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Theatrical Productions and Digital Technology 
Innovations in and Implications of Digital 
Production Technology in Regional Theatre 
Kelly Ann Johnson 
Master’s Research Project 
Spring 2011 
Research Advisor: Lori Hager 
 
Presented to the Arts & Administration program of the 
University of Oregon in partial fulfillment of the 
requirements for the Degree of Master’s of Science in 
Arts Management. 
 
 
 
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Acknowledgements 
 
I would like to thank the faculty of the University of Colorado at Denver’s Department of 
Theatre for fostering and developing my skills as a theatre professional and for giving me the 
confidence to follow my dreams. In addition I would like to thank the faculty of the University of 
Oregon Arts Administration Program for taking my passion for theatre and transforming it into a 
professional skill set that will make my dreams a reality.  I would also like to thank my research 
advisor Lori Hager whose steady, enthusiastic and inspirational guidance helped me accomplish 
the body of work that follows. This work could also not have been possible without the help the 
staff at the Denver Center Theatre Company. 
I am pleased to produce this work in the company of such an accomplished cohort of 
emerging leaders.  I am excited to see the amazing work that we will undoubtedly create in the 
art world. Finally, I would like to thank my family for giving me the drive to accomplish my 
goals, and the support I needed along the way. Without their support my career in the arts would 
not be possible.  
 
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Abstract 
 
The purpose of this master’s research project is to explore the changes taking place in 
modern American theatre, through the lens of digital innovations in production 
technology. The central question of my research is to explore the ways that digital 
technology is being incorporated into modern theatrical productions. Using a review of 
literature, document analysis, a survey, and a case study I examine the variety of 
technologies available, how they are integrated, and the resulting impacts on design, 
production, administration and technology in regional theatre. 
 
 
 
 
 
 
Keywords 
 
 
• Regional Theatre 
• Digital Technology 
• Productions 
• Integration 
• Innovation 
• Liveness  
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Table of Contents 
 
 
Advisor Approval Signature        ii 
Acknowledgements         iii 
Résumé          iv 
Abstract          vi 
Keywords          vi 
 
Chapter 1: Introduction        1 
1.1 Problem Statement       1 
1.2 Purpose Statement and Research Questions    2 
1.3 Definitions        5 
1.4 Delimitations        6 
1.5 Limitations        6 
1.6 Methodological Paradigm      6 
1.7 Research Approach       7 
1.8 Case Study        9 
1.9 Data Collection        9 
1.10 Organization of Study       10 
 
Chapter 2: Literature Review        12 
 2.1 Theory         12 
 2.2 Scenic         16 
 2.3 Lighting         19 
 2.4 Projection         22 
 2.5 Training and Facilities       24 
 
Chapter 3: Presentation of Data       28 
 3.1 Survey Results        28 
  Products and Trends       29 
  Integration        32 
Training        34 
  Facilities        35 
 3.2 Case Study: Denver Center Theatre Company    37 
   A New Approach       40 
   The Technology       41 
  Summary        47 
 
Chapter 4: Analysis         48 
 4.1 Products and Trends       48 
 4.2 Integration with Facilities       53 
 4.3 Training Implications       54 
 4.4 Making 21st Century Theatre      55 
 4.5 How are regional theatres integrating digital technology   56 
 
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Chapter 5: Summary and Discussion       58 
 5.1 Organizational Roles and Production Process    59 
 5.2 Relationship to the Audience      61  
 5.3 Arts Administrators Creating Digital Identities    62 
 
References           64 
 
Appendices and List of Figures 
Figure 1Conceptual Framework      4 
Figure 2 Importance of Technology      33 
Figure 3Organization Conference Participation    34 
Figure 4 Site of Innovation in the Creative Sector    60 
Appendix A: Data Collection Form for Document Analysis   69 
Appendix B: Data Collection Form for Interview    70 
Appendix C: Interview Questions      71 
Appendix D: Survey Questions       73 
Appendix E: Recruitment Materials      74 
Appendix F: Consent Form       76 
 
 
 
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Chapter One | Introduction 
1.1 Problem Statement  
Technology is rapidly changing the environment in which we live. All fields of study 
adapt to technology, constructing new and innovative ways to use technology to improve 
business operations. Recent developments and enhancements in digital technologies have altered 
the ways that many individuals and businesses function. With current technologies, the collection 
and distribution of information can be accomplished at lightning speeds, in almost any location, 
and within a global network. This constant connection has created, as Moltenbrey (2003) 
describes, a “current generation that is hardwired to process multiple streams of dynamic visual 
information almost instantaneously” (p.4). Constituents of the 21st century workforce have 
realized that a command, and knowledge of digital technologies has become a required skill for 
success. As technology changes the ways that we function in society, it is imperative that we 
adapt and integrate new technologies to best serve our respective fields (Court, 2007). 
Theatre is no exception to the current technological revolution. As competition for leisure 
time increases, it is important to find new approaches for engagement and creativity in theatrical 
productions in order to make connections with digitally saturated audiences. Expectations from 
audience members, designers, directors, artists and administrators have changed due to the 
progression of digital technology.  It is critical that the next generation of theatre leadership be 
aware of current digital technologies and their uses, be able to navigate their meaning, and 
examine their impacts. As explained in Perspectives on Technology and Work Organization, 
“Technology's impact on work is contingent on a broad set of factors, including the reasons for 
its introduction, management philosophy, the labor-management contract, the degree of a shared 
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agreement about technology and work organization, and the process of technology development 
and implementation” (Liker et al., 1999, p.578).      
As the production technology landscape shifts, an adaptive and enlightened community 
of theatre artisans are crafting engaging and innovative productions for a new age by 
acknowledging shifting patterns through embracing new technology.  In order to engage with 
modern audiences, the relationship between digital technology and theatre needs to be examined 
and addressed. Theatre artists have the capacity to unleash the creative potential as well as 
increased efficiencies provided by new technology. As Dixon (2007) declares, “Theatre has 
always been an integrative, collaborative art which potentially (and sometimes actually) includes 
all art….why not claim interactive art in the name of theatre” (p.3).  The variety of both legacy 
and new digital technology that is available for theatrical productions creates a wide spectrum of 
ability levels in use and implementation.  
As Court (2007) outlines, “the skills required in theatre are not shifting from older to 
newer technologies so much as they are expanding to include both” (p.43).  Within the arts, it has 
been demonstrated that digital technology can be used as a powerful tool in the creative process, 
opening new worlds of possibility. Describing this marriage between technology and 
performance, Looseleaf, (2007) states that “the last twenty years have allowed designers to 
incorporate technology into storytelling without solely having to rely on performers” (p.50).  
Leaders have the opportunity to implement innovations in technology in order to complement 
and enhance the creativity of productions and help fulfill their organizations mission. 
1.2 Purpose Statement and Research Questions 
The purpose of this research is to examine digital technology innovations and integration 
approaches in theatrical productions occurring in regional theatres in the United States. This 
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research identifies and highlights trends and issues in technology facing 21st century theatre. It 
demonstrates how integration methods and production advancements are incorporating 
technology to increase efficiencies as well as expand the creative possibilities of the art and 
process of theatre-making. Research in uses and impacts of emerging digital technology within 
theatrical productions will provide a creative framework to examine how technology is reshaping 
theatrical processes and creating new experiences in live performance. The function of digital 
technology within theatrical productions has a direct implication for design, production, and 
administrative professionals in regional theatre. This research asserts that organizations, 
administrators, and designers need to develop and communicate dynamic decision making 
protocols toward technology as the art of theatre-making continues to adapt to digital technology. 
Chatzichichritodoulou (2009) believes that, “a myriad of aesthetic, experiential and 
interdisciplinary opportunities are offered by contemporary performances that ‘dare’ interact 
with an ‘other’ system of disciplines by integrating technologies into their practice” (p.1).  
To date, there is minimal comprehensive research on the status of innovation in theatre 
technology. This is an investigation of recent developments and innovations in theatre 
technology, including integration processes and resulting impacts, which will be a useful 
resource for arts administrators and theatre professionals. The themes that initiated my research 
and review of literature include an exploration of how digital technology and traditional (or 
legacy) elements of technical theatre are being mixed together to create new production 
technologies and industry standards (Court, 2007). My desire to explore technology and modern 
theatre resulted in a main research question and several sub-questions: 
Question:  How are regional theatres integrating digital production technologies into 
performances?  
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Sub-questions include: What are the new digital technologies (products and trends) being 
developed and implemented in regional theatre? 
How are new digital technologies being integrated into facilities? 
How are new technologies impacting training for theatre professionals (university 
training as well as professional development)? 
How are these innovations impacting theatre as an art form? 
I examine what emerging technologies are currently being developed for use in theatrical 
productions.  In order to explore new innovations in digital theatre technology I divided theatre 
technology into the three most technologically driven areas: scenery, lighting, and projections. 
My conceptual framework maps my initial concepts and illustrates my thought process about the 
ideas and themes that emerged for my initial question. 
 
