Theatre Design & Technology - Winter 1983 - 27

discussion of the problem of translating
Brecht' term Verfremdung into English.
While many of the quotations are long and
detailed, some quotations are 0 brief that
they will con\'ey lillie to the reader not already familiar with the writer's \·iews. The
book i handsomely pUt together, and the
format easy to 1I e once it is understood.
Yvonne Shafer
Ohio State University

Stage Management: Forms & Formats by Barbara Dilker. ew York:
Drama Book Publishers, 1982. ISB
0-910482-85-3,192 pp., 513.95 paper.
What is a stage manager? Several books
suggest definitions bUI the answer will ultimately depend on the production and the
responsibilities involved. Whatever the particulars, however, a stage manager is a person with lots of information vital to a theatrical production. Barbara Dilker"s nel\'
book will not tell you how to be a stage
manager, but it will tell you how to get organized and be a beller stage manager. Dilker has devi ed 112 full-size blank forms
that are easily reproducible and ha\'e lots of
space for writing needed information. From
auditions. performance logs, scenic elements, or lighting to the production book,
there is a form to cover the situation. These
forms are adaptable to fit the situation and
to be useful to other theatre crafts as well.
i\lost important, they are conl"enienl.
Rather than silting down to design a "Lighting Instrument Schedule" form that will
take time and be tedious work, the lighting
designer or the stage manager could use the
master form (10-0) and have the problem
,ol\'ed alreadv. All the forms are clearly explained with samples included. This book
,I'ill have much value in a technician/de;igner/stage manager's personal library,
md it should become required reading for
future stage managers.
Edward J. Delong
St. tllary's College of ~Iaryland

Art and Dance by Iris Fanger. :\Iarianne
tllanin and Elisabeth Sussman. Boston: In,titute of Contemporary An. Inc .. 1982.
(SB 10-910663-38-6. 130 pp., ill., 515.00
paper.
An and Dance is a handsome publication
is ued in conjunction with an exhibition,
;eries of film pre entations, lect ure and performances examining the relationship be:ween modern an and dance for the past
1inety years. The exhibition and publication
,I'ere produced by the Institute of ComemJorary An in Boston under the guidance of
.he institute's curator Elisabeth Sussman, an

historian Marianne Martin, and dance historian Iris Fanger. The exhibition premiered
in Boston in 1982 and was presented at the
Toledo luseum of Art in Ohio in March and
April 1983.
An and Dance is far more than an exhibition catalog. It is a collection of six essays
and interviews discussing some of the works
in the exhibition and the artist and dancers
who created them. The text and illustrations
go far beyond being a mere documentation
of the exhibition by exploring the shared concerns of modern an and dance, and how
each has been influenced, shaped, and utilized by the other.
The first and longest essay, "Modern Art
and Dance: An Introduction" by larianne
Martin, provides a historical framework for
the vital collaboration between art and dance
that occurred between 1890 and approximately 1930. Martin's commentary relates
specific works in the first half of the exhibition to historical developments in art and
dance during the period. This is a difficult
assignment given the di\'ersity of exhibition
item ranging from a lithograph of Loie
Fuller by Toulouse-Lautrec to stage designs
for the Ballets Russes by Bakst, Picasso, tllatisse, Gontcharova, Gabo, and Tchelitchev.
Out of the nece sity of covering 0 much territory, tllanin occasionally generalize or
a cribes excessi\'e imponance to certain
works in the exhibition at the expense of productions and artists that are not represented.
i\lartin does discuss Loie Fuller, Isadora
Duncan, selected works of Diaghile\"s Ballets Russes, Oskar Schlemmer's Triadic BalleI, and several of Rolf de t1are's Ballets
Suedois productions. Manin's language is
that of the scholar and art historian and uninitiated readers may find it difficult.
Iris M. Fanger's "The Changing Space of
Theatre" describes the evolution of theatre
architect ure in relationship to developments
in the history of ballet and dance. Fanger
concisely summarizes the major ideas of
Wagner, Appia, Jaques-Dalcroze and Craig,
outlining their relationship to and impact
on movements in dance.
"i\lartha Graham and the Changing
Landscape of i\lodernism," by Deborah
J OWill, examine the career and dance e thetic of i\lartha Graham. The essay focuses
on Graham's productiw collaboration with
sculptor Isamu Noguchi between 19-1-1 and
196 . Productions such a Judilh are discussed and pro\'ide a context in which to
I'iew the Noguchi works included in the
exhibition.
Dm'id Vaughan's essay, "Then I Thought
About i\larcel ... i\lerce Cunningham's
Waikaboul Tillie," describes the creative realization of Cunningham's 1968 dance Walkaboul Tillie which was a tribute to i\larcel
Duchamp. The selling for the dance was inspired by Duchamp's "Glass" which was

Editor: L. Garren

translated to the stage by Jasper Johns in a
series of clear, inflated set pieces.
"Dance and the Video-Television Dialogue: A Problem of Location" by David
Ross examines the history and creative potential inherent in the marriage of television/
video and dance. Ross describes a series of
relatively new performance creations that incorporate the use of video and explore questions of perception, scale, time and space in
relation to dance.
The final article in the book is a" ew
Work: Interview with Douglas Dunn, Jeffrey Schiff, and John Driscoll" by Elisabeth
Sussman. The interview documents some of
the interactions of interests that occurred in
the creation of a new dance piece created
specifically for the exhibition by choreographer Douglas Dunn, sculptor Jeffrey
Schiff, and composer John Driscoll.
All of the essays are well illustrated with
photographs and drawings, some of which
are from works in the exhibition. The book
includes a checklist of all of the works in the
exhibition and a selective chronology covering the period 1876-1979 oUllining significant events in art, dance, and history. It concludes with nores and bibliography for the indi\'idual essays in the collection. This is a
highly informative and beautiful publication
that should be read by anyone interested in
the relationship of modern art and dance. C
Robert C. Hansen
Bowling Green State University

National Conference 2nd thru 7th April'S4

ATA members attend at USITT member rates.
ATA placement service available.
USITT Conference Committee. P.O. Box 260007. Tampa. FL 336B5

Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 1983