Theatre Design & Technology - Winter 1981 - 33

~~~~~~~~~~~_L_Ois_Ga_rre_n_Book
Law and the Arts/Art and the Law, Tem Horwitz, editor. Chicago:
Lawyers for the Creative Arts, 1979. ISBN 0-914090-71-2, 228 pp.,
$6.95 paper.

find more and more application in the theatre. 0
Art is not all esthetics. In a world of red-tape, regulations and
rigamarole, the legalities of art are no less complicated than those of
retail or real estate. Because of this situation, there are few in the arts
world who could not benefit from the knowledge contained in Law and
the Arts/Art and the Law, a book put together by lawyers and accountants who know arts law inside out.
Law and the Arts/Art and the Law is a collection of nine essays and,
like most anthologies, it is a tapestry of varying colors and intensitites.
But is also a book with a major shortcoming which illustrates that
lawyers may know the principles of arts law without understanding the
principles of art. Art is an activity whose products evolve through
cohesion, integration, selection and synthesis-in a word, design. This is
the quality which Law and the Arts/Art and the Law lacks.
The book was written in an attempt to provide basic legal concepts
covering all arts disciplines. The book's problem is that it contains
several similar discussions and many parallels from chapter to chapter
which may leave the reader with the impression of confusing redundancy. This disparity is also evident in the writing and presentational styles.
Jane Shay Lynch's Question-and-answer format for "Writers and the
Law" gives clarity and very easy reference. Similarly, Clarence S.
Wilson's "Visual Arts and the Law" is scholarly, precise, and pertinent.
Most of the other material is not so evidently well organized and retrieval
of significant facts often means re-reading the whole piece. E. Leonard
Rubin's film and video article is by far the worst example of this fault as
its chatty style makes the material seem more like avuncular philosophy
rather than factual advice.
Presumably, the blame for the unevenness of Law and the Arts/Art
and the Law rests with editor Tem Horwitz who should have made some
demands on his contributors for presentational consistency and who
should have ensured that ease of retrieval was a primary consideration
in layout of the pages.
There are also other areas in which the book is wanting: for example,
there is no index; the chapter on film barely scratches the legal surtace;
there are no discussions of defamation or obscenity. The chapter on
financial management and the one on income tax contain little, if any,
useful legal information. The chapter on real estate covers the main
points but, again, does not apply particularly to the arts.
Law and the Arts/Art and the Law might have been a very much better
book if the editor and publishers had prepared their brief before arguing
their case. The most they can do now is to enter a plea for leniency.

Brian ArnoN

Toronto

Eldon Elder: Designs for the Theatre by Eldon Elder with an introduction by Joseph Papp. New York: Drama Book Specialists (Publishers),
1978. ISBN 0-89676-012-X, 32 pp., illus., $3.95 paper.
This booklet was designed as a catalog for the exhibit, Eldon Elder:
Designs for the Theatre, at the Amsterdam Gallery, the New York Public
Library, December 1978 through March 1979. It provides a thorough
and a valuable source book for anyone interested in Elder's work. The
booklet traces this fellow US lIT member's career, for which he was
trained at the Yale School of Drama, from 1949 through 1979.
Following the introduction written by Joseph Papp, with whom Elder
worked in the early days of the New York Shakespeare Festival, and
brief biographical notes, the revelation of Elder's distinguished career in
the theatre unfolds in chronological order through precisely captioned
illustrations. These illustrations demonstrate Elder's originality and
versatility of design. Papp describes Elder's originality in the role of
consultant on the Delacorte Amphitheatre in Central Park as the unique
" ...combination of boldness and intimacy." Elder worked on sixteen
other theatre design projects as well as contributing to The Ideal
Theatre: Eight concepts, which was funded by the Ford Foundation. A
grant from the Guggenheim Foundation financed study of theatres in
Greece, Italy, and Turkey. No stranger to the academic world, he has
taught briefly at several universities in recent years as a visiting
professor of stage design after having served many years on the faculty
of Brooklyn College.
