In this book, Miloš Pojar traces the development and transformation of the opinions about Jews and Judaism of the first Czechoslovak president, T. G. Masaryk. Pojar describes the key events and ideas that shaped Masaryk’s attitudes: his first contacts with the Jewish world as a child, and later as a student; his work as a philosopher and sociologist, through which his thinking on Marxism, social issues, Christianity, and Judaism evolved; and his later, pivotal, experience at the time of the anti-Semitic libel trials against Leopold Hilsner, known as the Hilsner Affair. Pojar also details the period when Masaryk, as president, formulated his position on matters such as the Czech-Jewish movement, the question of assimilation, and Zionism. Featuring an entire chapter on Masaryk’s celebrated 1927 trip to Palestine as well as a series of brief profiles of outstanding Jewish figures that explore both Masaryk’s attitudes to their ideas and their opinions of Masaryk, this book is a compelling personal portrait and a substantial contribution to our understanding of the history of Jews in the Czech lands.
The overriding aim of this groundbreaking volume—whether the subject is vocal ornamentation in 19th-century opera or the collective improvisation of the Grateful Dead—is to give new recognition to performance as the core of musical culture. The collection brings together renowned scholars from performance studies and musicology (including Philip Auslander, David Borgo, Daphne Brooks, Nicholas Cook, Maria Delgado, Susan Fast, Dana Gooley, Philip Gossett, Jason King, Elisabeth Le Guin, Aida Mbowa, Ingrid Monson, Roger Moseley, Richard Pettengill, Joseph Roach, and Margaret Savilonis), with the intent of sparking a productive new dialogue on music as performance. Taking It to the Bridge is on the one hand a series of in-depth studies of a broad range of performance artists and genres, and on the other a contribution to ongoing methodological developments within the study of music, with the goal of bridging the approaches of musicology and performance studies, to enable a close, interpretive listening that combines the best of each. At the same time, by juxtaposing musical genres that range from pop and soul to the classics, and from world music to games and web-mediated performances, Taking It to the Bridge provides an inventory of contrasted approaches to the study of performance and contributes to its developing centrality within music studies.
As narrow, nationalist views of patriotic allegiance have become widespread and are routinely invoked to justify everything from flag-waving triumphalism to xenophobic bigotry, the concept of a nonnationalist patriotism has vanished from public conversation. Taking Liberties is a study of what may be called patriotism without borders: a nonnational form of loyalty compatible with the universal principles and practices of democracy and human rights, respectful of ethnic and cultural diversity, and, overall, open-minded and inclusive.
Moving beyond a traditional study of Polish dramatic literature, Halina Filipowicz turns to the plays themselves and to archival materials, ranging from parliamentary speeches to polemical pamphlets and verse broadsides, to explore the cultural phenomenon of transgressive patriotism and its implications for society in the twenty-first century.
In addition to recovering lost or forgotten materials, the author builds an innovative conceptual and methodological framework to make sense of those materials. The result is not only a significant contribution to the debate over the meaning and practice of patriotism, but a masterful intellectual history.
Winner, Susan Koppelman Award, Best Edited Volume in Women's Studies in Popular and American Culture, 2008
The 1970s and 1980s saw the awakening of social awareness and political activism in Mexican-American communities. In San Diego, a group of Chicana women participated in a political theatre group whose plays addressed social, gender, and political issues of the working class and the Chicano Movement. In this collective memoir, seventeen women who were a part of Teatro de las Chicanas (later known as Teatro Laboral and Teatro Raíces) come together to share why they joined the theatre and how it transformed their lives. Teatro Chicana tells the story of this troupe through chapters featuring the history and present-day story of each of the main actors and writers, as well as excerpts from the group's materials and seven of their original short scripts.
Starting at the beginning of the twentieth century, Albuquerque examines the way the Modernist movement both fueled and inhibited the use of gay imagery in Brazilian drama. This elegant and fluid study ultimately becomes an examination of a whole Latin society, and the ways in which Latin theatre has absorbed and reflected the culture's own changing sensibilities, that will intrigue anyone interested in Latin American culture, literature, or theater.
Winner, 2008 Elizabeth A. Steinberg Prize
In this first book-length biography of Mercedes de Acosta, theatre historian Robert A. Schanke adroitly mines lost archival materials and mixes in his own interviews with de Acosta’s intimates to correct established myths and at last construct an accurate, detailed, and vibrant portrait of the flamboyantly uninhibited early-twentieth-century author, poet, and playwright.
