Ebook Ming Cho Lee : A Life in Design by Arnold Aronson in DOC, EPUB, MOBI
9781559364614 English 1559364610 "A gorgeous volume [that] celebrates the legacy of Lee." - Time Out New York "Whether working in theater, opera or dance, Ming Cho Lee has made an incalculable contribution to the performing arts in America. This elegant coffee table book, written by Arnold Aronson, pays tribute in prose and photographs to his singular career." - Los Angeles Times "A comprehensive, compassionate and intelligent book... A book of major importance, a must-read for all theatre folk, indeed for anyone drawn to the mysteries of making art." Theatre Design & Technology Ming Cho Lee is not only one of the most important American designers of the twentieth century, but one of the most significant influences on American theatre. As a designer, he drew upon his training in Chinese watercolor, the aesthetics of his mentors, Jo Mielziner and Boris Aronson, and the post-war developments in German design to develop a new approach to stage design that radically altered American scenography. He broke new ground, combined existing motifs in startling new ways and continued to explore new ideas throughout his entire career. Lee introduced a sculptural style with soaring verticality that had been largely unknown to American stages. The painterly image was replaced with a decidedly modern and industrial scenic vocabulary that emphasized stage-as-stage. Lee has designed more than 300 productions of theatre, opera and dance, beginning with his first student work, The Silver Whistle at Occidental College in 1952, through his last productions in 2005. Unlike his predecessors, Lee did not make his mark on Broadway. Rather, it was achieved through some forty productions with the New York Shakespeare Festival, including eleven seasons at the Delacorte Theater from its opening in 1962; thirteen productions for New York City Opera, beginning with its inaugural production at Lincoln Center; five mainstage productions for the Metropolitan Opera, including Boris Godunov , which stayed in the repertoire for more than thirty years; twenty-one productions for Arena Stage in Washington D.C., and numerous other productions at regional theatres including the Mark Taper Forum in Los Angeles, Shakespeare Theatre Company in Washington, D.C., Long Wharf Theatre in New Haven, the Guthrie Theater in Minneapolis, and Actors Theatre of Louisvil≀ and ten pieces for the Joffrey Ballet, as well as productions for Martha Graham, Alvin Ailey, Elliot Feld, the Pacific Northwest Ballet and Cloud Gate Dance Theatre of Taiwan. Called "the dean of American set designers" by the New York Times , Lee had an impact that goes well beyond his own work. As a teacher, including more than forty years at the Yale School of Drama, Lee shaped generations of theatre artists--not only set designers, but costume and lighting designers, as well as directors, writers and dramaturgs. It is through these students that he helped transform not only American scenography but the larger aesthetics of American theatre. For this richly detailed exploration of Lee's work, theatre historian Arnold Aronson spent hundreds of hours interviewing Lee at his legendary New York apartment. The book is both a study of and a conversation with Ming Cho Lee. Each image selected for this book was chosen personally by Lee from thousands of photos, drawings, sketches, renderings and models, all carefully cataloged by Lee's wife and lifelong archivist, Betsy. Lee's work has been showcased at the New York Public Library and the Yale School of Architecture, and his honors include a Tony Award for best scenic design of a play, an Outer Critics Circle Award, three Drama Desk Awards, a special Tony Award for lifetime achievement and the National Medal of the Arts, the highest national award given in the arts, which is awarded by the president of the U.S., "A gorgeous volume that] celebrates the legacy of Lee." "Time Out New York" "Whether working in theater, opera or dance, Ming Cho Lee has made an incalculable contribution to the performing arts in America. This elegant coffee table book, written by Arnold Aronson, pays tribute in prose and photographs to his singular career." "Los Angeles Times" "A comprehensive, compassionate and intelligent book... A book of major importance, a must-read for all theatre folk, indeed for anyone drawn to the mysteries of making art." "Theatre Design & Technology" Ming Cho Lee is not only one of the most important American designers of the twentieth century, but one of the most significant influences on American theatre. As a designer, he drew upon his training in Chinese watercolor, the aesthetics of his mentors, Jo Mielziner and Boris Aronson, and the post-war developments in German design to develop a new approach to stage design that radically altered American scenography. He broke new ground, combined existing motifs in startling new ways and continued to explore new ideas throughout his entire career. Lee introduced a sculptural style with soaring verticality that had been largely unknown to American stages. The painterly image was replaced with a decidedly modern and industrial scenic vocabulary that emphasized stage-as-stage. Lee has designed more than 300 productions of theatre, opera and dance, beginning with his first student work, "The Silver Whistle" at Occidental College in 1952, through his last productions in 2005. Unlike his predecessors, Lee did not make his mark on Broadway. Rather, it was achieved through some forty productions with the New York Shakespeare Festival, including eleven seasons at the Delacorte Theater from its opening in 1962; thirteen productions for New York City Opera, beginning with its inaugural production at Lincoln Center; five mainstage productions for the Metropolitan Opera, including "Boris Godunov," which stayed in the repertoire for more than thirty years; twenty-one productions for Arena Stage in Washington D.C., and numerous other productions at regional theatres including the Mark Taper Forum in Los Angeles, Shakespeare Theatre Company in Washington, D.C., Long Wharf Theatre in New Haven, the Guthrie Theater in Minneapolis, and Actors Theatre of Louisville; and ten pieces for the Joffrey Ballet, as well as productions for Martha Graham, Alvin Ailey, Elliot Feld, the