Theatre Design & Technology - Fall 1979 - 42

intensity control has excellent diagrams showing the sine wave of the
conduction command cycle for the Thyatron Tube and SCR Dimmer.
One improvement would be addition of sine wave diagrams for the resistance and autotransformer dimmers which would help illustrate
these control principles.
The second part of the book deals with creating the lighting design.
The section on the design characteristics of light deals with the controllable attributes of light; distribution, intensity, movement, and color
toward achieving a designer's desired effect. The definition of "desired effect" is discussed in the chapters on script analysis and design examples. The chapter on color suffers from a lack of color illustrations. It is very difficult to illustrate a change in mood through
lighting without the use of colored plates. The book concludes with
four appendices. The first is a reprint of the National Electrical Code,
Article 520, "Theatres and Similar Locations." The value of Article
520 is somewhat lessened by the fact that many terms used in the
code are not defined in the glossary. In addition the glossary has left
out many favorite "slang" terms such as "inky."
In conclusion, I feel that Mr. Gillette has written a valuable volume
which describes and introduces, but certainly does not exhaust the
body of knowledge necessary for successful lighting design. It would
appear to be an excellent choice for an introductory lighting text.
Phillip Grayson

James Madison University Theatre

17 Lotus International edited by Pierluigi Nicolin. Milan: Gruppo Editori ale Electra, 1977, ISBN 8478-0101-2, 135 pp., iIIus., $18.00.
For its December 1977 issue, Lotus International, a quarterly architectural review, chose the theme "Architecture and the Theatre." In
his introductory essay, the editor, Pierluigi Nicolin, declares that the
intention of the issue is to examine the new visual, spatial and verbal
materials used by innovative avant-garde theatre artists during the
past decade and a half in their attempt to "theatricalize" architecture.
It had become apparent to these artists that a nagging incompatibility
existed between the ideologies ot modern architecture and the reality
of the constructed world-a point of view that seemed to invalidate
the simple and often congenial exchange between theatre and architecture in the past.
With this realization, Nicolin argues, a new revisionist attitude to architectural "form" has arisen which is particularly opposed to traditional theatre design as it aftects the theatre building itself, the socalled "stage" and the actual performance. A salient feature of this
new altitude is a vigorous re-examination ot the human figure which is
now placed somewhere within the spectrum of "perspective illusionism and bewilderment, to decorative connotations." The manitestation of this new approach is, according to Nicolin, actually a symptom
ot a crisis in the twentieth century theatre which has demanded that
the theatre question its own traditionally appointed place and importance.
Following Nicolin's impassioned introduction, this issue of Lotus International contains a compendium of responses to the theatre's new
challenge, a challenge investigated under the following chapter categories: Theatre and Territory; The Theatre as a Virtual City; The Purpose of Ceremonies; The Theatre of Invention; An American Spiral;
Deverbalizing the Theatre.
Theatre and Territory is essentially devoted to the Prato Workshop
and its four "psychotically staged" productions of Life is a Dream,
The Tower, Calderone, and The Bacchae. This essay, written by Gae
Aulenti, reconstructs a detailed intellectual rationalization of the research on the concept of "place" and the subsequent transter of this
knowledge to the theatrical "event." Unfortunately Aulenti's conclusions seem to be manipulated to the point where the project assumes the righteousness of enforced, if not endured experimentation.
Curiously, this trait is certainly not in evidence in the descriptions of
the performances themselves, most notably The Bacchae which is

40

Theatre Design & Technology

undoubtedly the most clinically, if not attractively, Dionysian of possible interpretations.
Yet, this section fares better than the second represented by two
essays, "From Appia to the Totaltheater" by Manfredo Tafuri which is
a rather tepid discussion of the antagonism of the actor and "staged"
space, and "The Galoshes of Happiness-A Long Fabulous Film in
Two Millenniums" by Bruno Taut which is a grim synopsis of a most
unimaginative urban fairy story.
The next section, The Purposes of Ceremonies, begins with Joseph
Rykwert's contribution with the somewhat pompous title "Categories
of Social Action in the City and Archdeacon Frollo's Observations."
This essay is actually an eloquent neo-McLuhanesque argument of
the "privileged points in space and time" represented by the city and
the theatre, particularly the sociological scenarios (to use the futurologists' cliche) that result in this twentieth century confrontation. Rykwert analyzes the collective sensorium of life in the inner city and
places in a theatrical perspective everything from the Zen-KrishnaPsychedelic generation to graffiti and the travel poster. By comparison, the next two essays in this section written by Werner Oechslin, "Fetes ot the French Revolution" and "Stage Design and Architecture," emerge as derriere-garde--not only are they conspicuously
out of context with the rest of the works, but they are also annoyingly
glazed by an academician's preoccupation with petty rivalries.
Unquestionably, it is the last five essays-"Five Utopias" by Gae
Aulenti and Luca Ronconi; "Performance: Theatre, Music, Dance,
Painting" by Germano Celant; "Projects for My Body" by Alice Aycock; "A Reversal of Roles" by Franco Quadri; and, "Four Productions by Meredith Monk" with notes by Luigi Sponzilli--that capture
and convey the brilliance of these avant-garde explorations. These
essays are perhaps most valuable as a collected perspective of the
most recent work of Luca Ronconi, Bob Wilson, Peter Brook, Klaus
Gruber, Joseph Chaikin, The Living Theatre, Jerzy Grotowski, Victor
Garcia and Richard Foreman. What is astonishing in these reports is
the trend towards the reduction of theatrical architecture to the barest
essence of the human body and its minimal containment. The use of
the body alone as architecture in mythical existence, threshold situations, or simply as scenographic groupings opens up a provocative
new image of the actor as performer. Though the actor may in a sense
be reduced to a hopeful hieroglyph ot the future, these aggressive
new excursions reinforce Max Frisch's statement that, "There is nothing so stimulating as nothing."
Syvalya EIchen

Toronto

Performing Arts Resources, Volume 3 edited by Ted Perry. New
York: Drama Book Specialists (Publishers), 1977, ISBN 910482-845, 192 pp., $10.00 cloth.
This is the third in a continuing series of volumes (the fourth has
just been issued) published by the Theatre Library Association in conjunction with Drama Book Specialists. Each volume "includes articles
on storage and use of non-print resources, studies ot curatorship, indexes, bibliographies, subject matter guides to various archives and
collections, analyses of individual collections and museums, descriptions of regional holdings in a particular field or subject matter and
thorough surveys of research materials, government holdings, and
training programs in the pertorming arts."
Most of us in technical theatre are likely to say, "So what?" and
move on to more obviously relevant printed material. However, these
volumes, although containing no technical information themselves,
are valuable guides to a range of theatre-related collections, both famous and obscure. These collections contain material of great interest to the designer and technician.
In Volume III, for example, the reader can find the location of an
original-cast color videotape of Candide and a collection of burlesque skits. Other volumes contain information on collections of preRevolution stage designs in the Soviet Union, marionette collections

USITI/Fall, 1979



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1979

Contents
Theatre Design & Technology - Fall 1979 - 1
Theatre Design & Technology - Fall 1979 - 2
Theatre Design & Technology - Fall 1979 - 3
Theatre Design & Technology - Fall 1979 - Contents
Theatre Design & Technology - Fall 1979 - 5
Theatre Design & Technology - Fall 1979 - 6
Theatre Design & Technology - Fall 1979 - 7
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