Theatre Design & Technology - Feb 1970 - 6

each conception is fresh; this variety springs
from an inventive imagination concerned
with the individual problems of each new
production. To quote Bablet:
"He chooses materials and technical processes to serve
the function of the play and his production without
limiting himself to a certain restricted set-up. The only thing that counts is to express the profound reality
of the drama. But this realism has nothing to do with
naturalism: it only forces the designer to choose the
colors and shapes (if need be abstract ones). the materials and techniques (even the most surprising ones)
which would best express the fundamental ideas and
the universe of the drama." 6

A designer does not work for himself alone;
a design does not exist on its own. Svoboda expresses it this way: "Scenography
is one of the instruments of a large orchestra which is composed of the different
means of expression employed by the theatre." .7
Svoboda tends to design in fluid "kinetic"
terms, mobile sets which reflect the rhythm
of the play: "I want to have a kinetic scene,
where movement becomes law, a stage
which can change form and structure in the
course of a play depending on the needs
and naturally in accordance with the content
of the play."s
He is a brilliant and intuitive technician,
developing or inventing means of moving
scenery and actors which suit each play on
its own terms. He also uses new materials
whenever necessary.
Perhaps his most important contributions
have been in the field of lighting and projection. He takes old techniques such as
projected scenes, and by overlapping, by
multiple projection from different directions,
he 'explodes' space. Svoboda reflects beams

6

of light from a mirror and makes a luminous
perspective for dream scenes. In Boston, he
designed "Intolleranza" for Sarah Caldwell,
and used closed circuit television to synchronize action taking place at the 'moment
of projection' into the action on stage,
freeing himself from filmed sequences. (Sarah Caldwell is the right American producer
for his techniques-brilliant and singleminded, she simply 'gets' whatever is necessary for her conviction of what the show
should be).

Svoboda, along with the director Alfred
Radok, invented the Polyecran (Polyscreen)
method-a method of simultaneous proj ection on screens posed in a space. This,
much elaborated, is the heart of the
Montreal Czech exhibit. But the screens
were not just panels; they were cubes
with projections on three or four faces,
cubes which moved into tracks. The eye
would convert the shimmering flickering
images into a solid, while the picture was
also being caught by a screen behind the
moving sections. The wit, charm and beauty
of the slides and films were marvelousfor a sequence on watchmaking the spectator would simultaneously see watch interiors, components, clock faces, sequences
of numbers, and a film of the medieval
in Prague's Central
mechanical clock
Square-a clock with angels striking the
hour. All this was entitled "A Hymn to Industry" -a poor description of the glamour
which burst upon one after passing the
title wall.
Svoboda also helped develop Laterna Magika, which was first seen abroad in 1958
at the Brussels World's Fair. The program

used poetry, stallst.cs, live and filmed dancers, live
and recorded music, still projections, and live and
filmed actors, all with a sense of life which came
from an ability to see reality from several angles, on
several time levels, connecting images which cannot
be joined in our limited 'real' world. The program was
essentially reviews, emphasizing three themes interchangeably: present-day Czech life, Czech and Slovak
folk songs and dances, and a romantic and ironic
comedy created by montage and various technical
tricks.9

@ITO THEATER DESIGN AND TECHNOLOGY

FEBRUARY, 1970


http://www.stallst.cs

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

Contents
Theatre Design & Technology - Feb 1970 - 1
Theatre Design & Technology - Feb 1970 - 2
Theatre Design & Technology - Feb 1970 - 3
Theatre Design & Technology - Feb 1970 - Contents
Theatre Design & Technology - Feb 1970 - 5
Theatre Design & Technology - Feb 1970 - 6
Theatre Design & Technology - Feb 1970 - 7
Theatre Design & Technology - Feb 1970 - 8
Theatre Design & Technology - Feb 1970 - 9
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