This volume compliments the book Theater design, pub. in 1977.

Includes index.

Bibliography: p. 529-534.

Legacy of Baroque and Neobaroque Theater Technology In Western Europe (1779-1875)
1.1 Historical Background
1.2 Critique: Structure end Building Technology
1.3 Masonry-Bearing-Wall-Timber-Truss Construction in Italy and France: A Photographic Essay
1.3.1 Teatro alla Scala, Milan, Italy
1.3.2 Teatro Regio, Turin, Italy
1.3.3 Teatro Argentina, Rome, Italy
1.3.4 Theatre de l'Opéra, Versailles, France
1.3.5 Salle do Spectacle, Lyon, France
1.4 Masonry-Bearing-Wall-Ferrous-Metal-Truss Contruction in France and Austria (Germany): A Photographic Essay
1.4.1 L'Opéra de Paris, Paris, France
1.4.2 Hofopernhaus, Vienna, Austria
1.5 Critique: High-Baroque Surge Machinery and Stage Technology
1.6 Late- Eighteenth-Early-Nineteenth-Century Horizontal and Vertical Stage Transport Technology: A Photographic Essay
1.6.1 The Italian System
1.6.2 The French System
1.6.3 The German (Austrian) System
1.7 Mid-Nineteenth-Century Horizontal and Vertical Stage Transport Technology: A Photographic Essay 1.7.1 L'Opéra de Paris, Paris, France
1.7.2 Hofopernhaus, Vienna, Austria
1.8 Critique: Oxidizing-Wahl-Source Technology Applied to Theater Illumination
1.8.1 Animal-Fat Candle
1.8.2 The Argand Oil Lamp
1.8.3 Coal and Natural Gas
1.9 Representative Structural and Technologically Significant Theatrical Stages of the Period: A Drawing Portfolio
1.9.1 Teatro alla Scala, Milan, Italy (1770)
1.9.2 Théatre de l'Opéra du Chateau de Versailles, Versailles, France (1770)
1.9.3 L’Opéra de Paris, Paris, France (1875)
1.9.4 Hofopernhaus, Vienna, Austria (1869)

CHAPTER TWO Evolution of Modern Theater Engineering-Technology in Germany (Austria) and Development of Stage Lighting Technology in Western Europe (1875-1940)
2.1 Historical Background
2.2 Critique: Old Wine in a New Bottle-Bayreuth Festspielhaus (1876) and Prinzregenten Theater (1901) 2.2.1 Carl Brandt (1828-1881)
2.2.2 Friedrich Kranich, Sr. (1857–1924)
2.3 Critique: Development and Application of Powered Prime Movers to Stage Transport Systems-Transition from Manual to Power Operation
2.3.1 Hydraulic System
2.3.2 Hydro-Mechanical System
2.3.3 Electro-Mechanical System
2.3.4 Electro-Hydro-Mechanical System
2.3.5 Vertical Transport Systems: Flying and Lifting
2.3.6 Horizontal Transport Systems: Sliding and Revolving
2.4 Critique: New Wine in Old Bottles
2.4.1 The Aspheleia Syndicate Stadttheater, Halle (1883)
2.4.2 Fritz Brandt (1846-1927) Hoftheater, Berlin (1890; Remodeling)
2.4.3 Karl Lautenschläger (1843–1906) Hoftheater, Munich (1896; Proposed Remodeling)
2.4.4 Max Hasait (1874-1951) Hofopernhaus, Dresden (1909; Remodeling)
2.4.5 Adolf Linnebach (1876-1963)
2.4.6 Friedrich Kranich, Jr. (1880-1957)
2.4.7 Direction of German Theater Technology between the Two World Wars
2.5 Critique: Stage Lighting Technology in Western Europe (1871-1940)
2.5.1 Oxidizing-Light-Source Technology
(a) Limelight
(b) Welsbach Mantle
2.5.2 Electric-Light-Source Technology
(a) Carbon-Arc Light
(b) Swan Carbon-Filament Incandescent Lamp
2.5.3 Instrumentation Technology of the Filamentary Incandescent Lamp
2.5.4 Intensity Control Technology for the Filamentary Incandescent Lamp
(a) Liquid Intensity Control System
(b) Resistance Intensity Control System
(c) Autotransformer Intensity Control System
(d) Bordoni Intensity Control System
(e) Strand-Bentham Remote Electromotive Resistance and/or Autotransformer Intensity Control System 2.6 Enveloping Sky Surfaces
2.6.1 Kuppelhorizont
2.6.2 Rundhorizont
2.6.3 Lighting Instrumentation Technology for the Sky Surface
2.7 Representative Structural and Technologically Significant and/or Projected Theatrical Stages of the Period: A Drawing Portfolio
2.7.1 Bayreuth Festpielhaus (1876)
2.7.2 Stadttheater, Halle (1893)
2.7.3 Hoftheater, Berlin (1890; Remodeling)
2.7.4 Hoftheater, Munich (1896; Proposed Remodeling)
2.7.5 Schauspielhaus, Dresden (1914)
2.7.6 Grosses Schauspielhaus, Berlin (1919; Remodeling)
2.8 Walther Unruh (1898–1973)
Notes

