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Job outlook for scenic artists in the United States
Are scenic artist jobs in demand?
Scenic artist job and salary trends over time
Scenic artist jobs over time
Scenic artist job growth rate over time
| Year | # of jobs | % of population |
|---|---|---|
| 2021 | 544 | 0.00% |
| 2020 | 639 | 0.00% |
| 2019 | 713 | 0.00% |
| 2018 | 671 | 0.00% |
| 2017 | 648 | 0.00% |
Average scenic artist salary over time
Scenic artist salary by year
| Year | Avg. salary | Hourly rate | % Change |
|---|---|---|---|
| 2025 | $52,584 | $25.28 | +3.5% |
| 2024 | $50,786 | $24.42 | +2.4% |
| 2023 | $49,611 | $23.85 | --0.3% |
| 2022 | $49,751 | $23.92 | --2.5% |
| 2021 | $51,027 | $24.53 | +9.3% |
Scenic artist jobs by state
Most common states for scenic artists
| Rank | State | Population | # of jobs | Employment/ 1000ppl |
|---|---|---|---|---|
| 1 | District of Columbia | 693,972 | 42 | 6% |
| 2 | Washington | 7,405,743 | 199 | 3% |
| 3 | Massachusetts | 6,859,819 | 172 | 3% |
| 4 | Oregon | 4,142,776 | 108 | 3% |
| 5 | New Hampshire | 1,342,795 | 46 | 3% |
| 6 | Rhode Island | 1,059,639 | 27 | 3% |
| 7 | Wyoming | 579,315 | 16 | 3% |
| 8 | California | 39,536,653 | 938 | 2% |
| 9 | New York | 19,849,399 | 430 | 2% |
| 10 | Virginia | 8,470,020 | 173 | 2% |
| 11 | Wisconsin | 5,795,483 | 120 | 2% |
| 12 | Maryland | 6,052,177 | 117 | 2% |
| 13 | Indiana | 6,666,818 | 109 | 2% |
| 14 | Connecticut | 3,588,184 | 76 | 2% |
| 15 | Utah | 3,101,833 | 72 | 2% |
| 16 | Iowa | 3,145,711 | 61 | 2% |
| 17 | Nebraska | 1,920,076 | 35 | 2% |
| 18 | Delaware | 961,939 | 17 | 2% |
| 19 | South Dakota | 869,666 | 16 | 2% |
| 20 | Vermont | 623,657 | 10 | 2% |
Scenic Artist job outlook: Expert opinions
Our panel of scenic artist experts
Rider University
University of Indianapolis
Art Academy of Cincinnati
Western Illinois University
Keene State College
Foothill College
Colby College
Elmhurst University
Baylor School of Music
Ohio University
Alma College
Arizona State University
Azusa Pacific University
Montclair State University
Vanguard University of Southern California
Greenville University
What general advice would you give to a Scenic Artist?
Todd Dellinger: Know thyself. This response has many facets and implications - know your 'deep why' or vision of yourself as an artist and professional and frame around the impact you wish to have on others - this becomes a sort of 'lodestar' for the work ahead of crafting a career. Know who you are internally, as well as externally - as a 'package' because you are entering an industry where you - and the work you produce - are the commodity, for good or bad. As such, define and adhere to your boundaries - so that you cannot be taken advantage of, and can stay true to your vision. Know yourself in the context of the business - and know the business aspects of what you do. You are, at the end of the day, a business - too many artists ignore that. Then, stick to your knowledge of and vision for yourself as an artist and professional.
What Scenic Artist skills would you recommend for someone trying to advance their career?
Todd Dellinger: Have a diverse and relevant toolkit of skills and expertise - creative and artistic ones, yes - but perhaps even more importantly, skills and expertise which translate into multiple, diverse corners of arts & entertainment and into other sectors. Know how to translate your artistic wizardry from the stage to a phone, from the studio to a streaming platform, from one arts discipline or style or genre to multiple others. But also, know how to write up a marketing piece, a grant narrative, plan an event, manage a budget. You might find day-work in the very place where you're sharing your talent at night.
What general advice would you give to a Scenic Artist?
gerard brown: Folks starting out in the crafts and the fine arts often think the most important thing is the images of their work they put out in the world - through social media, on grant applications, etc. But you also need to be able to write and speak about your work in ways that inspire and motivate ordinary people to share your interests. Too often, people come out of school speaking the language of school and writing for an academic reader - I wish everyone would read more good journalism about art in magazines and news papers (yes, they are online!) and learn to communicate about their work in an accessible, approachable way earlier in their careers.
