Theatre Design & Technology - Summer 1988 - 4

FAREWELL

his is my forty-second and final
issue of TD& T. I have edited the
journal since 1978 and it is time to
move on to other things. The new editors will be Eric and Cecelia Fielding.
Eric is a long-time member of USITI
and has served as Associate Chair of
International Liaison and Scenic Design Commissioner; he was guest editor of the 1983 Prague Quadrennial issue. Cecelia is a free-lance editor and
graphic artist. They will also assume
the responsibility for all Institute publications such as the Newsletter and
the Membership Directory.
Transitions are times to look forward and back. In my first issue there
was an article about the collapse of a
movable ceiling in a San Jose theatre
and an article on Robert Wilsons Einstein on the Beach. Ten years later,
flexible auditoriums are mostly a thing
of the past-yet there has been little
innovation in auditorium/theatre design; ten years later, Wilson's designs
are still startling in a way that no one
else's have been. In 1978, as I began,
Robin Wagners seminal design for A
Chorus Line was still fresh; computerized lighting control was still new. The
past ten or eleven years has seen the

continued on page 57

On the cover: Bri tish designer Pamela Howard's set for Samuel Beckett's Waiting for Godot, produced
by Project Theatre at the University of Michigan, 1987. (Director:
John Russell Brown; lighting:
Robert C. Heller.) The unusual setting was based on sketches and
paintings by Van Gogh. See article
on p. 5. Photo: David Smith.
2

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Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 1988