Theatre Design & Technology - May 1974 - 36

To quote Mr. Hohauser, "The fundamental talents in
successful modelmaking are ingenuity and the ability to
perform manual operations with precision." Given these
capabilities, this book, then is a must for all potential
model makers and recommend reading for the professional.
Robert B. Macleod, Jr.,
Thomas M. lemons
TlA-lighting Consultants, Inc.

STAGE DESIGN THROUGHOUT THE WORLD
SINCE 1960.
Text and illustrations collected by the national
centre of the I nternational Theatre Institute
chosen and presented by Rene Hainaux with the
collaboration of Yves-Bonnet.
New York: Theatre Arts Books, 1973.
pp. 239.
$39.95.
In this third and very welcome volume, there are 551
plates of which 35 (including the jacket) are in color. A
fine volume such as this, published only once every
decade, should illustrate stage design in its most visually
advantageous form, color. If cost is the only consideration, $60.00 should not significantly reduce sales; $39.95
already places the volume in the class of "very special
gift." Th is issue, as with its predecessors, is well worth the
price.
The merits of this volume are too numerous to be
detracted from by any negative criticisms. There is a new
and commendable organizational format. Rather than
topical entry according to national origin, plates are
arranged chronologically according to author so that
designs of the same work can be seen and compared side
by side. Th is innovation makes browsing through or a
study of the illustrations simpler and more rewarding
aesthectically as the reader sees conceptual contrasts
immediately. Entries of single works are not excluded so
that the more popular and internationally produced works
of the Greeks (20 entries) and Shakespeare (44 entries)
are ba lanced with a sign ificant number of contemporary
works and seldom-produced works from the past. This
organization is particularly well-suited to the announced
focus of this volume on non-traditional productions.
According to Mr. Hainaux, "This book is not an accumulation, but a choice ... a necessarily biased selection ...
'vVe have endeavored to bring out the most original aspects
of the said decade." The I nternational Theatre Institute
agreed that this volume would be "devoted essentially to
the non-traditional aspects of the performing arts."
Reading the introductory material is a necessary part of
understanding and appreciating the selections since some
depict no scenery as such; rather, spatial mixes of actor
and audience may be what is illustrated. The major

divisions
of
plates
(DRAMA,
GROUPS,
and
OPERA-BALLET-MUSICAL) aid in making ready comparisons of varying concepts of the same or similar works.
The editors have included a section of plates titled
"Analogies of Styles and Techniques," that is, plates
and/or references to plates where similar techniques or
devices are utilized. For instance, three new plates
illustrate projections and more than twenty plates from
the body of the book are listed so that the reader can
check projection utilization efficiently. Designers will be
pleased to see comprehensive international bibliographies
of "Stage Design" and "The Place of Production;"
however, the entries for "Costumes", "Lighting", and
"Makeup and Masks" are not comprehensive enough.
Those readers possessing a reading knowledge only of
English will also aappreciate seeing all titles in the index
translated.
Another helpful addition, perhaps in lieu of the
"Designers' Who's Who", is an appendix of the designer's
or director's notes regarding the concept or method of
production. Unfortunately, these notes do not accompany
the illustration, requiring regular page turning, and all
plates are not covered by notes, due to limits of space or
the unavailability of materials. Because some plates clearly
require textual clarification, the reader will certainly
appreciate the existence of many of the notes.
The bias in this volume invites criticism; some in the
field may argue that the exclusion of traditional modes of
design eliminates too much of quality that has been
produced since 1960. Others will argue that a number of
entries do not appear to be non-traditional, that using
styrofoam to create papier-mache.l ike stone forms is not
very original conceptually. Many of us will wonder why a
favorite design was excluded - Howard Bay's Man of La
Mancha with the stage thrust and the orchestra behind
and off stage, for instance. The plates are uniformly
excellent quality in terms of photography and printing so
that what is supposed to be illustrated is almost always
clear and aesthetically pleasing. Particularly expert in
illustration are the series depicting the Orlando Furioso
(plates 43/45) and Slave Ship (plates 401/402) which
demonstrate unique actor/audience spatial configurations
and staging devices. As with previous volumes, Stage
Design Throughout the World Since 1960 will be a j'Jy to
peruse again and again.
Peter T. Vagenas
University of Delaware

USITT CONFERENCE '75
ANAHEIM, CALIFORNIA
MARCH 12,13,14,15, 1975

THEATRE DESIGN AND TECHNOLOGY

MAY. 1974

Table of Contents for the Digital Edition of Theatre Design & Technology - May 1974