Theatre Design & Technology - Oct 1971 - 15

THE STREET AS A
THEATRICAL ENVIRONMENT
A Symposium
The US ITT Workshop, "The Street as
a Theatrical Environment," convened at
7:30 P.M. on April 5, 1971 at the Performing Garage, 33 Wooster Street, in
New York. Guests were welcomed by
Mr. C. Ray Smith, at that time US ITT
President, who explained that the evening was sponsored by the Committee
on Theatre Architecture, chaired by Mrs.
Leslie Cortesi. Mr. Smith thanked the
Performing Garage and the Performance
Group directed by Richard Schechnerhosts for the evening-and noted that
the environment in which those present

Mrs. Cortesi: A few opening remarks: I
would like to define some of the things this
discussion is about, and some things that it
isn't. Allover town buildings are being torn
down and new ones built. Whole blocks in
ghettos and slums are being razed and replaced with "projects." Obviously the problems inherent in urban architectural design
are far too overwhelming for us to even begin to discuss them here this evening. It
is, however, our hope that by bringing some
architects and designers together with people who are aware of the theatricality of
streets and of neighborhoods, we will be
able to begin to defi ne what kind of a
space it is that makes things happen.
The discussion this evening is entitled
"The Street as a Theatrical Environment"
because we do not want to confi ne ourselves solely to the response and reactions
of touring street theatre groups. We are not
here to discuss the artistic merits of what
happens in the streets.
We would, however, rather discover
what makes a place like Bethesda Fountain
[plaza/fountain in New York's Central Park]
a theatrical experience on a Sunday afternoon, what makes a street a park, and what
it is that develops community spirit. We
hope that picki ng the brains of those who
have worked in the streets will in some

[§Q THEATER DESIGN AND TECHNOLOGY

found themselves was in fact the untouched set for "Commune." He then
turned the evening over to Mrs. Cortesi.

thanked Patricia MacKay, co-chairman of
the USITT Street Theatre Project for organizing the evening.

Mrs. Cortesi thanked Ann Healy, a
sculptress who had designed and installed
the sail sculpture outside the Performing
Garage not, as Mrs. Cortesi explained,
for the benefit of "Commune" but for
the benefit of those attending that evening. Mrs. Cortesi went on to thank Mrs.
Douglas Auchincloss for a grant providing for the transcription of the evening
for publication in the Journal. She also

Finally, Mrs. Cortesi introduced the
panel: Dan Toan, of the architectural firm
of Warner, Burns, Toan, and Lunde; Stuart Pertz of the architectural firm of
Pokorny & Pertz; Klaus Pinter of HausRucker Co.; Noel Tichy, a psychologist;
Gordon Duffy, producer of the film
"Beautiful, Beautiful"; and Karin Bacon,
Festival Coordinator of the New York
City Department of Cultural Affairs.

way contribute positively to the architecture
of our cities.

develop some of the characteristics that
would provide for a street theatre environment.

Mr. Toan: This is really an extraordinary
topic. Architects and planners would love to
think of streets as being places of theatre,
dramatic places, places which would attract
people and hold people. Only in a few periods of history have we succeeded in doing
so. And I think it is extraordinary and very
appropriate that we examine those circumstances that surround whatever characteristics permit the theatre to develop in the
street.

Miss Bacon: I was interested that Mrs.
Cortesi mentioned Bethesda Fountain because this is one place in New York which
epitomizes the theatrical qualities that we
are talking about. It is a maze which I
know intimately because of my job as Festival Coordinator at the Department of Cultural Affairs. I have designed a number of
ew Year's Eve festivals in that space.

Architects today tend to deal with spaces
that are much too large, much too impermanent, and too grand to be capable of
conversion into theatrical spaces. Theatre
needs the intimacy of smaller environments
-of visual contact, of acoustical proximity,
etc. And architects simply do not think in
these terms very much today.

I think there is no question that the physical aspects of a space tremendously affect
what happens on that space. There is a
reason why Bethesda Fountain is a celebration every Sunday, why the Sheep Meadow
is a do-your-own-thing kind of place; and
why Fifth Avenue is a marvelous parade
street. These spaces provide for interaction between people, thus injecting a kind
of energy into the environment which is a
healthy and positive thing. Spaces which
frustrate interactive energy are oppressive.
Environmental systems can be idel'tified in
the same way that political or social systems are identified, and in many cases the
environments are oppressive.

I hope, as we listen to the panelists today, and as we discuss this, that we can

I am Festival Coordinator for the New
York City Cultural Affairs Department. I ad-

I had thought, but was unable, to bring
some slides tonight of a Greek theatre (derived from the threshing floor) and also an
Elizabethan theatre (derived from an architectural setting, basically the courtyards of
inns).

OCTOBER ,1971

15



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

Contents
Theatre Design & Technology - Oct 1971 - 1
Theatre Design & Technology - Oct 1971 - 2
Theatre Design & Technology - Oct 1971 - 3
Theatre Design & Technology - Oct 1971 - Contents
Theatre Design & Technology - Oct 1971 - 5
Theatre Design & Technology - Oct 1971 - 6
Theatre Design & Technology - Oct 1971 - 7
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
http://www.nxtbookMEDIA.com