Theatre Design & Technology - Winter 2018 - 17

in conjunction with West Side Story at
the Library of Congress, but this exhibit
was the Library of Congress' first display drawn from its collection of Smith's
artworks. While the collection has yet to
be completely processed, a search of the
Library of Congress database reveals
many renderings among the American
Ballet Theatre Collection. The Music
Division of the Library of Congress has
advised that the artwork and drafting
may be made available to researchers
prior to the conclusion of the cataloging
process.
The current USITT exhibit and a
handful of other historical exhibits provide access to his work outside of the
Library of Congress. For the time being,
the library offers on-site access only; researchers interested in seeing material
stored off-site can review the catalog
and request specific pieces, which will
be brought in from off-site storage and
be available to them within a couple of
days. When the Museum of Dance in
Saratoga Springs mounted its exhibit
"American Ballet Theatre: Then and

Now" at the time when Oliver Smith
was inducted into the Cornelius Vanderbilt Whitney Hall of Fame in July 2011,
Sinisi also supplied giclée prints of a
number of images, which are now in its
permanent collection. But aside from
the aforementioned exhibits, there have
been few showcasing Smith's work,
either before or after his death. There
was a one-man show at the Touchstone
Gallery in Manhattan in December
1977 featuring Smith's original drawings and watercolors. Sinisi advised us
that Smith had loaned the Museum of
Modern Art a couple of collages from
the film The Band Wagon for an exhibit,
but they had been returned after the exhibit and are now in the Oliver Smith
Collection at the Library of Congress.
We are fortunate to have this
unique selection of giclée prints to examine in this exhibit. Although full-scale
production on the stage is the ultimate
objective, many designers' renderings,
including those produced by Oliver
Smith, are works of art worthy of exhibition in a gallery or museum, providing

the opportunity to learn and enjoy. We
can study the works as students, artists,
designers, and scholars, or we might
just want to luxuriate in the experience
of viewing. For most of us, Smith's designs provoke many meaningful questions: What were the processes that
he went through in order to create the
design? How did he collaborate with his
fellow artists? Were alternatives considered? What were the reasons why one
version was accepted and others rejected? How did the designer, director,
audiences, and critics see the design
in its original context of production?
What were the theatrical conditions
for the shows? What is the historical
and cultural milieu in which the design
is viewed? How do we view the work
now? In the case of Oliver Smith, my response always begins with awe.
Patrick M. Finelli, Ph.D., is
a professor in the School of
Theatre and Dance at The
University of South Florida
in Tampa. He has been a

Advancing Rigging Education and Safety
International Code of Practice
for Entertainment Rigging
esta.org/icoper

March 13-14, 2018

esta.org/rigging-symposium

tsp.esta.org/freestandards

etcp.esta.org

WINTER 2018

|

THEATRE DESIGN & TECHNOLOGY

| 17


http://www.esta.org/icoper http://www.esta.org/rigging-symposium http://tsp.esta.org/freestandards http://etcp.esta.org

Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 2018

Contents
Theatre Design & Technology - Winter 2018 - Cover1
Theatre Design & Technology - Winter 2018 - Cover2
Theatre Design & Technology - Winter 2018 - 1
Theatre Design & Technology - Winter 2018 - Contents
Theatre Design & Technology - Winter 2018 - 3
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