Theatre Design & Technology - Summer 1991 - 24
objecL The design has no relarionship ro
rhe anion excepr on rhe mosr superficial
level-rhe ser has rhe correcr number of
doors, for example, The design does nor
connecr physically or psychologically ro
rhe evenL Ir is a passive conrainer. In our
common vernacular, ir is "packaging,"
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METHOD OF WORKING
Insread, rhe direcrors and designers
involved in Acrion Design have concenrrared on developing merhods of
rhinking and working rhar open up rhe
quesrion of sryle and creare more choices
and oprions for rhe arrisrs, Among rhe
imporranr conclusions rhey have reached
are rhe following rhree observarions,
Firsr, ir is impossible ro operare
ourside considerarions of sryle, Ir is
impossible ro creare a piece of rhearre
rhar does nor have a sryle. Even rhe
absence of sryle is a sryle,
Second, sryle does nor have ro be
monolirhic. Sryle in rhe rhearre does nor
have ro be inrernally consisrenL As rhe
arrisrs seek ro open up rhe mulriple
communicarion channels in prod union
and diminish rhe effecr of simple,
realisric, linear presenrarion, rhe idea rhar
every elemenr of producrion musr be
srylisrically consisrenr recedes in
imporrance, The "unified sryle" of
producrion which our rhearre has
elevared ro an almosr sacred posirion is
only of marginal use in Anion Design,
Ir is imporranr ro nme rhar rhe unified
sryle of producrion is only an idea rhar
grew up as our rhearre came ro be
dominared more and more by realism,
The reasons are obvious. The physical
illusion of realiry upon which rhe
prerense of rhe acror's work depends
cannor be mainrained unless all e1emenrs
in rhe space are srylisrically consisrenri.e., real. Only in rhis way can rhe linear
flow of rhe playwrighr's rexr ro rhe
audience rhrough rhe acror happen in a
"common sense," everyday, realisric
manner. There can be no "disrracrions"
because rhe disrracrions show where rhe
edge of rhe illusion is. And as soon as rhe
audience is aware of rhar edge, rhey lose
rheir delusive conracr wirh rhe playwrighr's reXL The unified sryle of realism
musr be rigorous, monolirhic and
inrernally consisrenr if rhis connecrion ro
rhe rexr is ro be mainrained,
ow, all of rhar is fine (albeir very oldfashioned) for a rhearre rhar believes rhar
rhe primary way rhar communicarion
happens is rhrough rhe words of rhe
playwrighr. Bur for a rhearre rhar
believes rhar actioll is rhe primary means
of communicarion, mulriple informarion
_
. -'.'
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.;
2
3
4
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."."
I
."
,"
5
22
1991 SUMMER
TD&T
Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 1991
Contents
Theatre Design & Technology - Summer 1991 - 1
Theatre Design & Technology - Summer 1991 - 2
Theatre Design & Technology - Summer 1991 - 3
Theatre Design & Technology - Summer 1991 - Contents
Theatre Design & Technology - Summer 1991 - 5
Theatre Design & Technology - Summer 1991 - 6
Theatre Design & Technology - Summer 1991 - 7
Theatre Design & Technology - Summer 1991 - 8
Theatre Design & Technology - Summer 1991 - 9
Theatre Design & Technology - Summer 1991 - 10
Theatre Design & Technology - Summer 1991 - 11
Theatre Design & Technology - Summer 1991 - 12
Theatre Design & Technology - Summer 1991 - 13
Theatre Design & Technology - Summer 1991 - 14
Theatre Design & Technology - Summer 1991 - 15
Theatre Design & Technology - Summer 1991 - 16
Theatre Design & Technology - Summer 1991 - 17
Theatre Design & Technology - Summer 1991 - 18
Theatre Design & Technology - Summer 1991 - 19
Theatre Design & Technology - Summer 1991 - 20
Theatre Design & Technology - Summer 1991 - 21
Theatre Design & Technology - Summer 1991 - 22
Theatre Design & Technology - Summer 1991 - 23
Theatre Design & Technology - Summer 1991 - 24
Theatre Design & Technology - Summer 1991 - 25
Theatre Design & Technology - Summer 1991 - 26
Theatre Design & Technology - Summer 1991 - 27
Theatre Design & Technology - Summer 1991 - 28
Theatre Design & Technology - Summer 1991 - 29
Theatre Design & Technology - Summer 1991 - 30
Theatre Design & Technology - Summer 1991 - 31
Theatre Design & Technology - Summer 1991 - 32
Theatre Design & Technology - Summer 1991 - 33
Theatre Design & Technology - Summer 1991 - 34
Theatre Design & Technology - Summer 1991 - 35
Theatre Design & Technology - Summer 1991 - 36
Theatre Design & Technology - Summer 1991 - 37
Theatre Design & Technology - Summer 1991 - 38
Theatre Design & Technology - Summer 1991 - 39
Theatre Design & Technology - Summer 1991 - 40
Theatre Design & Technology - Summer 1991 - 41
Theatre Design & Technology - Summer 1991 - 42
Theatre Design & Technology - Summer 1991 - 43
Theatre Design & Technology - Summer 1991 - 44
Theatre Design & Technology - Summer 1991 - 45
Theatre Design & Technology - Summer 1991 - 46
Theatre Design & Technology - Summer 1991 - 47
Theatre Design & Technology - Summer 1991 - 48
Theatre Design & Technology - Summer 1991 - 49
Theatre Design & Technology - Summer 1991 - 50
Theatre Design & Technology - Summer 1991 - 51
Theatre Design & Technology - Summer 1991 - 52
Theatre Design & Technology - Summer 1991 - 53
Theatre Design & Technology - Summer 1991 - 54
Theatre Design & Technology - Summer 1991 - 55
Theatre Design & Technology - Summer 1991 - 56
Theatre Design & Technology - Summer 1991 - 57
Theatre Design & Technology - Summer 1991 - 58
Theatre Design & Technology - Summer 1991 - 59
Theatre Design & Technology - Summer 1991 - 60
Theatre Design & Technology - Summer 1991 - 61
Theatre Design & Technology - Summer 1991 - 62
Theatre Design & Technology - Summer 1991 - 63
Theatre Design & Technology - Summer 1991 - 64
Theatre Design & Technology - Summer 1991 - 65
Theatre Design & Technology - Summer 1991 - 66
Theatre Design & Technology - Summer 1991 - 67
Theatre Design & Technology - Summer 1991 - 68
Theatre Design & Technology - Summer 1991 - 69
Theatre Design & Technology - Summer 1991 - 70
Theatre Design & Technology - Summer 1991 - 71
Theatre Design & Technology - Summer 1991 - 72
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