Theatre Design & Technology - Oct 1967 - 12

carrying out the civic affairs of the city; and four, as an
amenity adding to the total attractiveness and efficiency of
the area.
In terms of contribution to the local economy, a major cultural center attracts people from outside the area who, of
course, spend money during their local visits. In addition to
attracting the dollars from outside, a civic cultural center
can also help to reduce the outflow of local dollars to other
areas. The availability of these facilities also contributes to
the city's public image; this is a factor in attracting new investments and new businesses into the city from outside.
A multi-purpose theatre also provides space for certain civic
functions like large public hearings, special civic ceremonies,
and stage activities related to major community events (as
in the case of Norfolk's annual Azalea Festival). While these
public events occur infrequently, they do require a seating
capacity available only in a major facility.
The basic justification for a first-class municipally-financed
theatre and a cultural convention center is its major contribution to the over-all package of amenities offered by a city.
In most cities, commercial enterprises cannot afford to absorb capital costs of such facilities; institutional and other
non-commercial operations usually cannot justify the maintenance of a facility on the scale required for the wide
variety of cultural and civic events. A major public facility
can provide the space and services that usually cannot be
provided in any other way. To meet the increasing public
demand for cultural, educational, and civic events, the capital
costs for a major theatre can be justified as a legitimate
public expense.
DeGAETANI: Our next speaker, Mr. Ralph Burgard, is Executive Director at the Associated Councils of the Arts, a position which enables him to maintain a comprehensive national
view of the state, civic, and community arts movement.
BURGARD: My remarks apply to the entire country, except
Lincoln Center and New York City: from Seattle where they
redesigned their Opera House to Kissimmee, Florida, where
they are designing an arts center.

in this country yet that wasn't at least 20 percent over the
architects' estimates when the first bids came in.
The violent reaction that the term "art center" has engendered in the intellectual community has often obscured the
real reason for building it. The fact is that in many communities there is a very real need for better physical facilities. It's one thing to say that the programs come first; they
certainly should. But on the other hand, to have symphony
concerts in a 5,000 seat arena or art exhibits in an old
mansion that isn't fireproof is hardly conducive to good programming in the arts. Most of the communities we deal with
are concerned with this essential problem.
In the larger cities, the performing arts centers are a major
concern, for they already have museums or art galleries of
considerable stature and permanence. In the smaller cities,
both the visual and the performing arts are included, requiring an art center that encompasses all the arts.
Regrettably many cities still think of bricks and mortars before they consider proper programming. However, when the
center construction is underway, we find that people become concerned about the quality of programs in the center
and as a result they increase their financial support for the
constituent organizations, the tenant-users. In other words,
the center can be a means to improve artistic standards even
though the approach is in reverse.
Generally, I think centers should be located where the greatest number of people congregate. Inevitably, I happen to
favor downtown locations as opposed to those parklike surroundings in the suburbs. I'd like to see more commercial
establishments mixed up with the centers. Placing art in
splendid isolation is not what we need; we should have
boutiques, bookstores and good restaurants jammed right into
the art center or contiguous to it.
I've yet to see a center with adequate rehearsal space. Yet
rehearsal space is essential, not just for rehearsal of the immediate constituent groups, but as a genuine community
facility in itself, which can be used for youth orchestra rehearsals, for choruses, for dance people, for exhibits. Still
it always comes last; and it's the first to be cut.

