ATHE Tenure and Promotion Guidelines P a g e | 25

2. Expertise in planning a theatre season within a clearly defined mission for the
theatre department or company.
3. Ability to effectively connect the artistic work to the community through a
myriad of activities including outreach, volunteerism, partnership, and public
relations.
4. Knowledge of systems for box office and house management.
5. Excellence in serving as an advocate for live theatre.

B. Literature and History

1. Knowledge of theatre history and performance.
2. Knowledge of audience development and how theatre relates to society in the
present and in the past.
3. An understanding of professional ethics and practice associated with theatre
and performance.

C. Administration
1. A passion for both the business and the artistic sides of the theatre.
2. Excellent skills in management, planning and organization, time management,
and goal setting.
3. Personnel management, including hiring and supervision.
4. Expertise in all aspects of marketing and public relations for live theatre
including traditional methods such as posters and direct mail and the latest
technological means such as web-based marketing and social networking.
5. Skilled in event planning, fiscal management and budgeting.
6. Expertise in fundraising, grantsmanship, and development activities.
7. Knowledge of contracts and union regulations as well as skill in negotiation.
8. Excellent communication skills, flexibility, and tact and the ability to work
with diverse personalities.

Overall excellence from the arts administrator requires the ability to integrate knowledge
consistently in the areas noted above.

Additional information about the expertise and skills expected of the arts administrator
may be available through ATHE’s Theatre Management Focus Group, the Association of
Arts Administration Educators, the Arts Management Network, and the International
Council of Fine Arts Deans (ICFAD), and the American Council on Education
Department Chair Online Resource Center.

DESIGNERS1

Theatre productions require a team of designers who work with the director to create the
aural and visual world of the play. Listed below are the primary categories of designers,

1
These descriptions are modeled on “USITT Tenure and Promotion Guidelines,” 2000, pages 12-15.
ATHE Tenure and Promotion Guidelines P a g e | 26

but productions may also utilize special designers to create such elements as stage
properties, puppets, projections, etc.

DESIGNERS: COSTUME DESIGNER

The costume designer is an artist who designs the costumes that enhance a given
production in general and characterization in particular. The designs should also enhance
or harmonize with the other visual elements such as scenery and lighting.

The range of proficiency typically required of a costume designer includes:

A. Production Expertise
1. Excellence in creating sketches, renderings and drawings in various media.
2. Knowledge and ability to manipulate the elements of design.
3. Knowledge of the materials and methods of costume construction, including
fabrics, pattern development, fitting, tailoring, etc.
4. Knowledge of movement for acting, dance, and stage combat and the related
requirements of costumes.
5. Knowledge of fabric modification, including dyeing, painting, lamination, and
distressing.
6. Knowledge of techniques in makeup, hair, wigs, and masks.
7. Knowledge of safety procedures and regulations as they apply to costume
construction.
8. Understanding of the related production design areas—scenic design, lighting
design, makeup design.

B. Literature and History

1. Knowledge of dramatic literature, including historic genres.
2. Excellence in textual analysis of scripts.
3. Knowledge of historical dress, including ethnic dress and accessories,
nonwestern and unique theatrical costume, Western theatrical costume, and
differing national styles of historic dress.
4. Knowledge of historic textiles and decoration.
5. Knowledge of art history as it relates to dress.
6. Knowledge of social and popular history, including period manners and
movement.
7. Knowledge of the history of makeup, hair, wigs and masks.
8. Information literacy (the ability to research and vet information from
appropriate sources).

C. Administration
1. Excellence in oral and written communication.
2. Ability to work and collaborate with various artists, technologists, and
technicians, many of whom may be unskilled students with various levels of
experience.
ATHE Tenure and Promotion Guidelines P a g e | 27

3. Excellence in fiscal management, including budget development and material

acquisition.
4. Ability to oversee the technical execution of costumes.
5. Knowledge of studio and wardrobe personnel management and scheduling as
needed in planning for productions.
6. Excellence in the higher level planning required in seasonal or repertory
contexts.
7. An understanding of professional ethics and practice associated with theatre
and performance.

Excellence from the costume designer requires the ability to consistently integrate
knowledge with an understanding of the conceptual requirements of a given production to
produce costume designs that are both artistically and technically sound and within the
limitations of budget and available labor for the producing organization. Such expertise
is demonstrated by participation in production, either on or off campus.

Additional information about the expertise and skills expected of the costume designer
may be available through ATHE’s Design and Technology Focus Group, the Costume
Designer’s Guild, the Costume Society of America, and the United States Institute for
Theatre Technology (USITT).

DESIGNERS: LIGHTING DESIGNER

The lighting designer is an artist who designs the theatrical lighting for productions.
Theatrical lighting should express the lighting designer’s visual interpretation of the
production and support, reinforce and enhance the artistic statements of the other
members of the production team.

Lighting is a combination of artistic work and technical knowledge and ability. Traits
exhibited by individuals usually include both of these areas, but in wide variance. Many
excellent lighting designers know or attribute little importance to technical details leaving
that work to electricians. Other lighting designers have a highly technical background and
organize many or all of the technical details themselves, considering that to be an
important part of the lighting design process.

