Theatre Design & Technology - Oct 1966 - 34

has made acoustics a household word. It is only very
recently that a great awareness of the total experience
has become better understood. Obviously, the architect
can only perform a role as catalyst, by stimulating, encouraging and selecting some of the advice that is given.
How does the art of theatre fare in all this? One would
say satisfactorily, but not to well. There are various ways
in which a theatre becomes a reality. Sometimes the
building commission goes to the architect as a result
of an architectural competition. The winner of the competition often thinks that his scheme is final and therefore
spends most of his time defending it from the onslaught
of critics. He may, as in Sydney, leave the exterior
form and compromise with his critics on the interior. But
generally competitions have one weakness: they preclude
any exchange of ideas with the client or user, and the
building often stands as a monument to the architect's
tenacity.
At other times the cl ient calls 111 experts to advise the
so-called research groups. The experts produce very nice,
fat, glossy-covered reports for a reasonable fee. They
point out what should be done and all the grave errors
to be avoided. There is an important appendix, which
generally lists all the consulted performing artists, the
playwrights, producers and musicians. This assures the
client and gives him extensive comfort because, of
course, these people have been talked to, their views
have been obtained, and their final recommendations include the advice of the experts who are making the report.
The architect is handed this document and his simple
task is to give it architectural.form. A small paragraph
at the very end suggests a budget for this exercise.
Then, of course, there is a possibility of an architect's
being involved in the programming process. This would
seem in many cases to be most exciting, as it enables
the architect to live with the problem longer. It gives him
time to assess the strength. and the weaknesses of his
advisers, creating a cl imate for a meaningful exchange of
ideas.
My recent experience in the evolution of design for the
National Arts Centre in Ottawa falls in this category. How
much richer would have been this experience had one
known the final occupant of this complex. In fact this is,
of course, the crucial question that comes so often to
the architect's mind. Well, this is all very nice; the report is very interesting, but who really is the building for?
I think it was Colonel Powers who said before, "Well,
you know, we don't really know who the building is for.
Sometimes it is for the owner who pays for the building, or sometimes for an operator." But who is the building really for? Is it for the operator? For the group of
people who raised the money? Is it for the artistic group,
if such exists?
These are very important questions to an architect, because they are the very ingredients of wonderful pieces
of architecture.
In the case of multi-function buildings the problem of
compormise is truly a fierce one and the scales of balĀ·
ance have to be very carefully watched.
In the very rare case - a case in which I regret I have
never been involved - where the real home for a particular theatre group is designed, some of the above-men-

34

tioned problems disappear. But the most recent theatre
buildings, built in the last five to ten years, display
many shortcomings due to compromise. Perhaps they fulfill the great social need of cities to display pride in
their material achievements. They certainly provide the
travelling company a well-known theatre form with an
accepted set of standards. But, as an earl ier paper has
indicated, there seem to be some problems on the standards, too.
The most important ingredient overlooked in the planning
process through lack of vision and courage is the thought
that would enable the building to grow, change, develop
new life or support a new artistic endeavor generated by
the very existence of the building. To cite some examples
that I have been involved in: in Vancouver the Playhouse
Theatre, together with university developments, has probably stimulated more interest in theatre than its big
neighbor, the Queen Elizabeth (or Victoria Theatre it is
called and I cannot understand whyl and in turn have
generated new forces which stimulate further growth.
In Montreal, where Place des Arts was built ostensibly
on a program for multi-orchestra-opera use, they are now
moving out for the foundation of a new opera house and
a new concert hall. It is perhaps in this area of change
and growth that we seem to have learned least from
life outside the theatre: urban planners and sociologists
far better understood the growth patterns of our cities.
On the production side, the appetite for gadgets has
often been satisfied first, before the basic needs of the
theatre were even understood. In countries like Germany
and Austria, or Italy sometimes, which have a classical
theatre tradition and a love for complex mechanization,
most new theatres are equipped with engineered mobility,
installed to save labor.
In countries where labor costs are relatively low and subsidies from various levels of government high, complex
labor-saving devices seem to be less necessary than in
countries like the United States and Canada. But even
here experience does seem to justify, judging by the large
numbers of stagehands employed at some of those theatres, the installation of this equipment.
Since equipment changes rapidly, it is my feeling that the
greatest flexibility and possibility for growth can be
achieved by very simple building spaces, uncluttered by
built-in equipment, and therefore always capable of modification.
The audience's side must be treated with greater understanding of the very elements that create an important
occasion, such as a feeling for an event, a feeling of
participation in the event. I think it is essential that
the architecture of the building reflects the vitality and
the purpose for which the building has been built. It
should not compete with or replace living-room or shopping-centre aesthetics.
Now that we have built the great monuments to the pride
of cities, where great festivals and heroic spectacles can
take place, we look forward to a development at perhaps a more meaningful level for the real growth of
theatre itself. At thiS level simple homes will be built
for existing companies, satisfying their simple needs and
providing sufficient flexibility for development and experimentation. The theatre can become a cliche; so will
the buildings that house such a theatre become meaningless monuments of the past.

I USITT I

THEATRE DESIGN AND TECHNOLOGY



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

Contents
Theatre Design & Technology - Oct 1966 - 1
Theatre Design & Technology - Oct 1966 - 2
Theatre Design & Technology - Oct 1966 - 3
Theatre Design & Technology - Oct 1966 - Contents
Theatre Design & Technology - Oct 1966 - 5
Theatre Design & Technology - Oct 1966 - 6
Theatre Design & Technology - Oct 1966 - 7
Theatre Design & Technology - Oct 1966 - 8
Theatre Design & Technology - Oct 1966 - 9
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