Pacific Northwest Ballet and Cloud Gate Dance Theatre of Taiwan. Called the dean of American set designers by the "New York Times," Lee had an impact that goes well beyond his own work. As a teacher, including more than forty years at the Yale School of Drama, Lee shaped generations of theatre artistsnot only set designers, but costume and lighting designers, as well as directors, writers and dramaturgs. It is through these students that he helped transform not only American scenography but the larger aesthetics of American theatre. For this richly detailed exploration of Lee s work, theatre historian Arnold Aronson spent hundreds of hours interviewing Lee at his legendary New York apartment. The book is both a study of and a conversation with Ming Cho Lee. Each image selected for this book was chosen personally by Lee from thousands of photos, drawings, sketches, renderings and models, all carefully cataloged by Lee s wife and lifelong archivist, Betsy. Lee s work has been showcased at the New York Public Library and the Yale School of Architecture, and his honors include a Tony Award for best scenic design of a play, an Outer Critics Circle Award, three Drama Desk Awards, a special Tony Award for lifetime achievement and the National Medal of the Arts, the highest national award given in the arts, which is awarded by the president of the U.S.", A sumptuously illustrated record of the career of one of America's leading theatre designers, Ming Cho Lee: A Life in Design is a fascinating insight into the creation of some of the landmark productions in American theatre history, and an essential book for anyone with an interest in theatrical set design. Ming Cho Lee is not only one of the most important American designers of the twentieth century, but also one of the most significant influences on American theatre. As a designer, he drew upon his training in Chinese watercolor, the aesthetics of his mentors, Jo Mielziner and Boris Aronson, and the post-war developments in German design to develop a new approach to stage design that radically altered American scenography. He broke new ground, combined existing motifs in startling new ways and continued to explore new ideas throughout his entire career. Lee introduced a sculptural style with soaring verticality that had been largely unknown to American stages. The painterly image was replaced with a decidedly modern and industrial scenic vocabulary that emphasized stage-as-stage. Lee has designed more than 300 productions of theatre, opera and dance. Unlike his predecessors, Lee did not make his mark on Broadway. Rather, it was achieved through some forty productions with the New York Shakespeare Festival, including eleven seasons at the Delacorte Theater from its opening in 1962; thirteen productions for New York City Opera, beginning with its inaugural production at Lincoln Center; five mainstage productions for the Metropolitan Opera, including Boris Godunov, which stayed in the repertoire for more than thirty years; twenty-one productions for Arena Stage in Washington D.C., and numerous other productions at regional theatres. Called "the dean of American set designers" by the New York Times, Lee has had an impact that goes well beyond his own work. As a teacher, including more than forty years at the Yale School of Drama, Lee has shaped generations of theatre artists - not only set designers, but costume and lighting designers, as well as directors, writers and dramaturgs. It is through these students that he has helped transform not only American scenography but the larger aesthetics of American theatre. Lee's work has been showcased at the New York Public Library and the Yale School of Architecture, and his honors include a Tony Award for best scenic design of a play, an Outer Critics Circle Award, three Drama Desk Awards, a special Tony Award for lifetime achievement and the National Medal of the Arts. For this richly detailed exploration of Lee's work, theatre historian Arnold Aronson spent hundreds of hours interviewing Lee at his legendary New York apartment. The book is both a study of and a conversation with Ming Cho Lee. Each image selected for this book was chosen personally by Lee from thousands of photos, drawings, sketches, renderings and models, all carefully catalogued by Lee's wife and lifelong archivist, Betsy. The result is an enthralling account of a life at the forefront of theatre design, and a stunning record of a huge number of unforgettable productions., Ming Cho Lee is considered to be the most influential stage designer in the United States in the past forty years, and one of the most respected designers in the world. His work with theater, opera, and dance companies in the 1960s, particularly the New York Shakespeare Festival, the New York City Opera, and the Joffrey Ballet, transformed the very nature of the design in America and introduced a scenic vocabulary and spatial aesthetic that underlies scenographic styles to the present day. Lavishly illustrated with over five hundred images in both color and black and white, this book chronicles Lee's career from his early training as a water-colorist in China, his designs for over three hundred productions, and his esteemed forty-year career at the Yale School of Drama as a mentor to an entire generations of scenic designers. A recipient of the National Medal of Arts, the highest national award given in the arts awarded by the President of the United States, Lee's work has been showcased at the New York Public Library for the Performing Arts, and in early 2014, the Yale School of Architecture hosted a major retrospective of his work. His other awards include a Tony Award, Outer Circle Critics' Award, and three Drama Desk Awards. Arnold Aronson has taught at Columbia University since 1991 and has previously worked in the theater departments at Hunter College, The University of Michigan, Cornell University, and The University of Virginia. He served as the editor of Theatre Design & Technology from 1978 to 1988 and is the author of American Set Design . In 2007, he served as the first non-Czech General Commissioner of the Prague Quadrennial of Stage Design and Theatre Architecture., Ming Cho Lee is not only one of the most important American designers of the twentieth century, but one of the most significant influences on