Theatre Design & Technology - Dec 1970 - 23

Studies of the Art of the Nineteenth Century: Research Project "Nineteenth Century, " Art History Area, of the Fritz Thyssen
Foundation.

Volume II: Die Theaterbauten von
Fellner und Helmer.
Hans-Christoph Hoffmann. Munich, PrestelVerlag, 1966. 308 pages with 281 photos,
sketches, and groundplans on 1 60 pages
OM 80.

Volume VIII: Die Richard WagnerBlihne Konig Ludwigs II
Michael and Delta Petzet. Munich, PrestelVerlag, 1970. 750 pages with 16 color
plates and 765 illustrations on 352 pages
OM 185.

Volume IX: Die authentischen Bildnisse Richard Wagners.
Martin Geck. Munich, Prestel-Verlag, 1970.
144 pages with 8 color plates and 92 illustrations on 64 pages OM 65.

Volume XI: Die Architektur der Pariser Oper.
Monika Stenhauser. Munich, Prestel-Verlag,
1970. 304 pages with 242 illustrations on
112 pages OM 80.

One problem with the excellent books on
theatre history and technology that appear
so frequently in various European countries
is the language barrier to potential American
readers. The more popular are usually
quickly translated with some swiftness. The
more technical, since they will have only a
limited sale in the United States, must wait
for a dedicated professor to translate themor for some special foundation funding.
Thus, it is somewhat maddening to a university teacher to hear the almost constant
refrain from Ph.D. candidates: "Why do we
have to have language exams? Why can't
we substitute art history for German?"
The valuabl e and interesting range of
books in the series being issued by the
Fritz Thyssen Foundation, through Munich's
Prestel-Verlag, is an eloquent answer. Languages are tools for research- but on a far
more basic level, they are the means of
keeping au courant with European theatre,
since so much news, many interviews, and
almost all reviews are never going to be

translated into English at all. Then, too,
art history is a discipline; it is not a tool.
Yet, for the student of either art history or
theatre studies, the books listed above might
as well be in Minoan Linear B if he has not
a competent translating knowledge of German. Fortunately, for the artist, technician,
student, or buff who does not sight-read
German, all these books are so lavishly and
intell igently illustrated that a great deal
can be gleaned from a careful study of the
plates themselves. It has long been a tradition of Teutonic scholarship to document
everything down to its finest detail. That has
certainly been done here, and the sketches,
arch itectu ral drawings, photographs, and tables have been selected with a sense for
both chronology and detail. It would be easy
to assemble a vast number of pictures from
the extensive archives relevant to the various topics; it was obviously far more demanding to winnow, to edit these huge collections for the most important, the most
significant illustrations. But without the financial assistance of the Thyssen Foundation-which apparently draws its monetary
sustenance from the great Thyssen iron and
steel industry-the cost of preparation and
publication of these volumes would have
been prohibitive. As it is, the WagnerBijhne book was advertised, pre-publication,
at OM 120, with subsequent announcements hiking the price from OM 140.-to
OM 160.-to its present cost. It is now a
very expensive book-but well worth the
money.
Only three of the four volumes listed are
in this reviewer's possession. Hehasnothad
the opportunity to examine the work on the
architecture of the Paris Opera, but felt it
wise to include the listing in case TO&T
readers are interested in ordering the new
books. If its textual content and its illustrations are comparable to the others, it will
prove a valuable reference. There is, incidentally, another volume in the series which
is as yet unpublished. This Hans Curjel's
Experiment Krolloper 7927-37, which will
be Volume VII in the collection. The Kroll
Opera, it may be remembered, was used by
Adolf Hitler for convening the members of
the Reichstag after that august structure
was burned. It may also be remembered,
by those with very long memories, that the
name Thyssen was also associated with H itler, as one of his earlier patrons. Herr
Thyssen, however, was himself later badly
burned by the Nazis- figuratively speaking.
Hans-Christoph Hoffmann, architect and
engineer, has painstakingly collected plans,
sketches, and photos of the theatres designed by the Atelier Fellner and Helmer in
Vienna. Some photos are old; some newto obtain them, as he notes, a researcher
has to visit eight different countries and
have six visas in hand. Hoffmann points out
that in 1889 there were some 302 theatre
buildings on record in America, Germany,
England,
France, Russia, and Austro-

[]Iiill THEATER DESIGN AND TECHNOLOGY

DECEMBER,1970

23



Table of Contents for the Digital Edition of Theatre Design & Technology - Dec 1970

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