What Scenic Artist skills would you recommend for someone trying to advance their career?
gerard brown: Obviously, this is going to vary widely depending on the field you're entering within the art, craft, and design professions. In design, the next three to five years will be deeply shaped by AI and we'll need designers who can bring the human perspective to an increasingly technology dependent world. I think everyone in design should be taking a UX course. In the fine arts and crafts areas, we may see a cultural pushback against the drive toward technology and a greater emphasis on the personal, the unique, the handmade, and the narrative. It will be important for artists and artisans in these fields to be able to communicate their vision to their clients and patrons.
What will help Scenic Artists increase their earning potential?
gerard brown: Given that the lion's share of folks in the arts and crafts are self-employed, the salary question is an awkward one. If you're a designer and work for a firm, you can look critically at the place you work, identify its strengths and weaknesses, and take on professional development work (like continuing ed classes or post-professional training) to meet the needs of your firm. But if you're an independent artist or crafts person, you're going to need to think differently about this. You're going to need to figure out how to create reliable relationships with clients, so they come back and refer others to you for work. You're going to have to identify alternative markets where you can exhibit (and sell) your work without competing against yourself in the same neighborhood. All of this is going to require artists to think about customer service in new an innovative ways and may mean thinking outside the box of galleries, fairs, and consignments.
What general advice would you give to a Scenic Artist?
Todd Dellinger: Have a diverse and relevant toolkit of skills and expertise - creative and artistic ones, yes - but perhaps even more importantly, skills and expertise which translate into multiple, diverse corners of arts & entertainment and into other sectors. Know how to translate your artistic wizardry from the stage to a phone, from the studio to a streaming platform, from one arts discipline or style or genre to multiple others. But also, know how write up a marketing piece, a grant narrative, plan an event, manage a budget. You might find day-work in the very place where you're sharing your talent at night.
What Scenic Artist skills would you recommend for someone trying to advance their career?
Todd Dellinger: Adaptability to change - it's inescapable and has been forever in the arts - but change comes so swiftly and from so many directions now - particularly those changes brought about by technology and media/communications. Be ahead of the curve when it comes to what new uses of AI, what new applications for social media and how to manipulate those to your advantage, to your "business" of being an artist in this world. Entrepreneurial skills are vital in any business. You will need to be your own entrepreneur - exercising creative, innovative ways of using your talents and skills "outside the box" and applying these in parts of the industry and in other settings to expand your earning and learning potentia
Nathaniel Foley
Assistant Professor of Art & DesignUniversity of Indianapolis
Fine And Studio Arts
What general advice would you give to a Scenic Artist?
Nathaniel Foley: Creatives must possess the confidence to sell and speak about themselves and their multifaceted and transferable skill sets. As creative problem-solvers, artists place themselves in a unique position to be able to engage all facets of the job market to positively contribute to today's society. Never place yourself in a mindset of only being able to function as a starving artist as you have gone through extensive training to think, take risks, communicate, and make differently than other disciplines, which sets you apart and provides you a unique opportunity to craft your own path. Do not be afraid to take risks by pursuing jobs that might not completely fit your perceived path because they will open doors and opportunities in the future.
What will help Scenic Artists increase their earning potential?
Nathaniel Foley: A career in fine art is never a linear path like other professional fields, so one must remain flexible and aware of all opportunities that they might fit or create. Additionally, they possess numerous skill sets that are unique and they must be able to highlight them to an employer to demonstrate their value.
What skills stand out on Scenic Artist resumes?
Paige Williams: The skills that stand out on artist resumes are skills that distinguish them from other applicants. Potential employers are looking for individuals whose resumes provide evidence of exploration, risk-taking, and the ability to adapt. These traits are evidenced through experiences with internships, study abroad, and other real-world experiences such as client-based projects, exhibitions, performances, and readings in public spaces. Art school is experiential. Students aren't just observing but doing while they are in school. The ability to learn and adapt to new technology is also important. Art students don't just learn but utilize technological skills with purpose in their own creative work.
What soft skills should all Scenic Artists possess?
