Theatre Design & Technology - Fall 1976 - 52

BOOK REVIEWS

TO_NY_C_OU_RT_A_DE

BOOKS AVAILABLE FOR REVIEW
Gross, UNDERSTANDING PLAYSCRIPTS, 1974
Guernsey, ed., THE BEST PLAYS OF 1974-75
McNamara, Rojo, Schechner, THEATRES, SPACES, ENVIRONMENTS, 1976
Perry, PERFORMING ARTS RESOURCES, 1976
Pisk, THE ACTOR AND HIS BODY, 1976

THE NATIONAL DIRECTORY FOR THE PERFORMING ARTS
AND CIVIC CENTERS
THE NATIONAL DIRECTORY FOR THE PERFORMING
ARTS/EDUCATIONAL (eds.) Bea Handel, Nolanda Turner and
Janet Spencer
Dallas, Handel & Co., Inc., 1975.2 separate volumes.
ISBN 0-913766-10-1 and ISBN 0-913766-02-X
Educational $40.00; Civic $35.00; Set $70.00
I had very strong reservations about the first edition of this
work when it appeared in 1974 (Copyright 1973). The scope of
the project was overwhelming, and the method for gathering the
necessary data was simply not complete or sophisticated enough
to insure reasonable and accurate coverage. The result was that
both the content and the organization left much to be desired.
Happily I can now affirm that many of my initial objections
have been taken care of, [see review of first edition TD&T #42,
Fall, 1975, Ed.l and the NATIONAL DIRECTORY is well on the
way to becoming the standard reference work we have needed for
years; a sort of national inventory in time for the Bi-Centennial
year. The editors have clearly demonstrated a commitment to
accuracy, and if each reader takes the time to send in corrections
and additions each edition will come closer to the reliability we
would all appreciate. I suggest this as a positive substitute for'
the larger or smaller list of obvious errors which is the reviewer's
congential temptation.
The volume on civic centers is actually a major revision of the
original directory. Some ninety-nine contributors are listed indicating a broadening of resource agencies and personnel. Each
listing consists primarily of information supplied by the various
organizations themselves so that the content varies, a problem
which will never be completely solved. Basically we are given
address, phone, status, area served, purpose, management, staff,
officers, season, budget and needs. It should come as no surprise
that almost all facilities express a need for increased funding and
community support! In any future editions I would hope that
more of the listings would include information on the seating
capacities, types and dimensions of the stages, etc. This would
save a lot of phone calls and letters to obviously unsuitable locations. After all, extensive technical information is the basis on
which one choses a performance facility. Without it one runs in
the dark.
The companion volume "isolates, for the first time, educational opportunities in the performing arts throughout the nation" in
an attempt to bring together in one volume facts about degree
programs, areas of concentration, facilities and performing series.
We believe that one of the most important uses of the
book will be made by young persons, and those who are
counseling them, as they make one of the most important
decisions of their lifetime, the selection of a school in
which to continue their formal education. Our research
into the area of performing arts education has produced
some exciting facts, not the least of which is that hundreds
of schools reported a three fold increase in enrollment in
the performing arts departments or divisions as compared
to other areas of study within the institution.
The intent here has been to separate the civic and educational
arenas, but as the editors themselves point out detailed information about schools with programs in visual arts, television or film
art> has not been included in the educational volume. Thus, for
completeness, one is forced to refer to both volumes simultaneously. Also, college and university facilities which are open to com-

FALL, 1976

munity participation are included in the civic volume, a practice
which results in considerable overlapping. It seems to me that
if the intent is to separate civic from educational facilities, and
the reasons for doing this are commendable, then it should be
done completely regardless of the commercial availability of
educational facilities or programs. This would allow, for example,
high school counselors or school libraries to purchase just the
information they needed. In a era of tight budgets, this is a prime
consideration!
One piece of advice I might offer would be to urge any administrator, director or producer whether in the civic or educational
sphere who has access to a performing arts facility to closely
scrutinize each volume for accuracy and completeness. As the
editors point out, "we are beginning' work immediately on the
1976 edition, and we welcome comments and suggestions."
There is no doubt in my mind that THE NATIONAL DIRECTORY will become the standard reference work in its field which
implies a professional obligation for all of us to contribute to its
quality by identifying corrections and additions. "It is our intent,
starting with the 1974 edition . . . . to chronicle the magnitude
and diversity of the performing arts in America by recording permanent performing arts organizations .... and information about
performance facilities . . . . ." Many thanks to the editors for
recognizing a critical need "nd for their superb continuing effort
to fulfill it. I highly recommend this 1975 edition of THE NATIONAL DIRECTORY and look to further refinements in the
future.
Marc Sundelof

STAGE PROPERTIES AND HOW TO MAKE THEM
by Warren Kenton
New York: Drama Book Specialists/Publishers, 1974
ISBN 0-910482-53-5
119 pp., illus. 55.50
Warren Kenton lectures on the design and construction of
stage properties at the Royal Academy of Dramatic Art in London. He wrote Stage Properties and How To Make Them in 1964
as part of the Theatre and Stage Series published by Sir Isaac Pitman and Sons, Ltd. Designed as a basic manual on the construction of properties, the book is divided into two sections: (1) an
introductory section which lists tools and materials, books of
reference, and describes basic framing, covering, and painting
techniques; and (2) a section of practical applications which
describes the methods of constructing approximately fifty different property items ranging from such standard theatrical
objects as masks, thrones, crowns, food, leaves, arms and armor,
to a selection of more esoteric items such as vultures, crocodiles,
butterflies, ship figureheads, and mummies.
Kenton's usual method of presentation is to provide a single
page of descriptive information on methodology coupled with a
facing page of pen-and-ink sketches illustrating that particular
technique. The sketches are very attractively done and evidence
considerable knowledge and skill at property construction; however, at times the decorative quality obscures the informational
intent in spite of the descriptive notes on the drawings and the
accompanying page of explanation.
The principal construction technique recommended by Kenton
is papier-mache work over a framework formed of wood and/or
wire. Details require the usual felt, feathers, fur, sequins, rope,
chain, beads, and assorted paints. Th is basic method is adapted
ingeniously to the wide variety of objects illustrating "practical
applications." Descriptions of the methodology tend to be somewhat cursory and frequently require a certain amount of "reading
between the lines" in order to fully understand the process; and
the sketchy nature of the illustrations often lessens their value
for clarification. Still, thorough study of the drawings and thought
ful reading of the descriptions can enable the user to attain a grasp
of the indicated processes.

THEATRE DESIGN AND TECHNOLOGY

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