Theatre Design & Technology - Winter 1987 - 8
TliEATRE PAINTING SEMINAR IN SALZBURG
tinued on our practical exercises. The days were longfrom about 8:30 a.m. until 9:00 p.m. On the final day we
had lectures only.
Opening remarks and introductions were conducted
by Gunther Bauer, H.B. Gallee, and Othmar Schwarz.
These speeches, as well as the lectures lall delivered by
Schwarz)' were conducted in German. We three American students did not speak or understand German, but
Ned Bowman (an American who gave a lecture at the
seminar), several seminar registrants, and various Students associated wi th the Hochschule graciously donated their time to provide English translations whenever possible.
Othmar Schwarz, the scene painter and one of the
scene designers at the Salzburger Festspielhaus, gave his
lecture on landscape painting prior to lunch. When the
seminar reconvened, the students oriented themselves to the materials provided by the Hochschule. Dry pigments were used throughout
the seminar, and we had our choice of a syn - ,.,"'.,
thetic binder, similar to white glue, or a nat- .
ural binder derived from wood. Lay-in
brushes - similar to small floor brooms were the Housman type; smaller brushes
with synthetic bristles were equipped
with either permanent aluminum handles or affixed into split doweling. The
paint buckets were oval in shape, making it easier to dip
a wide brush into. The sized muslin was stretched and
tacked, rather than stapled, into place. When a painting was completed, we pulled up the tacks and saved
them to use over again. The floor was covered with
brown burlap, upon which Schwarz would draw with
charcoal and bamboo to give us a visual example of
what he was saying. Schwarz and his assistants offered
cri tiques and also encouraged us to try unfamiliar
techniques.
The group continued work on individual landscape
paintings until 7:00 p.m., at which time we moved to a
classroom for a lecture on architecture, in preparation
for the next afternoon's practicum. Schwarz managed to
cover virtually all of the history of architecture from the
Greeks through the Baroque period, with special attention given to the development of the column and capital,
basic techniques for accurately cartooning fluting and
capital ornament, and rendering light and shadow on
moulding. He stressed the need for scenic artists to be
thoroughly familiar with the natural and visual laws of
architecture, both functional rarionale and the principles of harmony and rhythm in design. This concluded
the first day of the seminar.
We began the second day by removing the previous
day's paintings, stretching, tacking, and sizing new
muslin for the afternoon. Then we were allowed to attend a life-drawing class held for the students at the
Hochschule. After an hour, we returned to the classroom for a lecture on Rosco paints and a slide presentation of scene designs of college productions throughout
the United States, given by Ned Bowman. judging by
this presentation (and subsequent talks with the other
students) it seems that American scenographers and
scenic artists concentrate more on the texturing and
treatment of three-dimensional set pieces, whereas the
techniques emphasized in the seminar reflected an in6
TD&T . WINTER 1987
c1ination to employ two-dimensional, illusionistic
painting in a similar situation.
After lunch, the group returned to the painting studio,
where we were insttllcted to select an individual capital,
working from a xerox copy on an architectural text, and
to render it with a portion of an appropriate column,
incorporating the information given in the previous lecture. Once again we received advice and criticism from
Othmar Schwarz and his assistants, and we continued
until approximately 6:30 p.m. Th
Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 1987
Contents
Theatre Design & Technology - Winter 1987 - 1
Theatre Design & Technology - Winter 1987 - 2
Theatre Design & Technology - Winter 1987 - 3
Theatre Design & Technology - Winter 1987 - Contents
Theatre Design & Technology - Winter 1987 - 5
Theatre Design & Technology - Winter 1987 - 6
Theatre Design & Technology - Winter 1987 - 7
Theatre Design & Technology - Winter 1987 - 8
Theatre Design & Technology - Winter 1987 - 9
Theatre Design & Technology - Winter 1987 - 10
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Theatre Design & Technology - Winter 1987 - 18
Theatre Design & Technology - Winter 1987 - 19
Theatre Design & Technology - Winter 1987 - 20
Theatre Design & Technology - Winter 1987 - 21
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Theatre Design & Technology - Winter 1987 - 27
Theatre Design & Technology - Winter 1987 - 28
Theatre Design & Technology - Winter 1987 - 29
Theatre Design & Technology - Winter 1987 - 30
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Theatre Design & Technology - Winter 1987 - 33
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Theatre Design & Technology - Winter 1987 - 36
Theatre Design & Technology - Winter 1987 - 37
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