American theatre. As a designer, he drew upon his training in Chinese watercolor, the aesthetics of his mentors, Jo Mielziner and Boris Aronson, and the post-war developments in German design to develop a new approach to stage design that radically altered American scenography. He broke new ground, combined existing motifs in startling new ways and continued to explore new ideas throughout his entire career. Lee introduced a sculptural style with soaring verticality that had been largely unknown to American stages. The painterly image was replaced with a decidedly modern and industrial scenic vocabulary that emphasized stage-as-stage. Lee has designed more than 300 productions of theatre, opera and dance, beginning with his first student work, The Silver Whistle at Occidental College in 1952, through his last productions in 2005. Unlike his predecessors, Lee did not make his mark on Broadway. Rather, it was achieved through some forty productions with the New York Shakespeare Festival, including eleven seasons at the Delacorte Theater from its opening in 1962; thirteen productions for New York City Opera, beginning with its inaugural production at Lincoln Center; five mainstage productions for the Metropolitan Opera, including Boris Godunov , which stayed in the repertoire for more than thirty years; twenty-one productions for Arena Stage in Washington D.C., and numerous other productions at regional theatres including the Mark Taper Forum in Los Angeles, Shakespeare Theatre Company in Washington, D.C., Long Wharf Theatre in New Haven, the Guthrie Theater in Minneapolis, and Actors Theatre of Louisville; and ten pieces for the Joffrey Ballet, as well as productions for Martha Graham, Alvin Ailey, Elliot Feld, the Pacific Northwest Ballet and Cloud Gate Dance Theatre of Taiwan. Called "the dean of American set designers" by the New York Times , Lee had an impact that goes well beyond his own work. As a teacher, including more than forty years at the Yale School of Drama, Lee shaped generations of theatre artists--not only set designers, but costume and lighting designers, as well as directors, writers and dramaturgs. It is through these students that he helped transform not only American scenography but the larger aesthetics of American theatre. For this richly detailed exploration of Lee's work, theatre historian Arnold Aronson spent hundreds of hours interviewing Lee at his legendary New York apartment. The book is both a study of and a conversation with Ming Cho Lee. Each image selected for this book was chosen personally by Lee from thousands of photos, drawings, sketches, renderings and models, all carefully cataloged by Lee's wife and lifelong archivist, Betsy. Lee's work has been showcased at the New York Public Library and the Yale School of Architecture, and his honors include a Tony Award for best scenic design of a play, an Outer Critics Circle Award, three Drama Desk Awards, a special Tony Award for lifetime achievement and the National Medal of the Arts, the highest national award given in the arts, which is awarded by the president of the United States. Arnold Aronson is a professor of theatre at the Columbia University School of the Arts. He frequently writes about scenography and contemporary theatre, and his books include The History and Theory of Environmental Scenography, American Set Design, American Avant-Garde Theatre: A History, Looking into the Abyss: Essays on Scenography and The Disappearing Stage: Reflections on the 2011 Prague Quadrennial , as well as the introductory essay for volume three of The Cambridge History of American Theatre . He served as general commissioner of the Prague Quadrennial in 2007., Winner of the 2014 George Freedley Memorial award. "A gorgeous volume [that] celebrates the legacy of Lee." - Time Out New York "Whether working in theater, opera or dance, Ming Cho Lee has made an incalculable contribution to the performing arts in America. This elegant coffee table book, written by Arnold Aronson, pays tribute in prose and photographs to his singular career." - Los Angeles Times "A comprehensive, compassionate and intelligent book... A book of major importance, a must-read for all theatre folk, indeed for anyone drawn to the mysteries of making art." Theatre Design & Technology Ming Cho Lee is not only one of the most important American designers of the twentieth century, but one of the most significant influences on American theatre. As a designer, he drew upon his training in Chinese watercolor, the aesthetics of his mentors, Jo Mielziner and Boris Aronson, and the post-war developments in German design to develop a new approach to stage design that radically altered American scenography. He broke new ground, combined existing motifs in startling new ways and continued to explore new ideas throughout his entire career. Lee introduced a sculptural style with soaring verticality that had been largely unknown to American stages. The painterly image was replaced with a decidedly modern and industrial scenic vocabulary that emphasized stage-as-stage. Lee has designed more than 300 productions of theatre, opera and dance, beginning with his first student work, The Silver Whistle at Occidental College in 1952, through his last productions in 2005. Unlike his predecessors, Lee did not make his mark on Broadway. Rather, it was achieved through some forty productions with the New York Shakespeare Festival, including eleven seasons at the Delacorte Theater from its opening in 1962; thirteen productions for New York City Opera, beginning with its inaugural production at Lincoln Center; five mainstage productions for the Metropolitan Opera, including Boris Godunov , which stayed in the repertoire for more than thirty years; twenty-one productions for Arena Stage in Washington D.C., and numerous other productions at regional theatres including the Mark Taper Forum in Los Angeles, Shakespeare Theatre Company in Washington, D.C., Long Wharf Theatre in New Haven, the Guthrie Theater in Minneapolis, and Actors Theatre of Louisvil≀ and ten pieces for the Joffrey Ballet, as well as productions for Martha Graham, Alvin Ailey, Elliot Feld, the Pacific Northwest Ballet and Cloud Gate Dance Theatre of Taiwan. Called "the dean of American set designers" by the New York Times , Lee had an impact that goes well beyond