Theatre Design & Technology - Spring 1988 - 54

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"USC Provides
The Opportunity,
You Provide
The Talent."
BFA and MFA in Design
Graduate and undergraduate assistantships available.
20 productions in 3 theatres
See designs go from paper to reality.
Practical experience.
Admission by interview
and/or submission of portfolio.

Division 01 Drama

UNIVERSITY OF
SOUTHERN CALIFORNIA
(213) 743-0347
Los Angeles, California
:

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90089

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Assembly Places International
Peter H. Frink
Partner in Charge of Assembly Place
Design and Technologies
B of Architecture, Penn Stale University
MS in Architecture, Columbia University
MFA in Theatre Engineering, Yale Drama School
Licensed Architect in PA, I~J, VA, FL, NY
NCARB Certification
Member
The American Institute of Architects

(215) 564-4980
1519 Walnut Street
Philadelphia, PA 19102-3001

!52

TD&T

SPRING la99

involvement when they moved into more prestigious theatres and received acclaim in the other areas. Tlus list
includes Aline Bemstein, Irene Sharaff, Tean Rosenthal,
and Peggy Clark Kelly. Only Aline Bemstein continued to
design scenery on a regular basis throughout her career,
but this work has been largely ignored. Is it likely that all
these talented women somehow lost their visual sensibility whenever they designed scenery! It seems more
likely that they succumbed to pressure to abandon this
area of theatre art.
AnOther look at Heidi Landesman's mal hard-woman/
soft theory reveals an even more basic source of these
pressures to exclude women set designer: man builds,
woman sews. These are the anciem archetypes of masculine and fenulune behavior. Intellectually; at least, most
people would adnut this is a ridiculously narrow view of
human capacities. Actions, however, reveal the depth of
conviction which remains. Consider the kinds of remarks
made by educators when asked why there are so few
women in their scene design programs. Phrases like "lack
tecluucal background," "difficulty with concrete thinking," or "absence of role models" form the refrain. The
students themselves, when required to do labs in theatre
workshops, will invariably break into two groups: males to
the scene shop, females to the costume shop. It is irOluc to
nore the perseverance of these stereotypes when sewing
and building aren't usually part of a designer's job. An
architect is not confused with a construction worker, why
confuse a set designer with a carpenter? Why haven't the
men, who compromise approximately fifty percent of the
costume designers, met with these stereotype pressures?
The women professors who would be the fledging design
studeurs' role models are faced with still more pressuresa battle on two froms. First, she is still a newcomer to the
lustorically male bastion of the luuversity. Then, in order
to remain in the university; she must make her mark in
"professional theatre" as a requisite for tenure. Needless to
say, there is a shortage of role models.
What about the quality of the work done by the women
who have not been pressured out of the profession 1 Are
they so small a group that not even one has produced any
historically sigIuficant trends or styles 1 Is it that the criteria that theatre lustorians and critics used to examine the
work of desigI1ers caused them to overlook sigIlificant
contributions by women! The question of critical criteria
is a difficult one to Uluavel, panly because the wri ting on
scene design has been so pOtty. There has been no comprehensive study tracing the developmem of scene desigI1
practice in America. A majority of the works written on
the subject considered important were written by the desigI1ers themselves to display and explain their own stylistic approach and work: DralVings for the Theatre and The
Dramatic Imagination by Robert Edmond Tones, Part of a
Lifetime and The Stage is Set by Lee Simonson, Designing
for the Theatre by To Mielziner.
Arnold Aronson recently published a work emitled
American Set Design as a urvey of importam comemporary American desigI1ers. In the Author's ore he explains
his criteria for selecting the desigI1ers included in the
book:
Each designer selected: 1) is currently active, primarily in the area of theatre design; 21 has a body of
professional work spanning at least 10 years; 31 has
worked extensively in resident professional theatre as



Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 1988

Contents
Theatre Design & Technology - Spring 1988 - 1
Theatre Design & Technology - Spring 1988 - 2
Theatre Design & Technology - Spring 1988 - 3
Theatre Design & Technology - Spring 1988 - Contents
Theatre Design & Technology - Spring 1988 - 5
Theatre Design & Technology - Spring 1988 - 6
Theatre Design & Technology - Spring 1988 - 7
Theatre Design & Technology - Spring 1988 - 8
Theatre Design & Technology - Spring 1988 - 9
Theatre Design & Technology - Spring 1988 - 10
Theatre Design & Technology - Spring 1988 - 11
Theatre Design & Technology - Spring 1988 - 12
Theatre Design & Technology - Spring 1988 - 13
Theatre Design & Technology - Spring 1988 - 14
Theatre Design & Technology - Spring 1988 - 15
Theatre Design & Technology - Spring 1988 - 16
Theatre Design & Technology - Spring 1988 - 17
Theatre Design & Technology - Spring 1988 - 18
Theatre Design & Technology - Spring 1988 - 19
Theatre Design & Technology - Spring 1988 - 20
Theatre Design & Technology - Spring 1988 - 21
Theatre Design & Technology - Spring 1988 - 22
Theatre Design & Technology - Spring 1988 - 23
Theatre Design & Technology - Spring 1988 - 24
Theatre Design & Technology - Spring 1988 - 25
Theatre Design & Technology - Spring 1988 - 26
Theatre Design & Technology - Spring 1988 - 27
Theatre Design & Technology - Spring 1988 - 28
Theatre Design & Technology - Spring 1988 - 29
Theatre Design & Technology - Spring 1988 - 30
Theatre Design & Technology - Spring 1988 - 31
Theatre Design & Technology - Spring 1988 - 32
Theatre Design & Technology - Spring 1988 - 33
Theatre Design & Technology - Spring 1988 - 34
Theatre Design & Technology - Spring 1988 - 35
Theatre Design & Technology - Spring 1988 - 36
Theatre Design & Technology - Spring 1988 - 37
Theatre Design & Technology - Spring 1988 - 38
Theatre Design & Technology - Spring 1988 - 39
Theatre Design & Technology - Spring 1988 - 40
Theatre Design & Technology - Spring 1988 - 41
Theatre Design & Technology - Spring 1988 - 42
Theatre Design & Technology - Spring 1988 - 43
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Theatre Design & Technology - Spring 1988 - 45
Theatre Design & Technology - Spring 1988 - 46
Theatre Design & Technology - Spring 1988 - 47
Theatre Design & Technology - Spring 1988 - 48
Theatre Design & Technology - Spring 1988 - 49
Theatre Design & Technology - Spring 1988 - 50
Theatre Design & Technology - Spring 1988 - 51
Theatre Design & Technology - Spring 1988 - 52
Theatre Design & Technology - Spring 1988 - 53
Theatre Design & Technology - Spring 1988 - 54
Theatre Design & Technology - Spring 1988 - 55
Theatre Design & Technology - Spring 1988 - 56
Theatre Design & Technology - Spring 1988 - 57
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Theatre Design & Technology - Spring 1988 - 60
Theatre Design & Technology - Spring 1988 - 61
Theatre Design & Technology - Spring 1988 - 62
Theatre Design & Technology - Spring 1988 - 63
Theatre Design & Technology - Spring 1988 - 64
Theatre Design & Technology - Spring 1988 - 65
Theatre Design & Technology - Spring 1988 - 66
Theatre Design & Technology - Spring 1988 - 67
Theatre Design & Technology - Spring 1988 - 68
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