CHAPTER THREE Evolution of American Theater Engineering-Technology (1850-1940)
3.1 Historical Background
3.2 Critique: Theater Design and Stage Technology, Both Adapted and Imported from Western Europe, and Development of Native American Theater Engineering-Technology
3.2.1 Academy of Music, Philadelphia, Pennsylvania (1857)
3.2.2 Steele Mackaye: Madison Square Theater, New York (1879)
3.2.3 Dankmar Adler: Chicago Auditorium-Theater, Chicago, Illinois (1889)
3.2.4 Old Metropolitan Opera House, New York; Original (1883), Remodeled by Karl Lautenschläger (1903)
3.2.5 Palacio de Bellas Artes, Mexico City (1910); Direct Import of German Technology and Stage Machinery to the Western Hemisphere
3.3 American Ferrous-Metal Construction and Invention of the Rigid- Steel-Frame-Masonry-Curtain-Wall System of Building
3.4 Stage Lighting Technology before Filamentary Incandescent Electric Light
3.5 Filamentary Incandescent Electric Lighting: Source and Instrumentation Technology (1880-1940)
3.5.1 Edison Carbon-Filament Incandescent Lamp
3.5.2 Coolidge-Langmuir Tungsten-Filament-Inert-Gas-Filled Incandescent Lamp
3.5.3 Instrumentation for the Incandescent Lamp: A Photographic Essay
3.6 Critique: Electric Stage Lighting Intensity Control Technology for the Incandescent Lamp (1900-1940)
3.7 Intensity Control-Engineering Design and Manufacture: A Photographic Essay
3.7.1 Manual Resistance Lighting Intensity Control System
3.7.2 Manual Autotransformer Lighting Intensity Control System
3.7.3 Electromotive Resistance and/or Autotransformer Lighting Intensity Control System
3.7.4 Ariel Davis Autotransformer Lighting Intensity Control System
3.7.5 Resistance-Controlled Magnetic-Saturable-Reactor Lighting Intensity Control System
3.7.6 Thyratron-Controlled Magnetic-Saturable-Reactor Lighting Intensity Control System
3.7.7 Hysterset-Controlled Magnetic-Saturable-Reactor Lighting Intensity Control System
3.7.8 A Special Case: The Magnetic-Saturable-Reactor Lighting Intensity Control System for Severance Hall, Cleveland, Ohio (1931)
3.7.9 Load-Circuit-Control-Circuit Patching Systems
3.7.10 Improvised Manual Resistance Lighting Intensity Control System for the Commercial Broadway Theater
3.8 Critique: Commercial Theater versus Subsidized Theater in New York-The Case for Technological Improvisation and the Extravaganza
3.8.1 New (Century) Theater, New York (1909)
3.8.2 Little (Winthrop Ames) Theater, New York (1912)
3.8.3 Center Theater, Rockefeller Center, New York (1932)
3.8.4 The Professional Road House
3.8.5 The Presentation House Extravaganza
(a) Hippodrome Theater, New York (1905; Remodeled 1926)
(b) Radio City Music Hall, Rockefeller Center, New York (1932)
3.8.6 Legitimate Theater Extravaganza Stagecraft versus Theater Engineering: The Case for Technological Improvisation
(a) Ben Hur, or the Fixed Horse Race (1899)
(b) The Miracle, or That Old Broadway Magic (1924)
3.9 Subsidized Theater Elsewhere in the United States
3.9.1 Private Subsidy
(a) Goodman Theater, Art Institute of Chicago, Chicago (1923)
3.9.2 Higher Education Subsidy
(a) lowa University Theater, University of Iowa, Iowa City (1936)
3.9.3 Government Subsidy
(a) W.P.A. Federal Theater, San Francisco, California (1939) Exposition, Verba Buena Shoals, San Francisco, California
3.10 Representative Structural and Technologically Significant Theatrical Stages of the Period: A Drawing Portfolio
3.10.1 Academy of Music, Philadelphia, Pennsylvania (1857)
3.10.2 Auditorium-Theater, Chicago, Illinois (1889)
3.10.3 Goodman Theater, Chicago, Illinois (1923)
3.10.4 Radio City Music Hall, New York (1932)
3.10.5 lowa University Theater, Iowa City, Iowa (1936)
3.10.6 (WPA) Federal Theater, Golden Gate International Exposition, Yerba Buena Shoals, San Francisco, California (1939)

