The Make-Believe Major

This post begins with a love story.  Crush.  Ill-advised infatuation.

And a competition.

During my time as an undergraduate, there was a certain young man who took an interest in me, and I definitely took an interest in him.  He was whip smart, witty, ambitious, handsome enough, and a great conversationalist.  He was not a theatre major, though he took several classes in our department.  Throughout our doomed acquaintance, we had a sort of friendly cut-throat competition centered on academics.  In fact, he wagered that he would easily graduate with a higher GPA than I would.

He didn’t.

After losing, however, he argued that it wasn’t an equitable battle.  If he told me once, he told me over and over that his major was much harder than mine (and more worthy and more academic and more serious and… you get the point).  I never knew how to respond except to roll my eyes and call him a sore loser.

But it stuck with me, and my academic pursuit felt diminished for a long time.

He’s not alone in his opinion.  Throughout my professional career, I’ve encountered many individuals who have said deeply disparaging things about theatre as an academic endeavor or a profession in general.  Aside from being hurtful, these comments come from a place of ignorance grounded in stereotypes and half-truths.

So from my own limited experience, I would like to address some of the statements that have been leveled at me at some point during my studies and career.

Exhibit A:  Don’t you all just play games in class?

There are always acting or directing exercises practiced in select classes that may look, to the outsider, like pointless frivolity.  But they are not pointless.  So much of what we do demands creative problem solving and fresh, innovative ideas.  Many of these exercises are used to develop and hone critical thinking abilities in a time-sensitive environment.

There are also many classes that demand extensive research, analysis, and memorization.  We constantly examine dramatic structure and literary theory.  We must communicate in the language of design (set, lighting, sound, costumes, make-up, hair and wigs, properties, graphics) and be skilled in carpentry, scenic painting, sewing, make-up application, hair styling, electrics and wiring, publicity, public relations, business management, and technology.   We must have a solid grasp on math (especially geometry), psychology, world history, major literary movements, foreign languages, fire and safety codes, structural engineering, politics, current trends, cultural differences and personal health.  We should be critical of our own work and thoroughly versed in the ideas, problems, and history presented in each new production.  By necessity, we must also be trained as good communicators, listeners, and collaborators—always able to provide an answer for the artistic choice we are determined to pursue.

So no… it is *not* all fun and games.  But it is a comprehensive education that results in very marketable skills.

Exhibit B: But everyone just ends up working at a Starbucks.  Or starving.  Or switching careers.

First of all, I see no shame in holding a non-theatre job to pay the bills while you pursue your dreams.  Life hits us hard from all sides, and sometimes you just have to survive.

However, in my experience, I’ve known two (TWO!) theatre majors who took jobs at Starbucks.  I imagine if we took a comprehensive query of Starbucks baristas, we would find people from all walks of life with a myriad of specialized interests and pursuits.  So, this argument against theatre seems a little short-sighted at best.  But yes, *some* theatre majors end up in an entirely different field.  Yet I’ve known mathematicians, nurses, foreign language specialists, teachers, businessmen, lawyers, cooks, and engineers who, at some point, have significantly changed career paths.

That said, theatre provides individuals with a wealth of skills and knowledge that can be utilized in almost any job.  This lovely article from the Washington Post reinforces those observations as does this man’s thoughtful blog.

But I also want to highlight the wealth of opportunities available in the theatre.  If you are willing to learn and branch out, the options are vast.  There are far more jobs to be had than just as an “actor.”

Let me provide you with a sampling (this is a very limited list):

1. Stage Manager

2. Designer (in any area)

3. Director

4. Playwright

5. Choreographer (Dance, Fight, or Intimacy)

6. Casting Director

7. Production Manager / Technical Director

8. House Manager

9. Managing Director / Business Manager / Finance Manager

10. Artistic Director

11. Dramaturg

12. Educator / Academic

13. Critic

14. Carpenter

15. Seamstress

16. Crew Member (in any area)

17. Box Office Manager

18. Scenic Painter

19. Master Electrician

20. Board Operator (Lights, Sound, or Visual Effects)

21. Rigger

22. Music Director

23. Dance Captain

24. Vocal and/or Dialect Coach

25. Agent

Yes, it’s true that many theatre practitioners must supplement their income by taking second or third jobs.  Yes, it’s true that most theatre practitioners market themselves in more than one area or specialization.  But where there is true passion for the art, there is determination, sacrifice, and grit.

We’ll pursue this discussion further in the next installment with an examination of two related comments leveled against the wisdom and intelligence of those who champion theatre, but for now I hope this has generated a deeper understanding of the discipline and a respect for the level of training demanded of our majors and practitioners.

(Continued in the next post.)

-Traci Ledford