Theatre Design & Technology - Spring 1977 - 38

back, for color is irrelevant to the aims of the author and the use
to which a costume designer would put the pictures. However,
the subject of color has not been neglected. Appendix A, "Black,
White and Color, 18th Century and 19th Century," lists these
variations in terms of their use for different occasions during the
dates indicated.

Among the recent flock of costume books, some are well done
and useful, but many are not much more than bright picturebooks with a bit of text. This book is a welcome contrast, because of its scholarship, which inspires confidence, and its appeal
to the serious worker in the techniques of stage costuming.
Lucy Barton

University of Texas

Subsequent appendices are devoted to "Neckpieces in Art"
and "Collars and Lapels of Coats and Waistcoats."
There is a list of European artists in relation to their painting
of neckwear, and another which does the same for American
artists. That second list includes comments on the relative value
to a costumer of the artist's work -"good," "clear," "poor."
These comments could steer the student toward useful paintings
and prevent him from wasting time on the useless ones.
The bibliography includes most of the reliable histories of
costume, and especially those devoted to American dress. Notable
also in this section are the monographs on neckwear or related
dress components.
Men of the world kept up with the latest developments in
neckwear and may often have spent much time on its arrangement. Men in general followed their lead as closely as possible
(or convenient). However, there were exceptions. Manual laborers have always needed their necks free. The farmer and the blacksmith at work released their throats from bondage, but submitted
to it for church.going, festive or solemn occasions. Some men
clung to the styles of their youth. The pictures in this book offer
various examples with comments by the author.
Not only are there drawings of the more comfortable collars,
but also among the pictures one sees some good examples of
unorthodox neckwear. With all these examples at hand, one can
choose the collar or stock or cravat which will best interpret a
character in terms of time, place, status and personality.

CONTRIBUTORS
J. Robert Wills is chairman of the Department of Theatre Arts, University of Kentucky, Lexington, KY.
Beeb Salzer is a painter and scenographer. His article,
"Confessions of a Blind Designer" appeared in this Journal in the December, 1974 issue.
Tom Watson is a member of the Theatre Faculty at the
University of Delaware. In his spare time, he does free
lance lighting design.
Jay Glerum is Technical Director at Marquette University.

Index - Theatre Design and Technology

Fall, 1975 - Winter 1976
Numbers 42, 43 and Vol. XII. 14

1976 Book Reviews: Concluded from Winter, 1976 issue.
History of Twentieth Century Fashion. Elizabeth Ewing. New York: Charles Scribner's Sons, 1974. 244 pp_ Syvalya Eichen, Reviewer.

Vol. XII. No. 3:56-57. Fall 1976.
The Medieval Theatre in the Round. Richard Southern. New York: Theatre Arts Books, 1975, 264 pp. Brian Arnott, Reviewer. Vol. XII.

No.3:54. Fall 1976.
Microphones: Design and Application. Lou Burroughs. Sagamore Publishing Co., Inc.. 1974. 260 pp.

+ iIIus. David P. Walsh, Reviewer.

Vol. XII. No.1 :36. Spring 1976.
The National Directory for the Performing Arts and Civic Centers. The National Directory for the Performing Arts/Educational. (EDS.l
Bea Handel, Nolanda Turner and Janet Spencer. Dallas: Handel & Co., Inc., 1974. 2 separate volumes. Marc Sundelof, Reviewer. Vol.

XII. No.3:52. Fall 1976.
Patterns of Fashion: Englishwomen's Dresses and their Construction. Two Volumes. Janet Arnold. New York: Drama Book Specialists/

Publishers, 1972; 72 and 88 pp. Jeffrey W. Wolz, Reviewer. Vol. XII. No.2 :36-37. Summer 1976.
Renaissance Theatre Costume and the Sense of the Historic Past. Stella Mary Newton. New York: Theatre Arts Books, 1975.346 pp.,

illus. Lucy Barton, Reviewer. Vol. XII. No. 2:36. Summer 1976.
Simon's Directory of Theatrical Materials, Services and Information. 5th Ed. Bernard Simon, Ed. New York: Package Publicity Service,

Inc., 1975. Tony Courtade, Reviewer. Vol. XII. No. 2:36-37. Summer 1976.
Sondheim and Co. Craig Zadan. New York: Equinox, 1976; 279 pp. Yvonne Shafer, Reviewer. Vol. XII. No.4 :35. Winter 1976.
Sound System Engineering. Don and Carolyn Davis. Indianapolis: Howard Sams & Company and Babbs - Merrill Company, 1975,295 pp.
David L. Klepper, Reviewer. Vol. XII. No.3 :56. Fall 1976.
Stage Design: Four Centuries of Scenic Invention. Donald Oenslager. New York: The Viking Press, Inc., 1975; 303 pp. David A. Siegfried,

Reviewer. Va. XII. No. 4:34. Winter 1976.
Stage Design Throughout the World, 1970-1975. Rene Hainaux. New York: Theatre Arts Books, 1976,157 pp. Richard L. Scammon,

Reviewer. Vol. XII. No. 3:55. Fall 1976.
Stage Properties and How to Make Them. Warren Kenton. New York: Drama Book Specialists/Publishers, 1974. 119 pp., iIIus. W. Joseph

Stell, Reviewer. Vol. XII. No. 3:52,53. Fall 1976.
Stage Sound. David Collison. New York: Drama Book Specialists/Publishers, 1976, 144 pp. David L. Klepper, Reviewer. Vol. XII. No. 3:57.

Fall 1976.
The Staging of Plays before Shakespeare. Richard Southern. New York: Theatre Arts Books, 1973. 603 pp., iIIus. Briant Hamor Lee, Re-

viewer. Vol. XII. No.1:37.Spring 1976.
Stanislavski on Opera. Constantin Stanislavski and Pavel Rumyantsev, Translated and Edited by Elizabeth Reynolds Hapgood. New York:

Theatre Arts Books, 1975; 374 pp. Rpbert H. COWden, Reviewer. Vol. XII. No. 2:37-38. Summer 1976.
Theatres and Auditoriums. (Second Edition with Supplement). Harold Burris - Meyer and Edward C. Cole. Huntington, N.Y.: Robert E.

Kreiger Publishing Co., Inc., 1975, 475 pp. David P. Walsh, Reviewer. Vol. XII. No. 3:53-54. Fall 1976.
Victorian and Edwardian Theatres. Victor Glasstone. Cambridge, Harvard University Press, 1975, 136 pp. Brian Arnott, Reviewer. Vol. XII.

No. 3:55-56. Fall 1976.
38

SPRING,1977

THEATRE DESIGN AND TECHNOLOGY

1 USITT

Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 1977