Theatre Design & Technology - Winter 1978 - 27

~~~~~~~~~~~~To_ny_co_ur_~_e_Book
Script Into Performance by Richard Hornby. Austin and London:
University of Texas Press, 1977, ISBN 0-292-77543-1, xi, 199 pp.,
$11.95.
Richard Hornby sets no small task for himself in Script Into Performance. He wishes to explain the Structuralist view of play production, to develop approaches to the production of classical playscripts,
to change the underlying attitudes about playscript production which
foster a division between theory and practice, and finally to encourage the practice of dramaturgical criticism. Granted that these objectives are not unrelated, it is to his credit that he makes their relationship appear intrinsic to theatre performance. By so doing he
persuades the reader that Structuralism deserves serious critical
attention.
The author writes from his experience as professor of drama at the
University of Calgary, co-chairman of the Dramatic Theory and Criticism Program of the University and College Theatre Association, and
director of several score amateur, university, and professional productions. Consistent with his practice of integrating theory with practice in the theatre, Hornby organizes his book into a section on theory
followed by one of practical situations from productions in which
theory was applied.
The section on theory identifies Structuralism as an outgrowth of
the movement known as the New Criticism. That movement, associated with F. R. Leavis and G. Wilson Knight, was concerned primarily
with an intrinsic approach to literary work, examining the work in
isolation and in considerable detail. It had little influence on the North
American stage, since its primary emphasis was on poetry. However,
Hornby observes that Francis Fergusson and Eric Bentley had considerable success in dramatic criticism with Structuralist techniques
based on the New Criticism. The author suggests that it is feasible
and desirable for directors to adopt such an approach following
certain guidelines.
The structuralist approach sees a work of art-a play, a poem, a
painting-as an inierrelated process with the essence of a work being
in the relation between parts rather than the parts themselves. These
relations form patterns or "structures" that define what the work is.
These patterns underlying the text give it coherence and serve to
identify a unifying principle. In production then, the Structuralist
director seeks to identify the web of relationship between the theme
and a character or one character to another character or a setting to
an action that takes place in it. The director, who suspends judgment
as he approaches a work, accepts the unity of the work as a given,
reveals that which is hidden in the playscript, uses intrinsic evidence
to do so, and incorporates the complexity and ambiguity of the script
into performance, is interpreting the script in a Structuralist style.
The discussion of these directives is detailed, lively, sensible, and
amply illustrated by specific analysis of the theory and practice of the
innovative theorists: Stanislavski, Artaud, Brecht, and Schechner.
The chapter on what Hornby perceives as their contributions to
Structural theory and their lapses in following through in performance is extremely lucid and persuasive. Equally interesting is the
chapter called, "What Aristotle Might Have Said." This is a clear
questioning of some basic assumptions with common sense conclusions.
To my mind, Hornby wins his case when he describes three productions he directed. He demonstrates in each case that text and
performance have a dynamic relationship, that a script is realized in a
performance through an interpretation, but that interpretation is not
apart from the script. Rather, it is a function of it. In each case he
approaches the script searching for a formula that would work. He
has no set rules, no fixed method that will work for any script. In
Shelley's The Cenci a statistical study of repetitive patterns of imagery helped to uncover the unifying principle. In Ibsen's A Doll's
House Kierkegaard's scheme of individual existence served as a
unifying principle. In Pinter's The Homecoming the unifying principle,
"to dominate," provided a driving force for the play. These productions were informed by dramatic criticism. They support his con-

Reviews

tention that dramatic criticism and theatrical production feed each
other and need each other.
Hornby calls for a continuing dialog on dramaturgical findings. He
has made an important contribution to that dialog.

St. John's University
Staten Island Campus

Barbara M. Mendoza

Subscribe Now! by Danny Newman. New York: Theatre Communications Group Inc., 1977, ISBN 0-930452-01-1, xi, 276 pp., photos and
line drawings, $12.95 cloth; $7.95 paper.
Danny Newman is a missionary. As a press agent, promoter and
manager, he has been an evangelist for the performing arts for the
past forty years. For the last twenty of those years, he has also been
preaching the gospel of subscription allover the North American
continent. He claims many converts and if you stay with him to the
end of Subscribe Now! you too will be won over.
Subscribe Now! can be called an object lesson in the not-sodelicate art of salesmanship. Having hooked the reader with his title,
Newman spends the entire remainder of this two hundred and seventy-five page book giving a million and one examples of the valueindeed, the ineVitability-of subscription sales. But this singleness of
purpose does not mean that Newman is just another cultural used car
salesman. He has the figures to prove that his method works. Not
only does he have statistics, he has more advice than a Dutch uncle.
Combine this with two anecdotes for every point he cites and you
have a man who wins his case on sheer volume of information.
In the end, however, Newman's endless persuasion is wearing. He
writes in a loose, highly personal and conversational style that eventually tires the reader out. His arguments seem to go on and on long
after he has made his point. He reminds you of the dinner guest who
is full of energetic amusement and still going strong at four in the
morning.
But even considering its shortcomings, Newman's book should be
required reading for everybody who is concerned about performing
arts management. Subscribe Now! is a treasure chest of managerial
insight and information. It also implies a great deal about North
American attitudes toward the performing arts and how these attitudes have changed in recent years. Newman has clearly been a
factor in this new direction. Subscribe Now! is thus an epilog as well
as a prophesy.

Toronto

Brian Arnott

Books Received
Araki, James T. The Ballad· Drama of Medlevaf Japan. Charles E.
Tuttle Company, 1978. $4.25 (paper).

Bakst, Rizzoli International Publishers, 1977.
Barker, Clive. Theatre Games. Drama Book Specialists, 1977. $6.95.
Coult, Tony. The Plays of Edward Bond. Drama Book Specialists,
1977. $4.95.
Durgnat, Raymond. The Strange Case of Alfred Hitchcock. The MIT
Press, $6.95.
Gillette, J. Michael. Designing with Light. Mayfield Publishing Company, 1978. $9.95.
Hanlon, R. Brendan. A Guide to Taxes and Record Keeping for
Performers, Designers and Directors. Drama Book Specialists, 1978.
$3.95.

(Continued on p. 28)



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

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