Abstract
This essay argues that the Master of Fine Arts is an appropriate terminal degree for university theatre faculty and challenges the claim that the Doctor of Philosophy represents a superior credential. The author emphasizes the realities of limited employment opportunities in both academic and professional theatre and contends that neither degree guarantees entry into those markets. The essay distinguishes the MFA as an advanced practice degree grounded in performance and production, whereas the PhD certifies research competence and does not necessarily attest to teaching or creative skill. Conservatory style training within a liberal arts setting is presented as legitimate and necessary for theatre artists who typically begin formal performance study later than music or dance students. The author maintains that MFA programs should be rigorous, selective, and led by professionally active faculty, ideally linked to high level production environments. The conclusion asserts that discounting the MFA would undermine hard won recognition for creative work within universities and reintroduce inappropriate scholarly standards for evaluating artistic achievement.
Recommended Citation
Garvie, Peter
(1986)
"The Ritz Bar or ABD: In Defense of the MFA,"
Association for Communication Administration Bulletin: Vol. 55, Article 14.
Available at:
https://stars.library.ucf.edu/aca/vol55/iss1/14
Accessibility Statement
This item was created or digitized prior to April 24, 2027, or is a reproduction of legacy media created before that date. It is preserved in its original, unmodified state specifically for research, reference, or historical recordkeeping. In accordance with the ADA Title II Final Rule, the University Libraries provides accessible versions of archival materials upon request. To request an accommodation for this item, please submit an accessibility request form.
