[SML] Theatrical educations questions, was: Subject: advice on some old pigment

[Bruce Purdy]

Brent Logsdon via Stagecraft  wrote:

> Most theatrical shop training seems to be aimed at the vocational rather than the historical. Is it preferable to lose the knowledge to protect the less safety-minded? Many materials fall to the wayside because the primary industry they served is no longer using the material and/or the material is rare or expensive.  For this I mean materials like number grade 1x12, casein and animal-hide glues. We no longer use cleats and lashlines because we no longer build scenery in a manner that uses them.  Other materials seem to go away mainly because they are dangerous.  We no longer see lead, celastic or analine dyes in the scenery, costume or prop shops.  We no longer weld decorative handrails out of galvanized conduit. Wooden A-frames on casters are gone. There are people that may be offended by my even typing the words "Circus Knot." I am not mourning their loss but I'm wonder if instruction in their use is now considered irresponsible.  Is what was once Stagecraft 101 or Painting 201 now even appropriate for a grad level survey course?  Should knowledge be allowed to die?  I understand the argument that there is little need for a top-notch buggy whip maker.  I understand there need be very few courses nationally in the making of buggy whips. I also wonder how many things we lose out of fear.  This may also be the wrong venue for the question but I don't play in the USITT realm.  Please speak up if you feel this is inappropriate for this venue. 

	
	Personally, I certainly don’t think your question is in any way inappropriate for this list - I’ve seen some pretty off - topic threads here, your’s seems perfectly suited for this assemblage.

	Whilst I’m not in the academic world, I would posit that it is not through liability or safety concerns that out of date historical techniques might not be taught, so much as limited time to teach, and the vast amount go new high tech knowledge that must be imparted.  I do not think that historic / “outdated” methods should be allowed to die. I have built sets with traditional muslin covered - wood framed flats in recent years, Lashed flats together and used stage braces to support them. I don’t know whether these techniques are still taught, but they are still useful even if not the current norm.

	As to letting old fashioned technology die, I think of an analogy: Wood working without the use of any power tools or metal fasteners is probably not taught in higher education. However there are many people (individuals and clubs) who keep such knowledge and skills alive and are willing to share such knowledge. I imagine that working with an old experienced stagehand is a good form of continuing education.

Bruce
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Bruce Purdy
Central New York Magic Theatre Co.
http://cnymagic.com