The Carnegie Report on educational television and other
Two of the major clients that I see building arts centers
national developments indicate that within the next two
today are community arts councils and colleges and universi- years there are going to be major developments in public
ties as depicted by Mr. Schnitzer. About these Mr. King television programming. Therefore, it's extremely important for
will undoubtedly remark later. As far as community arts a Center to have adequate facilities for televising exhibits or
councils are concerned, out of approximately 415 of these productions.
cooperative organizations that now exist in the country, approximately one-third of them have some sort of building Somehow when a local community decides to build an art
center a peculiar kind of paralysis sets in, resulting in a
program in mind. When I speak of a center, I find people
travertine monument, "for the ages." Sometimes I would
thinking of everything from a 15,000 seat arena down to an
old mansion in a town; it usually is a center for the arts prefer to see a temporary structure built (which I guarantee
will be more permanent than you think); it could even be
involving two or more artistic organizations who will occupy
disposable like so many aspects of our kleenex culture.
the facil ity. Contrary to popular opinion, most of these art
If the city didn't like it, they could move it, throw it away
council centers are designed with specific clients in mind:
or build another design-all at a comparatively low cost.
local cultural organizations, usually not professional. The problem arises when, in attempting to find out the needs of
A number of beautiful buildings in this country are being
those organizations, it is discovered that the organizations
torn down. I think anyone building a center should first look
themselves are not completely clear about their needs; the
at existing buildings that could be converted to other uses.
Professional Director may have one idea, some of his Board
In Tacoma, Washington, the center took over the old city
another, some of the actors another, and the architect as
jail and they're going to build a theatre in an open cell
likely as not has never designed a center before. This great
block on the third floor. Such spaces can produce more inconfusion is coupled with another compl ication: the position
terest ing diversions than the brand new buildings. In Rocky
of the Professional Director may turn over two or three
Mount, North Carol ina, the center is in a railroad pumping
times in the course of building a center; and when another
station. You literally go into the water tank and there you
Director comes in, a whole new philosophy emerges about
are, a theatre-in-the-round. In Buffalo, the arena stage was
what a theatre or what a music center should be. This
originally an old nightclub.
means changes in the drawing, which means changes in the
cost estimates, which means frustration for the architects Planning art centers must involve a total community concept.
and contractors. As a result, I haven't seen a center built 'As one of the few public facilities open to everyone, it in-

12

ij]JIJ THEATRE DESIGN AND TECHNOLOGY



Table of Contents for the Digital Edition of Theatre Design & Technology - Oct 1967

Contents
Theatre Design & Technology - Oct 1967 - 1
Theatre Design & Technology - Oct 1967 - 2
Theatre Design & Technology - Oct 1967 - 3
Theatre Design & Technology - Oct 1967 - Contents
Theatre Design & Technology - Oct 1967 - 5
Theatre Design & Technology - Oct 1967 - 6
Theatre Design & Technology - Oct 1967 - 7
Theatre Design & Technology - Oct 1967 - 8
Theatre Design & Technology - Oct 1967 - 9
Theatre Design & Technology - Oct 1967 - 10
Theatre Design & Technology - Oct 1967 - 11
Theatre Design & Technology - Oct 1967 - 12
Theatre Design & Technology - Oct 1967 - 13
Theatre Design & Technology - Oct 1967 - 14
Theatre Design & Technology - Oct 1967 - 15
Theatre Design & Technology - Oct 1967 - 16
Theatre Design & Technology - Oct 1967 - 17
Theatre Design & Technology - Oct 1967 - 18
Theatre Design & Technology - Oct 1967 - 19
Theatre Design & Technology - Oct 1967 - 20
Theatre Design & Technology - Oct 1967 - 21
Theatre Design & Technology - Oct 1967 - 22
Theatre Design & Technology - Oct 1967 - 23
Theatre Design & Technology - Oct 1967 - 24
Theatre Design & Technology - Oct 1967 - 25
Theatre Design & Technology - Oct 1967 - 26
Theatre Design & Technology - Oct 1967 - 27
Theatre Design & Technology - Oct 1967 - 28
Theatre Design & Technology - Oct 1967 - 29
Theatre Design & Technology - Oct 1967 - 30
Theatre Design & Technology - Oct 1967 - 31
Theatre Design & Technology - Oct 1967 - 32
Theatre Design & Technology - Oct 1967 - 33
Theatre Design & Technology - Oct 1967 - 34
Theatre Design & Technology - Oct 1967 - 35
Theatre Design & Technology - Oct 1967 - 36
Theatre Design & Technology - Oct 1967 - 37
Theatre Design & Technology - Oct 1967 - 38
Theatre Design & Technology - Oct 1967 - 39
Theatre Design & Technology - Oct 1967 - 40
Theatre Design & Technology - Oct 1967 - 41
Theatre Design & Technology - Oct 1967 - 42
Theatre Design & Technology - Oct 1967 - 43
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Theatre Design & Technology - Oct 1967 - 46
Theatre Design & Technology - Oct 1967 - 47
Theatre Design & Technology - Oct 1967 - 48
Theatre Design & Technology - Oct 1967 - 49
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Feb
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Feb
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
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