Theatre Design & Technology - Spring 1988 - 56

It would be the first theatre in ew York to design and
make all its own scener~ costumes, and propertiesthus launching the concept that stagecraft could itself
be a significant art form, the fusion of design, sculpture, music, lighting and physical movement as unified and important as the words the actors spoke.
Aline would later say that the profession of "scene
designer" began at the Playhouse .... 12
Critic John Gassner agrees, crediting the eighborhood
Playhouse with giving birth to an entirely new kind of
theatre in ew York City. Gassner argues that without the
kind of experimentation that took place at the Playhouse,
"art theatre" would not have made a "strong dent on Broadway" in later years. 13 As the resident designer for the
Playhouse, it's hard to imagine that she did not playa
major part in deciding to move the shops into the theatre
and the consequent move toward a new art theatre. But she
is not singled out by historians for credit.
After the Neighborhood Playhouse closed in 1927, she
went on to work in the American Theatre, the Theatre
Guild, and the Civic Repertory Theatre, where she designed important early productions by Eugene 0' eill,
Elmer Rice, and Clillord Odets. She designed Lillian Hellman's first play, The Children's HOll. She collaborated on
productions with designers Robert Edmond Jones and Lee
Simonson. Her part in these important collaborations
would seem to be noteworthy. But Aline Bernstein remains a footnote, a name that occasionally appears in lists
of designers who worked during the Depression. The very
little attention that has been paid to her focuses on her

costume design work. She won a Tony Award in costume
design for Regina in 1950. Was she a talented costume
designer who suddenly lost her artistic sensibilities when
she designed scenery? It is doubtful. It's a shame she did
not follow the precedent set by her male design colleagues
and write a book about her work as a scene designer.
How could the work of someone as prolific as Aline
Bernstein be totally overlooked by theatre historians? Sociologist Robert K. Merton developed a theory that
provides at least a partial explanation. He termed this
phenomenon "the self-fulfilling prophesy," a theory
... in which the behavior practiced and emulated as
virtuous by members of the in-group is regarded as
inappropriate and wrong when practiced by members
of the out-group. Thus, he pointed out, Abe Lincoln is
thrifty, while Abe Cohen or Abe Kurasawa is a pel1llYpincher. This, of course, puts the outsider in an impossible situation. Out-group members are damned if
they do, as well as if they don't, because, practiced by
them, valued behavior acquires a negative cast. 14
Women recognize this phenomenon as the old "double
standard" - men are "assertive" while women are "bitchy,"
etc. It is deeply embedded in the culture-an unconscious
oversight - but the effects are on the surface. The work of
women is not attacked as unimportant on an esthetic
basis, because the actions of the "outgroup" never gained
the critics' attention in the first place.
However, merely pointing out the accomplishments of
women scene designers does not solve the problem. Most

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54

TD&T'

SPRING 19BB



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
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