manr of the other e\hibiting students and schools Irho could not find one-half inch foamcore in Europe. We also II'anted to be able to shOlr graphicallr the great rarietr of training programs throughout the L'nited States. \\"e included large black and Irhite photographs from manr of the L'nirersities selected. sholling teachers teaching in their studios and classrooms. These prOled to be rery popular. surprisinglr because mam of the teachers presenting their schools from Asia. Europe and South .-\merica had studied in the Lnited States. The great number of training programs in the L'nited States also contrasted Ilith many of the other countries' schools Irhere there mar be onlr one central school of theatre. The result Iras a simply elegant e\hibit that allOlred the Irork to be lielred c1earlr and easilr. We receiledmany compHments about the II'ith the designers for productions. Within these art academies the stage programs sholl strong sculptural and graphic ideas that are in tune Ilith contemporarr art mOl'entents. Irhich is not common in the L.S. ;\ difference is that some of these schools don't really use or take into consideration the role of the actor as an integral part of the theatre process. II10st of the schools we lielled are more effectile in helping \"Oung designers derelop a free creatire and emotional e\pressileness than is seen in the L.S. Intriguing Iras the large number of schools that are lery effectire in helping studellls make connections Irith the te\t and presenting their designs Ilith a high degree of skill and understanding. The emotional and communicative power of some of the l\"Ork lIas indeed inspiring. We did notice that manr of the studenrs technical skills such as drafting and model building Ilere not as dereloped as here in the L.S.. This II'as also generallr true Ilith the Professional E\hibit as Irell. IIlodels seem to be considered more a means to an end and not an end in themselves. Also rerv little drafting lIas shown. primarilr because it is considered the prorince of the technical director and the shops. The great e\citement of the Prague Quadrennial comes from immersing oneself in an astounding international l\"Orid of visual e\pressions. The power of this visual work for the stage transcends borders. languages and u.s. Student Exhibit, PO '95 showing the foamboard panel kiosks upon which were examples of cultures, and speaks to all of the student's work and photos and descriptions of the programs at several American schools. lI'orld communitv. We Irere inspired and rejuvenated br ensimplicity and c1aritr of the space as Ilell as the high quaLifY of the Irork countering so much e\citing and innolatire theatre and design work. presented. We came back with a nelr commitment to helping roung designers find The hands behind the Lnited States Student E\hibit that Irorked the passion of the theatre. tirelesslY to get elen1hing perfect were Sarah \ash Gates (Lnilersity of In the follolring paragraphs Ire'dlike to share some of our Washington), Laura CrOll (lniversitY of Connecticut). Karen Lim (e\thoughts and reactions to some of the flrenty-three student e\hibits. hibiting student and graduate from the Lnirersitv of Michigan). Scott Ilopefully. Ire will give \"OU a brief sense of some of the tremendous variSafier and Tim Saterno\\, (both from Carnegie 1\lelion Lniversitr). elr Ire e\perienced. 1\lanr European schools took full adlantage of the opportunitr to AIlonderfulll' unique e\hibit lIas from Slreden. the Dramatiska displar their Irork in bold and e\citing fashion or to create a theatrical Institutet. It ''''is the onll e\hibit to deal in a participatorr Irar Irith the space of their e\hibit itself. These e\hibits. particularly those from Eudesignated theme for PQ '95. "In Search of Stage Space." Labeled. "for rope \\'ho could truck in and bring an armr of hands to set up. had :\dults Onlr." the lisitor Iras invited to enter a clear plastic chamber larger and much more comple\ e\hibits including props. large models filled Irith three-inch blue and rello\\' plastic balls. Yes. this e\hibit reand costumes and elaborate structures in Ilhich to e\hibit their schools. minded us of a child's plar space. While Ire hare no sense of Irhat The result Iras an incredibll I'aried and multifaceted riC\\' of training Slledish schools do. there is no doubt that imagination is stressed. students. Inspired br the Swedish e\hibit the risitor could mOI'e across the The most laluable part of this e\perience Iras speaking to all the aisle to Denmark. After jumping on board a continuousll' turning tendifferent design teachers and hearing about their approaches to teachfoot turntable of metal grate rou \\'ere faced Ilith si\ battered fouring design. IIlany schools tend to liell' designers on the same level as dralrer filing cabinets. The contents of the drallers ranged from models directors-as kev artists. In Olher schools theatre design means designto sketches and photos in hanging files to crushed soda cans. ing theatres. Ilhereas stage design or scenographr is regarded as an art The majoritr of e\hibits presented ll'Ork in more conventional fOI' and therefore is housed Ilithin art schools. When this is the case, actors mats. It Iras notel\"Orthr. to sec the rarietr.of. stdes that lIe hale come to and directors are trained in a different school and are brought together accept as somellhat typical. \ 1 I 1 .) ,) .:;, TD&T