Theatre Design & Technology - Winter 1983 - 29

F. Keep a piece of this waist slope
straight in the front. A very slight figure would not require the waist sloped
more than V2 inch.

bring the pocket into its proper position.
The pocket is felled onto the skirt around
three of its sides. It might be stitched if
the material is not too harsh.

The shoulder straps are perfectly
straight, as is the waistband. The bib requires no shaping. The pocket is easy to
cut if the material is divided into half and
quarters both selvedge and weft way.
The dotted lines show the creases in the
paper, and the shaping is simple if these
lines be used to guide the cutting. The
apron would be considered complete
without a pocket, but its addition is a
great improvement, and it is always
most useful, so that it repays the wearer
for the little extra trouble it involves in
making.

Waistband. Turn down a narrow
fold along the selvedge sides of the band,
and also the weft edges. Fold the band
in half, selvedge way, and mark the center. Fix the center of the band to the
center of the waist of the skirt. Arrange
the band over the pleats, and fell the
band into position as far as the corners
(F). Fix and work the wrong side, and
sew the edges of the remainder of the
band, making the corners very neat.

DIRECTIONS FOR MAKINC UP.

Bib. Make a deep hem (l inch) at
the top (weft edge) of the bib. Put the
sides of the bib between the folds of the
straps, taking about 1;'4 inch turning,
and fell or stitch the straps into place.
The wrong side must be felled, even if
the right is stitched. The remainder of
the strap can be sewn, being careful not
to pucker the material, or the set of the
strap will be spoiled. Pleat up the lower
pan of the bib, which now has the straps
on either side, till it measures about 5
inches. Make small pleats and let them
face towards the center. It will require
one pleat on each strap. (This is optional, but it has the effect of making
the waist appear smaller.) The middle
of the pleated portion of the bib is to be
attached to the center fold of the band.
This is perhaps the most difficult part
of the apron to make neat, especially as
the material is rather thick; but, providing the work is strong, it malleI'S lillie
how it is allached. The bib might be
stitched to the fold of the band, and the
raw edges of the bib turned under and
felled to the back of the band, or tape
may be felled over the raw edges.

Skirt. Join the breadths together by
se\\'ing t he selvedges. If preferred a sewand-fell seam may be used. Put a 1;'4 inch
hem down the sides (the selvedge may
be felt) and along the top corners, which
have been cut slantingly. Make a deep
hem, from I to 2 inches along the bottom. Mark the center front and pleat up
the \\'aist with large pleats (nearly an
inch), leaving 2 V2 inches plain on either
side of the center of the apron. It is better to turn the pleats so that they face
from the middle. Arrange the pleats so
that each side will fit into 10 inches of the
band. A person with a small waist would
find 9 inches of pleating sufficient.

Pocket. Turn down a narrow hem
on the selvedge sides of the pocket, and
also along the bottom. The concave pan
will require a little stretching in order to
make the hem set flatly. If turning in
paper the hem may be snipped. The
wrong side of the pocket must be placed
to the right side of the skirt. Arrange
the pocket to the right-hand side of the
apron, so that the longer side is towards
the middle of the skirt. The pocket can
be fixed quite straight, so that the selvedge threads of both pocket and skin
run in the same direction. The narro\\'
piece at the top left-hand side of the
pocket must be placed so that the waistband will cover the raw edges. This por[ion of the pocket should be about 3
inches from the ceIller of the apron. If
preferred, the pocket can be arranged
before the skirt is pleated for the band,
and then the top of the pocket would
need to be about 6 inches to the right of
[he middle, so that the first pleat will

Straps. Turn down the selvedge sides
of the straps, and fold the material in
half, selvedge way.

Buttons and Buttonholes. Put a button on the left-hand side of the band,
and a buttonhole on the right-hand ide
so as to make a convenient waist size.
Put buttons on either side of the band
about 2 1 2 inches from the fastening.
ivlake perpendicular button-holes (clir
wirll rhe selvedge) at the end of each
strap, as far from the end as will fit
comfortably over the shoulder when the
st raps are crossed behind.
Fig. IX shows the finished appearance
of the apron.

