Theatre Design & Technology - Oct 1972 - 37

physical conditioning, endurance, balance, strength and
coordination. But Miss King goes beyond this point to a
more creative application of these exercises.
The author's attention is focussed directly upon the
actor. She bel ieves that the actor must first be able to
"physicalize" his feelings before going on to the more
complicated creative processes. The purpose of her exercises is to help the actor communicate more effectively. If
a performer can remember what his movement felt like he
can re-create it, particularly when his emotions fail him.
Dance, sports, and fencing do not solve the movement
problem because these activities do not physicalize a
particular character in action. The way to accomplish
this, she believes, is through experimentation in movement
activities.
The two basic areas of study are physical conditioning
and non-verbal communication. The physical conditioning, based on sound physiological principles, ranges from
basic posture through "warmup" exercises (stretching,
swinging, bouncing, shaking, collapsing) to exercises for
the individual parts of the body. The non-verbal communication deals with the expression of feelings, attitudes
and emotions. The work here is to discover how much can
be conveyed without language. These exercises, by far
more imaginative, go from the simple to the more complex. Movement patterns such as walking, hopping, running, and creeping are another way for the individual performer to extend himself beyond mere physical exercises.
The voice can be used while performing these exercises;
not in speech, however; but through the natural vocal
expressions like yelling, laughing, or growling. Speech
would only divide the actor's attention when concentration is needed on only one activity at a time. Non-verbal
communication, however, is basically meant to be done
with one or more partners. The physical contact not only
makes one sensitive to nuances of movement, but involves
the interdependency vital between the performers. The
exercises, definitely a broader and more physical approach
than "in-vogue" sensitivity exercises, include supporting,
tangling, and floating. The many action photographs in
the book help one to visualize these and other complicated exercises.
Miss King sums up her work in her Afterword:
"The exercises in this book are meant to stimulate,
not to define the actor's work. If an idea is good, it
should serve as the spring board for better ideas. If
these activities lead the actor to find new theatre
techniques, Theatre Movement: The Actor and His
Space has accomplished its purpose."
For institutions who do not have movement cou rses,
an imaginative instructor of acting can put Miss King's
ideas, techniques, and exercises to good use in his classes.
David E. MacArthur
California State College -

Long Beach

~ THEATRE DESIGN AND TECHNOLOGY

THE WORLD OF DIAGHILEV
by John Percival
Studio Vista/Dutton Pictureback; 160 pp., profusely illustrated with photographs and drawings: S2.25.
The World of Diaghilev, which is essentially only an
introduction into the subject, should definitely be of interest to students of the dance. The author has written in
depth about the ballet and is the ballet critic for the
London Times. In this book, he naturally concentrates on
Diaghilev's role as director of his ballet company, as
developer of new dancers, choreographers, composers, and
scenic artists, and as international showman and impresario. Percival chooses to note only briefly Diaghilev's
sizeable contribution toward changing Russian and European taste in art, literature and architecture. Percival
necessarily has to over-simplify in his brief outline of
Diaghilev's early career but he is often misleading as a
result. Diaghilev and the World of Art group not only
awakened Russia's interest in modern art, as Mr. Percival
asserts; but much more important, the World of Art under
Diaghilev rekindled Russian enthusiasm for ancient native
art forms such as medieval icons. Then too, Diaghlev's
reasons for abandoning the World of Art and eventually
its artists were much more complicated than the author
suggests here. The weakness of this book lies in its
sketchy treatment of Diaghilev's actions and influence in
the days before he became completely absorbed in his
ballet company. There are also very few quotes from
Diaghilev himself.

However, Percival's treatment of the actual role of
Diaghilev in the ballet company and his effect on the
dancers and production staff is very lucid and thorough.
The book contains many excellent photographs and line
drawings of the famous personalities connected with the
Diaghilev company. Most of these, with the exception of
the Nijinsky photographs, have seldom been reproduced.
The end matter, a detailed list of the company's productions from 1909 to 1929 and a comprehensive list of
references in English, isalso of great interest to the scholar.
Phyllis Homiak
New York University

THE TRIUMPH OF MAXIMI L1AN I: 137 Woodcuts
Hans Burgkmair and others, translated by
Stanley Appelbaum
New York: Dover Publications, Inc., 1964
Dover Pictorial Archive Series

$3.50

ART NOUVEAU: An Anthology of Design and Illustration from the studio. Selected by Edmund V. Gillon, Jr.
New York: Dover Publishers, Inc., 1969
Dover Pictorial Archive Series

$2.50

Illustrative books serve two major functions for the
stage designer: 1. to stimulate his imagi nation when planning design schemes; and 2. to supply detai led motifs to

OCTOBER, 1972

37



Table of Contents for the Digital Edition of Theatre Design & Technology - Oct 1972

Contents
Theatre Design & Technology - Oct 1972 - 1
Theatre Design & Technology - Oct 1972 - 2
Theatre Design & Technology - Oct 1972 - 3
Theatre Design & Technology - Oct 1972 - Contents
Theatre Design & Technology - Oct 1972 - 5
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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
http://www.nxtbookMEDIA.com