Theatre Design & Technology - Summer 1980 - 30

In a brief introduction Elder speaks succinctly about the purpose of
the book which is intended as a guide to the discovery, selection, acquisition and conversion of non-traditional spaces into theatre
spaces. Then he proceeds immediately into the topic which he has divided into four parts.
Part I, "The Search for a Space," provides immensely valuable information about various theatre configurations and how to calculate
minimum space requirements. It also includes suggestions on how
and where to look for potential structures and suggestions on which
structural types are most readily converted. Especially useful is an
"evaluation checklist" (Chapter 5) which the reader may reproduce
and use on site to record information about each structure visited.
Part II, covers questions of renting/leasing or buying and how to locate sources of legal, financial, technical and political support. The
names, addresses, and telephone numbers of various public and private agencies and organizations which may provide such assistance
are listed. Elder outlines the process of securing support, explains the
importance of each step, and concludes with a profile of New York's
Theatre Row as an example.
Part III, which addresses designing and planning strategies contains six chapters covering nearly every aspect of physical plant and
equipment planning. Though there is no discussion of what to consider when acquiring scenic, costume and sound effects equipment,
other sections are quite thorough. Part III concludes with profiles of
the Impossible Ragtime Theatre and the Manhattan Theatre Club. Unfortunately, there are no ground plans or sections of these two
theatres (as there were for Theatre Row) to help the reader grasp the
nature of the projects.
Part IV, explains the necessity of bringing a structure up to building
code minimums and of maintaining it there through regular inspections. Zoning restrictions; relevant general areas of the building,
electrical and fire codes; and distinctions between requirements of
the New and the Old (pre-December, 1968) Codes are thoroughly discussed. Chapter 15 contains a helpful zoning and code checklist
which the reader may reproduce and use to record information about
structures under consideration. Chapter 18 summarizes the procedures for securing all the necessary permits and approvals and contains samples of the forms.

THE ORIGINAL

There are few flaws in the book. Although thorough, it only addresses the problem from the perspective of New York City and
leaves the reader to extrapolate whatever may apply in other municipalities or situations. Ground plans and sections which vary in scale
or which are omitted prohibit comparisons between projects. The index is useful, but the bibliography is short and not annotated. A chapter on the special problems of cabaret and dinner theatre would be a
most welcome addition.
While this book may lack the "color" and interest of some other
theatrical manuals, that omission is, in this case, laudable. There are
instead simple, direct questions, honest advice and straight forward
guidance without condescension or pontification. This reasonably
priced, well illustrated volume should prove an invaluable guide to any
person or group which anticipates seeking a theatrical performance
space.
Elbin L. Cleveland

The World of the Theatre by Robert W. Corrigan. Glenview, Illinois:
Scott, Foresman and Company, 1979, ISBN 0-673-15107-7,360
pp., illus.

Confronted with the prospect of teaching an introductory course on
the theatre, Robert W. Corrigan decided to write his own textbook. He
did so because of his conviction that most textbooks lacked "a governing idea" of the theatre and that they tended instead to deal with
the subject from an essentially literary or historical point of view.
Corrigan believed that any course in the theatre should first and
foremost be an "exciting experience," and, accordingly he approached his topic through the dynamic interaction that exists between performers and audiences. To this end, he structured his book
to deal with the nature of the theatrical event; the impulses and needs
that prompt the creation of theatre; those needs which are fulfilled by
it; and the general ways in which theatrical events are made or composed. This aspect of the book is perhaps its most successful as it acknowledges and legitimizes the theatrical event to include parades,
processions, rock concerts, ritual and dance theatre.
From a traditional point of attack, only one chapter is devoted to
the standard forms of the drama-tragedy, melodrama, comedy,
farce, and tragicomedy. The remaining chapters discuss the major
roles and components of the theatrical event: the actor and the role;
the playwright and the script; the director and the play; the designer
and the theatrical space; and the audience and the theatrical event.
Unfortunately, these latter chapters smack somewhat of .. textbookism" which the author deplores in spite of his inclusion of editorial quotations by noted theatre artists, scholars, and critics which he
deliberately selected to amplify or contradict the text. On the other
hand, one of the most appealing aspects of the book is its intelligent
selection of visuals and accompanying caption-comments which presents a visual panorama of some of the most exciting productions of
the modern stage.
Syvalya Eichen

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University of South Carolina

. Continued from page 3.

Shakespeare, O'Neill, and standard American and Europear
classics. But even these should allow for greater diversityShakespeare has always been a proving ground for new style~
and techniques.
But perhaps the most relevant answer to the question is als(
the most unfortunate one. Many American designers, schooled ir
the New Stagecraft or its modern variants, simply reject the wod
of recent designers and the avant-garde, both here and abroad
as marginal or insignificant. America can and should be a leade
in international design. This requires innovation. It is hoped tha
the Second Biennial Scenography Exposition in Denver in 1982
will reflect not only the traditional, but also a fresh, innovative ap
proach to design for theatre in America.
Arnold Aronsor
USITT /Summer, 1980

Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 1980