Theatre Design & Technology - Oct 1966 - 38

CONSULTING

IN THE THEATRE

(Moderator: David W. Weiss)

Jean Rosenthal

I.R. CODE: architecture - consulting

It is a great pleasure to be here and to talk to you. I
always enjoy coming to the Conference. Unfortunately I
could not get here until today, so I have missed a great
deal of the discussions but I did hear the one that pre-
ceded us, and I think it probably states more clearly
than any consultant could why it is a hectic and danger-
ous life to lead the life of a consultant.

That kind of advice is often misunderstood. It is mis-
understood because it is delivered with authority backed
up by certain experience, and it is delivered to people
who have a limited frame of reference for evaluating the
information.

I think the group that spoke earlier probably represent
one of the most serious and dedicated groups of people
I have listened to, but in discussing the theatre, and the
things that people want in their theatres there was hardly
any agreement at all.
I think that is good. I think It IS probably the best clue
generally to the problem in the theatre, and particularly
the problem that a serious consultant faces. As a con-
sultant,if one were to define one's work (and each one
of us I am sure will try to define what we think a thea-
tre consultant is or has to be), I think you will find that
the consultant acts as that person who in his own ex-
perience will try to translate the theatre's need for flex-
ible use. Actually, if one were to line up the forces I
think one could safely divide the groups concerned with
the theatre building into the client, the architect, the con-
sultant, and the vendor. I think the forces of the client,
the architect and the vendor all are applied to the consult-
ant, and if he has or she has humor, judgment, and abili-
ty to sort out the essential aims of each of the people
involved, then I think the consultant serves a proper pur-
pose.
I think one of the things that we have all come to rea-
lize about working in the theatre as consultants, is that
we all arrived there in our own special way. Some of
us came out of the university theatre, some people have
been consultants because they have a passion for the
theatre and have tried to apply their profession to the
theatre - that is certain architects who are deeply involved
in ideas about the theatre, and certain people who have
worked as technicians in the theatre and in fields relating
to the theatre and are determined to help the theatre
with their technical knowledge - some people have come
from Broadway theatre (the commercial theatre), other
people have come from the community theatre. These
people all call themselves consultants, and to a certain
extent they are right. It becomes a matter of semantics.
Actually, I feel that we of the English language group
have a tendency to stretch words for our particular use. I
think the word consultant has been stretched to the limit,
and it seems to me that most of us operating as con-
sultants are really not consultants in the architectural
use of the word at all. We are advisors. We are experts
because of our passion for the theatre, and in terms of
our own experience. And we will do anything to commu-
nicate this information to anybody who asks us for it.

38

All of that it seems to me is perfectly all right, because
it creates a stimulating atmosphere if it would stop
there. But it does not stop there. What happens is that
buildings get designed on the basis of the particular frame
of reference of that particular advisor as interpreted
through engineering, mechanical, structural, etcetera, and
each time slightly twisted and turned so that quite often
the building really is not what the consultant intended
it to be. Really it is not what the architect hoped it
would look like. As far as the user is concerned, he is
hung up on operating difficulties that are disappointing.
I think that in talking to you this way, what I am really
trying to say is, "Let us define what a theatre consult-
ant really should be," and I think the way one begins is
by examining what in Victorian times would be called
"the ethics of the business". I will do this very briefly
because I know my colleagues here have quite a lot to
say about it.
I think one must analyze, in order to define the consult-
ant's role, the relationship and the responsibility he
bears in terms of interpreting the client's needs to the
architect, and of co-ordinating these needs with the archi-
tect to retain his aesthetic point of view. I think what
happens with many consultants is that they are too in-
volved with their personal experience.
I think the ethics of every profession are based on good
manners. I don't think you can say a consultant should
do this or do that. I think the code is a simpler one. It
would be wise for all of us to examine our way of be-
having, simply on the general basis of manners. Then, I
think fair play and all the rest of it take over. I have
learned -- professionally at least -- it is better to take a
chance on be ing thought a Iittle innocent than it is to
hurt somebody else's reputation. I think that in a sense
it is the essence of professionalism, and I think that it is
very important in any job that is essentially a liaison job,
no matter what level you place it on. Whether it is
technical or creative, it requires analysis, logic and open-
mindedness. I don't think the ethics of the profession
are entirely the responsibility of the consultant. I think
the other three members of this four-member group are
equally responsible. I think the detail of that we should
leave for discussion. Before we finish this hour, we
should be able ~ differentiate between the consultant,
as an architect views him as a person of technical train-
ing in a special field, and the consultant as he or she
exists in the profession of theatre consulting, his essential
value lies in interpreting the use of the building to the
people who are making it.

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
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Theatre Design & Technology - Oct 1966 - Contents
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