Theatre Design & Technology - Oct 1967 - 4

only to see each other's problems but also to suggest solu- Then, what must we do? Obviously, we must first do our
tions, on the international scene, the problem initially must work to maintain continuity in our profession. However, beoften be one to establish communication, then to appreciate yond that work-a-day but demanding conservation of past
each other's problems and not at all to expect immediate achievements are vast fields for that additional effort and
steps towards a solution. In fact, initially, it would be Utopi- combination of resources, time and personnel, to allow exan to expect such results. However, the heady atmosphere amination and development of potentials. The ensuing reof finding international identity of experience in artistic pur- ports in this issue contain ample material for years of exsuits and problems, failures and successes, is so exhilarating periment and development, even when limited to restricted
that the need to appreciate the detailed nature of each areas of endeavor. These reports, furthermore, give obvious
other's difficulties is usually not the first order of business. support for more conferences and encourage experimentaHowever, it soon becomes so and as more representatives tion. Perhaps we should encourage a series of happenings
of the theatre become familiar with the supranational scene, in the various Conference sessions, as was done, in part,
the sooner can we get to the business of relating our prob- in this USITI Conference, but also continue to encourage
lems more exactly to achieve solutions, even as they are the more structured examination of such problems. Perhaps
slowly being processed on the national scene. The Canadian an interrelation of the two should be attempted, as was in
and United States Sections of the Institute, reflecting the part achieved in the Montreal Colloquium, where one posiclose relations between these two countries, have accumu- tion-paper per topic, often very good ones (Wesker, Langlated happy experiences. Certainly, it is apparent that when ham, Nordegg, Kenny) provided excellent del ineation of an
solutions have been found widely applicable in Czechoslo- area and stimulation for discussion. Thereafter in each sesvakia, it is altogether possible that Indiana and Illinois can sion perhaps the discussion could have been more controlled
also profit from these experiences. However, until we have and enlarged by subdividing the groups. Of course, the more
some appreciation of the identity of circumstances in two intimate confrontation used at the AET A-International Consuch widely separated areas, comparisons are hardly real istic. ference in Washington D.C., where some sixty participants
Language and terminology are not the least of this problem were divided into five groups to consider as many different
of shifting the national to the international scene, even as topics in the areas of education and development, allowed
the levels of sophistication in international relations among more interaction and as a result was more generally fruitful
represen tatives are frequently apparent in early and late for those participants. Certainly the problems of developing
comers to this scene, especially in group meetings. To help international interchange were more acutely obvious and,
promote understanding our journals are issued, like the new therefore, also more successfully attacked. Often it is the
multi-language Interscena,2 "to mix us more harmoniously scheduling of informal or additional after-session meetings
together." The new theatre technology organization is also that lead to the most immediate dividends: a continuation
of the Grotowski lecture at the Colloquium or exchanges on
a step in the right direction.
the organizational problems in setting up a new technology
institute, as at the AETA-International. The problems in setThe nature of changes accelerating the pace in the theatre ting up meetings have been variously and successfully atreveals our shortcomings in two ways: we are not only re- tacked by the USITT in its many Conferences. The combinaquired to improve our practice of the art, we also must im- tion of lecture tours and examinations of plants and equipprove the art form itself. The acceleration in change in our ment have been combined in many satisfying ways with
younger generation overlaps even more the ranges of the papers, discussions, and panels of experts. Perhaps the disthree or four generations on the scene at one time. Since cipline of unity of function combined with a narrowing of
the theatre is a popular art, it never has been prone to topics and more careful preparation in the narrowed area
lead; by its nature, that is, the need for an immediate audi- would make our efforts much more efficient and so more
ence, it is an art that follows much of the populace. Yet stimulating, while not depriving us of the exhilaration of imdue to our increasing familiarity with the "dynamics of prov i sation.
change" in our scientific and technological world, perhaps
It is imperative to improve these examinations of our
culture and the theatre can nowadays respond with more
problems and to help bring success to the out-of-bounds
alacrity and yet not lose its audience. In fact, we have reexperimenters, innovators, and inventors and so keep
ceived many warnings that unless we respond to the changes
the theatre in the running in this accelerating race. Then,
in our environment with more sensitivity, we shall lose the
perhaps we will build wisely when the explosive demand
audience we have, especially the younger audience (see
for theatres is upon us. It is to be hoped that these
Session 6). Obviously, the acceleration of change in our
structures will then not sadden us by their permanence
environment is increased by the more immediate response
because they are monuments to our pretentiousness or
of the younger generation: they are less conditioned by
because they are mausoleums for our mistakes. Rather,
the older methods and styles of theatre and more so by
if we remain ready for betterment and brilliance, an inthe recent, quickened changes in this generation. The freecreasing audience can be gladdened by this most excitwheeling tendencies of the contemporary artist, a kind of liing and most human of the arts.
cense in artistic expression, a fine frenzy of creativity without the discipline of a unified, coherent and complete work
Gary W. Gaiser
of art, finds expression in world-wide practices of happen1. "Toward the Third Millenium," Progressive Architecture, December,
ings, of unconventional uses of artistic instruments, whether 1966, and The Dynamics of Change by Don Fabun (Prentice-Hall, Inc.,
plays, pianos, bodies, stages, or sounds, whether by audi- 1967) are two recent publications that concern themselves with a panoences or actors, and mixtures of these to surprise and ramic view of modem change. Information on systems design can be
startle, to stimulate, delight and outrage. Who are we to found in .. Periormance Design," Progressive Architecture, August, 1967,
and The New Utopians: a Study of System Design and Social Change
say these are all dead ends; that no good will come of by Robert Boguslaw (Prentice-Hall, Inc., 1965).
these experiments, mark our words! Especially is such negativism dubious before a test of the new idea, the new 2. For this four-language Quanerly (English, Russian, French and German)
format, or the new tool is completed in its various com- address orders to Institute for Scenography, Praha 2, Vinohradska 2,
Czechoslovakia.
binations and environments of action.

illillD

THEATRE DESIGN AND TECHNOLOGY

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