TABS INDEX
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| A | ||
| AARHUS TV: | Finn Vaabengaard: | 38 ii 32 |
| Abstracted Lighting: | 27 iv 10 | |
| ABTT Appoint
their first Fellow: |
41 i 2 | |
| Academic Theatre: | Percy Corry: | 29 95 |
| Academic Theatre correspondence: | 29 150 | |
| Accounting the Individual: | 29 77 | |
| K.R. Ackerman: | Churches Television
and Radio Centre: |
31 149 |
| C.I.E. 1975: 3 |
3 ii 21 | |
| Seeing Oliver: |
18 ii 17 | |
| Television Lighting 2000 or even 1984!: | 29 68 | |
| Act 2: | Andy Collier: | 41 i 20 |
| Act 2 - A New Small Portable Dimmer: | 40 i 11 | |
| Act as Known - Illuminating the No 2&3 Music Halls and Performers of 60 years Ago: | Freddie Sadler: | 39 i 12 |
| ACT III: | 26 iv 2 | |
| Acting: | 6 i 11; 14 iii 21 | |
| Adam Smith Centre in Kirkcaldy: | Brian Legge: | 32 i 10 |
| Adaptability in Essex: | Francis Reid: | 30 83 |
| Adaptable Stages and Inflexible Minds: | Disley Jones: | 19 ii 5 |
| Adaptable Theatre, | St Mary's Training College Twickenham: | 21 i 31 |
| Adelaide Festival Theatre: | Colin Hassell: |
31 124 |
| Adeline Genee Theatre: | W.F. Kemp: | 25 i 5 |
| Adieu to snuffing Candles: | John Melling, Ann Nolloth: | 15 iii 18; 16 i 28 |
| Aegean Instability: | 31 135 | |
| African Abstracts, SAITT International Symposium: | 35 i 12 | |
| After Puddle Dock - Rosehill: | Percy Corry: | 17 iii 6 |
| After Strange Gods: | Barbara Berrington: | 29 8 |
| A Garden is a Lovesome Thing God Wot!: | 29 106 | |
| Aida with Elephants: | Frederick Bentham: | 31 3 |
| Alas, our conductor has become ruptured: | Brian Benn: | 36 ii 23 |
| Alas Poor Tabulus: | 33 iii 2 | |
| Ian B. Albery: | More of Oliver!: | 31 85 |
| Theatre in the Round: | 19 i 16 | |
| Planning the Oliver National Tour: | 24 i 4 | |
| Man of la Mancha at the Piccadilly Theatre: | 27 i 29 | |
| Ali Baba's Cave London W12: | Richard M. Harris: | 38 i13 |
| Ali-Din and the Dirty Dixie: | Mike Rump: | 43 i 12 |
| A Lighting Course at Hanley: | Herbert Hughes: | 38 i 5 |
| Alive and Well and Living Down Under: | 35 i 2 | |
| All about M24: | David Bertenshaw: | 40 i 4 |
| All the World’s a Computerised Stage: | Colin Rae: | 38 ii24 |
| Amateur Stage Management: | Percy Corry: | 18 iii 17 |
| Ambassador-at-large: | J.D.H. Sheridan: | 27 i 4 |
| America in London: | Percy Corry: | 30 48 |
| American Practice: | 22 i 57, 62, 63, 107, 113, 114 | |
| America Saw Us: | William Bundy: | 16 iii 11 |
| Am I Lit Here: | Francis Reid: | 31 12 |
| Bruce Amm: From Gongman to Advance Australia: | 42 i 24 | |
| An American Looks at German Theatres: | Edward Kook: | 16 ii 7 |
| An American View of
the West End: |
Charles H. Firmin: | 33 ii 9 |
| An Approach to the Design of Hamlet: | Disley Jones: | 22 ii 20 |
| An Audience Will Accept Almost Anything Except Boredom: | Robin Close: | 35 i 9 |
| Ancient Lights Editorial Visit: | 43 i 24 | |
| And all our yesterdays have lighted the way...: | 31 82 | |
| And a right good captain too: | 27 iv 2 | |
| Bob Anderson: | Guilty? We will let You Know: | 39 ii 26 |
| Lighting by Logic: | 31 28; 31 68 | |
| Peter Harris - TM1: | 32 i 5 | |
| Projected Scenery at the Questors: | 28 82 | |
| Royal Concert Hall - Nottingham: | 40 i 20 | |
| To Look Forward First Look Back: | 35 i 21 | |
| A New Lantern Pattern 73: | 1 i 3 | |
| Angles for Thrust: | Francis Reid: | 33 ii 20; 33 iii 24 |
| Animal, Vegetable or Mineral: | Elizabeth Sweeting: | 28 144 |
| Another Tale of Two Theatres: | Frederick Bentham: | 28 91 |
| ANTA - Washington Square Theater: | Jo Mielziner: | 22 ii 11 |
| Anyone for Gimmicks: | Disley Jones: | 24 iv 5 |
| Apron Stage: | 22 i 44 | |
| Arcs: | 6 ii 11; 8 ii 24; 13 i 24 |
|
| Argentina: | 10 iii 13 | |
| Around the World in Sixty-Three: | Percy Corry: | 22 iii 32; 22 iv 29 |
| Dennis Arundell: Producing The Flying Dutchman: | 17 i 16 | |
| A Tale of Two Theatres: | Frederick Bentham: | 27 iv 10 |
| At last or No Longer
a Luxury: |
Frederick Bentham: | 25 ii 15 |
| At the Court of King Cotton: | Michael Williams: | 35 i 3 |
| At the Rank Strand Local - Local Theatre that is: | 42 i 7 | |
| Audiences: | 7 i 7 | |
| Aurora Australis 1: | Denis Irving: |
27 iv 33 |
| Aurora Australis II: | Denis Irving: | 28 43 |
| Australia: | 10 ii 20; 10 iii 7; 11 ii 4; 14 i 26; 14 ii 10; 17 i 24; 18 ii 28; 20 i 26; 22 iv 29; 23 iii 19; 27 iv 33; 28 42; 28 43; 30 101; 30 137; 30 158; 31 124; 31 125; 32 i 11; 33 i 18; 33 ii 16; 35 i 2; 35 i 22; 35 ii 14; 35 iii 9; 36 ii 16; 36 iii 3 |
|
| Austria: | 33 iii 16,23; 35 ii 13 |
|
| B | ||
| BAAL: | Richard Pilbrow: | 21 ii 12 |
| Back Stage Toilers: | 12 i 11 | |
| Back Ten Years & out for Two Hundred Thousand: | Frederick Bentham: | 42 i 32 |
| Back to Methuselah: |
23 iv 4 | |
| Baird Television: | 22 i 69 | |
| David Baker: DDM - A Revolution in Lighting Control: | 29 139 | |
| Eric Baker: Upstairs Theatre, The: | 27 ii 32 | |
| Chris Baldwin: Scala Barcelona: | 32 ii 16 | |
| Ballet: 2 | 2 i 29, 56 | |
| Ballroom Lighting: |
22 i 27, 98 | |
| John Barber: Relay Race for Voices: | 30 127 | |
| Barbican Centre and Strand, The: | 39 i 3 | |
| Anthony Barnes: Magic of the Managers: | 28 36 | |
| Bars and Barrels: | 11 i 16 | |
| Reg
Bartram: |
Some Came Running: | 35 iii 23 |
| Uncomplicated Theatre?: | 35 ii 7 | |
| Battens: | 4 ii 15, 24; 5 i 28; 22 i 8-10, 25, 27, 36, 39, 40, 60,115 |
|
| B.E. Bear: | Project Seagull Chichester: | 31 115 |
| Boots with Strawberry Jam: | 26 ii 15 | |
| Case for Spots: | 15 ii 11 | |
| Some Advice on Stage Lighting: | 24 iii 27 | |
| Son et Lumiere: | 15 iii 15 | |
| To a Beginner: | 18 i 28 | |
| Behind the Scenes at McDonald's: Norah McNulty: 39 i 26 | ||
| Brian Benn: |
Alas, our conductor has become ruptured: | 36 ii 23 |
| Shakespeare Tour in the East: | 23 iv 22 | |
| St. Albans, The Abbey Theatre: | 26 ii 22 | |
| Wembley Conference Centre: | 35 i 18 | |
