Theatre Design & Technology - Oct 1966 - 41

formal report with all conditions and considerations indicated; only the architect processes these and reports
his decision as based on them. Such a situation is obviously unfair to the consultant as well as the owner.
Again, it would be better for the consultant to be hired
by the owner for such reviews. The reluctance of owners
to engage the consultant has long been a handicap to
the free flow of information.
Lest we suddenly add all consultants to the payroll of
of the owner, perhaps the nice distinction should be made
between the consultam evaluating the specific function
for which the building is being constructed, who should
be in the owner's camp, and the various specialists
such as the mechanical and electrical engineers and the
acoustician. It would seem then, that the theatre consultant to be perceptive in this situation should also be
conversant and experienced with theatre production and
performance, otherwise how can he recognize all the
ramifications of changes in designs which on the surface
seem IIlnocent and trouble free, but in practice become
irritating thorns to hamper creativity.
Assuming the theatre consultant is hired by the owner,
what are some of the results in actual practice. A number
of instances from the many planning sessions attended
by an architect, a director of a college theatre, and the
owner's consultant illustrate some of the vagaries involved. In the early stages of planning, an architect was
in process of adjusting two sections of the theatre to
each other: one was the auditorium with a large rehearsal room under it and its corridors leading backstage;
the other was the stage area and adjoining shop area
with corridors leading to the rehearsal room. The stage
was a bit more than three feet above the house floor
at the first row. Because of this difference, another difficulty arose: there were also three feet of steps in the
corridor connecting the shop and stage with the corridor
with its three-foot set of steps. The consultant, however,
could not rest with the knowledge, bred of experience,
of the cumulative ills such an encumbrance would impose
in production after production.
The development of the rehearsal room which originally
was a ten foot high room, forty feet by sixty-five feet,
was a pleasure to watch. Once the consultant suggested
and achieved the lowering of the floor by an additional
seven feet in several stages, enough height was achieved
to provide effective head room for staging and lighting.
Thereafter the changes, suggested now by all the participants, in several consecutive meetings transformed this
area into a flexible, neatly arranged laboratory theatre
and rehearsal area. Two control rooms were added at one
end and the theatre director suggested they be shifted
to the opposite end to use wasted stair space, be more
accessible, and yet provide enough room. Unistrut was
specified to suspend lighting instruments neatly between
widely-spaced concrete beams. The architect suggested
vertical Unistrut in a concrete corridor wall which served
as a display area and irregular vertical lines in the forming
frame work helped integrate the design. The theatre director suggested storage under the cOrridors flanking the two
walls of this room; the architect obligingly worked out
the details to support the corridor walls. Platforms and
steps in modular sizes were added to provide variable
staging, all stored under the corridors. The consultant
provided wall curtains of light material to assist in staging. Finally, the theatre director came up with the suggestion which finished the room, and made it a theatre:
he suggested the removal of two walls to open the room
to the corridors, ten feet on one side and six on the
other, which the architect promptly enlarged to match the

OCTOBER 1966

ten foot width by cutting down opposite rooms. Since this
ten-foot-wide corridor was three feet from the floor, some
removeable rail ings were added to make the area safe
but flexible and open, and with the curtains ach ieved
additional adjustability. The architect provided fluorescent
fixtures with warm lamps for utility lighting which did
not interfere with the stage lighting. The entire room was
amenable for staging and audience variations. The only
element in short supply was a little more height to make
the area ideal. However, for a room that began with a
ten foot ceiling and no facilities, the achievement of a
flexible laboratory theatre with all production facilities
testified to the profitable inter-action of resourceful planning personnel. It was seeing the potentialities of such an
area, generated by familiarity with production needs and
potentialities, that helped initiate the chain reaction that
led to its design.
Another similar potemiality did not fare as well, however.
In this theatre, the house stage relation is enhanced by
two side stages, which flank the aud ience and disappear
behind walls which form the sides of the house. It is
a by-word in staging that the production, in most cases,
should be as intimately related to the audience as possible. Wherever possible, within reason, additional entrances for actors should be provided, separated from the
audience but issuing from the audience. A way was found
to enlarge the recess of the side stages behind the house
wall and open it to a corridor just off the green room on
one side of and next to a service stair on the other side.
One difficulty in the way was the step-up on both sides,
eighteen inches and twenty-four inches respectively. Another difficulty lay in the proximity of a supporting pier
for the house floor in both cases. The architect, after
much prodding and much exposition of the advantages of
these entrances, did manage to provide a two-foot-wide
access in both cases, but he never did eliminate the stair
problem and in one case the opening of a door still
faces the actor with an eighteen inch first step which
necessitates the addition of a temporary two-step unit
in the corridor. With a bit more maneuvering, even though
it meant re-designing some structural areas, it would have
been possible to make this change. The issue is imporant: which is the more decisive evidence, say over a
twenty-year period: to save this extra effort now, or proVide the structure with a convenience that contributes to
its very reason for existence, Its function as a theatre?
A final illustration details the early development of a
production device to help solve the need for vertical
definition of action areas in a theatre limited largely to
horizontal movement. This theatre does not have a grid
nor a fly-loft of the conventional type and size. Thirty
feet from the stage floor is the highest anything can be
taken out. There is no proscenium arch in the usual
sense, only proscenium walls. Acoustic panels are used
to provide a large measure of masking along with a
blacked out area above these. In order to proVide a variable use of the stage area (side, front on a three section
elevator, and middle and rear where a complete cyclorama is to hang) an idea was developed that had its
origin In a series of other suggestions. One of these was
the variable opening of the Mielziner-designed theatre for
the Eight Ideal Concepts, supported by the Ford Foundation: this consisted of a series of separately-operated
narrow vertical panels whiei, took the place of the proscenium wall. Another idea was remembered from a theatre
design by a graduate slLJdem in a theatre architecture
class, who used sliding fiber glass panels which interlocked but moved separately. It may well be that Harold
Burris-Meyer's design of the Florida Atlantic University
Theatre, using aluminum panels as a variable enclosure

41



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
Theatre Design & Technology - Oct 1966 - 10
Theatre Design & Technology - Oct 1966 - 11
Theatre Design & Technology - Oct 1966 - 12
Theatre Design & Technology - Oct 1966 - 13
Theatre Design & Technology - Oct 1966 - 14
Theatre Design & Technology - Oct 1966 - 15
Theatre Design & Technology - Oct 1966 - 16
Theatre Design & Technology - Oct 1966 - 17
Theatre Design & Technology - Oct 1966 - 18
Theatre Design & Technology - Oct 1966 - 19
Theatre Design & Technology - Oct 1966 - 20
Theatre Design & Technology - Oct 1966 - 21
Theatre Design & Technology - Oct 1966 - 22
Theatre Design & Technology - Oct 1966 - 23
Theatre Design & Technology - Oct 1966 - 24
Theatre Design & Technology - Oct 1966 - 25
Theatre Design & Technology - Oct 1966 - 26
Theatre Design & Technology - Oct 1966 - 27
Theatre Design & Technology - Oct 1966 - 28
Theatre Design & Technology - Oct 1966 - 29
Theatre Design & Technology - Oct 1966 - 30
Theatre Design & Technology - Oct 1966 - 31
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Theatre Design & Technology - Oct 1966 - 33
Theatre Design & Technology - Oct 1966 - 34
Theatre Design & Technology - Oct 1966 - 35
Theatre Design & Technology - Oct 1966 - 36
Theatre Design & Technology - Oct 1966 - 37
Theatre Design & Technology - Oct 1966 - 38
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Theatre Design & Technology - Oct 1966 - 40
Theatre Design & Technology - Oct 1966 - 41
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