Figure 1 Conceptual Framework 
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1.3 Definitions 
 The following definitions were crafted through my review of literature and are consistent 
with industry use and understanding. These definitions are articulated in order to provide clarity 
to the assumptions made by this research. 
Digital Technology: There are many ways that technology is applied within theatre and 
therefore many definitions of what ‘new’ stage technology might include. Dixon’s (2007) 
definition of digital performance asserts that digital computer technology “plays a key role rather 
than subsidiary one in content, techniques, aesthetics or other delivery forms” (p.3). I will use 
this statement as my description of digital technology.  
United States Institute for Theatre Technology (USITT): USITT is the national service 
organization devoted to theatre technology. They host an annual trade show and conference that 
“disseminates information about the history of the field, and aesthetic and technological 
developments” (United States Institute for Theatre Technology, 2010a). 
Regional Theatre: In the realm of theatre the term “resident” and “regional” are used 
interchangeably to describe the nonprofit theatres that developed beginning in the 1960’s all over 
the country.  They range in size and budget, and have prominence in the communities they serve. 
Many are members of service organizations like TCG and LORT (see below). 
Theatre Communications Group (TCG): TCG is a professional association that works to 
“increase the organizational efficiency, cultivate and celebrate the artistic talent and 
achievements of the field and promote a larger public understanding of, and appreciation for, the 
theatre” (Theatre Communications Group, 2010). 
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League of Resident Theatres (LORT): LORT is a professional theatre association focused 
on communication and relations between community interests and the general welfare of theatre 
(League of Resident Theatres, 2010). 
1.4 Delimitations  
 To narrow the scope and provide more specific results I have placed the following 
restrictions on my research. 
• Geographic: United States 
• Organization Type: Regional Theatres (with membership to one of the following 
professional service organizations: TCG or LORT). 
• Production Technologies: This research only explores scenic, lighting, and projection 
production technology. 
1.5 Limitations 
 I have created a research approach and scope that takes my time limitations into 
consideration to ensure that I had time to complete the tasks I aspired to accomplish. While 
having a narrow scope makes the research attainable within my time restrictions, it only presents 
the data in relation to regional theatre.  A robust and holistic project might include a comparison 
with for-profit counterparts.   In addition I do not attempt to explore or measure audience 
reaction to new technology. I recognize the importance of audience input to the process of 
theatre-making, but it is not directly addressed in this study.  I have clearly defined the scope of 
my research in ordered to demonstrate that information in other fields will not be addressed. 
1.6 Methodological Paradigm 
The ways in which individuals receive knowledge and data impacts the ways they 
interpret and engage with information.  The manner in which I receive knowledge is reflected in 
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my approach to producing knowledge through this research. I value the complexities of the 
universe and always challenge myself to examine information or situations from different angles. 
My research is approached from a relativist philosophy or paradigm.  In this position, “there are 
no universals and things like truth, morals, and culture can only be understood in their own 
socio-historic context” (O’Leary, 2010, p.6). This research will provide information about 
technology for individuals to use as it fits their needs. The methodological approach that best 
matches the content of my research is ethnomethodology. In this framework, the research 
focuses on uncovering rules, and examining interactions that affect the world around us 
(O’Leary, 2010). Ethnomethodology is typically supported by qualitative data collection 
methods, but I have enlisted both qualitative and quantitative data collection techniques.  
The methods that I have used to collect information are document analysis of conference 
materials, an informational survey, as well as an in-depth case study of one regional theatre. 
Applying each of these tools is the most effective, responsible, and meaningful way to collect 
data for this research. As I approach my research in an exploratory framework rather than an 
action or answer driven way, information that is descriptive will create a cohesive understanding 
of the topic.  In addition to my descriptive data, my use of survey will provide some quantitative 
data that will enhance the other evidence that I have collected. 
1.7 Research Approach 
My research approach includes a review of literature (including document analysis), 
attendance at the United States Institute for Theatre Technology (USITT) conference, an 
informational survey, and one in-depth case study to survey and collect information. I have 
combed through professional journals and magazines, in order to get at the core on what is 
happening in the field of technical theatre. According to O’Leary (2010), document analysis 
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includes, “collection, review, interrogation, and analysis of various forms of written text…” 
(p.223). Analyzing these documents allowed me to identify themes and to discover what 
technologies are currently being used in theatre.  I implemented document analysis techniques in 
analyzing these documents, as well as the materials gathered at my attendance at the USITT 
conference and trade show.  This conference supplied me with firsthand knowledge of the 
innovations being made (through product demonstrations) and how they are being used and who 
is using them (through attendance at a variety of panels). I developed a document analysis 
worksheet which helped me record, document, and code my findings (see Appendix A). My 
coding system consists broadly of three categories: Innovations, Integration, and Impacts.   
I created and distributed an informational survey (see Appendix D) online through 
surveymonkey. The survey was sent to approximately one hundred regional theaters throughout 
the United States. It was designed to discover what (if any) trends are occurring in the use and 
integration of theatre technology. I recruited participating organizations via email (see Appendix 
E). The survey was sent to technical directors, production managers, and artistic directors as 
these staff members have the most information about the organizations experience with and use 
of digital technologies with their productions. The survey was designed to compare a variety of 
regional theatres in order to produce more universal results. 
In an effort to triangulate my findings I also conducted one in-depth case study, 
examining the Denver Center Theatre Company. The same criteria were utilized to select this 
specific theatre as was to select participants to take part in my survey. Exploring an individual 
theatre’s uses of technology provided detailed information that was not uncovered through the 
survey results.  Theatre-makers are very innovative, and are experienced in creating new worlds 
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with limited resources. This research discovered some of the creative ways that digital 
technologies are being used and what future uses are being unveiled.  
1.8 Case Study 
The purpose of the case study is to examine how one regional theatre is exploring the 
possibilities presented by digital technology and how they are implementing these ideas. The 
Denver Center Theatre Company (DCTC) is a prominent regional theatre that has demonstrated 
a growing interest in the function of technology within theatre. They are one of the few theatres 
in the country that have a full time media specialist on staff, who has freedom to explore what 
technology means to the organization. The DCTC has received grants from organizations like 
EMC Arts, whose focus is on encouraging innovation. Within this case study I reviewed 
organizational history, mission and programming, interviewed both production and artistic 
administrative staff members, explored technologies used, inquired about facility capacities and 
more.  
Key Informants:  
Charlie Miller | Resident Multimedia Specialist 
Josh Prues | Assistant Technical Director | Head of Automation 
Charles MacLeod | Director of Lighting 
Kent Thompson | Artistic Director 
1.9 Data Collection 
The central research question of this study is how regional theatres are integrating digital 
production technology into performances. As discussed in my research design, I used document 
analysis, a case study, and a survey as strategies of inquiry. I have created and used several 
research instruments to help guide and focus my analysis of the data collected. The document 
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analysis worksheets that I created helped me track important themes as well as understand the 
context in which the documents were written to help check biases.  Short summary descriptions 
of the documents that I found allowed me to easily retrieve information. I stored documents and 
analysis worksheets within a research binder. 
Researching case studies and quantitative analysis (for my survey data) ensured that I 
collected and analyzed the data in a manner that is consistent with other researchers in the field. 
After receiving consent, I recorded and transcribed interviews, which were conducted by phone, 
due to the distance. The audio recordings were then destroyed. I stored all information gathered 
during my case study on my computer which is password protected. If consent to use names was 
not given, I provided code labels, using the title of the participant (i.e. one, two, etc.).  
 My survey was conducted online through the surveymonkey website, and was sent via 
email to a selected list of participants.  The first question contained a prompt that outlined 
consent and provided an option to continue, or forego participation.  Names were not required; 
instead I asked for their job title. I implemented the above procedures in order to provide 
participants with transparency of methods, and to create a comfortable atmosphere in which to 
provide honest answers.  
1.10 Organization of Study 
 This study is has been divided into the review of literature, presentation of data, analysis, 
and summary and discussion.  The review of literature contains information on theories 
addressing technology and theatre, innovations in scenery, lighting and projections, and how 
technology is changing training and impacting facilities. The presentation of data shares all data 
collected through my survey and case study.  Then in the analysis, I triangulate the information 
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from the review of literature, survey and case study to address my research questions. In the 
summary and discussion connect my findings to the future of regional theatre in America.  
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Chapter Two | Review of Literature 
 In an article discussing the relationship between theatre and technology Moore (2010) 
asks whether, “Technology is threatening to pull the plug on live theater as we know it. Or 
perhaps it promises to ‘plug in’ the next generation” (para.1). I scanned a variety of sources to 
help get a sense of how artists feel about the integration of digital technology into the field of 
regional theatre. In addition to helping me explore ideas and theories about digital technology 
and art, my review of literature and conference participation allowed me to identify the current 
technologies available in the areas of scenery, lighting and projection. The final section of the 
review of literature examines how these technologies can, or will, impact training and facilities. 
2.1 Theory 
Technology & Art  
 With its roots in ancient Greece, theatre is an art form based in tradition, social 
commentary and reflection. The earliest recorded dramatic theory The Poetics, written by 
Aristotle, indentified six main elements of drama: plot, character, thought, diction, melody, and 
spectacle. Each of these elements come together to create and enhance storytelling. The element 
of spectacle involves using technical elements to enhance storytelling, elicit emotions, and add to 
the general awe of the experience (Aristotle et al., 1995). The environment created around the 
performer using lightings, sets, costumes, and sound has been an integral part of theatre making 
since the time of Aristotle. Modern theatre-makers are infusing this ancient art form with new 
digital technologies to create spectacle that will resonate and connect with modern audiences. 
There have been many theories developed that address the relationship between art and 
technology (Murphie & Potts, 2003). The theoretical framework that this research best 
encapsulates is technological determinism. Technological determinism refers to the “belief that 
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technology is an agent of social change” (Murphie & Potts, 2003, p.11). Advances in digital 
technology are changing the way we function in society which, in turn, adjusts our expectations 
and experiences.  
This is not an altogether new phenomenon, as innovation in technology has been a 
driving force of societal change throughout time, but it is the current rate of change that 
characterizes modern progress. Accelerating change theories suggest that there is a supposed 
increase in the rate of technological, and therefore social and cultural progress throughout history 
(Anderson & Tushman, 1990). Change is happening fast, and how quickly we adapt and adjust to 
technology is important to the types organizational structures created. Investigating the 
relationship between art and technology has provided an opportunity to critically examine the 
ways that technology and innovation are changing the art and process of making theatre, as well 
as audience expectations. For example, a Cirque du Soleil production, Ka, spent over 165 million 
dollars to create a visual spectacle that was operated by over 30 computers and 40 workstations 
(Looseleaf, 2007).  The scale of the productions in regional theatre would not be as grand, but 
audience expectations are being crafted by these types of blockbuster productions.  
The selection of technology used and how the viewer receives it, is a significant part of 
the design process and technology integration. McLuhan (1964) theorizes that, “the personal and 
social consequences of any medium-that is, of any extension of ourselves-result from the new 
scale that is introduced into our affairs by each extension of ourselves, or by any new 
technology” (p.7). Technology is a tool that artists have employed to enhance the creativity of 
their work, in some ways becoming a separate work of art in itself. Looseleaf (2007) explains 
that within productions there are “two shows going on: the artists’ and the technology behind the 
scene” (p.49). In a society driven by quickly changing technology, creative professionals should 
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consider how the vision of the artist and the developments in technology can blend together to 
communicate the story. As with many industries, digital technology within the theatre is 
successfully implemented with a focus on the balance of legacy and emerging tools, and gradual 
integration of these new tools. Technology has the power to shift cultural frames of reference and 
it is important to know how to incorporate new systems responsibly for both artists and 
audiences. 
 Liveness & Theatre 
Auslander (2008) encapsulates the impetuous for this research by stating, “my interest in 
the cultural status of live performance derives directly from my sense of living in a culture in 
which something I continue to value seems to have less and less presence and importance” (p.4). 
The role of live performance in our society is changing, but theatre is an adaptable form, which 
has transformed throughout the ages to ensure its survival. As new digital technologies are being 
integrated into performances to address this cultural shift, we must ask ourselves, what message 
are we transmitting to our audience through the use of digital technology in our productions? A 
review of the literature reveals how the integration of digital technologies into live theatre is 
managed and dichotomies in the reactions about its use. The spectrum of reactions range from 
excitement about the possibilities and potential that is born out of new technology, to mistrust 
and disapproval of the increasing prominence of digital technology within theatre.   
The views that incorporate mistrust or a critical opinion of digital technology in theatre 
are concerned about the disappearance of the human element and the “liveness” in theatre. 
Carson (1999) suggests that “any move toward reducing the spontaneity of what takes place on 
stage and creating a more rigid experience seriously threatens the integrity, also the point, of the 
live theatre experience” (p.131). Conventions that move theatre away from live performance and 
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toward a packaged product are considered a threat to creativity and personal connection within 
theatre (Carson, 1999). Theatre that is overly automated removes the human component; the live 
and unpredictable nature of performance is stripped away and replaced by mechanical precision 
and spectacle (Carson, 1999).  Court (2007) states that theatre practitioners, “see the arts as a 
necessary contrast and antidote to the dehumanizing effects of technology in an industrial 
society” (p. 41). There is concern about the dehumanizing effect already occurring, “legitimate 
theatre embraced computer technology without thinking about what it might do to stage 
production” (Grier, 2008, p.7).  Technology has allowed the theatre to operate with fewer people 
which has created a more static and less live environment. There are differing opinions about the 
role of digital technology in theatre, but having constructive dialogue about its function within 
theatre is important. “The challenge of introducing any new technology into an art form is to 
master the technology to such an extent that it becomes an artistic tool rather than an intrusive 
technological artifact” (Court, 2007, p. 42).  
On the other side of the argument there are sources that encouraged digital technology in 
order to increase the creative potential of the art. Schechner (2000) states that on a “popular level 
people are not concerned with 'purity' but the availability of diverse possibilities” (p.5). Canadian 
theatre artist Robert Lepage explains, “The theatre is implicitly linked to technology…There is a 
poetry in technology, but we try to use it in a way that does not eclipse the action on stage” (as 
cited in Dixon, 2007, p.360). The uses of technology in modern theatre are twofold; it is either 
included as it emerges from the process of creation of the production or is directly required 
within the text of a written piece. When technology is incorporated into a theatrical piece (that is 
not directly called for within the script), it must address the question of message, in order to 
appease those who disagree with digital technology. In describing how the marriage between 
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technology and art can happen, Carson (1999) states that as long as technology remains a tool 
“used to enhance, to facilitate, to increase and to extend, then the computer will be a vital tool in 
theatre” (p. 134).  As I move into a discussion of the technological innovations being 
implemented and developed for theatrical productions, I conclude that the debates over the 
function and role of digital technology come down to a question of how it is being used.  Dixon 
presents a great closing thought regarding use in discussing Lepage’s work, “He never used these 
technologies purely for their avant-garde effect, refusing to play on their capacity to fascinate, 
but rather concentrate on their function as a tool of artistic expression” (Dixon, 2007, p.360).  
2.2 Scenic   
 Scenic elements create the world that audience members are transported to within a 
production. These elements cover a wide spectrum of complexity, ranging from a simple black 
box or an elaborate moving wall. The three areas that I discovered that are experiencing the 
biggest changes due to digital innovation are in automation, interactivity, and design. 
Automation in Stage Machinery 
Moving scenery and lights have incorporated components of computer technology for 
many years. Turntables operated by winches, rigging systems operated by pulley systems, and 
hydraulic lifts are a few of the technologies that have assisted designers and crew members to 
create theatre magic for decades. Stage machinery is generally custom-built, and use control 
systems that are standard to the company that constructed it, however standards are not 
widespread in the industry (Huntington, 2007). Rigging systems, first developed in the early 
nineteen hundreds to mimic sailing technology, have now become a mixture of computer and 
manual control (Young & Minetor, 2010). Modern digital technology applications have begun to 
reduce the human element of theatre control, to move in favor of automation.  
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Automation technology increases the range of possibilities in scenic and lighting 
elements, particularly in regards to the quickness and smoothness of the movement; however, 
due to the nature of live performance, a human operator is still required: “While the automated 
action equipment is very predictable, the guy at the control desk needs to have dynamic control 
to fit in with the actors, who are not always predictable” (Richards, 2008, p.39). The motivation 
behind the use of automated technologies is typically the ‘wow’ factor, or spectacle. For example 
in the recent production of Chitty Chitty Bang Bang a full size car flies over the audience, using 
new automated scenic technologies (Richards, 2008).  Modern technology applications have 
begun to reduce the human element of theatre control, and move in favor of automated 
technologies. Yet, while innovations in electronically moved scenery have improved efficiency 
and accuracy, knowledgeable technicians to monitor safety protocols are still required. As 
Huntington (2007) explains, “Humans should always be in the control loop of any entertainment 
effect or system that could hurt someone” (p.286). 
 Interactivity 
Interactive digital technology and virtual reality are relatively new categories in digital 
theatre technology and include a variety of applications.  These digital tools are typically used 
onstage and controlled by the actor. Interactive technologies attempt to create meaning and 
advance the story line within the production, rather than to simply be used for spectacle. In his 
article exploring the functions and meaning of new technologies in theater, David Saltz (2001) 
outlines his definition of interactive media to include,  “sounds and images stored, and in many 
cases created, on a computer, which the computer produces in response to a live performer’s 
actions” (p.107).  In a panel on interactive technology at the USITT conference, sensor-based 
technology was described as “information transmitted from the performer to equipment that is 
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responsive to the performer’s action” (Thurston, 2011).  These sensors can be placed within the 
space or on the performer. Examples of “interactive” technologies include real-time motion 
capture, virtual reality and sensory technology that respond to movement, proximity, and touch.   
Saltz describes the “spontaneous give and take between performers and spectator,” as 
central to the theatre experience; the addition of interactive technology contributes to this 
relationship (2001, p.109). The virtual reality technology, “invites the audience, viewer, user to 
participate in or interact with art work that involves being able to navigate freely within a three 
dimensional environment created by computer software” (deLahunta, 2002, p. 105). The intent 
of interactive technologies is to create an onstage relationship between the performer and the 
technology.  Wechsler (2006) hypothesizes that interactive stage technology is the future of live 
performance, “Today in the early twenty-first century, audiences are tiring of digital effects and 
the interactive performing art scene is in somewhat of a crisis as it struggles to define and 
develop artistic applications and rationales for the use of technology in general” (p.61). Changes 
to industry standards and creative processes take time, and interactive technologies aren’t yet 
widely spread in regional theatre.  
 Design Software 
 Digital technology is impacting the action on stage as well as the process of design. 
Software like AutoCAD, Vector Works, Sketch Up and more have made computer generated 
modeling attainable at a variety of levels (O’Neill, 2005). O’Neill (2005) asserts that, 
“Technology has turned it favors to the artistic end of the spectrum, and it’s not only saving time 
and money” (p.32). The benefits of digital innovations in drafting software and 3D modeling 
include: the technology being affordable, more effective and easy collaboration between 
designers, and gives designers for room and time for creative exploration (O’Neill, 2005). The 
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result of all these benefits is a change in the way the theatre-making process is conducted. Digital 
3D models of sets can be easily changed to supply the director with lots of possibilities and 
requires less time than in hand drafting.  The ability to model in 3D can allow more work to be 
done before tech, even result in a partially virtual tech with moving scenery and lighting 
simulations (O’Neill, 2006).  Designs can be developed and shared with minimal effort. The 
time-saving benefits are not the only appeal to designs; by using digital drafting technology can 
“extend the time that you have to explore artistic ideas” (O’Neill, 2005, p.33). O’Neill (2006) 
admits that there is a learning curve with digital drafting, but he feels that, “It is a tool that can 
turn long grueling hours spent in the studio into hours spent agonizing over the right artistic 
choice instead of how to get it all done” (p.25).  
2.3 Lighting  
Strong (2010) affirms that, “Production lighting is in a constant state of evolution and is 
becoming increasingly sophisticated with the development of new light sources, controls and 
mechanisms” (p.34). Lighting instruments, lighting consoles, and dimmer power control systems 
are the main elements of a lighting system, all of which can present a complicated technical 
picture for innovation. In most venues, when an element becomes severally outdated, it is 
replaced but it is rare that all elements are renovated at once. Strong (2010) suggests that, “a 
rewire might be expected every 25 to 30 years, while a lighting console is likely to have a useful 
lifespan of 7 to 10 years” (p.119). While replacing one element at a time is more economically 
feasible, administrators want to ensure that by adding individual pieces they aren’t creating a 
“web” of technology that could be potential dangerous or even more costly to fix (Wallach & 
Fling, 2005). The following sections discuss the new trends and products in design, fixtures or 
instruments, and control systems.  
20 
 