| Frederick Bentham: | Aida with Elephants: | 31 3 |
| Another Tale of Two Theatres: | 28 91 | |
| A Tale of Two Theatres: | 27 iv 10 | |
| At last or No Longer a Luxury: | 25 ii 15 | |
| Back Ten Years & out for Two Hundred Thousand: | 42 i 32 | |
| Blow Winds and Crack Your Cheeks: | 23 i 28 | |
| City of Cardiff, The: | 31 45 | |
| Coda: | 39 ii 25 | |
| Coloured Light in the Theatre: | 18 iii 13 | |
| Crescent Theatre Birmingham: | 22 iv 6 | |
| Das Ist Alles Möglich!: | 30 90 | |
| Design by Svoboda: | 25 iii 14 | |
| Designing a Theatre: | 28 67 | |
| Electrifying Lighting at the Lane: | 35 ii 9 | |
| Famous Strand Jobs of the Past, or I Was There: | 38 i 20; 39 i 20; 41 i 21; 43 i 20 |
|
| Five Hundred or Fifteen Hundred: | 25 iv 6 | |
| Frank Matcham: | 40 i 10 | |
| From Bohemia's Woods and Fields: | 31 109 | |
| How Did They Do It: | 23 ii 15 | |
| How the New Lighting Control for the Royal Opera was Designed: | 22 iii 6 | |
| Ideal Home as Theatre: | 26 ii 27 | |
| Ideals and Realism in Lighting Control: | 24 i 13; 24 iii 18 |
|
| Kinetics?: | 28 113 | |
| Light and Lighting: | 27 i 20 | |
| Lighting at the Cambridge Festival Theatre: | 20 i 14 | |
| Lighting Control: | 15 ii 25; 25 ii 22; 16 i 6 |
|
| Lighting Control and its Operator: | 16 iii 28 | |
| Lighting the Hardware Way: | 27 ii 26 | |
| Made to Dwell in a Dungeon Cell: | 18 i 19 | |
| Memorabilia: | 36 iii 7 | |
| Mermaid from a Little Used Aspect: | 17 ii 20 | |
| Most Adaptable Theatre of All: | 21 iii 18 | |
| National Arts Centre, Ottawa: | 28 16 | |
| National Theatre Plans: | 26 i 16 | |
| New Questors Theatre: | 22 ii 5 | |
| New Stages with Exciting Possibilities: | 19 i 21 | |
| New Vic of 1930, A: | 31 174 | |
| Number Game, The: | 34 iii 19 | |
| Operation Opera: | 30 143 | |
| Organo ad Libitum: | 35 iii 19 | |
| Performances Had To Be Given In the Dark: | 29 26 | |
| Queen Elizabeth and Purcell: | 25 i 13 | |
| Sadler's Wells at the London Coliseum: | 26 iv 10 | |
| Saturday Night and Sunday Morning at the London Palladium: | 24 iv 25 | |
| Scenes in the Theatre: | 29 89 | |
| Scientia sine Arte Nihil est: | 36 i 19 | |
| Son et Lumière Again: | 16 ii 24 | |
| Stage Lighting and Theatre: | 26 iii 24 | |
| Start with the Coda: | 40 i 22 | |
| Stratford Revisited: | 30 14 | |
| Tale of Three Switchboards A: | 30 23 | |
| Tale of Two Cities, A: | 31 138 | |
| Theatre Design in Great Britain: | 24 ii 3 | |
| Theatre Lighting 2000 - A Darkling View: | 29 49 | |
| They Were No Stupider: | 33 ii 7 | |
Three New Theatres for London: |
21 i 7 | |
| To See or Not to See that Exhibition (Curtains): | 39 ii 30 | |
| Triptych: | 29 114 | |
| Two Approaches to Planning: | 20 ii 18 | |
| Vocational Trading: | 35 ii 22 | |
What is a Theatre For: |
21 ii 20 | |
| What's in it for the Customer ?: | 27 iii 19 | |
| John S. Bentley: | Tips: | 43 i 13 |
| P.R. Berkeley: | Educational Television Studio Requirements: | 25 i 24 |
| Bernstein Theatres: | 22 i 30 | |
| Barbara Berrington: | After Strange Gods: |
29 8 |
| Change Ringing in Bristol: |
30 121 | |
| Cutting Your Shape to Suite Your Show: | 29 125 |
|
| When Drama is not Theatre: | 31 154 | |
| Geoffrey Berry: | Variable Acoustics: | 36 ii 9 |
| David Bertenshaw: | Permus - A New Range of Dimmers: | 39 i 25 |
| All about M24: | 40 i 4 | |
| What's New in MMS: | 34 iii 10 | |
| W.J. Besk: | Shedding Light on School Drama: | 36 iii 20 |
| Between Windward and Lee: | Norman Fitkin: | 33 iii 22 |
Ian Bevan: |
Royal Box: | 35 iii 3 |
| Beware of the Ides of March: | 30 120 | |
| Beyond the Blue Horizon: | 39 i 16 | |
| Bibliography of Technical Books: | 5 ii 4; v iii 24 | |
| Bicester School Productions: | 43 i 3 | |
| Bigger and Better?: | Iain Mackintosh: | 30 101 |
Biggest TV in the World, The: |
40 i 11 | |
| Billingham Forum: | Percy Corry: | 25 iv 18 |
| Bjorn Claeson: SAAB Sound M24: | 43 i 30 | |
| Blinded by Science: | John Schwiller: | 36 ii 18; 36 iii 24; |
| Blinders: | 22 i 15 | |
| J Blom: | Forum: | 22 iv 37 |
| Bloomsbury Cinema: | 30 30 | |
| Blow Winds and Crack Your Cheeks: | Frederick Bentham: | 23 i 28 |
| Diana Boddington: | Stage Management at Chichester: | 20 ii 25 |
| Bolton Octagon: | Percy Corry: | 26 i 4 |
| Bonus over Broadway: | 28 78 | |
| Book Reviews: | Actor and Architect: | 23 i 36 |
| Adaptable Theatres: | 20 i 31 | |
| Adolphe Appia, Prophet of Modern Theatre: | 27 iii 5 | |
| Amateur Stage Handbook: | 10 ii 31 | |
| Amateur Theatrecraft: | 19 iii 13 | |
| Art and Science of Stage Management: | 11 i 8 | |
| Art of Stage Lighting: | 26 iii 35 | |
| Baroque Theatre: | 26 iv 31 | |
| Basic Equipment of Stage Management: | 9 iii 31 | |
| Beginners Please - working in the Theatre: | 29 108 | |
| Buhnenbeleuchtung (Max Keller): | 43 i 22 | |
| Build Your Own Model Theatre: | 18 i 32 | |
| Business Side of the Amateur Theatre: | 13 ii 28 | |
| Central and Flexible Staging: | 14 ii 23 | |
| Changeable Scenery: | 10 ii 32 | |
| Civic Theatre Design: | 7 ii 29 | |
| Complete guide to Amateur Dramatics: | 16 i 32 | |
| Curtains!!!: | 38 ii 28 | |
| Designing and Making Stage Scenery: | 25 i 32 | |
| Design of Drama Spaces in Secondary Schools: | 24 iv 36 | |
| Development of the English Playhouse, The: | 31 167 | |
| Development of the Playhouse The: | 29 60 | |
| Dictionary of Theatrical Terms: | 10 ii 32 | |
| Dictionnaire des Arts du Spectacle: | 28 105; 28 147 |
|
| Drama Festivals and Adjudicators: | 14 i 28 | |
| Drama in Education 1 - The Annual Survey: | 30 158 | |
| Drama Studio: | 25 iii 31 | |
| Dressing the Play: | 11 iii 29 | |
| Encyclopedia of Dance and Ballet: | 36 i 23 | |
| Essentials of Stage Planning: | 7 iii 30 | |
| Further Advice on Stage Lighting: | 11 ii 8 | |
| Glossary of Theatrical Terms: | 10 iii 28 | |
| Introduction to Stage Lighting: | 9 iii 31 | |
| John Gay and the Ballad Opera: | 15 i 29 | |
