Theatre Design & Technology - May 1971 - 36

tioned. But a serious review of the text
calls attention to an omission probably due
to the expanding film hardware technology
and the requirements of film's most voracious customer-television-than anything
else, namely that Mr. Mascelli's material,
although obviously adaptable to filming for
television as well as to filming for 'film,'
does not explore the potentials of the different aspect ratios so widely used today.
Perhaps this is a probl em more properly addressed to the conceptual level of planning
the visualization process, but the optical
systems available for the film maker today
range from 'wide-screen' to conventional,

and film shot for wide-screen employment
must be treated quite differently from conventional 16 mm to 35 mm shot for television. The attendant problem of the 'essential area' of the television camera is still
another consideration, albeit related.

Principles of Theatre Art.

definitions of types of stages seem on the
whole fair they utilize their definitions and
categori es as though they were scientific
laws. As a result they make such statements as the following related to the building of the first temporary skene in Athens,
" . . . Greek theatre suddenly changes from
an unlocalized arena to a formal stage with
a specified locale."

By H.D. Albright, William P. Halstead, and
Lee Mitchell. (2nd Edition) Houghton
Mifflin Company. New York, 1968, 547
pp. $8.95.
For the teacher of an Introduction to
Theatre course, a textbook for students can
provide much information that the teacher
does not have time to discuss in class. One
of the criteria of such a text is that it be
authoritative in areas in which the teacher
lacks expertise. A designer teaching such a
course without an extensive background in
theatre history would perhaps be advised to
choose Oscar Brockett's text.
The authors of Principles of Theatre Art
have pooled their various talents in order to
thoroughly cover all areas of the theatre.
They have succeeded in writing a very comprehensive introduction to the practice of
theatre. There are sections on criticism,
acting, directing, and the design of scenery,
costumes, and theatres. Theatre history is
included in bits and pi eces in various chapters and is thus less well covered than in
other texts.
The section on dramatic criticism and
literature leaves a great deal to be desired
and adds much that might be better left
unsaid. The authors use a number of terms
without adequately defining them. But the
biggest difficulty here is that the authors
use some terms and ideas as though all
critics agreed with them. One other important difficulty in these chapters is that
the authors insist that "conflict" is not a
necessary part of drama. They cite Everyman and Peer Gynt as examples of plays
which must be rejected as plays if we insist
that all plays must have conflict.
I n the section on acting there is a fair
statement of differing methods of acting
training, a fine description of what tasks are
the actor's and which are the director's, and
a discussion of basic acting terminology,
reinforced by good drawings. The section is
as good or better than many acting books.
There is also a reasonably good explanation
of line reading.
In the chapter on theatre and theatre
architecture the authors again create difficulties with terminology. Although their

36

~

Finally, a sixth 'C' could be added, particularly for the young film maker of the
70's-color. The excellent work being done
for television today could easily be a point
of departure.
Richard Hartsook
University of Alabama

The followi ng two chapters are without
a doubt the best of the volume. The authors
discuss in detail the basic proscenium theatre structure and its equipment. This is followed by an examination of stages such as
arena, thrust, and other innovations. In these
two chapters their terminology is much more
precise and definitions are more standard
than in preceding chapters. The excellent
Iine drawings include standard scenery units,
arrangements of working areas around the
stage, standard drapery, shifting methods
and lighting. Terminology for the lighting
instruments is a bit baffling. For example,
in one illustration a fresnel is not too inappropriately called a soft-edge spotl ight
while the ellipsoidal reflector spotlight beside it is labeled a medium spotlight. A
beam projector is called a quartz floodlight.
In the description of open theatres the
authors discuss the successes and drawbacks of the Stratford, Canada thrust stage
at length and state that, "In an open theatre sight lines and acoustics are so invariably good that they generally escape comment completely." There are, of course,
many of us who could testify differently.
The sections on scenic design and directing discuss general principles and are
too long for the amount of information they
contain. The directing section shows, however, considerable understanding of the integration of technical elements into the direction of the play. The otherwise excellent
bibliography is notabl e for the exclusion of
both the Parker and Smith stagecraft text
and Brockett's history text.
Principles of Theatre Art if not the best
is certainly far from being the worst book in
a large field. Its very shaky section on
criticism far outweighs the advantages of
some of the technical sections.

Thomas Van Brunt
Transylvania College

THEATER DESIGN AND TECHNOLOGY

MAY, 1971



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

Contents
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
https://www.nxtbookmedia.com