Theatre Design & Technology - Dec 1970 - 19

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readily obtainable, and bondable with most of the
same adhesives used with flexible foams.
The Guthrie has made and continues to make
two-part flexible foams. We have made a backdrop
and floor cloth using flexible foam as texturing,
both of which worked very well. There was no
shrinkage; they held up well under heavy use, and
were easily movable for storage.

FIBERGLAS Since the Guthrie shop cannot yet
afford a Fiberglas machine (over $2000), our
use of the material will continue to be primitive
but effective. We stock resin in five-gallon containers and use glass-cloth, matt, and strand in
abundance for reinforcing furniture joints, protective covering of props and set pieces made from
foam, molds, etc., as well as for props. It is light,
extremely durable, easily repaired and painted, and
easy to work with. We generally use rigid Fiberglas resin, but a flexible resin is also available.
PRE-FORMED PLASTIC The Guthrie shop has
often used pre-cast or pre-formed plastic bricks,
molding, ornamentation, and capitals. For the production of Ceremonies of Dark Old Men, we
bought a quantity of plastic bricks from Sears. The
brick modules had a phony-looking mortar at the
edge which we cut off, giving more depth to the

0!illIJ THEATER DESIGN AND TECHNOLDGY

DECEMBER,1970

veneer and also providing greater flexibility in laying the bricks. We attached the modules with a
linoleum paste that looks much like an aged mortar.

CELASTIC We continue to use traditional materials such as Celastic, which is a colloid material that is especially useful in making costumes.
We have not made much use of Polystar products
because of the high cost. We have found that we
can combine materials that are both less expensive
and easier to work with (felt, glue, leather, and
Fiberglas) .
Because we are not chemists, our use of plastics is on a relatively simple level. When mixing,
for instance, we can easily handle two parts that
must be combined on a half-and-half basis, but
when 0.5 parts catalyst must be added in a
vacuum to 100 parts rubber, by weight, we have
to pass.
Ou r use of plastics has been not an end but a
means. Plastics challenge us to explore new materials in stagecraft, open new possibilities to the
designer, and quickly solve many conventional
stage problems. Plastics are also relatively inexpensive, in time saved if not in initial cost, and
they are also readily available.

19



Table of Contents for the Digital Edition of Theatre Design & Technology - Dec 1970

Contents
Theatre Design & Technology - Dec 1970 - 1
Theatre Design & Technology - Dec 1970 - 2
Theatre Design & Technology - Dec 1970 - 3
Theatre Design & Technology - Dec 1970 - Contents
Theatre Design & Technology - Dec 1970 - 5
Theatre Design & Technology - Dec 1970 - 6
Theatre Design & Technology - Dec 1970 - 7
Theatre Design & Technology - Dec 1970 - 8
Theatre Design & Technology - Dec 1970 - 9
Theatre Design & Technology - Dec 1970 - 10
Theatre Design & Technology - Dec 1970 - 11
Theatre Design & Technology - Dec 1970 - 12
Theatre Design & Technology - Dec 1970 - 13
Theatre Design & Technology - Dec 1970 - 14
Theatre Design & Technology - Dec 1970 - 15
Theatre Design & Technology - Dec 1970 - 16
Theatre Design & Technology - Dec 1970 - 17
Theatre Design & Technology - Dec 1970 - 18
Theatre Design & Technology - Dec 1970 - 19
Theatre Design & Technology - Dec 1970 - 20
Theatre Design & Technology - Dec 1970 - 21
Theatre Design & Technology - Dec 1970 - 22
Theatre Design & Technology - Dec 1970 - 23
Theatre Design & Technology - Dec 1970 - 24
Theatre Design & Technology - Dec 1970 - 25
Theatre Design & Technology - Dec 1970 - 26
Theatre Design & Technology - Dec 1970 - 27
Theatre Design & Technology - Dec 1970 - 28
Theatre Design & Technology - Dec 1970 - 29
Theatre Design & Technology - Dec 1970 - 30
Theatre Design & Technology - Dec 1970 - 31
Theatre Design & Technology - Dec 1970 - 32
Theatre Design & Technology - Dec 1970 - 33
Theatre Design & Technology - Dec 1970 - 34
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Theatre Design & Technology - Dec 1970 - 36
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