Theatre Design & Technology - Oct 1965 - 18

STAGE HOUSE

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CHORAL REHEARSAL
SECTION

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Drawings courtesy of ARCHITECTURAL RECORD

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Lacking any warkable crystal ball to peer into the
future, the sub-comm ittee dec ided to as ses s the
theatre in the light of the recent past. In 1914 there
had been no arena stage to worry about; now arena
staging is in general use almost everywhere. The
old theatre bui Iding had an auditorium with a flat
floor, an,~indispensible architectural feature in 1914
because each play was always followed by a dance
complete with collation. This flat floor, a pure horror
for audiences at normal proscenium performances,
became a godsend when central staging came in.
The committee was faced with deciding whether both
theatres should be equipped with arena stages or if
one theatre shou Id be an arena and the other have a
proscen ium. In the end, the sub-comm ittee dec ided
there should be one large proscenium theatre and a
smaller theatre, infinitely more flexible, capable of
being transformed intoalmost any type of performance
inc Iud ing both arena and proscen ium.
These points having been agreed upon, the next
problem was the size of the auditoriums. Dartmouth
College has 3000 students, and the town of Hanover
has something over 4000 inhabitants as a basis for
anticipating normal seating demands. As everyone
knows, not all of these attend the dramatic performances. The student actors far whom these theatres
were being bui It are by no means a lways adept at
vocal projection. Any space too vast would be sure
to engulf them. The sub-committee reasoned that if
any educat iona I good wa s to come out of these dramatic presentations, such good was to be obtained
from the repetition of performances before a number
of different audiences. The single performance of a
play in a large auditorium that eats up the audience
potential of the community is a stupid waste of
rehearsal time. There is no adequate substitute for
a "run". With these factors in mind, the size of the
auditorium was set at 400 as a workable number.
The smaller theatre was conceived primari Iy as a
teach ing theatre and ane that cou ld be us ed by undergraduates either for course work or for studentdirected productions as well as for the more experimental types of plays and for Dartmouth's Inter-

18

fratern ity P lay Contest. The size of the Interfraternity Play Contest audience decided the size of the
auditorium. This contest runs over a period of two
weeks and genera Ily draws an audience of 200 a
night. For any other play using this theatre, the subcommittee felt thatif the show was wildly successful
it could easily play additional performances.
The planning of the stage areas was guided by the
principle, a !ready mentioned, that a college theatre
was in basic fact a stock company. Thus, anything
that would tend to faci litate productions, that would
ease backbreaking labor on settings and scene
shifts, was most desirable. For example: in the old
theatre, any exterior setting which showed an expanse of sky was a major problem. Not only had the
old theatre only 9 feet of workable stage depth, but
there was practically no fly loft. A sky drop had to
be tripped (with consequent wrinkling) if it had to
reappear in the play. The answer to this was fairly
obvious; a plaster dome. Here all one does is turn on
lights and the sky appears wrinkleless and expansive.
It may seem incredible that there was any sort of
hesitation about this, and yet this became one of the
major differences with the architect. In the ensuing
discussions, it soon became evident that the architect knew TOO MUCH about the INSIDES ofa theatre.
He was quite aware of plaster domes, but he was
also "up" on the European roll-away type of cyclorama. 2 A member of the facu lty who ha ppened to be
in Europe settled the issue. He investigated these
roll-away cycloramas and discovered that few of the
theatres that were so equipped really used them. The
architect yielded, and we have the dome.
Such examples are the normal give and take of
theatre planning. The real devil that besets both the
planners and the architect is individuality. Our
theatre group is cursed by it. Nothing we ever do is
like what anyone else does, no procedure is ever
constant and there are no real rules. Small wonder
that an architect faces a planning committee with
hesitation. On the other hand what we like to call
creative individuality is catching, and even archi-

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THEATRE DESIGN AND TEGHNOllX:Y

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Table of Contents for the Digital Edition of Theatre Design & Technology - Oct 1965

Contents
Theatre Design & Technology - Oct 1965 - 1
Theatre Design & Technology - Oct 1965 - 2
Theatre Design & Technology - Oct 1965 - 3
Theatre Design & Technology - Oct 1965 - Contents
Theatre Design & Technology - Oct 1965 - 5
Theatre Design & Technology - Oct 1965 - 6
Theatre Design & Technology - Oct 1965 - 7
Theatre Design & Technology - Oct 1965 - 8
Theatre Design & Technology - Oct 1965 - 9
Theatre Design & Technology - Oct 1965 - 10
Theatre Design & Technology - Oct 1965 - 11
Theatre Design & Technology - Oct 1965 - 12
Theatre Design & Technology - Oct 1965 - 13
Theatre Design & Technology - Oct 1965 - 14
Theatre Design & Technology - Oct 1965 - 15
Theatre Design & Technology - Oct 1965 - 16
Theatre Design & Technology - Oct 1965 - 17
Theatre Design & Technology - Oct 1965 - 18
Theatre Design & Technology - Oct 1965 - 19
Theatre Design & Technology - Oct 1965 - 20
Theatre Design & Technology - Oct 1965 - 21
Theatre Design & Technology - Oct 1965 - 22
Theatre Design & Technology - Oct 1965 - 23
Theatre Design & Technology - Oct 1965 - 24
Theatre Design & Technology - Oct 1965 - 25
Theatre Design & Technology - Oct 1965 - 26
Theatre Design & Technology - Oct 1965 - 27
Theatre Design & Technology - Oct 1965 - 28
Theatre Design & Technology - Oct 1965 - 29
Theatre Design & Technology - Oct 1965 - 30
Theatre Design & Technology - Oct 1965 - 31
Theatre Design & Technology - Oct 1965 - 32
Theatre Design & Technology - Oct 1965 - 33
Theatre Design & Technology - Oct 1965 - 34
Theatre Design & Technology - Oct 1965 - 35
Theatre Design & Technology - Oct 1965 - 36
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