Theatre Design & Technology - Fall 1987 - 38

that Parker shows how all of the
seemingly abstract concepts relate to
theatre design. Every concept is illustrated with a graphic example derived from the theatre.
The third part, dealing with perspective drawing, uses plates by historic designers such as Sebastiano
Serlio, Vincenzo Scammozzi, and
Guisseppe Galli-Bibiena to illustrate
the true power of perspective drawing. This section contains instruction on two- and three-point perspective, vanishing points, and such
difficult techniques as extremely
slanted viewpoints including "bird's
eye" views.
Where this book fears to tread, and
many other books do as well, is with
computer graphics. There is, however, one small example of how a
computer can manipulate the image
of a repeating balustrade pattern.
evertheless, Parker is effective in
showing how a person can manipulate complex images with paper and
pencil. His text is supported wi th
hundreds of black and white line
drawings, photos, and illustrations.
Parker's wri ting is concise and
readable. He concentrates only on accomplishing a given task, withholding any attempt to be dogmatic in his
instructions. For example, when Parker admonishes the reader to use
drawing tools properly, he specifically explains how misused tools
have a shorter life. For its size, this
book offers many helpful tips on preparing drawings for the theatre, and
is effective at a price that can be considered a great bargain in today's
book market.*

Tom Mikotowicz

ther into drawing wi th the incorporation of "Part Three: Perspective in
the Theatre."
"Part One: The Language of Lines"
focuses on the tools and techniques
of basic drafting practice. Parker succinctly sums up the basic approaches
to graphically interpreting a design.
He condenses this practical instruction into well-written, carefully conceived passages that progress from
the tools necessary for success to the
standard drafting symbols used on
drawings. These are the symbols that
36

TD&T·

FALL 1987

were developed by the Graphic Standards Board of USITT
In "Part Two: Graphic Solutions,"
the author illustrates how a simple
knowledge of geometric forms can
help the designer solve problems
with irregular scenery. One minor
example depicts a circus stool derived from the shape of a cone. Another more complex example shows
the plotting of a single-curved
surface of a cupola roof to find its
true shape. Most important about
this section, and indeed this book, is

Performing Arts Resources
Volume Eleven-Scenes and
Machines from the 18th
Century: The Stagecraft of
.Jacopo Fabris and Cityoen
Boullet

translated by C. Thomas Ault and
edited by Barbara Cohen-Stratyner.
ew York: Theatre Library
Association, 1986. ISB
0-932610-08-0, xviii
146 pp., ill.,
S24.00 cloth.
ranslator c. Thomas Ault, a designer/historian whose doctoral
dissertation dealt with stage ma-

T



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1987

Contents
Theatre Design & Technology - Fall 1987 - 1
Theatre Design & Technology - Fall 1987 - 2
Theatre Design & Technology - Fall 1987 - 3
Theatre Design & Technology - Fall 1987 - Contents
Theatre Design & Technology - Fall 1987 - 5
Theatre Design & Technology - Fall 1987 - 6
Theatre Design & Technology - Fall 1987 - 7
Theatre Design & Technology - Fall 1987 - 8
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
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