Theatre Design & Technology - Summer 1991 - 45

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Designing For The Theatre
by Francis Reid
ew York: Thea"e Arts BookslRoudedge, 1989. 156
87830-045-7, 106 pp., ill., 513.95 paper

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clear that the abiliry to make a light plot
or a ground plan is not a prerequisite to
creative thought or becoming a designer.
Although described as an introduction
to design, the book is worth reading by
anyone expressing a curiosiry in theatre
design, be they students or not. The book

influential in the writing of this book or
which share a similar sryle or approach to
design that is complimentary to the
author's views. A reader who is not
involved in an academic course of study
could indeed seek additional in depth
information concerning any individual,
process or theory expressed int he book.
If one wishes to make
negative
critical
statements about the
book, then the Glossary
of Technical Stage Terms
may be the appropriate
place to seek some "ammunition." It is
always difficult to be selective as to what
should or should not be included in a
glossary of terms. On the other hand, the
glossary is equally effective in providing
"ammunition" for complimentary critical
statements.

Many rimes texrbooks are wrirren by
rexrbook writers who want to impress
other textbook writers
with their literary style
and/or knowledge of the
subject matter. This book
was written ... in response to the needs and
activities of staff and
studen ts at London's
can function as an introductory text for
Central School of Art and Design, where
he (Francis Reid) was for several years in
all theatre students or as a supplementary
reading for students enrolled in a liberal
charge of theatre design."
Because the focus of the book and the
arts introductory theatre course. The
book works equally well as a "refresher"
reading audience are clearly defined, the
reference for designers working in the
author does not need to waste the readers
time trying to expound or to defend any
field, especially if they are involved as a
of his personal theories or philosophies
guest artist designing in educational
about theatre, design or why he has
Institution.
-Owen W Smith
written this book. In fact it is not until
The author may be somewhat of a
California State Universiry, orthridge
heretic (to academics) in that he states "It
chapter 9, Learning To Design, when the
author makes his opinions known to the
is possible to design professionally for
theatre without any formal training in
reader, and then only to the extent that
theatre design, or indeed in theatre or art,
his opinions relate to the purpose of the
Scene Design in the American
by just relying on talent and observation."
book as expressed by the publishers. The
Theatre from 1915 to 1960
author should be commended for his
There are many professors who really
by Orville K. Larson
consistent avoidance of rhetoric in favor
cannot accept the notion that learning
Fayerreville: The Universil}' of Arkansas Press, 1989. 156
can take place without the necessiry of 1-55728-065-7, xx + 385 pp., ill., 525 paperback.
of clariry and breviry.
requiring the teacher's presence ro
The objective of this book is to present
" ... an introduction to the possibilities
Theatre historians and many designers
physically dispense knowledge or ro
have eagerly awaited Orville K. Larson's
regulate its comprehension. Expressing
and process of design for the theatre. It is
treatise on the new stagecraft movement
hoped it will offer sufficient insight into
the notion that theatre design could be
in the United States. The book he has
taught through an art curriculum, rather
the design process to provide an
produced is excellent and authoritative. It
embryonic designer with a method of than a theatre curriculum, might also
cause ivy to wilt on some of the historic
should become recognized as one of the
proceeding from first thought to first
night." Mr. Reid is true to his word. This
towers of theatrical academia.
standard references on this subject.
book is an excellent synopsis of how the
The author provides "some suggestions
Early in this century a select few
for further reading", which upon first
design process works in theatrical
American artists created an aesthetic of
production.
glance may appear a bit strange, or at least
scene design quite different from the
incomplete. However, the author is not
The author describes the creative
European tradition. The American
process, or at least the most commonly
trying to provide a bibliography of all
aesthetic found its first expression with
agreed upon elements of the creative
known writings on the subject but is
Robert Edmond Jones' design for The
Man Who Married a Dumb Wife in 1915;
process that influence most designers, and
merely trying to provide the reader with
developed and established itself between
suggests a general pattern for the
those references which were either
neophyte to follow until a
World Wars One and
Two; and continued to
personal approach can be
developed. Skills necessary
flourish until new forces
WILLIAM ZUCCHERO, EDITOR
for the realization of a
in art, education and
design are also discussed
technology changed the
face of American design
and rhe author makes it

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TD&T

1991 SUMMER

43
Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 1991