CHAPTER FOUR The Electro-Mechanical Laboratory, Yale University Drama School (1939-1977)
PART ONE Developments in Remote Electronic Stage Lighting Intensity Control
4.1 Critique: The Need of Art versus the Requirement of Engineering- The Electronic Inverse-Polarized Lighting Intensity Control System
4.2 Switcher-Dimmer Characteristics
4.2.1 Power Switching and Dimming: Voltage versus Current Control
4.2.2 Load Sensitivity and Power Gain
4.3 System Control Characteristics
4.3.1 Bimodal Operation: Manual Mode (Individual Circuit) and Memory Mode (Preset)
4.3.2 Proportional Mastering, Random-Access Switching, and Timed Integration (Fading)
4.4 Location and Design of the Control Element (Console), Arrangement of the Control Face, and Development of the Controls
4.4.1 Location
4.4.2 Arrangement of the Control Face
4.4.3 Manual (Individual) Controls Development
(a) Analog
(b) Analog-Digital
4.4.4 Present (Memory) Controls Development
(a) Manually Operated Analog Potentiometer Arrays
4.4.5 Master Controls Development and Design of the Person- Machine Interface
(a) Proportional Manual Master and Time-Preset Integrator (Fader)
(b) Random-Access Switcher
(c) Person-Machine Interface
4.5 Load Patching
4.6 Modular Design and Fabrication
4.7 System Circuitry
4.7.1 Load Circuitry and Output Filtering
(a) Thyratron Tube
(b) Magnetic Amplifier
(c) Silicon Control Rectifier (Thyristor)
4.7.2 Trigger Circuitry, Feedback, and Output Calibration
4.7.3 Pilot Circuitry
4.8 Laboratory-Fabricated Electronic Lighting Intensity Control Systems and Engineering Design Models: A Photographic Essay
4.8.1 Yale University Theater-Original (1947), Rebuilt (1956), and Remodeled (1960 and 1967)
4.8.2 Goodman Theater, Art Institute of Chicago-Original (1951), Remodeled (1958); Carnegie-Mellon University Theater-Original (1951), Remodeled (1958), and Rebuilt (1973); University of Delaware Theater-Original (1952), Remodeled (1967)
4.8.3 Maryville College Theater (1953)
4.8.4 Bowdoin College Theater (1956)
4.8.5 Theatron System: Engineering Model (1957)
4.8.6 Edkotron System: Engineering Design Model (1959)
4.8.7 Magnetic Amplifier System: Engineering Model (1956)
4.8.8 Magnetic Reset Preamplifier (Trigger Circuit) Shoebox Chassis: Engineering Model (1956)
4.8.9 Control-Rectifier Tomato-Can Chassis: Engineering Design Model (1958)
4.8.10 Control-Rectifier Locklin-Type Chassis: Engineering Design Model (1960)
4.8.11 Control-Rectifier Carnine-Type Chassis: Engineering Design Model (1966)
4.8.12 Punch Digital Punch-Card System: Engineering Design Model (1959)
4.8.13 Analog Staple-Card System: Carnegie-Mellon University (1973)
4.9 Coda

PART TWO Developments in Stage Lighting Instrumentation
4.10 Optical Background Projection
4.11 Remote Control of the Light Source (Spotlight)

PART THREE Developments in Power Flying
4.12 Critique: Flying Systems-Manually Operated Parallel Batten Sets vis-à-vis Power-Operated Parallel Batten Sets vis-à-vis Synchronous Spot Lines and Combinations Thereof
4.13 Work with Scale-Model Prime Movers (1947-1955)
4.14 Early Work with AC and DC Full-Size Prime Movers (1957-1968)
4.14.1 AC Dead-Haul Syncrhonous Spot-Line System
4.14.2 DC Power-Assisted Counterweighted Batten-Spot-Line System
4.15 Telemetry
4.15.1 Early Analog
4.15.2 Digital
4.15.3 Later Analog
4.16 Design of the Person-Machine Interface
4.17 Later Work with Full-Size DC Prime Movers (1972-1977); Combination Dead-Haul Batten-Set and Synchronous Spot-Line System: A Photographic Essay
4.18 Variations on a Flying Theme: A Graphic Summary
4.18.1 Dead-Haul Synchronous Spot-Line System
4.18.2 Dead-Haul Batten Winch System
4.18.3 Dead-Haul Synchronous Spot-Line and/or Power-Assisted Manual Counterweight System
4.18.4 Power-Assisted Counterweight Spot-Line System
4.18.5 Manual Counterweight Spot-Line System
Notes