Design 
As discussed in the scenic section, recent developments in virtual reality simulations have 
aided theatrical designers in creating more effective models of sets.  Eddy (2011) explains, “With 
the wider availability of personal computer, designers started to take advantage of computer 
aided design to speed up the process” (p.43). Once the set has been created in the virtual 
simulation, the lighting designer can use new digital technologies to plan and design lighting 
cues in a more realistic manner (Popovich, 2008). Using virtual reality simulations is an 
extremely useful tool in the planning and development portions of design. Previously, designers 
and directors were only able to visualize the set within the given space after it had been 
constructed and installed; now designs can be viewed virtually before construction. Pre-
visualization software provides lighting designers an environment to adjust their designs before 
ever reaching the stage.  
Fixtures 
 Automated or moving lightings have been a part of the theatrical process since the early 
1980’s, and quickly became an industry standard that increased design capability (Cadena, 
2010).  Eddy (2011) describes that with this technology, “one light could do the work of many 
via pan and tilt motors to move the light dichotic color filters to produce color, metal and glass 
patterns, along with lenses, frost, shutters or irises” (p.41). The developments of automated lights 
pushed for technological innovations in consoles (to be capable of controlling automated lights) 
and in turn created the position of programmer (Eddy, 2011). While the position of programmer 
is now prominent this demonstrates how new technology can create new roles. In 1998, 
technological advancements in lighting began to advance automated lights in the direction of 
“digital luminaries”, which “enabled a massive expansion of expressive freedom in lighting and 
21 
 
set design, and helped overcome the limitations of ‘conventional’ automated luminaries” 
(Cadena, 2010, p.3). Instruments have become smaller, less expensive and have more creative 
possibilities in digital control of color, position, and intensity. LED’s or Light Emitting Diodes 
over the past ten years have become “brighter and brighter to the point they can finally be a 
useful lighting tool in our market” (Eddy, 2011, p.43). By using LED and other various new 
lighting instruments, “even the smallest productions can easily and quickly create colorful 
animated sets using low or high resolution video content” (Cadena, 2010, p.4). Automated lights 
have started to taken a secondary role to new digital technologies but still serve an important role 
to most modern productions (Cadena, 2010). 
Control Systems 
 DMX 512 is the system of digital data transmission between controllers and lighting 
equipment and accessories. USITT has established DMX 512 as the industry standard in order to 
“to provide for interoperability at both communication and mechanical levels with controllers 
made by different manufacturers” (United States Institute for Theatre Technology, 2010b). The 
lighting industry has very structured standards but there is still innovation happening in control 
systems. An issue that has often plagued the light design process is mobility in control systems. 
Designers have been stuck at the light board, or have to take notes during the rehearsal and make 
changes to the programming at later times. There are two systems that are increasing the mobility 
and freedom of designers; Remote Device Management systems (RDM) and Architecture for 
Control Networks (ACN). These are control systems were created to fulfill the requirements of 
the new instruments that are being used (Halliday, 2010). RDM systems can work with current 
IPad or mobile device applications to help designers have more freedom and improve the 
efficiency of the design process. These systems are operated through Ethernet connections, cable 
22 
 
and network components (ELC Lighting, 2011). As Halliday (2010) describes, “once the 
technology is there, waiting to save you a trip up the truss or keep a critical cue from being 
messed up in front of an audience, that’s all you will be thinking about the next time you have to 
deal with things the old fashioned way” (p.107). Implications of wireless technology in lighting 
could change the industry.  
2.4 Projection 
Artists began integrating video and projection elements into theatre as early as the 
1960’s. As discussed in the theory section, some theatre artists have reservations about adding 
mediated content into live performance. Regardless of this debate, projection is being used more 
frequently within today’s productions. Napoleon (2011) describes the inherent benefits of 
projection, “Projection is a very efficient way of doing theatre, a drop would take three scenic 
painters 12 hours each, and then the drop is just there. It takes one person between eight and 
thirty hours to do one piece of animated content. It’s a better use of time and money” (p.37).  The 
literature surrounding projection focused on the emergence of its role in production design and 
the specific equipment being used to make it possible. 
A New Element to Design 
Projection is starting to have a more prevalent and consistent role within theatrical 
production. According to American Theatre Magazine, in fall 2010 the highly esteemed Yale 
School of Drama launched the first U.S. graduate degree in projection design (January 2010). 
Audience members typically are not cognizant of the prevalent use of projections within modern 
theatre. In 2007 nearly, “two thirds of the shows on Broadway have dedicated projection 
designers” (Luber, p.16). The addition of projection designers illustrates the fact that projection 
has become an integral part of typical theatrical productions, as important as lighting or sound. 
23 
 
Projection and video technology appears to be a bridge or gateway to exploring interactive 
technologies. The technology has grown with the use of projections in theatre, creating new and 
exciting possibilities for use. 
In an example outlined by Saltz, the use of digital technology is explored in the creation 
of Ariel for a production of the Tempest, which experimented with representing an ethereal 
character by incorporating digital technologies (Saltz, 2001). He used sensory technology with a 
live actor, to create a live computer animation of Ariel that was projected onto a screen above the 
actress. As the actress moved with the sensors attached, her animated character mimicked her 
movement and responded not only to her movement but to her vocal inflections as well. The 
other actors onstage interact only with the projection of her animated character, even though she 
is on stage the entire time. In response to individuals who believe technology is a distraction, 
Saltz claims, that by using digital technology in this manner, interactive technology is inherently 
live and ads to the “liveness” of a theatrical piece.  
Equipment and Control Systems 
New tools in projection include, “show control systems, 3-D stereoscopic display, 
infrared sensors, and animation software” (Malone, 2009, p.44). The systems being developed to 
control media and projects are called media servers. Morky (2003) explains that with media 
servers, “video (or media) content can be programmed with repeatable, editable timing, along 
with the lighting cues all from a single control point” (p.62). The control of the many 
components of media (projections or video) required many different systems to operate. Control 
systems whether they be complex media servers or software, allows the control to be centralized 
to one main control center (B. Bonniol & C. Bonniol, 2004).   
24 
 
During the USITT Conference many university technical directors were in attendance at 
projection panels, searching for the best ways to develop and invest in projection equipment. In 
addition to a control system, needed projection equipment was identified as projectors, cables, 
screens (Smith, 2011). Major innovations in projection technology and design have influenced 
how it is being used. Projection usages vary from static images, moving scenery, light effects, 
real time feeds and much more. Describing the function of the projections used within his 
production Parboosingh (2009) says, “In theatrical terms, I was interested in using video as an 
integrated part of the storytelling, not simply a design technique (p.60). In describing use of 
projection at the La Jolla Playhouse, a technical staff member stated, “For a long time we have 
known that video was a resource to enhance scenery and create mood, movement, location and 
iconic imagery, but only of late do we have access to the tools that do just that” (Napoleon, 2008, 
p.47).   
2.5 Training & Facilities 
Garonna and Triacca (1999) propose that “social change catches us unprepared and 
confused” (p.49). The current speed of innovation creates a fear of falling behind, or being 
behind the curve. Adopting a proactive response to technology by critically examining its 
impacts can provide a sustainable framework when approaching decisions surrounding 
technology. In this section I explore how innovation digital technology is changing training and 
impacting facilities.  
Training 
 Digital production technologies require a completely different skill set to design and 
operate, than traditional or legacy methods. Kuksa (2009) explains that technology “greatly 
influences the development of new media theatre, specially contributing to its design and 
25 
 
implementation” (p.73). As new technologies are being integrated into theatre, the different 
divisions of technical theatre are changing, as well as the way that professionals in the industry 
are trained. Malone (2009) describes that, “not only are there budding artists wishing to enter the 
field of new media and learn its attendant theory and tech, but there are others studying theatre 
that can benefit from considering the field as well…” (p.44). It is not only the new or up and 
coming theatre artists that are capable of integrating digital technologies into their work. 
Computer drafting skills that I have described in previous sections have begun to dominate the 
field over previous hand drafting methods (Kenyon, 2010). Some professionals feel that CAD 
design is shortchanging the art behind design and “students are happy to let the computer do the 
heavy lifting and they don’t think about layout anymore” (Kenyon, 2010, p.44). It is the loss of 
these subtleties in digital design that make professionals with classical training slightly resistant 
to new technologies.  Kenyon (2010) strongly feels that, “What is crucial is to divine what is 
important about how did things in the past and work to incorporate those lessons in our plan for 
teaching with today’s technology” (p.45).  In training future theatre artists it is important to 
create a balance between the art of how things were done in the past, with the efficiency and 
potential of new technology.   
Facilities 
The developments in new production technologies within theatre have created new 
expectations and requirements of facilities. Soloski (2010) outlines modern performance needs 
by stating, “Today almost no theatrical work—even “poor theatre”—occurs without some sort of 
technological enrichment or alteration—a spotlight, say, or a microphone” (p.38). No matter the 
size or configuration of the auditorium, the performances, “are supported by a considerable array 
of technology in the form of lighting, scenery handling equipment, and sound systems (and 
26 
 