| Leap to Life: | 23 ii 26 | |
| Lighting for the Amateur Stage: | 8 i 15 | |
| Lighting the Stage: | 8 i 23; 17 i 31 | |
| Lost Theatres of London, The: | 27 i 38 | |
| Magic of Make-up for the Stage: | 15 iii 32 | |
| Meyerhold on the Theatre: | 27 iv 42 | |
Medieval Theatre in the Round: |
16 i 31 | |
| Musical Comedy: | 28 37 | |
| Musical Productions: | 7 i 25 | |
| National Council for Civic Theatres Survey 1964/65: | 23 ii 26 | |
| New Theatre Forms: | 26 iii 34 | |
| Offstage: | 11 iii 28 | |
| Old Vic Saga: | 7 iii 15 | |
| Our World Was the Stage: | 42 i 23 | |
| Oxford Companion to the Theatre: | 9 ii 30; 17 i 31 | |
| Painting and Decorating: | 7 ii 28 | |
| Picture Palace, The: | 27 iv 43 | |
| Planning New Forms of Theatre: | 20 iii 32 | |
| Planning the Stage: | 19 ii 32 | |
| Play Guide for Irish Amateurs: | 6 i 26 | |
| Play Safe: | 26 iv 32 | |
| Plays of 1955-56: | 15 i 29 | |
| Practical Stage Handbooks: | 12 i 26; 12 ii 28 |
|
| Preparing a Brief for a Theatre Building: | 31 37 | |
| Producing Pantomime and Review: | 20 iii 32 | |
| Putting on a Play: | 42 i 22 | |
| Reader's Guide Series - Theatre: | 25 iii 32 | |
| Safety Checklists for Theatre Managements: | 31 37 | |
| Scene Painting and Design: | 22 iii 40 | |
| School Stages: | 9 iii 30 | |
| Second Anthology of Play Scenes: | 10 i 34 | |
| Seven Ages: | 29 26 | |
| Seven Ages of the Theatre: | 20 i 32 | |
| Shapes of Our Theatre The: | 29 26 | |
| Shaw - The Chucker Out: | 28 76 | |
| Shaw the Villager and Human Being: | 20 i 32 | |
| Sound for Theatres: | 38 ii 28 | |
| Sound in Educational Television: | 27 i 38 | |
| Sound Reproduction in the Theatre: | 23 i 28 | |
| Stagecraft for Amateurs: | 7 ii 28 | |
| Stage Guide The: | 29 148 | |
| Stage Lighting: | 8 iii 30; 13 ii 27; 29 26 | |
| Stage Lighting for Amateurs: | 14 ii 22 | |
| Stage Lighting for the Amateur Producer: | 19 i 32 | |
| Stage Lighting Handbook 2nd. edition: | 39 ii 30 | |
| Stage Lighting on a Shoestring: | 12 ii 17; 17 i 32 | |
| Stage Management: | 15 i 29 | |
| Stage Management and Theatrecraft: | 27 ii 40 | |
| Stage Planning: | 17 i 32 | |
| Stage Planning and
Equipment for Multi-purpose Halls: |
7 ii 29; 17 i 32 | |
| Staging the Play: | 14 ii 21 | |
| Story of the Playhouse in England: | 21 iii 40 | |
| Theatre: | 16 iii 32 | |
| Theatre Administration: | 28 36; 41 i 31 | |
| Theatre at Work: | 6 i 26 | |
| Theatre Buildings in Australia to 1905: | 30 158 | |
| Theatrecraft: | 12 i 26 | |
| Theatre Design: | 36 iii 19 | |
| Theatre Design and Technology: | 23 iii 39 | |
| Theatregoing: | 9 ii 29 | |
| Theatre in the Round: | 25 iii 30 | |
| Theatre of Edwin Piscator The: | 36 iii 18 | |
| Theatre Planning: | 23 i 15; 30 133 | |
| Twenty-five Years of Play Production: | 10 ii 31 | |
| William Poel and the Elizabethan Revival: | 12 iii 21 | |
| World Theatre - an illustrated History: | 29 60 | |
| You and the Theatre: | 7 i 6 | |
| Boots with Strawberry Jam: | B.E. Bear: | 26 ii 15 |
| Borders: | 8 ii 4 | |
| Boxed to take away: | Peter Woodham: | 28 138 |
| John Bradley: Season with a New Galaxy, A: | 39 ii 24 | |
| Norman Branson: Wennington School, Wetherby: | 26 i 10 | |
| Braunschweiger Staatstheater: | 35 i 20 | |
| Charles Brewer: Golden Legend at Gloucester: | 16 iii 9 | |
| Bridges and Slots: | Martin Carr: | 23 iv 35 |
| Brief Encounter: | 29 39 | |
| Briefing for a New Theatre: | John A Brownrigg: | 23 iii 8 |
| Bright Caravan of Light: | 34 iii 12 | |
| Brighter 35mm Projection: | 33 i 7 | |
| Brighter Stage Lighting: | Brian Legge: | 29 83 |
| Charles Bristow: | Lighting Rigoletto: | 26 i 34 |
| Lighting the Flying Dutchman: | 17 i 12 | |
| Scottish Opera's "Fidelio": | 28 128 | |
| British School of Brussels, The: | 39 i 10 | |
| John A Brownrigg: Briefing for a New Theatre: | 23 iii 8 | |
| Tony Brown: When the Lights go Out: | 40 i 23 | |
| Robert Bryan: In the Eye of the Beholder: | 33 i 3 | |
| Joy Bryant: How I Lit Part of the Show: | 43 i 12 | |
| Bruce Buck: Stratford Ontario Festival Theatre: | 30 2 | |
| Bugle Call Rag: | 31 1 | |
| William Bundy: America Saw Us: | 16 iii 11 | |
| John Burrell: Nearly 40 Years On: | 43 i 8 | |
| By Ghost Train to Japan: | 43 i 3 | |
| C | ||
| CADENZA - What 2000 watt?: | 40 i 14 | |
| Callendar Park College, Falkirk: | Mike Smythe: | 27 ii 18 |
| G.E. Calthrop: My Impressions of the Mermaid Theatre: | 17 ii 18 | |
| Cambridge Festival Theatre: | Norman Marshall: | 20 i 7 |
| Gavin Campbell: Lighting for Armchair Theatre: | 21 i 16 | |
| Canada: | 9 iii 13; 12 i 4; 14 ii 6; 17 ii 7; 19 ii 18; 19 iii 14; 21 i 27; 21 ii 25; 21 iii 31; 22 iii 32; 23 i 31; 23 iv 32; 25 iii 3; 27 iii 35; 28 16; 30 2; 30 40; 30 55; 31 106; 31 152; 32 i 23; 32 ii 18; 33 iii 6 |
|
| Canberra Theatre Centre: | Denis Irving: | 23 iii 19 |
| Candle Snuffers and Lamp Tenders: | 34 iii 9 | |
| Cannon Hill Theatre: John English: | 19 iii 26 | |
| Cape Town Conference: | 33 i 10 | |
| Carreras factory: | 22 i 32, 33 | |
| Martin Carr: |
Bridges and Slots: | 23 iv 35 |
| Craigie College Theatre, Ayr: | 27 iii 14 | |
| Lyric Theatre at Belfast: | 26 iv 27 | |
| Middleton Hall, University of Hull: | 25 iv 24 | |
| Newport Little Theatre: | 26 i 25 | |
| University College Theatre: | 26 ii 31 | |
| University Theatre, Newcastle: | 29 22 | |
| Case for an Adaptable Theatre: | Alfred Emmet: | 15 iii 10 |
| Case for Spots: | B.E. Bear: | 15 ii 11 |
| Case of Identity: | Philip Rose: | 19 iii 14 |
| Casting: | 8 iii 7 | |
| Mike Cawte: Design and Development, The (Minim etc,): | 38 ii 7 | |
| Cecil Court: | 22 i 29 | |
| Cederbrae Secondary School: | Philip Rose: | 21 i 27 |
| Century Lighting Inc.: | 22 i 71, 107 | |
| Changeover day: | 22 i 37 | |
| Change Ringing in Bristol: | Barbara Berrington: | 30 121 |
| Changing Conventions: | 11 i 11 | |
| Charm and Splendour: | Norman Marshall: | 28 37 |