CHAPTER FIVE The Theater Consulting Practice of George C. Izenour, the Electro- Mechanical Laboratory, and Collaboration with Manufacturers
5.1 Critique: Development of a Modus Operandi
5.2 Representative C-I Lighting Intensity Control Systems for Television: A Photographic Essay
5.2.1 CBS TV City, Hollywood, California (1952)
5.2.2 NBC Studios, Burbank, California (1953)
5.2.3 CBS Studios, Chicago, Illinois (1956)
5.3 Representative C-I Lighting Intensity Control Systems for Theater: A Photographic Essay
5.3.1 Theater, United States Pavilion at the Brussels World's Fair, Brussels, Belgium (1958)
5.3.2 Loeb Drama Center, Harvard University, Cambridge, Massachusetts (1960)
5.3.3 MacGowan Hall, University of California at Los Angeles, West Los Angeles, California (1963)
5.3.4 Uihlein Hall, Milwaukee County War Memorial Center for the Performing Arts, Milwaukee, Wisconsin (1969)
5.3.5 McCain Auditorium, Kansas State University, Manhattan, Kansas (1971)
5.4 Representative Flying Systems: A Photographic Essay
5.4.1 Loeb Drama Center, Harvard University, Cambridge, Massachusetts (1960), Modified (1961)-Dead-Haul Synchronous Spot- Line Winch, Variable-Frequency AC Drive, Analog- and/or Digital- Telemetered (J. R. Clancy Company)
5.4.2 MacGowan Hall, University of California at Los Angeles, West Los Angeles, California, Original (1963; J. R. Clancy Company), Modified (1976; Peter Albrecht Corporation)-Dead-Haul Synchronous Spot-Line Winch, Variable-Frequency AC Drive, Digital-Telemetered
5.4.3 Krannert Center, University of Illinois, Urbana, Illinois (1971), and Hancher Auditorium, University of lowa, Iowa City, lowa (1972)- Manual Counterweight Batten Spot Line, Power-Assisted DC Drive, Analog-Telemetered
5.4.4 Rodey Theater, University of New Mexico, Albuquerque, New Mexico (1975)–Manual Counterweight Batten Spot Line
5.5 Representative Control Systems for Secondary Movable Structures: A Photographic Essay
5.5.1 Loeb Drama Center, Harvard University, Cambridge, Massachusetts (1960)
5.5.2 Jesse Jones Hall for the Performing Arts, Houston, Texas (1966)
5.5.3 Alley Theater, Houston, Texas (1968)
5.5.4 McCain Auditorium, Kansas State University, Manhattan, Kansas (1971)
5.5.5 Edwin Thomas Performing Arts Hall, University of Akron, Akron, Ohio (1973)

