Theatre Design & Technology - Oct 1971 - 32

kinetic with acoustic-musical experiments."
There may, however, be considerablestimuIus to the scene designer in the concern
with impact and communication expressed
so vividly. "It is probable that future development will attach the greatest importance
to ki netic, projected composition, probably
even with interpenetrating beams and
masses of light floating freely in the room
without a direct plane of proj ection; the instruments will continually be improved so
that it will be able to embrace far larger
fields of tension than the most highly developed static picture." Indeed such innovators producing visual magic today such
as Stanley Kubric, Josef Svoboda, and
Charles Eames would find forecasts of their
success among these essays.
Among the illustrations is a brief note by
Hirschfeld-Mack about "Reflected Colour
Displays." It seems to forecast what Disney
produced in Fantasia for the Bach Fugue. In
this section is ┬Ěthe quote, "The temporal
sequence of a movement can be grasped
more readily and accuragely through acoustical than through optical articulation." The
ticking of a clock being more indicative of

Labor Relations in the Performing

Arts
Michael H. Moskow. Associated Councils
of the Arts. New York: 1970. 218 pp.
$2.50.
The performing arts in America are having
an increasing impact on our culture both
artistically and economically as they move
toward decentral ized and year-round operation. Theatre, music, dance, and opera are
as much an industry as they are an artistic
expression. The business side of the arts,
long neglected by our economists, is now
being studied and written about in an effort
to provide data and materials for use by
those entrusted with operating America's
arts organizations. Michael H. Moskow's introductory survey, Labor Relations in the
Performing Arts, identifies and describes
relationships betwRen employee and management in the live performing arts sector
of our economy.
All the performing arts have a high percentage of total costs devoted to labor. The
arts cannot significantly reduce labor costs
by increasing productivity, as is done in
manufacturing, because the product of the
performing groups is the live performance.
Furthermore, unlike other industries, the
performing arts union members represent
the full social and educational spectrum
ranging from highly creative and extensively
trained professionals to the blue collar
workers. And finally, with the exception of
the Broadway theatre system, live perform-

32

~

time passage than the sight of the second
hand moving is offered as an example.
The book includes an Editor's note on the
history of the volume and a postscript by
Otto Stelzer. The freshness of new ideas
about Iight, space, and kinetics is here
without the comprehensiveness which came
in the posthumous publication of "Vision in
Motion" (1947).
In an historical context this book is important. For those fascinated with basic
ideas involving light, images, and dynamics
related to them-here are primary explorations. Yet for most theatrical implications
there is no great urgency to look here, the
utility is remote and the treatment much too
oriented toward using fixed images in some
relationship with motion, rather than usi ng
motion with I ess concern for the static
images along the way. Perhaps it is too
much a reflection of the reviewer's various
predispositions to say I approached this
book with higher expectations than seemed
to be warranted when I had finished it.
C.R. Land
Harvard University

ing arts organizations are structured on a
non-profit basis.
The unions are sympathetic to the financial problems of the arts and recognize the
importance of "psychic income" to their
members, but it seems unlikely artists will
continue for much longer to quietly accept
low salaries. Union leadership will playa
greater role in helping performing arts organizations meet their budgets, Moskow
projects, as government and corporations
increase their financial support to the arts.
The leadership recognizes that the addittional income needed to pay higher salary
demands can come only from grants and
gifts. It can't be derived from increased admission prices. Thus, both management and
labor share in the common cause to alleviate budgetary constraints.
Although the role and the mechanics of
labor relations are basically the same in all
the performing arts, Moskow devotes i ndividual chapters to the theatre (Broadway,
off-Broadway, and Resident), the symphony
orchestra, dance, opera, and choral groups.
These discussions point up the fragmentation of unions in the arts which makes collective bargaining difficult. Each arts occupation and medium has its own union. Thus
an actor who performs in the theatre, on
television, in films, and is also a stage director, will belong to four different unions.
Furthermore, the spirit of individualism is
strong among the white collar union members, who seek an active voice in union
policy and often negotiate independent contracts above the union minimum.

THEATER DESIGN AND TECHNOlOGY

OCTOBER,1971



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

Contents
Theatre Design & Technology - Oct 1971 - 1
Theatre Design & Technology - Oct 1971 - 2
Theatre Design & Technology - Oct 1971 - 3
Theatre Design & Technology - Oct 1971 - Contents
Theatre Design & Technology - Oct 1971 - 5
Theatre Design & Technology - Oct 1971 - 6
Theatre Design & Technology - Oct 1971 - 7
Theatre Design & Technology - Oct 1971 - 8
Theatre Design & Technology - Oct 1971 - 9
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Theatre Design & Technology - Oct 1971 - 18
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Theatre Design & Technology - Oct 1971 - 28
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Theatre Design & Technology - Oct 1971 - 30
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Theatre Design & Technology - Oct 1971 - 33
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