Theatre Design & Technology - Spring 2010 - 13

In the first act of O'Neill's The Iceman Cometh, the down-and-out
residents of the flop-house are asleep at tables and one by one they raise
their heads to say a few lines and then continue to doze. The scene is
beautifully written, lengthy, and motionless in production. Some of our
greatest playwrights-beckett, Pinter, and Albee-indicate pauses that
are as telling as speech.
In the other arts stillness is a tool. John Cage's piece, "4 Minutes 33
Seconds," is performed by a pianist who sits at the piano without playing.
The audience is forced to listen to the ambient sounds of the concert hall
that they are not normally aware of.
Silence can be funny. besides the double-takes common in comedies, I think the most extraordinary comic silences were on Jack benny's
radio program. He used pregnant pauses as punch lines. benny's persona
on the program was a miser and anyone of a certain age remembers his
skill. In one episode, a robber says to benny, "Your money or your life."
A pause and some laughter. More silence and more laughter. As the time
went by and seemed to last minutes and the laughing grew, the robber
said, "Well?" benny answered. "I'm thinking, I'm thinking." The audience
exploded.
In the visual arts, I may be a Philistine or maybe just old, but I find
one-color canvases to be vacuous. They remind me of what other Philistines say about modern art, "My kid could do that." Years ago in a New
York gallery, my daughter was trying to figure out a large all-white canvas
when a man asked her if she knew what the painting was. She didn't. He

told her it was a white cow in a snowstorm.
Yet some great painters made works that though still and quiet in
composition, made colors the moving active ingredients. Mark Rothko,
Josef Albers, and barnett Newman, working in the mid-fifties are a few examples. They showed that subtlety could be as powerful as bombast, just
as in theatre a whisper can often have more impact than shouting.
I find it strange that we are told it is uncouth to applaud between the
movements of a symphony, yet opera-goers can cheer after an aria in the
middle of an act. In musical theatre it is de rigueur to clap after a musical
number but at a straight play, appreciative noise after a soliloquy or a long
speech is a no-no.
Some of us thrive on constant noise and others need quiet. I can't
have the radio or television going while I am writing this but if I am drafting or painting, I feel less alone with something playing. When I have
visited other designers' studios, more often than not, the same principle
exists. And in scene or costume shops, music is often playing even though
it may be drowned out by machine noises. I guess it's the elevator music
syndrome, it's soothing but below a conscious level.
Some people can't abide silence and mindlessly chatter away while
at the other extreme, a laconic few are hard pressed to utter more than
monosyllables. My puppy communicates in her own way with happy
squeaks of greeting, an "I want to play" bark, and, as the phrase goes, by
dogging my steps when it's time to go to Fiesta Island and hear the sounds
of nature. v

S P R I N G

2010

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Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2010

Contents
Theatre Design & Technology - Spring 2010 - 1
Theatre Design & Technology - Spring 2010 - 2
Theatre Design & Technology - Spring 2010 - 3
Theatre Design & Technology - Spring 2010 - Contents
Theatre Design & Technology - Spring 2010 - 5
Theatre Design & Technology - Spring 2010 - 6
Theatre Design & Technology - Spring 2010 - 7
Theatre Design & Technology - Spring 2010 - 8
Theatre Design & Technology - Spring 2010 - 9
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