Theatre Design & Technology - Feb 1969 - 25

Maloney describes "television as teacher" in the traditional
sense. He speaks of the television teacher and teacher style,
and the need for redundancy; of the inevitable dehumanization and need for charm and personality (each of which obscure the more appropriate concerns for proper structuring
and validation of material to be learned).
Breitenfeld's "Four Faces of ETV" begins the second section
on ETV stations and networks. The school, state, university
and community stations are characterized in terms of their
purposes (and mispurposes) and the external pressures and
persons that often frustrate desired ends. The school station
experiences difficulty determining its commitments to ETV and
lTV. The state station suffers because it was established by
and must answer to politics and politicians. The university
and community stations, respectively, confront problems in
the selection of target audiences and acquiring sufficient
operating funds. These problems surely exist and Breitenfeld
has revealingly let the reader have an intimate glimpse into
the reasons. But he stops here without exploring the solutions except by inferring they are inevitable and will be
answered in time. The reader wishes for a not-so-easy way
out. The very fundamental problem is what has ETV to offer?
Can we assume it is offering anything significant to our
whole society and its institutions?
Discussions of the university and community stations continue and contributors Drefus, Collins and Schwarzwalder
offer specific examinations. Drefus fires a well aimed criticism at the universities for their lack of initiative and interest in conducting much needed educational media research.
And at last in the book, we see a reference by Coli ins to
ETV's responsibility to disadvantaged minority groups which
gets back to the criticism above and the need for justifications. Disappointingly, the reference is too brief to give the
emphasis it deserves.
Contributors to Part III, "Instructional Television," have the
most challenging assignment. A foreshadowing of their success is indicated in the beginning chapter by Taylor on the
development of lTV. A beginning is made with no meaningful outline of lTV concerns, which simply presumes a definition of instruction, or a reference to the role of instructional
technology. Contributor Gumpert proceeds with a discussion
of CCTV in training and education. An historical review continues, but on two occasions he raises points of utmost importance to the future success of lTV. He says, "Economy
and efficiency must be considered, but the improvement of
teaching, as opposed to the mechanical duplication of already existing instruction, should rank high among goals of
closed-circuit instruction" (p. 157). Another point of equal
importance is made. "There is often showmanship in CCTV,
but the emphasis should be on the effect of that quality on
the teaching-learning process" (p. 158). Had entire chapters
been devoted to these concerns, the "farther vision" could
indeed have come into better focus. On a subject where innovative thought is most sorely needed, there is a vacuum.
If this review has shown unproportional criticism of those
chapters concerned with lTV and ETV when it tries to play
the role of the former, it is because of the biases of the
reviewer. Concern for the strategies and gains of ETV in the
market place as a conveyor of culture, issues, and entertainment for the educated pales beside the more urgent need to
develop lTV to is full potential by looking beyond the present restrictions imposed by our educational system.

The Farther Vision will be of interest to the student and
layman for its descriptive information and for the insights it
offers into why things are the way they are in ETV. If he is
dissatisfied with the way things are or have taken shape, he
will find little to tell him how it might be properly reshaped
for the future, in the terms of the future.
Donald S. Campbell
University of Delaware

rnnLJ THEATRE DESIGN AND TECHNOLOGY

FEBRUARY. 1969

STAGECRAFT FOR NONPROFESSIONALS, by FA Buerki.
Madison, University of Wisconsin Press, 1962; pp. 131.
$1.50.
I am in somewhat of a quandary how best to evaluate this
book. The preface states that "a simple, concise, yet technical discussion of stagecraft" will be presented. Very well.
The next sentence says that "much has been omitted purposely" and that "many suggestions made in the following
may not correspond to professional methods and practices."
Eight chapters deal with nomenclature, design, and the execution of various design elements. One chapter deals with
stage lighting. In making a critique, Goethe advises that one
should describe what was done, how well it was done, and
was it worth doing.
How well was it done? When Mr. Buerki discusses material
about which he is knowledgeable, there is some solid information. I found the first eight chapters, with some minor
exceptions, to be very competent, although the material
has been covered in many other sources. It is functionally
written and concisely presented. The stage lighting chapter
seems to include much material which does not have the
same practical value as the chapters on stagecraft. I would
have preferred more practical discussion of the uses of various lighting instruments, particul arly the fresnel and the ellipsoidal, and more information on the execution of the
lighting plot.
All of the above seems almost irrelevant wh en I realized
that Mr. Buerki indicates a certain unawareness of changes
in technical practices since-let us say-1940. He describes
the common usage of traveler tracks made of wood
(page 12). He talks about the apron as becoming "shallow
and unimportant" (page 3). He states that, "footlights and
border lights are the principal sources of color illumination"
(page 108). He makes no mention of plastic color media
but does cover the silicon rectifier dimmer. All these comments reflect inconsistencies of thought in regard to current
practices and techniques for the "non-professional."
Even though Mr. Buerki's suggestions "may not correspond
to professional methods and practices," it would seem dangerous for a non-professional to be exposed to out-dated
ideas related to equipment and attitudes in such a recent
publication.
In Goethe's words, was the book worth doing? Perhaps.
Basically it's a good book for the beginner but also one that
does have some serious flaws.

Henry A. Wicke, Jr.
State University of New York
at Buffalo

MODERN THEATRE ON SMALL STAGES (Modernes Theatre
auf kleinen BuehnenJ, a Documentation of 13 Productions
by 10 Avant-garde Theatre Groups from Europe and the
United States for Theatre-Lovers, Prepared by Walter Hoellerer (text) and Renate von Mangoldt (illustrations). The Literary Colloquium (Literarisches Colloquium) Berlin, 1965.
$9.00.
There are many art patrons and artists in Berlin, and throughout the Federal Republic of West Germany for that matter,
who are thankful for Walter Hoellerer. Professor Hoell erer is
the director of the Literary Colloquium sponsored by the
Ford Foundation. In the past six years he has done more
than any other individual to further the cause of the avantgarde in the arts in Germany. In addition, he is one of the
most prominent members of the literary "Group 47," publisher and co-publisher of two of Germany's most influential
literary magazines, and finally the organizer of the theatre
symposium, whose proceedings constitute the contents of this
book.

25



Table of Contents for the Digital Edition of Theatre Design & Technology - Feb 1969

Contents
Theatre Design & Technology - Feb 1969 - 1
Theatre Design & Technology - Feb 1969 - 2
Theatre Design & Technology - Feb 1969 - 3
Theatre Design & Technology - Feb 1969 - Contents
Theatre Design & Technology - Feb 1969 - 5
Theatre Design & Technology - Feb 1969 - 6
Theatre Design & Technology - Feb 1969 - 7
Theatre Design & Technology - Feb 1969 - 8
Theatre Design & Technology - Feb 1969 - 9
Theatre Design & Technology - Feb 1969 - 10
Theatre Design & Technology - Feb 1969 - 11
Theatre Design & Technology - Feb 1969 - 12
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Theatre Design & Technology - Feb 1969 - 16
Theatre Design & Technology - Feb 1969 - 17
Theatre Design & Technology - Feb 1969 - 18
Theatre Design & Technology - Feb 1969 - 19
Theatre Design & Technology - Feb 1969 - 20
Theatre Design & Technology - Feb 1969 - 21
Theatre Design & Technology - Feb 1969 - 22
Theatre Design & Technology - Feb 1969 - 23
Theatre Design & Technology - Feb 1969 - 24
Theatre Design & Technology - Feb 1969 - 25
Theatre Design & Technology - Feb 1969 - 26
Theatre Design & Technology - Feb 1969 - 27
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
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
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