Theatre Design & Technology - Spring 1996 - 66

ing your work or seeking granting agencies. For those who feel more
comforted \\ith a pithy sa~ing or two, the author has included marginalia
on virtually every page quoting the famous and the infamous from
Aristotle to Anthony Hopkins.
Those seeking meaninghll insight into their condition or into any
human condition need to look elsewhere. Any reasonably educated pel~
son is likely to be immediately suspect of a book which carries on its title
page that it was written by a Ph.D., as if the content of the work could not
speak for itseU but needed to hide behind an erudite title. And, of course,
tllis book is especially long on assertions from tile author and short on
SUpp0l1 from authority. Chapter Three, for instance, bases its whole al~
gument about "creative madness" on tlu'ee studies, each ascribed to a
·'Dr.'· but none of which is listed in tile bibliography for Chapter Three
and none of which is provided with any citation data for hlrtller refel~
ence or validation.
I must confess to being considerably disquieted by books that encourage people to believe tllat they are artists because they have an "aI~
tistic personality" which includes "moods and madness." I also have
spent a life in art. if over forty years of earning a living in an art can be
considered a lifetime, and I insist that there is no "artistic personality."
Moreover, I anI annoyed tllat anyone would argue that almost "90 per
cent" of "working \~sual artists... earn less tIlan S5000.00" a year. What
is the source of these figures? How was "working \~sual artist" defined?
Of course, it is difficult to earn a living in the arts in a capitalistic society,
but it is just as danUl difficult to earn one's li\wg as an insurance salesman or a real estate agent. I am further disquieted by Mr. Maisel's suggestion that seU-help begin with a writing progranl. Writing is not a
me:U1S of "ubermenching." It is simply one of tile several inventions of
human technology. Why not begin with a kinetic image, a dance combi-

nation, or even simply tllinking?
If you want to believe you're an aJ.1ist but you have some doubt, A
Life in the Arts will convince you that you aJ.'e and give you considerable
comfort. If you already know you're an aJ.'tist, tllen go about your business. If you can't eaJ.'n a liVing at your aJ.1, get a day job. If you suspect you
nlight have severe emotional problems, whetller you are an aJ.·tist or not,
consult a psychiatrist.
Reviewed by August W. Staub
Professor of Dranla, niversity of Georgia

TITLES AVAILABLE FOR REVIEWING--The Wearing ofCostlimes, by Ruth M. Green, Drama Publishers, 1995.
Oopperatalo Tala The Opera House Das Opemhaus, Helsinki,
KustaJ.ltaja, Publisher,Verlang, Helsenki, 1995.
Dressfor the Photographer: OrdinalJ' Americans and Fashion, 18401900, by Joan Severa. Kent State niversity Press, 1995.
Civil War Gentlemen: 1860s ApparelArts & niforms, by R.L. Shep,

1994.
Costume Language: A Dictional:)' ofDress Terms, compiled and illustrated by Stephanie Da\~es. Distributed by Drama Book Publishers,

1994.
The Guide to Historic Costlime, by Karen Baclawski. Dranla Book Publishers, 1995.
Fearless Creating, by Eric Maisel, PhD. G.P. Putnanl's Sons, 1995.

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Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 1996