Conceptualization, as an act of creation, is central in the process of theatrical design. The process of applying research, intuition and creativity to the transient act of theatre allows a designer to create works which are more than only passable or serviceable, but worthy of admiration in and of themselves. However, it seems that this is one area in which young designers are not being trained.; Part I of this study is a contextual essay which presents the need for a textbook in the university system that stresses the importance of perception, composition and conceptualization in the design process for theatre. It includes an overview of major texts written on the subject, noting their strengths and weaknesses in the area of theatrical design. It also outlines the methods taken in the creation of 42 and looks to the future studies in the field of design for the theatre.; The textbook, 42: Approaching Theatrical Design Theory, presented as Part II of this dissertation, relates to readers the process of design and those considerations and necessary steps one must make in order to create a design (be it scenic, lighting, sound, costume or any other type) of depth and creativity. Many of the currently existing texts in this field either deal with pure aesthetics or present information in a more programmatic how-to fashion. 42 attempts to span that gap and draw together both areas while creating a link between them, a link which deals primarily with the conceptual nature of design.; To achieve this end, 42 breaks the subject matter down into six major areas: (1) perception, (2) aesthetics, (3) principles and elements of design, (4) early 20th Century theatrical design theory, (5) late 20th Century theatrical design theory, and (6) the design process. In addition to these six areas, there are two additional sections which deal with the analysis and application of design.
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