Theatre Design & Technology - Dec 1967 - (Page 4)

THE THEATRE COLLOQUIUM The accompanying montage of participants illustrates the multi-language character of the Theatre Colloquium in Montreal last June with interpreters and simultaneous translators at work. The portrait of lively addresses and interchanges among participants whether on the floor or platform is also reiterated throughout the "action." "The Design of Theatres" was the centralizing theme of this meeting of international minds, but one of the most significant issues that emerged at this Colloquium was not planned. We all know that the process of design must be soundly based on the tools and techniques of the theatre, no matter whether they are those of the playwright, director, technician, or the actor. Yet as the discussion became more specifically concerned with the light, sound, and mechanics of the stage, a reluctance to come to grips with essentials was to be observed and the barely slumbering fear that the machine would take over was aroused. As a case in the first point, it can be noted that one of the most significant developments in light sources was repeatedly refused consideration in the discussion. This development, the halogen-cycle light source, has provided the theatre with a significant improvement in stagelighting, one of the last areas of theatre technology amenable to relatively comprehensive control. The changes and interrelating influences in lumen-per-watt ratio, size, life and cost of lamps will materially affect the design of theatres even as the improvements in dimming control have already affected our approach. If one notes when the change from a bi-polar relationship between audience and stage began shifting to a more circular arrangement in the history of the artificiallylighted theatre, a parallel and probably influential development in improvement of light sources and their control can be observed. While the discussion of such significant influences and improved tools might well have been avoided by the various moderators as beyond the scope they envisioned for the design of theatres, it should be pointed out that the increased availability of these improvements in light control is significant in another respect as well. It permits the extension of the theatre facilities to larger segments of the public regardless of economic limitations. The more a relatively large measure of sophisticated facilities is available for theatre generally, the more easily can the prob- proach. He finds it adequate to know the colour of the light produced. The general form of the spectral transmittance curve is known implicitly through the effect on common coloured surfaces, e.g., the red content of blues can be judged by their effect on human skin. The quantities most directly related to the desired information are total transmittance of the colour media and the colour media and the chromaticity (hue and saturation\ of the resultant light. Further, it is much easier for the uninitiated to learn to interpret a chromaticity diagram than to interpret the spectral transmittance curve. It would be desirable to give the results of these tests for lamps at full voltage and for at least one value of reduced voltage. The spectral distribution of the incandescent lamp changes significantly as it is dimmed; this change can make a considerable difference in the final evaluation. I believe that there is one key point in applying the results AN EDITORIAL lem of bringing the theatre to the people be attacked successfully, an issue of special concern in the Colloquium. The two-world concept is apparently a very real dichotomy in some areas of world theatre, regardless of country, if one judges by numerous reactions at the Colloquium to improved machinery for the theatre. The clearest and most significant example of this recurring fear of machinery was exhibited in the reaction to the film of the cylinder revolve so well presented by Professor Sepp Nordegg of Vienna. In offering this film, the Austrians unfortunately assumed that all at an international gathering of experts would understand the art of its use. The comments during the discussion after the showing indicated that what had impressed a few critics was the lack of speed in movement and the ponderous, locomotiveproportions of the machinery. That such criticism gained momentary support further revealed the lack of experience on the part of some of the audience. Not until Professor Nordegg explained that slow-motion was used to depict the technical maneuvering and that in reality only seconds were used to make the extensive scenic and stage changes shown in the film, was there a belated adjustment in appreciation. It is disturbing to note such acceptance of the underlying assumption that machinery in any amount is destructive of artistic theatre production. Obviously, the credits in efficiency and power in the use of machinery must exceed the debits of higher cost, more training for personnel and increased maintenance requirements. However, once the finances are available (a margin nowadays more dependent on allocation of funds than economic abundance), the problem becomes one of maintaining creativity in the face of machinery, of becoming accustomed to the machinery so that one can "play" with it. No doubt the Greeks had trouble with the first periaktoi and ekkyklema. Even now it has been maintained that the remote-control of a dimmer, as against direct control, tends to lessen the potentiality for creativity. A version of a Gropius total-theatre or a Viennese combination of a ring-cylinder-elevator revolve surely can be as varied, effective and creative in its way as can a theatre using only "two boards and a passion." Furthermore, it can also rest rict itself to the exploitation of such basic elements. Gary W. Gaiser of studies of this type. Specifically, how large and what type of changes are considered acceptable by the majority of users? This probably will vary with colour, and it is not difficult to express such information on a chromaticity diagram. The percentage changes quoted throughout the paper for various colour media are a poor measure of change. The differences between the curves vary with wavelength so that the meaning and interpretation of the percentages are vague In any case, the change in the resulting light, not the change in the colour media, is the final criterion of performance. Dr. Robert E. Levin Sylvania Lighting Products Inc., Sylvania Lighting Center Danvers, Mass. 01923 (concluded on page 351

Table of Contents for the Digital Edition of Theatre Design & Technology - Dec 1967

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Theatre Design & Technology - Dec 1967

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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
https://www.nxtbookmedia.com