acoustics), all of which need to be integrated with the architecture of the auditorium” (Strong, 
2010, p.26). Birringer (2008) further explains that, “information and communication 
technologies have begun to profoundly transform the role of design” (p.170). When making 
decisions about creating or adapting a theatrical venue it is important not to be seduced by 
technology. “Theaters are built with long life spans and technology that is unforeseen when the 
building is being planned will inevitably arrive” (Strong, 2010, p.63). Shakespeare said it best, 
we know what we are, but we know not what we may be (Hamlet Act 4 Scene 5). What the future 
brings cannot be predicted but with an eye on future possibilities, a facility with a degree of 
adaptability can provide an advantageous balance. Having the right space to work in can be more 
important than the amount of technology that fills the space (Strong, 2010). Arts leaders need to 
take an active role in determining the appropriate technology needs for their venues.  
Some theatres have begun to be constructed with digital technology in mind or have been 
retrofitted to have certain capabilities. As projection use in performing arts is a recent addition, 
performing spaces have not always been designed to support this new element of design.  In 
describing a production using projections at the Avon Theatre in Ontario, Rickerd (2001) says, 
“due to the construction of the venue, the projector had to be placed off-axis to the screen” 
(p.16).  Designers must adapt the technology to fit the space, which can be difficult as 
projections require specific distances and angles. The best location in the house for a projector is 
on the center line, in an acoustically isolated control room, that is not obstructed by other 
hanging instruments. Rear projection is the ideal position to allow an image to span the width of 
the proscenium. Rear projection does require architectural features allocating significant stage 
depth (a proscenium opening of 10m requires 8m stage depth), to allow action to take place in 
front of the back projection screen (Strong, 2010). Boston’s Paramount Center’s black box 
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theatre was recently renovated to be a “high tech space” (Lampert-Greaux, 2010).  Lampert-
Greaux describes several adaptive or transformative features; for example, a large buffer zone 
backstage that can be used as a space large enough for a rear projection bay. In the past, space 
for projection was created just as an afterthought, but as projection design becomes an integrated 
part of theatre, the performance space needs to be adjusted to incorporate this technology.  
Wireless coverage, optical cabling, and Bluetooth routers have become standard 
operating systems in public spaces, not only for the operation of production technologies but also 
for patrons as they increasingly have more technology that is brought with them (Strong, 2010). 
Wireless coverage is particularly important when the organization has developed smart phone 
applications for patrons to use. The New Jersey Center for the Performing Arts, along with other 
centers, have developed apps that supply patrons with “event listings, ticket selling, audio 
recordings (streaming, download, public or private), video (live or on-demand), news, blogs, and 
photos; and have all of their content published in real time to the Partner’s own website, mobile 
apps, Facebook or Twitter Accounts” (Instant Encore, 2011). In addition, front of house systems, 
like box office stations can require wireless systems as well. LCD screens, HD displays, and 
touch screens are all being implemented in front of house areas to connect patrons to more 
information or live feeds of action happening on stage. Arts leaders need to examine the potential 
benefits of incorporating these interactive technologies into the front of house experience to 
increase engagement with the public. After exploring a variety of sources discussing theories 
about technology in art, the new products available in theatrical production, and the result 
impacts, I wanted to see how this information was reflected in the actions of regional theatres 
throughout the country.  
28 
 
Chapter Three | Presentation of Data 
3.1 Survey Results 
 Through a survey of regional theatres I was able to retrieve data on how theatres are 
integrating digital technology directly from the source. This survey was designed to collect data 
from a variety of regional theatres throughout the United States, in order to uncover national 
trends in approaches toward integrating digital technology within theatrical productions.  I asked 
questions indentifying the products being use, the training provided, the facilities they work in 
and how digital technology is a part of their organizational process (see Appendix D). One 
hundred theatres that fit my criteria of being either a member of LORT or TCG or both, were 
contacted for participation in the survey. Thirteen regional theatres completed the survey over a 
five week period (from February to March of 2011). Although the number of responses was 
lower than anticipated, the responses collected provide a vibrant and instructive sample, 
containing a variety of data to compare and analyze. The participants spanned different regions, 
different theatrical concentrations and different production budget sizes. The money budgeted for 
productions in these organizations ranged from 10,000 dollars per show to 1,000,000 dollars per 
show which illustrates a varied amount of resources for technology.  
The survey was emailed to top artistic staff members (typically the artistic director), or 
production staff members (either the technical director or production manager) and in most cases 
it was sent to both. This generated a range of responses reflecting the artistic view of digital 
progress in theater in comparison to the experience of the production staff to document any 
diverging opinions. The responses received in this sample were predominately from production 
staff members (10 production managers, 2 technical directors) with only one artistic director 
responding. The high percentage of responses from production managers indicates that, as digital 
29 
 
technologies are being integrated into productions, it is the production managers who oversee, 
implement, and manage the organizational approach toward digital technology. In response to 
my call for participants, several artistic directors indicated that they had no knowledge regarding 
what digital technologies were being implemented within their theaters. A production begins 
with an artistic vision and then through theatrical craft and ingenuity that vision is given form 
and life through a palette of production technologies. It stands to reason if members of the 
artistic staff are unaware of the new possibilities created by digital technologies it can limit the 
potential of their productions. 
Products and Trends 
 One of my sub questions for this research is: what are the new digital technologies 
(products and trends) being developed and implemented in regional theatre? I used this survey to 
identify what products are currently preferred and to uncover the reasons behind the preference. 
The overall trend in the products being used that emerged through the survey were that they must 
be adaptable for many uses. Buying a piece of large expensive equipment to fulfill one-time 
needs is not a stable technology decision-making approach. 
Scenic 
For the thirteen regional theatres that replied, the latest additions in digital scenic 
technology that were most typical were automation control (software), pneumatic automation, 
and CNC routers. CNC is the abbreviation for Computer Numerical Control and refers to a wood 
router that is controlled by a computer to create designs (Albert, 2011). Computer operated tools 
are typically used to create complex patterns in a faster time frame. Many regional theaters have 
implemented a combination of computer controlled automation and simple mechanical systems. 
The survey results indicate that when resources are available, theatres are moving towards using 
30 
 
more computer controlled equipment that can increase the efficiency and accuracy of moving 
scenery. Four theatres within the survey use an automation system in their productions operate 
Creative Conners automation systems. The popularity of the Creative Conners system is due to 
consistency, cost, and flexibility. As the website states the Creative Conners systems are, 
“reliable and affordable for theatres and scene shops of all sizes. We offer a line of products that 
make scenic automation possible for everyone. Our modular approach to motion control makes it 
easy to buy exactly what you need.” (Creative Conners, 2011, para. 1). Other theatres surveyed 
either did not employ automation in their productions, or had created in house systems. Moving 
scenery systems are comprised of a wide spectrum, including simple motors and winches to 
highly digitized computer controlled systems. The data collected in this survey suggests that 
advancement and integration in scenic digital technology is directly dependent on the size of the 
organization, cost of the equipment, and the production needs. Decisions regarding product 
purchases are driven by the needs of the individual productions. One respondent explained, “We 
have a Creative Conners system, but use it sparingly - perhaps one production per year” 
(personal communication, March 2011). When organizations have the resources to innovate their 
digital technology for scenic elements, the current movement is toward enhancing the computer 
operated automation systems.  
Lighting 
In lighting design, the main purchases in digital technology include lighting consoles and 
lighting instruments. Although a few theatres expressed interest in increasing the number of 
dimmers available, none of the participating theatres specified that they were replacing or 
renovating their dimmer systems. The respondents primarily operate four varieties of consoles: 
ETC Express and ETC Expression (both created before 2007), and ETC EOS and ETC ION 
31 
 
(created after 2007) (Electronic Theatre Controls, 2011). The latest version of the ETC EOS 
console was selected as the Live Design’s Lighting Product of the Year in 2010 (Sandberg, 
2011). In the production description it states that, “The EOS lighting console provides simple, 
approachable control in a nuanced programming environment, with unmatched power and depth” 
(Electronic Theatre Controls, 2011).  One theatre reflected the popularity of the EOS console: 
“As mentioned we have an ETC Eos in our second stage, our main stage and studio spaces use 
Obsession II's, but we plan to upgrade the main stage to an Eos in the next few years”(personal 
communication, March 2011). The majority of the sample theatres were operating consoles 
created before 2007. This data indicates that the technology in console design that is over five 
years old works adequately to support production needs, even though new systems have been 
produced. The data collected describing recently purchased digital technology in lighting 
instruments had a trend toward LED’s products, with 40 percent of respondents saying that their 
next investment would be in LED lighting equipment. Increases in theatre companies investing 
in LED instruments authenticates that the technology is reaching a point in which consumers feel 
confident in the quality and worth of this relatively new product. 
Projection 
The final production area that was surveyed included innovations in projection 
equipment. Two theatres indicated that they had recently invested in projection equipment, 
specifically in high definition projectors. Another theatre stated that the digital technology that 
they would invest in next would be projectors. None of the sample theatres expressed an interest 
in the equipment used to run or operate the projection content. The survey attempted to establish 
a trend in the use of projection but the data collected was wide spread; projection is still finding 
its place within theatrical production design. On the extreme end of the spectrum, there were two 
32 
 
theatres that used projections in all or most of their productions and there were two theatres that 
did not use projection at all. The remaining participants represented a wide range within the 
number of projections used from one or two shows per season to over 50 percent of the season.  
Integration 
Innovations in digital production technology can be costly; renting equipment can 
provide an outlet for regional theatres to experiment with new technology without fully investing 
in new potentially expensive equipment. Exploring the trends in buying or renting equipment, 
within this sample, produced mixed results, and revealed no consistent approach. The decision 
process driving an organization to rent or buy new equipment is dependent upon the production, 
item needed, and the overall budget of the theatre. In this survey, the rental budgets for 
productions ranged from zero to 15,000 dollars. One participant effectively summarized the 
underlying trend in this area, “on average we rent and buy based on cost effectiveness and in-
house demand” (personal communication, March 2011). It was common for the respondents to 
have legacy equipment that worked with the new systems of technology. This priority was 
explained, “Like most theatres, we are continually adding to our inventory and occasionally we 
have issues with communication between older and newer equipment, however we make a point 
of doing a great deal of research prior to incorporating new equipment into our current inventory 
to avoid these problems” (personal communication, March 2011). 
In trying to establish common themes in technology trends I asked the survey participants 
if any departments had preference when spending on innovation. Over half of the theaters said 
that no department has a preference in innovation and expansions in technology. Only one 
company indicated that they tended to give video preference explaining that they frequently 
implement video as a scenic element. Another theatre explained, “It tends to rotate, although 
33 
 
lighting and audio are the departments that require the most frequent upgrading due to 
technological obsolescence” (personal communication, March, 2011). Regional theatres aim for 
departments to slowly integrate technology, creating a balance so that one department doesn’t 
outshine the rest. Even though balancing investments in technology between departments is 
ideal, technology in certain areas develops at a faster pace, which creates differing levels of 
technological innovation. My final question for the participants was to rate the importance of 
new digital technology to their organizations. On a scale from one to five (with five being very 
important), results again were varied, but the greatest percentage of respondents (38.5%) rate the 
importance of digital technology rather low- rating it at a two. The next highest percentage 
(30.8%) rated technology rather high- rating it a four (comprehensive results are detailed Figure 
2).  
 
Figure 2 Importance of Technology 
There is no right answer when it comes to incorporating digital technology, but it is an 
important question to ask. It seems that this divide between theatres either believing that digital 
technology is relatively unimportant, to theatres feeling that is very important is indicative of the 
0 1 2 3 4 5 6
1
2
3
4
5
Number of theatres
Ra
tin
g
On a scale of 1 to 5 (5 being the highest) rate the 
importance of technology to your organtion
34 
 
dynamic times that were are currently a part of. The variety of attitudes expressed in this survey 
regarding the importance of technology illustrates a dichotomy between those that feel that 
digital technology is the future of theatre and those that believe that incorporating too much 
technology threatens this live art form. The methods and strategies of the theatrical process are 
shifting; identifying what is important as an organizational approach to new technology is critical 
to the future.  
Training  
 Questions regarding training also revealed a variety of responses. The survey explored if 
training was provided for employees on new technology and if staff members attend appropriate 
conferences and trade shows. With tight schedules and even tighter budgets professional 
development and exploration can take a back seat to the day to day priorities. The majority of 
theatres in this sample provide training for staff on new equipment, as it is typically a necessity 
that crew members, programmers, and board operators are familiar with the equipment. This may 
indicate that technicians and designers who have a thorough knowledge of a variety of systems 
are attractive potential employees.  
 
