Theatre Design & Technology - Summer 1982 - 26

-Book Reviews

_ _ _ _ _ _ _ _ _ _ _ _L_ois_Ga_rre_n

Computers and the Performing Arts, edited by Lou Moore and Nancy
Kassack. New York: Theatre Communications Group, 1980. ISBN 0930452-15-1, 113pp., $7.95, paper.

The use of computers in the performing arts is hardly news. Computerized lighting controls are well into their second decade, while computerized box offices are becoming commonplace. But despite their popularity in these two functions, the real advantages of computerization for
the performing arts are only now beginning to be felt.
This book contains the results of the National Computer Project for the
Performing Arts which was undertaken by the Theatre Communications
Group in an attempt to give performing arts managers an understanding
of how computers could serve their needs, what management systems
must be in place before the computer and what hardware and software
were available.
The book is, in fact, a report on the findings of the National Computer
Project. It begins with the results of a Survey of Existing Computer
Application in the Performing Arts-who is using what for which purpose. The report continues with ten articles which represent summaries
and hand-out materials which were presented at the conference which
was organized as part of the project. These short articles cover subjects
as diverse as how to talk to computer vendors and the use of computers
in financial management and planning. This section represents more
than half the book's pages and ninety percent of its value to those who
did not take part in either the surveyor the conference.
Computer hardware is becoming less and less costly as every day
goes by, and is thereby accessible to more and more arts organizations.
However, in order to benefit from this electronic marvel, managers must
be able to speak the language. Computers and the Performing Arts is,
then, a handy phrase book which managers who wish to journey in this
exciting land would do well to consult before making their travel
arrangements.
Brian Arnott

Toronto

Thomas Betterton and the Management of Lincoln's Inn Fields
1695-1708 by Judith Milhous. Carbondale and Edwardsville: Southern
Illinois Press, 1979. ISBN 0-8093-0906-8, 287 pp., $18.95 cloth.

The study of history reveals many myths, often of unknown origin,
fostered by successive generations of unquestioning scholars. Thomas
Jefferson's relationship with his slave, Sally Hemings, had led to
hundreds of pages of unsubstantiated speculation, for example. A
similar misconception in theatre history involves Sarah Bernhardt's use
of a tent theatre during her 1905-06 U.S. tour; most accounts suggest
far greater use of the facility than actually happened.
Similarly, Thomas Betterton, the pre-eminent performer on the London Restoration stage, has long been blamed for the ill fortunes of the
theatre at Lincoln's Inn Fields from 1695 to 1708. Most standard sources
for this period decry his managerial policies, however much they praise
his acting.
Such estimations of Betterton's managerial policies must now be
reconsidered as a result of Professor Milhous's findings. In her study, an
almost unprecedented examination of managerial practices of the time,
Professor Milhous drew upon the resources of the Public Record Office
in London, the BritiSh Library and the Harvard Theatre Collection. There
she located valuable and hitherto unpublished documents, such as the
Petition of the Players and the Reply of the Patentees (both published as
appendices) and the Cole Papers at Harvard. With these and additional
materials, Professor Milhous posits most persuasively that Betterton
"should be credited with rescuing Lincoln's Inn Fields, not ruining it."
While Betterton's tenure cannot be considered successful, it would
seem he kept his theatre competitive with Rich's Drury Lane operation in
spite of external forces beyond his control: anti-theatrical prejudices,
shifting and whimsical public tastes, and lack-luster dramaturgy. While
many spoke of closing the London theatres altogether, Betterton facili-

24

Theatre Design & Technology

tated theatrical survival until the Union of 1708. In so doing, he
participated in many innovations which characterized the eighteenth
century London stage.
This is a volume for scholars, not the general reader. The reader
might wish illustrations, especially of some of the scenic displays and
innovations described in the highly detailed text. Nevertheless, the
volume represents exemplary scholarship; no succeeding study of this
period can safely ignore these findings. The volume properly belongs in
every college library and every theatre historian's personal collection,
and we can await Professor Milhous's future output with positive
anticipation,
Stephen M. Archer

University of Missouri-Columbia

Good Speech for the American Actor, text by Edith Skinner and tape
by Edith Skinner and Timothy Monich. New York: Drama Book Specialists, 1980. ISBN 0-89676-039-1 text, ISBN 0-89676-040-5 tape, 24 pp.,
paper + cassette in vinyl binder.
Good Speech for the American Actor provides a much-needed model
for a range of acceptable speech which is simple, clear and recognizably
American. The author, Edith Skinner, emphasizes standards of pronunciation rather than rules of diction, and her intention is to supply a
listening and speaking direction which will open up speech awareness
and capacity in the individual student.
The pamphlet describes good American speech, suggests effective
methods of practice, and clearly explains the phonetic notations-a
combination of the international phonetic alphabet and the author's
devices-used in the text. The practice includes six example sentences
which are followed by exercises for American vowel and consonant
sounds. In addition, the tape as recorded by both Edith Skinner and
Timothy Monich is identical to the text so that even the student
unfamiliar with the IPA can follow the exercises.
Edith Skinner and Timothy Monich have provided a necessary tool in
a convenient package at a moderate price. The pamphlet is clearly
printed on heavy paper and the tape is a standard cassette. Both items
come packages in a portable vinyl notebook. As such, Good Speech for
the American Actor can find ready use in the library and the classroom,
from the rehearsal hall to the dormitory room.
Kathleen M. Robbins

AEA-AFTRA, New York City

Toward Expanding Horizons and Exploring Our Art: The Proceedings of the Theatre Communications Group National Conference.
New York: Theatre Communications Group, Inc., 1980. ISBN 0-93045214-3, 94pp., ill., $6.00, paper.

This journal-sized chronicle reports the June 18-24, 1980 TCG third
biennial national working conference, an imperfect attempt to recapture
and record some of the excitement, unpredictability and surprises of the
conference as well as its formal, structured events. The report is based
on tapes of speeches and panel discussions, plus a couple of summaries which bring to light the human elements and emotions of such a
conference.
The report is in three parts. One features the keynote speakers, four
leading thinkers whose addresses were to prompt and guide the
assembled artists and producers in making connections and finding
insights into the forces shaping society. The issue of the conferencesociety's complexity and the variety of forms that today's discoveries
and visions are patterned and delivered in-was eminently well served
by these leading natural and social scientists: futurist William Simon
("Cultural Demography of a Society in Transition"), political philosopher
Sheldon Wolin ("Power and Place: The End of the Beginning"), international relations specialist Richard Falk ("Up Against the Flow of History"),
and molecular biologist Boris Magasanik ("Molecular Biology and Society").

USITI/Summer, 1982



Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 1982

Contents
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Theatre Design & Technology - Summer 1982 - Contents
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