A gestalt approach to theatrical design seems to provide some ready and stable explanations for a number of issues in the scenic arts. Gestalt serves as the theoretical base for a number of experiments in psychology whose findings appear to delineate the principles of art to be used in scene design. The fundamental notion of gestalt theory identifies a major task for the role of the scene designer. Seeking to arouse and periodically relieve tension in the audience through the organization of the design elements of the stage picture (size, color, direction, form, and position), the designer is essentially inviting the audience to participate in the production, becoming an accomplice with the artist. In order to comprehend the setting, to reproduce the gestalts intended by the designer, the audience must, by the nature of the process, involve itself actively in the play. The more complex the gestalts, the greater the tension; and the more satisfying the release of tension, the more involved the audience member has become. The precision with which the design is executed, aesthetically as well as technically, is really the precision with which the designer communicates with the audience. The more effective this communication is, the greater is the theatrical experience that its audience achieves. (RL)