his own work. As a teacher, including more than forty years at the Yale School of Drama, Lee shaped generations of theatre artists--not only set designers, but costume and lighting designers, as well as directors, writers and dramaturgs. It is through these students that he helped transform not only American scenography but the larger aesthetics of American theatre. For this richly detailed exploration of Lee's work, theatre historian Arnold Aronson spent hundreds of hours interviewing Lee at his legendary New York apartment. The book is both a study of and a conversation with Ming Cho Lee. Each image selected for this book was chosen personally by Lee from thousands of photos, drawings, sketches, renderings and models, all carefully cataloged by Lee's wife and lifelong archivist, Betsy. Lee's work has been showcased at the New York Public Library and the Yale School of Architecture, and his honors include a Tony Award for best scenic design of a play, an Outer Critics Circle Award, three Drama Desk Awards, a special Tony Award for lifetime achievement and the National Medal of the Arts, the highest national award given in the arts., Winner of the 2014 George Freedley Memorial award. "A gorgeous volume that] celebrates the legacy of Lee." "Time Out New York" "Whether working in theater, opera or dance, Ming Cho Lee has made an incalculable contribution to the performing arts in America. This elegant coffee table book, written by Arnold Aronson, pays tribute in prose and photographs to his singular career." "Los Angeles Times" "A comprehensive, compassionate and intelligent book... A book of major importance, a must-read for all theatre folk, indeed for anyone drawn to the mysteries of making art." "Theatre Design & Technology" Ming Cho Lee is not only one of the most important American designers of the twentieth century, but one of the most significant influences on American theatre. As a designer, he drew upon his training in Chinese watercolor, the aesthetics of his mentors, Jo Mielziner and Boris Aronson, and the post-war developments in German design to develop a new approach to stage design that radically altered American scenography. He broke new ground, combined existing motifs in startling new ways and continued to explore new ideas throughout his entire career. Lee introduced a sculptural style with soaring verticality that had been largely unknown to American stages. The painterly image was replaced with a decidedly modern and industrial scenic vocabulary that emphasized stage-as-stage. Lee has designed more than 300 productions of theatre, opera and dance, beginning with his first student work, "The Silver Whistle" at Occidental College in 1952, through his last productions in 2005. Unlike his predecessors, Lee did not make his mark on Broadway. Rather, it was achieved through some forty productions with the New York Shakespeare Festival, including eleven seasons at the Delacorte Theater from its opening in 1962; thirteen productions for New York City Opera, beginning with its inaugural production at Lincoln Center; five mainstage productions for the Metropolitan Opera, including "Boris Godunov," which stayed in the repertoire for more than thirty years; twenty-one productions for Arena Stage in Washington D.C., and numerous other productions at regional theatres including the Mark Taper Forum in Los Angeles, Shakespeare Theatre Company in Washington, D.C., Long Wharf Theatre in New Haven, the Guthrie Theater in Minneapolis, and Actors Theatre of Louisville; and ten pieces for the Joffrey Ballet, as well as productions for Martha Graham, Alvin Ailey, Elliot Feld, the Pacific Northwest Ballet and Cloud Gate Dance Theatre of Taiwan. Called the dean of American set designers by the "New York Times," Lee had an impact that goes well beyond his own work. As a teacher, including more than forty years at the Yale School of Drama, Lee shaped generations of theatre artistsnot only set designers, but costume and lighting designers, as well as directors, writers and dramaturgs. It is through these students that he helped transform not only American scenography but the larger aesthetics of American theatre. For this richly detailed exploration of Lee s work, theatre historian Arnold Aronson spent hundreds of hours interviewing Lee at his legendary New York apartment. The book is both a study of and a conversation with Ming Cho Lee. Each image selected for this book was chosen personally by Lee from thousands of photos, drawings, sketches, renderings and models, all carefully cataloged by Lee s wife and lifelong archivist, Betsy. Lee s work has been showcased at the New York Public Library and the Yale School of Architecture, and his honors include a Tony Award for best scenic design of a play, an Outer Critics Circle Award, three Drama Desk Awards, a special Tony Award for lifetime achievement and the National Medal of the Arts, the highest national award given in the arts.", With over five hundred images, theater historian Arnold Aronson details the personal and professional history of Ming Cho Lee, one of the most influential scenic designers of the past fify years for the theater, opera, and dance that collaborated with luminaries like Robert Joffrey, Joseph Papp, Harold Prince, and Jerome Robbins. Beginning in the the1950s through 2008, this beautiful book chronicles three hundred productions designed by Lee, who is well-known as a mentor to an entire generation of designers through his esteemed forty-year career at Yale. A recipient of the National Medal of Arts, the highest national award given in the arts awarded by the President of the United States, Lee's work has been showcased at the New York Public Library for the Performing Arts, and in fall 2013, the Yale School of Architecture will host an exhibition of extraordinary work. Other awards include a Tony Award, Outer Circle Critics' Award, and three Drama Desk Awards. Arnold Aronson has taught at Columbia University since 1991 and has previously worked in the theater departments at Hunter College, The University of Michigan, Cornell University, and The University of Virginia. He served as the editor of Theatre Design & Technology from 1978--1988 and is the author of American Set Design . In 2007, he served as the first non-Czech General Commissioner of the Prague Quadrennial of Stage Design and Theatre Architecture.