| Chelsea Arts Ball: | 22 i 27 | |
| Chester's Gateway: | Percy Corry: | 27 i 32 |
| Chichester Festival Theatre: | Peter Jay, Christopher Stevens: | 20 i 20 |
| Children's Theatre in Aberdeen: | Catherine Hollingworth: | 18 i 6 |
| Chinguacousy Theatre: | A. Sheppard: | 31 152 |
| Chromatics: | 29 39 | |
| Chromoid: | Norah McNulty: | 38 ii 22 |
| Chronology of Some Strand Firsts, A: | 42 i 3 | |
| Churches Television and Radio Centre: | K.R. Ackerman: | 31 149 |
| Church Visible, The: | 34 ii 14 | |
| C.I.E. 1975: | K.R. Ackerman: | 33 ii 21 |
| Cinemas: | Belfast, Classic: | 22 i 31 |
| Commercial Road, Troxy: | 22 i 60 | |
| Croydon, Davis: | 22 i 29 | |
| Didsbury, Capitol: | 22 i 59 | |
| Edmonton, Regal: | 22 i 60 | |
| Elephant and Castle, Trocadero: | 22 i 60 | |
| Hammersmith, Commodore: | 22 i 65 | |
| Kilburn, State: | 22 i 60 | |
| Kingston, Regal: | 22 i 59 | |
| Llandudno, Winter Gardens: | 22 i 59, 60 | |
| New York, Radio City Music Hall: | 22 i 57 | |
| Notting Hill Gate, Electric Theatre: | 22 i 29 | |
| Regent St., Plaza: | 22 i 64, 65 | |
| Shepherds Bush, Pavilion: | 22 i 19, 27-29 | |
| Strand, Tivoli: | 22 i 18 | |
| Turin, Rex: | 22 i 78 | |
| Uxbridge, Regal: | 22 i 32 | |
| Circus: | 22 i 27 | |
| City of Cardiff, The: | Frederick Bentham: | 31 45 |
| City, the: | 22 i 69, 70 | |
| Civic Theatres and the Amateurs: | Percy Corry: 23 ii 35 | |
| Civic Theatres Conference: | Percy Corry: | 23 i 37 |
| Clamps: | 17 i 23 | |
| Classics in Modern Dress: | 9 ii 25 | |
| Clemancon, Paris: | 22 i 71 | |
| Clifton College: | John Hersee: | 25 ii 10 |
| Robin Close: An Audience Will Accept Almost Anything Except Boredom: | 35 i 9 | |
| Cockpit The: | Michael Warre: | 28 28 |
| Coda: | Frederick Bentham: | 39 ii 25 |
| Collegiate School, Prince Edward Auditorium: | R.S. Field-Dodgson: | 42 i 18 |
| Andy Collier: | Act 2: | 41 i 20 |
| Controlversation: | 43 i 25 | |
| Perfect Effect: | 43 i 26 | |
| The Strand 85 Spring Collection: | 42 i 10 | |
| Cologne: | 22 i 102, 103 | |
| Colour: | Colour Changing Spot: | 13 i 19; 13 iii 26 |
| Colour in the Theatre: | 4 i 2; 4 ii 11; 5 i
27; 5 ii 12; 5 iii 11; 6 i 14; 6 ii 8; 6 iii 8; 7 i 16; 18 iii 13 |
|
| Colour Mediums: | 4 i 21; 11 i 21; 12 ii 3; 13 i 7; 13 ii 12; 15 ii 22 | |
| Colour Muse: | 30 146 | |
| Colour Music: | 16 iii 23; 22 i 51, 57, 68, 69, 76 | |
| Dramatic Value of Colour: | 10 i 16 | |
| Filters: | 15 ii 22; 18 iii 13; 19 i 3; 20 i 4; 22 i 8, 23, 63, 64, 102 | |
| Lighting: | 22 i 27, 29, 46, 59, 60, 71, 75, 76 | |
| Marking Colour Mediums: | 13 iii 28 | |
| Mixing: | 22 i 27, 59, 71, 99 | |
| Primary Colours, Watt Wasters: | 12 iii 22 | |
| Typical Colour Problems: | 13 i 7 | |
| Colour Call: | Joe Davis: | 37 i 26 |
| Coloured Light in the Theatre: | Frederick Bentham: | 18 iii 13 |
| Colour Filter Development: | D.C. Martin: | 37 i 11 |
| Colour Music: | Percy Corry, L. Stokes-Roberts: | 16 iii 23 |
| Community Auditorium: | Percy Corry: | 24 iv 12 |
| Competition: | 22 i 64-66 | |
| Compromise: | W.E.E. Nicholas: | 30 63 |
| Compton Organ Co.: | 22 i 28, 58, 95, 106 | |
| Melvin Conder: Plotting LP in the new Her Majesty's Sydney: | 33 i 18 | |
| Conferences: | 22 i 33, 41, 42, 46, 98 | |
| Conferences and Meeting: | 8 ii 27; 18 iii 4; 18 iii 31; 19 i 15; 19 ii 5; 20 ii 14; 22 iii 21; 23 i 37; 23 iii 4: 24 iii 23; 24 iv 21; 25 i 3; 25 iii 3; 27 i 6; 27 ii 5; 28 63; 28 80; 28 107; 29 49 |
|
| Congratulations Honest Ed Mirvish: | 41 i 4 | |
| Construction of Hampstead Civic Theatre: | A.D. Gough: | 21 i 14 |
| Continental Tour, Stratford Co.: | 12 i 15 | |
| Contracting, electrical: | 22 i 14, 16, 17, 25, 53, 96 | |
| Control, Console (See Switchboard) | ||
| Control, Remote: | Console-Preset: | 22 i 102, 108 |
| Covent Garden: | 22 i 55, 56 | |
| Electronic: | 22 i 97, 98, 100, 101, 105, 107 | |
| Hydraulic: | 22 i 12, 13 | |
| Light Console: | 22 i 32, 57, 58, 77, 86, 87, 95, 96, 100, 105 | |
| Memory Action: | 22 i 58, 100, 106-108 | |
| Preset: | 22 i 98, 107, 108 | |
| Preset, Multi-: | 22 i 114 | |
| Punch Card: | 22 i 106, 107 | |
| Tracker Wire: | 22 i 11, 57, 100 | |
| Controlversation: | Andy Collier: | 43 i 25 |
| Copyright: | 5 i 20; 7 ii 26 | |
| Tony Corbett: |
From the Green to Site: | 33 ii 3 |
| Let Newton Be! and all was light: | 34 iii 7 | |
| Cordial Accommodation: | Fred Humphrey & Steve Futers: | 41 i 16 |
| Percy Corry, Introducing Mr: | 1 i 7 | |
| Percy
Corry: |
Academic Theatre: | 29 95 |
| After Puddle Dock - Rosehill: | 17 iii 6 | |
| Amateur Stage Management: | 18 iii 17 | |
| America in London: | 30 48 | |
| Around the World in Sixty-Three: | 22 iii 32; 22 iv 29 | |
| Billingham Forum: | 25 iv 18 | |
| Bolton Octagon: | 26 i 4 | |
| Chester's Gateway: | 27 i 32 | |
| Civic Theatres and the Amateurs: | 23 ii 35 | |
| Civic Theatres Conference: | 23 i 37 | |
| Community Auditorium: | 24 iv 12 | |
| Fabulous Lady: | 17 ii 29 | |
| Harrogate's Old New Theatre: | 30 129 | |
| Ireland's National Theatre: | 24 iii 6 | |
| Is the Jargon Really Necessary: | 27 iv 31 | |
| Looking Backwards: | 37 i 21 | |
| Methuselah Muses: | 31 95 | |
| Middlesborough Little Theatre: | 16 i 13 | |
| Montreal - EXPOsure 67: | 25 iii 3 | |
| Music Hall 1968: | 26 iv 20 | |
| New Theatres for Old: | 20 ii 24 | |
| New Village Theatre: | 18 i 3 | |
| Non-Flying Dutchman A: | 30 97 | |
| Pitlochry Festival theatre: | 23 iv 6 | |
| Planning for Dramatic Education: | 24 i 29; 24 iii 39 | |
| Profile of a Pioneer: | 15 iii 7 | |
| Richmond Preserv'd: | 20 ii 8 | |
| Stables Theatre Club, The: | 27 ii 15 | |
| Stages in America: | 19 ii 18 | |
| Swinton Public Library and Hall: | 28 88 | |
| Theatres Must be Theatrical: | 33 iii 10 | |
| Theatre Technicians Associate: | 19 i 15 | |
| Tyrone Guthrie Theatre, Minneapolis: | 21 iii 32 | |
| Where the Girls are so Pretty: | 31 159 | |
| Why: | 17 i 20 | |
