Theatre Design & Technology - Fall 1983 - 9

ductions for a number of seasons, but
eventually both designers and critics
tired of the sameness, and the original
virtues of economy began to disappear
as designers sought to make the box of
different, more expensive materials for
each production.
Bury has described his approach as
essentially realislic, even when abstract. I'm nOl a fantasy man at all,
or a romanticist. I don't go for masks,
and so on. It's all very real, bill selective realism, nO[ naturalism. There's
no dislOniono The human aClor is always the measure and the center of
my stage.
000

A fine example would be Volpone ( T
1977), which employed a permanent
metal frame structure with three sets of
differently colored doors on concentric
hinges that could show different combinations of faces or, by swinging upstage, become virtually invisible and also
allow for a wagon stage in the central
portal.
With characteristic self-effacement
Bury has also said, "I'm no artist. A set
must be. a sounding board for the actor's work.'" And yet the artistry inherent in many of his sets belies his modest statement. For example, in his production of Wagner's opera, Trislan and
Isolde (Covent Garden 1971), a repeated
form-that of a Celtic broochdominated each scene. It was perhaps
most evident in the twisted boat of the
first act, which lay aslant on the stage,
partly in order to fill more of the large
stage than would have been possible by
simply showing the prow of the boat,
which is what is most often done.
A less realistic, more abstract, metaphoric setting occurred in Pinter's Silence ( T 1969) as Bury used a mirrored
floor (rippled ylar under Lucite) and
a reflective screen leaning O\Oer it to create a series of double imaged effects; everything on the rear screen was a reflection from the floor. The arrangement
required very precise, ingenious placement and aiming of lighting units in relation to the carefully positioned actor .
Peter Shaffer's Amadeus ( T 1979),
for which Bury won two Tony Awards in
1981, was more traditionally decorative
than most of Bury's work. It consisted
of flown and projected scenery, a combination that was worked out during rehearsals rather than thought out in advance, and it was integrated with the
stage directions so that different produc0

John Bllry, Silence, 1969: a complex series oj rejleclionso

*

John Bllry's sel jor ,-lCI 10jTri lan, 197/. PholO Reg Wilson cOIITlesy Royal Opera, COl'ellf Carden

tions of the play are \Oirtually compelled
to use Bury's design.
lore recently Bury provided the scenography for Verdi's Macberh at the
i\let (premiere ovember 1982), and
made arrangements for the British exhibit at the 1983 Prague Quadriennale.

~ ~ Timothy O'Brien
~~

Timothy O'Brien (born 1929) has
had a somewhat unusual career for a
British scenographer. Talented in drawing, he nevertheless pursued an aca-

0

demic education in history at Cambridge, where he did some designing for
the student theatre and met Peter Hall
and John Barton, later to become two of
England's leading directors. After
graduation, O'Brien received a grant to
slUdy stage design at Yale, where he
spent the academic year 1952-53ยท the
chief benefit of the experience, as he recalls it, were the weekly design assignments from Donald Oenslager. Beginning in the mid-1950s he worked for ten
years in television design in London,
while concurrently designing some ten

USITT Fall 1983/Thealre Design & Technology

7



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1983

Contents
Theatre Design & Technology - Fall 1983 - 1
Theatre Design & Technology - Fall 1983 - 2
Theatre Design & Technology - Fall 1983 - 3
Theatre Design & Technology - Fall 1983 - Contents
Theatre Design & Technology - Fall 1983 - 5
Theatre Design & Technology - Fall 1983 - 6
Theatre Design & Technology - Fall 1983 - 7
Theatre Design & Technology - Fall 1983 - 8
Theatre Design & Technology - Fall 1983 - 9
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Theatre Design & Technology - Fall 1983 - 44
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
https://www.nxtbookmedia.com