Theatre Design & Technology - May 1973 - 9
rapher must know his contemporary techniques,
materials, and technical devices. Only then maya
wonderfu I thing happen: these materials and tech·
niques may become a sou rce of inspiration to us.
Second, these expressive means should remain nonintrusive, non-disruptive of the main action of the
play, virtually non-evident; they shou Id never become ends in themselves but must serve the production as a whole. Third, to reiterate a point made
earlier, these expressive means should be used only
when dramatically necessary, otherwise we discredit
both them and ourselves. They are often extremely
attractive, and the temptation to employ them for
effect is strong, but we must wait for the :':;:;..::0priate production opportunity.
Several other matters relate to scenography's new
expressive means. One concerns the need of intense
and intimate co-creative work between the director
and the designer/scenographer toward the creation
of a scenario that delineates the total production
concept, a scenario in which the playscript, the
direction, and the scenography are mutually reinforcing elements. It is a team effort in wh ich the
director is aware of the ways in which scenography
can help express his vision of the play and in which
Fig.2
~
the designer/scenographer is actively involved in
embodying the director's production concept.
The teamwork approach extends to the need of
adequately trained technical personnel to work with
and develop the recent innovations in scenograph ic
techniques and materials. In our theatres, certain
redistribution of assignments occurred as more
highly trained and skilled personnel became necessary in our scene shops and backstage. The ideal is
that these personnel learn their roles with the same
precision and responsiveness as the actors and in
this way share in the creative aspects of production.
We have all experienced the frustrations of trying to
integrate scenography with the other elements of
production during the last few days of rehearsals
before a premiere. Under such distorted pressures
of time, some of the best ideas of director and
designer must be scrapped. How preferable it would
be to organize our work in such a way as to make
possible the rehearsing of the scenography and
technical crews on stage during the regular rehearsals
with the actors. (Allow me to add that the scenographic practises and use of personnel that I am
sketching here have not increased our operating
budget over the years.)
Svoboda and a student examine the latter's model and photographic renderings for Midsummer's Night Dream at
Northridge State, California.
THEATRE DESIGN AND TECHNOLOGY
MAY, 1973
9
Table of Contents for the Digital Edition of Theatre Design & Technology - May 1973
Contents
Theatre Design & Technology - May 1973 - 1
Theatre Design & Technology - May 1973 - 2
Theatre Design & Technology - May 1973 - 3
Theatre Design & Technology - May 1973 - Contents
Theatre Design & Technology - May 1973 - 5
Theatre Design & Technology - May 1973 - 6
Theatre Design & Technology - May 1973 - 7
Theatre Design & Technology - May 1973 - 8
Theatre Design & Technology - May 1973 - 9
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
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