| Wythenshawe's Forum: | 30 9 | |
| York Mystery Plays, 1957: | 15 ii 20 | |
| Percy Corry, L. Stokes-Roberts: Colour Music: | 16 i 23 | |
| Costume: | 8 i 16 | |
| Costumes at Stratford: | David Perry: | 31 170 |
| John Counsell: New Lamps for Old: | 34 i 18 | |
| Craigie College Theatre, Ayr: | Martin Carr: | 27 iii 14 |
| Hugh Creighton MA.: Hillingdon, Reading and Assisted Resonance: | 36 i 14 | |
| Crescent Theatre Birmingham: | Frederick Bentham: | 22 iv 6 |
| W.G. Crisp: Lighting Circuit: | 38 ii 14 | |
| Criticism: | 6 ii 5; 14 ii 15 | |
| Peter Crossley: Regent Melbourne Hotel Grand Ballroom: | 40 i 34 | |
| Cueing: | 6 iii 14, 7 i 10; 7 iii 31 |
|
| Curtains for Tableaus: | 35 iii 2 | |
| Cutting Your Shape to Suite Your Show: | Barbara Berrington: | 29 125 |
| Cyclorama: | 10 i 19, 13 ii 13, 22 i 10, 24, 25, 38, 39, 46, 60, 65, 84, 90, 92 | |
| Czechoslovakia: | 22 iii 4; 30 143; 31 109; 34 i 7,16 | |
| D | ||
| DAD..teach me something about lighting: | Alanna Maclean: | 42 i 5 |
| Daguerre et la Lumière: | 30 156 | |
| Susan Dandridge: San Diego on Thames: | 39 i 4 | |
| Ray Da Silva: Lighting Design for Puppet Theatre: | 32 ii 3 | |
| Das Ist Alles Möglich!: | Frederick Bentham: | 30 90 |
| Elidir Davies: |
Lampeter College Theatre: | 22 iv 20 |
| Limoges Theatre: | 24 i 19 | |
| Maison de la Culture de Grenoble: | 27 iii 8 | |
| John Davies: |
Lighting at a CBC Local Station: | 39 i 17 |
| Strand Sound Talks Back: | 37 i 22 | |
| Joe Davis: |
Colour Call: | 37 i 26 |
| Lighting Marlene Dietrich: | 34 ii 8 | |
| Tin Mug: | 21 iii 10 | |
| Frank Dawe: |
Lighting on the Move: | 32 ii 8 |
| Stroboscopes for Illusion Lighting: | 33 i 20 | |
| Day of the Sunspot, The: | Robert Longthorne: | 31 97 |
| DDM - A Revolution in Lighting Control: David Baker: | 29 139 | |
| Tom Deakin: Resurrection of a Long Dead Television Studio: | 38 i 26 | |
| Basil Dean: Recollections and Reflections: | 20 iii 5 | |
| G.A. Deaton: Hundred Years of Shakespeare, A: | 25 ii 3 | |
| L.J. De Cuir: New in New Orleans: | 31 162 | |
| Denmark: | 16 iii 19 | |
| Derngate Civic Centre: | J. Whitaker: | 41 i 18 |
| Design: | 7 ii 8;
13 i 4; 13 ii 19; 13 iii 22; 18 ii 7; 22 ii 20; 22 iii 6; 23 ii 21; 23 iii 14; 23 iv 28; 24 i 4; 24 iv 5; 25 iii 14; 26 ii 15; 27 i 29 |
|
| Design and Development, The (Minim etc,): Mike Cawte: | 38 ii 7 | |
| Design by Svoboda: Frederick Bentham: | 25 iii 14 | |
| Design Exhibition, SBTD: | 35 iii 12 | |
| Design for Lighting: | 28 77 | |
| Design for Lighting - correspondence: | 29 35 | |
| Design for the 80's: | Philip Rose: | 36 ii 23 |
| Designing a Theatre: | Frederick Bentham: | 28 67 |
| Designing Oliver: | Sean Kenny: | 18 ii 7 |
| Herbert Marshall & Leon De Syllas: | Project for Centre 42: | 22 iii 16 |
| Did Nothing in particular, and did it very well: | 27 ii 5 | |
| Digbys of Gerrard Street: | 22 i 2, 24, 52, 64, 87 | |
| Dillington House Theatre: | Harvey Sheppard: | 18 iii 8 |
| Dimmers: |
Automatic: | 22 i 31-33, 42, 84 |
| Cecil Plate: | 22 i 31, 32, 42, 66 | |
| Clutch operation: | 22 i 31, 32, 55, 100 | |
| Colour Mixing: | 22 i 27, 33, 59, 70-72 | |
| Controlled rectifier: | 22 i 55, 100, 103, 116 | |
| Dutch: | 22 i 12 | |
| Liquid: | 22 i 11, 12, 25 | |
| Resistance: | 22 i 11, 12, 42, 116 | |
| Saturable reactor: | 22 i 103, 104, 116 | |
| Servo-operated: | 22 i 100, 101, 108 | |
| Slider: | 22 i 44 | |
| Thyratron: | 22 i 98, 100, 101 | |
| Transformer: | 22 i 55, 100, 116 | |
| Richard Dines: Theatre of the Universe: | 32 ii 18 | |
| Discipline: | 27 iii 2 | |
| Cliff Dix: | How Far That Little Candle..: | 31 60 |
| Light Entertainment: | 35 iii 8 | |
| Do Even the Greeks have a Word for it?: Richard Southern: | 17 iii 17 | |
| Dotting the Eyes: Graham Walne: | 37 i 20 | |
| Mike Doyle: Things Seem Better than They Are: | 29 85 | |
| Drama Advisor: | 7 iii 5 | |
| Drama Festivals: | 29 8; 29 85 | |
| Drapes, lighting of: | 22 i 29, 49, 50, 59 | |
| Dual Role for the Safety Curtain: | 28 143 | |
| Dublin: | 22 i 1, 44, 73, 74 | |
| Duet: Philip Rose: | 36 ii 14 | |
| Duet at a Spa (Buxton): | 38 ii 29 | |
| Dundee Rep, The: Kathy White: | 39 i 4 | |
| Durban Tattoo, The: Ron Knight: | 37 i 22 | |
| Michael
J. Dyer: |
First Complete New
Range, The (Minim, Prelude, Harmony): |
38 ii 4 |
| Galaxy: | 37 i 13 | |
| E | ||
| Ealing: | 22 i 81 | |
| Early Days of Strand in Australia, The: | Denis Irving: | 42 i 26 |
| Stanley Earnshaw: Leonard Applebee - An Appreciation: | 22 iii 5 | |
| Earthing: | 8 iii 11 | |
| Anthony Easterbrook: | Twenty Years on (ABTT): | 37 i 24 |
| Matcham North - His Majesty's Theatre, Aberdeen: | 40 i 6 | |
| K.A. Eaton, Joy Steele: Theatre in the Round: 1 | 8 ii 19 | |
| Edinburgh International Festival: | 33 i 12 | |
| Edinburgh Traverse: | 33 iii 5 | |
| The Editor: Per Ardua Ad Astra: | 31 10 | |
| Educational Television Studio Requirements: | P.R. Berkeley: | 25 i 24 |
| Edward II and Richard II: | John Faulkner: | 28 4 |
| Philip
L. Edwards: |
Hire Today, Gone Tomorrow: | 38 ii 27 |
| Object all Sublime: |
26 ii 9 | |
| Of Switchboards and Switchboard Operators: | 37 i 19 | |
| Effects: | Optical: | 22 i 4, 5, 18, 19, 22, 23, 29, 38, 39, 49, 50, 69, 83, 84, 91, 92, 94 |
| Samoiloff: | 22 i 8-10, 50, 109 | |
| Sound: | 22 i 50, 51, 104 | |
| Ultra Violet: | 22 i 4, 38, 50, 90, 91, 92 | |
| Electrifying Lighting at the Lane: | Frederick Bentham: | 35 ii 9 |
| Elizabeth of Stratford: | 30 82 | |
| Michael Elliott: On Not Building for Posterity: | 31 41 | |
| Alfred
Emmet: |
Case for an Adaptable Theatre: | 15 iii 10 |
| Two Years at Ealing: |
25 i 20 | |
| Ends and Means: |
28 39 | |
| English and American Theatres Compared: | 16 ii 21 | |
| John English: | Cannon Hill Theatre: | 19 iii 26 |
| Studio Theatre - Cannon Hill: | 23 iii 25 | |
| English Playhouse, The: | Iain Mackintosh: | 31 167 |
| ENSA: | 22 i 95 | |
