Theatre Design & Technology - Oct 1972 - 36

there? For one thing, of course, they are within the subject of the book. Beyond that, perhaps we can say that
they promote a decidedly dynamic influence on theatre
art, even when they do not succeed in themselves. Can we
dismiss the effort of a George Braque or a Henry Moore
even when they are, as I believe, out of their element? I
do not think so.
Henry J. Ku rth
Case Western Reserve University

THE DRAMA PUBLICIST
By A. Martial Capbern
Central Book Company
Brooklyn, N.Y. 1968, 119 pp.
Illustrated. $8.50
This book sets out to be a "how-to-do-it" for "teacherpublicists," those who - in addition to teaching {lrama
and mounting plays - are also responsible for getting
news of their presentations effectively to their potential
audiences. It fulfills its purpose quite well. In a wellorganized, simple way it outlines the ways and means of
many forms of publicity. It should be valuable to people
uncertain of how to handle this essential aspect of theatrical production.
Unfortunately this function is rarely a part of a drama
teacher's training, nor is it a subject for convention
panels. It is recognized that directing, lighting, scenedesign and scene-building require considerable expertise,
but is is often assumed that publicity is an elementary job
that anybody can do as an after-thought with his left
hand - and it is not.
This mistaken attitude results in sloppy leaflets and
brochures and ineffective or (too often) non-existent publicity in newspapers and over the air. When no publicity
breaks in these media, an even more mistaken attitude
ensues, that publicity is such an arcane mystery and so
difficult that it is impossible of accomplishment, so one
might as well not try.
Mr. Capbern shows that publ icity isn't all that complex. He imparts the do's and don'ts of publicizing college
drama drawn from his experience as a teacher-publicist at
San Francisco State College, and at Loyola University in
Los Angeles.
The need for planned activity is one of his most important points: a time-table regarding publicity efforts, the
assembling of a card-file of publicity outlets, with the
requirements of each medium noted down, the careful
scheduling ahead of mailing-pieces, news announcements
and photo sessions.
"A newspaper, radio or television editor cannot conform to a publicist's time schedule," he says. "The publicist must conform to the editor's."
Mr. Capbern makes an important point with regard to
photo "calls" that many professional people might profit

by: Keep out everybody who is not to be photographed,
to reduce serious distractions. He also discusses the kind
of photos to try for, and what to avoid.
He covers the art of writing copy for newspaper releases, mailing-pieces and other media, which must always
be absolutely accurate, thoroughly informative - and appealing without being tiresomely blurby or loaded with
educational jargon. Long, flowery sentences loaded with
superlatives are no-nos, he reminds his readers. He encourages submission of (the right kind) information about a
presentation or series of presentations to radio stations by
reminding readers that these stations are obliged to give
some of their time to public service material.
Some of Mr. Capbern's principles are self-evident to
anyone with common sense. "Do not assume that since the
name of the school is printed or typed at the top of a
release that it is not necessary to state it in the actual
copy," he advises. Of course! But it is remarkable how
even practiced publicists can sometimes overlook such a
basic matter.
He correctly stresses the need to subm it releases as
nearly as possible in a form that will require the least
editing by an editor. In this connection he errs, I believe,
in suggesting that play-titles should be typed in capital
letters. That is a style used in few publications and so
requires a revision by the editor.
Capbern recommends simplicity in releases, that they
be factual statements, "never in a flowery or overly eloquent style." Yet in another passage he correctly suggests
that "publicity is not simply a matter of informing; it is
also a matter of appealing, persuading, cajoling and enticing." This is not a contradiction, merely the trick that
calls forth skill.
Nearly all the bases are covered, and the book contains
useful illustrated samples of releases, mailing pieces, letters and radio-TV announcements.
The compact book was first published four years ago,
and it has enjoyed a large, deserved sale. It wi II probably
continue to be a widely-used tool for years.
Bernard Simon

THEATRE MOVEMENT:
THE ACTOR AND HIS SPACE
By Nancy King
Drama Book Specialists/Publishers:
Paper $3.50
Cloth $7.50

New York

As the theatre has had to adapt itself to new forms and
approaches, so have actor training techniques. In her
book, Theatre Movement: The Actor and His Space,
Nancy King describes and illuminates a new approach to
basic movement techniques for the actor. At first glance,
the book gives the impression that it is just another text
containing fundamental exercises appropriate for good

~ THEATRE DESIGN AND TECHNOLOGY

OCTOBER, 1972

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