The illustrations in this catalog clearly demonstrate Elder's adeptness
in a wide variety of design styles. Having designed more than two
USIITlWinter, 1981

Reviews

hundred and fifty Broadway, Off Broadway, regional theatre, and opera
productions, he also distinguished himself as a television designer.
Production credits, often for costume designs also, include work for
theatre organizations such as the St. Louis Municipal Opera, the
Provincetown Playhouse, the Westport Country Playhouse, the Center
Stage of Baltimore, the Julliard School of Music, and the Seattle
Repertory, to name a few examples.
Although the catalog contains no analysis of Elder's work, its completeness is to be commended. Included are lists of publications, foreign
exhibits, consultant commissions, teaching affiliations, and grant
awards. Other stage designs, not a part of the Amsterdam Gallery
exhibit, are included to make the chronology complete. Illustrations
range from renderings for settings (14) and costumes (12) to photographs of scale models (9). Design styles range from stylized and
abstract to highly realistic. This reviewer's favorite illustration is of the
scale model for the Gaveston's house in A Family and a Fortune. The
selectively realistic design rich in a variety of textures abounds with the
three-dimensional detail of a master model maker. The perspective
rendering of the same production executed in sepia ink on a chromium
background decorates the cover of this catalog.
Unfortunately, only one color plate, the hotel lobby setting in Amazing
Grace, appears in the booklet. Provided through the courtesy of the
U. S. Center of the International Theatre Institute which included it in
Contemporary Stage Design U. S. A., Exhibition Catalog, 1974, the
rendering also appears in Oscar Brockett's Introduction to the Theatre.
Perhaps, the compilator and publisher of the catalog could have
selected another design for color presentation.
In all, Eldon Elder: Designs for the Theatre is smartly presented with
attractive sepia printing and large format illustrations, while being
reasonably priced. It should serve as an example of other sorely needed
chronologies of contemporary American stage designers, even if the
public is not fortunate enough to have them accompany an exhibit.

David A. Siegfried

Lorain County Community College

The Costumer's Handbook: How To Make All Kinds Of Costumes
by Rosemary Ingham and Elizabeth Covey. New Jersey: Prentice-Hall,
Inc., 1980. ISBN 0-13-181255-6, 294pp., ill., $9.95, paper.
The Costumer's Handbook is an invaluable and welcome aid to
costume technicians: professional, student and amateur alike. The
authors, Rosemary Ingham and Elizabeth Covey, have set out to
remedy a lack of literature dealing with the costumer's craft. Combining
their years of experience and talent as designers and technicians, they
have written this book with the emphasis on the technical aspects of
building costumes for the theatre. With step-by-step illustrations, diagrams and photographs, the authors present methods for making
practical, durable and functional garments-always with the idea of
building up a stock. The book is divided into two sections, the first six
chapters dealing with the shop, equipment, drafts, sewing techniques,
fabrics and fabric modification. The second section is concerned with
footwear, headgear, costume accessories and properties.
The authors begin with an explanation of the necessity, use and care
of shop equipment. The advice in this chapter could be of great value to
theatre consultants when planning a new building. Fabric facts are fully
explained from fibers and filaments to yarn count, twists, weaves and
finishes. The advantages and disadvantages of man-made, synthetic
and natural fibers are taken into consideration with a fiber burn
identification chart and a glossary of costume fabrics.
Even the instructions for taking measurements are detailed and can
be easily understood by untrained students. If measurements are taken
with care, the pattern drafts developed work very well with a minimum of
adjustment. The chapter on fabric dyeing and painting, written by expert
Deborah M. Dryden, includes basic information on available dyes,
necessary equipment and procedures for shading, aging and distressing
costumes.
Countless accessory and properties ideas are dealt with in the most
informative second section of the book, Le. shoes that fit, hats that
reveal actors' faces, wigs that stay in place, neckwear tied in the
fashionable manner, jewelry that sparkles, fans that send messages. In
addition to the information on how to make, rent, buy and wear those
items, interesting historical data, shopping lists, and a selected bibliography are of particular value.
Theatre Design & Technology 31



Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 1981

Contents
Theatre Design & Technology - Winter 1981 - 1
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Theatre Design & Technology - Winter 1981 - Contents
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