Paige Williams: The World Economic Forum has identified the four most important skills that ALL students graduating from college in the 21st century will need to be successful. These are the same skills that artists, designers, and creative writers explore through 21st Century Art Education at the Art Academy of Cincinnati (AAC): Critical Thinking, Creativity, Collaboration, and Communication. 21st Century creatives will need to understand how to explore solutions to complex problems, think outside of the box, work with others, and effectively articulate their ideas. At the Art Academy of Cincinnati, our students in first-year experience engage in courses whose focus is communication, collaboration, ideation, research, and discovery from day one.
What hard/technical skills are most important for Scenic Artists?
Paige Williams: Students entering the creative workplace need the visual, verbal, and written vocabulary to articulate their ideas and provide meaningful and constructive criticism. Students at the AAC learn criticism methods and engage in writing across the curriculum in every studio and academic course. A rigorous capstone experience requires that students write a ten-to-twelve-page thesis that thoroughly explains what they make (subject), how they make it (form), and why it matters (content). They then are required to present their ideas in a public forum.
Learning the latest technological advances and adapting as technology evolves is important for every student entering the workforce.
What skills will help Scenic Artists earn the most?
Paige Williams: A combination of the 21st Century Skills: Critical Thinking, Creativity, Collaboration, and Communication will provide the most effective skill base for those seeking success in creative fields.
Are there any particularly good places in the United States for Scenic Artists to find work opportunities?
Elizabeth McPherson: I predict that NYC will continue to have a large concentration of dance companies. However, I do know that many young professional dancers have returned to their parents' homes across the USA since the pandemic hit. Perhaps this will result in a flourish of more theatrical dance, particularly modern and contemporary, happening outside of NYC.
Tammy Killian
Chair - Department of Theatre and DanceWestern Illinois University
Drama/Theatre Arts And Stagecraft
How do you envision technology impacting Scenic Artists in the next 5 years?
Tammy Killian: Technology has impacted the profession tremendously already and will be a springboard to the future of performing arts. We've needed to be shaken up for many years, and this pandemic has definitely done that. We will learn and adapt to technology leading us into the future.
Will there be an enduring impact of the coronavirus pandemic on Scenic Artists?
Tammy Killian: Yes, I believe that this group of graduates (2020 and 2021) will be impacted. I like to think that most graduates will be impacted in that they will be more innovative, more independent, and will have a greater sense of priorities.
Are there any particularly good places in the United States for Scenic Artists to find work opportunities?
Tammy Killian: Currently, no. With COVID-19 shutting down the industry, this is not a great time to look for work. Film and TV production companies are beginning to shoot again, with many precautions in place. The outdoor theatre has survived. Many small venue theatres have moved outdoors or are doing drive-in events. Finding a job now is about being willing to relocate, research, and being flexible.
How do you envision technology impacting Scenic Artists in the next 5 years?
Dr. Daniel Carberg: Technology has exploded during the pandemic, and continues to daily. As a hands-on voice teacher, I am currently teaching through Zoom, using a soundbox and mixer, and high-quality microphone, and headphones. There are also many programs that can help with the lag time between the studio teacher and the student, who are in different rooms. I now also teach students from all over the world - thank this new technology. Virtual choirs have also become a new norm, as well as choirs rehearsing outside with ambient amplification systems. It is difficult to predict what things will look like in the next five years. It all depends if a vaccine is created. If not, we need to adapt to the new "normal" and continue to make music, using technology as our friend. It is not the job any of us signed up for, but it is what we need to do to move forward.
Will there be an enduring impact of the coronavirus pandemic on Scenic Artists?
Tom Gough: Without a crystal ball, it will be impossible to tell. I will say the ones I have corresponded with are itching and aching for opportunities, mostly to interact live. I hope, coming out of this, there will be a bit of a gold rush as audiences are aching for the live social element of the performing arts. But the current circumstances are taking their toll on a number of smaller arts organizations as they struggle with the uncertain economics of the present time and the How? When? etc. A decline in opportunities would certainly be felt by emerging artists.
Are there any particularly good places in the United States for Scenic Artists to find work opportunities?
Tom Gough: Before the pandemic, there were a great number of metropolitan markets with a wealth of opportunities-the Bay Area continues to be a leader, many recent former students (Foothill College) have found and created opportunities for themselves in the Chicago market. Any of our technical theatre graduates who have moved to Las Vegas have immediately found work. But until audiences are allowed to re-assemble. . . .
How do you envision technology impacting Scenic Artists in the next 5 years?