The range of proficiency typically required or the lighting designer includes:

A. Production Expertise
1. Ability to communicate design intent verbally and to also use devices such as
story boards, overlays to renderings, sketches, lighting lab demonstrations,
etc.
2. Knowledge of the theories and behavior of light (e.g., optics, reflection,
refraction, etc.)
3. Knowledge of color theory in both light and pigment.
ATHE Tenure and Promotion Guidelines P a g e | 28

4. Technical knowledge of current lighting equipment and the ability to apply

this technology to a given production.
5. Knowledge of theories on the psychological perception of light.
6. Ability to interpret theatrical movement, speech, and song in terms of light.
7. Knowledge of the techniques and skills of directing as they relate to lighting
design.
8. Knowledge of safety codes and regulations affecting lighting.
9. Knowledge of energy conservation methods appropriate to lighting.
10. Basic knowledge of the use of light as a design element in other media, such
as film, television, and architecture.
11. Abilities in hand and/or computerized drafting.
12. Understanding of the related production design areas—scenery, costume,
makeup, and sound.

B. Literature and History

1. Knowledge of dramatic literature, including historic genres, and the textual
analysis of scripts.
2. Knowledge of the history of theatrical production, with emphasis on the visual
elements of scenery, properties, lighting and costumes.
3. Knowledge of art history (artists, historic styles, and genres), especially in the
use of light.
4. Information literacy (the ability to research and vet information from
appropriate sources).

C. Administration
1. Excellence in oral and written communication needed to describe the sensitive
translation of the design ideas into a theatrical reality.
2. Ability to work and collaborate with various artists and technicians with
various levels of experience.
3. Ability to oversee the technical execution and operation of lighting in
production.
4. Excellence in the development and management of budgets for lighting
equipment and personnel.
5. Knowledge of lighting personnel management and scheduling.
6. Excellence in the higher-level planning required in seasonal or repertory
contexts.
7. An understanding of professional ethics and practice associated with theatre
and performance.

Excellence in lighting design requires the ability to consistently integrate knowledge in

the above areas with an understanding of the conceptual aspects of a given production.
The result should be a design that is artistically and technically sound and within the
limitations of budget, available labor, and equipment of the producing organization. Such
expertise is demonstrated by participation in realized production, both on and off campus.
ATHE Tenure and Promotion Guidelines P a g e | 29

Additional information about the expertise and skills expected of the lighting designer
may be available through ATHE’s Design and Technology Focus Group, the Professional
Lighting and Sound Association and the United States Institute for Theatre Technology
(USITT).

DESIGNERS: SCENIC DESIGNER

The scenic designer is an artist who designs scenery (and often properties) that enhance a
given production. The scenery should visually express the stylistic interpretation of the
drama unique to the production. It should meet the needs of the actors and the director
(and sometimes dancers and choreographers) by allowing for appropriate staging and
dance spaces, both within the scene and from scene to scene. Further, the setting should
complement and integrate with the other visual elements of the production such as
costumes and stage lighting.

Though accomplished scenery designers vary greatly in their depth of knowledge and
ability in any one area, the range of proficiency typically required of the scenic designer
includes:

A. Production Expertise
1. Excellence in recording and simulating the his/her intentions for the setting in
sketches, story boards, renderings, or scale models; drafting of plans and
sections; execution of painter’s elevations; scheduling and listing equipment
and material selection; and painting to reflect the collaborative choices made
by the production team.
2. Knowledge about the impact of color, line, shape, texture, movement, and
composition, and demonstrated excellence in manipulating these design
elements.
3. Knowledge of the materials and methods of scenic construction, rigging and
shifting, properties, and scenic painting.
4. Knowledge of movement for acting, dance, and stage combat, and the related
spatial requirements.
5. Understanding of the techniques and skills of directing as they relate to scenic
design.
6. Understanding of the related production design areas—costume design,
lighting design, and sound design.
7. Knowledge of standard safety procedures and regulations as well as those
prescribed by various related professional organizations such as Actors Equity
Association.

B. Literature and History

1. Knowledge of dramatic literature, including historic genres, and excellence in
textual and structural analysis of scripts.
2. Knowledge of the history of theatrical production, with emphasis on the visual
elements of scenery, properties, lighting, and costume.
ATHE Tenure and Promotion Guidelines P a g e | 30

3. Knowledge of the history of art (artists, historic styles, and genres),

architecture, and decor.
4. Knowledge of economic and social history.
5. Information literacy (the ability to research and vet information from
appropriate sources).

C. Administration
1. Excellence in oral, written, and graphic communication skills to secure
sensitive translation of designs into workable scenery.
2. Ability to effectively work and collaborate with various artists and technicians
in a variety of professional and academic settings
3. Knowledge of fiscal management of scenic production, acquisitions, and
maintenance.
4. Ability to assess the accurate technical execution and operation of the scenic
elements of the production.
5. Understanding of studio personnel management and scheduling.
6. Excellence in the higher level planning required in seasonal or repertory
contexts.
7. An understanding of professional ethics and practice associated with theatre
and performance.

