Theatre Design & Technology - Dec 1966 - 34

ith the second half of the book -- Professor Bowman's
checklist of publications on theatre architecture, 19461964 -- there can be little quarrel. The checklist, arranged by Country of publication, IS supplemented b a
good index which makes the bibliography itself of increased value to those interested in a topical approach to
theatre architecture or in an evaluation of the general
tendencies in the design and construction of theatres
since World War II.

\j

In the introduction to his bibliography, Professor Bowman
succeeds completely in establ ishing the vital importance of
the raw material for research contained in the second half
of Theatre Architecture.
The literature of the post·World War II years shows two pre·
dominant auributes which characterize the physical theatre at
mld-centur\. (a} the continuing search for a form which \'\ ill
allow an Infinite variety of space relauonshlps between the
audience and the staged action; and (bl the arrival of an evolu·
tlonary stage In the history of the theatre In which convention
plays an Increasingly Significant part.

While the significance of current literature in theatre architecture is apparent in Professor Bowman's introduction,
the meaning of the buildir,gs themselves is less clearly
stated in the essay on postwar trends in theatre building
by Mr. Silverman which introduces the section of the
book devoted to plans, drawings and photographs.
Mr. Silverman does, however, make plain the fact that
contemporary theatre architecture reflects the mood of
transition and transformation which characterizes the whole
of theatre in the middle of the twentieth century. And,
as he suggests, the experiments in shapes found in Contemporary Theatre Architecture are evidence of the uncertainty which goes hand in hand with such a period of
transition. But the organization of his illustrated survey of
theatre architecture does not lend itself as clearly as
might be hoped to a real statement of the transformation
taking place in theatre architecture since the Second
World War.
In all fairness it must be pointed out at once that Mr.
Silverman has taken a reasonable approach to a difficult
problem of organization. By grouping theatres according to
form "in order to point up both the similarities and the
remarkable contrasts which can be achieved within a
given form," he has succeeded in giving the reader a
sense of the variety to be found in, say, the arena, the
thrust or the peripheral stage. Since theatres appear to
be more or less randomly presented and discussed within
each form, however, a sense of the evolution of any form
in the post-war period is difficult to obtain from Mr. Silverman's survey.
To make such a criticism is not to suggest an inadequate
presentation, but merely to indicate that regrettably an
important survey of theatre architecture is of less help to
the studelll of modern theatre than it might have been.
Perhaps a chronological organization within each form would
have been more revealing. Or perhaps an arrangement
by country, like that used by Professor Bowman, with a
further subdivision based either on form or on historical
chronology, would have led to a more dynamic statement
of the physical revolution which is indeed taking place In
the contemporary theatre.
Brooks McNamara
University of Delaware

SPECIAL EFFECTS IN MOTION PICTURES. By Frank
D. Clark, New York: Society of Motion Pictures and Television Engineers, Inc., 1966. pp. 238, $7.50.
In his introduction, Mr. Clark indicates that his book is

34

not to be considered a "cook book" on special effects.
Fortunately however, it does prove to be a useful "cook
book" for the technician, supplying him with fundamental
knowledge on the special effects which have been practiced by the motion picture industry. Many "secrets of the
trade" are revealed in this book for the first time.
The author begins with a historical background of special
effects in the motion picture industry, and some of the
hazards that were faced by the early movie producers in
creating them. The effects themselves are broken down
into seven basic types: "atmosphere", which covers
smoke, rain and snow; "special effects props" which
cover such items as how to make break away bottles and
the building of special props; and "optical effects" which
are related to the motion picture industry and, except for
background projections, have no direct appl ication in the
theatre. A section on "sound effects" has been better
covered in other books on this subject. "Miscellaneous
special effects" includes Everything from the manufacturing of cobwebs to the creation of a full scale oil gusher
with the formula for making your own crude oil.
The two most interesting sections of the book cover
those areas which have remained a trade secret for so
long. The first introduces the reader to the use of firearms and the effect of someone or something being shot
with bullets, and
or arrows or stabbed with knives,
pikes or spears. The final section covers the use of pyrotechniques for the creation of erupting volcanos, battlefield explosions and other explosive effects.
The book concludes with an excellent appendix which
lists manufacturers and suppliers of the various products
described and a very detailed bibliography on special
effects. Also helpful to the person looking for the answer
to a particular problem is a complete index to the publication which is sometimes overlooked in books of this type.
A most interesting sidelight to this book is the fact that
it was based on the author's thesis for a degree in Cinema at the University of Southern California. It has been
subsequently expanded and incorporates a number of illustrations. It would be gratifying to find more working
theses being produced in the colleges and universities
which could result in a useful publication covering those
areas of theatre technology which are not the subject of
the usual textbook study.
This book is not written for the theatre technician, but for
those producing motion pictures. However, it is helpful
for the theatre technician to learn how effects are created_
Many of the effects which are created for the motion
picture industry can, in turn, be reapplied to the theatre
with some modification where necessary. Naturally some of
the more elaborate effects cannot be performed on the
stage. Mr. Clark covers in detail the safety factors required for handling special effects, and the pre-planning
which must go into the creation of any properly performed
effect. Unfortunately, in the legitimate theatre this preplanning aspect is sometimes overlooked, and it is not
until the last moment that the electrician or propman is
asked to create some kind of magic.. .wlthout ItS being
obvious. It is almost impossible under these circumstances
for the effect to appear as It should. This reviewer has
built several of the effect machines which are described
111 this book, based on previous knowledge of some motion picture spec tal effects. The effects do work for the
Iive theatre if properly controlled; compromises must be
made for the difference between motion picture and live
theatre. This must be borne III mind when reading this
book.
Richard D. Thompson
Lighting and Electronics

lliill[] THEATRE DESIGN AND TECHNOLOGY

SPECIAL

EFFECTS



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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
http://www.nxtbookMEDIA.com