Theatre Design & Technology - Fall 1999 - 16
-------
by
Delbert Unruh
WHAT WE ARE
PQ29
I
I
Delbert Unruh is guest
editor oftbis special
issue all PQ'99. He bas
recellt()/ rettlmed to tbe
Czecb Republic to
continue bis study of
Czecb tbeatre.
I ..
F
ALL
I
9
9
9
t is probably inevitable that the theme of
PQ'99, "The World, Nations, Indi\~duals,"
would give rise to the artistically chaotic
cornucopia created by the many and varied interpretations and presentations on display in
the exhibition hall of the Industrial Palace in
Prague. Indeed. eren an interested and sympathetic observer such as myself had to simply
stop, many times, and re-adjust the percepnlal
process in order to make sense of the scene.
Ranging from simple documentary exhibits, to
installation pieces, to performance art; the exhibition offered a kind of theatrical smorgasbord. And, as \\ith :my smorgasbord, it is difficult.
finally, to appreciate the quality of :my one thing
clearly because of the qUlmtity that surrounds.
This situation proroked two quite dissimilar
reactions to the event simultaneouslr in me.
HOW V). \\ HY
At first it seemed to me the exhibition emphasized the triumph of form over content.
In manv exhibits the process of exhibit making was more important than exhibit content. The process of I'ie\\'ing the material
TD&T
II
was elevated rather than the meaning of the
material itself. Holl' a design was viewed
was, frequently, more important than 1f!/~)'
the design was created in the first place.
Now this is a serious issue because
when How becomes more important than
Why in art. it is a sure sign that vitality is
loll'. An artistically vital age only deals Irith
Whr, because the Why of art leads directly to
questions of artistic philosophy. insight. responSibility, and societal connection. Why is
a process of unfolding the new, and any conscientious viewer of the scene would finally
conclude that there was precious little that
Iras nell' in the work offered for view. Western theatre design has, seeminglr, settled
down into a comfortable rut. \ationality
aside, the aesthetic underpinnings are much
the same. Abstract theatrical spaces are nOlI'
in vogue whether they are carried out with a
slick commercial edge as in the L". S. exhibit
(p. 30), or with a "bleak-chic" sensibility as
in the Brazilian exhibit. (photo on p. 25)
So, with much of the exhibit plOWing
the same aesthetic ground is it any Ironder
Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1999
Contents
Theatre Design & Technology - Fall 1999 - 1
Theatre Design & Technology - Fall 1999 - 2
Theatre Design & Technology - Fall 1999 - 3
Theatre Design & Technology - Fall 1999 - Contents
Theatre Design & Technology - Fall 1999 - 5
Theatre Design & Technology - Fall 1999 - 6
Theatre Design & Technology - Fall 1999 - 7
Theatre Design & Technology - Fall 1999 - 8
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Theatre Design & Technology - Fall 1999 - 18
Theatre Design & Technology - Fall 1999 - 19
Theatre Design & Technology - Fall 1999 - 20
Theatre Design & Technology - Fall 1999 - 21
Theatre Design & Technology - Fall 1999 - 22
Theatre Design & Technology - Fall 1999 - 23
Theatre Design & Technology - Fall 1999 - 24
Theatre Design & Technology - Fall 1999 - 25
Theatre Design & Technology - Fall 1999 - 26
Theatre Design & Technology - Fall 1999 - 27
Theatre Design & Technology - Fall 1999 - 28
Theatre Design & Technology - Fall 1999 - 29
Theatre Design & Technology - Fall 1999 - 30
Theatre Design & Technology - Fall 1999 - 31
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Theatre Design & Technology - Fall 1999 - 33
Theatre Design & Technology - Fall 1999 - 34
Theatre Design & Technology - Fall 1999 - 35
Theatre Design & Technology - Fall 1999 - 36
Theatre Design & Technology - Fall 1999 - 37
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