Theatre Design & Technology - May 1973 - 55

architecture than most of the others, and to attempt to
impose a sense of order over its subject matter: an order
largely absent from the first two books considered; as
well, it is more useful to understanding current issues than
chronological or geographic ordering which is employed
by the other books already mentioned.
R U HNAU divides his treatments into "pre-perspective," "single-perspective," "aperspective," and "multiperspective" places of assembly. (An "aperspective" hall
negates the peep-show theatre's conventions and technology, retaining the frontal space relationship between actor
and audience. The most common examples of this form
are known in English-speaking countries as "open-stage"
theatres.) As is bound to be the case, several of his
individual assignments of category can be questioned, but
the general distinctions hold, and make good sense.
An especially good section on open-air theatres may be
found in RUHNAU, as well as a sprinkling of pivotal
examples from the history of the perspective stage: La
Scala, Versailles' Opera, Turin's Court Theatre, the Cuvillies Theatre in Munich and the Bayreuth Festival Theatre.
Ruhnau's VERSAMMLUNGSSTATTEN is 10-1/8"
high by 9" wide (26 em. by 22.8 em.), has 210 pages, and
sells for DM 48, or about $15.00.
It is perhaps unfair to compare SCHUBERT with the
others, because it is truly an international survey. Still, the
author is obviously most at home in German-language
countries, and the breadth of scope does not prevent a
very informative coverage of most recent German buildings. The coverage is uniform, if less spacious than in
GRAUBNER or UNSERE. A standard data sheet is included for every German, Austrian or Swiss theatre covered, with 35-40 considerations. Uniformly, a site plan is
included, which is very helpful to the visitor.
American readers with some German will find the
critical comment astute, knowledgeable and sometimes
blistering: " ... it would be absolutely unfair to take the
styl istic tastelessness and antiquated conception of
Lincoln Center as exemplary of the entire country"
(p. 57); ... "As well, the John F. Kennedy Center for the
Performing Arts in Washington which is being built by
Edward Durell Stone is characterized by a similar numbness and utter absence of imagination as is characterized
by the plan" (p. 61). The author finds Franzen's Alley
Theatre a "theatrical fortress," and thinks BirminghamSouthern employs technology for its own sake. Perhaps
Schubert is a bit over-sold on American university theatres
as training ground for theatre as a profession, but on
balance the criticism seems perceptive and dependably
valid. Some 53 "foreign" buildings are briefly mentioned,
and 36 German-language theatres discussed and illustrated
in detail.
The Schubert book is 11" high by 9-1/8" wide (28 em.
by 24 em.), has 224 pages, and lists for DM 118 (about
$35.00). Perhaps a few equipment ads would have softened the monetary blow!

~

THEATRE DESIGN AND TECHNOLOGY

While acquIsition of this entire three-inch bookshelf
would comprise a fairly expensive addition to one's personal library, any two or three should prove very trustworthy guides to theatre construction, in the European
heartland during the past quarter-century.
*
SVOBODA TOUR (Cont'd.l
Sun.

Nov. 5

Two more sessions of the master
class; public lecture in the evening.
Then by car to Champaign-Urbana;
arrival well after midnight.

Mon.

Nov. 6

Informal discussion with designers
and technical staff; tour of Krannert
Center; lecture and reception in the
evening. In charge of arrangements:
Bernard Works late at night.

Tues.

Nov. 7

Another session with designers and
technical staff; then fly to Chicago
and transfer to flight to San Francisco, arriving approximately 10:00
P.M. Met by Len Auerbach, in charge
of local arrangements.

Wed.

Nov. 8

Two sessions of master class at San
Francisco State; reception and showing of film in evening at Mills College.

Thurs.

Nov. 9

Two more sessions of master class.
Flight to Los Angeles in evening. Met
by Willard Bellman, local host.

Fri.

Nov. 10

Tour local theatre and technical centers; cockta il reception in late afternoon (first day of no teaching!)

Sat.

Nov. 11

Two meeti ngs of master class at
Northridge State; in the evening,
lecture and reception.

Sun.

Nov. 12

Meeting of master class in morning;
afternoon visit to Disneyland; evening
flight to Austin, Texas, met by John
Rothgeb, local host.

Mon.

Nov. 13

Meeting of master class in the morning; lecture midafternoon.

Tues.

Nov. 14

Two meetings of the master class;
reception in the evening.

Wed.

Nov. 15

Morning flight to Dallas, tour of the
theatre center; afternoon flight to
Pittsburgh; met by Ned Bowman,
course coordinator and President of
USITT.

Thurs.

Nov. 16

OISTT
Publications
Commission
functionizing; lecture in the evening.

Fri.

Nov. 17

Two meetings of master classes; reception in the evening.

MAY. 1973

(Continued on Page 57)

55
Table of Contents for the Digital Edition of Theatre Design & Technology - May 1973
