Theatre Design & Technology - Summer 1976 - 36
BOOK REVIEWS
TO_N_YC_O_UR_TA_DE
BOOKS AVAILABLE FOR REVIEW
Applebaum, THE NEW YORK STAGE: FAMOUS PRODUCTIONS IN PHOTOGRAPHS.
Beaumont and Idzikowski, A MANUAL OF THE THEORY AND
PRACTICE OF CLASSICAL THEATRICAL DANCING
(METHODE CECCHETTI).
Black, FIRST READING TO FIRST NIGHT.
Colle, COLLARS, STOCKS AND CRAVATS.
Gross, UNDERSTANDING PLAYSCRIPTS.
Harris, DICTIONARY OF ARCHITECTURE AND CONSTRUCTION.
Kuttruff, ROOM ACOUSTICS.
Loney and MacKay, THE SHAKESPEARE COMPLEX.
Pickering and Male, SELECT BIBLIOGRAPHY OF DRAMA AND
EDUCATION.
Shesgreen, ed, ENGRAVINGS BY HOGARTH.
Zesch, ed., THEATRE PROFILES/2.
RENAISSANCE THEATRE COSTUME AND THE SENSE OF
THE HISTORIC PAST
by Stella Mary Newton
New York: Theatre Arts Books, 1975
ISBN 0-87830-108-9
346 pp., iIIus., $29.95
Theatre technicians, this book is for you. Of course it is also
for the art historian, the social historian, and anyone else who
likes to read for both information and enjoyment. It is a book
full of often neglected facts written in a style both lucid and
witty, amply illustrated with pertinent pictorial matter, most of
it seldom encountered by readers of history or of books on historic costume. The author, Stella Mary Newton, combines a vast
experience as art historian with very practical knowledge of and respect for - the craft of costume construction.
Equipped with these essential skills, Newton faces the problem
of determining what theatre costume in the Renaissance actually
was like, a problem that no researcher in theatre history has previously tackled. What is there left to look at? There are no actual
costumes, and only relatively few costume designs. Those that
remain, the author says, are under suspicion of never having been
the basis for the actual costumes seen by fifteenth and sixteenth
century spectators in Italy, France, and the Netherlands. Therefore, she has approached the task in another way.
Renaissance artists were very conscious of the realness of the
clothes they painted. They knew about construction, about
fabrics, and what happened to them on the human body. And,
like their public, they understood the language of symbolism
which was a standby for theatre. It was particularly useful for
identification in the great outdoor processionals which were
viewed by the man in the street and participated in by noblemen,
their entourages in rich liveries, and guild members in their distinguishing styles and colors. The artist who, as citizen, witnessed
these magnificent events reproduced them faithfully and thus
preserved them. Artists memorialized Biblical scenes and eventually classical and allegorical trionfi. Following theatre designers,
they used special articles of dress to identify the characters: hats,
crowns, veils, length of sleeves and their decorative edging. Moreover, the language of theatre, as reflected in paintings, relied on
the didactic and dramatic values of the Far Away (the imagined
and occasionally observed Orient) and the Long Ago (the heroic
and revered past). The author cites instance after instance of such
theatrically-insp ired figures and demonstrates her thesis with
well-i:hosen illustrations.
There is another approach to understanding theatre costume
of the Renaissance - the written word, the most matter-of-fact
examples being inventories of costumes and props. The most laud·
atory sources are authorized accounts of great spectacles in honor
of rulers, their courtly visitors, and their brides or marrying daugh-
36
SUMMER,1976
ters. Such accounts also describe triumphs and ballets de cour.
More objective are entries in local diaries and in accounts sent
home by travelers, which preserve personal opinions. From writings and pictures, the author has built her convincing reconstruction of Renaissance theatre costumes.
However, this book is by no means only, or even primarily, an
account of "how they used to do it." Read the second line of the
title: " . . . . . AND THE SENSE OF THE HISTORIC PAST." By
the end of the fifteenth century in Italy, learned research was going on in the cities which still lived among Roman relics. Portions
of classic dress and armor were adapted to the practical usage of
theatre dress and the taste of the time. In the Netherlands, theatre
costume reflected instead the Gothic past and was influenced by
the great German artists.
The sixteenth century, in both the South and the North, saw
the first serious study of costume worn throughout the known
world in past and present. Books of costume, liberally illustrated,
were published and eagerly perused. But for the artist-designer
himself, costume was of secondary interest compared with the
dazzling scenic effects that were to be seen in the indoor theatre.
Nevertheless, court shows used ladies and gentlemen magnificently
dressed in the latest styles with identifying accessories, such as
veils for nymphs. In spite of all this sterility of design in the courtly spectacles, the sixteenth century was, Mrs. Newton states,
the time for serious study of historic costume, to be equalled only
by the nineteenth century.
This is a book about costume, as the title states, but one
chapter is devoted to the whole spectacle created by the designers.
In particular the introductory chapter is for all theatre workers;
it cou Id stand by itself as an essay on the place of history in the
theatre. It deals with the theory of your craft as designer and
maker of theatre now as well as in the past. Reading these pages
you should hold your heads high, for yours is a proud inheritance from a host of now-forgotten craftsmen who created the
visual eloquence of the spectacular theatre.
Lucy Barton
University of Texas
SIMON'S DIRECTORY OF THEATRICAL MATERIALS, SERVICES AND INFORMATION, 5th Edition
Bernard Simon, Editor
New York: Package Publicity Service, Inc., 1975
ISBN 0-911100-02-4
388 pp., $8.95
"A review of a Directory?" questions the publicity release
for the 5th Edition of the famous Simon's Directory. But this
volume, as its predecessors, is much more than a directory. It is
also an almanac and indispensible guide to the theatre in the
United States and Canada. It is as much a record of the rel
Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 1976
Contents
Theatre Design & Technology - Summer 1976 - 1
Theatre Design & Technology - Summer 1976 - 2
Theatre Design & Technology - Summer 1976 - 3
Theatre Design & Technology - Summer 1976 - Contents
Theatre Design & Technology - Summer 1976 - 5
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972May
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
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