| Ensemble Theatres of Berlin: | 35 ii 16 | |
| Entente Cordiale: | 31 81 | |
| Entertainment '81: | John Offord: | 39 i 28 |
| Environ 2- Strand's new concept in dimming: | 40 i 31 | |
| Environ for Animation: | Nigel Pounder: | 41 i 24 |
| Eton College, New Hall: | Francis Reid: | 27 i 14 |
| Ever Had a Thrill in Leeds?: | 39 ii 10 | |
| Everybody Must Do Something: | 9 ii 12 | |
| Evesham shows the Way: | Bentley Miller: | 40 i 32 |
| Exeter in the Round: | Michael Warre: | 27 ii 37 |
| Exhibitions: |
Battersea Park: | 22 i 93, 94 |
| Britain Can Make It: | 22 i 93 | |
| Brussels (1960): | 22 i 94, 95 | |
| Empire, Glasgow: | 22 i 89-92 | |
| Empire, Wembley: | 22 i 22 -25, 90 | |
| Faraday: | 22 i 25, 26 | |
| Fashion Fair: | 22 i 7 | |
| Festival of Britain: | 22 i 93 | |
| Ford: | 22 i 27 | |
| Ideal Home: | 22 i 94, 95 | |
| Motor Show: | 22 i 22 | |
| New York World Fair (1939): | 22 i 89, 90 | |
| Paris (1937): | 22 i 62, 90 | |
| Radio: | 22 i 103 | |
| Exit the Boxes: | Sean McCarthy: | 25 iii 7 |
| Exodus: | 30 81 | |
| Expanding Hire or Going West: | 28 79; 28 126 | |
| Export: | 22 i 77-80, 89, 94-96, 98, 101-103, 112-114 | |
| Eye to
Eye Exhibition - National Portrait Gallery Edinburgh: |
Peter Julien: | 37 i 28 |
| F | ||
| Fabulous Lady: | Percy Corry: | 17 ii 29 |
| Face Lift to the Natal Playhouse: | Gordon Robson Small: | 41 i 26 |
| Faders v Keyboards, Lighting Control in Germany: | Heinz J. Fritz: | 36 iii 16 |
| Fairyland Strip: | 22 i 21, 88, 93 | |
| Famous Strand Jobs
of the Past, or I Was There: |
Frederick Bentham: | 38 i 20; 39 i 20; 41 i 21; 43 i 20 |
| Farewell Old Friend: | Gail Hardman: | 38 ii 26 |
| John Faulkner: Edward II and Richard II: | 28 4 | |
| Trevor Faulkner: Lighting on a Shoestring: | 28 98 | |
| E.M. Feher: Light-Space-Architecture: | 35 i 7 | |
| Festivals: | 7 iii 7; 8 i 5; 8 ii 26 | |
| R.S. Field-Dodgson: Collegiate School, Prince Edward Auditorium: | 42 i 18 | |
| H.P. Filion and T.C. Nutt: Montreal Studio 51: | 39 ii 28 | |
| Films: | Covered Wagon: | 22 i 18 |
| Down to the Sea in Ships: | 22 i 19 | |
| Flames of Passion: | 22 i 19 | |
| Muggsy's First Sweetheart: | 22 i 29 | |
| Sea Hawk: | 22 i 25 | |
| Ten Commandments: | 22 i 29 | |
| Finance: | 22 i 15, 16, 69, 70 | |
| Finest Theatre in Europe: | 23 iii 2 | |
| Finland: | 26 iv 4 | |
| Charles H. Firmin: An American View of the West End: | 33 ii 9 | |
| First Complete New Range, The (Minim, Prelude, Harmony): | Michael J. Dyer: | 38 ii 4 |
| First Ten Spots, The: Francis Reid: | 33 i 20 | |
| Norman Fitkin: Between Windward and Lee: | 33 iii 22 | |
| Fittings: | 12 ii 4; 10 i 34 | |
| Fitups: | 22 i 17, 25, 44 | |
| Fitups of Manchester: | 22 i 72, 83, 85 | |
| Peter Fitzwater: Hungarian Rhapsody: | 31 17 | |
| Five extra bits in the Bush: | 26 iii 3 | |
| Five Hundred or Fifteen Hundred: | Frederick Bentham: | 25 iv 6 |
| Flame Without Fire: | 32 ii 9 | |
| Flight to the Festival, A: | 37 i 4 | |
| Floodlights (see under Lanterns) | ||
| Floral Street: | 22 i 14, 16, 21, 30, 46-53, 66-68, 86, 115 | |
| Fluorescence: | 7 ii 11; 8 i 22; 10 iii 23; 11 i 10 |
|
| Fluorescent
Dimmers make Lighting More Versatile: |
Edwin Lockwood: | 41 i 10 |
| Flying
Equipment in the Sydney Entertainment Centre: |
Denis Irving: | 41 i 6 |
| Focusing: Francis Reid: | 29 80 | |
| Fond Memory Brings the Light: | Francis Reid: | 33 i 8 |
| Footlights: | 4 i 6; 4 ii 15; 22 i 12, 25, 39, 59, 60, 115 |
|
| Ford's Theatre, Washington D.C.: | Philip Rose: | 28 109 |
| Forget the Snorting Steam and Piston Stroke: | Barbara Jameson: | 27 ii 9 |
| For the First Time on Any Stage: | Philip Rose: | 35 i 14 |
| For the Want of a Nail..: | David Martin: | 39 i 24 |
| Forty Years Saying 'Ssh': | Osmund Willson: | 15 ii 23 |
| Forum: J Blom: | 22 iv 37 | |
| Fountains: | 22 i 89, 90, 92, 93, 94 | |
| Four into Three Will Go: | Stuart R. Palmer: | 43 i 14 |
| France: | 14 iii 5; 24 i 19; 27 iii 8; 33 iii 24; 34 i 12,23; 34 ii 22; 34 iii 1; 36 i 12,13; 36 ii 23 |
|
| Francis Reid Goes East and Under: | Francis Reid: | 42 i 12 |
| Frank Matcham: Frederick Bentham: | 40 i 10 | |
| Fresnel Techniques: | 16 i 18 | |
| Heinz
J. Fritz: |
Milestones: | 38 i 14 |
| Faders v Keyboards,
Lighting Control in Germany: |
36 iii 16 | |
| Lighting Control in Germany: | 36 iii 16 | |
| From Bohemia's Woods and Fields: | Frederick Bentham: | 31 109 |
| From Gongman to Advance Australia: | Bruce Amm: | 42 i 24 |
| From the Green to Site: | Tony Corbett: | 33 ii 3 |
| From the Shadows: | 36 i 2 | |
| Rudolph Fuchs: New Lighting Equipment at the Josefstadt Theatre-Vienna: | 40 i 18 | |
| Theodore Fuchs: Indirect Lighting: | 21 iii 31 | |
| Furse, W.J.: | 22 i 66, 71 | |
| Steve Futers & Fred Humphrey: Cordial Accommodation: | 41 i 16 | |
| Steve
Futers: |
Self Climbing Hoists: | 38 i 25 |
| Portable Stage for the Royal Ballet, A: | 37 i 7 | |
| Suspense Story: | 39 ii 29 | |
| G | ||
| Gaiety Theatre, Douglas: | 39 i 18 | |
| Galaxy: Michael J. Dyer: | 37 i 13 | |
| Galaxy - A Factory Story: | 38 i 9 | |
| Galaxy at its Finest: | 41 i 12 | |
| Gardner Centre for the Arts The: | Norman Marshall: | 28 58 |
| Garrick Yard: | 22 i 3-7, 19 | |
| H.F. Garten: German Theatre - A Reply: | 16 iii 7 | |
| Gate 69: | 27 iv 4 | |
| Gaumont British: | 22 i 60 | |
| Gauzes: | 8 i 10; 15 i 4; 16 ii 3 |
|
| G.E.C.: | 22 i 2, 33, 46, 64, 65, 89 | |
| Gel Choice Made Easy: | Christopher Powell: | 34 1 22 |
| Gem of a Job, A: Denis Irving: | 35 iii 9 | |
| Gemütlichkeit in Karlsruhe: | 34 iii 24 | |
| Peter J. George: Jewel Box on Long Island, A: | 42 i 14 | |
| Georgian Playhouse, A: | Geoffrey Hodson: | 24 iii 34 |
| German practice: | 22 i 10, 55, 57, 65, 100 | |
| German Repertory Theatre System: | Helmut Grosser: | 34 i 5; 34 ii 10 |
| German Theatre - A Reply: | H.F. Garten: | 16 iii 7 |
