Theatre Design & Technology - Feb 1970 - 35

Part three is devoted to methods and techniques of recording the design by means of
technical and perspective drawings, and
color renderings. While it clarifies the basic
techniques of drafting, this section too often
advocates techniques taught in one particular school of design, rather than those generally used by professional and educational
theatre designers. Such emphasis on parochial techniques makes the book a difficult
one for an instructor to use unless he subordinates his views to those of the text.
The general content of Welker's book is on
a parity with others in the field. Parts
would make important supplemental reading. Its major flaws are its narrow view on
certain techniques, and its lack of attention
to the newer theories and approaches to
stage scenery which have developed within
the last ten to fifteen years.

ALAN G. BILLINGS
University of Michigan

Apollo in the Democrary by Walter Gropius.
New York: McGraw-Hili
1968 (price $12.50)

Book Company,

Apollo in the Democracy is a collection of
addresses and articles written between
1934 and 1964 by Walter Gropius, one of
this century's most significant practioner and
teacher of architecture. Born in Berlin in
1883, he founded the now justly famous
Bauhaus in 1918. When, in 1925, it found
itself condemned for "architectural Socialism" the Bauhaus (and Gropius) moved from

Weimar to Dessau where it continued to function until Hitler's rise to power ended its
existence. Gropius fled to England in 1934
and worked there until 1937 when, appointed professor of Architecture at Harvard, he
journeyed to America and remained there
for the rest of his life.
Reading from this collection one is struck
by the optimistic naivete which is peculiar
to great men while lesser men stagnate in
immobilizing reality. Specifically, Gropius'
thesis was a concern "with the creation of
beauty and with the meaning of its reverberations in the democratic society." This
can be accomplished by "reawakening in
every individual the lost ability to create
and understand form" which will then "not
only enrich man with a great measure of
happiness but also bring forth ethical powers." And, of course, he was perfectly correct. It is we, his inheritors, through our belief that something is impossible, who expound the notion that it cannot be achieved.
What is needed, therefore, is not hardnosed realism, practicality, or logic but instead a Zen-like, Bauhaus-like open, ecstatic
"spontaneous response to direct experience. "
Although only one of the addresses, Theatre Design given in Rome, 1934, is of direct interest to USITT members, each essay
has a pertinence and nuance which can be
meaningful to theatre technology. For example, the criteria of fulfilling "practical
requirements" while interpreting "the emotional life of man" which Gropius bel ieves
important to Designing Museum Buildings
(Springfield, Mass., 1946) can surely be

translated to theatre construction as well.
From this same address, one of the most
interesting ideas Gropius presents is of
architecture as a living art "rather than a
retreat from space in fixed enclosure." And
it is precisely this psychological retreat
from space and life that has consequently
pre-doomed most new theatre construction
to stand as attractive, but lifeless cadavers.
In his address, Theatre Design, Gropius revealed an awareness of the problem which
now, forth years later, plagues us even more
severely; namely to construct a building
wherein one may stage drama which shall
satisfy your "metaphysical longing and ...
give form to transcendental ideas." Gropius viewed "the task of the contemporary
theatre architect as that of creating a great
keyboard for light and space" upon which
the other participants would freely play in
order to create an "impact upon the heart
of the spectator." Such resolution, though
expressed rather simply by Gropius, seems
at this time virtually impossible because,
having been stridently molded by unnatural
monstrosities, we are no longer of one
heart.
Though indubitably quite lovely, this book
which espouses a more viable democracy,
is ironically pompously published. It is hoped
that eventually a paperback vol ume, not only
inexpensive but compact, will be issued so
the reader need not be oppressed by its
gloss, format and weight. Gropius, a Whitmanesque man, would despair his association with so cumbersome a tome. In the
meantime, have your libraries order it; the
words are good.
JOHN PYROS

Lincoln University

Russian Journal Index (concluded)
Number 5 (1968)
Contemporary Dimmers for Theatres and Television
Studios 3-11
Thyristor Intensity Control for Incandescant and
Luminescent Lamps in Theatres and Television
vision Studios 11-14
Stage Lighting of the Iktyabrskii Concert Hall 15-23
Operational Testing of D-4K Shutters for Ultraviolet Radiation Devices 23-24
Peculiarities of the Conception, and Development
of the Scenic Space in the Lenlyuz Theatre
25-35
Exchange of Experience (Platform and Wagon System) 36-38
Revolving Cariatids 36-41
Representation of Books as Scenery 41-42
Substitutes for Dyes made of Carcinogenic Raw
Materials 42-43
Number 6 (1968)
Summer Theatre Buildings 3-5
Theatres Backstage
Large (National)

(Architectural Planning) 5-8

Opera House in Warsaw 8-18

Electrotechnical Installations and Stage Equipment
of the Renovated Worms Theatre Building
(from Buhnentechnische Rundschau) 19-24
New Sound

Equipment

for

the Theatre 25-30

Perspective Distortion in Projection 31-34
Sun Eclipse Projection Effect 34-35
Movable Portal Opening 35-37
Club Hall Acoustics 34-41
Winches for Theatres 41-45

~ THEATER DESIGN AND TECHNOLOGY

FEBRUARY, 1970

35
Table of Contents for the Digital Edition of Theatre Design & Technology - Feb 1970