Tom Gough: One thing the pandemic has prompted is some extraordinary creativity in using real-time technology. And I would say the greatest innovation from this is bridging geography. I personally have now done projects with people in different time zones and continents. I predict this sort of innovative use will continue to be employed in some respect though not replace the live experience.
Are there any particularly good places in the United States for Scenic Artists to find work opportunities?
Annie Kloppenberg: As has been the case for many years, the vast majority of young artists need to carve their own paths in order to succeed. With theaters shuttered, much attention has been given to artists who have found creative ways to pursue and produce their work. But in reality, that is not new. Generally speaking, Americans don't value the live arts the way people in many other cultures do. Artists for whom this work matters have needed to find ways to do their work in their communities.
People working in performing arts have, for many years, needed to leverage all their skills both to make ends meet and to be able to do their work. They have found flexible jobs to support their creative practice, have pursued jobs in the arts sector off the stage, have created fundraising platforms and productive partnerships beyond the arts sector, and have built audiences for their work in communities large and small. Artists create opportunities for themselves, and the pressure will be on to continue to do so. These are lessons, by the way, that can be applied beyond the arts sector!
How do you envision technology impacting Scenic Artists in the next 5 years?
Annie Kloppenberg: Technology has long been integrated into the performance. There are many productive ways in which technology enhances what the live body is capable of and extends our aesthetic possibilities. I think all of that will continue; as new technologies are developed, artists will find ways to integrate them into our work. But I also imagine-and perhaps this is a somewhat romantic notion-that after the pandemic, everyone will be thirsty for the ways live art brings people together to celebrate, challenge, and connect. There is a reason that touch and movement have become metaphors to explain how art makes meaning. When live bodies share space, there is a palpable physical exchange that has an impact, even in the absence of physical touch. Technologies can create dialogues that are not possible without it, but they cannot be a substitute for live exchange.
Will there be an enduring impact of the coronavirus pandemic on Scenic Artists?
Annie Kloppenberg: I think there certainly will be-as there will be an enduring impact on our economy and culture at large. It is hard to predict exactly what shape those changes will take. I have faith that our health care researchers will create an antidote to coronavirus, but what the pandemic has also made visible in new ways is the range of inequities that are deeply woven into the fabric of our culture. Producing an antidote to that is less straightforward. While it may be harder to find entry-level jobs, I also think that graduates entering the workforce will do so with creativity and with a palpable commitment to social justice. Young people stepped up as organizers this summer, and it wouldn't surprise me one bit to see them continue to step up in their professional lives in the coming years. And I think we need to make room for them to do that.
Rick Arnold
Assistant Professor of Design and TechnologyElmhurst University
Department of Theatre & Dance
Will there be an enduring impact of the coronavirus pandemic on Scenic Artists?
Rick Arnold: The entertainment industry has been hit very hard. Theatre, concerts, and other forms of entertainment were the first places to close or stop work. Pretty much everyone who works in the industry stopped in March. Many are gig workers-entrepreneurs who are dependent on finding the next job. I have seen lots of people change their careers because they cannot wait or are just tired of hustling for work. I think this is one of those times where there will be an opportunity for early-career folks. Once we do get back into the theatres, studios, and arenas, the industry will boom because everyone will want to get out of the house and see or do something.
Are there any particularly good places in the United States for Scenic Artists to find work opportunities?
Rick Arnold: The answer depends on what part of the entertainment industry interests them. Movies and television are centered in southern California. Live theatre is concentrated in larger cities, as are museums and concert venues. Job banks are a great place to find work or places where work is concentrated. Those are now easy to find online, so they can stay for a while where it is cheaper to live and make their way to the part of the US that has the work they are looking for.
How do you envision technology impacting Scenic Artists in the next 5 years?
Rick Arnold: Technology has led the industry for some time-especially when it comes to the design and execution of the visual elements. Everyone who wants to endure in the entertainment industry needs to keep up, or they will be left behind. Now that we have had this pandemic, it will be interesting to see what 'adjustments' the industry has made will stay. Really, a whole new genre of entertainment has been created-remote live events. The whole genre could have a following and continue to develop, or parts of it-the use of new or different technology-could expand into traditional performance. It will be interesting to see how it all develops from here. I do know that we, as humans, are inherently social and will happily go back to see live performance as soon as possible.
What general advice would you give to a Scenic Artist?