CHAPTER SIX The Contemporary American Theater Building: Design, Structure, and Engineering-Technology
6.1 Historical Background
6.2 Representative American-Designed and -Engineered Auditoria and Stages Built since 1960: A Drawing Portfolio
6.2.1 Single-Use Proscenium Stage and Single-Use Auditorium
(a) Metropolitan Opera House, Lincoln Center, New York (1965)
(b) Opera House, Musical Arts Center, Indiana University, Bloomington, Indiana (1971)
(c) Revue Theater, MGM Grand Hotel, Las Vegas, Nevada (1974), Rebuilt after a Disastrous Fire (1981)
(d) Vivian Beaumount Theater, Lincoln Center, New York (Proposed 1970)
(e) Theater, New York Hotel Project (Proposed Redesign, 1979)
6.2.2 Multiple-Use Proscenium Stage and Multiple-Use Auditorium: The First Generation-Theater Stage to Concert Platform
(a) Grady Gammage Memorial Auditorium, Arizona State University, Tempe, Arizona (1964)
(b) Uihlein Hall, Milwaukee County War Memorial Center for the Performing Arts, Milwaukee, Wisconsin (1969)
6.2.3 Multiple-Use Proscenium Stage and Multiple-Use Auditorium: The Second Generation-Variable Auditorium Volume and Acoustical Absorption
(a) Jesse Jones Hall for the Performing Arts, Houston, Texas (1966)
(b) McCain Auditorium, Kansas State University, Manhattan, Kansas (1971)
(c) Edwin Thomas Performing Arts Hall, University of Akron, Akron, Ohio (1973)
6.2.4 Multiple-Use Proscenium Stage and Multiple-Use Auditorium: The Third Generation-Fooling the Eye but Not the Ear and Other Electro-Mechanical Sleights of Hand
(a) Concert Hall-Theater, Civic Center, El Paso, Texas (1974)
(b) Project for the Design, Fabrication, and Erection of Three Mass-Produced Theater-Concert Halls for the Kingdom of Saudi Arabia, Riyadh, Dammam, and Jidda, Saudi Arabia (Proposed 1978)
(c) DeVos Hall, Civic Center, Grand Rapids, Michigan (1981)
(d) Koger Performing Arts Hall, University of South Carolina, Columbia, South Carolina (under Construction with Scheduled Completion in 1988)
(e) Concert Hall-Theater, Stocker Arts Center, Lorain County Community College, Elyria, Ohio (1979)
6.2.5 Multiple-Use Proscenium Stage and Multiple-Use Auditorium: The Fourth Generation-The Prefabricated Auditorium
(a) Recital Hall-Theater, St. Anselm's College, Manchester, New Hampshire (1981)
(b) Recital Hall-Theater, Etherredge Fine Arts Center, University of South Carolina at Aiken, Aiken, South Carolina (1986)
(c) Recital Hall-Film Theater, Communication Arts Center, University of South Carolina, Columbia, South Carolina (Continuing)
(d) Concert Hall-Theater, Civic Center, Hilton Head Island, South Carolina (Continuing)
(e) Concert Hall-Theater, Brevard Community College Arts Center, Melbourne, Florida (under Construction, Completion Date 1988)
6.2.6 Sine Qua Non of the Type Teatro Teresa Carrena, Caracas, Venezuela (1983)
6.2.7 Proscenium Stage and/or Thrust Stage and Multiform Auditorium
(a) Loeb Drama Center, Harvard University, Cambridge, Massachusetts (1960)
(b) Theater, Birmingham Southern College, Birmingham, Alabama (1968)
(c) Theater, Francis Marion College, Florence, South Carolina (1977)
(d) Theater, Arts Center, Swarthmore College, Swarthmore, Pennsylvania (Continuing)
6.2.8 Modular Thrust Stage and Partially Enveloping Auditorium National Theater of Greece, Athens, Greece (Continuing) Theaters for Wide-Screen Film Projection, Multimedia, and
6.2.9 Projected Video (Television) Theater Center-Space Port U.S.A., John F. Kennedy Space Center, Cape Canaveral, Florida (1984)
6.2.10 Concert Hall-Theater for Performance Outdoors Gerald R. Ford Amphitheater, Vail, Colorado (Proposed 1983)
6.2.11 Restoration versus Remodeling of Theaters
(a) Bob Carr Auditorium, Orlando, Florida (1979)
(b) Valentine Theater Block, Toledo, Ohio (Proposed 1982)
(c) Chicago Auditorium-Theater, Chicago, Illinois (Addition of Acoustical Shell and Orchestra-Pit-Stage-Apron Lift and Updating of the Stage Equipment) (Continuing)
(d) Jesse Jones Hall for the Performing Arts, Houston, Texas (Remodeling) (Proposed)
(e) Academy of Music, Philadelphia, Pennsylvania (Proposed Remodeling. 1984)
6.2.12 The Found Space
(a) Longstreet Theater, University of South Carolina. Columbia, South Carolina (1977)
(b) Warehouse Theater, Greenville, South Carolina (Continuing)
(c) Theater-Dance Hall-Cinema and/or All-College Space. Swarthmore College, Swarthmore, Pennsylvania (1986)
6.3 Structural Options in Contemporary American Theater Building A Graphics Photographic Essay
6.3.1 Rigid-Structural-Steel-Frame-Masonry-and/or-Reinforced- Concrete-Curtain-Wall-Steel-Beam-and/or-Truss Space-Spanning System
(a) Milwaukee County War Memorial Center for the Performing Arts, Milwaukee, Wisconsin
(b) Etherredge Fine Arts Center, University of South Carolina at Aiken, Aiken, South Carolina
6.3.2 Rigid-Structural-Steel-Frame-Curtain-Wall-and/or-in-Situ- Reinforced-Concrete-Wall-Structural-Steel-Compression-Ring-Cable Space-Spanning System
(a) Concert Hall-Theater, Civic Center, EI Paso, Texas
6.3.3 In-Situ-Reinforced-Concrete Walls-Steel-Truss Space-Spanning System
(a) Teatro Teresa Carrena, Caracas, Venezuela
6.3.4 In-Situ-Reinforced-Concrete-Walls-in-Situ-Poststressed- Concrete-Valley-Beam-Reinforced-Concrete-Plate Space-Spanning System
(a) Edwin Thomas Performing Arts Hall, University of Akron, Akron, Ohio
6.4 Stage Machinery in Contemporary American Theater Buildings: A Graphics Photographic Essay
6.4.1 Metropolitan Opera House at Lincoln Center, New York
6.4.2 Milwaukee County War Memorial Center for the Performing Arts, Milwaukee, Wisconsin
6.4.3 Jesse Jones Hall for the Performing Arts, Houston, Texas
6.4.4 Teatro Teresa Carrena, Caracas, Venezuela
6.4.5 Edwin Thomas Performing Arts Hall, University of Akron, Akron, Ohio
6.4.6 Etherredge Fine Arts Center, University of South Carolina at Aiken, Aiken, South Carolina
Notes

