Theatre Design & Technology - Winter 1977 - 35

TONY COURTADE

BOOK REVIEWS
PROBLEM SEEKING: AN ARCHITECTURAL PROGRAMMING
PRIMER
by William Pena
Boston: Cahners Books International, 1977
ISBN 0-8436-2172-9
202 pp.
Problem Seeking is a learning tool which will be extremely
useful to anyone involved in the process of planning a building.
But as the title indicates, the book is not intended to help you
solve your problems, only to articulate them. The most important
points the author makes are to show the difference between
problem seeking (programming) and problem solving (design).
Problem seeking, they say, is the prerequisite to good design.
Correct procedures of problem seeking - as in this book - will
ensure that the problem to be solved is clearly defined.

The problem-seeking and defining process which is explained
and illustrated in this book has been developed over the years
by a firm of architects specifically to deal with the complexities
of creating a modern building. But, while this method obviously
works well for its intended purpose, it also has non-architectural
applications. Theatre people would definitely benefit from Problem Seeking as a facility development source book, or they might
use it for organizing a university drama department or even perhaps as a non-traditional method for developing a play production.
Whatever the job, Problem Seeking's method enables a team
of workers to organize volumes of disparate information easily.
The procedure is clearly and simply laid out and accompanied
by a one hundred page appendix of definitions, glossaries, graphics
and examples. On the surface, the process sometimes seems
obvious and even simpleminded. Some readers, might however,
object to its lack of concern for interpretation (Which is design,
according to the author). But, one imagines, the great value of
this book is not to be found in the material itself but in the application of its techniques to a complicated group endeavour.
The book's greatest appeal to teachers and practicioners in
the performing arts may well be that it can help to clarify the
subject about which it says very little - design_ The book's main
implication is that before a team of workers sets out to determine
how they will achieve a certain end or effect, they must first
arrive at a clear mutual understanding of the task. This is a proposition which is so obvious as to be scarcely worth stating. But
there have been many play productions and theatre buildings
which have foundered on this very fundamental point. Perhaps,
then, it is time to bring the practice of design for the theatre into
comparision with design in related fields.
Brian Arnott

Toronto

DESIGNING AND PAINTING FOR THE THEATRE
by Lynn Pectal
New York: Holt, Rinehart and Winston, 1975
ISBN 0-03-012276-7
412 pp., illus.
S 19.00
Designing and Painting for the Theatre is about the creation of scenery for theatre, opera, and ballet_ It presents a
realistic professional picture of the designing process from
the point of view of both the stage designer and the scenic
artist - esthetics, steps of a design's realization, and the
progression of realization.

The remainder of Lynn Pectal's preface is devoted to brief
summaries of the content of each chapter. Two elements unique
to Pectal's approach for this volume are his focus on presenting a
"realistic professional picture" and his emphasis on "process" or
evolution of the design from conception to realization. In the
former, he is entirely successful; in the latter, his work is somewhat flawed.
One of the beauties of this work is its extensive use of infor-

I

USITT

I

mation and illustrations taken from the union shops in New York
City. This information, not widely available outside New York
and a few professional training programs, is integrated into the
text with detail and clarity. Mr. Pectal has included recipes for a
comprehensive number of standard and unique practices developed through the years by fine carpenter·craftsmen and scenic
artists. If the book contained only these elements, it would be a
valuable addition to any designer's library. This material is accompanied by photographs, mostly black and White, which
illustrate and illuminate the text. A major disappointment is that
in the two major sections on painting (Chapter Six, "Scene Painting Techniques," and Chapter Eight, "Backdrops") only eight
pages of color prints are included. Mr. Pectal describes, in word
and photograph, a full range of painting techniques and includes
formulas for realization. Additional color photographs would
enable the reader to discern subtle changes of color tones.
With the exception of two university productions, professionally produced designs comprise all the illustrative material. Mr.
Pectal wisely includes a spectrum of designers' works so that the
reader is introduced to many more designers than have appeared
in past volumes by other authors. For instance, I was pleased to
see Jim Tilton's design for Seascape (facing page 28) and was
somewhat surprised this plate did not appear in Chapter Ten,
"Creating Sculptured Scenery." The entire beach was built up
with styrofoam, then sheathed in fiberglas, and covered with foam
latex padding except for the rock outcroppings_ This produced a
unique, weight-bearing sculptured setting. Because of his reliance
on professionally produced scenery, Mr. Pectal has given the
reader many of the best practices and illustrations available.
The inclusion, following each chapter, of an interview with
successful designers completes the "professional picture" Mr.
Pectal promised in his preface. These interviews are valuable for
acquainting the reader with the "person," with his methods of
approaching design problems, and, for the career-ambitious
young designer, with creating a very fascinating picture of how
each of these esteemed gentlemen worked his way up and on to
Broadway. Many established designers and teachers of design
will be pleased to note that these designers all have different
approaches and methods so that the notion that there is "one"
or two ways or that New Yark designers have one "union"
way is dispelled. Students of design must certainly benefit
through this acquaintance with distinguished professionals_
Mr. Pectal's attempt to organize the material in a "process"
oriented fashion, Chapter One, "Starting Out as a Young Designer
in the Theatre," to Chapter Ten, "Creating Sculptured Scenery,"
or, in effect, "description of the career followed by analysis of the
script, through rendering and model building, then drafting, and
into the shops" is really topical rather than evolutionary. Chapter
Three, "Developing a Design," does describe the evolution of the
design from analysis and conceptualization through execution and
mounting for performance. For example, the first illustrations
(page 112) are three pictures of Ed Wittstein's design for AS YOU
LIKE IT; one is a line drawing, the second is the color rendering
(in black and white) of the same scene, and the third is a close-up
photograph of a scenic detail from the line drawing and rendering.
The sketches, models, and draftings, shift plots, and light plots of
Robert Randolph's settings and Tharon Musser's lighting for
APPLAUSE (PP. 143 ff.) are marvelous examples of a complex
design which could have been up-scaled for ease of examination.
The portable deck and floor guides plan would be particularly
enhanced by a larger scale. The rendering, model building and
finishing, and drafting sections are exceptionally well done. The
fact that scaled structural steel in plastic is available in stores
which specialize in railroad scenery modeling was omitted in this
section.

If "process" rather than "procedures" had been a primary
concern of Mr. Pectal, he might have followed his thorough analysis of A DOLL'S HOUSE (pp_ 10-13) with the evolution of a

THEATRE DESIGN AND TECHNOLOGY

WINTER,1977

35



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

Contents
Theatre Design & Technology - Winter 1977 - 1
Theatre Design & Technology - Winter 1977 - 2
Theatre Design & Technology - Winter 1977 - 3
Theatre Design & Technology - Winter 1977 - Contents
Theatre Design & Technology - Winter 1977 - 5
Theatre Design & Technology - Winter 1977 - 6
Theatre Design & Technology - Winter 1977 - 7
Theatre Design & Technology - Winter 1977 - 8
Theatre Design & Technology - Winter 1977 - 9
Theatre Design & Technology - Winter 1977 - 10
Theatre Design & Technology - Winter 1977 - 11
Theatre Design & Technology - Winter 1977 - 12
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Theatre Design & Technology - Winter 1977 - 18
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Theatre Design & Technology - Winter 1977 - 33
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Theatre Design & Technology - Winter 1977 - 35
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Theatre Design & Technology - Winter 1977 - 40
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Dec
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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
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Feb
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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
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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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