Figure 3 Organization Conference Participation 
5
4
4
Number of Theatres Attending Conferences
Yes 
No
Occasionally
35 
 
Attendance at trade conferences within this group was pretty evenly split, as 
demonstrated by Figure 3, a third that regularly attend, a third that attend when the budget 
allows, and a third saying that they don’t attend production technology conferences. Conference 
and trade show participation emerges from the need to understand or adapt to new technology as 
organization require new systems. It appears to be uncommon for professionals to be learning 
about new equipment with a correlating need. Discussing and developing approaches to new 
technologies at professional gatherings is an endeavor that isn’t actively pursued by the majority 
of organizations.  
Facilities 
This survey contained a collection of theatres that were constructed from 1965 to 2005 
(with one theatre that was built in 1760, which was renovated in 1994).  Half of the group had 
theatre spaces that were built in the 1960’s and 1970’s, providing evidence that the 1960’s 
represented a great dispersion and creation of regional theatres in the United States. The other 
half of the sample had theatres built in the 1990’s and 2000’s. New technology makes new 
demands on the buildings that house them, and I wanted to discover if any of the organizations 
had altered or renovated their spaces for technological purposes.  The results were almost exactly 
divided down the middle. Retrofitting for audio and lighting, renovations to power distribution, 
and the addition of Ethernet, represent the type of projects that organizations had accomplished.  
New technologies are being developed to be adaptable for the space that they operate in. It is a 
simpler process to adjust technology than it is to change the building that supports it.  It also 
supports the fact the theatre professionals are creative and resourceful within the available space 
that they are provided. 
36 
 
Overall the data collected in the survey mostly confirmed and supported the information 
about products and trends discussed in the review of literature. Although in the day to day reality 
of theatre making what can be implemented and afforded impacts technological progression. 
Some of the theatres were operating simpler and less expensive versions of the equipment that 
was highlighted in the review of literature.  The biggest revelation that the survey material 
uncovered was in the approach to implementing technologies. Being on the cutting edge of 
technology wasn’t of particular importance to the organizations; the driving force behind 
innovation came directly from the specific needs of productions and the available resources of 
the theatre.  
 
 
 
 
 
 
 
 
 
 
 
 
 
 
37 
 
3.2 Denver Center Theatre Company – Case Study  
Selection of Site 
To triangulate the data collected by the survey and review of literature, this research also 
entailed a supplementary in-depth study of how one organization (focusing on their distinct 
outlook and methods) is integrating digital production technology. By examining their unique 
approach to incorporating emerging technology; their successes, failures, and impacts, a clearer 
picture emerges of how regional theatres are integrating digital technology. For the purpose of 
this research an ideal case site demonstrates an active relationship and current dialogue 
surrounding innovative methods of integrating digital technology into live performances. After 
exploring potential sites, I selected the Denver Center Theatre Company (DCTC) due to their 
work with EMC Arts, in addition to the fact that they are one of the few regional theatres in the 
country that have created a full time multimedia specialist staff position (Moore, 2010). 
 EMC Arts is a nonprofit organization that “encourages and supports innovation in the 
arts sector” (EMC Arts, 2011a). EMC Arts has several service components, one being the 
Innovation Lab which  “ helps arts organizations challenge core operating assumptions, engage 
in intense planning on practical innovation projects, create a sense of organization-wide 
investment in change, and test innovative strategies with grants that help organizations prototype 
new practices” (EMC Arts, 2011b, para. 3). In 2010, the DCTC was selected to receive a grant 
and support services from the Innovation Lab that enabled them to develop new programming 
using technology in new ways to engage an emerging generation of theatre goers (Moore, 2010). 
For this case study, I researched the Denver Center Theatre Company’s background and history, 
reviewed articles about the current organizational programming, and conducted interviews with 
department heads, and artistic and production staff members to map ideas and approaches to 
38 
 
digital technology integration. Interviews were conducted with Artistic Director Kent Thompson, 
Resident Multimedia Specialist Charlie Miller, Assistant Tech Director Josh Prues, and Director 
of Lighting Charles MacLeod.   
Organization Description 
The Denver Center Theatre Company is a premier nonprofit regional theatre company 
which raised its curtain in 1979 (Denver Center, 2011). It is a Tony Award-winning (1998) 
professional regional theatre, with a current operating budget of approximately 12 million 
dollars. They produce classic plays, contemporary new work, revivals and recently have focused 
on producing world premieres (Denver Center, 2011). The DCTC is part of four (albeit soon to 
be three) components that comprise the Denver Center for the Performing Arts. The other 
components include Denver Center Attractions (the Broadway presenting organization), The 
National Theatre Conservatory (a nationally acclaimed Master of Fine Art program which is 
closing in 2012), and The Denver Center Theatre Academy (a theatre education program for 
schools and individuals) (Denver Center, 2011). The mission of the Denver Center for 
Performing Arts is: 
As the flagship theatre of the Rocky Mountain region, The Denver Center for the 
Performing Arts creates and presents exceptional theatre that engages, excites, provokes 
and inspires both artists and audiences. We embrace the classics while also striving to 
create new plays and musicals that advance the American theatre. We are committed to 
making The Denver Center a center for lifelong learning and civic engagement (Denver 
Center, 2011). 
The DCTC has four spaces in which they perform: the Stage (thrust stage with 700 seats), 
the Space (arena stage with 550), the Ricketson (proscenium stage with 250 seats), and the Jones 
(proscenium stage) (Denver Center, 2011). In a typical season, which extends September through 
May, they produce eight to ten shows. Throughout their thirty-two year history the DCTC has 
been lead by the vision of three Artistic Directors: Kent Thompson (2006 to current), Donovan 
39 
 
Marley (1984 to 2005), and Edward Payson Call (1979 to 1983) (Denver Center, 2011). Under 
the leadership of Kent Thompson for the past six years, a strengthened organizational vision and 
focus has emerged. This vision promotes and encourages new work through the Colorado New 
Play Summit, and aims to explore the relationship between live performance and digital 
technologies.  
Only in its sixth season, the Colorado New Play Summit has already drawn national 
attention establishing the summit as, “one of the most important new play events in America” 
(Moore, 2008). Rutgers University playwriting professor, Jason Grote stated, “There are plenty 
of regional theatres that have lots of money, and there are small theatres everywhere that take 
risks. You usually don’t get to see the combination together” (Moore, 2008). A focus on 
fostering new work and future generations of playwrights is not the only way that the DCTC is 
committed to carving out a unique place in modern theatre in America.  In an effort to increase 
audience participation, the organization has advanced experimentation and exploration in new 
uses of technology within productions, adopting a groundbreaking approach to technology, 
which was made achievable by a grant from EMC Arts. They are embodying an “organization-
wide investment in change”, as dictated by EMC Arts, by infusing a proactive and positive 
approach to digital technology in all areas of their work. 
The DCTC has announced that in the 2011-2012 season they will offer alternative 
multimedia programming to be produced in the Jones Theatre (Moore, 2011). This programming 
will be interdisciplinary, aim to both “compliment and contradict” the regular season, explore the 
relationship with the audience and address how using new technology can enhance the 
experience (internal doc, 2010). This series, titled “Off-Center”, intends to attract new audiences 
while providing the ideal space to play with emerging technologies in a comfortable performance 
40 
 
atmosphere. Their goal is to increase appreciation for theatre in new generations through 
innovative and relatable theatrical experiences. As Baskhi & Throsby (2009) explain, “New 
technologies have provided opportunities for cultural institutions to re-think the ways in which 
they pursue their principal objectives” (p.15). This innovative approach to programming has the 
potential to redefine the experience of theatre for 21st century audiences. 
A New Approach – Interview with Kent Thompson 
 I was impressed by the innovative and thoughtful ways the DCTC is incorporating digital 
technology and attempting to bridging the dichotomy of opinions on its use. I interviewed 
Artistic Director Kent Thompson with the objective of having their technological framework or 
digital identity and approach explained by the individual who helped create it. Thompson 
provided an illustration of what motivated the DCTC to pursue exploration and experimentation 
within digital technologies: 
A few years back we produced a show where the playwright had written in a lot of 
projections, and we didn’t really have the capability to project very well, and I think that 
is when I realized (it was my first or second season) that we have to upgrade and support 
the technology if we are going to do this, otherwise it is not a satisfactory experience for 
everyone, the artist, the actors and the audience (personal communication, March 28, 
2011).  
 
In discussing digital technology, such as media and projections, Thompson explained, 
“We try to use it (projections) as a story telling device or something that is important to the intent 
of the play…We use it in the same way we would use another technology like lighting, or sound, 
or music to make sure that it is enhancing the performances rather than overwhelming them” 
(personal communication, March 28, 2011). It can be a challenge to incorporate multimedia, but 
the DCTC strives to create a clear rationale behind any use of technology within their 
productions. As this production-driven approach emerged, the framework and decision making 
surrounding the inclusion of digital technology has become more institutionalized.  Thompson 
41 
 
explained that between himself and the Production Manager, the DCTC has developed a “fairly 
rigorous approach toward production content development, we will explore if it is called for in 
the script and if not we ask the designers if they feel that (multimedia) is a needed element for 
the production” (personal communication, March 28, 2011). Although the DCTC has built up the 
resources and staff to provide every show with projection design, they analyze each show and 
determine whether its use will be effective.  Thompson felt that audiences today are more open 
and willing to tolerate video and projections within live performance: “When it is a really 
remarkable projection design, it can be quite evocative for the audience. The audience today 
finds it less distracting then they used to” (personal communication, March 28 2011).   
Thompson is aware of the dichotomy between mediated elements and live performance, 
explaining:  
I have to say that I think that if we take the technology to far of an extreme we lose our 
greatest asset, which is the live human being in front of us and acting itself, if we lose 
that in the rush to technology I think that we haven’t succeeded. Sometimes I think that’s 
happened in our productions where we have just had too much, it’s like sensory overload 
(personal communication, March 28, 2011). 
 
 Learning from their mistakes and moving forward with new protocols and frameworks is 
what makes the DCTC a model in digital technology integration. For the next part of my 
exploration of this organization I examined specifically what new digital technologies were 
being implemented.  
The Technology 
In order to get the pulse of what technological trends and advances are being 
implemented by this uniquely open and experimental organizational approach to technology, I 
investigated the scenic, lighting and projection departments.  Within each department the 
following themes were explored: the current products and systems being used, emerging trends 
42 
 
and desires for investment in digital technologies, procedures regarding training on new 
technology, and finally how the facilities they perform in informs how the technology is 
implemented. It is important to note that the DCTC produces shows in four unique spaces; 
therefore it is difficult to provide overarching answers to questions regarding technology, as each 
space has unique challenge and capabilities. (Josh Prues, personal communication, April 8, 
2011).  
Scenic – Interview with Josh Prues 
To uncover the equipment and methods being used by the scenic department, I 
interviewed Assistant Technical Director, Josh Prues (who is also the head of automation at the 
DCTC).  The scenic department uses digital technology from idea in the creation process to 
implementation in the action of the performance. The most apparent and frequently used digital 
technology at the DTCT is their automation systems. For their automation needs they have a 
custom Creative Conners system that has been in place for three years (personal communication, 
April 8, 2011). This system allows them to easily move scenic elements through computer 
control. The top current priorities in automation technology identified by Prues are computer 
control, wireless compatibility, and safety.  Computer controlled automation allows for effective 
and efficient scene changes and is used in addition to manually operated devices, DCTC aspires 
to expand the efficiency created by digital technology into the tech rehearsal and development 
process by implementing wireless controls. Wireless technology will allow the designers to 
move and adjust scenic cues from the positions in the house and provide more effective tech time 
use.  
A main concern for Prues is safety, regardless of the type of tools, equipment or 
technology being used. Moving large pieces of scenery can be potentially dangerous to crew, 
43 
 
