Reviews325 NOTE It was this same stylistic inconsistency in The Collins Spanish Dictionary that Professor Steiner so rightly criticized in his review (The Modern Language Journal, 58 [1974]: 132-34). And Professor Powers' recent survey of meaning discrimination in selected Spanish and English dictionaries (Hispania, 68 [1985]: 150-53) was flawed by his failure to distinguish whether the sense discriminations he adduced in his data were in the source or target language. At the beginning of my career in lexicography, in the offices of Follett Publishing Company, two editors, Linton Keith and Jean Rich, pioneered the concept of the usage discrimination in the source language. * * * An International Dictionary of Theatre Language. Joel Trapido, General Editor, et al. Westport, Conn., and London: Greenwood Press, 1985. xxxvi + 1032 pp. $95.00. An International Dictionary of Theatre Language contains four times the number of entries of the fullest preceding theatre lexicon in English. It establishes the standard, not only for completeness, but also for excellence and usefulness. General Editor Joel Trapido, Emeritus Professor of Drama at the University of Hawaii at Manoa, began his labors in the 1930s and has brought them to completion by enlisting the work of two fellow editors, Edward A. Langhans for Western theatre and James R. Brandon for Asian theatre. They have been joined by five contributing editors, fifty-seven distinguished consultants, and a world-wide brigade of contributors. Their resultant volume treats 10,000 English theatrical terms as well as an additional 5,000, many in variant transliterations, commonly used in English though from more than sixty languages. Covering the specialized nomenclature of drama from the sixth century B.C. to the present, the International Dictionary lists terms from Greece and Rome, Western and Eastern Europe, Africa and the multitudinous reaches of Asia, and, of course, Britain and 326Reviews America. Its provinces of definition include theatre and drama history, dramatic forms and conventions, aesthetics, theory¦and criticism, playwriting, acting, directing, production, and management. The volume is also particularly rich in entries covering the entire history and scope of theatre technology: architecture, scenic design and construction, costuming, lighting, and make-up. Dance, theatre music, children's drama, puppetry, mime, and the myriad special and colorful locutions of popular stage entertainment are not neglected. The canon of previous theatrical dictionaries, which includes works of distinctive value, forms the basis upon which Professor Trapido and his colleagues have built, but they have gone far beyond their lexical forefathers. No entry is merely brought forward; each is as freshly and tersely written as the thousands never to have appeared in such a dictionary before. Furthermore, the best of the earlier efforts all had a vice inherent in their very virtue: they were overspecialized. A researcher wishing to look up a critical term, a technical reference, a piece of popular entertainment slang, and a historical item might .well have had to consult four different and not easily found sources. He was also likely to run into a more serious problem: the reference that, for his needs of the moment, told him too much or too little. The new International Dictionary does not make the mistake of trying to be a one-volume encyclopedia as well as a lexicon. Works that do invariably sacrifice completeness for a number of longer entries that still tell the serious inquirer no more than superficialities. Professor Trapido's dictionary has solved the problem. Those who seek an entry which could invite several pages or even volumes will find a lucid, concrete definition followed by a sound suggestion of precisely where to find a thorough treatment of the subject. And that citation will be listed in the International Dictionary's masterly bibliography, which encompasses forty-seven pages with over 1200 entries. By being an exemplary dictionary, and neither more nor less, this new reference work becomes an ideal companion to Hartnoll's Oxford Companion to the Theatre. No one will read this, any more than any other dictionary, from A ('a low-wattage lamp') to zuorequian ('money paid for seating at a performance in a Chinese tea-house theatre; does not include price of tea'), but it is good fun for those of us Reviews327 given to delighting...