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NEW ROCHELLE N.Y. 10804
TEL 914··636·5538

Throughout the book the authors have stressed the importance of
remaining true to the essence of the period. As it is impossible to
reproduce accurate historical items, the audience will accept a wellmade garment as a period piece and that the article will "complement
the style of the entire production."
In an otherwise superb book, the reviewer wishes the authors had
used more illustrations on the subject of padding, a task costumers
frequently face and, also, presented a fuller discussion the procedures
of organizing shop personnel. The common sense, practical approach to
costuming (keeping in mind the self-preservation and sanity of the
costumer), is what makes this book so appealing. The volume brings
together in one place the exact information a costumer needs to know.
Ms. Ingham and Ms. Covey inspire and encourage others to contribute
to the body of technical literature that is available to those interested in
costuming.
Barbara Medlicott

University of Houston

Opera, edited by Rudolf Hartmann, translated by Arnold J. Pomerans.
New York: Willfam Morrow and Co., Inc., 1977. ISBN 0-688-03212-5,
268pp., ill., $60.00, cloth.
Opera, edited by Rudolf Hartman, is a stunning addition to the
literature of design. It is one of a rare breed of design books that
matches an excellent visual presentation of contemporary, international
opera design with an equally brilliant text. It is a book that should be read
and studied by anyone with an interest in opera, theatre or design.
The book is divided into three sections. The first, written by Austrian
designer/teacher Heinz Brunno Gallee is a brief essay on the history of
stage design in the European theatre. Gallee combines esthetic
insights with a historical perspective as he traces the origins of design
and theatre architecture from its beginnings in the "magic circle" to the
present. This serves as a good introduction to the rest of the book.
The second section, entitled "From Commission to Premiere," is
authored by the noted German Designer Gunther Schneider Siemssen
with additional material written by Pantelis Dessyllas, Henrich Wendel,
Jean-Pierre Ponnelle and Gunther Yecker. This portion of the book is
not intended as a textbook or manual on how to design an opera and
may disappoint those who are looking for one. Rather it is a provocative
presentation of material by practicing professionals in opera design.
Although scenery, costumes and lighting are all discussed, the book's
primary emphasis is on the creation of the scenic environment. It
discusses problems designers will encounter and must deal with when
designing opera and examines the progress of a design from the artist's
studio to opening night. Material on the role of light and use of
projections in contemporary opera productions is presented, professional ethics are discussed and Schneider-Siemssen in his essay on "The
Stage as Cosmic Space" presents a philosophical-artistic construct
which governs his work in design.

The major and final section of the book is devoted to a presentation of
designs for twelve operas: Don Giovanni, Die Zauberflote, Fidelip, /I
Barbiere di Siviglia, Don Pasquale, Don Carlos, Die Meistersinger Von
Nurnberg, Gotterdammerung, Les Contes D'Hoffmann, Pel/eas et Melisande, and Die Frau Ohne Schatten. The material on each of the operas
is prefaced by a brief introduction by Rudolf Hartmann where he
identifies what he perceives to be the major challenges presented by
each work. Then, anywhere from four to seven major, international
productions of that opera are discussed in material written by the
director and/or the designer involved, or compiled from interviews with
them. This material runs the gamut from brief descriptions of their
productions to in-depth presentations of their concepts and the technical
realization of their work. This is followed by an excellent presentation of
black and white and color photographs of set and costume sketches,
and full-stage shots of selected scenes from the different productions.
The format of this final section is masterful in its juxtapositioning of
photographs for the same scene in the various productions of the opera
under discussion. This provides the reader with an opportunity to
compare and contrast the various and sometimes contradictory approaches presented.
All of the operas discussed were produced between 1962 and 1976
and while there is a preponderance of work by German and Austrian
designers, notably Gunther Schneider-Siemssen, other designers of
international repute such as Franco Zeffirelli, Jean-Pierre Ponnelle,
Joseph Svoboda, Rouben Ter-Arutunian, Desmond Heeley, Robert
O'Hearn and Jose Varona are included. A total of fifty-five productions
are presented representing the work of thirty-two different designers.
The book concludes with two valuable appendices; one containing
technical specifications for the opera houses for which the various
productions were designed, and the other a series of short biographies
of the directors and designers who contributed to the book. A bibliography and listing of picture credits are provided although their unorthodox
format is annoyng. Equally bothersome is the lack of an index although
this is somewhat compensated for by a detailed table of contents.
Germanic in its perspective, some readers may be annoyed by the
book's occasionally stilted prose or momentarily confused by unfamiliar
terminology. At the same time the book easily transcends geographic
boundaries through its efficient organization, its interesting and provocative discussion of opera and design and the superb documentation of
the work of talented directors and designers from around the world.
Robert C. Hansen

Bowling Green State University

ales-Service -Rentals
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& Dimming Systems
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Stage Scenery & Hardware
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Special Effects
Makeup, Wigs & Beards
Theater, T. V" Motion Picture
& Concert Lighting
Theatrical Design, Supplies and Lighting Consultants.

Box 816 Stockbridge, MA. 01262
(413) 298-3771



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

Contents
Theatre Design & Technology - Winter 1981 - 1
Theatre Design & Technology - Winter 1981 - 2
Theatre Design & Technology - Winter 1981 - 3
Theatre Design & Technology - Winter 1981 - Contents
Theatre Design & Technology - Winter 1981 - 5
Theatre Design & Technology - Winter 1981 - 6
Theatre Design & Technology - Winter 1981 - 7
Theatre Design & Technology - Winter 1981 - 8
Theatre Design & Technology - Winter 1981 - 9
Theatre Design & Technology - Winter 1981 - 10
Theatre Design & Technology - Winter 1981 - 11
Theatre Design & Technology - Winter 1981 - 12
Theatre Design & Technology - Winter 1981 - 13
Theatre Design & Technology - Winter 1981 - 14
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Theatre Design & Technology - Winter 1981 - 18
Theatre Design & Technology - Winter 1981 - 19
Theatre Design & Technology - Winter 1981 - 20
Theatre Design & Technology - Winter 1981 - 21
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Theatre Design & Technology - Winter 1981 - 25
Theatre Design & Technology - Winter 1981 - 26
Theatre Design & Technology - Winter 1981 - 27
Theatre Design & Technology - Winter 1981 - 28
Theatre Design & Technology - Winter 1981 - 29
Theatre Design & Technology - Winter 1981 - 30
Theatre Design & Technology - Winter 1981 - 31
Theatre Design & Technology - Winter 1981 - 32
Theatre Design & Technology - Winter 1981 - 33
Theatre Design & Technology - Winter 1981 - 34
Theatre Design & Technology - Winter 1981 - 35
Theatre Design & Technology - Winter 1981 - 36
Theatre Design & Technology - Winter 1981 - 37
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Theatre Design & Technology - Winter 1981 - 44
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