CHAPTER SEVEN State of the Art and a Possible Scenario for a Program of Development of Theater Engineering-Technology: A Long View
7.1 Light-Source Technology: Blackbody Radiator versus Plasma
7.2 Light-Source Instrumentation Technology: Manual versus Mechanized
7.3 Stage Machinery Technology: Manual versus Mechanized
7.4 Computer Technology and the Person-Machine Interface: Memory, Random Access, Sensing, Feedback, Telemetry, and Multiplexing

CHAPTER EIGHT People and Means: Contrasts in Style
8.1 Higher-Education-Based Engineering Development as a Means for Furthering American Theater Technology
8.1.1 The Making of a Theater Designer-Engineer: A Memoir by George C. Izenour
(a) The Early Years (1939-1947)
(b) The Middle Years (1947–1953)
(c) The Mature Years (1953 on)
8.1.2 The Lab: The Lessons and the Legacy–The Electro-Mechanical Laboratory: A Memoir by James L. Read, Jr.
8.1.3 Thoughts about Stage Machinery-Its Design, Manufacture, Use, and Maintenance in the Contemporary American Theater: A Memoir by R. Duane Wilson
Teatro Teresa Carrena
Edwin Thomas Performing Arts Hall
Summary Comments
8.1.4 Essay: The Lehigh University Program of Directed Studies in Theater Engineering and Technology, by Associate Professor Jeffrey Milet, Head, Divsion of Speech and Theater, Lehigh University, Bethlehem, Pennsylvania
8.2 Theater Engineering-Technology in the United States from the Commercial Point of View
8.2.1 Essay: Design, Engineering, Manufacture, Installation, and Maintenance of Stage Machinery in the United States, by Paul Birkel, President, Peter Albrecht Corporation, Milwaukee, Wisconsin
8.2.2 Essay: Commercially Backed Development of Lighting Equipment for the Theater, by Dr. Joel E. Rubin
8.3 A Janusarian View: The Architect, the Engineer, the Specialized Consultants, and the Future of Theater Engineering-Technology in the United States
Notes

APPENDIX A Scale-Model Study for a Modular Stage from the Consulting Practice of George C. Izenour: The National Theater of Greece
APPENDIX B Scale-Model Studies for a Convertible Stage and Auditorium from the Consulting Practice of George C. Izenour: Swarthmore College Performing Arts Center
APPENDIX C Set of Working Drawings from the Consulting Practice of George C. Izenour: Brevard Community College Arts Center
APPENDIX D Heavy-Rigging Coordinates and Reaction Drawings from the Consulting Practice of George C. Izenour: Teatro Teresa Carrena
APPENDIX E Mechanical Detailing of Heavy Machinery from the Consulting Practice of Olav Soot

BIBLIOGRAPHY
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"George C. Izenour ties detailed information on construction, lighting, acoustical structures, electro-mechanical-hydraulic systems, and stage controls to a rich-history of technological developments from the invention of the proscenium stage in late Renaissance Italy to the contributions of our own time. All the drawings are produced on the same scale for plan, transverse section, and perspective section."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved