Evening star., 1936-04-05

o1fLEC 1N(I FUN 1f1E ANA 1EOR
STAGE, by Leslie Crump; Dodd,
Mead g. Co.; (s2.50); 235 pages; 9
illustrations.
MODERN THEATER PRACTICE, by
Heffner, Selden and Sellman, F. S.
Crofts; (text edition, 5000; 372
pages; 90 illustrations.
~ 9TH of these recent books are
- aimed to be international and
helpful to the inexperienced
IL director, presumably in the
professional theater, but certain
ly the information set forth in MOD
ern Theater Practice" might be use
full to the novice working In any
theater. Mr.. Crump, by his title and
preface, would seem to feel that he
wants no contacts with the profess
sional theater. for he says very pos
itively, II have paid no attention to
the rules of the legitimate stage nor
to tricks, since in truth I do not
know them. This is a book by an
amateur for amateurs and amateurs
alone" For the director who respects
and learns from the work of capable
directors and actors in any theater,
this statement is comment enough.
Directing for the Amateur Stage"
covers the matter of production be-.
ginning with the choice of play and
concluding with a chapter called
random notes" a section in which
many things already mentioned are
resaid in a random" fashion which
may be informal but is most difficult
to follow. In fact, in an attempt to
chat casually and make this matter
of giving information a gay one, the
author has indulged in a style and
arrangement which make learning
and remembering considerably more
difficult. Take, for example, this ad-
vice given to the director, in the Sec
tion dealing with the first rehearsal:
"Going around the circle of your ac-
tors draw brief picture of who and
what each person represents. Urge
each one to bring to his characterize
ton all that can enrich and beautify
it, ever thinking of it in relation to
the rest Of the characters and the
situations in which he will find him
self. Let them know that the result
is to be work of art. Let each one
forget anything like this that has
been done before and create. Set
yourself free. Do not worry about
tricks or methods"
In similar vein Mr.. Crump dis
cusses the planning of movement, a
complete rehearsal schedule, speech
and expression, the dress rehearsals
and other matters which contribute
to getting play onto the stage. OF
the three chapters dealing with tech
nical material, staging, lighting and
makeup, the latter chapter is the
best. Scant general information is
no longer useful to the director who
really needs to be informed about
modern lighting equipment, and Mr..
Crump's plan for buying equipment,
which begins with strip lights and
states that amber is the most fire.
quently used color on the stage, raises
a question as to whether it would not
be better to learn about lighting from
lighting experts rather than from
directors.
That is one advantage in modern
theater practice" The three parts of
the book which deal with directing,
scenery and lighting are written by
three individuals who are particu- |
larly equipped to discuss their special
fields. The authors wish to give in
formation, and the book is arranged
and written with that aim in mind. |
Clear divisions and development Of
points in straightforward fashion |
characterize the book and more than
IS illustrations clarity the subject
matter.
In the section dealing with direct
ing, Prof. Heffner has begun with the
duties of a director in the average
situation, written suggestively about
the general organization and manage |
men of producing group and then
considered the various steps in select |
ing plays, designing the production, |
casting and rehearsing it. Half of |
the allotted space for this section Is
devoted to rehearsals and is replete |
with many helpful suggestions.
Probably the day-by-day rehearsal
schedules suggested here and in Mr..
Crump's book would bring forth more
from directors than any
bther points mentioned, unless perhaps
their attitudes toward prompter. Mr..
Crump says, Don't have a prompter.
One line whispered from backstage