Theatre Design & Technology - Fall 1978 - 5

An Introduction

Theatre Design
&

Technology
Volume XIV· Number 3 * Fall, 1978
Journal of the United States
Institute for Theatre Technology

Contents
4 Holography: An Introduction
by Edward A. Bush

Applications of Lasers and
Theatre and Motion Pictures
by Chris Outwater

Holography

11 Multiplex and Projected Holograms
by Robert Howell

13 Soviets Explore Several Systems for Holographic Movies

15 The Use of Lasers in The Damnation of Faust
by Terry Helbing

17 Simone Forti's Holographic ANGEL
by Fran Minarik

19 Technical Report
Air Bearing Turntables
by Jim Seemann

21 Book Reviews

Research

Letters

27 New Products
33 News

OISTT
On the Cover: David Infante's laser effects for
the Fire Dance sequence in the Opera Company
of Boston's The Damnation of Faust. Photo by
Milton Feinberg.

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Holography is photography without a camera that produces three-dimensional images. The word was coined by Dr.
Dennis Gabor, the inventor of holography, from the Greek
halos (whole), and grapho (to write) and it is defined as "the
science and technique of recording (or otherwise using) all
the information content of waves transmitted, reflected, or
scattered from objects. These objects can be either stationary or moving in translation, rotation or vibration." (David D.
Dudley, Holography: A Survey. NASA, 1973). Holography is
the visual medium of the future, and this issue of TD& T is
devoted to the prospect that it will be the theatre technology
of the futu reo
Almost everyone involved in holography has at least one
story of an enterprising producer or director requesting a
three-dimensional projected set. That, however, is a dream
which, at present, is just not possible, and most of the articles
reiterate that theme. Hart Perry of the Holographic Film Company, who likens the current state of the art to that of television in 1922, has created a multiplex hologram that comments on this growing desire for holographic scenery. The
hologram, nine inches high, depicts an audience in a movie
theatre; on the screen is King Kong. As the cylindrical hologram slowly revolves, Kong's hand reaches into the auditorium, grabbing a spectator from the audience, and pulling
him back into the screen.
The basic technology is available-experimentation and
exploration is still needed to make it a viable medium. The
articles in this issue express a cautious optimism about the
future of holography in theatre, and it is not beyond reason
that full-scale, three-dimensional projections will be a reality
onstage by the end of the century.
It is hoped that the articles here will serve two purposes.
First, they should answer the recurrent questions (and misconceptions) posed by theatre people regarding the nature
and potential of holography. Second, and perhaps more important, they may stimulate those people in theatre with available resources to begin experimenting in the field. Most development and research grants come directly or indirectly
from the government which is apparently more concerned
with military than artistic applications. (Perhaps, if tensions
with the Soviet Union continue to increase, the fact that the
Soviets are winning the holographic motion picture "race" will
provide the impetus for increased funding.)
Lasers (an acronym for Light Amplification by Stimulated
Emission of Radiation), however, are currently practical for
performance. This versatile, and potentially dangerous, light
beam is the ever-present "ray-gun" of science fiction, a medical and scientific tool, a communications transmitter, and the
necessary light source for the manufacture of holograms. As
an entertainment tool, lasers are most common at rock concerts, replacing the oil-emulsion light shows of the sixties.
Sarah Caldwell recently incorporated laser light into an opera
in Boston. Several college theatre departments have used
lasers in more experimental productions. Clearly, there is
more that can be done with this relatively inexpensive medium.
We also include in this issue two reports on research facilities that may be of interest to USITT members. The Research
Center for the Federal Theatre Project is well established and
being put to good use by scholars. A recent issue of Federal
One, the Center's newsletter was devoted to technology and
contained reports and interviews with George Izenour, Abe
Feder, Howard Bay, Sam Leve, and Harold Burris-Meyer. The
Shubert Archive, unfortunately, is in the germinal stages and
will not be accessible to scholars for some time. It is encouraging to know, however, that this wealth of information will
not be lost.
A.A.

Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1978