Theatre Design & Technology - May 1965 - 30

Book Reviews

Books Received:
Beranek. MUSIC, ACOUSTICS AND ARCHITECTURE
Kook. IMAGES IN LIGHT FOR THE LIVING
THEATRE
Praz. AN ILLUSTRATED HISTORY OF
FURNISHING
University of Michigan. THEATRE AND MAIN
STREET
(Persons wishing to review these or other
appropri ate new book titles shou Id contact
Associate Editor Thomas Watson, State University of New York at Buffalo.

THE STAGE IS SET. By Lee Simonson, New
York: Theatre Arts Books, 1963; pp. xxvi + 584.
$3.95.

Lee Simonson's witty and comprehensive discussion of the history and techniques of stage
design, first published in 1932 and long out of
print, is now reissued in a paperback edition. In
the original Foreword the author declares that he
is writing neither theatre history nor "prophecy
of the theatre's destiny" but "one craftsman's
analysis of his problem." While Mr. Simonson
has attained a secure place in the history of the
twentieth century American theatre as one of the
pi oneers of the New Stagecraft movement, th is
is more than just a volume about the scene designer's work, for he attempts to prove at least
two major theses. He first devotes Part I of his
book to showing that the scene designer does not
have complete freedom a s an arti st but mu st
relate hi s settings to the intent of the playwright,
the interpretati on of the di rector and the practi ca I
requirements of three dimensional actors. In
Parts II and III he marshals his notes about the
staging methods of the Greek, Medieval, Elizabethan, Renaissance and various other periods to
demonstrate that the "play is always a show,"
that the vital theatre of every age stimulated
audiences with the most elaborate and spectacular realistic scenic effects of which theatre
technicians were capable. Accordingly, he is extremely critical of those reformers in the twentieth century who, he believes, mistakenly attempted to save the theatre by banishing realistic
scenery without substituting other staging methods which were equally exciting.

30

In Part IV he concludes with those customary
complaints, of which all theatre people are well
aware, about the stupidities and inefficiencies
of Broadway. As a kind of addendum to Part IV
he has written an Introduction for the 1963 edition
which contains the only new material in his book.
In this he points out the further deterioration of
the professional theatre which has occurred in
the past three decades and castigates the continuing waste and extravagance of Broadway production methods. He records that while professional theatre has declined since 1932, the number of college and community theatre productions
has greatly increased along with the construction
of several hundred new theatre bui Idings on
campuses and in civic centers. Consequently he
closes this new Introduction with a plea for a
national plan to link university and community
theatres in a program to bring drama to the entire
country.
In the years since this book was first published,
so much of the discussion in Part I about the
relation of the designer and his settings to the
other arts of the theatre has been recapitulated
so frequently in articles and textbooks by other
authors that it now seems familiar indeed, although Simonson's challenging comments and
engaging style make for provocative reading even
today. Assuredly even in 1932 few would deny
that the designer is not limited by the demands
of the script and the concepts of the director.

Yet throughout his book Simonson expends much
effort in deflating certain "visionaries" of the
twenties whom he attacks for believing that the
salvation of the theatre lay in the scenic artist
and the new scenic designs. Perhaps this should
be required reading for those present day directors and designers who feel that all the problems
of the theatre can be solved by erecting new
bui Idings with arenas, forestages, convertible
auditoriums or other devices for altering the size
and shape of the stage and seating areas.
In Chapter III of Part III is his celebrated assault
on Gordon Craig. Whatever the derivation of
Craig's ideas and however impractical his designs may have proved in actual use, most critics
would agree that his writings and drawings have
been springs of inspiration for the twentieth
century theatre. Wh i Ie Craig's influence today is
neither immediate nor direct, Simonson's excoriation is still entertaining reading. Certainly in
contrast to Craig's vague theorizings, Simonson's
approach to design is sound, orderly, businesslike and representative of the highest standards
in American theatre practice.

IOSITT

THEATRE DESIGN AND TECHNOLOOY



Table of Contents for the Digital Edition of Theatre Design & Technology - May 1965

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