Theatre Design & Technology - Spring 2010 - 33

John Forbes:
I had the pleasure of studying under and working with Dr. Vychodil
during his teaching residence at the University of California, Santa
Barbara, in 1974. I am now a professor myself and constantly refer back
to my experience as one of his students. One of the great challenges I
find as a professor is to liberate the imagination of my students to all
the possibilities open to a theatrical designer. I often harken back to
Dr. Vychodil and the quotes mentioned above. To me "very big and very
simple" has become a kind of mantra in my work and my teaching-
easy to say, a greater challenge to attain. His emphasis on seeing the
inherent possibilities of different physical materials under various
treatments in light is a great gift he gave to me and one which I joyfully
pass along to my students. It is no overstatement to say that I have
never looked at theatre or production design in the same way since that
meeting thirty-five years ago.

In conclusion, Professor vychodil's enlightened approach to
teaching and design opened the door to a new understanding of stage
design for all who studied or worked with him. For some of us he
introduced us to the world of Czech stage design through his own
work and by introducing us to the Czech designers and visionaries like
František Tröster and Miroslav Kouřil, who proceeded and influenced
both him and Josef Svoboda. Perhaps the most influential aspect of
Czech design on stage design today is the strong aspect of collaboration between design and direction that has been an cornerstone of
Czech design since the nineteenth century. To paraphrase a statement,
repeated in my presences on a number of occasions, by vychodil: "The
designer must know as much about the script, the culture, the external
influences, and the ideas of the piece as the director Otherwise the
designer is at a huge disadvantage and cannot contribute appropriately
to the process." A designer (scenographer) today is more likely to
talk about sculpting the stage space than about the ground plan, to
discuss the sub-text of the piece than the historic period, and more
liable to bring abstract images to a production meeting than representational pictures. As noted in ladislav lajcha's book, Ladislav Vychodil
(2003), "Throughout his career Professor vychodil maintained his
unique style of stage design which was rooted in the integrity of his
personality." The influence of Professor vychodil on contemporary
design practices has been substantial and his circle of influence continues to spread through his students, fans, and followers. v
Don Childs has designed over 200 plays, musicals, dance
concerts, and exhibitions. His work has been displayed at the
Prague Quadrennial where the production he lit for set designer
Ladislav Vychodil won the Gold Medal for Scenography. He was
also invited to exhibit in the inaugural World Stage Design
exhibition in Toronto in 2005. His teaching career took him from
San Diego to Montreal and many places in between. Today he
concentrates on consulting and designing. He recently founded
the Stagecraft Institute of Las Vegas to train designers and
technicians for the high-tech world of entertainment technology.
Don is a member of USITT, IATSE-USA 829, and IAAM.

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
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Theatre Design & Technology - Spring 2010 - 33
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