Theatre Design & Technology - Oct 1965 - 20

ment were sent to the architect, and his re-drawings
were returned. Amazingly, the long straight lines of
the arena rectang Ie were now converted into sinuous
curves, reminding one slightly of the baroque. It took
some rather intense urging to point out that, whi Ie
this might be a satisfactory arrangement for one
type of performance, it might not fit all performances. The theatre group pointed out that the straight
sides gave the producers and designers complete
flexibility, while the curves committed them completely to a form that might not be appropriate to
certain plays. It stressed also that if curves were
needed they could be constructed with wood and
used for that performance.
Indeed this points out the essential difference between architects and theatre people. The arch itect
works with permanence, the theatre glories in its
impermanence. Space, flexible space, is the most
desirable commodity in any theatre. After that come
the machines and such fixtures as will handle
scenery more easily. If the machinery impinges too
much on the space, one would be better off without
the machinery. It is hard to make an architect see
that, for when he puts something down on a drawing
it is intended to be built to stay. When the theatre
designer designs something he knows that it wi II be
struck immediately after the production. Small wonder, then, that theatre planning can at times be a
highly emotional experience.
One further observation on the role of the theatre
consultant. I think that Dartmouth College was right
to insist on having one to work along with the subcommittee and architect, and I believe that they
were supremely right to insist on having one who
was thoroughly familiar with the requirements of the
academic theatre. The architect had suggested that
he would like to have as consultant a major Broadway theatre designer who, as it happened, had little
knowledge of college theatre. The sub-committee
held its ground and has had no reason to regret its
choice. In fact, one incident confirmed the subcommittee in its choice. Long after the bui Iding had
been started the architect felt it necessary to submit plans to the Broadway designer for advice, and
the latter made a number of rather radical suggestions. As it happened, all of these late suggestions
had indeed been under review by the sub-committee
many month s before and had been discarded, not
because they were bad ideas but because they were
not consonant with the educational theatre program
or with the basic" stock company" element of college theatre.
One could go on multiplying examples of accord and
discord between architect and the local sub-committee, but this would be fruitless. The process is
norma I whenever comm ittee meet s arch itect. The
happy fact is that Dartmouth College, out of all this
give and take, now has two excellent theatres for
wh ich everyone on the premi se sis than kfu I. Most of
The problems that arose whi Ie this was being brought
about, the differences, even the triumphant solutions,
could be duplicated by almost every committee that

20

has ever planned a theatre. The real need here
would be to attempt to derive some sort of lesson
from those who endure th is experience; otherw ise,
what has gone before becomes mere gossip.
I would think, that by now, there are sufficient
theatres being hui It on the various campuses of this
nation so that a fair review of their elements might
be surveyed. Despite the theatre's seemingly inbred
passion for individuality, it must be possible to find
basic physical forms, common to most, that are
essential features of any good academic theatre
structure. These could be compi led as absolute
minimal needs and would be of vast help to any
theatre department hoping to persuade a reluctant
administration to give them more adequate housing.
It might even convince such administrations that a
theatre building, even with a high brick tower, is not
necessarily an unsightly architectural element in the
landscape. It might deter misguided enthusiasts
from apportioning too much of the bui Iding budget
toward non-essentials and fix the focus squarely on
the production element of the bui Iding. A minimum
requirement in the producing area of the theatre
could well aid a budget-minded administration in
their allotment of funds for the project. Certainly, it
would strengthen the hand of the theatre department
mightily, for there are few administrations that assume anyone connected with the theatre knows anything practical.
The essential plea, therefore, is that due respect be
paid to the local theatre committee. Others should
be made to see that those who work in the theatre
and who have to deal daily with the problems of play
production are the best judges of theatrica I needs.
The solution, then, is to be sure that you have an
architect who "knows the insides of a theatre". But
there is one further caveat; it would be a very good
thing for the architect to know the INSIDES of the
PEOPLE who have to work in that theatre too!

1.

E di tor: See, for example Warne r Bent ley 5 orti c Ie
"Dartmouth Cal lege: The Dartmauth Theatre," Theatre
Arts Manthly (April, 1939), 306-308. Additianal architecf

tural

2.

coverage

on

he new

structure

may

be

found in

Architectural Record (December, '64), pp. 120-21.
' 'Linneboch cyclorama"

BASIC THEATRE DATA
Hopkins Center
Dartmouth College
Hanover, New Hampshire
Architects: Harrison and Abramovitz
Praiect Architect: Walter Colvin
Planning Initiated: circa 1937 Dedicated: 1964
Total Cost for entire Center: $7.5 million
Theatre Consultant: Edward C. Cole
Consulting orchitects for the college: Campbell & Aldrich
Structurol Engineer: Paul Weidlinger
Mechanical & E lectricol Engineers: Sysko & Hennessy
Acoustical Engineers: Bolt, Berenek & Newman
Seating: Auditorium· 900
Theatre 400
Flexible Aren~ - varioble

IUSITT

THEATR£ DESIGN AND TEGHNOUX;Y



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
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Theatre Design & Technology - Oct 1965 - 18
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Theatre Design & Technology - Oct 1965 - 20
Theatre Design & Technology - Oct 1965 - 21
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Theatre Design & Technology - Oct 1965 - 24
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Theatre Design & Technology - Oct 1965 - 29
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Theatre Design & Technology - Oct 1965 - 36
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
http://www.nxtbookMEDIA.com