Theatre Design & Technology - Summer 1985 - 10

there is only one woman in the bookit is indicative of the state of women in
set design.
Because in the past Marge had raised
some que tions about the lack of
women in set design, I began to raise
that question with some of the designers
I interviewed. The most coherent answer I was given, but not, I believe, a
valid one, was by a set designer who
runs a design program. He was embarrassed by the question, but tried to
come up with a reasonable answer. He
said women lacked a background in
technical areas, that this was traditionally an area for men, that they lack role
models, and a combination of this led
to their inability to function well in set
design. If this were true there would be
no women lighting designers, and no
women in costume design either. Other
designers dismissed the question as
irrelevant .

A drianne Lobel's design for All lighl Long

al

Theatre Design & Technology I

lj~
directors and producers. Talking to
Marge, she mentioned a difficulty in
getting a certain viewpoint across in
specific circumstances, something none
of the men ever brought up. They admitted that various ideas had been shot
down, or not accepted for whatever
reason, but they gave the impression
that they were always in control, imposing things on the directors. There
seems to be a certain attitudinal difference but I don't know if this holds
true in all instances.

Second Stage.

Clearly producers and directorsgiven the structure of theatre in this
country-are working on the "good
old boy" network. You get jobs by
knowing people, by being recommended, and once again, it is hard to
break in.
In my own analysis, I was not able
to determine what made Marge's sets
different stylistically from anybody
else's in a gender-related way. The only
thing that seems to crop up is a di fference in approach to working with

8

Wi:::ยท

Another thing I might mention
from my own experience is that I had
written a preface for my book addressing various ideas and historical elements that emerged as I interviewed the
eleven designers. Somewhere up the
scale at TCG the preface met with resistance and suggestions that it should
be cuI. Ultimately, my entire preface
was cut for reasons of space, and it became a moO! point. In my chapter on
Marge there is some discussion of the
problems of women in design. Al-

SITT I Summer 1985

though I was hesitant, as Marge certainly was, to focus on the fact that she
is a woman designer rather than a designer, I'm glad I left in what I did. At
least there is some discussion of the
issue.
KELLOGG: I think one of the things
that is common for all three of us is that
we are trying to resist being known as
women designers. We would prefer just
being designers, and not have to bear
the burden of the feminist perspective.
It's not that the feminist perspective
isn't important-but it could end up
limiting the work itself, which after all
is not sexually aligned in any way. The
interpretation can be, I understood
that.
I came late to the whole idea that
maybe there was some problem with
women in design. It wasn't until I
started to touch around the edges of
Broadway, where the real money is and
the real power brokers are, that I began
to experience a very different kind of
attitude, mostly covert. The places
where it was overt, it was usually easily
taken care of. There are myths about
what it's going to be like for a woman
to deal with the Broadway theatre.
You're going to have a hard time with
the stagehands. This is nonsense. They
love working with women. You're going to have a hard time in the shops,
where women don't know about tools.
inety percent of the male designers
don't know about tools either. A lot of
those myths were quickly dispelled.
But in working with producers and even
certain directors, but mostly the business end, it became evident that there
were-I won't say stone walls, butglass walls that I could see through but
could not get through. We put together
a survey to try and figure out if there
was statistical support for what we were
suspecting, and indeed we did find that
there was. People think differently
about women designers.
LOBEL: I think there is a danger of being over conscious of being a woman.
The minute they think that's what
you're thinking they have an advantage
over you. I find that being a woman in
the theatre i really an advantage. I am
very particular about what I work on.
If there is a sense of that old-fashioned
non-humanist view of the theatre, the
show's going to reflect that, the people
involved in that show are going to reflect that, and I'm not particularly in-



Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 1985

Contents
Theatre Design & Technology - Summer 1985 - 1
Theatre Design & Technology - Summer 1985 - 2
Theatre Design & Technology - Summer 1985 - 3
Theatre Design & Technology - Summer 1985 - Contents
Theatre Design & Technology - Summer 1985 - 5
Theatre Design & Technology - Summer 1985 - 6
Theatre Design & Technology - Summer 1985 - 7
Theatre Design & Technology - Summer 1985 - 8
Theatre Design & Technology - Summer 1985 - 9
Theatre Design & Technology - Summer 1985 - 10
Theatre Design & Technology - Summer 1985 - 11
Theatre Design & Technology - Summer 1985 - 12
Theatre Design & Technology - Summer 1985 - 13
Theatre Design & Technology - Summer 1985 - 14
Theatre Design & Technology - Summer 1985 - 15
Theatre Design & Technology - Summer 1985 - 16
Theatre Design & Technology - Summer 1985 - 17
Theatre Design & Technology - Summer 1985 - 18
Theatre Design & Technology - Summer 1985 - 19
Theatre Design & Technology - Summer 1985 - 20
Theatre Design & Technology - Summer 1985 - 21
Theatre Design & Technology - Summer 1985 - 22
Theatre Design & Technology - Summer 1985 - 23
Theatre Design & Technology - Summer 1985 - 24
Theatre Design & Technology - Summer 1985 - 25
Theatre Design & Technology - Summer 1985 - 26
Theatre Design & Technology - Summer 1985 - 27
Theatre Design & Technology - Summer 1985 - 28
Theatre Design & Technology - Summer 1985 - 29
Theatre Design & Technology - Summer 1985 - 30
Theatre Design & Technology - Summer 1985 - 31
Theatre Design & Technology - Summer 1985 - 32
Theatre Design & Technology - Summer 1985 - 33
Theatre Design & Technology - Summer 1985 - 34
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Theatre Design & Technology - Summer 1985 - 37
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