and experimental theater, have an architectural LD speak, discuss how technical sales is critical, review repair and diagnostics work. Performance degrees work in all these areas and more.

Nobody knows what they'll wind up doing for their first few jobs. It's up to the students to discover their talents and desires and those are known to change rapidly when we're young.

 

[Pie4Weebl]

For fun and because I do intend to get a rental, even if just one fixture, into my LD class this semester, I priced this out for my own program (which I should say is a BA not a BFA so hopefully BFA programs can do at least a little better).

Some cheaper options for mover rental from my local shop are Auras and Platinum Spot 15Rs at $150/wk. To really have fun on our stage I'd probably want at least six Auras and three or four spots, so $1500/wk for all. A much smaller package that could still be useful, say only three fixtures, would be $450/wk.

An MA 2 Lite runs $1050/wk.

Likely shows are dance concerts and a semi-annual musical. These would be three week rentals. That's $7650 on the high end, $4500 low.

Our show budget is $4000. That's rights and scripts, scenery, props, lighting, costumes, sound, projection, blah, blah.

I could skip the MA and use our Ion (still got the Express in the black box) but cost would still be prohibitive. I could ask some friends for a deal and maybe only pay for one week out of the three, and it could still be too much.

The lesser but affordable alternative is to just run a workshop using a one week rental of one or two movers. That's a nice enrichment to a program that can't afford to give students real production exposure, but probably not enough to achieve competency.

I think you could buy a small package for less. A half dozen R1 Washes (or R2s if you need the punch), and a little Martin M -Touch rig would do the job(and give them nice basics of moving light programming), and then you could keep it around for the students to use and experiment with whenever they like. In a year or two you could add an MA wing or a Hog Wing.

 

[Pie4Weebl]

That's probably the most straightforward job offer I've ever gotten! If I didn't have a soon-to-be wife desperately trying to put down roots, I probably wouldn't mind moving around and trying some more/other workplaces and stages!



This is exactly why I'm on this thread posting. I'm curious. I have a good work ethic. 90% of the time I have to ask for more work because my location is unwilling to hand me more, not because of me personally or my skills, but because of bureaucracy. I'm actively looking for mentors willing to take me under their wing and hold me both accountable and to a higher standard than I'm currently held. I'm batting .000 on that right now, but eventually perseverance will yield results.

If you want to get into concert stuff go work at the Beacham, they are all pretty chill guys/gals and seem to be into cross training their staff.

 

[Kristi R-C]

You make many salient points which would have been better received with a different tone.

Those of us who work in the professional world while also teaching at a university are well aware of what our students need and the limited resources we have on campus to teach those skills. I'm blessed to be able to call in favors from industry friends and get my students experience beyond the ivy walls. Far too many educators - at all levels - are stuck in the 1950's mentality of "memorize facts, regurgitate, repeat" instead of teaching how to use information. I have the factual knowledge of the world in my pocket. Education now must evolve to focus on using those facts. And in our industry, developing a critical eye.

 

[dwardMICS]

Man, I love this place! I am realizing how little I know ("You know nothing Jon Snow!") about production because of my particular path (theatre education).

So as a high school teacher and someone very passionate about technical theatre, can I ask where I should start a bunch of 15 year old kids in lighting design? Ideally, I want to send a kid or two a year into the world as a productive technician for whoever (regional theatres, college theatre or IATSE newbie).

While I present everything from a problem solving perspective (You have x, y, and z, how do we make this work for what we want?), I would love to build some foundations in these important ideas. I also need to work on my foundational knowledge as well!

 

[RonHebbard]

Come work for me. Seriously.

You don't make it in this business just knowing the gear. You make it in this business with a KILLER work ethic and EXCELLENT reasoning skills. The best people out there are the ones who you can ask to do something and they have no clue how to do it, but they can figure it out because they have good reasoning skills. They can see something done, break it down into the parts of how to do it, and go do it themselves without me spending 3 hours trying to teach them how to do it. They can apply what they know from other gigs and other gear and deduce how it will be done on this gig. My goal is to stay two steps ahead of the client on a show and be prepared for anything. I expect the people working for me to stay a half step ahead of me...

