Theatre Design & Technology - Spring 1978 - 5

Theatre Design
&

Technology
Volume XIV. Number 1 * Spring, 1978

An Introduction

Journal of the .United States
Institute for Theatre Technology

Contents
4

The Collapse of a Movable Ceiling:
A R~port from San Jose
by Glenn Loney

Choosing a Spotlight
by Louis Erhardt

ToUring Robert Wilson's
Einstein on the Beach
by Bill Simmer

Technical Report

A Two

Level Counterweight Arbor

by Curtis Jay Senie

New Products

Book Reviews

Books Received

Theatre Design & Technology is published four times a yearSpring, Summer, Fall, Winter-from editorial offices at 117-204
Mimosa Drive, Charlottesville, VA 22903. Manuscripts for TOd. T
may be submitted by anyone. A copy of the journal's "Editorial
Guides" will be mailed on request. Unsolicited manuscripts will
not be returned unless accompanied by a stamped, self-addressed envelope. Subscription to TOd. T is a privilege of membership in USITT. Only libraries may subscribe separately at the rate
of $12.00 per year, payable in U.S. currency. Changes of address
should be mailed to the Circulation Manager, c/o of the New York
office, 1501 Broadway, New York, N.Y. 10036.

Back issues of Theatre Design & Technology are available from
Xerox University Microfilms, 300 North Zeeb Rd., Ann Arbor, MI
48106.

Tom Watson's editorship of this publication concluded with the Winter, 1977 issue. As the new editors
we wish to salute him for the level of excellence he
achieved and maintained during his six year tenure. We
join the readers of TD& T in an expression of gratitude
for a job rigorously and skillfully done.
While we anticipate certain changes in style and content, there will also be continuity. Tom Watson will be
taking a seat on the editorial board, and the associate
editors-Tony Courtade, Herb Greggs, Richard D.
Thompson, and Fred M. Wolff-will continue their fine
work.
As the title of the journal implies, Theatre Design d.
Technology should be devoted to covering all aspects
of design and technology-bringing to the attention of
the readers not only new developments, but also new
applications of established technology. Much of the
avant-garde, for instance, has, in recent years, turned
away from the "poor theatre" techniques popularized
by such groups as the Polish Lab Theatre or the Open
Theatre in the sixties, and has demonstrated a growing
reliance on complex design and sophisticated technology. (This has, no doubt, been encouraged by increasingly generous government grants.) The article on
Robert Wilson in this issue is not only a good example
of this phenomenon, but makes an important pointthere is often a need for skilled technicians to execute
the visions of these directors. From time to time, rOd. T
will cover avant-garde and experimental performances
that use technology in a unique way.
The article on the San Jose Center for the Performing
Arts, on the other hand, dramatically demonstrates the
dangers that even the most experienced architects and
designers may encounter. As tragic as the collapse of
the SJCPA ceiling was, however, there may be even
greater fiscal repercussions for the profession. Readers
may be interested in a related case currently being tried
in Seattle, in which King County is bringing suit against
a firm that constructed part of the Kingdome Stadium
for exceeding their original bid .
. Theatre Design & Technology is a journal for the
membership of USITT and its primary function should
be to serve those members. Consequently, ~e wish to
solicit the opinions of readers concerning the focus and
content of the magazine. We would also like to hear
from anyone interested in writing articles, book reviews,
or doing translations.
Future issues will include articles on the Cottesloe
Theatre in London, the Performance Group's Oedipus,
developments in holography, design for dance, video,
and women in technical theatre.

Arnold Aronson

Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 1978