Theatre Design & Technology - Spring 1978 - 34

r

this is a most serious fault. and it occurs on almost every page. A few
random examples: pages 218-219 show examples of various swords
and spears. All are apparently sharpened to a point. Page 197 shows
a metal can full of water. on an open hotplate being used to steam
felt. Nowhere in the lighting section is there any mention of either the
fire or electrical hazards of stage lighting. The lashing system shown
on page 54 is adequate only for flats less than 3.0 m high. For taller
flats it is dangerous. The section on Superstructures (to replace
grids) shows several structures perfectly satisfactory IF THEY ARE
PROPERLY ENGINEERED (reviewer's emphasis) but nowhere in the
text does this condition appear.
There are many other examples of illustrations that could be easily
misconstrued by the inexperienced person at whom the book is
apparently aimed. If it were to be used as a text. the instructor would
have to consistently stress safe working habits in the theatre.
There are other omissions and inconsistencies. The section on
flats, while showing many types and uses, does not mention the
dimensions and kind of lumber used in the frames and corner blocks,
nor is the reader given a maximum spacing for toggles. Several types
of staircases are illustrated, but it is not apparent to the beginner that
wide steps need supports in the center as well as at the edges.
Then there is the problem that any British text faces in North
America-unfamiliar nomenclature. Thus rostrums, greaseproof paper, lanterns, and spigot casters, all familiar to us under different
names, appear throughout the work. The American publishers have
provided a list of American suppliers which is a bit spotty (neither
Kliegl nor Strand-Century are listed under Stage Lighting!) and the
book list is also rathe, short.
I would recommend this book as a valuable supplement to the
property department's library, but have reservations about its use as
a general text. Such usage would require supplementary material on
safety, adjustment of the British nomenclature, and additional information to support the sections on construction of flats and platforms.
D. Mardon
Dalhousie University
Famous Actors and Actresses on the American Stage: Documents
of American Theatre History, Volumes 1 (A-J) and 2 (K-Z), by William
C. Young. New York: R. R. Bowker Co., 1975, ISBN 0-8352-0821-4,
xxi, 601 pp. xi, 602-1298 pp., illus.

This novel, somewhat perplexing, project is in reality a small scale
panorama of American theatre history. Perhaps best understood as
another chapter in the author's continuing effort to compile useful
documentation on the English-speaking stage, these volumes bring
together "accounts of two hundred and twenty-five of the greatest
actors and actresses ever to grace the American stage." As documentation, the individual portraits assemble in one place information
from diverse and rare sources. I must admit that I personally found
Dr. Young's work both entertaining and enlightening. However his
raison d'etre is not entirely clear as one reads the Preface.
These volumes on famous actors and actresses on the American
stage are written with a two-pronged purpose: (1) to present
contemporary evaluations of the abilities of a certain fine actor or
actress; and (2) to relate a performer's philosophy of acting and
approach to certain roles.
All well and good as far as it goes. but the hooker comes with the
criteria and the selections themselves. Admitting that "the answers
will not be as clear-cut as most readers would like." the author lists
four guidelines. Preference is given to performers of the eighteenth
and nineteenth centuries: the recognized towering greats are included: the creators of 'great' roles receive a nod: and preeminent
contemporaries complete the select listing. Without arguing the inclusion or exclusion of specific names-and each reader will find one
or more favorities missing-I have a lingering suspicion that the
compilation of documentation is just simply that. and that without an
historical theme or reference pOint-an ax to grind if you will-criteria
for selection is not very convincing.
Is this really a fatal weakness? I think not, and this becomes most
apparent if one resists the temptation to simply start at the beginning
and read straight through in alphabetical order and instead proceeds
by decades as compiled in the special index. Approaching Young's
32

twelve hundred plus pages in this fashion projects one into a fascinating unfolding epic of cultural activity as captured by the pens of
many who were there.
Madame, we need you in America to remind us that for every
man there is only his kind of truth to make in the end any sense
for him. The only purpose for him is that which, to use Dante's
phrase, will give him wax to light him to his summit. The rest is
competition, tricks, unrest, and satiety without exercise. You
force into everything the soul of its reality; and so expose its truth
or its incapacity and falseness. Whatever kind of part you take,
romantic. rollicking, comic. poetic, or highly naturalists, you give
the same truth to it by living out and bringing to completion its
characteristic quality. Your art is your own perpetual dilation of
reality. You have no false purposes, you never conclude, you
never solve, you only create and reveal. Most of all, madame, our
young actors need you ... They need to see that ilJ you always
there is something that the great artists must always have, something that baffles, something withheld. What we get in you, madame, is only the echo of all you are. And this will teach them the
emptiness of the poor little show of themselves that they make.
You are the artist, and the performance is yours; but behind all
that, as the world of nature is behind a flower, is you. You are an
actor but first you are yourself.
If you will pardon the unintended match of names, Young's-in this
case Stark Young's-'Letter to Duse' written prior to her American
tour in 1923, is a brilliant capturing of mood, of person, of artist. And
these volumes are crammed full of similar jewels plucked from semiobscurity by the patience and diligence of Professor Young. One has
to admire the tremendous amount of work which has obviously gone
into this compilation. and it will undoubted find a well deserved place
on the shelves where research is part of the environment. I certainly
recommend FAMOUS ACTORS AND ACTRESSES for although
"these volumes should in no way be considered a history of American
acting," they would most certainly "contribute to such a history." We
need all the ground breaking and raw materials we can get before
contemplating a start on that edifice!
Robert H. Cowden
San Jose State University

Books Received
Hollywood Costume Design by David Chierichetti. Avenel, N. J.:
Crown Publishers, Inc., 1976.515.00
A. I. A. Designer's Guide to Osha by Peter F. HopI. New York:
McGraw-Hili Book Company, 1975. $19.50
The National Playwrights Directory edited by Phyllis Johnson Kaye,
Waterford, Connecticut: O'Neill Theatre Center, Distributed by
Drama Book Specialists, New York, 1977. $15.00 (cloth), $10.00 (paper)
Subscribe Now by Danny Newman. New York: Drama Book Specialists (Publishers). 1977. 512.95
The Theatre of Robert Edmond Jones by Ralph Pendleton. Middletown: Wesleyan University Press, 1977.512.50
Ughting in the Theatre by Gosta M. Bergman. Totowa: Littlefield.
Adams and Company, 1977. S49.50
History of the Theatre (Third Edition) by Oscar G. Brockett. Boston:
Allyn and Bacon. Inc., 1977.516.95
The Shadow Box by Michael Cristofer. New York: Drama Book Specialists (Publishers), 1978. 57.95
Anton Chekhov's Plays translated and edited by Eugene K. Bristow,
a Norton Critical Edition. New York: W. W. Norton and Company,
1977. 54.95
Materials of the Scene by Welby B. Wolfe. New York: Harper and
Row. Publishers, 1977.
A BC of Stage Makeup for Men by Douglas Young. New York: Samuel
French, Inc., 1976.
ABC of Stage Makeup for Women by Douglas Young. New York:
Samuel French. Inc .. 1976.0

Theatre Design & Technology

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