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Throughout its history, the American university has learned to accommodate divergent functions-theological, humanistic, vocational, and scholarly, for example-that have been organized into curricula, and legitimized on the basis of changing ideas about the uses of knowledge. The growth of theatre studies has been complex and multifaceted but, in the end, its generalizable characteristics can be understood to fall into two prevailing curricular orientations. The first, an aesthetically-oriented curriculum, teaches the values of the liberal humanist approach. The second, a market-oriented curriculum, is characterized by professionalism and vocationalism. These formulations mark the triumph of "Enlightened" objectivity that has afflicted our practices with discordant beliefs about whether to teach humanistic content or the crafts of theatrical production. In the 1930s, this debate came to be identified as a dichotomy between "craft" or "culture."

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