Theatre Design & Technology - Fall 1976 - 44

interesting exhibits. The others were uninteresting or incomprehensible, or both.
Most notable was the French exhibit and the several
models of projects by Jacques Bosson. These were proposals for the use of a vinyl canvas stretched over a light
weight metal frame. They appeared to have a high degree
of flexibility and mobility although the actual use was
not clear. How frequently they could be moved, and how
easily was not determined. Flying and light rigging could
be a problem depending on the strength of the frame and
the amount of weight it would be designed to hold. The
overall evaluation was very interesting.

Above: House of Culture at Liege - View of the stage.
Belgium. Below: Cultural Center at Pont-a-Mousson.
R. Campagnone, Architect, France. Photos courtesy of
Czech Theatre Institute.

Theatre in Tampere, P. Salminen, Architect. Finland.
Photo courtesy Czech Theatre Institute.
CONCLUSIONS
Gary Gaiser
The prizes awarded, such as to the Russians for overall
excellence and to the British for overall scenographic
excellence and to the French for architectural excellence,
are happily supported by the general public's evaluation
of these same exhibits. When a popular art such as the
theatre achieves a consensus both of the connoisseur and
the more average theatre-goer, a prognosis of health and
well-being ensues that is certain Iy and happily at variance
with the usual predictions of gloom engulfing the "fabulous invalid."
John Rothgeb
To draw conclusions from PO 75 without resorting to
words like staggering, exciting, etc., is difficult. None-

FALL,1976

theless, some overall impressions come to mind. First
it is apparent how - in spite of the personality and talent
of the individual artist - a national characteristic comes
through in each exhibit. For example, even in a futuristic design like the Japanese design by K. Kanamori for
Jesus Christ Superstar, the oriental use of line comes
through. In the work of the Scandinavian countries,
it is the use of natural materials and clean utilitarian lines
that dominate. The attraction to bold color is central to
the works from Mexico, Brazil and Cuba. It is refreshing to realize that stylistically at least scenography is not
yet truly international and devoid of national personality.
The cross-pollinization between artists and nations is
of course evident and its ebb and flow, as demonstrated
by PO 75, is exciting and refreshing, but cannot blot
out inheritance.
In such a vast collection of designs it is easy to become
overwhelmed with the grandeur or scale of a major exhibition from a country wh ich devotes its resources extensively to the theatre. In this case the message is not the
medium but, quite the contrary, the message of hope for
scenography is to be found in the smallest sketch from the
smallest nation or the provincial theatre where artists join

THEATRE DESIGN AND TECHNOLOGY

USITT

Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1976