Theatre Design & Technology - May 1971 - 33

Drawings for the Theatre, 2d Ed.
Robert Edmond Jones, Theatre
Books, New York. $13.50

Arts

Long out of print, Drawings for the Thea-

tre by Robert Edmond Jones, has been reIeased in a second edition by Theatre Arts
Books. The cu rrent volume contains an introduction by Donald Oenslager recounting biographical information about Jones as well as
explanations of many of the drawings reproduced in the book. There are thirty-five
black and white plates of Jones' work from
1915 to 1925. The publisher has taken the
liberty of deleting the final plate which appeared in the original volume (a photograph
of a production of Anna Christie) and replacing it with a drawing of Jones' 1946
design for Lute Song.
The drawings serve to show a variance
in Jones' style and development as a stage
designer. The early drawings reflect the influence of his year in Europe observi ng the

In Search of an Audience.
How an Audience Was Found for the
Tyrone Guthrie Theatre.
Bradley G. Morison and Kay Fliehr. Pitman Publishing Corporation, New York,
1968, 230 pp. $5.95.
Works in the art and science of theatre
public relations have been slow to develop
and the few good ones we have are to be
valued highly. This book is one of the few.
It should take a proud place as the pioneer
of a new approach to its subject. The
authors work on the assumption that public
relations techniques developed for business
and commerce can be applied to the arts.
They were the Public Relations directors
for the Tyrone Guthrie Theatre for its first
four crucial seasons-1963-1966. Their
opening paragraph points the direction of
the book:
This is not a "how-to-do-it" book. This is a
"how-it-happened" story. It is the recounting of
what occurred when a theatre burst full-blown
upon a community on a grander scale than had
ever before happened in this country, and whentwo professional public relations people were

given the opportunity to explore new waysand make mistakes-on the same grand scale.

The book illustrates their highly creative
approach to the traditional audience development problems. Their style is casual, yet
informative; the book is easy to read. It
uses a number of specific examples and
contains ideas for a whole new approach to
theatre audience information. Their purpose
was not just to fill the seats through the
traditional hard sell, but to "stimulate fresh
and creative approaches to the relationship
of artistic organizations to thei r audiences
and their communities."

~

THEATER DESIGN AND TECHNOLOGY

work of Adolphe Appia, Gordon Craig, and
Max Reinhardt. The best example of this influence is his design for The Man Who
Married a Dumb Wife (Plate One), 1915,
with its extremely simple spatial statement.
The Cenci (Plates Twenty-nine to Thirtytwo) reveals his visual expression of a production as one more of mood, qual ity, or
atmosphere than actual volume or space.
In these drawings we see silhouetted figures of black and grey in a great void.
As Appia strove in his drawings toarticulate the space in which the actor moved,
Jones, during his middle years, seems to
have been trying to capture a pictorial metaphor for the "feeling" he had for a production.
The reproductions of the drawings are
quite handsome and the book is a worthwhile record of the work of one of the great
contributors to Modern American Theatre.
David Phillips
Case Western Reserve University

Artistic quality of the company and selection of plays for the repertory are not discussed, even though their influence on attendance is acknowledged. Those charged
with audience development, the authors
feel, should not make judgments or comments on matters of artistic policy. Their job
is to educate an audience to appreciation of
the policy.
The book was commissioned by Associated Cou nci Is of the Arts and carri es a Preface by Sir Tyrone Guthrie and a Foreword
by Oliver Rea. Topics range over the whole
of the subject, including market analysis
and research; psychological factors and strategy; image; involvement of women's organizations, advisory groups, etc.; actual ticket
selling procedures, season and single; attendance with a sense of occasion; advertising and advertising agencies; educating tomorrow's audi ence; and a concluding section of "opinions." It is obvious from this
list that this is not an "in depth" approach
to any of these topics. It titillates and asks
questions. It suggests new approaches. It
is an exploratory work that should lead to
many other studies.
The value of the book is not historical,
although there are a number of events recorded. It is in its ability to stimulate discussion, encourage experimentation with
new techniques and approaches, and challenge theatre throughout the country to
reach more of the potential audience that it
has in the past. It should help to awaken
those of us engaged in training people for
the theatre to an area too long neglected
by either classwork or research. It is an excellent beginning. Let us hope that it is not
the last word.
Harold R. Oaks
Brigham Young University

MAY,1971

33



Table of Contents for the Digital Edition of Theatre Design & Technology - May 1971

Contents
Theatre Design & Technology - May 1971 - 1
Theatre Design & Technology - May 1971 - 2
Theatre Design & Technology - May 1971 - 3
Theatre Design & Technology - May 1971 - Contents
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
https://www.nxtbookmedia.com