Statement on Teaching and Advising
Lucas Granholm (He/Him/His)
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TEACHING PHILOSOPHY:
Teaching students how to create and implement theatrical designs is a process that requires mutual trust—students must trust their instructor’s guidance, and they must also trust their own creative eye. For this reason, I firmly believe that students and their ideas come first. In the design studio, students should be challenged in an environment free from negative criticism to foster greater creative growth. Their creativity should be nurtured throughout the process, rather than judged solely on the final product. Student designers should feel that their ideas and work hold merit beyond the classroom, extending into their future careers as artists. I believe students must develop a strong, disciplined eye and learn to examine their work with critical questions like, “What am I trying to say?” and “What else is needed to complete this?” This approach helps students become objective and disciplined designers. I focus on three key hallmarks:
Concept – viewing one’s work through the lens of the playwright or director.
Artistry – thinking creatively and objectively to solve design problems.
Craftsmanship – working within the skill set of a young designer and applying those skills appropriately.
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Concept:
I believe a student’s creative work begins and ends with a concept. I often stress to my students, “A concept is the lens through which you view the world you are creating.” This is a crucial point in design because all ideas derive from that initial concept. If a student's choices do not align with the directorial or authorial concept they are trying to create or support, the entire project can fall apart.
Artistry:
In a theatrical environment, we are often tasked with solving problems that arise within the script. Students must learn to think creatively to address these challenges. My teaching facilitates this by encouraging students to ask questions, explore creative solutions, and maintain curiosity. Sometimes, the solution requires them to experiment—bend materials here, fold them there, quietly contemplate, or engage in open discussions where ideas are exchanged. I foster this through in-class studio days, where students are free to explore and develop their ideas while I am present to guide and support them.
Craftsmanship:
Becoming a theatrical designer requires mastering a wide range of tools and equipment, as well as understanding how to use them safely. In teaching students how to implement designs, I emphasize the respect and patience needed to master the craft. My lectures often include demonstrations that begin with basic techniques, which students can then build upon as they grow their skills.
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COURSES TAUGHT:
My course load is divided between core fundamental classes and a rotating variety of elective courses. Regardless of the course, I emphasize the holistic idea that all design elements within a production are interconnected. I also incorporate my expertise in lighting design into many of my courses. I frequently update course material to reflect the needs and interests of each student cohort. Tailoring the content in this way helps create a more engaged classroom, allowing students to develop a deeper appreciation for the art form.
TH 1301 Fundamentals of Design:
Each faculty member teaches a different fundamental course required for Theatre Arts majors and minors at UMN Morris. In TH 1301 Fundamentals of Design, students are encouraged to think visually beyond the script. This course invites them to use various artistic mediums, express their ideas through visual research, and develop the communication skills necessary to articulate their artistic intentions.
TH 2301 Stagecraft:
This course teaches students how to bring their ideas to life by building on their artistic and conceptual skills through the study of materials, tools, and processes in theatrical arts. One practical example includes learning how to read construction documents developed by the designer.
Elective Courses:
In addition to the core fundamentals, I teach a rotating set of elective courses, including Performance/Production Experience, Theatre: An Introduction, Costume Design, Sound Design, Theatrical Scene Painting, Fantasy Clothing and Puppetry, Property Design & Construction, Stage Lighting, Artistic Portfolio, Advanced Lighting Design, Computer-Assisted Drawing, Scenic Design, and Senior Project. I also lead Fine/Performing Arts of London, a course where I guide students through London’s arts community over several weeks. While these courses are offered on rotation, they may occasionally be offered out of sequence based on the interests and needs of the current student cohort.
Lighting Design:
At its core, lighting design has existed for centuries, with the fundamental purpose of illuminating the action onstage. However, modern lighting design, particularly with the advent of LED technology, is a relatively new and rapidly evolving art form. Today’s theatrical lighting designers can implement complex, networked LED systems to enhance a performance in exciting ways. While technological advancements are crucial to creating dynamic stage pictures, it’s important to remember the foundational principles of how lighting influences the perception of a piece. In my designs, I continually ask questions like, “Does the intensity of the light reflect the emotional impact on stage?” and “Do the colors accurately portray the setting?”
Safety:
Theatre design inherently involves risks, and failure to follow proper protocols can lead to injuries. I emphasize safety as a critical component of my courses, ensuring that students leave with the knowledge to safely execute designs using complex rigging equipment, data, and power systems.
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ADVISING:
Serving as an advisor is a significant responsibility that I take very seriously. I aim to be a trusted point of contact for my students, offering guidance throughout their education. Many of my advisees are theatre arts majors, and I often work with them in production or have them enrolled in my courses. This allows me to build strong, lasting connections that extend beyond the classroom, creating a rapport that can evolve into collaborative creative partnerships. I encourage students to explore areas beyond theatre to broaden their creative perspectives.
Other Advising:
Since 2020, I have served as the faculty advisor for Meiningens Student Theatre, a co-curricular club supported by the Theatre Arts Discipline. In this role, I work with student leaders to plan workshops, conferences, and full productions that align with the Theatre Arts Discipline’s yearly schedule. I also mentor four to eight students each year on various artistic projects, including assisting with my design work or leading their own design elements. I help these students produce work worthy of inclusion in their artistic portfolios. Additionally, I mentor students in preparing their third-year portfolios, an academic benchmark required for the major. This process is always rewarding, as it allows me to engage with students as fellow artists.