Theatre Design & Technology - Feb 1971 - 5

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MING CHO LEE
ON SIX OF HIS SETS
An Informal Interview

USITT: Of the different types of
"theatre" for which you have designed, is there one that has interested
you more than another?

visual statement is merely a surrounding and is not a visual counterpart to
the whole piece. This is the least interesting kind of deSign.

M.C.L.: The most enjoyable kind
of designing, at least for me, is that
which demands a purely theatrical
expression: the least literal kincl of
situation is the most exciting.

USITT: How do you feel about
designing for the opera?

Assume I am designing for a dance
of Martha Graham's. Martha
Graham's work is essentially theatre
through movement, passion, emotion-the whole gestalt of theatre expression through body movement and
through the relationship of one body
to another. It is a totally nonliteral
theatre, expressed through totally nonliteral means: no words, no realistic
detail. . . . Therefore, the design has
to be a counterpart, an expression in
visual terms of what the body is dOing.
One must take this particular
dance statement and express it within
either a sculptural or a painted statement for a body to move with, or
around, or through. This creates a
total passionate or theatrical experience. For me, designing for the dance
is the most exciting type of design.
At the other extreme lies the design for such Broadway plays as Last
of the Red Hot Lovers. Here everything is literal and, if the apartment
is not Jewish enough, or if one introduces a bottle of scotch when it ought
to be bourbon, or if the icebox has
got to be somewhere and isn't-then
it's no good. Here we are only
problem-solving; we are only fulfilling
the requirements of the script. The

~

THEATER DESIGN AND TECHNOLOGY

M.C.L.: Opera falls between these
two extremes. Even with realistic
operas, like Boheme, you still are
working with how you feel about the
music, because the act of singing is
not a literal one.
Verdi's opera is a pleasure to design because if one gets literal about
Verdi it becomes absurd. If it's Trovatore, then it is how Count Di Luna
sings his aria that is important. It
is like dance, in the sense that how
the aria is sung is not unlike how
Martha Graham does a certain dance.
USITT: Would you prefer to design
a Verdi or a Puccini opera?

M.C.L.: There is a weight about
music. Puccini has one kind ofweight,
Wagner another, and Verdi still
another. And French opera can be
based on a story by Goethe and still
be completely above it all.
When you design sets for an opera,
the weight of a set-how heavy or
light, whether it's massive or nothas to be in keeping with the weight
of the music rather than merely trying
to tell the story. And thatimmediately
makes opera exciting to deSign.
Puccini is of course much more
literal than Verdi. In Tosca, for instance, you must have the damn cathedral, and no matter how Puccini

FEBRUARY, 1971

tried to be heavy about Toscain terms
of musical tone, the opera is still
somewhat lightweight. So, if you design a cathedral in heavy sombre tones
it will weigh down the whole thing.
But even designing Tosca is a little
more exciting than designing Last if
the Red Hot Lovers not just because
the architecture is more exciting but
because in Last if the Red Hot Lovers
the placement of the whiskey bottle
and the sofa is the most important
thing whereas in Tasca the color,
the height, the kind of mass are more
important than the placement of the
table. Of course, though, you do have
to have a dagger.
USITT: What about Shakespeare?

M.C.L.: Shakespeare, Ibsen in Peer
Gynt, and Euripides' Electra are all
very much like opera. They are not so
pure in design terms as is dance, but
in Shakespeare and in Greek tragedy
the literalness is less important than
the total st2tement. Shakespeare's
plays were written for a nonliteral
stage, and this greatly affects the design criteria because the play, the
form controls the material one is dealing with.
At this point Mr. Lee was presented
with photographs of models oj six if
his sets and asked to discuss them in
terms if the design criteria they presented and his resolution of them.

M.C.L.: ELECTRA-I designed
Electra during the third season I
worked with the Delacorte and it was
the third production of the season. It

5



Table of Contents for the Digital Edition of Theatre Design & Technology - Feb 1971

Contents
Theatre Design & Technology - Feb 1971 - 1
Theatre Design & Technology - Feb 1971 - 2
Theatre Design & Technology - Feb 1971 - 3
Theatre Design & Technology - Feb 1971 - Contents
Theatre Design & Technology - Feb 1971 - 5
Theatre Design & Technology - Feb 1971 - 6
Theatre Design & Technology - Feb 1971 - 7
Theatre Design & Technology - Feb 1971 - 8
Theatre Design & Technology - Feb 1971 - 9
Theatre Design & Technology - Feb 1971 - 10
Theatre Design & Technology - Feb 1971 - 11
Theatre Design & Technology - Feb 1971 - 12
Theatre Design & Technology - Feb 1971 - 13
Theatre Design & Technology - Feb 1971 - 14
Theatre Design & Technology - Feb 1971 - 15
Theatre Design & Technology - Feb 1971 - 16
Theatre Design & Technology - Feb 1971 - 17
Theatre Design & Technology - Feb 1971 - 18
Theatre Design & Technology - Feb 1971 - 19
Theatre Design & Technology - Feb 1971 - 20
Theatre Design & Technology - Feb 1971 - 21
Theatre Design & Technology - Feb 1971 - 22
Theatre Design & Technology - Feb 1971 - 23
Theatre Design & Technology - Feb 1971 - 24
Theatre Design & Technology - Feb 1971 - 25
Theatre Design & Technology - Feb 1971 - 26
Theatre Design & Technology - Feb 1971 - 27
Theatre Design & Technology - Feb 1971 - 28
Theatre Design & Technology - Feb 1971 - 29
Theatre Design & Technology - Feb 1971 - 30
Theatre Design & Technology - Feb 1971 - 31
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Theatre Design & Technology - Feb 1971 - 33
Theatre Design & Technology - Feb 1971 - 34
Theatre Design & Technology - Feb 1971 - 35
Theatre Design & Technology - Feb 1971 - 36
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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
https://www.nxtbookmedia.com