Born to wealthy Spanish immigrants, Mercedes de Acosta (1893–1968) lived in opulence and traveled in the same social circles as the Astors and Vanderbilts. Introduced to the New York theater scene at an early age, her dual loves of performance and of women informed every aspect of her life thereafter. Alice B. Toklas’s observation, “Say what you will about Mercedes, she’s had the most important women in the twentieth century,” was well justified, as her romantic conquests included such internationally renowned beauties as Greta Garbo, Marlene Dietrich, Isadora Duncan, and Eva Le Gallienne as well as Alla Nazimova, Tamara Karsavina, Pola Negri, and Ona Munson.
More than a record of her personal life and infamous romances, this account offers the first analysis of the complete oeuvre of de Acosta’s literary works, including three volumes of poetry, two novels, two film scripts, and a dozen plays. Although only two of her plays were ever published during her lifetime, four of them were produced, featuring such stage luminaries as John Gielgud, Ralph Richardson, and Eva Le Gallienne. Critics praised her first volume of poetry, Moods, in 1919 and predicted her rise to literary fame, but the love of other women that fueled her writing also limited her opportunities to fulfill this destiny. Failing to achieve any lasting fame, she died in relative poverty at the age of seventy-five.
De Acosta lived her desires publicly with verve and vigor at a time when few others would dare, and for that, she paid the price of marginalized obscurity. Until now. With “That Furious Lesbian” Schanke at last establishes Mercedes de Acosta’s rightful place as a pioneer—and indeed a champion—in the early struggle for lesbian rights in this country.
Robert A. Schanke has edited a companion to this biography, Women in Turmoil: Six Plays by Mercedes de Acosta,also available from Southern Illinois University Press.
This original and insightful study explores the points at which theater and propaganda meet. Defining propaganda as a form of "activated ideology," George H. Szanto discusses the distortion of information that occurs in dramatic literature in its stage, film, and television forms.
Szanto analyzes the nature of "integration propaganda," which is designed to render the audience passive and to encourage the acceptance of the status quo, as opposed to "agitation propaganda," which aims to inspire the audience to action. In Szanto's view, most popular western theater is saturated, though usually not intentionally, with integration propaganda. The overall purpose of Theater and Propaganda is twofold: to analyze the nature of integration propaganda so that it becomes visible to western readers as a tool of the dominant class in society, and to examine the manner by which unself-conscious propagandistic methods have saturated dramatic presentation.
In discussing the importance of propaganda within and between technological states, the author examines the seminal work of Jacques Ellul. In this chapter he analyzes the function of integration propaganda in a relatively stable society. The following chapter defines and analyzes three theaters (in the sense of performance) of propaganda: the theater of agitation propaganda, of integration propaganda, and of dialectical propaganda. In this section he uses examples from a variety of plays, movies, and television commercials. In succeeding chapters Szanto discusses the role of integration propaganda in the medieval Wakefield mystery plays and the plays of Samuel Beckett. The appendix, "Contradiction and Demystification," provides a general model that suggests ways of breaking down and overcoming the propagandistic intentions of an artwork and discusses theater's possible role in this breakdown.
Randai, the popular folk theater tradition of the Minangkabau ethnic group in West Sumatra, has evolved to include influences of martial arts, storytelling, and folk songs. Theater and Martial Arts in West Sumatra describes the origin, development, and cultural background of randai and highlights two recent developments: the emergence of female performers and modern staging techniques.
This book also explores the indigenous martial arts form silek, a vital part of randai today. The strong presence of silek is illustrated in the martial focus of the stories that are told through randai, in its movement repertoire, and even in its costumes and musical accompaniment. As Kirstin Pauka shows, randai, firmly rooted in silek and Minangkabau tradition, is an intriguing mirror of the Minangkabau culture.
Theater and Social Change not only tracks the historical evolution of political theater but also explores the current state and future prospects of different modes, including agit-prop, demonstrations, solo performance, Augusto Boal’s Theater of the Oppressed, and community-based production. With such notable contributors as Anna Deavere Smith, Jonathan Kalb, Holly Hughes, and Tony Kushner, the issue offers a diverse assemblage of personal statements, conversations, photographs, interviews, and performance text.
