In the purview of theater history, as on the theatrical stage itself, performers' and writers' command on attention is almost complete. Ancient Greek gave a word to its mask builders (skeuopoio), but apart from distinct vocabulary, history leaves few traces of theatrical laborers. A glance through any number of theatrical books, periodicals, bibliographies, biographical guides, and encyclopedias reveals the predominance of performers in the public eye, though managers, directors, designers, and critics occasionally attract scholarly studies. Even among novels, journalism, and theatrical guidebooks—genres that venture behind the scenes—the personnel that dress, light, paint, and build shows are rarely present. Their identity and labor is marginalized in the annals because it is marginalized in the conceptualization of what is important in theater production. Susan Todd takes unusual measures to challenge this tradition by documenting the experience of women stage managers in the contemporary theater, but in the historical realm this has not been attempted. Writers devote attention to how the stage actually worked (how stage effects were achieved and how the creative chain of command functioned), but to date no one has examined the structures and traditions of backstage labor by asking basic questions about the sociopolitical organization of the work.Only in highly esoteric treatises or the lightest of literature do theatrica jewelers, armorers, weavers, hosiers, basket makers, shoemakers, furnishers, cosmeticians, perruquiers, costumiers, seamsters, dressers, property makers, carpenters, gas fitters, printers, or ticket takers usually appear. These are all specialized trades and occupations indispensable to the building and running of nineteenth-century theatrical entertainment.
