Theatre Design & Technology - Spring 1976 - 38

®Cadco is a registered trademark of Cadillac Plastic and
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HMW 1900 is a registered trademark of Hercules
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®Teflon is a registered trademark of E.1. duPont de Nemours Company.

On Training

Continued From Page 22

ing fails for the future scenographer, is that even in a
university elaborately equipped with the best theatre and
supporting facilities, he does not really get the kind of
professional discipline working in even the best run college production. Yes, this training is excellent in theory but not in professional practice.
The future scenographer - once he has mastered his
visual crafts - must then work even at the lowest 'evel
in a professional theatre. It may even be a country summer theatre or a large commercial operation. The experience that finally makes our young scenographer a true
"pro" is in becoming a member of a professional team.
It is the difference between theory and practice.
The ever increasing decentralization of the American
theatre, where for too many years New York was the one
and only training ground, is very healthy for all phases
of theatre. New York is still, and will continue to be for
some time, a prime center not only for the best Broadway
productions but more importantly for the very free and
imaginative "off" and the "off-off Broadway!"
It is not my responsibility in this conference to discuss
playwriting and producing, but as a scenographer, I cannot totally disassociate myself from those latter basic
elements of theatre in the United States. Not only has
the AmericaR musical theatre been rich in talent and
originality during the past half century, but there is a
strong growing and basic change in that form of theatre
during the past few years. Essentially it is a breaking up
of the old concept that a "musical" story must, to succeed, engage three separately trained and gifted performers - actors, dancers and singers. Now we have produced some very original, creative, and artistic productions where every member of the cast must be talented
and experienced in all three specialities. We American
scenographers fully recognize the need to reassess the
conventional approach to this change in our design,
lighting and costuming.
If the future scenographer wants the cultural advantages of a university education, two important things
must be changed. Either the future designer must achieve
technical mastery of drawing and painting before entering
the portals of the University or a much longer period
of very basic manual training must be included in the
academic program.
Let me conclude by saying very firmly that true visual
talent cannot be taught; it can only be developed. Our
divine maker gives us creative power at birth - schools,
colleges and universities can only help in enriching that
God given talent.
Jo Mielziner
*

38

SPRING,1976

A Method

Continued From Page 30

following advantages:
1. It is extraordinarily accurate. A pattern is reproduced
in metal with virtually the precision with which it is
painted on the surface. This allows a good deal of intricate detail. The metal doesn't get all bent out of shape,
so you have a single plane to focus the lens system on,
resulting in greater crispness in the projected image.
2. Versatility. Any pattern you care to paint may be
etched.
3. Simplicity of operation. Once the designer has painted
the pattern on the blanK - or has approved someone
else's paint job - he can turn it over to less skilled personnel to do the actual etching, with the assurance that
that it will come out as desired.
4. Ferric chloride may be handled with safety, with few,
if any, special precautions.
5. No great expense is involved.
I would appreciate hearing of any further refinements
in this system. One particularly intriguing possibility is
the use of photosensitive chemicals as the etching solution
resistant. This type of process is currently used in the
mass production of printed circuitry. Of course, at this
point we would probably be turning to our Buhl pro*
jectors and the like.
Letter .

. . . . . Continued from Page 11

not try to cast anyone's whole body, either in one piece
or in sections. I thought that U.S.I.T.T. might know of
material on that subject which should be included in any
comprehensive treatment of it. I would appreciate any
information you could give, or any address to write in
pursuit of such information.
Sincerely yours,
Paul Batson
5520 Olvera Avenue
San Diego, CA 92114
Readers who might be of assistance to Mr. Batson are
urged to contact him. [Ed.].
CONTRIBUTORS
Edward F. Kook, President of USITT and former owner and
president of Century Lighting Co., is the co-inventor of the
"Lekolight."
Richard J. Cummings, P.E., is Director, Technical Services,
Engineering Division, Otis Elevator Company.
Gilbert Hemsley, Jr. is both a professor (University of Wisconsin-Madison) and a professional production manager and
lighting designer.
George C. Izenour is Director of the theatre design and technology program and laboratory at the Yale School of Drama. He
is also an eminent theatre consultant.
Jo Mielziner is the dean of professional American scenographers. His latest production is The Baker's Wife, schedu led tor a
May opening on Broadway.
Brian P. Lago is completing an M.F.A. at tne Yale School of
Drama in Technical Production and Playwriting.
Glenn M. Loney teaches in the City University of New York
system. He is a prolific traveler to European operatic and theatrical festivals.
Keith W. Clark is a student member of USITT and works as
part of the technical staff at the University of Michigan theatre.

THEATRE DESIGN AND TECHNOLOGY

I

USITT

I



Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 1976

Contents
Theatre Design & Technology - Spring 1976 - 1
Theatre Design & Technology - Spring 1976 - 2
Theatre Design & Technology - Spring 1976 - 3
Theatre Design & Technology - Spring 1976 - Contents
Theatre Design & Technology - Spring 1976 - 5
Theatre Design & Technology - Spring 1976 - 6
Theatre Design & Technology - Spring 1976 - 7
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Theatre Design & Technology - Spring 1976 - 40
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
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