1. The faculty has a shared vision of the profession, the creative process, and the collaborative effort central to theatre production. There is a common view of the commitment to positive collaborative thinking, to support for the production, to saying "yes" rather than "no," while at the same time recognizing the need for sustainability of all resources. A high level of participation is expected from the graduate students, and the standards by which the students are judged remain stringent.

2. We believe that graduate students in theatre must be aware of the realities of the profession as it exists today, and as it might exist in the future. Such an awareness includes knowledge of the variety of arts organizations throughout the country and the expectations and performance standards that exist in "real world" theatre. Emphasis is placed on alternative theatre forms and developmental groups, as well as the conventional models in the commercial and the not-for-profit spheres. Portfolio preparation and presentation are a central focus of the program. Every attempt is made to prepare the student to develop interpersonal working relationships and collaborative work habits, group thinking, and a style of personal presentation that will allow the student to understand and relate to the realities of theatre as a profession.

3. Perhaps the key lesson taught here is one that has never found its way into a chapter of any theatre text. It is a way of thinking, an approach to the work. Not rules and procedures, not formulated techniques, not rigid absolutes, but an understanding and involvement in the creative process in all its manifestations and a respect for the insight and agony of the creative individual. This attitude is inclusive; it embraces and welcomes divergent points of view of both artist and non-artist collaborators. It acknowledges tight funding while seeking the best possible means of expression.

This attitude strives to be a philosophy that serves the artistic impulse, no matter what the specific job. Individual creative growth is fostered; the personality of the artist, the manager, or the technical director is allowed self-discovery and growth, nurtured in an atmosphere of mutual respect. From it comes intensity and commitment to quality. All techniques, all skills, all of the technical aspects of the discipline fit within the framework of this way of thinking. The principal advisor and the faculty as a whole guide the student to a discovery of individual style and process. The successful student discovers an artistic center and develops the appropriate skills to create as a theatre artist.

As a faculty of teacher/artists, we are formally committed to the long term exploration of how our theatre making can be relevant in the immediate communities of our campus and the New River Valley.  This pursuit includes a constant review of our season selection criteria but, much more, it includes an inquiry into how we as theater artists can be useful and productive citizens in the communities in which we live and work; how we integrate with and are informed by the public dialogues flowing in the communities around us.  We understand this pursuit to be part and parcel with our commitment to artistic excellence.  We believe this inquiry joins that of the national field of professional theater as it strives to learn how theater responds to the realities of the 21st Century. We encourage our MFA students to join us in this crucial investigation linking community relevance with artistic excellence.