Abstract
This essay argues that conservatory style training for theatre artists is fundamentally distinct from liberal arts education and must be understood and administered as a separate enterprise within the university. It contends that liberal arts structures emphasize independent intellectual development, while artistic training requires tightly sequenced, skill based instruction under master teachers using an apprenticeship model. The author maintains that conflating the training of scholars and artists undermines both, and that the failure to differentiate between these goals has hindered the status of theatre education in the United States. The discussion outlines the characteristics of conservatory training, including selective admission, close faculty oversight, rigorous performance expectations, significant production support, and faculty evaluation based on artistic practice rather than publication. The essay also emphasizes the role of distinguished part time teachers, flexible staffing, and facilities designed to support intensive creative work. It concludes that universities can successfully house conservatory programs if they recognize the distinctive mission, protect faculty autonomy, and provide resources necessary for sustained artistic development.
Recommended Citation
Comtois, M. E
(1986)
"Conservatory Training Within the Academic Institution,"
Association for Communication Administration Bulletin: Vol. 55, Article 7.
Available at:
https://stars.library.ucf.edu/aca/vol55/iss1/7