Contributors include: Reverend Billy, Jan Cohen-Cruz, Arlene Goldbard, Sharon Green, Lani Guinier, Holly Hughes, Jonathan Kalb, Tony Kushner, Judith Malina, Robbie McCauley, John O'Neal, Claudia Orenstein, Bill Rauch, Julie Salverson, Anna Deavere Smith, Alisa Solomon, Roberta Uno
In Theater and Violence, through interviews, play excerpts, and full-length plays—including the first American publication of two major German playwrights and directors—theater artists offer their own narratives for humankind’s violent psychologies. One full-length play, Falk Richter’s Seven Seconds (In God We Trust), probes the mind of an American pilot moments before he releases a bomb on a city below. Another, René Pollesch’s 24 Hours Are Not a Day, humorously explores the ironies and pathologies of globalization after September 11. The issue also includes a commentary on the National Endowment for the Arts’ Shakespeare presentations for the U.S. military; interviews with Russian theater artists on the first anniversary of the Chechen rebels’ siege of a Moscow theater; and Jonathan Kalb’s powerful adaptation of Heiner Müller’s Mauser, set in Tikrit.
Contributors. Josh Fox, Gitta Honegger, Jonathan Kalb, Anna Kohler, James Leverett, Mark Lord, Marlene Norst, René Pollesch, Falk Richter, Yana Ross, Scott Saul, Tom Sellar, Catherine Sheehy, Robert Woodruff
The relationship between actors and spectators has been of perennial interest to playwrights. The Roman playwright Plautus (ca. 200 BCE) was particularly adept at manipulating this relationship. Plautus allowed his actors to acknowledge freely the illusion in which they were taking part, to elicit laughter through humorous asides and monologues, and simultaneously to flatter and tease the spectators.
These metatheatrical techniques are the focus of Timothy J. Moore's innovative study of the comedies of Plautus. The first part of the book examines Plautus' techniques in detail, while the second part explores how he used them in the plays Pseudolus, Amphitruo, Curculio, Truculentus, Casina, and Captivi. Moore shows that Plautus employed these dramatic devices not only to entertain his audience but also to satirize aspects of Roman society, such as shady business practices and extravagant spending on prostitutes, and to challenge his spectators' preconceptions about such issues as marriage and slavery. These findings forge new links between Roman comedy and the social and historical context of its performance.
For generations, fans and critics have characterized classic American radio drama as a “theater of the mind.” This book unpacks that characterization by recasting the radio play as an aesthetic object within its unique historical context. In Theater of the Mind, Neil Verma applies an array of critical methods to more than six thousand recordings to produce a vivid new account of radio drama from the Depression to the Cold War.
In this sweeping exploration of dramatic conventions, Verma investigates legendary dramas by the likes of Norman Corwin, Lucille Fletcher, and Wyllis Cooper on key programs ranging from The Columbia Workshop, The Mercury Theater on the Air, and Cavalcade of America to Lights Out!, Suspense, and Dragnet to reveal how these programs promoted and evolved a series of models of the imagination.
With close readings of individual sound effects and charts of broad trends among formats, Verma not only gives us a new account of the most flourishing form of genre fiction in the mid-twentieth century but also presents a powerful case for the central place of the aesthetics of sound in the history of modern experience.
Greek drama has been subject to ongoing textual and historical interpretation, but surprisingly little scholarship has examined the people who composed the theater audiences in Athens. Typically, scholars have presupposed an audience of Athenian male citizens viewing dramas created exclusively for themselves—a model that reduces theater to little more than a medium for propaganda. Women's theater attendance remains controversial, and little attention has been paid to the social class and ethnicity of the spectators. Whose theater was it?
Producing the first book-length work on the subject, David Kawalko Roselli draws on archaeological and epigraphic evidence, economic and social history, performance studies, and ancient stories about the theater to offer a wide-ranging study that addresses the contested authority of audiences and their historical constitution. Space, money, the rise of the theater industry, and broader social forces emerge as key factors in this analysis. In repopulating audiences with foreigners, slaves, women, and the poor, this book challenges the basis of orthodox interpretations of Greek drama and places the politically and socially marginal at the heart of the theater. Featuring an analysis of the audiences of Aeschylus, Sophocles, Euripides, Aristophanes, and Menander, Theater of the People brings to life perhaps the most powerful influence on the most prominent dramatic poets of their day.