operators and performers, therefore proper safety controls are critical. Automation systems entail 
a significant financial investment. The DCTC upgraded their system approximately three years 
ago, and Prues commented that he felt the current system would remain adequate for a minimum 
of ten years, or until extremely significant changes in technology occur. He explained that “it is 
such a huge investment that constantly looking to change your system is a waste of time because 
you don’t have the money to continually upgrade your system. Getting something that works for 
you and refining it is a better way to go” (personal communication, April 8 2011). As mentioned 
in the survey results, one element that might deter companies from using advanced automation 
equipment is the cost. While talking with Artistic Director Kent Thompson, he outlined how 
their relationship with Denver Center Attractions has helped offset some of these major 
technological costs. He explained that as the result of a coproduction in a previous season they 
were able to make great leaps in automation technology because of the shared investment 
(personal communication, March 28, 2011).  Using partnerships and collaboration can be a 
useful tool for organizations that are looking to make technological innovations with limited 
resources. 
After establishing the technology used within the scenic department I inquired about any 
changes in policies regarding training for new equipment. Prues explained that some of the more 
seasoned crew members did require some basic computer training, but as the current system has 
been in place for several years most staff and crew have reached a satisfactory level of 
proficiency (personal communication, April 8, 2011). Digital technology has made the art of 
automation smoother, quicker, and more effective. It is interesting to note that when discussing 
advances and possibilities presented by wireless control, the DCTC only uses it in a non-show 
capacity. Using wireless control during tech rehearsal and then returning to wired control for in 
44 
 
show use reflects a concern about the reliability of wireless technology. Prues expressed a focus 
on the functionality of the equipment being of more important then having the most recent 
technology. Technology might be able to provide some enhancement, but if the effect can be 
accomplished using the systems already in place; the demand for new technology is diminished. 
In the show-driven process that the DCTC has created, innovations technology are tools to be 
used when needed by the production and not vice versa.  
Lighting 
Next I discussed new equipment and integration methods in digital lighting technology 
with the head of lighting, Charles MacLeod. In their three main spaces, the DCTC has ETC Eos 
consoles that were purchased two years ago, which are fully networked. As stated in previous 
sections the EOS console has received award for its ease and capabilities and is widely used in 
the field. MacLeod explained:  
When we were using moving lights on the Light Palette 90 (which at the time was 16 
years old), whenever we wanted to make the light move it took 24 consecutive control 
channels to make it work, so the designer and board operator had a matrix of controls so 
that they knew exactly what channel they needed to call up. Whereas with the EOS I 
don’t have to think about a number I simply think of an attribute like color, position, 
gobo…it is so much easier (personal communication, March 22, 2011). 
 
This system cost approximately 150,000 dollars to install. In regards to instruments 
MacLeod outlined that they had a proportional amount of moving instruments, but haven’t 
delved too deeply into the world of LED’s. They use the minimal LED stock that they have for 
accenting scenic units but not for larger tasks like cyclorama lighting or stage washes. MacLeod 
explained his hesitancy regarding LED’s, “We checked into them a few years ago and 
discovered it would be about 100,000 to outfit our theatre with LED’s. It’s only a matter of time 
until we submit to that market but until it becomes more stable, a little easier to add on down the 
45 
 
line (at this time it is very hard to get an exact color match and color temperature match), we will 
hold off” (personal communication, March 22, 2011).  The majority of the moving lights in their 
stock are High End moving lights that are convection cooled, making them very quiet.  Since all 
of the spaces at the DCTC are relatively intimate, the quietness of their instruments is a priority. 
These instruments are around eleven years old and are maintained in good working order 
because they provide great functionality at low volume levels.   
In terms of investment in technology, the DCTC’s most recent purchase was three Eos 
consoles. They tend to buy, rather than rent equipment, taking time to ensure that the purchases 
they make are right for the organizational as a whole (not just for the individual production). 
Their legacy and new digital technologies work seamlessly together, although it was revealed 
that understanding the network wiring and capabilities of the new consoles was challenging. For 
example, MacLeod explained it was challenging, “trying to get the Ipod and Ipad to control the 
system and work seamlessly” (personal communication, Charles MacLeod, March 22, 2011).  
Training is provided to all staff on new equipment. Most the equipment used is relatively 
standard, so implementing additional training has not be an issue, but when the Eos console was 
installed none of the local stage hands were familiar with the technology. It was approximated 
that after a year all staff members were comfortable with what the console was capable of. 
However, with MacLeod acknowledged, “that we probably only scratch the surface in our 
productions, it’s a pretty powerful board” (personal communication, March 22, 2011). Digital 
technology in lighting changes fast, the DCTC approaches the adoption and integration of 
technology as dictated by the needs of the productions, rather than changing technology trends. It 
is clear through their views on LED’s that they have put  a system of checks and balance in place 
to assess if it is the right time to invest in new technology. 
46 
 
Projections 
The DCTC has developed an exciting view on the role and use of multimedia and 
projections within productions and is exploring this avenue in a variety of ways.   The DCTC 
recently created a full time staff position to focus on projection and media needs for the 
organization. Charlie Miller occupies this position, titled Resident Multimedia Specialist. This 
position has many different tasks, from projection and media content design, to creating online 
content for marketing purposes, to the recent addition of programming the Off Center series. 
Being on staff, Miller is able to work on a variety of projects and needs and not be concerned 
with show by show employment, as is the way many other designers are employed.  
The DCTC produced ten shows this season, with four shows containing projections and 
another three that had discussed the possibility before concluding projections were ultimately not 
needed.  The DCTC uses Isadora software for content delivery rather than media servers. 
According to Miller, “Isadora turns your computer into a media server and it is the cheapest 
content delivery system, I think eventually we will move to a media server, but for now Isadora 
can do all the functions that we need” (personal communication, April 8, 2011). The Isadora 
product description states that it is a, “award-winning, graphic programming environment for 
Macintosh and Windows that provides interactive control over digital media, with special 
emphasis on the real-time manipulation of digital video” (Isadora, 2011).  In explaining their 
philosophy on purchasing new equipment, Miller said the current focus was on software and 
computer power: “We recently purchased two Mac Book Pros with Editing Software, Isadora, 
and extra video cards” (personal communication, April 8, 2011). His rationale is that it is better 
to invest in computers, software, and even projectors (although expansive) over Media Servers or 
other content delivery system, as the delivery system has less direct impact on the overall quality 
47 
 
of the projection. Miller identified that the only area in which media servers are significantly 
superior is in the delivery of live video feeds (due to a lack in delay). As the cost of projection 
equipment is very high (with projectors that can cost 40,000 dollar) I inquired about ways that 
they handle the high price of innovation. When purchasing equipment, they consider the 
financial impact as well as the human resource time (training) that might result. They have 
worked on leveraging partnerships to supplement the equipment they have available to them. 
Miller explained, “we have a unique relationship with the ballroom (an event space that is part of 
the Denver Center of Performing Arts), they have three 10k projectors, so we can borrow those 
projectors for the length of a run which is much better than renting because rentals over a long 
period can get so expensive” (personal communication, April 8, 2011). They also have created 
sponsorship opportunities with local rental companies to receive lower rates. 
Miller acknowledged the obstacles presented for projections in all of the DCTC spaces, 
but concludes that the challenges only make them have more creative solutions and uses of 
projections. As projection and media design is still a developing area of design in theatre, the 
DCTC is a clear example of emerging best practices in developing a projection department. 
Summary 
 The Denver Center Theatre Company has worked diligently and responsibly to create a 
confident and comfortable atmosphere surrounding the use of technology. They have created a 
new model for addressing the dichotomy of attitudes toward digital technology and liveness in 
their theatre-making process. As leaders in this type of balanced integration, they actively 
communicate, measure and address the impact of their technological decisions on shows, 
designers, performers, directors and the audience. Their organization wide approach toward 
innovation gives them the ability to create innovative theatre for modern audiences.   
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Chapter Four | Analysis 
 In this chapter I will synthesize the information gathered from the review of literature, 
survey, and case study in order to address my research questions. The purpose of this study is to 
discuss overarching trends and identify possible solutions in technology implementation. The 
goal is not to provide absolute answers but to guide individuals and organizations to develop 
their own unique technology frameworks. To restate, the purpose of this research is to examine 
digital technology innovations and integration approaches in theatrical productions occurring in 
regional theatres in the United States. This research identifies and highlights trends and issues 
facing 21st century theatre. It aims to demonstrate how integration methods and production 
advancements are incorporating technology to increase efficiencies as well as expand the 
creative possibilities of the art and process of theatre-making. My research questions include: 
Question:  How are regional theatres integrating digital production technologies into 
performances?  
Sub-questions include: What are the new digital technologies (products and trends) being 
developed and implemented in regional theatre? 
How are new digital technologies being integrated into facilities? 
How are new technologies impacting training for theater professionals (university 
training as well as professional development)? 
How are these innovations impacting theatre as an art form? 
4.1 Products and Trends 
 In order to fully understand how digital technology is impacting the art of theatre-making 
I first needed to know what products are being used. The review of literature identified the 
emerging products being used in the areas of scenery, lightning, and projection, while the survey 
49 
 
and case study provided data which illustrated which products are preferred and what trends are 
spreading across the nation. 
Scenic   
 Currently, the prevailing developments in digital scenic technology include computer 
controlled automation, design software, and interactive elements. Automation technology and 
digital software are the two areas that are most applicable for the regional theatres. Broadway 
and large live concerts are constantly searching for new technology to wow audiences. This 
investment in innovation triggers a trickledown effect that makes new technology that was 
previously unattainable for regional theatres more accessible and affordable. As Huntington 
(2007) remarked, “With its increasing ability of sophisticated, low cost, computerized controls, 
stage machinery, mechanized special effects, and show action equipment have been become 
increasingly widespread and increasingly automated” (p.165). Advancements in digital 
technology have made moving scenery more efficient and precise, and a more financially 
feasible option for regional theatres.  It was surprising that within this study the regional theatres 
involved had a clear preference for Creative Connors automation systems. It was explained that 
these systems are both affordable and customizable. The ease at which these systems can be 
customized to fit the space in addition to their ability to adapt and grow in response to individual 
show needs is a high priority when making decisions about automation equipment.  
The emerging trend that is developing in response to having more digitally controlled 
automation is a movement towards wireless control. Having the ability to control systems via 
wireless connections like a lap top, tablet, or phone is the next step in automated control systems. 
While this feature would have multiple uses during the design and the creation process, it is 
interesting to note that it is not currently considered a viable option for in show use (Josh Prues, 
50 
 
personal communication, April 8, 2011). When operating in shows, wired systems are more 
reliable for operating large, moving scenic pieces. This demonstrates safety concerns and 
supports the prevalent idea that a human must have control when it comes to the operation of 
potentially dangerous equipment. Innovating scenic technology is very costly, therefore theatres 
are cautious, and approach investing in systems gradually. Theatres that have the resources or 
opportunity through partnerships (like the Denver Center Theatre Company), to implement 
digitally controlled systems have the ability to make scenic transitions safe, smooth, and 
consistent. 
Software used to design sets and lights has gradually become more prevalently used, 
providing designers new ways of creating, sharing and adjusting their vision.  O’Neill (2006) 
outlined the opportunities be created by digital design tool,  
It's out there now and being put to good use in smaller venues and a few forward-thinking 
studios…Of course, there is a learning curve to its implementation and a slight 
investment up front. But the savings in time, money, and sanity makes it a tool well 
worth exploring and one to help us further our expression, impression, and interaction 
(p.25).   
 