Dr. Randall Bradley: Yes, I believe that the COVID-19 will have a lasting effect on our students and on the church. For starters, it has been more difficult than usual to place our students because church search committees stopped meeting in March, and it was impossible for churches to host our graduates for interviews and meet-and-greet opportunities that are so vital to church placement. However, I believe that some of the enduring impacts of the coronavirus pandemic will be the greater role that technology will play in churches of all sizes moving forward.
Nearly every church I know (even very small ones) has found ways to use technology to remain connected to their worshiping community. I don't think that this development is something that will end with the pandemic. I see our future graduates playing larger roles in helping to prepare worship that communicates not only to those gathered in the worship space live, but also to the virtual worshipers who join in from many other places. Also, the sheer volume of technology that churches have purchased during this time will need to be used in their congregations moving forward.
I also think that future worship leaders will be challenged to discover new ways in which virtual worship can be considered fresh and creative, rather than just an airing of what is in the worship space. Churches are going to demand greater innovation and creativity going forward, and future ministers are going to be challenged at this point. Lastly, I think that once we have all exercised greater dependence on technology during the pandemic, and experienced first-hand its potential for effectiveness, we will never return to our old ways of doing things. These changes will affect the ways in which meetings are held; administrative decisions are made, personnel is managed, and more. These implications will alter the way that worship leaders not only plan and lead worship but also how they implement and administer their ministries.
Dr. Dawn Wohn
Associate Professor of Violin, String Division ChairOhio University
Department of Fine Arts
Will there be an enduring impact of the coronavirus pandemic on Scenic Artists?
Dr. Dawn Wohn: The performing arts have really taken a large hit during the pandemic. In the case of music, it means that concert halls around the world have remained closed, tours and music festivals have been canceled. As a result, much of the music industry is in the midst of a budget crisis. And with many academic institutions and public school systems instituting a hiring freeze due to budget cuts and remote learning, graduating musicians, as well as students majoring in music-related careers, are facing fewer job prospects upon graduation.
In addition, music learning and making have been traditionally experiential and social activities. Music students learn from physically making music with others. As musicians are currently not able to congregate and perform in large groups, or easily perform for live audiences, many of us are missing those experiences that are very important to us.
The silver lining of the pandemic has been that it has forced musicians to embrace technology and to look outside of traditional models. Musicians have been able to reach a larger audience, via the internet, and use their entrepreneurial skills to find creative ways to make, share, and teach music. As remote learning becomes normalized, many are also able to expand the scope of their teaching areas.
How do you envision technology impacting Scenic Artists in the next 5 years?
Rosely Conz: The integration of technology and dance has been happening for years, with the emergence of hybrid art forms such as screendance, with artists such as Maya Deren and Merce Cunningham. The use of motion capture, projection design, movement sensors, etc. also is a reality, evidenced by the works of so many dance companies, Broadway musicals, and independent artists.
There are, of course, differences between seeing a dance piece created for the stage live or through video, and I feel like, in this case, technology cannot replace the collective experience of being in a theatre or seeing something live. However, with the limitations of the pandemic, we need to take full advantage of the possibilities in live streaming, editing software, cameras, social media, interactive platforms online, etc. Again, technology is here to help artists to achieve their aesthetic goals.
I also hope that the technological developments in the medical field start benefiting dancers as well with new methods for injury prevention and treatment, for example.
Will there be an enduring impact of the coronavirus pandemic on Scenic Artists?
Rosely Conz: The Covid-19 pandemic is already having a huge impact on the performing arts industry with cancellations; theatres closed, furloughs, and seasons going online. I believe the solution will be for graduates to reinvent themselves - to find new abilities (video editing, social media skills, anything related to the online environment...), to look for funding in grants, and to prepare to combine their dance majors with maybe a second area or major - business, health professions, education, etc. Also, taking advantage of online classes and workshops to keep yourself moving and motivated as much as possible. Meanwhile, we as artists need to unite and fight for better working conditions, health insurance, etc.
Will there be an enduring impact of the coronavirus pandemic on Scenic Artists?
