Theatre Design & Technology - Summer 1976 - 38

Rumyantsev, for providing the materials in English to help redress
the balance. It would be difficult to imagine the work of Visconti,
Felsenstein, Zeffirelli, Caldwell, Capobianco and Corsaro (despite
the obvious sp iritual and aesthetic differences between them)
without the groundbreaking efforts of Stanislavski in the realm
of the music and legitimate theatre.
There is general agreement that we have at last matured to
the point where the development of singing-actors/acting~ingersis
not only taken for granted but is actively encouraged. Artists such
as Callas, Varnay, Gobbi, Hotter, and Schaliapin, the latter a
particular favorite of Stanislavski, prove that a mutually reinforcing fusion of singing and acting is possible. The point is that
such a fusion need not be accidental. Th~re are precious few texts
on singing-acting, and STANISLAVSKI ON OPERA fills a huge
void. I caution that it must be read in conjunction with and preferably after Stanislavski's other books on acting, but the hours
devoted to this task will pay enormous dividends to the aspiring
artist who attempts to absorb his counsel. At the very least such
study will go a long way towards providing the basis for an intelligent rethinking and upgrading of the entire area of training singers
how to act.
Covering productions from Tchaikovsky's EUGENE ONEG IN
which was premiered on June 15, 1922 through Rimski-Korsakov's THE GOLDEN COCKEREL which opened on May 4, 1932,
the text is an interfacing of letters, diary entries, manuscripts and
articles. The record is verbatim, and the presence of Stanislavski
can be felt throughout. There are as few singers who are masters
in the use and control of their voices. Stanislavski was concerned
with both, and his methodology and approach can be of infinite
benefit to those who sincerely wish to plumb the mysteries of
the theatre. This book deserves to be on the shelf if you are
interested in the interaction of music and theatre.
Robert H. Cowden
University of Nebraska/Omaha

NEWS. _ ..

Skirpan Lighting Control Corporation announces the
publication of the second edition of "The Theory of
Electronic Lighting Control for Stage and Studio."
Completely revised and updated, this is the definitive
work in the field. The contents cover both the theory
and the actual practical use of electronic lighting controls for theatres and television studios. SLCC will be
happy to furnish copies of this bulletin for personal
or classroom use without charge.
Write: Skirpan Lighting Control Corporation
61-03 32nd Avenue
Woodside, New York 11377
Armstrong/Childs Architects P.C.
and Kirsten Childs
take pleasure in announcing
the advent of their new firm for
interior, furniture and graphic design:

ARMSTRONG/CHI LDS ASSOCIATES LTD.
after February 1st 1976
both firms will be located at
16 East Fifty-second Street
New York, N.Y. 10022
212-PL2-1876

Continued From Page 6

tre's scenic and costume designs. This exhibit opened
in the Plaza Gallery and the Main Gallery of the Library
and Museum for the Performing Arts at Lincoln Center
on April 28 and will run through July 24. A special
reception honoring ABT Co-Director Oliver Smith was
held on the evening of April 27 at the Library.
"American Ballet Theatre - 36 Years of Scenic and
Costume Design 1940-1976" spans the entire performance
history of the company and includes commissioned
designs from all the major American scenic artists of the
last three and a half decades. Works by such artists as

Boris Aronson, Jo Mielziner, Oliver Smith, Raoul Pene
Du Bois, Irene Sharaff, Ming Cho Lee, and Rouben Ter
Arutunian are represented. In addition, commissioned
works by international artists such as Marc Chagall,
Eugene Berman, Mstislav Dobujinsky and Marcel Vertes
are included. And finally, the great standard classical
productions by such artists as Alexandre Benois, Leon
Bakst and Picasso will be exhibited. There will be a total
of 175 works by 45 artists in the show.
This exhibit demonstrates the extraordinary range
of American Ballet Theatre's commitment to the visual
and theatre aspect of classical ballet and the artistic
heritage the Company has always nurtured and preserved.
After the run at Lincoln Center, the exhibition will
tour the United States for a period of two years under
the auspices of the International Exhibitions Foundation.

NEW BROCHURE AVAILABLE FROM
SKIRPAN LIGHTING CONTROL CORP.

SUMMER,1976

LETTER TO THE EDITOR
Dear Sir:
I read with interest your article on the acoustics of the
recently completed Minnesota Orchestra Hall. At the end
of this article you listed the credits of the various people
involved except you failed to include the lighting consultants, Jules Fisher & Paul Marantz, Inc., New York, New
York. We served as architectural and theatre lighting consultants for the entire building and are very proud of our
contribution to this new facility. I hope you will be able
to make this correction in your next issue.
Very truly yours,
Jules Fisher

TD & T regrets the omission. [Ed.}

CONTRIBUTORS
The late Jo Mielziner needs no introduction.
Jarka Burian is a member of the Theatre faculty at SUNY Albany.
His recent two-part work, "Czechoslovakian Stage Design and
Scenography, 1914-1938: A Survey," TD&T, Nos. 41 & 42,
won the Best Article Award at the recent USITT annual conference in New Orleans.

THEATRE DESIGN AND TECHNOLOGY

USITT

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