Theatre Design & Technology - Summer 1978 - 16
the context of each design it is interesting to note that both
are the end results of prior improvisations by their artistic
directors. The final Guthrie design originated in a series of
experiments in a tent; the Alley from a series of improvisations in an abandoned factory.) The example here of an
improvisational design made permanent in an eXisting building is the Longstreet Theatre on the campus of the University
of South Carolina in Columbia (Figures XVII and XVIII). A
permanent secondary theatre structure was built within the
100 year-old primary masonry structured classical shell,
which is a copy of a Roman temple, the Maison Caree in
Nimes, France.
Representative of the response to a technically sophisticated engineering approach to multiple-use is Edwin Thomas
Hall, completed in 1973. It serves both its academic community and the municipality of Akron as a center for all the
performing arts of both imported and local origin. It was
financed by combining private philanthropy, state legislature
appropriation, a federal grant to education, and revenue
bonds.
Representative of response to the opposite non-technical
approach to theatre design is the Guthrie Theatre in Minneapolis, a second effort after Sir Tyrone Guthrie's original
North American project in Stratford, Ontario, Canada. Completed in 1963, it is now the major professional regional repertory theatre in the United States. It was fi nanced by an initial
gift from a private foundation and a public campaign for
funds in the Twin Cities.
The Edwin Thomas Hall design is, first, an extension of the
Wagner-Brandt Bayreuth Festspielhaus seating geometry;
second, derived from the vertical sightline section enunciated
by Russell (and employed by Adler in the Chicago Auditorium-Theatre), resulting in a strikingly different vertical section and design scheme in plan for basic divisibility; third, a
literal engineering embodiment of Sabine's equation for controlled volume and absorption that prOVides separate acoustical environments for each different programmed function.
This theatre building represents considerable refinement
over older models, not only of design but particularly of execution. It results from a systems engineering design approach
that is integral to architectural design, as contrasted to an
exclusively esthetic architectural design approach of separate volumes, each for a fixed use. The design yields a variable stage volume and the proper coupled auditorium volumes and aspect ratios for: (1) a concert hall, where a
massive automated stage acoustical shell entirely enclosing a
symphony orchestra is integral with a variable sized and
acoustically adjustable automated auditorium substructure
ceiling, and thereby achieves a one-room sonically live concert hall not otherwise possible (Figure VII); (2) an opera
house of proper auditorium and acoustical sensitivity (Figure
VIII) facing a twentieth-century rigged proscenium stage
adequately sized and mechanized for an academic-community operation for Akron; (3) a proscenium oriented theatre
that is properly sized for visual and acoustical intimacy essential to spoken drama. This is made architecturally viable
by combining these theatre design criteria with a comprehensive systems design approach to structural, mechanical and
electrical engineering, where a hybrid computer controls and
supervises within a short operating time (less than an hour) a
series of sequential preset electro-mechan ical operations
that converts this auditorium and stage from one volumetric
visual and acoustical configuration to another.
The Rodey design resolves the problem of conversion from
one theatre form to another within a single auditorium and
stage volume. This is the same problem that Max Reinhardt
dealt with unsuccessfully at the Grosses Schauspielhaus, but
at a scale eight times the size of Rodey. Whereas Reinhardt
did not attempt reorientation of the auditorium seating system, the solution at Rodey recognizes this fundamental problem and provides a massive structural and mechanical
means for its solution that maintains the proper seating geometry and acoustical scale vis-A-vis both stage forms and
their respective auditoria.
The Guthrie and the Alley thrust stage theatres successfully fulfill their designated purposes for precisely the opposite reason. Their operation ignores the mechanical complications of the modern proscenium stage and auditorium
requirements entirely by virtue of a twentieth-century synthesized return, within an enclosed space, to previous forms (the
classical Greek auditorium, the Elizabethan thrust-stage and
the non-illusionistic end stage of the late Renaissance) via
the experiments of Max Reinhardt and Jacque Copeau. The
Longstreet Theatre in-the-round, being modified in both
seating and acoustical geometry, is, in essence, a return to
ancient theatre constructions within a nontheatrical space.
Here fixed volume theatre auditoria designed exclusively
for spoken drama are instead based on technological simplicity.
This is not to be confused with the previously described
complex opposites where modern concert hall acoustics, volume, and seating capacity are combined with nineteenthcentury proscenium oriented grand opera and twentieth-century realistic drama or a means for mechanical conversion
between the proscenium and thrust stages in a single kinetic
auditorium and stage space. There is no conflict in kind or
intent of either design or operation between these two different but essential entities. Both are logical responses by
theatre designers to completely different sets of criteria. Both
are proven artistically valid, and appear to be the most realistic response yet to the givens of contemporary socio-economic realities that in the end control theatre design for the
majority of all communities in the United States.
American theatre designers were forced to embrace twentieth-century technology as the only means that could solve
the separate individual forms of concert hall, opera house
and theatre for spoken drama inherited from Western Europe. Experience of the past two decades has demonstrated
conclusively that engineering systems design-but not architectural design-is the only means of resolving the multiplicity of kinetic sightline and acoustics design problems in
the auditorium, as well as resolving technically and economically the practical operation of a coupled stage, and has
finally yielded a workable multiple-use community theatre.
Western European designers have confined technology exclusively to design and operation of the proscenium stage,
and the theatre auditorium remains a separate static architectural entity for each and every style aDd type of performance, after the manner of the seventeenth, eighteenth, and
nineteenth-century tradition. There is no longer any doubt
that the United States is on the way to establishment of its
own tradition in theatre design, but the end is not yet.D
Footnotes
1. John Scott Russell, M.A., F.R.S.E., "Elementary Considerations
of Some Principles in the Construction of Buildings Desgined to
Accommodate Spectators and Auditor," Edinburgh New Philosophical Journal, XXVII (May 16, 1838).
2. See Sabine, The Collected Papers on Acoustics, (New York:
Dover, 1974).0
George C. Izenour, author of Theater DeSIgn, is a theatre design and acoustical consultant, Professor Emeritus of Theatre Design and
Technology, and Director Emeritus, Electro-Mechanical Laboratory, Yale University School of Drama.
Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 1978
Contents
Theatre Design & Technology - Summer 1978 - 1
Theatre Design & Technology - Summer 1978 - 2
Theatre Design & Technology - Summer 1978 - 3
Theatre Design & Technology - Summer 1978 - Contents
Theatre Design & Technology - Summer 1978 - 5
Theatre Design & Technology - Summer 1978 - 6
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