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温布尔登学院舞台设计硕士课程导师，Michael Pavelka是一名非常成功的舞台设计师，他曾为160多部作品设计了舞台场景，这其中有许多新编的戏剧或音乐剧。他也同时是伦敦艺术大学的讲师，于是他把自己专业的工作经验与教学内容做了完美地结合。

他希望通过自己的新书《所以，你想成为舞台设计师？》让年轻的一代舞台设计师了解更多的专业内容，书中将会介绍一个舞台如何从图纸变成场景的设计之旅以及在“旅途”中设计师们将会偶遇、竞争和崇拜的人们。

Michael Pavelka, Course Director for the MATheatre Design at Wimbledon College of Arts (WCA), is anaward-winning scenographer who has designed over 160 productions worldwide,with many of these being new plays or musicals.

His work has won many awards, including Best Design at the TMA Awards,Special Award at the New York Obie Awards and Best Musical Production award atTheatre Awards UK.

Michael is also a Reader in Theatre Design and Scenography at University ofthe Arts London, and connects teaching work to his own professional practices.

In this guest blog, Michael writes about his motivation for writing his newbook ‘So You Want to be a Theatre Designer?’

Why write ‘SoYou Want to be a Theatre Designer?’

The main purpose of writing this book was to be useful to the nextgeneration of theatre designers, but I’m hopeful that it does a wee bit morethan that. The collaborations involved in mounting and sustaining a theatreproduction are fundamental to a successful design, so my intention is that thekey players in this intricate process are properly acknowledged. I wasinterested in capturing their views of design and designers and have anopportunity to articulate what they consider to be ‘best practice’ alongsidemy, and other, designer’s ideas. Knowing its complexities, I was also keen todemystify its world, to give the reader a 360° view of its landscape and drawup a clear map by which it can be navigated. The book is about the journey of atheatre design, from-page-to-stage, and about the people designers willencounter, tussle with, and be fascinated by.

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As one in a series of books surveying theatre making from the perspectivesof all the overlapping disciplines involved, I wrote ‘So You Want to be aTheatre Designer?’ to complement the those editions written by directors,producers, actors, playwrights and others. It compliments these perspectives ofwhat designers do, and in turn looks back at their roles, with a designer’s eyes. The book could therefore be useful forthose specialising in other branches of theatre practice and wanting to have akeener sense of how design fits with what they do, or want to do.

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Like most professions in art and design, it is both a product of itsconsiderable heritage and in a healthy state of continual, evolutionary, flux.Universities, particularly art colleges over the last forty years or so, havehad a tendency to feel the need to look forward rather than backward. Myimpression is that this compulsion to change for change’s sake is now beingtempered by a need to re-connect to at least the last two and a half thousandyears of history, whether from Eastern or Western traditions – I have tried togive the reader a sense of this being a support to their creativity rather thanfeeling crushed, or bored by, history’s baggage. We theatre designers, bothyoung and not so young, are contemporaries at the end of a long, rich andinspiring timeline of theatre makers.

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Thecraft of theatre design connects with the world around us on many levels:conceptually, socially and physically. Scenographers are both artists, anddesigners: they are therefore both independent, and dependent makers. This bookgives the reader, whether they intend to make theatre design their professionor not, a sense of what designers experience as much as what they make and do. Designers meet each other relativelyrarely, they may bump into each other when working on different shows atvarious times, or at the occasional exhibition dedicated to the subject, sowhat I’ve attempted is to put into words a set of broadly shared approaches andprinciples. I’ve tried to reassure either a newcomer to the subject or someonere-orientating their profession, however late in life, that there is a networkof understood but often understated and diverse ways of being and doing, in thebusiness – perhaps, dare I say, bordering on a collective conscience.

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想了解更多关于舞台设计硕士课程的信息，请点此链接：http://www.arts.org.cn/wimbledon/win_ma_3.htm