Theatre Design & Technology - Fall 1978 - 24

The Theatre of Robert Edmond Jones, edited by Ralph Pendleton.
Middletown, Connecticut: Wesleyan University press, first paperback
edition, 1977, ISBN 0-8195-6053-7, xiii, 198 pp., illus., $12.50.

Jones is the history of the American theatre of his time." Thus Pendleton succeeds admirably in his profile of this genius. Anyone interested in the theatre will herald the reappearance of this carefully
assembled classic.

After almost two decades Wesleyan University Press has decided
to reissue The Theatre of Robert Edmond Jones edited by Ralph
Pendleton. Long absent from the bookstores in its original printing,
this new paperback edition is lower in cost. Pendleton's book is the
missing companion to Jones' own works, Drawings for the Theatre
and The Dramatic Imagination. Together they provide a uniquely
detailed insight into the philosophy and practice of one of the most
significant personalities in American theatre of this century.
The Theatre of Robert Edmond Jones encompasses a wide range
of the artist's philosophy and practice in theatrical production. In no
way does this volume duplicate the works written by Jones-or other
authors for that matter. Instead, it adds to our understanding of the
art of Robert Edmond Jones through presentation of his own designs
and pertinent essays by distinguished authors. Over fifty full-page
high quality black and white reproductions include both setting and
costume designs from all periods of Jones' career. Lest the reader
object to the black and white illustrations, Pendleton notes that over
half of these designs were originally executed in the same format.
Furthermore, Jones perfected a rendering technique that lends itself
well to print reproduction.
Normally many of these designs would be inaccessible to most
historians and designers because they are scattered among numerous owners. Collectors and collections such as Mary Hall Furber,
Lillian Gish, Katharine Hepburn, Walter Huston, the Jones Estate, Jo
Mielziner, the Museum of the City of New York, Donald M. Oenslager,
Lee Simonson, the Victoria and Albert Museum, and others have
generously made available many of Jones' most famous designs.
Notable among these are:

David A. Siegfried

The Man Who Married a Dumb Wife (1915)
Redemption (1918)
The Birthday of the Infanta (1920)
Macbeth (1920)
Pelleas et Melisande (1921)
Hamlet (1922)
Desire Under the Elms (1924)
Faust (1928)
The Green Pastures (1930)
Mourning Becomes Electra (1931)
Camille (1932)
The Philadelphia Story (1939)
Lute Song (1946)
Pendleton adds that thirty-eight of these plates were selected by
Jones for a new book he himself was preparing at the time of his
death in 1954.
Several brief but poignant essays by people who worked closely
with Jones and knew him best accompany the collection of his designs. Contributing authors, John Mason Brown, Mary Hall Furber,
Kenneth Macgowan, Jo Mielziner, Donald M. Oenslager, Lee Simonson, and Stark Young, provide personal insight and professional
evaluations of selected aspects of his contribution to the new stagecraft. The varied essays include such interesting topics as Jones'
work in stage direction, his early application of color design to film,
and a practical look at his working drawings. In his essay, Oenslager
examines the working drawings for Lute Song which he cites as
"perhaps his [Jones') last significant and most admired work." Intended for the eyes of the building crew, these drawings offer a
practical view of Jones, the poet of the new stagecraft, dealing with
such down-to-earth matters as masking and selection of construction
materials.
Particulary noteworthy is Pendleton's year by year chronology, a
catalog of Jones' exhibits, productions, projects, writings, personal
events of import, etc., at the end of the book. Margins of the chronology contain small theatrical sketches by Jones as further enhancement of an already valuable compilation.
Emerging clearly from all of the writings and illustrations is that
rare blend of artist and craftsman which characterizes Jones' work.
As Pendleton so aptly puts it, " ... the history of Robert Edmond

Kent State University

The Stage Lighting Handbook,by Francis Reid. New York: Theatre
Arts Books, 1976. ISBN 0-87830-156-9, 129 pp., ill us., $10.45.