Overall excellence from the scenic designer requires the ability to integrate knowledge
consistently in the areas noted above. Scenic designers must work with an understanding
of the conceptual requirements of any given production to create scenic designs that are
both artistically and technically sound and can be realized within the constraints of
budget and available labor for the producing organization. Such expertise is
demonstrated by participation in realized production, both on and off campus.

Additional information about the expertise and skills expected of the scenic designer may
be available through ATHE’s Design and Technology Focus Group, the International
Organization of Scenographers, Theatre Architects and Technicians, Professional
Lighting and Sound Association, United Scenic Artists, and the United States Institute for
Theatre Technology (USITT).

DESIGNERS: SOUND DESIGNER

The sound designer is an artist whose primary responsibility is designing sound for the
theatre to enhance a given production. The sound should aurally express the stylistic
interpretation unique to the production.

Though accomplished sound designers vary greatly in their depth of knowledge and
ability in any one area, the range of proficiency typically required of the sound designer
includes:
ATHE Tenure and Promotion Guidelines P a g e | 31

A. Production Expertise
1. Excellence in the sharing of ideas and concepts in the artistic arena with other
artistic staff (i.e., director, other designers, dramaturg, etc.).
2. Ability to collaborate with artistic staff and support the direction of the
production within an aural environment. Ability to share sound design ideas
with others through both verbal and aural means.
3. Knowledge and ability to manipulate current audio technology and systems,
both reinforcement and recording/playback.
4. Knowledge of technology and system analysis and equipment assembly
processes for both reinforcement and recording/playback.
5. Knowledge of acoustics and spatial effects on acoustics.
6. Knowledge of psycho-acoustics and the effects of sound in a human
environment.
7. Knowledge of basic rigging, electrical, and electronic techniques/technologies
as related to sound design.
8. Understanding of the techniques and skills of directing as they relate to sound
design.
9. Understanding of the related production design areas—costume design,
lighting design, and scenery design.
10. Knowledge of standard safety procedures and regulations as well as those
prescribed by various related professional organizations such as Actors Equity
Association.

B. Literature and History

1. Knowledge of dramatic literature, including historic genres, and excellence in
textual and structural analysis of scripts.
2. Knowledge of the history of theatrical production.
3. Knowledge of music history and music genres.
4. Understanding of basic musical composition principles.
5. Knowledge of economic and social history
6. Information literacy (the ability to research and vet information from
appropriate sources).

C. Administration
1. Excellence in oral, written and aural communication skills needed to secure
sensitive translation of designs into reality.
2. Ability to effectively work and collaborate with various artists and
technologists in a variety of professional and academic settings.
3. Knowledge of fiscal management of audio production, acquisitions, and
maintenance.
4. Ability to assess the accurate technical execution and operation of the aural
elements of the production.
5. Understanding of studio personnel management and scheduling.
6. Excellence in the higher level planning required in seasonal or repertory
contexts.
ATHE Tenure and Promotion Guidelines P a g e | 32

Overall excellence from the sound designer requires the ability to integrate knowledge
consistently in the areas noted above. Sound designers must work with an understanding
of the conceptual requirements of any given production to create sound designs that are
both artistically and technically proficient and can be realized within the constraints of
budget and available labor for the producing organization. Such expertise is demonstrated
in participation in production, both on and off campus.

Additional information about the expertise and skills expected of the sound designer may
be available through ATHE’s Design and Technology Focus Group, the Audio
Engineering Society, Professional Lighting and Sound Association, and the United States
Institute for Theatre Technology (USITT).

DIRECTOR

The stage director is an artist who is responsible for preparing a theatre production for
public performance by researching, casting, rehearsing, staging, collaborating with
designers and the production team, and managing the time and (in some cases) the
budget. The director develops the stylistic interpretation of the drama unique to the
production in collaboration with the acting and production ensemble. The production
should be accessible to the audience.

Though accomplished stage directors vary greatly in their depth of knowledge and ability
in any one area, the range of proficiency typically required of the stage director includes:

A. Production Expertise
1. Excellence in play analysis and conceptualization and ability to articulate
ideas in appropriate terms for actors, choreographers, musical directors,
playwrights, dramaturgs, voice and movement directors, designers, and public
relations staff.
2. The ability to develop over time a unique director’s aesthetic that can be
evidenced through a portfolio of creative work.
3. Skill at stage composition and picturization; ability to tell a story through
effective staging and storytelling techniques.
4. Knowledge of movement, including period movement, for acting, dance, and
stage combat, and the related spatial requirements.
5. Ability to demonstrate clarity of expression and to create a visual and aural
atmosphere that illuminates the world of the play.
6. Ability to test the boundaries of language, form or style in the unique
circumstances of production.
7. Ability to coach actors with various levels of expertise and to prepare them for
effective performance experiences.
8. Understanding of the related production areas—choreography, stage voice and
dialects, stage movement and combat, costume design, lighting design, sound
design, stage rigging and pyrotechnics.