9781559364614 English 1559364610 "A gorgeous volume [that] celebrates the legacy of Lee." - Time Out New York "Whether working in theater, opera or dance, Ming Cho Lee has made an incalculable contribution to the performing arts in America. This elegant coffee table book, written by Arnold Aronson, pays tribute in prose and photographs to his singular career." - Los Angeles Times "A comprehensive, compassionate and intelligent book... A book of major importance, a must-read for all theatre folk, indeed for anyone drawn to the mysteries of making art." Theatre Design & Technology Ming Cho Lee is not only one of the most important American designers of the twentieth century, but one of the most significant influences on American theatre. As a designer, he drew upon his training in Chinese watercolor, the aesthetics of his mentors, Jo Mielziner and Boris Aronson, and the post-war developments in German design to develop a new approach to stage design that radically altered American scenography. He broke new ground, combined existing motifs in startling new ways and continued to explore new ideas throughout his entire career. Lee introduced a sculptural style with soaring verticality that had been largely unknown to American stages. The painterly image was replaced with a decidedly modern and industrial scenic vocabulary that emphasized stage-as-stage. Lee has designed more than 300 productions of theatre, opera and dance, beginning with his first student work, The Silver Whistle at Occidental College in 1952, through his last productions in 2005. Unlike his predecessors, Lee did not make his mark on Broadway. Rather, it was achieved through some forty productions with the New York Shakespeare Festival, including eleven seasons at the Delacorte Theater from its opening in 1962; thirteen productions for New York City Opera, beginning with its inaugural production at Lincoln Center; five mainstage productions for the Metropolitan Opera, including Boris Godunov , which stayed in the repertoire for more than thirty years; twenty-one productions for Arena Stage in Washington D.C., and numerous other productions at regional theatres including the Mark Taper Forum in Los Angeles, Shakespeare Theatre Company in Washington, D.C., Long Wharf Theatre in New Haven, the Guthrie Theater in Minneapolis, and Actors Theatre of Louisvil≀ and ten pieces for the Joffrey Ballet, as well as productions for Martha Graham, Alvin Ailey, Elliot Feld, the Pacific Northwest Ballet and Cloud Gate Dance Theatre of Taiwan. Called "the dean of American set designers" by the New York Times , Lee had an impact that goes well beyond his own work. As a teacher, including more than forty years at the Yale School of Drama, Lee shaped generations of theatre artists--not only set designers, but costume and lighting designers, as well as directors, writers and dramaturgs. It is through these students that he helped transform not only American scenography but the larger aesthetics of American theatre. For this richly detailed exploration of Lee's work, theatre historian Arnold Aronson spent hundreds of hours interviewing Lee at his legendary New York apartment. The book is both a study of and a conversation with Ming Cho Lee. Each image selected for this book was chosen personally by Lee from thousands of photos, drawings, sketches, renderings and models, all carefully cataloged by Lee's wife and lifelong archivist, Betsy. Lee's work has been showcased at the New York Public Library and the Yale School of Architecture, and his honors include a Tony Award for best scenic design of a play, an Outer Critics Circle Award, three Drama Desk Awards, a special Tony Award for lifetime achievement and the National Medal of the Arts, the highest national award given in the arts, which is awarded by the president of the U.S., "A gorgeous volume that] celebrates the legacy of Lee." "Time Out New York" "Whether working in theater, opera or dance, Ming Cho Lee has made an incalculable contribution to the performing arts in America. This elegant coffee table book, written by Arnold Aronson, pays tribute in prose and photographs to his singular career." "Los Angeles Times" "A comprehensive, compassionate and intelligent book... A book of major importance, a must-read for all theatre folk, indeed for anyone drawn to the mysteries of making art." "Theatre Design & Technology" Ming Cho Lee is not only one of the most important American designers of the twentieth century, but one of the most significant influences on American theatre. As a designer, he drew upon his training in Chinese watercolor, the aesthetics of his mentors, Jo Mielziner and Boris Aronson, and the post-war developments in German design to develop a new approach to stage design that radically altered American scenography. He broke new ground, combined existing motifs in startling new ways and continued to explore new ideas throughout his entire career. Lee introduced a sculptural style with soaring verticality that had been largely unknown to American stages. The painterly image was replaced with a decidedly modern and industrial scenic vocabulary that emphasized stage-as-stage. Lee has designed more than 300 productions of theatre, opera and dance, beginning with his first student work, "The Silver Whistle" at Occidental College in 1952, through his last productions in 2005. Unlike his predecessors, Lee did not make his mark on Broadway. Rather, it was achieved through some forty productions with the New York Shakespeare Festival, including eleven seasons at the Delacorte Theater from its opening in 1962; thirteen productions for New York City Opera, beginning with its inaugural production at Lincoln Center; five mainstage productions for the Metropolitan Opera, including "Boris Godunov," which stayed in the repertoire for more than thirty years; twenty-one productions for Arena Stage in Washington D.C., and numerous other productions at regional theatres including the Mark Taper Forum in Los Angeles, Shakespeare Theatre Company in Washington, D.C., Long Wharf Theatre in New Haven, the Guthrie Theater in Minneapolis, and Actors Theatre of Louisville; and ten pieces for the Joffrey Ballet, as well as productions for Martha Graham, Alvin Ailey, Elliot Feld, the Pacific Northwest Ballet and Cloud Gate