The review of literature revealed the revolutionary idea of interactive scenic elements 
which consist of digital elements being controlled by movement of the performer. The USITT 
conference supported these findings through a panel discussion of developments and use of 
interactive technology. Although this technology is available and it uses have been demonstrated, 
I did not find evidence of its use being widespread within regional theatres.   Interactive scenic 
technologies, which have been implemented into dance, might represent the next wave in 
theatrical design, but for now it is still developing. Through distilling the information uncovered 
about the products being used in digital scenic technology I found that digital components are 
infusing traditional methods to increase efficiency and expand creative possibilities. 
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Lighting  
 We move from the realm of scenic technology where innovation in technology outpaces 
the speed of implementation (due to the high cost), to the realm of lighting where quickly 
shifting technology is implemented in a more consistent pace. Innovation in lighting technology 
happens at a fast pace, and for the companies that have the resources and ability, it can be 
implemented just as quickly as it is being developed. Many companies in my survey had lighting 
consoles that were released in the past 5 years, which indicates the priority placed on investments 
in lighting equipment. The major trends surrounding innovation in lighting technology involve 
LED instruments, new consoles, and wireless tools. LED lighting technology has been available 
since the 1990’s, but now the technology has been refined and is more stable and standardized 
(Eddy, 2011). Previous complaints about flaws or inconsistencies have been addressed and help 
to make LED’s a more realistic option for regional theaters. The progression within lighting 
consoles has been truly remarkable, creating both more efficient programming and design 
process, while also increasing the creative possibilities. The process of patching and 
programming lights traditionally entailed a complicated and time consuming process, especially 
for moving lights, which due to digital technology has been exponentially simplified. As 
internationally renowned lighting designer Richard Pilbrow remarked, while speaking on a panel 
on lighting apps, “My desire is for the technology to help me take what is in my brain and make 
it into reality in as few steps as possible” (personal communication, March 9, 2011). New 
technology within lighting consoles has begun to streamline the process of design, making 
Pilbrow’s dream a reality.  
Lighting innovation, though still costly, is simpler to integrate and is therefore a more 
frequent investment for regional theatres. Lighting equipment, whether it be consoles, dimmers, 
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or instruments, is a highly standardized field and its emerging technology quickly conforms to 
previously established systems. This indicates that a theatre might have a wide spectrum of 
lightning technology but it works together in a relatively harmonious fashion. The future of 
technology in lighting reflects the trend in scenic technology in wireless technology. Wireless 
technology gives designers and operators freedom from being tied to one spot, which also allows 
designers to make quick changes to a design. Wireless technology in any area suggests that 
intricate networking systems must be in place. This research found that this is the area where 
integration is not as easily done. An intriguing development in lighting technology is a balance 
between lightning and projections. When describing the ideal product, McLeod outlined an 
instrument that was made with the power of a typical lighting instrument but the capability to 
upload images to create digital gobos to project on stage (personal communication, March 22, 
2011). As the field of projection is being developed, its uses as a lighting instrument are being 
explored. This relationship is still being crafted and will be interesting to track over the next five 
years.  
Projections 
 The final product component that this research explores is projections and media, which 
are currently the most prominent and developing area in the field. This section focuses on the 
technology within projections, and will address the emerging field later in the analysis. 
Projection is an intriguing area of theatrical design, as the technology that is being used in 
projection is innovative, and the field itself is still being defined. As this is an emerging area of 
design, there is some debate over its function (is it lighting, or scenic, or something separate?). It 
hasn’t been accepted as an industry-wide design element but is generally implemented on a show 
by show basis. Video, media, and projections started out as simple additions to theatrical 
53 
 
productions, as either an element directly called for in the script or as a creative storytelling 
device. The technology has become increasingly advanced and has been used in a variety of 
creative ways. Two examples of such advances include 3D projections currently being developed 
for the opera, and 360 degree projections used in a recent production of Peter Pan (Strong, 2010). 
The focus of emerging technologies in projection appears to be in projection control systems. At 
the 2011 USITT conference there was a distinct focus on media servers. There were workshops 
and panels regarding what they were, why they were important, and how to craft your own 
version of a media sever to fit your needs and budget. While the large, highly complicated, and 
expensive media servers haven’t really made their way into regional theatres, programs like 
Isadora provide sufficient, and in some cases, superior alternatives. Isadora is a less expensive 
software system that many regional theatres have adopted in their process of including 
projections in their productions (Charlie Miller, personal communications, April 8, 2011). While 
approaches, systems, and technologies are being developed, it is the assertion of this research 
that the area of projection and digital media integration will continue to be a prominent focus 
with theatre technology for the foreseeable future.  As more regional theatres embrace the 
creative potential of projections, the institutionalized model that has been established at the 
Denver Center will be more prevalent across the field.  
4.2 Integration with Facilities 
 Upon beginning this research I assumed that facilities had a large impact on the 
availability and implementation of technology for regional theatre. I thought I would find that 
certain emerging technologies were not being implemented in theatres as a result of limitations 
imposed by their physical space. I discovered that technologies being developed for theatre 
production are designed to fit the spaces in which they are used. As this study progressed I 
54 
 
discovered that although facilities might present a challenge to the use of certain technologies, 
those challenges are not a deterrent. For example in my discussion with Charlie Miller, he 
suggested that none of the spaces at the DCTC were ideal for projections, but this forced them to 
develop creative solutions (personal communication, April 8, 2011). The main way that facilities 
are being adjusted to adapt to technology is in networking and wiring capabilities. Although 
facilities are not being altered to accommodate new technologies to the degree that I originally 
believed, technology is a consideration when new facilities are being constructed. The recently 
constructed, New World Center was described as, “A concert hall to reach new audiences for 
classical symphony; through music—combined with spectacle. Set in an intimate, thrilling space, 
and wired for the entire world to share” (Pilbrow, 2011, para. 11). Innovations in new facilities 
are being developed to sustain the technology being used today, the most apparent modifications 
being made for projections.   
4.3 Training Implications 
 As digital technology is changing the way that we create and experience live productions, 
it is also changing how organizations are educating staff members on new technologies as well 
as how these trends are changing university training. This research only touches on this topic, but 
there are implications for future research. Most organizations have a very reactionary approach 
to professional development within technology. When the organizations need new equipment, 
after a good deal of research, they purchase it and then learn how it works. The impact of this 
cycle is that technology might have unfulfilled potential, until a new need is identified. When 
new equipment is purchased, staff might only learn the basic functions in order to “get by”, but 
understanding and being able to use the technologies to their full capacity is a gradual process. 
The “get by” attitude might be attributed to the fast pace of change in technologies; is it worth 
55 
 
the time it takes to master a product if it might get replaced in a year or two? I found that it is 
less common to have professionals in the field proactively seeking to learn new equipment 
without a correlating need. This appears to be a function of budget constraints and time 
limitations. Digital technology is rapidly changing the training received in universities. This is 
demonstrated in new programs being developed (like the Masters in Projection at Yale School of 
Drama), and by the new skills that are being required (American Theatre Magazine, 2010). The 
USITT conference offered an interesting panel discussion over the paradigm shift in the design 
process between hand drafting to digitally created designs. All of the panelists stated that they 
expect anyone that they hire to be proficient in both methods (Franklin-White, 2011). There was 
a feeling between the panelists that designers’ portfolios were becoming too prominently 
digitally focused. As represented by many of the ideas within this research having a balance of 
digital and legacy skill sets is the current development in training and education. Digital 
innovations haven’t phased out traditional ways of creating theatre but a combination of skill sets 
is required to make a multidimensional creative team member. 
4.4 Making 21st Century Theatre 
 After compiling and analyzing material on innovations in digital technology and how it is 
being used in products, facilities and training, I considered how these elements are changing 
theatre as a whole. Many opinions have been represented throughout this research regarding the 
role of digital technology within live theatrical productions.  As technology is advancing and 
changing at a fast and seemingly impossible rate, integration is more about balance and strategy 
then trying to remain current.  In my interview with Kent Thompson it was clear that the 
DCTC’s approach to technology is driven by the needs of the show, not the latest technological 
tools. Using new technology whether it is new automation, the latest in moving lights or mind-
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blowing projections is meaningless if it doesn’t support or enhance the show. This show-driven 
approach attempts to provide the best possible experience to the designers, directors, performers 
and audience. Theatre has the ability to bring people together to share an experience, and while 
digital technology is not an indispensable component to this process, there are opportunities for 
using it to as a tool to engage the audience. It is important to the future of theatre that 
organizations address and explore this relationship between the performance and the audience. 
Organizations like the Denver Center are making great strides in experimenting in this new area, 
trying to maintain a healthy balance of tradition while keeping an eye on the possibilities of the 
technology of the future. Technology is not fundamentally changing the art of theatre but 
changing the process of making theatre and enhancing creative possibilities.  
4.5 How are regional theatres integrating digital production technologies into productions? 
Through my research I discovered that integrating digital technologies into productions is 
a multi-dimensional process that is unique to each organization.  There is not a singular, all 
encompassing approach to integrating digital technology, but it is clearly vital that theatres 
develop processes and frameworks for relating to technology.  Defining the needs of the 
productions, the organization, the audience and the community, and then developing a system 
that addresses these needs, is the most responsible approach to integration. A carefully crafted 
digital framework will outline the needs of the production, identifying technology that can fill 
that need, and understanding the impact that the technology has on the production and the 
audience. This process of integration signals that theatres might have to shift conceptions about 
currently defined roles and be more open and flexible in the process of theatre-making. 
Previously the design process for a theatrical production called together lighting, scenic, and 
sound, costumes, and props designers to address the needs of the production.  This mix of 
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designers is changing, not just with the added area of projection, but with what the individual 
roles entail.  In the future, it will be just as important to decide whether or not a show needs a set 
or lights, as it is today to determine if projections are needed. The integration of digital 
technology within production also could have potential impacts on breaking apart administrative 
silos. If a person is hired to create digital content to be used in shows, that same digital content 
could be used in marketing and outreach capacities to combine the currently independent efforts 
of administration and production staff.  Theatre is adaptable, and has stood test of the time, but as 
we grow and evolve, it is up to responsible managers to ensure that the core of the intentions of 
the art are neither outshined nor confined by the technology of the day. 
  
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Chapter Five | Summary and Discussion 
 I draw this research to a close with a summary and discussion of the implications of 
integrating digital technology in modern theatre. Digital technology within theatrical production 
has a wide-reaching scope with a spectrum of implications and additional research opportunities.  
As I examined the benefits, drawbacks, potential, and opportunities of integrating digital 
technology into live performances, I realized the complexity of the impact that digital technology 
is having on the field. This study was intriguing because it didn’t provide concrete answers, the 
issues, impacts and innovations are still emerging. This study provided evidence that regional 
theatres are gradually beginning to explore the possibilities presented by emerging technologies, 
and understanding the affect of emerging technology on the field.  
When starting this research I anticipated that I would find some evidence of theatres 
implementing digital technology just to adapt to current trends, or to add spectacle. I was 
surprised to find that there was little evidence that this was a strong motivation for integration. I 
discovered that the decision-making process behind integration and implementation of digital 
technology in theatrical productions in predominately driven by the needs of the production. 
Theatres are asking the question: what technology is right or appropriate for the production we 
are presenting? This simple straight forward approach is sometimes clouded by debates 
surrounding digital technology versus live performance. In my opinion, digital technology is not 
a threat to live theatre but represents an opportunity. I challenge theatre professionals to critically 
examine their use of technology and, not to discard its potential uses due to fears of changes.   
As digital technologies have emerged, so have the various opinions about its role in live 
performance. The new technologies being developed are not necessarily meant to replace legacy 
technology but to enhance productions.  Modern theatre must find a balance that can embrace 
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current possibilities while honoring the traditions of the art form. As pioneering American 
theatre designer Robert Edmond Jones (1941) explained, 
Life moves and changes and the theatre moves and changes with it. By looking at the 
theatre of the past, we may come to see our own theatre more clearly. Theatre of every 
age has something to teach us, if we are sensitive and humble enough to learn from it 
(p.45).  
 
Maintaining a balance of tradition and artistic intention at the heart of the creation 
process allows for any technology to be used to make ideas reality. For example despite 
experimentation with projections being used to create “sets”, the majority of use is to enhance 
the scenic design, not replace it. I believe that we are living in a time of change where we have 
the opportunity to define what theatre means to our era. Digital technical components impact 
how we make theatre: the creation process, the delivery final product, as well as shape the 
audience experience. This research distilled three overarching topics for discussion: the shifting 
organization roles and production process, relationship between the audience experience and 
digital technology, and the role of the arts administrator in cultivating an organizational digital 
identity. 
5.1 Organizational Roles and Production Process 
 Digital technologies are impacting every area within the structure of performing arts 
organizations. Introducing new technologies in one area of an organization can have 
reverberating effects on the rest of an operation. As detailed by Miles and Green (2008) the sites 
of innovation in the creative sector are the creative firm (organization), production or 
preproduction (creation process), product (performance), communication (marketing) and the 
user experience (audience reaction) (see Figure 4, Innovation Sites in the Creative Industries, 
Miles & Green, 2008, p.67).  
  
60 
 
 
Figure 4 Sites of Innovation in the Creative Sector (Miles & Green, 2008, p.67) 
 Each of these areas overlaps and connects in complex and rapidly changing ways. The 
data regarding new products, trends, and approaches to digital technology ignites conversation 
surrounding the current organizational roles and the production process.  Innovations in 
technology are creating new jobs, changing job titles, and job tasks or functions. The traditional 
role of designers, directors, performers or administrators with the creation process is changing to 
include new tasks and responsibilities. The DCTC is using the one Resident Multimedia 
Specialist position to fill many roles: marketing, creation, experimentation, and audience 
outreach. I believe this kind of restructuring of traditional roles is a positive move in breaking 
down the separation between administration and production responsibilities. 
  In addition to changing the way that organizations are structured, digital technology is 
changing the process of how we develop a production. Emerging technology is making the pre-
61 
 
production much more efficient, but also increasing the creative potential of design as artists 
have more flexibility and the ability to quickly alter their vision. The idea of the “virtual tech”, 
where designs can be created and altered in a virtual world before ever being built could 
significantly cut costs and save time (O’Neill, 2006). It will be interesting to watch in next few 
years how the technologies identified in this study in scenery, lighting, and projections, will 
inform the process of making theatre, the end product and the user experience.  
5.2 Relationship to the Audience 
Occasionally, throughout this research, I have mentioned the potential for digital 
technology to revolutionize the audience experience as well as audience engagement. I touched 
on how audience expectations are shifting as a result of digital saturation of everyday 
experiences.  As audiences are exposed to more and more multimedia experiences in Broadway 
performances and concerts, they come to anticipate technological advancement in other art 
experiences. It was not the intent of this research to explore developments in engagement or 
address impact of technology on the overall audience experience; it frequently surfaced within 
my investigation, and presents many opportunities for future research. Many organizations are 
using “innovation in digital technologies to expand, and deepen their relationships with 
audiences…Digital technologies have potential to allow arts and culture organizations to achieve 
a step increase in their audiences…” (Bakhshi & Throsby, 2009, p.2). This attitude was reflected 
in the new programming being developed and the DCTC which aims to increase “engagement of 
audiences as active participants in process as well as product” (DCTC, 2010). Audiences are 
increasingly exposed to participatory experiences and are less satisfied with passive 
entertainment.  
62 
 
The industry must learn how to use digital technology as a tool to create new ways of 
experiencing performances, while still maintaining the artistic vision in the performance. 
Audience is a main component of live theatre, as an article written over twenty seven years ago 
predicting the future of theatre hypothesized:  
The theatre of the future will depend more on accepting the living presence of the 
audience spectator… in the sense of the entire theatrical event is only happening because 
the audience is there, because the audience and the event truly touch each other at the 
moment of the performance (Schneider, 1984, p.17).   
 
