Theatre Design & Technology - Winter 1979 - 35

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Perspective Drawing for the Theatre by Harry Morgan. New York:
Drama Book Specialists (Publishers), 1979 ISBN 0-910482-87-X,
254 pp., illus., bibl., $15.00 paper.

The uses of perspective drawing in the theatrical design proCess,
as distinct from its application in other artistic fields, are so specific
that a text concentrating on perspective drawing for the theatre is a
welcome addition to the available references and teaching texts. Until
the appearance of this book, the designer /teacher's alternatives were
generalized texts on perspective for artists, specialized works on architectural or engineering drafting (projective geometry), or the abbreviated treatments in theatrical design and stagecraft texts.
By far the single most important feature of this book is the quantity
of illustrations (256). The author has elected to provide a separate illustration for each step in the process, so that the student will be able
to see precisely what should appear on his or her drawing as it develops. (There are twenty-eight illustrations accompanying the twentyfive steps in developing a perspective drawing using vanishing
points.) This step by step approach certainly helps the student to accomplish one of the author's stated goals: "Learning ... a series of
steps and rules of perspective drawing [which] may be immediately
functional and may aid [the student's] ability to produce a recognizable drawing." However, the above statement serves as a lead-in to
an additional goal which is less well realized: "understanding why
these steps work and what rules apply will enable [the student] to
solve many of the questions and problems posed by any given drawing or setting." Granted that perspective drawing is a subject fraught
with difficulties when an attempt is made to verbalize it, this only
serves to indicate the extreme care with which language and exemplary material must be chosen to aid in the type of understanding the
author seeks.
Linear perspective is initially illcdefined. The given definition would
serve equally well for any type of projective geometry, including orthographic projection, the standard three-view shop drawing. In addition, the term "projection" is introduced in its technical usage without
having been defined. Within the same conceptual section of the book,
additional illustrations would have been helpful in distinguishing between a full-scale picture plane imagined to be placed in front of a setting, and the scaled-down image of that plane created on paper.
The major technical sections of the book, detailing a vanishing
point technique, a perspective grid approach, and a rather unique
overhead perspective view have no errors and little with which to
quarrel. This reviewer's only hesitation would be in teaching students
to project height dimensions around the walls of a setting from the
downstage left proscenium corner, a technique which could lead to
cumulative errors.
The detailing of a "plan perspective" view is extremely useful to
the designer working in television or film, and the author is to be commended for this broadening of a traditionally "theatrical" subject.
One would wish, however, that he had used a studio application of
his major illustrations, rather than the same stage setting illustrated in
other sections.
The author includes a section of additional techniques, many of
them quite useful, but this section contains a number of editorial errors in coordinating text with illustrations. None of these errors are insurmountable, as the intention of the text is always apparent. All eight
of the techniques illustrated are extremely helpful, but four of the
eight are more cumbersome than need be.
The final section, on shadow drawing techniques, is quite helpful in
laying out step by step procedures, but fails to give adequate conceptual justification for the steps. The author's suggestions regarding the
representation of multiple shadows present marvelous possibilities for
capturing the full theatricality of a moment.

USITT Winter, 1979

Reviews

In sum, the book is certainly more useful than not, both as a reference and as a text in a specialized course. Its greatest usefulness will
probably be in a design, drafting, or rendering class rather than in a
generalized course which might include other technical subjects.
Paul S. Hoffman

New Jersey Public Television

Presenting Performances: A Handbook for Sponsors by Thomas
Wolf. Cambridge: New England Foundation for the Arts, 1977, 160
pp., illus., $2.95 paper.

With the continuing democratization of the arts, regional performance centers and sponsoring groups to book them have quickly proliferated. Critics have argued that rapid growth and, more specifically,
decentralized funding must result in an inevitable decline of quality. Of
course, current trends can be viewed from both directions. An Arts
Council which restricts some or all of its funds to groups within the
home state can be charged with supporting local groups of lesser
merit at the expense of proven talent from "outside." Or they can be
said to be doing their duty to develop groups of equal stature within
the state, with that state's own money.
Wherever a new sponsoring group is able to raise funds, they must
learn how to spend them wisely. Thomas Wolf has created a splendid
"how-to" manual. Much more than an outline, if not quite a textbook,
Presenting Performances covers every area that a would-be sponsor
of touring groups would be wise to learn about first. The first edition
featured four long chapters, divided with subheadings that are Wolf's
"Rules" for success. These four chapters appear unchanged in the
new edition, with the titles, "Administration," "Performers," "Filling
the Auditorium," and "Fund Raising." A new chapter has been
added, on technical considerations, and a corresponding glossary.
Appendices include sample bylaws and sample contracts between all
parties.
The author, who moved up from the directorship of the New England Touring Program to that of its parent, The New England Foundation for the Arts, has spent many years both touring and advising
prominent touring groups. Most visible in the text are his experiences
founding and managing the Bay Chamber Concerts in Maine, and his
tenure as company manager of the Goldovsky Opera Theatre. He has
a rich supply of examples and anecdotes illustrating the principles described.
Presenting Perlormances is a pleasure to read. WolI's style is simultaneously breezy, personal, and well-organized. The juxtaposition
of general rules, vivid illustrations of their application, and "confidential" advice from the author make reading the book an exciting
and even inspiring experience. Those who were engaged by Danny
Newman's proselytizing Subscribe Now! will enjoy and learn from
Wolf. Presenting Perlormances is made even more pleasant by the
appropriate and imaginative drawings of Barbara Carter. While they
seem a little too imaginative at the first reading, they recede into perspective when one realizes how much substance is packed into the
friendly text.
Wolf's book is directed to readers who are planning to, or have set
up a non-profit group that will raise funds, rent a performance space,
and book in touring music, dance, or dramatic groups. It is not intended for a group that will produce attractions itself, because many
topics of vital importance to such a group are not included. Of course
some areas are common to both types of organization. The comments
above are not intended to imply that Presenting Performances is as
exhaustive of its subject as is Subscribe Now! Newman's book represents the complete report on but one of Wolf's 39 "rules." Wolf does
cover each topic that a sponsor needs to know about for a chance at
artistic and financial success. To pick a simple example, Wolf warns

Theatre Design & Technology

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