Dance Theatre of Taiwan. Called the dean of American set designers by the "New York Times," Lee had an impact that goes well beyond his own work. As a teacher, including more than forty years at the Yale School of Drama, Lee shaped generations of theatre artistsnot only set designers, but costume and lighting designers, as well as directors, writers and dramaturgs. It is through these students that he helped transform not only American scenography but the larger aesthetics of American theatre. For this richly detailed exploration of Lee s work, theatre historian Arnold Aronson spent hundreds of hours interviewing Lee at his legendary New York apartment. The book is both a study of and a conversation with Ming Cho Lee. Each image selected for this book was chosen personally by Lee from thousands of photos, drawings, sketches, renderings and models, all carefully cataloged by Lee s wife and lifelong archivist, Betsy. Lee s work has been showcased at the New York Public Library and the Yale School of Architecture, and his honors include a Tony Award for best scenic design of a play, an Outer Critics Circle Award, three Drama Desk Awards, a special Tony Award for lifetime achievement and the National Medal of the Arts, the highest national award given in the arts, which is awarded by the president of the U.S.", A sumptuously illustrated record of the career of one of America's leading theatre designers, Ming Cho Lee: A Life in Design is a fascinating insight into the creation of some of the landmark productions in American theatre history, and an essential book for anyone with an interest in theatrical set design. Ming Cho Lee is not only one of the most important American designers of the twentieth century, but also one of the most significant influences on American theatre. As a designer, he drew upon his training in Chinese watercolor, the aesthetics of his mentors, Jo Mielziner and Boris Aronson, and the post-war developments in German design to develop a new approach to stage design that radically altered American scenography. He broke new ground, combined existing motifs in startling new ways and continued to explore new ideas throughout his entire career. Lee introduced a sculptural style with soaring verticality that had been largely unknown to American stages. The painterly image was replaced with a decidedly modern and industrial scenic vocabulary that emphasized stage-as-stage. Lee has designed more than 300 productions of theatre, opera and dance. Unlike his predecessors, Lee did not make his mark on Broadway. Rather, it was achieved through some forty productions with the New York Shakespeare Festival, including eleven seasons at the Delacorte Theater from its opening in 1962; thirteen productions for New York City Opera, beginning with its inaugural production at Lincoln Center; five mainstage productions for the Metropolitan Opera, including Boris Godunov, which stayed in the repertoire for more than thirty years; twenty-one productions for Arena Stage in Washington D.C., and numerous other productions at regional theatres. Called "the dean of American set designers" by the New York Times, Lee has had an impact that goes well beyond his own work. As a teacher, including more than forty years at the Yale School of Drama, Lee has shaped generations of theatre artists - not only set designers, but costume and lighting designers, as well as directors, writers and dramaturgs. It is through these students that he has helped transform not only American scenography but the larger aesthetics of American theatre. Lee's work has been showcased at the New York Public Library and the Yale School of Architecture, and his honors include a Tony Award for best scenic design of a play, an Outer Critics Circle Award, three Drama Desk Awards, a special Tony Award for lifetime achievement and the National Medal of the Arts. For this richly detailed exploration of Lee's work, theatre historian Arnold Aronson spent hundreds of hours interviewing Lee at his legendary New York apartment. The book is both a study of and a conversation with Ming Cho Lee. Each image selected for this book was chosen personally by Lee from thousands of photos, drawings, sketches, renderings and models, all carefully catalogued by Lee's wife and lifelong archivist, Betsy. The result is an enthralling account of a life at the forefront of theatre design, and a stunning record of a huge number of unforgettable productions., Ming Cho Lee is considered to be the most influential stage designer in the United States in the past forty years, and one of the most respected designers in the world. His work with theater, opera, and dance companies in the 1960s, particularly the New York Shakespeare Festival, the New York City Opera, and the Joffrey Ballet, transformed the very nature of the design in America and introduced a scenic vocabulary and spatial aesthetic that underlies scenographic styles to the present day. Lavishly illustrated with over five hundred images in both color and black and white, this book chronicles Lee's career from his early training as a water-colorist in China, his designs for over three hundred productions, and his esteemed forty-year career at the Yale School of Drama as a mentor to an entire generations of scenic designers. A recipient of the National Medal of Arts, the highest national award given in the arts awarded by the President of the United States, Lee's work has been showcased at the New York Public Library for the Performing Arts, and in early 2014, the Yale School of Architecture hosted a major retrospective of his work. His other awards include a Tony Award, Outer Circle Critics' Award, and three Drama Desk Awards. Arnold Aronson has taught at Columbia University since 1991 and has previously worked in the theater departments at Hunter College, The University of Michigan, Cornell University, and The University of Virginia. He served as the editor of Theatre Design & Technology from 1978 to 1988 and is the author of American Set Design . In 2007, he served as the first non-Czech General Commissioner of the Prague Quadrennial of Stage Design and Theatre Architecture., Ming Cho Lee is not only one of the most important American designers of the twentieth century, but one of the most significant influences on American theatre. As a designer, he