Taking to heart Thomas Heywood’s claim that plays “persuade men to humanity and good life, instruct them in civility and good manners, showing them the fruits of honesty, and the end of villainy,” Mark Bayer’s captivating new study argues that the early modern London theatre was an important community institution whose influence extended far beyond its economic, religious, educational, and entertainment contributions. Bayer concentrates not on the theatres where Shakespeare’s plays were performed but on two important amphitheatres, the Fortune and the Red Bull, that offer a more nuanced picture of the Jacobean playgoing industry. By looking at these playhouses, the plays they staged, their audiences, and the communities they served, he explores the local dimensions of playgoing.
Theatre History Studies is a peer-reviewed journal of theatre history and scholarship published annually since 1981 by the Mid-American Theatre Conference (MATC), a regional body devoted to theatre scholarship and practice. The conference encompasses the states of Illinois, Iowa, Nebraska, Kansas, Missouri, Minnesota, North Dakota, South Dakota, Wisconsin, Indiana, Michigan, and Ohio. The purpose of the conference is to unite persons and organizations within the region with an interest in theatre and to promote the growth and development of all forms of theatre.
THS is a member of the Council of Editors of Learned Journals and is included in the MLA Directory of Periodicals. THS is indexed in Humanities Index, Humanities Abstracts, Book Review Index, MLA International Bibliography, International Bibliography of Theatre, Arts & Humanities Citation Index, IBZ International Bibliography of Periodical Literature, and IBR International Bibliography of Book Reviews. Full texts of essays appear in the databases of both Humanities Abstracts Full Text as well as SIRS.
THS is a member of the Council of Editors of Learned Journals and is included in the MLA Directory of Periodicals. THS is indexed in Humanities Index, Humanities Abstracts, Book Review Index, MLA International Bibliography, International Bibliography of Theatre, Arts & Humanities Citation Index, IBZ International Bibliography of Periodical Literature, and IBR International Bibliography of Book Reviews. Full texts of essays appear in the databases of both Humanities Abstracts Full Text as well as SIRS.
Theatre History Studies is a peer-reviewed journal of theatre history and scholarship published annually since 1981 by the Mid-American Theatre Conference (MATC), a regional body devoted to theatre scholarship and practice. The conference encompasses the states of Illinois, Iowa, Nebraska, Kansas, Missouri, Minnesota, North Dakota, South Dakota, Wisconsin, Indiana, Michigan, and Ohio. The purpose of the conference is to unite persons and organizations within the region with an interest in theatre and to promote the growth and development of all forms of theatre.
To mark the thirtieth anniversary of the Theatre History Studies journal, editor Rhona Justice-Malloy and the Mid-America Theatre Conference have collected a special-themed volume covering the past and present of African and African American theatre. Topics included range from modern theatrical trends and challenges in Zimbabwe and Kenya, and examining the history and long-range impact of Paul Robeson’s groundbreaking and troubled life and career, to gender issues in the work of Ghanaian playwright Efo Kodjo Mawugbe, and the ways that 19th-century American blackness was defined through Othello and Desdemona. This collection fills a vacancy in academic writing. Readers will enjoy it; academics can incorporate it into their curriculum; and students will find it helpful and illuminating.
