Theatre Design & Technology - Fall 1977 - 35

TONY COURT ADE

BOOK REVIEWS
BOOKS AVAILABLE
Bellman, SCENOGRAPHY AND STAGE TECHNOLOGY
Benedetti, SEEMING, BEING AND BECOMING: ACTING IN
OUR CENTURY
Bentham, THE ART OF STAGE LIGHTING, 2nd Ed.
Gorman, SIMPLIFIED GUIDE TO CONSTRUCTION MANAGEMENT FOR ARCHITECTS AND ENGINEERS
Hoggett, STAGE CRAFTS
Moynet, FRENCH THEATRICAL PRODUCTION IN THE
NINETEENTH CENTURY
Sands, THE SOUND SYSTEMS INSTALLERS HANDBOOK
Stoddard, ed., STAGE SCENERY, MACHINERY AND LIGHTING: A GUIDE TO INFORMATION SOURCES (a bibliography)
Write: Professor Tony Courtade, Book Review Editor, THEATRE
DESIGN AND TECHNOLOGY, University Theatre, University
of Missouri-Columbia, Columbia, MO 65201

VICTORIANA
by James Laver
Princeton: The Pyne Press, 1975
ISBN 87861-089-8
192 pp., illus., $10.95
James Laver enjoys an international reputation as a social
historian and "philosopher of .fashion." In his variegated career,
he has tackled subjects as diverse as costume in the theatre and
the prophetic outpourings of the seer Nostradamus. His latest
book, Victoriana, is an excursion into yet another field, the
collector's guidebook, and with typical Laverian upmanship, the
book is in the best British sense, a "treat."
Designed as a concise, illustrated introduction to collecting
the art and objects of the Victorian age, Victoriana easily transcends the encrusted authenticated pedagogy usually associated
with guidebooks on the subject. Similarly, the book escapes becoming what might easily have degenerated into a jou-jou engineered to satisfy the recent trends of the nostalgia industry.
By virtue of James Laver's intellectual acumen and enlightening
commentary, this slight volume becomes a delightful footnote to
the Victorian age. Much of the success of the book may be
glimpsed even in the range of items it presents. Besides treating
the standard collectables such as furniture, silver, glass, pottery,
and porcelain, Laver effervescently explores much of the ephemera of the age, items such as music covers, prints, Christmas
and greeting cards, Valentines, melodrama, and other, posters,
toys and games, tinsel pictures and juvenile drama, and Victorian
vehicles - items which lesser observers often neglect as "unserious ."
With this panorama, Laver occasionally disgresses to provide
the kind of detailed information which in itself is a rich evocation
of the period. For example, he traces the entire social geneology
of the Victorian era by delineating the concentric architectural
neighborhoods of greater London. At another point, he reveals an
ironic boomerang in the labelling of the Art Nouveau Movement.
Originally derived from the English Aesthetic Movement, Art
Nouveau had actually become known in France as "Ie Style
Anglais."

Vicroriana continually shines with the kind of social amplification for which Laver is famous. For example, not only are we
told what antimacassars were (cover-ups for furniture designed
to ward off the threat of macassar, a very stickly hair grease which
ruined upholstery) but we are given the Laver correlation of the
Victorian passion for covering things up "as if it were somehow
improper for tables as well as ladies to show their legs."
The illustrations, some two hundred in number, are also
carefully chosen visual conspirators in this excellent book: we are
shown a fan which took twenty-six people to make, a watervelocipede, a valentine couched in the form of a bill, a gas geyser,
and a toy theatre.

I

USITT

I

Clearly, Victoriana goes far beyond its responsibility as a
guidebook and becomes a joy to read and look at just for itself a distinction which unquestionably marks it as a piece of highly
collectable Laveriana.
Toronto
Syvalya Eichen

THEATRES, SPACES, ENVIRONMENTS: EIGHTEEN
PROJECTS
by Brooks McNamara, Jerry Rojo and Richard Schechner
New York: Drama Book Specialists, 1975
ISBN 0-910482-63-2
181 pp., illus., 22.50

Theatres, Spaces, Environments: Eighteen Projects presents an
alternative form of play production and scenography called environmental theatre. The book begins with an introductory essay by
Brooks McNamara who places the debut of environmental theatre
in America in 1967 with Richard Schechner's production of Victims of Duty in New Orleans. McNamara discusses the general
attributes of environmental theatre as exemplified by the fairground, the agitprop theatre of the 20's and 30's, and by contemporary large-scale and outdoor performances in America by the
Bread and Puppet Theatre, Robert Wilson, Meredith Monk and
others. Then, in an all too brief overview, McNamara traces the
modern trend of anti-naturalistic and anti-proscenium theatre
back to Appia and Meyerhold noting that environmental theatre
has always been a part of the performing tradition though rarely
in the mainstream. Environmental theatre is not in the mainstream
today either, but McNamara's literate description makes one
believe that it is much worthier than its history initially suggests.
McNamara's colleague, designer Jerry Rojo, does not, however,
inspire a similar confidence. In his discussion of the principles and
concepts of environmental theatre, Rojo offers little insight into
this form of theatre practice and, from his remarks, the reader
may begin to suspect that Rojo's first aesthetic principle is to
make a virtue of necessity. Rojo's theoretical perspective is limited. He says far too little about the economic basis of environmental theatre as practiced by him and his colleagues. Sound,
light, acoustics and other technical matters are poorly represented
theoretically in Rojo's remarks and, at times, he speaks of commonplace theatrical accomplishments as though they were moonshots.
Relief from Rojo's shortcomings as a theoretician and writer
arrives with a third essay, entitled "E nvironmentalists Now",
authored by Richard Schechner. It is only with Schechner's erratic
brilliance that the reader is made to sit up and take notice. Painting with rather broad strokes, Schechner relates his view of environmental theatre to recent social and artistic trends which
range from news theatre to happenings and other forms of expanded performing activity, to non-western performance standards,
and to the social effects of the media. Schechner makes environmental theatre seem not just inevitable, but right.
The remaining eighty percent of the book is devoted to the
description of the eighteen environmental theatres projects designed by Rojo and including, in many instances, artistic partnership with Schechner. Brooks McNamara acts as the questioner
as each of these projects is discussed in some detail by Rojo and
Schechner; presented with illustrations which include photos of
performances, models and renderings or floor plans. The accompanying discussion, transcribed from tape, is remarkable for the
fact that it cries out so loudly for an editor who believes in life,
liberty and the pursuit of clarity. The only bright spot in this
fog turns out to be Schechner, whose signal flashes intermittently.

Theatres, Spaces and Environments: Eighteen Projects is a
faulted book because it is so badly produced. Consequently, it
is a book which is considerably less interesting than its subject.
I n order to get to the heart of the matter, the reader has to grope

THEATRE DESIGN AND TECHNOLOGY

FALL,1977

35



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1977

Contents
Theatre Design & Technology - Fall 1977 - 1
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Feb
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Feb
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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
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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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