The back cover promotion for Francis Reid's Stage Lighting Handbook states that this text is "a handy reference work for the experienced professional looking for a rapid checklist but the wealth of
practical information is put across with an easy simplicity that also
makes it ideal for the beginner in search of a way through a tangle of
wires." In fact, this statement is a reversal of the author's own stated
aims which are that all users of light should have some knowledge of
the craft. Thus the book is geared to the theatre beginners and
theatre professionals who are not lighting designers. Indeed, the
basics of stage lighting that are put forth in this book should be at the
fingertips of any practicing professional lighting designer. Stage
Lighting Handbook, therefore, is not a textbook for aspiring lighting
designers. It is, however, a text which fills a gap in the stage lighting
bibliography presently available because it explains the basics of
stage lighting not for specialists, but rather for the beginning student
of theatre and theatre lighting, as well as other theatre personnel
(actors, directors. designers, stage managers) who should have
some acquaintance with the aims, functions, and realities of stage
lighting.
This is not a technical textbook either. Several chapters covering
instrumentation, dimmer systems, rigging and wiring are brief and
rudimentary. For the North American reader unfamiliar with the field,
the exclusive use of British technical terms coupled with photographs
of British instruments seldom seen in the United States creates an
additional hurdle for the beginner to overcome. Only in the glossary
are some North American equivalents given. As the use of British
terms is consistent throughout the book, it is necessary to absorb
them in these technical chapters so that later chapters on actual
design can be better understood.
Yet the book has very definite strengths. The first chapter on aims
of stage lighting presents a concise summary of the functions of
stage lighting and the controllable properties of light which the designer has to manipulate in order to achieve his dramatic aims. This
first chapter also introduces the concept and importance of style in
relation to the type of production being lit, and there are some broad
generalizations drawn, particularly regarding opera. More importantly, however. this introduction to style is expanded in later sections
of the book in which the author discusses the various lighting situations presented to the designer by a box-set play on a proscenium
stage, a musical, an opera, a play on a thrust stage or in-the-round,
and the multi-purpose hall used for lectures, concerts, plays, revues,
and the like. Problems which these various types of theatre create for
the lighting designer are discussed and possible solutions are presented. The author is adamant in pointing out, however, that the
solutions he puts forth are not exclusive. There are no set answers as
lighting is a subjective and creative art.
There is a great deal of practical information included which is not
of a purely technical nature. Chapters on direction and focus of light
and color stand out particularly. There are explanations and illustrations of how the angle of the light affects the dimensionality of the
object or actor being lit, as well as some help for the beginner trying
to decide how to focus the instruments to light the actors once the
scenery is in place. A later chapter has an excellent section entitled
"Thinking in Section." It presents the idea that the lighting designer
cannot think of the space he is lighting as circles on a floor plan, or as
areas of light on the stage floor. Rather he must see the space in
terms of the light illuminating an actor standing in that space. As the
author points out, the concept of thinking vertically is not easily
explained in the written word, but at least the point is made, and the
(Continued on p. 24)



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1978

Contents
Theatre Design & Technology - Fall 1978 - 1
Theatre Design & Technology - Fall 1978 - 2
Theatre Design & Technology - Fall 1978 - 3
Theatre Design & Technology - Fall 1978 - Contents
Theatre Design & Technology - Fall 1978 - 5
Theatre Design & Technology - Fall 1978 - 6
Theatre Design & Technology - Fall 1978 - 7
Theatre Design & Technology - Fall 1978 - 8
Theatre Design & Technology - Fall 1978 - 9
Theatre Design & Technology - Fall 1978 - 10
Theatre Design & Technology - Fall 1978 - 11
Theatre Design & Technology - Fall 1978 - 12
Theatre Design & Technology - Fall 1978 - 13
Theatre Design & Technology - Fall 1978 - 14
Theatre Design & Technology - Fall 1978 - 15
Theatre Design & Technology - Fall 1978 - 16
Theatre Design & Technology - Fall 1978 - 17
Theatre Design & Technology - Fall 1978 - 18
Theatre Design & Technology - Fall 1978 - 19
Theatre Design & Technology - Fall 1978 - 20
Theatre Design & Technology - Fall 1978 - 21
Theatre Design & Technology - Fall 1978 - 22
Theatre Design & Technology - Fall 1978 - 23
Theatre Design & Technology - Fall 1978 - 24
Theatre Design & Technology - Fall 1978 - 25
Theatre Design & Technology - Fall 1978 - 26
Theatre Design & Technology - Fall 1978 - 27
Theatre Design & Technology - Fall 1978 - 28
Theatre Design & Technology - Fall 1978 - 29
Theatre Design & Technology - Fall 1978 - 30
Theatre Design & Technology - Fall 1978 - 31
Theatre Design & Technology - Fall 1978 - 32
Theatre Design & Technology - Fall 1978 - 33
Theatre Design & Technology - Fall 1978 - 34
Theatre Design & Technology - Fall 1978 - 35
Theatre Design & Technology - Fall 1978 - 36
Theatre Design & Technology - Fall 1978 - 37
Theatre Design & Technology - Fall 1978 - 38
Theatre Design & Technology - Fall 1978 - 39
Theatre Design & Technology - Fall 1978 - 40
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