drew upon his training in Chinese watercolor, the aesthetics of his mentors, Jo Mielziner and Boris Aronson, and the post-war developments in German design to develop a new approach to stage design that radically altered American scenography. He broke new ground, combined existing motifs in startling new ways and continued to explore new ideas throughout his entire career. Lee introduced a sculptural style with soaring verticality that had been largely unknown to American stages. The painterly image was replaced with a decidedly modern and industrial scenic vocabulary that emphasized stage-as-stage. Lee has designed more than 300 productions of theatre, opera and dance, beginning with his first student work, The Silver Whistle at Occidental College in 1952, through his last productions in 2005. Unlike his predecessors, Lee did not make his mark on Broadway. Rather, it was achieved through some forty productions with the New York Shakespeare Festival, including eleven seasons at the Delacorte Theater from its opening in 1962; thirteen productions for New York City Opera, beginning with its inaugural production at Lincoln Center; five mainstage productions for the Metropolitan Opera, including Boris Godunov , which stayed in the repertoire for more than thirty years; twenty-one productions for Arena Stage in Washington D.C., and numerous other productions at regional theatres including the Mark Taper Forum in Los Angeles, Shakespeare Theatre Company in Washington, D.C., Long Wharf Theatre in New Haven, the Guthrie Theater in Minneapolis, and Actors Theatre of Louisville; and ten pieces for the Joffrey Ballet, as well as productions for Martha Graham, Alvin Ailey, Elliot Feld, the Pacific Northwest Ballet and Cloud Gate Dance Theatre of Taiwan. Called "the dean of American set designers" by the New York Times , Lee had an impact that goes well beyond his own work. As a teacher, including more than forty years at the Yale School of Drama, Lee shaped generations of theatre artists--not only set designers, but costume and lighting designers, as well as directors, writers and dramaturgs. It is through these students that he helped transform not only American scenography but the larger aesthetics of American theatre. For this richly detailed exploration of Lee's work, theatre historian Arnold Aronson spent hundreds of hours interviewing Lee at his legendary New York apartment. The book is both a study of and a conversation with Ming Cho Lee. Each image selected for this book was chosen personally by Lee from thousands of photos, drawings, sketches, renderings and models, all carefully cataloged by Lee's wife and lifelong archivist, Betsy. Lee's work has been showcased at the New York Public Library and the Yale School of Architecture, and his honors include a Tony Award for best scenic design of a play, an Outer Critics Circle Award, three Drama Desk Awards, a special Tony Award for lifetime achievement and the National Medal of the Arts, the highest national award given in the arts, which is awarded by the president of the United States. Arnold Aronson is a professor of theatre at the Columbia University School of the Arts. He frequently writes about scenography and contemporary theatre, and his books include The History and Theory of Environmental Scenography, American Set Design, American Avant-Garde Theatre: A History, Looking into the Abyss: Essays on Scenography and The Disappearing Stage: Reflections on the 2011 Prague Quadrennial , as well as the introductory essay for volume three of The Cambridge History of American Theatre . He served as general commissioner of the Prague Quadrennial in 2007., Winner of the 2014 George Freedley Memorial award. "A gorgeous volume [that] celebrates the legacy of Lee." - Time Out New York "Whether working in theater, opera or dance, Ming Cho Lee has made an incalculable contribution to the performing arts in America. This elegant coffee table book, written by Arnold Aronson, pays tribute in prose and photographs to his singular career." - Los Angeles Times "A comprehensive, compassionate and intelligent book... A book of major importance, a must-read for all theatre folk, indeed for anyone drawn to the mysteries of making art." Theatre Design & Technology Ming Cho Lee is not only one of the most important American designers of the twentieth century, but one of the most significant influences on American theatre. As a designer, he drew upon his training in Chinese watercolor, the aesthetics of his mentors, Jo Mielziner and Boris Aronson, and the post-war developments in German design to develop a new approach to stage design that radically altered American scenography. He broke new ground, combined existing motifs in startling new ways and continued to explore new ideas throughout his entire career. Lee introduced a sculptural style with soaring verticality that had been largely unknown to American stages. The painterly image was replaced with a decidedly modern and industrial scenic vocabulary that emphasized stage-as-stage. Lee has designed more than 300 productions of theatre, opera and dance, beginning with his first student work, The Silver Whistle at Occidental College in 1952, through his last productions in 2005. Unlike his predecessors, Lee did not make his mark on Broadway. Rather, it was achieved through some forty productions with the New York Shakespeare Festival, including eleven seasons at the Delacorte Theater from its opening in 1962; thirteen productions for New York City Opera, beginning with its inaugural production at Lincoln Center; five mainstage productions for the Metropolitan Opera, including Boris Godunov , which stayed in the repertoire for more than thirty years; twenty-one productions for Arena Stage in Washington D.C., and numerous other productions at regional theatres including the Mark Taper Forum in Los Angeles, Shakespeare Theatre Company in Washington, D.C., Long Wharf Theatre in New Haven, the Guthrie Theater in Minneapolis, and Actors Theatre of Louisvil≀ and ten pieces for the Joffrey Ballet, as well as productions for Martha Graham, Alvin Ailey, Elliot Feld, the Pacific Northwest Ballet and Cloud Gate Dance Theatre of Taiwan. Called "the dean of American set designers" by the New York Times , Lee had an impact that goes well beyond his own work. As a teacher, including