| Germany: | 16 ii 7; 16 iii 7, 18 iii 31; 23 iv 11; 28 80; 30 46; 30 90; 31 138; 33 i 8; 34 i 5; 34 ii 10; 34 iii 24; 35 i 20; 35 ii 16; 35 iii 7; 36 iii 16 |
|
| Get it in, Get it up, Get it on: | Mervyn Gould: | 33 ii 19 |
| Getting Organised: | Francis Reid: | 32 ii 5 |
| Vic Gibbs: RTM Vehicle: | 38 ii 30 | |
| Giselle Blues: | 28 108 | |
| Giselle Blues - correspondence: | 29 35 | |
| Give Me a Grandmaster and Battens Any Day: | Mervyn Gould: | 35 iii 22 |
| Glistering Attack: | 30 | |
| Going Deutsch: | Tim Masters: | 37 i 12 |
| Going to Church: | Graham Walne: | 39 ii 21 |
| Golden Legend at Gloucester: | Charles Brewer: | 16 iii 9 |
| Goldsmith's College Theatre: | Lawrence Hayes: | 22 ii 27 |
| Good for All or Good for Nothing?: | John Wyckham: | 40 1 24 |
| Good Friday Music: | 27 ii 2 | |
| Good Friday Music correspondence: | 27 iii 44 | |
| Götterdämmerung, The Ring at Covent Garden: 21 iii 12 | ||
| A.D. Gough: Construction of Hampstead Civic Theatre:21 i 14 | ||
| Mervyn Gould: | Get it in, Get it up, Get it on: | 33 ii 19 |
| Give Me a Grandmaster and Battens Any Day: | 35 iii 22 | |
| Music on the Band Rail First: | 36 ii 7 | |
| When I Consider How My Light is Spent...: | 29 98 | |
| G.P.O.: | 22 i 90-92 | |
| Grand Théatre de Quebec Le: | Victor Prus: | 30 55 |
| Grand Tour of Goldsmiths Hall: | Michael Outhwaite: | 31 15 |
| Gravesend Civic Theatre: | 27 ii 36 | |
| Keith Green: Staging at the Aldwych: | 19 i 4 | |
| Richard Greenough: Television Design: | 23 iv 28 | |
| A.M. Griffin: Mirror, Mirror through the Wall: | 30 76 | |
| Helmut Grosser: German Repertory Theatre System: | 34 i 5; 34 ii 10 | |
| Grouse: | 8 i 19; 8 ii 15; 8 iii 25 | |
| Guilty? We will let You Know: | Bob Anderson: | 39 ii 26 |
| Gulbenkian Centre University of Hull: | Peter Moro: | 25 iv 28 |
| Gunnersbury: | 22 i 15, 46, 54, 55, 81, 96, 115 | |
| Gunnersbury 1932 - 1971: | 29 113 | |
| H | ||
| Hanns Joachim Haas: New Control Systems for Würtemburger Staatstheater: | 39 ii 14 | |
| Geoffrey Haley: |
Meanwhile, over at Liverpool ...: | 30 32 |
| Romeo and Juliet at East 15: | 29 63 | |
| Half a Mile From Shakespeare: | Ron Horsley: | 43 i 7 |
| Hall & Dixon Ltd.: | 22 i 49, 50, 64 | |
| Hallelujah Hollywood: | Michael Knight: | 33 ii 11 |
| Halls etc: |
Blackpool, Tower: | 22 i 73 |
| Caracas, Aula Magna: | 22 i 96 | |
| Earls Court: | 22 i 95 | |
| Empire Pool: | 22 i 23 | |
| Empress: | 22 i 23, 97 | |
| Grosvenor House Ice Rink: | 22 i 46 | |
| Holland Park Rink: | 22 i 6, 7 | |
| Olympia: | 22 i 22, 27, 45 | |
| Queens: | 22 i 27 | |
| Royal Albert: | 22 i 25-27, 67 | |
| Royal Festival: | 22 i 42, 63, 93 | |
| Streatham, Locarno: | 22 i 27 | |
| Hall Stage Equipment Ltd.: | 22 i 96, 102 | |
| Hamburg: | 22 i 100, 102, 103 | |
| Roderick Ham: Novel Adaptability in the City: | 26 iii 5 | |
| Handing It Out: | 30 40 | |
| P.L. Hanley: Two to Bear My Soul Away Gemini: | 43 i 30 | |
| Hannah Playhouse, The: | 32 ii 21 | |
| Gail Hardman: |
Farewell Old Friend: | 38 ii 26 |
| M24 at the Mitchell: | 41 i 8 | |
| Mini-2 Rules - OK!: | 42 i 6 | |
| Triumph Acclaim - A Theatrical Triumph!: | 39 i 26 | |
| Harmony Observed: | Joe Thornley: | 39 ii 16 |
| Amanda Harral: Lighting Workshop - 33-35 Floral Street, Covent Garden: | 39 ii 5 | |
| Richard M. Harris: | Ali Baba's Cave London W12: | 38 i 13 |
| Talking Shop: | 36 iii 24 | |
| Harrogate's Old New Theatre: | Percy Corry: | 30 129 |
| Colin Hassell: Adelaide Festival Theatre: | 31 124 | |
| Lawrence Hayes: Goldsmith's College Theatre: | 22 ii 27 | |
| Hearing the Light: | 34 iii 2 | |
| Helsinki City Theatre: Peter Moro: | 26 iv 4 | |
| John Hersee: Clifton College: | 25 ii 10 | |
| H & G Cinemas: | 22 i 60 | |
| Hill Cumorah Pageant: Ron Olson: | 34 i 8 | |
| Hillingdon,
Reading and Assisted Resonance: Hugh Creighton MA.: |
36 i 14 | |
| Ross Hills: Maddermarket Theatre, Norwich: | 19 iii 17 | |
| Hire Department: 22 i 4, 36, 46, 47, 85, 86, 96, 114 | ||
| Hire Price List 1937: 1 i 8 | ||
| Hire Today, Gone Tomorrow: Philip L. Edwards: 38 ii 27 | ||
| History,
Research and Reminiscence: |
1919 - 1968: | 26 ii 4 |
| Adieu to Snuffing Candles: | 15 iii 18; 16 i 28 | |
| And all our yesterdays have lighted the way... : | 31 82 | |
| A Perfect Secretary for Strand Electric: | 22 iv 4 | |
| Back to 1928: 30 78 | ||
| Back to Methuselah: 23 iv 4 | ||
| Batten, The: 4 ii 24; 5 i 28 | ||
| Cambridge Festival Theatre: 20 i 7 | ||
| Carbon Arc, Early Development of: 13 i 24 | ||
| Coda: 39 ii 25 | ||
| Colour, Garrick and: 4 ii 25 | ||
| Colour Medium: 7 ii 18 | ||
| Daguerre et la Lumière: 30 156 | ||
| Decent Behaviour: 14 i 5 | ||
| Dimming, Date of: 13 iii 27 | ||
| Drury Lane: 12 iii 11 | ||
| Early Nights: 18 i 10 | ||
| Effects: 12 ii 15 | ||
| Electric Light: | 8 i 25; 15 ii 16 | |
| Exit the Boxes: | 25 iii 7 | |
| Famous Strand Jobs of the Past, or I Was There: | 38 i 20; 39 i 20; 41 i 21 | |
| Fifty Years of Scene Painting: | 12 iii 5 | |
| Gas and Lime Lighting Plot: | 20 i 18 | |
| Gas Batten, Details of an Old: | 13 ii 17 | |
| Gas, Episode with: | 15 i 31 | |
| Gas (see Sunburner): | 14 iii 23 | |
| Gas Stage Lighting: 5 ii 16; 7 iii 18; 13 ii 18 | ||
| How Did They Do It: 23 ii 15 | ||
| How Far That Little Candle..: 31 60 | ||
| Indirect Lighting: 20 iii 5; 21 ii 31; 21 iii 39 | ||
| Inigo Jones - Theatre Architect: 31 99 | ||
| Kinetics?: 28 113 | ||
| Last Benevolent Despot, The: 31 183 | ||
| Lighted Entirely by Electricity: 15 ii 16 | ||
| Lighting at the Savoy Theatre (1892): 20 ii 29 | ||
| Lighting for the Tableaux Vivants: 31 189 | ||
| Liverpool Flashback: 30 35 | ||
| Looking Backwards: 37 i 21 | ||
| Maddermarket Theatre, Norwich: 19 iii 17 | ||
| Memorabilia: 36 iii 7 | ||
| Methuselah Muses: 31 95 | ||
| Mr Brown's Tea: 22 iv 12 | ||
| Music on the Band Rail First: 36 ii 7 | ||
| Old Vic: 8 iii 22 | ||
| Price of Seats: 11 i 23 | ||
| Private Theatre: 11 i 24 | ||
