The Committee on Visual Arts suggested in its recent report that, "essentially, Harvard's theatre should be of an extra-curricular character." In obvious disregard of this principle, however, the Committee recommended the establishment of a course in play production and three non-credit seminars in design, direction, and lighting.

Reinforcing these proposals, which would remove the Harvard theatre from the realm of the extra-curricular, are the suggestions which encourage faculty control--even if not during after school hours. First is the recommendation for the appointment of a professor in dramatic arts who would be "chairman of the theatre program and also director." Next, "the Committee recommends the appointment of a second faculty member, a designer-technician to aid in maintaining a high quality in theatre." Such enthusiasm for polished productions would come, unfortunately, at the expense of student initiative and self-development.

The acceptance of these proposals by the Faculty and Administration would be more than endorsement of Faculty control of what should be a student-directed activity. It would also contradict the principle of diversified education by encouraging students interested in theatrical productions to overspecialize.

The problem of over-emphasis--especially on practice rather than on theory--has been met by the English, Fine Arts, and Music Departments by limiting the number of courses a student may take in writing, painting, or performing. These departments wisely decided that a student interested in writing, for example, will have ample time in later life to write, but little time or desire to gain background knowledge. These restrictions are especially applicable to theatre at Harvard because many participants already spend more time on their play and it social accompaniments than on studies.

The only recommended course which would not encourage overemphasis or faculty control is that on the development of drama. The subject, like the present course on "Drama Since Ibsen" would be popular, useful, and not in violation of the College tradition of teaching theory and not practice.

Actual stage techniques, as far as Harvard is concerned, should be learned through experience, as they are being learned now with remarkable success. Faculty members should continue to advise and a faculty director of the new theatre should schedule the programs. Cooperation between faculty and students is necessary for the success of the program. But even more important is the realization that theatre at Harvard is not a part of Broadway, but of liberal education.