David Barker: For this generation, absolutely. On the challenging side of the equation, the world of professional theatre will not return to any semblance of normal until a vaccine is available, and people begin to get immunized. Not until the Fall of 2021 will professional in-person theatre begin to emerge from the shadow of COVID19, and when that happens, the floodgate of theatre artists needing work will be unprecedented. On the hopeful side of the equation, the demands of the virtual world will have necessitated the acquisition of new skills in all theatre-related areas: including performance, design, directing, stage management, writing, dramaturgy, and technical. So, in a year, the employment opportunities should begin, but the ramped-up competition for that work, combined with newly acquired skills, will present a newly imagined theatre world, the likes of which we cannot fully perceive at this time.
2. Are there any particularly good places in the United States for graduates to find work opportunities in this field after they graduate? I suggest seeking areas where film, television, and media arts are still prominent. Fortunately for graduates of Arizona State University, we are positioned exactly the same distance (400 miles) from 2 of those areas: Hollywood, CA and Albuquerque, NM. However, "good places" now exist virtually. So, all graduates must develop a strong online presence using the many social, artistic, and business websites and apps.
3. How do you envision technology impacting this field in the next 5 years? There will continue to be a significant struggle for actors in training to empathize with the human condition. This struggle began in the late 90's when cell phones became readily available for most people, and it gets worse every year. Student actors grow up learning that connection between 2 people (a connection that is at the very core of theatre), is normally achieved by sending text and images on a phone. And while these images can readily express feelings, they are pathetically inaccurate accounts of actual human conditions. So, while technology will help in many ways, most likely in the areas of design, it will continue to erode the heart and soul of this art form: the examination and expression of the human condition.
Are there any particularly good places in the United States for Scenic Artists to find work opportunities?
David Barker: I suggest seeking areas where film, television, and media arts are still prominent. Fortunately for graduates of Arizona State University, we have positioned exactly the same distance (400 miles) from 2 of those areas: Hollywood, CA, and Albuquerque, NM. However, "good places" now exist virtually. So, all graduates must develop a strong online presence using the many social, artistic, and business websites and apps.
How do you envision technology impacting Scenic Artists in the next 5 years?
David Barker: There will continue to be a significant struggle for actors in training to empathize with the human condition. This struggle began in the late '90s when cell phones became readily available for most people, and it gets worse every year. Student actors grow up learning that connection between 2 people (a connection that is at the very core of theatre) is normally achieved by sending text and images on the phone.
And while these images can readily express feelings, they are pathetically inaccurate accounts of actual human conditions. So, while technology will help in many ways, most likely in the areas of design, it will continue to erode the heart and soul of this art form: the examination and expression of the human condition.
Will there be an enduring impact of the coronavirus pandemic on Scenic Artists?
Gavan Wyrick: It's difficult to say what the enduring impact of Covid-19 will be for graduates in the visual and performing arts. Looking at how the industry has adapted to the pandemic, I think graduates will need to become comfortable with skills that traditionally may not have applied to their field. For example: in lieu of in-person auditions, actors may need to gain a higher level of familiarity with cameras, microphones, and lighting equipment in order to self-tape.
Are there any particularly good places in the United States for Scenic Artists to find work opportunities?
Gavan Wyrick: Under normal circumstances, I would recommend students seek paid internships with prominent and reputable theatre companies in order to build a professional network that could build toward more regular or permanent work. This is definitely a good time for soon-to-be technical theatre graduates to be assembling and refining their portfolios to apply for internships once they begin accepting applications again. That being said, although most theaters are closed due to safety concerns, many theatre companies-especially here in Los Angeles-have been finding novel and innovative ways to still safely produce theatre.
How do you envision technology impacting Scenic Artists in the next 5 years?
Gavan Wyrick: It has been especially interesting to see how various theatre companies have been using platforms like Zoom and Twitch to mount remote productions. As a result, physical distance doesn't seem to be the barrier that it once was in producing theatre. I expect that many individuals and companies will continue to experiment with the technology that enables remote productions even after it's safe to return to theaters-this could open up the potential for a wide variety of new and different performing, storytelling, and design methods and techniques. While I don't think the traditional theatre experience will disappear, I do think there is a great opportunity for anyone who can capitalize on this new technological landscape.
How do you envision technology impacting Scenic Artists in the next 5 years?
