Theatre Design & Technology - Winter 2001 - 5

from the

I

Editor
THEATRE DESIGN & TECHNOLOGY

t's a question often on our minds: what role do designers play in

The journal for
design, production and technology professionals in the
performing arts and entertainment industry.

the overall scheme of a theatrical production? Without any prompting from
me, the authors in this issue all have something to add to the discussion.
Beeb Salzer looks at technological advances and asks, are they worth
it? Do complicated feats of theatrical magic actually help designers, directors and actors create those moments that move an audience?
Linda Sarver spent months in London observing a second generation of students in the European Scenography Centres. Pamela Howard, who started the ESC in 1994, saw the designer as
scenographer, a key person in the creative team who is responsible for the complete sensory experience. The school's new head, Pete Brooks, thinks scenographers have an even more fundamental

EDITORIAL OFFICE

DAVID RODGER
Editor
DEBORAH HAZLETT
Art Director
*
3001 Springcrest Dr.
Louisville, KY 40241-2755
502-426-1211 fax: 502-423-7467
e-mail: dkr@broadwaypress.com

A S S O C I AT E E D I T O R S

role in creating theatre. In his course handbook, he defines scenography as "the complete text, or

STEVE POLLOCK
Architecture

score of a performance or event whether live (theatre, performance art, spectacle), or mediated

PEGGY ROSEFELDT & SUZY CAMPBELL
Costume Design & Technology

through technology (film, video, or computer)."
Rick Thomas takes up the baton in his article on the function of the soundscape, arguing that
Appia had it right when he claimed that the inner life of a drama is all about music. We need to pay
more attention to the link between auditory sensations and emotions, and see the soundscape as a
primary and direct way of communicating with an audience.
Del Unruh reports on developments in Czech theatre following that country's political and social changes in the nineties. What he sees is a renunciation of many of the principles of Action Design. Where theatre used to have a central role in Czech culture and a clear vision of how design
functions in a production, today there is a frenzied search for new aesthetic rules.

PATRICK M. FINELLI
Computers & Software
NANCY ARNFIELD
Education
JERRY GORRELL
Engineering
WILLIAM B. HEKTNER
Health & Safety
RICHARD DEVIN
Lighting Design
RICHARD PETERSON
Management
ROBERT L. SMITH & HEIDI HOFFER
Scenic Design

Treva Reimer visits Rio during it's extravagant Carnival celebration. She goes behind the

RICHARD THOMAS
Sound Design

scenes, in the workshops where the miles of ruffles are sewn and the huge parade floats are built.

BILL BROWNING
Technical Production

And in an interview with a retired designer, she discovers the power carnival designers have ac-

ELBIN CLEVELAND
New Product Reviews

quired in recent years.
Finally, Rich Dunham revives the conversation that took place at the Denver conference in

SYLVIA J. H. PANNELL
Book Reviews

March 2000 between three distinguished lighting designers. Their discussion ranges from how they

WILLIAM J. BYRNES
Inside USITT

got started in the business to how they use wiggle lights. Interestingly, they all reveal that they see

CONTRIBUTING EDITORS

themselves as co-creators with the director, author and other designers.
So, to those designers reading this issue, I ask, how would you answer the question? In your
work as costume, lighting, scenic and sound designers, what role do you play in a production? -dr

ARNOLD ARONSON * JARKA BURIAN *
ERIC FIELDING * SARAH NASH GATES *
JOEL E. RUBIN * BEEB SALZER *
DELBERT UNRUH * TOM WATSON *
ARNOLD WENGROW
ADVERTISING

Statements and opinions expressed in articles or editorials in TD&T are the expressions of the individual contributors and
do not necessarily represent the policies or opinions of the United States Institute for Theatre Technology, Inc. Advertisements appearing in this publication are the sole responsibility of the advertiser.
TD&T (ISSN 1052-6765) is published four times a year-Winter, Spring, Summer and Fall-by United States Institute for
Theatre Technology, Inc., 6443 Ridings Road, Syracuse, NY 13206-1111. Subscription to TD&T, also known as Theatre
Design & Technology, is a benefit of USITT membership. Fourteen dollars is deducted from membership dues to cover
cost of publication. Periodicals postage paid at Syracuse, NY and additional mailing offices. * POSTMASTER: Send address
changes to TD&T, c/o USITT, 6443 Ridings Road, Syracuse, NY 13206-1111. * Copyright © 2001 by United States Institute
for Theatre Technology, Inc. All rights reserved. Material in this publication may not be reproduced in any form without
permission.
4

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2 0 0 1

TD & T

MICHELLE L. SMITH
Membership & Ad Sales Manager
*
6443 Ridings Road
Syracuse, NY 13206-1111
800-93USITT / 315-463-6463
fax: 866FXUSITT / 315-463-6525
e-mail: michelle@office.usitt.org

I N T E R N AT I O N A L A F F I L I AT I O N

USITT is the United States Center of OISTAT:
The International Organization of Scenographers,
Theatre Architects and Technicians.



Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 2001

Contents
Theatre Design & Technology - Winter 2001 - 1
Theatre Design & Technology - Winter 2001 - 2
Theatre Design & Technology - Winter 2001 - 3
Theatre Design & Technology - Winter 2001 - Contents
Theatre Design & Technology - Winter 2001 - 5
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