Theatre Design & Technology - Feb 1971 - 6
was also the third time I worked with
Gerald Freedman.
Not all of the design was a conscious thing. In Greek tragedy the
unities are very important. Greek tragedy has unity of place and time, and,
therefore, there is no problem of moving scenery to be solved-there is only
one visual statement to be made.
Furthermore, there is but one theme.
Electra is a daughter who wants to
revenge her father. It begins with that
and it never stops moving. There is
this thrust, this tremendous hatred
within the play, contained in a very
neatly controlled classical form.
As in all Greek tragedy, the play
begins when the chorus comes in. The
chorus says something and then the
main character enters (Medea and
Electra enter in exactly the same way).
Comedy of Error.; (Shakespeare).
6
You hear her voice and then she
enters to deliver a solo to which the
chorus responds. Then the next character enters, etc. It is very like an
opera: first there is a solo and then a
duet, etc. While the form is very
rigid, what goes on within this form
is all explosion.
In Electra we felt that the materials and the texture should be stone;
whitish stone in the sun. We also felt
that the set should not be strictly
architectural because that would have
little to do with the sense of a single
thrust: one place in front of the palace
of Atreus, a palace that happens to
be falling apart.
So we made three very big and
very strong stone sculptures, and set
them off the floor so they don't simulate a real building but are really just
three panels to show that this is the
wall of the palace. The one literal
thing which we did need was the big
door that opens for Clytemnestra's
entrance.
It is my feeling that this set would
have worked in broad daylight. I'm
very conscious of the material in relation to the play. If you are doing
Electra, and you use a metal, say
bronz&--that is one kind of Electra.
Stone is another kind of Electra. We
chose to use three panels of stone.
I have been using Electra in my
classes for my students' first project.
Many of them use metal; many use a
silver metal and all of them can be
very different, very effective, and very
right for Electra. As long as one does
not get literal ..., as long as there is
a thrust. ...
ew York Shakespeare Festival. Gerald Freedman, Director.
~
THEATER DESIGN AND TECHNOLOGY
FEBRUARY. 1971
Table of Contents for the Digital Edition of Theatre Design & Technology - Feb 1971
Contents
Theatre Design & Technology - Feb 1971 - 1
Theatre Design & Technology - Feb 1971 - 2
Theatre Design & Technology - Feb 1971 - 3
Theatre Design & Technology - Feb 1971 - Contents
Theatre Design & Technology - Feb 1971 - 5
Theatre Design & Technology - Feb 1971 - 6
Theatre Design & Technology - Feb 1971 - 7
Theatre Design & Technology - Feb 1971 - 8
Theatre Design & Technology - Feb 1971 - 9
Theatre Design & Technology - Feb 1971 - 10
Theatre Design & Technology - Feb 1971 - 11
Theatre Design & Technology - Feb 1971 - 12
Theatre Design & Technology - Feb 1971 - 13
Theatre Design & Technology - Feb 1971 - 14
Theatre Design & Technology - Feb 1971 - 15
Theatre Design & Technology - Feb 1971 - 16
Theatre Design & Technology - Feb 1971 - 17
Theatre Design & Technology - Feb 1971 - 18
Theatre Design & Technology - Feb 1971 - 19
Theatre Design & Technology - Feb 1971 - 20
Theatre Design & Technology - Feb 1971 - 21
Theatre Design & Technology - Feb 1971 - 22
Theatre Design & Technology - Feb 1971 - 23
Theatre Design & Technology - Feb 1971 - 24
Theatre Design & Technology - Feb 1971 - 25
Theatre Design & Technology - Feb 1971 - 26
Theatre Design & Technology - Feb 1971 - 27
Theatre Design & Technology - Feb 1971 - 28
Theatre Design & Technology - Feb 1971 - 29
Theatre Design & Technology - Feb 1971 - 30
Theatre Design & Technology - Feb 1971 - 31
Theatre Design & Technology - Feb 1971 - 32
Theatre Design & Technology - Feb 1971 - 33
Theatre Design & Technology - Feb 1971 - 34
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Theatre Design & Technology - Feb 1971 - 36
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