OISTT
Bauten der Kultur (Easl Germany) 2, 1983: "A
Theatre Needs Several Bases," by H.A. Penen;
"The Historical Developmem of lhe Anisl's SIUdio," by Alfred Schwandl; "Anisls' Studios:
Siage of Developmenl, Funclional Models, Principals of Planning," by H. Fleischhauer, D. Jastram, Gerd Lau, Carl-Heinz Pastor; "Criteria
for Classifying Anisls' Sludios"; "Funclional
i\lodels of the InslitUie of Culiural Buildings";
"Examples of Exisling SlUdios"; "Illuminalion
of Anisl 's Studios."
Buhnentechnische Rundschau (Wesl Germany)
Augusl 1983: "43rd Conference for Thealre Technology"; "Rescuing An-Reducing Technology"
by Peler Nestler; "Heilbronn 's New Thealre" by
R. Bisle, K. Gerling, E. Kirsch, A. Ziller; "Rescuing An-Reducing Technology" by Helmut
Grosser; "The Gewandhaus' New EleclroTechnical Syslem" by G. Kampfe; "Dalolux Technology" by O. i\liunann; "The Piclorial Effecls
of Veh'et in Scenery" by O. Schwanz; "Drafty
Thealres" by G. Bredenbeck (rp!. from Bmilen
del' KI/rl/lr).
--Special Issue 1983: "Whal Was, Whal Is,
Whal Will Be." " eben und "or diesen Zeilen
hehres Eigenlob-trOlzdem" bv H. Heyme: "Das
'entfesselte' neue Thealer in i\lannheim und eine
venane Chance" by H. i\ laier and W. Lorenz;
,. i\ lobilitat des Kleinen Hauses Gelsenkirchen"
by \\'. LOlZ; "Erfahrungen mit einer 'mobilen'
Spielstalle" by V. Clauss; "Das Kleine Haus des
Diisseldorfer Schauspielhauses" by G. Beelilz;
"Das Kleine Haus i\tUnster" by F. Lorenz;
"Schauspielhaus Frankfun" by \\'. Ruhnau;
"1970-1980, Das junge Theater eroben sich neue,
orfene Spielraume" bv J. Fiebelkorn: "Concordia Thealer Bremen": "Der Ballhof in Hano"er": "Bo-Fabrik des Bochumer Schauspiels";
"Die Schaubiihne am Halleschen fer"; "Nachsalz i\litarbeiler dieses Hefles" by J. Fiebelkorn.
Cue (Greal Brilain) Juh'/AuguSl 1983: "A Gold
and a Sih'er for Greal Britain" bv R. Don (1983
Prague Quadriennale); "One Year On" by J. Sargent (Ihe Barbican Centre); "i\lulliplexing in lhe
Thealre" by I.R. Fueggle; "Oli"er i\lessel (19041978) al the Victoria and Alben i\luseum" by
C. Spencer; "Ho\\' Safe Is Your Theatre?" by
A. Todd; "Stockholm's 01 her Gustavian TheaIre" by F. Reid (the Gripsholm lhealre).
Szinhazlechnikai Forum (Hungary) i\larch 1983:
"Technology and Safely in i\lodern Scenic Ans"
by D. Lcle: "The Reno"ated Csokonai Thealre
of Debrecen" by i\ I. Kalhi; "Does Scenecraft Ha"e
a FUlure?" by J. Bodrogi: "Plaslic or Painted
Scenerv" by E. Repaszkl; "Uri MI/ri" in the
Comedy Thealre; "Vigszinhaz" by I. Karpati;
"I'o/pone in the Varszinhaz Theatre" by I. Karpali; "A Comparati,'e E,'aluation of Spollights,
Pan I" bv S. i\lale; "Slage i\lanagers' Corners
Are 10 Be Cared For'" by I. Kiss (communications equipmenl for slage managers); "Sony
Equipment, Pan II" byG, Bolla); "TheSculptor
-Tibor Vas" by I. Karpati: "Work Organization
in Intimate Thealres" by G, Schandl; "Daylighl
or Anificial Lighl?" lw S. i\lale; "Vi,iting the
.-\ctOl·S' \Iuseum" by I. Karpati.

USITT Winler 1983 Thealre Design & Technology

Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 1983