Theatre Design & Technology - Winter 1980 - 5

Theatre Design
&

Technology
Volume XVI * Number 4 * Winter, 1980
Journal of the United States
Institute for Theatre Technology
Number 63

Contents
3

Letter

4

A Flexible Modular Stage Design
by Frank Silberstein

11

Laminating Stage Platforms Using Honeycomb Paper
by Tom Corbett

16

Museum Research in Costume History
by Jean L. Druesedow

18

Morals and Manners: The Resources of Small Museums
and Historical Societies
by Inez Brooks-Myers

20

University and College Historic Costume Collections
by Frances J. Duffield

21

Theatrical Design: A Collector on Collecting
by John Rothgeb

23

Svoboda and Vychodil at Sixty
by Jarka Burian

25

TECHNICAL REPORT
A Demountable Drapery Storage System
by Stephen M. Zapytowski, Sr.

27

RESEARCH
Costume Pattern Drafts: The Morning Coat
by Kevin L. Seligman

31

NEW PRODUCTS

34

OISTT

37

NEWS

38

INDEX

On the cover: Hexcel honeycomb panel
Cover design by Lawrence J. Luchtel
Photo by John Adams
PHOTO CREDITS
Jarka Burian--p. 23.
Tom Corbett--pp. 12-15.
Jozef Novy--p. 23 (bottom)
Courtesy of The Oakland Museum--pp. 18-19.
Frank Silberstein--pp. 4-10.
Stephen Zapytowski--pp. 25-26.

Theatre Design & Technology is published four times a yearSpring, Summer, Fall, Winter-from editorial offices at 1024
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may be submitted by anyone. A copy of the journal's "Editorial
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Back issues of Theatre Design & Technology are available from
Xerox University Microfilms, 300 North Zeeb Rd., Ann Arbor, MI
48106.

*
© 1980, by the United States Institute for Theatre Technology, Inc.

Letters
Congratulations on your recent article, "Suspension Structures in
Scenic Design" (TD&T, Winter, 1979). I was most impressed by the
article in two ways. First of all, as a designer I found the suggestions
for using suspended acting surfaces interesting and challenging. I am
particularly in agreement with the notion that this type of construction
is uniquely adaptable to educational theatre situations where the
pressure of rapid set-up times is usually not quite so great as in many
commercial theatre situations. Thus, for those of us who work in educational theatre, the article suggested an approach that provides a
unique, creative avenue that, in a sense, may not be available to our
colleagues working in all but the most lavish commercial theatre enterprises. For this contribution to our creative vocabulary, I, for one,
am most grateful.
However, I must say that the aspect of the article that I found most
satisfying was the implication that such bold structures could be undertaken by responsible designers. Obviously the article was quite
correct in suggesting that such designs should be inspected by a
competent engineer since it was clearly impossible to present all the
factors necessary for safe design in a single article, let alone have any
assurance that these concepts would be fully understood. Nonetheless, I have taken it to be a very encouraging sign that we finally may
be entering a period of greater cooperation between the engineer and
the scenic designer. This is not to suggest that there has been any antipathy between these professions but only that perhaps there have
been less than full utilization by each of these groups of the talents
and training of the other.
Naturally as a scene designer I tend to see this lack of interdisciplinary communication from the purview of the special needs of
the latter group. For instance, I, for one, have long felt that the usual
training offered in most schools in this country is inadequate in the
safety related aspects of static mechanics. One is, of course, aware
that most of the traditional construction techniques will probably be
safe for structurally traditional settings, however, the increasing visual
sophistication of the theatre going audience is placing the designer in
an agonizing position. Either he must limit his creative instincts to
fairly routine structures or he must embark upon structural designs
which may be iII-equipped to handle safely. This becomes a special
problem for the very academic and regional theatre which, as the article suggests, might otherwise best be able to take fullest advantage
of innovative structures. For though in most cases it would certainly
be preferable to engage a consulting engineer to check the structural
design, in the vast majority of situations the cost is beyond the capabilities of the usual academic or communify theatre budget. On the
other hand, unless I'm very mistaken, the vast majority of graduating
scene designers are so deficient in their training in this area that they
may not even be aware of the potential of designing something unsate.
Thus, it seems to me that this is a situation where, in contrast to the
old adage, a little learning is considerably less dangerous than none
whatsoever. The educational problem is further complicated by the
fact that many, if not most scene design students do not have an especially strong science/math background or even in some cases a
particularly well developed sense of simple mechanics. Thus, the educational challenge would seem to be to make the crucial basic concepts of structural mechanics available to scene designers with
mathematics that are simple enough to be accessible to those with
minimal abilities in this area. Along with this is perhaps an even
greater educational imperative--oamely-to adequately inform the
design student of the limits of his competence and that there are most
assuredly engineering problems of a scale and complexity that should
not be undertaken without advice from a professional engineer.
It seems obvious that the only remedy for this state of affairs is formal instruction in structural engineering which is specially tailored to
the special needs of the scene designer. Clearly the preparation of a
syllabus for such training will require close collaboration between the
engineering and scene design professions. Perhaps an important preliminary step in this collaboration was made by Mssrs. Stone and
Blosser in their excellent article.

Frank B. Silberstein

Indiana University



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

Contents
Theatre Design & Technology - Winter 1980 - 1
Theatre Design & Technology - Winter 1980 - 2
Theatre Design & Technology - Winter 1980 - 3
Theatre Design & Technology - Winter 1980 - Contents
Theatre Design & Technology - Winter 1980 - 5
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Theatre Design & Technology - Winter 1980 - 8
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
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