Theatre Design & Technology - Dec 1974 - 37

Wi "

helmeted policeman is likened to its medieval
prototype, the connection of protective armor across
the ages becomes enriched as a result. The authors'
unrestrictive approach also gives some of their
observations a startling visual brilliancy be it the
saint's halo where the ephemeral unseen becomes a
physical trademark or the photograph of a photojournalist where the camera held to the face becomes
accidentally a mask.
Unfortunately, the very thing that makes the book
so appealing, its unabashed and wild eclecticism,
also accounts for one of its major defects. As one
joyfully bounces from item to item, there is always a
nagging desire for a fattening up of the facts - a
contained discussion of the philosophy of the mask.
But perhaps the most disappointing aspect of the
book is its third chapter "Demonstrations and
Projects" which degenerates into a "Iet-me-and-myfriends-help-you-to-create-it-yourself" lesson. Such a
chapter might have warranted inclusion in the book if
the demonstration examples themselves were not so
amateur and inferior in quality when compared to the
excellence and scope of the rest of the book. The
chapter seems especially offensive when the demonstrations become internally redundant (about ten
over-memorized views of the same example, and one
series of photographs looking remarkably like instructions on how to use a sewing machine.)
A final grievance is that over half of the color
plates are gluttonously used up in this last section
when other areas of this book should be visualized in
color. The most sinned-against example that comes
to mind is a black and white photograph of two
masks where the corresponding caption admits that
their colors are a primary indicator of the spirit of the
mask's creator.
In spite of the built-in features which tend to
belittle the book, Masks, Face Coverings and Headgear remains a fairly exciting treatment of a most
provocative subject.
Sylvalya Eichen
NEWS.... Continued from Page 6

NEW MANUAL ON SPEED REDUCTION EQUIPMENT FROM DELAVAL
The Delroyd Worm Gear Division of DELAVAL
has prepared a manual on the engineering, selection
and specification of speed reduction gearing and
speed reducers. It is not a commercial catalog and
lists no ratings or dimensions on Delroyd reducers or
sets. In the manual the reader will find a review of
the geometry and design of worm and helical
gearing, discussions of materials of construction,
manufacturing methods, installation, operation, lubrication and maintenance. A particularly valuable

L:§EJ

THEATRE DESIGN AND TECHNOLOGY

section sets forth a quick and simple method of
comparing various types of speed reducers and gives
concrete examples in step-by-step fashion. The
manual is free to those writing for it on their
company letterhead. Write to:
Delaval Turbine Inc.
Delroyd@ Worm Gear Division
121 First Avenue
Trenton, New Jersey 08607
DELAVAL makes the broadest line of worm gear
speed reduction equipment in the world: center
distances run from 2" to 48", reduction ratios from
5:1 to 216,000:1, HP from fractional to 1500, torque
from 450 to 3,500,00 inch-pounds. Models are
available in shaft mounted, horizontal and vertical
shafted configurations.
TEN YEARS .... Continued from Page 19.
sions about the directions being taken in American
theatre, theatre building and scenic design. Such
weighty conclusions, however, are best left to
history. What does emerge from the 1974 survey is
simply the wide range of prejudices and attitudes
which have always initiated change and always will.
Readers who wish to make a tally will discover that
Lute Song comes out a winner in 1974. They may also
discover there are only two women mentioned on the
1964 Iist and none in 1974. Rather than being an
oversight, it is more logically a subject deserving a
survey all its own. There is also a noticeable lack of
both costume and lighting designers on both lists.
This Journal's Editorial Guide suggests that
opinionated statements are welcome. This survey of
ten years of American Scene Design, with the help of
some interested artists and with the blessing of
Henry Hewes has, hopefully, provided a few of those
opinions.
NOTES:
1Marek, Hannelore. The History of the Theatre. New York:
The Odyssey Press, 1964.
Hainaux, Rene, ed. Stage Design Throughout the World Since
1950. London: George Harrap & Co. LTO, 1964.
2Herman Rosse (1887-1965), Lee Simonson (1888-1967), Cleon
Throckmorton (1897-1965), Henry Dreyfuss (1904-1972), Albert
Johnson (1910-1967), Stewart Chaney (1910-1969), Jean Rosenthal
(1912-1969), Will Steven Armstrong (1930-1969).
3Mielziner, Oenslager, Gorelik, Horner, Alswang.
4 See Theatre Crafts Magazine, May/June 1971.
5 See Time MagaZine, March 25, 1974.

In the next issue:
Three theatre designs by the Frank Lloyd
Wright Foundation.

DECEMBER. 1974

Table of Contents for the Digital Edition of Theatre Design & Technology - Dec 1974