Theatre Design & Technology - Oct 1966 - 33

D. F. lebensold

I.R. CODE: architecture - multi-purpose

I am in very sharp disagreement with what Colonel
Powers has said about the last man out. I am generally
the last man out - and it is very appropriate that I be
the last man in today - because I always find the architect somehow gets hooked with that job a long time
after the electrician has left. He has to see why the
electrical systems do not work and try to fix them. In
any case it is his job, because it is his responsibility.
I have thought of reviewing some Canadian theatres
which are being built today, but in the light of preliminary review I decided I should talk to you about the
process of design, because the more I talk about it,
instead of having more answers, more questions occur
to me.
Now, some of those questions have presented themselves
very, very quickly and my particular experience, of course,
is rather narrow. I work only in the field of Canadian
theatres, although indeed I am discussing some problems
which are quite similar elsewhere.
These are the questions: are our theatres really different
from each other, and what are the changes which one
can sense in recent developments, if any? Do the theatres
reflect some of the developments in the society and are
the theatres an image of these changes? To what extent
is the architect, the playwright, the artist, the producer,
involved in the process of design l Is this process satisfactory? Can we learn something from our experiences to
date?
The view I express is very, very one-sided - the architect's, of course - but it may be worth considering. Because Colonel Powers has started by assuming, I think,
at a certain point that the plans are finished, I would
like to take you a little back, before they even started:
in fact at a time when the notion of this particular theatre
is just a twinkle in someone's eye.
Now, since the 1950's - and that is about the time when
I started getting involved with theatres - we built in this
country and many, many theatres and auditoria in the
biggest cities across Canada. Maybe we should now examine their form and perhaps the origin of their form,
which is perhaps even more important.
Basically, the forms of the Canadian theatres and auditoria
do not differ very much from coast to coast, and this is
interesting. The buildings may differ in size and perhaps
many in audience disposition. I have even read III the
last week a review of a university theatre which also
claimed to have this round style, one with a thrust stage.
They said, "We have decided to have a thrust stage.
We thought of having an auditorium, too, but we ran
short of .money, so we made a compromise," But
generally most of them are proscenium type with fairly
limited production space and therefore are generally called
"multi-purpose houses."

OCTOBER 1966

The architects have been designing buildings based on
criteria given to them by the existing client, be that a
city, a provincial or federal government, or any publicminded group of citizens who get together. The client
seeks advice and appoints an architect, who is seldom
asked to participate in the establishment of the criteria
for the design.
This has so often created serious problems for the architect and the client that one must question this process
in order to prevent some of the common failures we hear
about. We sometimes find buildings with suitable budgets but insufficient accommodation, or with all the requirements fulfilled but no budget for its realization.
Basically, the design of a theatre, although full of special
complexities, does not differ, to me, from the design of
any other building or groups of buildings involving human
activity. They all have similar problems in very many
areas. The available information and experience must be
obtained, analyzed and truly understood before the process
of creation for the architect really begins.
One can conclude, therefore, that if there are bad theatres
with unsatisfactory compromises, these must be blamed
directly on the ability of the architects and the manner in
which they have submitted themselves to dialogue with
their advisers.
Perhaps the most unfortunate aspect of exchange of ideas
in this dialogue is that the most creative performing artists flare up; and producers have difficulty in communicating their thoughts in language that is understood by the
player. They often have interesting ideas and the architect is sometimes exposed to a first-class performance
during their presentation.
How can you possibly withstand that? After all, the architect is a man with Iimitations, too. He is an artist. He
is concerned about his own vested interest, which is the
creation of a building of some significance.
The architect in due course discovers that he is probably
the only protector of that other important half of live
theatre; that is, the audience. Not that producers and
artists are hostile to the audience. They look at them as
a foil for their performance and often tend to treat them
as a rather necessary evil. They see the audience as the
recipient of their performance and are therefore less concerned with audience interrelationships and environment
than with the performer-audience relation.
A creative architect understands the needs of the audience and thinks of creating an environment that can be
truly stimulating. A great number of experts tend to overemphasize the importance of their particular field: acoustics, lighting, staging, et cetera. We have all known and
heard this. This also, of course, produces a number of
frustrated specialists who are ready to advise in all the
areas of theatre craft. We have all recently become
acousticians, seating and lighting experts. Lincoln Center

33



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

Contents
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Theatre Design & Technology - Oct 1966 - Contents
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