It is the job of theatre professions to ensure the unique experience is kept intact but 
explore how new technologies fit into this relationship and emerging societal needs. 
5.3 Arts Administrators Creating Digital Identities 
As I approached this research in the context of an Arts Administration environment, I 
would like to connect my findings to the role of the arts leaders. As an arts administrator there is 
an inherent responsibility to the mission, the community, the artists, and the work that the 
organization produces. Frameworks, policies and procedures addressing technology use should 
be developed as we are figuring out what technology means to our individual organizations and 
fields. Creating this digital identity will establish a system of checks and balances to ensure that 
technology is upholding and enhancing mission and not overwhelming or overshadowing 
performances 
The death of theatre has been predicted since the invention of the motion picture but is 
and has always, “been reborn, Phoenix-like at the very moment we have finished conducting the 
funeral service over its ashes” (Jones, 1949, p.131).  I cannot predict the future or what theatre 
might mean to future generations, but it is my belief that we are in an exciting time of redefining 
the arts. Modern theatre-makers have the opportunity to make relatable, thought provoking, and 
visual stimulating experiences for 21st century audiences. New theatrical experiences can be 
63 
 
created by blending the excitement and tradition of live performance with innovative new digital 
technologies. This research documents the current trends and attitudes in regional theatre 
towards digital production technology. It is my intention that this work will incite dialogue about 
its uses, developing a digital identity for theatre in modern America, and the importance having 
open discourse for the future of theatre as an art form. 
  
64 
 
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APPENDIX A | Document Analysis 
Case Study:    Code: IN (innovation), IM (impact), IT (integration) 
Key Theme:    Document Location: (public/private) 
Date: 
Document Type: _____ Report, Article, Book   _____ Government Documents 
   _____ Arts Organization’s Records ____  Job Descriptions 
  _____ Online Information  ____Online Information 
Author/Creator: 
Summary:  
      Coding    Information     Notes 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
70 
 
 
APPENDIX B | Interview 
Case Study:     Code: IN (innovation), IM (impact), IT (integration) 
Key Theme: 
Date:      Interview Location: 
Participant Background: 
 
Consent:  ___ Oral ____Written ____Audio Recording  ___ OK to Quote 
Interview Context: 
 
      Coding    Information     Notes 
 
 
 
 
 
71 
 
APPENDIX C | Case Study Interview Questions 
 
1. Do you tend to rent or buy new equipment? Describe the process of this decision making? And 
what is your typical budget for rental equipment per show? 
 
2. Do you have a separate or additional budget for technology purchases? 
 
3. Have you renovated your space? In what ways? Why? 
 
4. How does working with trade unions impact your decisions about technological innovations?  
 
5. Do you use projections in your shows, if so how many in your season? 
 
6. Do you typically include a projection designer in your production team? If so when did you start? 
 
7. What was your most recent upgrade in technology? How much did it cost? Was there any training 
that took place with the new system? 
 
8. Does a certain production department (lighting, scenic, special effects, sound) have preference 
when spending on innovation? 
 
9. Does your theatre use automation in productions? What control system do you use? 
 
10. Describe your lighting system/console/software? 
 
11. How many moving lights do you own? How many led lights? 
 
12. If you could invest in a new development in production technology what would it be? 
 
13. Do you provide training for employees for new production technology? 
 
14. How do you integrate new and old technologies? Do you consider it successful? 
 
15. How important is it to your organization to integrate the latest technologies into your 
productions?  
 
16. Describe the role that digital technology fills within your production (spectacle, storytelling, etc)? 
 
17. Do you attend production technology conferences or trade shows? (LDI, USITT) 
 
18. Do you see a correlation between amount of new technology in a production and audience 
interest? 
 
72 
 
19. How do you see the future relationship between digital technology and theatre emerging? 
 
20. On a scale from 1 to 5 (5 being the highest) rate the importance of new technology to your 
organization? Can you describe this importance? 
  
73 
 
APPENDIX D | Survey Questions  
1. What is your organizations average production budget? 
 
2. How many shows are in your season? 
 
3. Do you tend to rent or buy new equipment? 
 
4. What is your typical budget for rental equipment per show? 
 
5. When was your venue built?  
 
6. Have you renovated your space for technological purposes? 
 
7. What was the last piece of new production technology you purchased? For lighting? For sets? For 
sound? For projections?  
 
8. Does a certain production department (lighting, scenic, special effects, sound) have preference, 
when spending on innovation? 
 
9. Does your theatre use automation in productions? What control system do you use? 
 
10. What lighting system/console/software do you operate? 
 
11. Do you use projections in your shows, if so how many in your season? 
 
12. If you could invest in a new development in production technology what would it be? 
 
13. Do you provide training for employees for new production technology? 
 
14. Do you attend production technology conferences or trade shows? (LDI, USITT) 
 
15. On a scale from 1 to 5 (5 being the highest) rate the importance of new technology to your 
organization? 
 
16. Do your new systems and old systems of technology work together? 
  
74 
 
APPENDIX E | Recruitment Materials 
Case Study Recruitment Email 
Dear [insert name],  
My name is Kelly Johnson and I am a graduate student from the Arts and Administration 
Program at the University of Oregon. I am writing to invite you to participate in my master’s 
research project which will investigate innovations in digital theatre technology. I have been 
studying different innovations in production technologies and the ways that they are impacting 
21st century theatre. I have limited my study to regional theatres in the United States. I would 
like to explore your organization as a case study of how theatres are approaching this integration 
process. You're eligible to be in this study because you a nonprofit regional theatre. I obtained 
your contact information from [describe source].  
If you decide to participate in this study, you will be interviewed regarding your organization, 
what types of digital technology your organization uses, how you integrate new and old systems 
and similar queries. I'll use the information to enhance and support my review of literature and 
other research data to form my analysis and conclusions about the state of technology in the 
field. The interview will take approximately one hour and with your permission will be audio-
taped. After the initial interview, it is possible I will contact you with follow-up questions, either 
over the phone or email (according to your preference and availability). Remember, that 
participation is completely voluntary. You can choose to be in the study or not. If you'd like to 
participate I will send you the consent forms via email. If you have any questions about the 
study, please email or contact me at kjohnso9@uoregon.edu . Thank you very much. 
Phone/ In person Recruitment Script 
My name is Kelly Johnson and I am a graduate student from the Arts and Administration 
Program at the University of Oregon. I wanted to invite you to participate in an interview about 
your background and experience with digital production technology and because your 
organization has demonstrated an interest in examining the theatre and technology relationship. I 
hope to learn about innovations in digital theatre technology, integration processes, and impact 
on the art of theatre making. You’re eligible to be in this study because your association with a 
nonprofit regional theatre. I obtained your contact information from [describe source].  
The interview will take approximately one hour and with your permission will be audio taped 
(for transcription purposes). I will use this interview alongside a survey sent to one hundred 
regional theatres to map recent trends in the field of digital production technology in the county. 
I may include information from this interview in my master’s research project. It is possible that 
I will contact you after the initial interview with follow-up questions, either over the phone or via 
email (according to your preference and schedule). Remember, that participation is completely 
voluntary. You can choose to be in the study or not. If you'd like to participate I will send you 
the consent forms via email. If you have any questions about the study, please email or contact 
me at kjohnso9@uoregon.edu .  
75 
 
Survey Recruitment/Consent Email 
My name is Kelly Johnson and I am a graduate student from the Arts and Administration 
Program at the University of Oregon. I am writing to invite you to participate in my master’s 
research project about innovations in digital theatre technology. My study is focused on regional 
theatres, which for the purpose of my research includes nonprofit theatres that are members of 
either the Theatre Communications Group or the League of Resident Theatre Companies. You're 
eligible to be in this study because you represent a regional theater in the United States. I 
obtained your contact information from [describe source].  
You are invited to participate in a survey about your organizations use of digital technology 
within productions. I hope to learn about innovations in digital theatre technology, integration 
processes, and impact on the art of theatre making. I will use this survey alongside an in-depth 
case study of one location to map recent trends in the field of digital production technology in 
the county. I may include information from this survey in my master’s research project.  
If you decide to participate in this study, please complete the following survey. The survey 
should take at maximum twenty minutes of you time. The first question will act as your consent 
and understanding of participation in my study.  I'll use the information gathered to enhance and 
support my review of literature and other research data to form my analysis and conclusions 
about the state of technology in the field. Survey results will be included in my final master’s 
research project. Remember, this is completely voluntary. You can choose to be in the study or 
not. Please feel free to leave any questions that you deem inappropriate blank. Job titles will be 
used in my project but organization names will be removed for my final document. If you have 
any questions about the study, please email or contact me at kjohnso9@uoregon.edu . Click the 
following link to continue to the survey. [insert link here].Thank you very much. 
  
76 
 
APPENDIX F | Consent Form (Case Study/Interview) 
(email and in person) 
 
Title of Project:  Theatrical Productions and Digital Technology: Innovations in and Implications of 
digital production technology in regional theatre.  
 
Investigator: My name is Kelly Johnson, and I am a student member at the University of Oregon in the 
Arts and Administration Program. I am investigating innovation in digital production technologies, and 
how they are changing the theater landscape. I can be reached 720-318-9778 (cell) or by email: 
kjohnso9@uoregon.edu 
 
Invitation to Participate: You are invited to participate in an interview about your background and 
experience with digital production technology and because your organization has demonstrated an interest 
in examining the theatre and technology relationship. I hope to learn about innovations in digital theatre 
technology, integration processes, and impact on the art of theatre making. The interview will take 
approximately one hour and with your permission will be audio taped (for transcription purposes). I will 
use this interview alongside a survey sent to other regional theatres to map recent trends in the field of 
digital production technology in the county. I may include information from this interview in my master’s 
research project. It is possible that I will contact you after the initial interview with follow-up questions, 
either over the phone or via email (according to your preference and schedule).  
 
I agree for this interview to be recorded via audio means_______________ (initial) 
 
Your words : I may refer to something you say or include a direct quote in a publication I write on this 
topic. Please specify how you would prefer to be identified. I grant you permission to: (please check 
appropriate lines) 
_____ use my real name as follows____________________________________ 
_____ use only my first name as follows________________________________ 
_____ use the following pseudonym_________________________________ 
_____ use only job title as follows___________________________________ 
_____ do not use any identifiers 
 
I assure you that I will respect your requests, and that I will do everything possible to maintain your 
confidentiality as specified by you above. 
 
Participation is voluntary: Participation in this research is voluntary. You may discontinue participation 
at any time and refuse to answer any questions that you feel are inappropriate or make you feel 
uncomfortable. If you participate in an interview and later change your mind about being included in 
lectures or publications, please inform me, and I will not use any data that I have collected from you. I 
will also destroy any recordings of the interview upon your request. 
 
Benefits: Your participation will contribute to knowledge about the methods and approaches that regional 
theaters applying to integrate digital technology in theatrical productions. 
 
Your Rights: Before the interview, I will explain this form and ask you to sign it. By signing it, you grant 
me permission to use information gathered in academic presentations and publications. You will then be 
offered a copy of this document. 
 
If you have questions about your rights or feel that your rights as a participant in this research have been 
violated during the course of this project, you may contact the University of Oregon Office for Protection 
77 
 
of Human Subjects, Riverfront Research Park, 1600 Millrace Drive, Suite 105, 5237 University of 
Oregon, Eugene, OR 97403-5237, (541) 346-2510 (phone), (541) 346-6224 (fax) 
Your signature indicates that you have read and understand the information provided above, that 
you willingly agree to participate, that you may withdraw your consent at any time and discontinue 
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