THS is a member of the Council of Editors of Learned Journals and is included in the MLA Directory of Periodicals. THS is indexed in Humanities Index, Humanities Abstracts, Book Review Index, MLA International Bibliography, International Bibliography of Theatre, Arts & Humanities Citation Index, IBZ International Bibliography of Periodical Literature, and IBR International Bibliography of Book Reviews. Full texts of essays appear in the databases of both Humanities Abstracts Full Text as well as SIRS
From published reviews
“This established annual is a major contribution to the scholarly analysis and historical documentation of international drama. Refereed, immaculately printed and illustrated . . . . The subject coverage ranges from the London season of 1883 to the influence of David Belasco on Eugene O’Neill.”—CHOICE
“International in scope but with an emphasis on American, British, and Continental theater, this fine academic journal includes seven to nine scholarly articles dealing with everything from Filipino theater during the Japanese occupation to numerous articles on Shakespearean production to American children’s theater. . . . an excellent addition for academic, university, and large public libraries.”—Magazines for Libraries, 6th Edition
The official journal of the Mid-America Theatre Conference
Theatre History Studies (THS) is a peer-reviewed journal of theatre history and scholarship published annually since 1981 by the Mid-America Theatre Conference (MATC), a regional body devoted to theatre scholarship and practice. The conference encompasses the states of Illinois, Iowa, Nebraska, Kansas, Missouri, Minnesota, North Dakota, South Dakota, Wisconsin, Indiana, Michigan, and Ohio. The purpose of the conference is to unite persons and organizations within the region with an interest in theatre and to promote the growth and development of all forms of theatre. THS is a member of the Council of Editors of Learned Journals and is included in the MLA Directory of Periodicals. THS is indexed in Humanities Index, Humanities Abstracts, Book Review Index, MLA International Bibliography, International Bibliography of Theatre, Arts & Humanities Citation Index, IBZ International Bibliography of Periodical Literature, and IBR International Bibliography of Book Reviews. Full texts of essays appear in the databases of both Humanities Abstracts Full Text and SIRS.CONTRIBUTORS
Cheryl Black / Shelby Brewster / Matthieu Chapman / Meredith Conti / Zach Dailey / Michael DeWhatley / Whit Emerson / Katherine Gillen / Miles P. Grier / Patricia Herrera / Lisa Jackson-Schebetta / Nancy Jones / Joshua Kelly / Felicia Hardison Londré / Bret McCandless / Marci R. McMahon/ Tom Mitchell / Sherrice Mojgani / John Murillo III / Heidi L. Nees / Jessica N. Pabón-Colón / Kara Raphaeli / Leticia L. Ridley / Cynthia Running-Johnson / Alexandra Swanson / Catherine Peckinpaugh Vrtis / Shane Wood / Christine Woodworth / Robert O. Yates
Theatre in Passing explores spaces of performance in contemporary Moscow. Inspired by French philosopher Michel de Certeau’s model of a "second, poetic geography" in which the walker—the everyday practitioner—invents the space observed by the voyeur, this book takes the reader on a tour of spaces of performance in contemporary Moscow. Through text and photography, the city’s "theatrical geography" is uncovered, from the Bolshoi Theater in Theater Square to hidden gems like the recently restored Kuskovo estate. With additional sections on street theater and other public gatherings, Theatre in Passing is a must-read book for anyone curious about the theatrical architecture and geography of Russia’s capital.
The Theatre of Sabina Berman: The Agony of Ecstasy and Other Plays introduces and makes accessible to an English-speaking audience the work of the contemporary Mexican playwright Sabina Berman. The book contains translations of the four plays that established Berman’s career: The Agony of Ecstasy, Yankee, Puzzle, and Heresy. An introduction by Adam Versényi provides a critical assessment of each play, a discussion of the specific problems of translation involved, and placement of Berman’s work in the larger Mexican and Latin American context.
It is evident that Sabina Berman’s theatrical acumen matches the depth of her dramatic design whether it is the sheer variety of techniques from song to staged tableau that appear in The Agony of Ecstasy; the physicalization of what it means to be interrogated and to interrogate in Yankee; the final enigmatic image of a soldier alone on stage, silently aiming his firearm at an undefined threat that potentially emanates from the audience in Puzzle; or the manner in which the family narrates its own “heretical” actions in Heresy. It is the combination of theatrical technique with universal themes of self-definition that cuts across cultures and ultimately makes these plays translatable.
For centuries scholars, philosophers, and practitioners have attempted to explain just what constitutes comedy, and though no one has come close to a definitive explanation, each attempt highlights some distinct facet of the genre--the genre that Woody Allen has said eats at the children’s table . . . even in the world of scholarship.
The essays gathered in Volume 16 of the annual journal Theatre Symposium illustrate well the range of material that falls under the heading “comedy” as it is played on stage.
Stanley Longman’s essay on “The Commedia dell’Arte as the Quintessence of Comedy” introduces us to the inhabitants of “Commediatown,” character types who are descendents of the Greeks and ancestors, it seems, of almost everyone who came after. Boris Senker, an eyewitness to Croatia’s evolution from communism to democracy, reports on the all-too-real "Commedia" stereotypes that have found their way onto the stage in his homeland.
Other essays address the improvisational nature of "Commedia"; the roots of laughter and the expectations inherent in presenting “old schtick” to a new generation; comedic technique, verbal and physical, in Molière; the use of the macabre to create humor in the "Théâtre du Grand Guignol"; the story of Henry Fielding, the theatre practitioner most responsible for the British government’s crackdown on subversive material, via the Licensing Act of 1737; Beckett’s theatrical connections to the comedy theory of Henri Bergson; and do-it-yourself (DIY) comedy--happenings, situations, gatherings—as practiced in British stand-up comedy.