Kathleen Kelley: I think dance films, live streams, and virtual performances will become significantly more important to the field, and dance companies and choreographers will be imagining new ways of bringing the performance to the audience. As of right now, the field is still figuring out how to turn that open nature of performance into financial support, but I believe it will happen. We are already seeing European choreographers who have decided to forgo flying because of the environmental impact of touring by air. They are working on other options including Zoom/Facetime rehearsals, and touring by train or electric bus with regional stops in between. Technology will help support this kind of eco-aware performance model and will allow for more virtual rehearsals and residencies. From a training perspective, technology will allow students to train with guest artists from around the world, augmenting (but not replacing) in-person training. Dance thrives in liveness, and so even though technology will help facilitate more virtual dance experiences, I believe that live performance and training will still be valued, and might even be more appreciated because of its live presence.
Lia Hansen
Associate Professor of TheatreVanguard University of Southern California
Department of Theatre Arts
Will there be an enduring impact of the coronavirus pandemic on Scenic Artists?
Lia Hansen: I'm sure there will be. It is hard to assess at this time exactly how it will impact the entertainment industry long-term. People need theatre, so it will endure, but the form may alter in ways we can't really predict.
Are there any particularly good places in the United States for Scenic Artists to find work opportunities?
Lia Hansen: Places with a low case rate! Graduates in this field are going to need to be creative self-marketers as they educate employers about how their skills can transfer to different jobs. We may see an increase in smaller start-up venues in smaller towns.
How do you envision technology impacting Scenic Artists in the next 5 years?
Lia Hansen: In the film, digital technology will continue to impact creature design, both in the lab and as a replacement for prosthetics. There could be an increase in adding multi-media to traditional stage shows, and streaming of live shows may become a regular-season option. Technology is already changing the audition process and will continue to do so, most likely with fewer large group in-person auditions.
Will there be an enduring impact of the coronavirus pandemic on Scenic Artists?
Paul Sunderland: I absolutely believe there will be an enduring impact due to the pandemic on college graduates. Historically, congregational worship has relied upon relational, face-to-face interaction. COVID has forced the church to consider how to continue as faithful worshipers, yet without having the congregation gathered in the same room. Church musicians are now facing the issue of how to lead worship through a streamed or recorded platform, where you no longer see or hear the response of the people you are "leading." With the shift of online worship during COVID, we can see that some people may not wish to "come back to the building" to worship even if we move past the pandemic. The new questions nearly all church musicians are asking are, "How do we engage virtual worshipers, and how do we foster a sense of spiritual community as we move forward?
Are there any particularly good places in the United States for Scenic Artists to find work opportunities?
Paul Sunderland: I find that location may not be the issue, as much as the size of the town and the church community size. There are two ways to look at the COVID pandemic for church musicians: Rural or smaller communities tend to have less COVID cases and are slightly more stable in that sense. This means that churches have a chance, in smaller communities, of operating, which allows employment opportunities to continue. On the other hand, larger towns and larger churches may not be able to meet in person as they once did, but they are aggressively pursuing online worship options, which requires trained people to help them to do so.
How do you envision technology impacting Scenic Artists in the next 5 years?
Paul Sunderland: Without question, technology will be a required skill for worship leaders and church musicians in the future! Having technology skills relevant to online worship will be foundational for the work of worship leaders from this point forward. No longer can a church musician simply focus on creating music? They now must also know how to deliver their music (and the entire worship service) through recordings and live to stream. The visual side of worship will also be vital to understand. For an online worship service, you cannot invite people to "turn in your hymnal to page number ..." Projecting the lyrics through presentational software is becoming even more standardized due to COVID. The real question becomes, how do we practice "liturgical discernment" in order to determine how technology serves our worship services, rather than using technology in a way that treats worship as entertainment.
Will there be an enduring impact of the coronavirus pandemic on Scenic Artists?
Alison Petty Ragguette: I think that jobs are very scary as art and design departments contract in size to weather the pandemic's financial setbacks.
I think new graduates understand it will take some time for things to get back to normal. Artists are resourceful and are finding new ways to get through this trying time.
It has been a very distressing time for these graduates, but they find resilience in their creativity, and it is changing their art practice.
Are there any particularly good places in the United States for Scenic Artists to find work opportunities?
Alison Petty Ragguette: Most teaching opportunities are online at the moment. Our alums who graduate did gain some online teaching skills, so I would say they have an advantage.
How do you envision technology impacting Scenic Artists in the next 5 years?
Alison Petty Ragguette: Online teaching art is happening and will likely remain in some capacity. Certainly, not all art forms do well in the online environment, but it is amazing how we are adapting to this change. Virtual reality exhibitions are becoming our only way to exhibit art, along with virtual art openings and artist talks.