Theatre Design & Technology - Spring 2010 - 65

will support the collaborative process.
The book is divided into three sections: Collaboration in Theory, Collaboration in Practice,
and Collaboration in the Classroom. A majority of
the text appears jointly written, but each contributor also inserts individual comments throughout.
These notes can illuminate the material at hand
or highlight slight differences of opinion.

(2005), it is disappointing that they did not try
again with another show. This first person approach makes for some interesting admissions
and insights, but it doesnít serve well to test a
theory. The photographs are an effective way to
document the process, but the absence of developmental sketches de-emphasizes the process
in favor of the final product.

Perhaps three more brief case studies
of collaborations by others in different work
situations would have been helpful: college or
university setting, professional setting with an
emerging company, professional setting in an
established union house. by observing others in
the collaboration process, the co-authors might
have been more critically engaged in outcomes

developing a team
The most effective of the three major sections
is Part I, which focuses on the nuts and bolts
of developing a team process firmly rooted in
American practice. The director is the leader
who defines the primary vision and guides the
script analysis. The designers and director
conduct parallel research, leading up to the
presentation of initial designs and the consequent collaboration of ideas. Communication
throughout the process is encouraged among
director, designers, and the company, including actors and management. And all is evaluated
through a post-mortem process. Some aspects
are not effectively defined, however. They advise
practices to avoid but do not give specific advice
about how to achieve better practices.
The structure of these chapters endorses
a segregated and stratified approach. because
Roznowski and domer first discuss the work
of directors and then that of designers, they
unintentionally reinforce the notion that the
designers simply react to a directorís preliminary work. Nevertheless, the overall impact for
collaborators is quite positive. This section offers a pragmatic outline of a process which can
be both modeled and taught. The emphasis on
script analysis as a collaborative endeavor, research, and conversation encourages a thoughtful approach to projects that allows for input
from all members of the team and discourages
the practice of leaping to design outcomes too
early in the process.
Part II is a case-study of collaboration on
a university production of the Cy Coleman musical The Life. While the co-authors try to present
a balanced view of their work (including when
they did not follow their own theory), the case
study is not particularly enlightening. Given the
publication date and the date of the production

Congratulations
on 50 years of
exceptional service to the
entertainment industry
We look forward to continuing
our strong relationship and
working together on certification,
standards, and future projects
to support the industry.

S P R I N G

2010

theatre

design

&

technology

63



Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2010

Contents
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Theatre Design & Technology - Spring 2010 - 2
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Theatre Design & Technology - Spring 2010 - Contents
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