more than forty years at the Yale School of Drama, Lee shaped generations of theatre artists--not only set designers, but costume and lighting designers, as well as directors, writers and dramaturgs. It is through these students that he helped transform not only American scenography but the larger aesthetics of American theatre. For this richly detailed exploration of Lee's work, theatre historian Arnold Aronson spent hundreds of hours interviewing Lee at his legendary New York apartment. The book is both a study of and a conversation with Ming Cho Lee. Each image selected for this book was chosen personally by Lee from thousands of photos, drawings, sketches, renderings and models, all carefully cataloged by Lee's wife and lifelong archivist, Betsy. Lee's work has been showcased at the New York Public Library and the Yale School of Architecture, and his honors include a Tony Award for best scenic design of a play, an Outer Critics Circle Award, three Drama Desk Awards, a special Tony Award for lifetime achievement and the National Medal of the Arts, the highest national award given in the arts., Winner of the 2014 George Freedley Memorial award. "A gorgeous volume that] celebrates the legacy of Lee." "Time Out New York" "Whether working in theater, opera or dance, Ming Cho Lee has made an incalculable contribution to the performing arts in America. This elegant coffee table book, written by Arnold Aronson, pays tribute in prose and photographs to his singular career." "Los Angeles Times" "A comprehensive, compassionate and intelligent book... A book of major importance, a must-read for all theatre folk, indeed for anyone drawn to the mysteries of making art." "Theatre Design & Technology" Ming Cho Lee is not only one of the most important American designers of the twentieth century, but one of the most significant influences on American theatre. As a designer, he drew upon his training in Chinese watercolor, the aesthetics of his mentors, Jo Mielziner and Boris Aronson, and the post-war developments in German design to develop a new approach to stage design that radically altered American scenography. He broke new ground, combined existing motifs in startling new ways and continued to explore new ideas throughout his entire career. Lee introduced a sculptural style with soaring verticality that had been largely unknown to American stages. The painterly image was replaced with a decidedly modern and industrial scenic vocabulary that emphasized stage-as-stage. Lee has designed more than 300 productions of theatre, opera and dance, beginning with his first student work, "The Silver Whistle" at Occidental College in 1952, through his last productions in 2005. Unlike his predecessors, Lee did not make his mark on Broadway. Rather, it was achieved through some forty productions with the New York Shakespeare Festival, including eleven seasons at the Delacorte Theater from its opening in 1962; thirteen productions for New York City Opera, beginning with its inaugural production at Lincoln Center; five mainstage productions for the Metropolitan Opera, including "Boris Godunov," which stayed in the repertoire for more than thirty years; twenty-one productions for Arena Stage in Washington D.C., and numerous other productions at regional theatres including the Mark Taper Forum in Los Angeles, Shakespeare Theatre Company in Washington, D.C., Long Wharf Theatre in New Haven, the Guthrie Theater in Minneapolis, and Actors Theatre of Louisville; and ten pieces for the Joffrey Ballet, as well as productions for Martha Graham, Alvin Ailey, Elliot Feld, the Pacific Northwest Ballet and Cloud Gate Dance Theatre of Taiwan. Called the dean of American set designers by the "New York Times," Lee had an impact that goes well beyond his own work. As a teacher, including more than forty years at the Yale School of Drama, Lee shaped generations of theatre artistsnot only set designers, but costume and lighting designers, as well as directors, writers and dramaturgs. It is through these students that he helped transform not only American scenography but the larger aesthetics of American theatre. For this richly detailed exploration of Lee s work, theatre historian Arnold Aronson spent hundreds of hours interviewing Lee at his legendary New York apartment. The book is both a study of and a conversation with Ming Cho Lee. Each image selected for this book was chosen personally by Lee from thousands of photos, drawings, sketches, renderings and models, all carefully cataloged by Lee s wife and lifelong archivist, Betsy. Lee s work has been showcased at the New York Public Library and the Yale School of Architecture, and his honors include a Tony Award for best scenic design of a play, an Outer Critics Circle Award, three Drama Desk Awards, a special Tony Award for lifetime achievement and the National Medal of the Arts, the highest national award given in the arts.", With over five hundred images, theater historian Arnold Aronson details the personal and professional history of Ming Cho Lee, one of the most influential scenic designers of the past fify years for the theater, opera, and dance that collaborated with luminaries like Robert Joffrey, Joseph Papp, Harold Prince, and Jerome Robbins. Beginning in the the1950s through 2008, this beautiful book chronicles three hundred productions designed by Lee, who is well-known as a mentor to an entire generation of designers through his esteemed forty-year career at Yale. A recipient of the National Medal of Arts, the highest national award given in the arts awarded by the President of the United States, Lee's work has been showcased at the New York Public Library for the Performing Arts, and in fall 2013, the Yale School of Architecture will host an exhibition of extraordinary work. Other awards include a Tony Award, Outer Circle Critics' Award, and three Drama Desk Awards. Arnold Aronson has taught at Columbia University since 1991 and has previously worked in the theater departments at Hunter College, The University of Michigan, Cornell University, and The University of Virginia. He served as the editor of Theatre Design & Technology from 1978--1988 and is the author of American Set Design . In 2007, he served as the first non-Czech General Commissioner of the Prague Quadrennial of Stage Design and Theatre Architecture.