Theatre Design & Technology - May 1966 - 13

are seldom if at all invited, and the public be damned.
Only recently has the technician been able to insinuate himself into these councils, but he is no
more competent that the rest beyond his specific
capabi lities. Even with the best of intentions the
participating group finds the answers eluding it
perhaps because it is not asking the right questions,
or asking them of the wrong people.
How often have we heard the catch-phrase "New
Theatres for the New Drama"? We are, in fact, occasionally left with "the New Drama demands ...... ,"
and are allowed ta fill in the blank. We tend to associate these phrases with the contemporary avant
garde, but they have been around a long time. We
have theatre project plans from architects and theatre
mystics from the sixteenth century onward, designed
for the New Drama of the day. The fa lIacy is, of
course, that there never was a type of drama so new
that it could riot be produced effectively in the
theatrical medium then available. Playwrights write
for actors, not theatres. There are no plays written
for the arena, the thrust stage, or any other type.
How would such a play differ from any other? All
scripts are subject to minor modification to allow
production in a variety of theatres.
Even Shakespeare, who wrote "for" the Globe, has been produced
successfully for quite some time in theatres of which
he never dreamed.

out front again. This is accomplished by converting
to an arena or to some type of thrust stage of the
Greco-Roman pattern. The largest and best-publicized
theatres of these types are theoretically for the
"new" drama, so that the audience may focus its
attention upon the actor and not be di stracted by
scenic excesses.
The plans of these structures really have nothing
whatever to do with actors or scenery. One eliminates
scenery by not putting any up, and one focuses upon
the actor by lighting him. Spending vast sums of
money for "new" methods of staging to perform these
same simple functions reminds one of the worst excesses of the French Revolution, and we all know
that unfortunate movement led to. One must remind
the revolutionaries that Danton's Death, Man and the
Masses, Waiting for Godot, and The Chairs, all
revolutionary drama s, were successfu lIy produced
in itially in quite ordinary theatres.

Perhaps it is time to return to our original question
and to spell it out in greater detai I. What is a theatre
and how does one go about bui Iding one? Much has
been published about the basics of theatre design,
and we have avai lable numerous studies detailing
technical requirements.
Even the general theatre
public, thanks to Burris-Meyer and Cole, has had an
opportunity to study the practical needs of at least
one type of theatre.
Few of the many publ ished
If the drama does not "demand" any specific type of writings, however, concern themselves with aesthetic
theatre, what guideposts are there?
The past? and psychological needs, with the actor and the
Caprice?
Novelty?
The desire for novelty is a audience.
Philosophers of theatre architecture
permanent part of the nature of man, renewing itself abound, true, but much of their metaphysical speculawhenever we get a little bored with the familiar. tion confuses more than it helps. The Theatre may
Occasionally theatres are constructed on the basis be Fire, and God may have His heaven in the loft
of novelty alone, and do have some influence upon after all, but this does not help much in designing a
later structures, but this is not ordinarily the case. building. Have we only two alternatives, practical
The Vieux Colombier and the Grosses Schauspielhaus dullness and lunacy?
have gone qu ietly into obi ivion. There wi II be art
If we can reduce some of our confusion into a few
exhibits and uplifting lectures in the Dallas Center
sharp questions perhaps we may be able to indicate
as soon as the people working in it can get themthe directions in which answers may be found.
selves a proper theatre. Novelty alone is speculaPossibly the following will do for a start:
tive, and speculators' tents fold or are converted to
other uses. Novelty in theatre design seeks, further,
With the current emphasis upon flexible theatre,
to impose from without that which should be present what is the most flexible form possible?
within. A genuinely novel play is a unity in itself
What should be the relationship between the actor
and needs no crutch.
and the audience, relative to their physical environFor what were perfectly good reasons at the time, ment?
the actor was pushed back behind the proscenium
(assuming
How are we to preserve theatricality
during the nineteenth century. We find currently that
we
know
what
that
is)?
the Drama now "demands" to have the actor back
How are we to create a
sen se of oeeos i on"
and its attendant magic of the theatre?
II

What is intimacy and how may it be achieved?
How do we accommodate scenic as well as nonscenic productions?

I

==__

May 1966

There are others that wi II spring to mind, but let us
restrict ourselves to these for the moment.
Few
clients concern themselves with such questions at
all, beyond a preliminary conference in which they
are batted about and then shelved as being unanswerable. One may submit that if clients cannot
ask and answer such questions they should be in

13



Table of Contents for the Digital Edition of Theatre Design & Technology - May 1966

Contents
Theatre Design & Technology - May 1966 - 1
Theatre Design & Technology - May 1966 - 2
Theatre Design & Technology - May 1966 - 3
Theatre Design & Technology - May 1966 - Contents
Theatre Design & Technology - May 1966 - 5
Theatre Design & Technology - May 1966 - 6
Theatre Design & Technology - May 1966 - 7
Theatre Design & Technology - May 1966 - 8
Theatre Design & Technology - May 1966 - 9
Theatre Design & Technology - May 1966 - 10
Theatre Design & Technology - May 1966 - 11
Theatre Design & Technology - May 1966 - 12
Theatre Design & Technology - May 1966 - 13
Theatre Design & Technology - May 1966 - 14
Theatre Design & Technology - May 1966 - 15
Theatre Design & Technology - May 1966 - 16
Theatre Design & Technology - May 1966 - 17
Theatre Design & Technology - May 1966 - 18
Theatre Design & Technology - May 1966 - 19
Theatre Design & Technology - May 1966 - 20
Theatre Design & Technology - May 1966 - 21
Theatre Design & Technology - May 1966 - 22
Theatre Design & Technology - May 1966 - 23
Theatre Design & Technology - May 1966 - 24
Theatre Design & Technology - May 1966 - 25
Theatre Design & Technology - May 1966 - 26
Theatre Design & Technology - May 1966 - 27
Theatre Design & Technology - May 1966 - 28
Theatre Design & Technology - May 1966 - 29
Theatre Design & Technology - May 1966 - 30
Theatre Design & Technology - May 1966 - 31
Theatre Design & Technology - May 1966 - 32
Theatre Design & Technology - May 1966 - 33
Theatre Design & Technology - May 1966 - 34
Theatre Design & Technology - May 1966 - 35
Theatre Design & Technology - May 1966 - 36
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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