Theatre Design & Technology - May 1971 - 26

(Continued from page 22.)

THEATRE MANAGEMENT,

One very important thing is that there
are people in show business today who say,
"We are not in show business, we are in
the business of doing shows." They are
there to make money on anybody's blood.

ECONOMICS, AND PRODUCING
IN AMERICA:

You are talking about your visions of what
the theatre should be in schools, colleges,
and universities, and using that as a basis
to get mixed up with what happens on
Broadway. You are very far off base because you will not change what happens on
Broadway. Do you know that there are still
houses on Broadway that have D.C. current?

A SELECTED BIBLIOGRAPHY

You can't put anything that':§ A.C. into
the Royale Theatre or the greater portion of
the Winter Garden, and without any A.C.
you've got nothing in today's market. .
Something came up before. A man who
is a designer has no right to light. He is
too busy with his design to find time for
lighting. Yet there are members of that
union who have the audacity to decide that
they will do light and set design. There is
no time.
There are other designers who put a
show in the theatre and say to you, "That's
it, now you find a way of gelling the light
to light my scenery."
If designers would be designers and let
the lighting technicians be lighting technicians, we might find ways to go with
what we've got.
And again, I go into a shop and I get a
crazy argument: "Make sure that every unit
that goes out there is as sharp as sharp
can be, it's got to do its thing right on that
stage." Then I get up on the ladder and the
first unit I hit, he says, "That's great, now
will you sohen it up for me because it's
gelling too many shadows on the back
wall."
Why am I taking an ellipsoidal and leko
and making a fresnel out of it? Why don't I
go to the fresnel to begin with! . . .
We used to go back to the "girls" in
the business-they really wouldn't know
what this is about.
The unfortunate thing is, and I hate to
admit it as a man, that the "girls" made
this business of ours come alive, and what
they did was advance our lighting design and
the speed which we can get shows on and
cut the cost beller than anybody else by
far. Everybody has followed the trend that
they started and thank goodness or we
probably would have no theatre at all.
(Applause)

After a number of other people had
spoken. Mr. Olson thanked the panel members and audience in behalf of the Presentation Committee, and in addition said:
I am afraid that, as Mr. Oenslager said
24 years ago, "Jake is still up there on the
ladder and Joe is on the dimmers," and we
all have to give them a hand. 0

COMPILED BY STEPHEN LANGLEY, Ph.D.;
DIRECTOR, OFFICE FOR THE PERFORMING
ARTS, BROOKLYN COLLEGE OF THE CITY
UNIVERSITY OF NEW YORK: APRIL 1971.

The following bibliography is primarily composed of hardcover publications that relate
to the live theatre, although additional titles
that apply to other branches of the performing arts or to the field as a whole are included. Titles are grouped in the following
categories:

BACKGROUND READING: THEATRE
IN RELATION TO AMERICAN CULTURE, BUSINESS, AND SOCIETY

BACKGROUND READING: THEATRE IN RELATION TO AMERICAN CULTURE, BUSINESS, AND SOCIETY
II.
THEATRE ECONOMICS AND PRODUCING
III.
THEATRE ADMINISTRATION
IV.
THE PHYSICAL PLANT
V.
CAREER-PLANNING IN THE THEATRE
VI.
STUDIES OF REGIONAL THEATRE, SPECIFIC THEATRE GROUPS, AND MANAGERS
VII. GENERAL HISTORIES OF THE THEATRE
VIII. REFERENCE WORKS

Dennis, Lawrence E. and Renate M. Jacob (eds.).
The Arts in Higher Education. San Francisco:
Jossey-Bass, Inc., 1968.
Dewhurst, J. Frederic and associates. America's
Needs and Resources. New Yorl<: Twentieth Century
Fund, 1955.

Adams, W. Howard. The Politics of Art. New Yorl<:
Associated Councils of the Arts, 1966.
The Arts: Central Element of a Good Society. New
York: Associated Councils of the Arts, 1965.
The Arts: Planning for Change. New York: Associated Councils of the Arts, 1966.
The Arts and the University. New Yorl<: Council on
Higher Education in the American Republics, Institute
of International Education, 1964.
Berg, Ivar (ed.). The Business of America. New
York: Harcourt, Brace, & World, 1968.
Bridges, (Lord). The State and the Arts. (Romanes
Lecture, Oxford, June 3, 1958). Oxford: Claredon
Press, 1958.

Dewey, John. Art as Experience. New York: Minton,
Balch & Co., 1934.
Dorian, Frederick. Commitment to Culture. Pinsburgh: University of Pittsburgh Press, 1964.
Eells, Richard. Corporation Giving in Free Society.
New York: Harper & Row, 1956.
_ _ _. The Corporation and the Arts. New Yorl<:
Macmillan, 1967.
Farnsworth, P. R. Musical Taste: Its Measurement
and Cultural Nature. Stanford: Stanford University
Press, 1950.
Gingrich, Arnold. Business and the Arts: An Answer
to Tomorrow. New York: Paul S. Eriksson, Inc.,
1969.

Brook, Peter. The Empty Space. New Yorl<: Atheneum, 1969.

Grau, Robert. The Businessman in the Amusement
World. New York: New York: Broadway Publishing
Co., 1910.

Burgard, Ralph. Arts in the City: Organizing and
Programming Community Arts Councils. NewYorl<:
Associated Councils of the Arts, 1968.

Heckscher, August. The Foundations and the Arts.
New Yorl<: The Twentieth Century Fund, 1966.

Chagy, Gideon (ed.). Business in the Arts '70. New
Yorl<: Paul S. Eriksson, Inc., 1970.
Cutler, Bruce. The Arts at the Grassroots. Lawrence,
Kansas: University of Kansas Press, 1968.
de Grazia, Sebastian. Of Time, Work, and Leisure.
New Yorl<: The Twentieth Century Fund, 1962.

_ _ _. The Public Happiness. New Yorl<: Atheneum,1962.
Koestler, Arthur. The Act of Creation. New York:
Macmillan Co., 1965.
Landstone, Charles. Off-Stage: (A Personal Record
of the First Twelve Years of State Sponsored
Drama in Great Britain). London: Elek Ltd., 1953.

~ THEATER DESIGN AND TECHNOLOGY

MAY. 1971

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