Theatre Design & Technology - Feb 1968 - 25

that are custom fitted to the particular measurements of a
discerning client. and those that come off the rack, made to
a traditional mold of what is considered the average client.
If the analogy holds, the ideal theatre is the one that is
ideal for everyone; it is off-the-rack; average size. But we are
not likely to have very many ideal performing arts groups
constant and average enough to be well fitted by it. Clearly,
the ideal theatre is not one that is perfect for all companies.
It is a chimera. And strong outrage-instead of being directed at Kennedy Center-might have been directed at a
real villain, the Don Quixote who led the theatre off on this
quest.
Designers and theatre technicians on the other hand do have
a basic responsibility to accept the acceptable, to admit the
traditional validity of the other man's ideas and position, at
least to admit what actually does work. The theatre is big
enough for countless possibilities, and the sooner it is recognized that the critical matter is one of getting the right
thing for the right place-rather than getting the ideal thing
for every place-then the layman and the client may begin
to have some clearer understanding of what theatre consultThe opera-ballet house. seating 2200. will be a proscenium theatre
with a stage area the size of the Metropolitan Opera's. The auditorium is to have walls of convex panels covered in red silk and upholstery of red plush. Its proscenium is designed to be flexible and
to become a fourth wall consistent with the rest of the hall when
it is used for inaugural balls. Photo: Maris (Estol. courtesy Edward
Durell Stone.

ants think ought to be built. For if the state of the experts
remains so confused, as the hubub over Kennedy Center
indicates, the theatre will never be able to educate that
publ ic from whose ranks come enlightened cl ients.
Nowadays, in fact, it is the rage to blame as the villain of
theatre architecture the unknowing but budget-minded cl ientor the contract manager or supervising engineer of construction-for making the wrong decisions, either of commission
or omission. Theatre people felt eight years ago, for example when the U.S. Institute for Theatre Technology was
founded, that if only architects could be taught what theatre
design was all about, then good theatres would be built.
Today (now that architects have been "taught" or that theatre technicians have recognized architects as knowledgeable
professionals also), there has been a shift towards assigning
blame for theatre construction faults to the client. And there
is great val idity in this shift.
Kennedy Center's Roger Stevens is an experienced theatre
man, but usually clients are influential and civic-spirited
citizens who have noble intentions of improving the arts
facilities of their communities. Seldom are they knowledge-



Table of Contents for the Digital Edition of Theatre Design & Technology - Feb 1968

Contents
Theatre Design & Technology - Feb 1968 - 1
Theatre Design & Technology - Feb 1968 - 2
Theatre Design & Technology - Feb 1968 - 3
Theatre Design & Technology - Feb 1968 - Contents
Theatre Design & Technology - Feb 1968 - 5
Theatre Design & Technology - Feb 1968 - 6
Theatre Design & Technology - Feb 1968 - 7
Theatre Design & Technology - Feb 1968 - 8
Theatre Design & Technology - Feb 1968 - 9
Theatre Design & Technology - Feb 1968 - 10
Theatre Design & Technology - Feb 1968 - 11
Theatre Design & Technology - Feb 1968 - 12
Theatre Design & Technology - Feb 1968 - 13
Theatre Design & Technology - Feb 1968 - 14
Theatre Design & Technology - Feb 1968 - 15
Theatre Design & Technology - Feb 1968 - 16
Theatre Design & Technology - Feb 1968 - 17
Theatre Design & Technology - Feb 1968 - 18
Theatre Design & Technology - Feb 1968 - 19
Theatre Design & Technology - Feb 1968 - 20
Theatre Design & Technology - Feb 1968 - 21
Theatre Design & Technology - Feb 1968 - 22
Theatre Design & Technology - Feb 1968 - 23
Theatre Design & Technology - Feb 1968 - 24
Theatre Design & Technology - Feb 1968 - 25
Theatre Design & Technology - Feb 1968 - 26
Theatre Design & Technology - Feb 1968 - 27
Theatre Design & Technology - Feb 1968 - 28
Theatre Design & Technology - Feb 1968 - 29
Theatre Design & Technology - Feb 1968 - 30
Theatre Design & Technology - Feb 1968 - 31
Theatre Design & Technology - Feb 1968 - 32
Theatre Design & Technology - Feb 1968 - 33
Theatre Design & Technology - Feb 1968 - 34
Theatre Design & Technology - Feb 1968 - 35
Theatre Design & Technology - Feb 1968 - 36
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