Theatre Design & Technology - Dec 1974 - 32

bibliography of supplementary texts. But it would
probably have been more beneficial if the "basic"
premise of Shaw's book had not been so strictly
adhered to, and at least some examples had been
given to show that most delicate next step in
converting the basic to the specific costume as
designed.
The textual format and presentation is excellent
and very well designed for a book of its kind. Much
of the volume's attractiveness is the careful consideration of its function: Basic Pattern Drafting was
obviously well-thought out for its ultimate use in the
shop environment. The size and shape is that of an
8V2" x 11" soft-cover notebook with a conven ient
spiral binding which gives the book a great deal of
maneuverabi Iity. The choice of typeface makes the
instructions easy to read and the many diagrams are
generous enough in size to prevent confusion. Even
the cover has the distinction of being functionally
well-designed. The title, white letters on a purple
field, forms a pleasing cover design with the added
advantage of providing instant visual indentification
in the clutter of the costume shop.
Sylvalya Eichen

STAGE DESIGN
Howard Bay
New York: Drama Book Specialists!
Publishers, 1974
218 pp., illus.
$12.50
ISBN 0-910482-46-2
Howard Bay's book is an irreverent, hence honest
and useful, discussion of stage design for the
apprentice designer who is looking for his future. In
the first chapter, Mr. Bay admonishes the young
designer to be sure to look at the world, to be aware
of it and to try to see it in a fresh and clear way. The
admonishments that I particularly like are to "draw
in a literal, unfashionable fashion," and to realize
that "style is a concept; not a peculiar way of
drawing." Because the future of stage design cannot
be known, many of our academic theatre departments are unintentionally leading many potential
designers down the primrose path to oblivion. If a
specific faculty happens to correctly guess the
upcoming trends in theatrical design and trains its
students according Iy, then its students wi II be
equipped for the new trends. If, on the other hand,
the faculty guesses wrong, its students will fade into
oblivion without ever contributing their voices to the
dying cries of chaos. No one knows the future trends;
therefore the apprentice designer must be grounded

in all the fundamentals of design and drawing, and
be exposed to as many specialized skills as possible
so that he will be flexible and capable of adapting to
whatever form the new trends take.
Howard Bay's second chapter, a survey and
commentary on the development of scenic art in the
twentieth century, is a far cry from previous attempts
at the subject. Those earlier works now seem dated
or limited in their focus, almost giving the impression that the development of stage design ended
sometime between 1930 and 1955. Other Surveys of
Stage Design Throughout the World Since... are no
match for Mr. Bay's lively and flippant discussion of
the various styles. As long as we can dream, we
might as well wish that some of the photographs and
renderings were in color. Unfortunately this is a
matter over which Mr. Bay has less control than does
the cost of printing. But we can dream.
The main function of the book, which makes up
the bulk of the volume, seems to be an extensive
check list for designers, detailing and explaining the
procedures to be followed in the evolution and
execution of a stage design. It should be made quite
clear that the discussion of procedure is slanted quite
heavily toward the commercial Broadway production,
and attention is focused on other theatrical environments only as an occasional after-thought. In this
regard Mr. Bay has wisely warned the apprentice
designer of the potential pitfalls waiting for him on
the Great White Way. Unfortunately, by taking this
slant, he limits the application of his book to a
specific clientele, despite the fact that what he has to
say is equally important to all designers, regardless
of where they plan to practice their art. One of the
ironies of such an approach is that we find that one of
the three recommended research sources is the
clipping file of the New York City Public Library.
Those not within commuting distance are advised to
create their own picture file.
The chapter on lighting is indicative of another
problem. The discussion of the procedures involved
in stage lighting is adequately presented, but there is
precious Iittle about how to do it. That wh ich is
presented is too sketchy to serve even as the basis
for self-study. It should be pointed out that the plots
which are included do not meet the professional
standards of U.S.A.A., which the apprentice designer is enjoined to emulate.
There are two appendixes which require some
comment. The first is "Stage Machinery" by William
Cruse. It is a relatively complete discussion of the
various fly systems available today. In addition there
are a couple of paragraphs on lifts and several
sentences on horizontal scenic movement. The whole
question is: Why bother? Why should one specific
aspect of stage machinery be singled out for

THEATRE DESIGN AND TECHNOLOGY

DECEMBER. 1974

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