Theatre Symposium: Volume 16 provides just a glimpse into the possibilities for comedy on the stage. If the past examples allow for extrapolation into the future, the position of comedy as a means of communicating problems and solutions for society’s woes is remarkably sound.
The contributors illuminate many aspects of this largely ignored yet crucial part of the theatre. Kyna Hamill looks at props as a means to mark social status. Christine Woodworth addresses the challenges presented by using blood onstage, while Andrew Sofer discusses the use of prop corpses on the Shakespearean stage. Andrew Kimbrough moves from an examination of actors’ use of props to a consideration of audience response to performance. Other essays investigate specific objects or productions, and introduce provocative and original perspectives to the growing discussion about stage properties.
Bruce McConachie, in his contribution to the collection, “Theatre and Film in Evolutionary Perspective,” argues that the cognitive functions used to interpret either media arise from the same evolutionary foundation, and that therefore the viewing experiences of theatre and film are closely linked to each other. In “Robert Edmond Jones: Theatre and Motion Pictures, Bridging Reality and Dreams,” Anthony Hostetter and Elisabeth Hostetter consider Jones’ influential vision of a “theater of the future,” in which traditional stage performances incorporate mediated video material into stage productions. Becky Becker’s “Nollywood: Film and Home Video, of the Death of Nigerian Theatre,” by focusing on the current conversation in Nigeria, discusses the anxiety generated by a film and video industry burgeoning into and displacing theatre culture
These and the six other essays in “Theatre Symposium: Volume 19” shed light on the current state of affairs—the collaborations and the tensions—between two distinctly individual yet inextricably related artistic media.
Taken together, these twelve essays represent a wide range of scholarly responses to the theme of “theatre and race.” The fact that there is so much to say on the topic, from so many different perspectives, is a sign of how profoundly theatre practices have been—and continue to be—shaped by racial discourses and their material manifestations.
Theatrical Scene Painting: A Lesson Guide, second edition, is a practical guide to scene painting for students and novices, as well as a reference for intermediate scene painters who wish to refresh or supplement their basic skills. Drawing on his extensive teaching and scene-painting experience, William H. Pinnell clarifies and expands on the lessons of the first edition, providing a detailed overview of the fundamentals of traditional scene painting.
The guide not only covers the basic tools of the trade and various methods of creating texture on scenery but also includes more advanced techniques for scene making, beginning with stonework, woodwork, and wallpaper before moving on to the more intricate techniques of moldings, paneling, drapery, foliage, shiny metal, perspective illusions, scale transfers, scenic drops, and scrims. Pinnell also includes refinements and embellishments that can lead to the development of personal style without sacrificing the goal of realism and more advanced work. Alternative methods to achieve different effects are also featured.
Theatrical Scene Painting: A Lesson Guide was the first book of its kind to provide clear step-by-step instructions in how to paint a wide variety of basic and advanced effects commonly needed for the theater. This new edition clarifies the origins of painting techniques and is supplemented with clearer step-by-step descriptions, new instructional photographs, and drawings that illustrate each major step. This edition also includes additional painting projects and their possible variations, a gallery of nineteen examples of professional scenic works, and an expanded glossary to eliminate confusion in terms.
Useful to both self-taught artists and students, each lesson in the guide can be a stand-alone topic or can form the foundation for a student to build skills for increasingly complex techniques.
The second edition of Theatrical Scene Painting provides many new essential scene painting projects in a clearer format, broadens the scope of the painting examples, and includes updated methods as well as new lessons. This clear and easily accessible guide gives students the ability to put together recognizable illusions.
This handbook explains the techniques of traditional scene painting. A “how to” book for the novice, it shows the methods used in creating the illusion of three dimensions where only two exist. It provides a step-by-step explanation of each aspect of scene painting, using both color and black-and-white photographs for illustration.
Among the many illusions made possible through the magic of paint are stonework, wallpaper, woodwork, as well as mouldings, draperies, and foliage. To teach the beginner how to re-create reality through painted illusion, Pinnell emphasizes traditional scene painting, including basic tools, primary painting techniques, and methods for creating texture on scenery. He also illustrates refinements and embellishments that lead to more advanced work.
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