Theatre Design & Technology - Summer 1976 - 37

them). The much trumpeted introduction by Harold Burris-Meyer
is a salute to the Directory's long established usefulness. Throughout the listings clever, witty bon mots or thought-provoking epi·
grams serve as space fillers. The Directory serves leisurely examination before being relegated to the reference shelf.
Of greatest interest is the book's almanac section. Here many
special listings offer a great deal of information to the reader. A
catalogue of nearly 1100 books - mostly those available from
Package Publicity Service and The Drama Book Shop - presents
a broad overview of the types of publications available in all areas
of theatre and drama. Periodicals cited cover a wide range of
magazines, journals, trade publications and union newsletters.
The winners of and the bases for many awards, the prizes and
citations bestowed by foundations, institutes and academies, are
given special treatment. Those searching for arts organizations,
arts councils and government foundations will find that information. Playwriting competitions, the names of libraries and mus·
eums housing major theatre collections, addresses of New York
City theatres and nearby hotels can be found along with copy·
right information and procedures to find out-of.print books.
While more thorough information on many of these topics might
be acquired elsewhere, the most important items are readily
available and easily discovered in the Directory.
Since the previous edition, Bernard Simon has greatly expanded all the sections of his book. A new section among the listings
deals exclusively with suppliers of materials and equipment for
outdoor performances and filmmaking. Additional new information includes an index of many of the academic and professional
schools which teach the dramatic arts and a record of new theatres built or planned since 1970 (along with their architects and
consultants). Every aspect of the Directory is much larger than
before including, unfortunately, the price.
The person whose mind runs to the picayune might discover
the inadvertent omission or misprint. But the overall impression
of this reviewer is a highly favorable one. Simon's Directory
continues as the most comprehensive and useful book of its type.
This volume, as the previous editions, will prove indispensible to
anyone involved with the performing arts. There is little question
that its purchase, even by owners of the 4th edition will be a most
worthwhile investment.
Tony Courtade

Indiana University

PATTERNS OF FASHION: ENGLISHWOMEN'S DRESSES AND
THEIR CONSTRUCTION. Two Volumes
by Janet Arnold
New York: Drama Book Specialists/Publishers, 1972
ISBN 0-910482-50-0
72 and 88 pp., iIIus. $10.00 each or $17 .50 as set
The two volume set of Janet Arnold's Patterns of Fashion is
a chronological presentation of English women's fashion from
1660 through the first third of the twentieth century. This is not
meant to be a comprehensive history of women's costume, but
rather a selective guide to period patterns chosen from several
English museums. The first volume concerns itself with the
patterns and tailoring of women's garments prior to the inven·
tion of the sewing machine. Selections from written primary
sources give a brief overview of the construction of women's
wearing apparel. Included in this section is a glossary of contemporary terms, discussion of the division of labor and the method
of measuring the human form as new styles evolved. In the second
volume, Arnold has tried to select garments which are indicative
of major trends in women's wear as well as designs by some of
the leading couturiers from 1860 to 1940. The second volume
is organized in a similar manner as the first, except that the
guidelines for using the patterns are logically placed before the
pattern section.
The line drawings, which give a front as well as a back view,
are efficient and clear; they are often accompanied by a boning
pattern. Along with approximate dates, Arnold presents a brief
description of the actual garment. This information provides
some insight into fabric selection and idiosyncrasies arising from
a particular pattern. The 1/8" = 1" patterns are reproduced on a

I

USITT ]

grid with good clarity. Unfortunately, the patterns are cluttered
with descriptive information pertaining to the actual garment
which is discussed on the adjacent page. Through the use of an
opaque projector, patterns can be transferred with a minimum
amount of difficulty. When working with these patterns, one must
remember that seam allowances have not been given and some
markings may indicate alterations to the original garment which
were made at a later date. A certain amount of expertise as a
cutter is assumed, especially with regard to increasing and decreas·
ing the size of a pattern proportionately.
This set of books, while not designed to instruct one in the use
of period patterns, supplies a source book of representative
women's garments during the periods discussed. It provides a
useful tool for determining necessary quantities of fabric and a
guide for the cutting of a particular garment. As suggested by
Arnold these books should be used in conjunction with other
standard costuming texts, which are listed in a useful bibliography.
Those likely to find this set of books most helpful are the costume
designer and cutter. However, they also provide a good reference
tool for the researcher of historical trends in English women's
fash ion. In comparison to other available period pattern collections, Arnold's Patterns of Fashion, would be a valuable addition
to one's library.
Jeffrey W. Wolz
Indiana State University

STANISLAVSKI ON OPERA
by Constantin Stanislavsky and Pavel Rumyantsev
translated and edited by Elizabeth Reynolds Hapgood
New York: Theatre Arts Books, 1975
ISBN 0-87830-132-1
x + 374 pp., iIIus., $8.45 paperbound
Let me open this review by proclaiming loudly and with
great emphasis, "At long last!" When the rumor first started cir·
culating some years back that there would eventually be a study
in English of Stanislavski's work in opera, hopes were raised that
this critical gap in the literature would soon be filled. However,
expectations were not to be so quickly rewarded; thus, thrice
delayed, doubly welcomed. I have been fascinated with the writing
and influence of this unique Russian director for years, due in
no small part to the countless theatrical atrocities and misguided
efforts attributed to his name. His work as an actor and director
has been widely discussed, and his triology on acting has been
available in this country for years due to the dedicated efforts of
Elizabeth Reynolds Hapgood. Unfortunately his work in opera has
been largely ignored except in East Germany (and, of course, in
Russia) where it has formed the basis of a state approved system.
Even the exemplary bibliography in Christine Edwards' excellent
study (THE STANISLAVSKY HERITAGE. ITS CONTRIBUTION TO THE RUSSIAN AND AMERICAN THEATRE. NY,
1965) does not include two major East German publications,
one by the former Bolshoi Opera singer, K.E. Antarowa (STUDIO·
ARBEIT MIT STANISLAWSKI, Berlin, 1951) and the other G.
Kristi's detailed study (STANISLAWSKIS WEG ZUR OPER.
Berlin, 1954). Kristi was an actor-i:olleague of Stanislavski, worked
actively with him in the Opera Studio, and was especially import·
ant in collecting and organizing the master's materials. He is wide·
Iy respected as an authority- on the work and writings of Stanis·
lavski.
Both of these German books are critical when we realize that
the first Opera Studio was begun in 1918 while STANISLAVSKI
ON OPERA commences with the year 1921. Antarowa's notes
include the years 1918 through 1922 with specifics on the pro'
duction of Massenet's opera, WERTHER, which was produced
in 1921 as the Opera Studio's first full length opera production.
Incidently, David Magarshack edited much this same material in
1961 under the title, STANISLAVSKY ON THE ART OF THE
STAGE, without, however, identifying the source. Sadly, this
English title has been out of print for over a decade. As distres·
sing as Ms. Edwards incomplete bibliography is the paltry two
pages allotted to a discussion of the Opera Stu dio wh ich to me
indicates a lack of understanding of the scope and impact of Stanislavski's work in opera between 1918 and 1938. We can again
thank Elizabeth Reynolds Hapgood, with an assist from Pavel

THEATRE DESIGN AND TECHNOLOGY

SUMMER,1976

37



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

Contents
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Theatre Design & Technology - Summer 1976 - Contents
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Feb
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
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
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