| Professor Pepper's Phantasmagoria: 29 104 | ||
| Profile of a Pioneer: 15 iii 7 | ||
| Recollections and Reflections: 20 iii 5 | ||
| Richard Southern Collections: 5 iii 21 | ||
| Richmond Preserv'd: 20 ii 8 | ||
| Scenes in the Theatre: 29 89 | ||
| Stage Director Looks Back: 11 ii 10 | ||
| Stage Lighting in the 19th Century: 26 iii 17 | ||
| Stage Lighting Remote Control System of c.1895: 31 188 | ||
| Strand Research and Development: 8 ii 16 | ||
| Strands of Incandescent Carbon: | 36 iii 22 | |
| Stratford Revisited: | 30 14; 30 82 | |
| Street Lighting in Southwark: | 28 79 | |
| Suburban Picture Frames: | 24 iv 15 | |
| Sunburner: | 14 iii 23 | |
| Tale of Three Switchboards A: | 30 23 | |
| Theatre History and Architecture: | 29 60; 29 150 | |
| Theatre Royal, Back Drawing Room: | 28 62 | |
| The Third Act: | 31 136 | |
| Tin Mug: | 21 iii 10 | |
| Twenty Years on (ABTT): | 37 i 24 | |
| Working Conditions: | 5 iii 8; 6 i 18 | |
| Geoffrey Hodson: | Georgian Playhouse, A: | 24 iii 34 |
| Hoisting the Value at Telestage: | 40 i 29 | |
| Holiday Inn - Glasgow: | Mike Smyth: | 39 ii 20 |
| Holland: | 29 12 | |
| Catherine Hollingworth: | Children's Theatre in Aberdeen: | 18 i 6 |
| Holophane Ltd.: | 22 i 46, 59, 60, 71, 72, 105 | |
| Hon Publicity: | Maurice Jackson: | 16 i 21 |
| Alan Horne: | Society of Television Lighting Directors: | 38 i 24 |
| Horseshoe Intimacy in Inverness: | Francis Reid: | 34 iii 3 |
| Ron Horsley: | Half a Mile From Shakespeare: | 43 i 7 |
| Hotels: | 22 i 14, 25 | |
| T.E. Howard: | Stage Lighting Remote Control System of c.1895: | 31 188 |
| How Did They Do It: | Frederick Bentham: | 23 ii 15 |
| How Far That Little Candle..: | Cliff Dix: | 31 60 |
| How I Lit Part of the Show: | Joy Bryant: | 43 i 12 |
| How Large ? Can it be too Big: | 23 iv 2 | |
| How Many Seats: | 23 i 3 | |
| How the New Lighting Control for the Royal Opera was Designed: | Frederick Bentham: | 22 iii 6 |
| How they Saved the Maj.: | Tony Youlden: | 38 ii 18 |
| How to Pan Wagner: | 37 i 10 | |
| How to plan that theatre: | 29 78 | |
| How We Lit Godspell: | Catherine Simpson: | 43 i 10 |
| Herbert Hughes: | A Lighting Course at Hanley: | 38 i 5 |
Fred Humphrey: |
Sunrise Studios - Strand's part in Breakfast TV: | 40 i 16 |
| Fred Humphrey & Steve Futers: | Cordial Accommodation: | 41 i 16 |
| L.F. Humphrey: | Lanterns to Luxor: | 39 ii 18 |
| Hundred Years of Shakespeare, A: | G.A. Deaton: | 25 ii 3 |
| Hungarian Rhapsody: | Peter Fitzwater: | 31 17 |
| Hungary: | 19 i 28; | 31 17 |
| J.A. Hutchinson: | Ultimate Vanishing Trick The: | 43 i 18 |
| I | ||
| ICELAND: | 22 ii 20 | |
| Ice Shows: | 22 i 23, 45 | |
| Ideal Home as Theatre: | Frederick Bentham: | 26 ii 27 |
| Ideals and Realism in Lighting Control: | Frederick Bentham: | 24 i 13; 24 iii 18 |
| I.E.E.: | 22 i 110 | |
| I.E.S.: | 22 i 34, 110 | |
| Illuminating Oliver: | John Wyckham: | 18 ii 12 |
| Imperial Lighting Ltd.: | 22 i 87-89, 93, 114 | |
| In an English Country Garden: | Francis Reid: | 28 121 |
| India: | 23 iv 22 | |
| Indirect Lighting: | Theodore Fuchs: | 21 iii 31 |
| Inigo Jones - Theatre Architect: | Iain Mackintosh: | 31 99 |
| Installation design: | 22 i 36 | |
| Instant Colour: | Michael Wolfe and John Schwiller: | 35 ii 18 |
| Instant Light for the Drama room: | Donald Walker: | 34 i 3 |
| Instrumentation: | 22 i 31 | |
| Insurance: | 10 iii 16 | |
| Insurance or How to Muck it up: | 24 iii 2 | |
| Intellect or Illusion: | 32 ii 2 | |
| International Agreement in Prague: | 23 iii 4 | |
| In the Eye of the Beholder: | Robert Bryan: | 33 i 3 |
| Intimate Stage: | 7 iii 26 | |
| Into Something Rich and Strange: | 26 ii 20 | |
| Introducing Mr P. Corry: 1 i 7 | ||
| Ireland's National Theatre: | Percy Corry: | 24 iii 6 |
| Ireland's Scottish Triumph: | John Wyckham: | 38 i 16 |
| Irish Republic: | 24 iii 6; 24 iv 30; 25 iii 12; 29 45; 31 159; 33 i 24; 35 iii 24 |
|
| Denis Irving: | Aurora Australis 1: Aurora Australis II: Canberra Theatre Centre: Early Days of Strand in Australia, The: Flying Equipment in the Sydney Entertainment Centre: Gem of a Job, A: Something old something new..: Southern Cross: Two Unconventional Theatres in Australia: University of New South Wales: Victorian Arts Centre, Melbourne, The: Voice from Down Under: Is Bigger Better: |
27 iv 33 28 43 23 iii 19 42 i 26 41 i 6 35 iii 9 31 125 30 137 20 i 26 18 ii 28 37 i 6 17 i 24 38 i 5 |
| Is the Jargon Really Necessary: | Percy Corry: | 27 iv 31 |
| It All began with the Torch: | Derrick Ross: | 39 ii 12 |
| Italy: | 34 ii 12; 35 ii 20, 23 |
|
| It Doesn't Work: | 29 40 | |
| It's a Colourful World: | 37 i 18 | |
| George C. Izenour: Theatre Design: | 36 iii 18 | |
| J | ||
| Jack and Jill went Down the Strand to Patch a Plug and Socket | Francis Reid | 31 130 |
| Maurice Jackson | Hon Publicity | 16 i 21 |
| Barbara Jameson | Forget the Snorting Steam and Piston Stroke | 27 ii 9 |
| Japan | 31 85 | |
| Peter Jay , Christopher Stevens | Chichester Festival Theatre | 20 i 20 |
| Jeannetta Cochrane Theatre | Michael Trangmar | 23 ii 21 |
| Jersey Stage, The | Francis Reid | 35 iii 17 |
| Jewel Box on Long Island, A | Peter J. George | 42 i 14 |
| Disley Jones | Adaptable Stages and Inflexible Minds An Approach to the Design of Hamlet Anyone for Gimmicks |
19 ii 5 22 ii 20 24 iv 5 |
| Alex de Jonge | Swiss Spectacular Tecknik, Tecknik über alles |
36 i 4 36 iii 18 |
| Eric Jordan | Last Benevolent Despot, The -The end of the Longest Run | 31 183 |
| Stephen Joseph | Leeds Grammar School Lighting for Theatre in the Round Notes on School Theatres Stage Lighting for Theatre in the Round Theatre in the Round |
23 iii 33 22 iii 25 22 iv 25 22 iii 25 15 ii 8 |
| Alan Jowett | Palace Revolution Tabs on Tabs |
38 i 4 38 ii 23 |
| Peter Julien | Eye to Eye Exhibition - National Portrait Gallery Edinburgh | 37 i 28 |
| K | ||
| L | ||