Be the first in the back of the truck. Be the first to grab a broom. Be the first to jump in the Genie. Then, you will be asked to be the first to step behind the desk, you won't get cut after load in, and you'll be the first on the call list. At the same time stick around here and absorb as much as you can. When things are heated ask questions about why people are doing what they are doing. Be a sponge.

That is what colleges need to be teaching. Screw the gear. The gear is outdated before you graduate and get to the point where you see that type of gear again anyway. A good basis in reasoning skills is the bedrock for this industry.



Path? No. Am I doing event production now? Yes. Do we ever actually get to choose a "path"? No. I've done regional theatre. I've taught at a performing arts high school. I freelance design in theatre. I've done IT work. There is no path. There is the job you have now that is paying your bills. Mine currently pays very well, has an actual pension, has the best benefits package that you can get, and I get to work with my wife. So, right now my "path" is keeping me here.

There is probably a factor of 100 more jobs in event production then regional theater. I only know of a handful of CB members that actually work for a regional theatre producing original work. Of my friends almost all who are still in the industry are either working local event production like me, touring concerts, on a boat, touring dance, broadway, or touring theatre. Besides @icewolf08 and the 3 people who work at the regional theatre in town I have zero friends who are working in produced regional theatre.

Lead, follow or get out of the way! (Springs to mind here.)

 

[dpak]

As a high school drama teacher (and one who has a tech theater class) this has been a very interesting article and discussion to read. When it comes to tech, I'm self-taught, so I followed half of what the article was saying (RDM? Crap - another thing I have to explore). A few weeks ago I realized that more than half of my students have no clue how to even set up a DMX universe and connect all the fixtures (they can hang and focus a S4 though!). I just spent almost all of my classroom budget for next year on some cheap DMX lights and a computer-based controller so I can have one group setting them up and programming them while another group works with the conventional lights and a 2 scene controller. I realize most of them won't pursue tech theater as a vocation, but still - reading this thread reinforces my feelings that I have to have standards in class. I know I should also spend more on the basics of electricity, but one thing at a time.

I plan on sharing many of the things in the discussion with the students - especially the part about having a killer work ethic and excellent reasoning skills.

 

[dwardMICS]

As a high school drama teacher (and one who has a tech theater class) this has been a very interesting article and discussion to read. When it comes to tech, I'm self-taught, so I followed half of what the article was saying (RDM? Crap - another thing I have to explore). A few weeks ago I realized that more than half of my students have no clue how to even set up a DMX universe and connect all the fixtures (they can hang and focus a S4 though!). I just spent almost all of my classroom budget for next year on some cheap DMX lights and a computer-based controller so I can have one group setting them up and programming them while another group works with the conventional lights and a 2 scene controller. I realize most of them won't pursue tech theater as a vocation, but still - reading this thread reinforces my feelings that I have to have standards in class. I know I should also spend more on the basics of electricity, but one thing at a time.

I plan on sharing many of the things in the discussion with the students - especially the part about having a killer work ethic and excellent reasoning skills.

Yep, I've been going through a real crash course in 21st century lighting! Things have changed a lot since the old expression days! Shoot me a message if you want to brain storm some tech theatre curriculum ideas. I'm always trying to update what I do, and make it better than last year.

 

[DeadCheerios]

I honestly found the best way to learn lighting is to start with conventional lights and then work the way up to dmx accessories and movers and then LEDS.
Hell my first "moving light" I got to play with was a Source 4 with a DMX iris kit, an IQ Mirror and a Scroller. First time I used an actual mover I actually understood what the unit was actually doing.
Don't think thats completely needed now but starting from the bottom is always the best imo.