Theatre Design & Technology - Oct 1974 - 25

California-Santa

The first exercise work on a structure as a tool for light

Barbara was organized approximately according to these
principles. Because the whole class lasted only one month,
however, the syllabus had to be telescoped considerably.
The program represented, as a matter of fact, the
education at the Arts University of Bratislava for the first
semester. This is a general part of our course of study
where the work with a theatre text is not included and
combines both the scenery, lighting, and costume design
student's.

dealt with the principle that everything we see on stage is
seen by light. This, after all, is true not only in theatre but
in real life also. Concentrated theatre lighting makes it
possible to see the actors' faces and other details placed
on the stage quite clearly, almost as if we were near them
though we are quite far away. Thus, the stage lighting
makes the necessary details more clean-cut. According to
this consideration, light is one of the basic factors of

The ta lent selection for the course was made by Donald
J. Childs of UCSB. The class met for four weeks with
three·hour class periods three times a week for a total of
thirty-six hours. The course was of a workshop nature and
an exhibition of the works was organized at the end of the
course. The following basic exercises were solved during
the course: 1) studies of structures - a structure as a tool
for the application of light, 2) spatial composition within
a cube, 3) work with light - fabrication of slides, 4)
workshop technology - the use of natural latex in casting

For example, we know very well that there are faces
which look quite ordinary and uninteresting but when
photographed properly become very interesting. The same
thi ng happens with many materials. I n normal dispersed
daylight they look ordinary. sometimes even ugly; in stage
lighting they become interesting and they are able to

The

course at

the

University of

and painting, 5) use of stage design to embody a stage
direction illuminating a dramatic text through scenography, 6) explanations of a series of slides of my work,
7) practical application of principles to stage space in the
form of a scenography for a given theme, such as a song or

theatre.

evoke new impressions.
When creating a stage design we must bear in mind that
it will be conveyable visually only by light. When selecting
materials for the construction of a set we must know how
they will look under light. We must deal with the fact that
their final effect on the audience will be composed with
light.
The discovery

of

"Iightgenic"

materials to create

structures was the aim of this exercise. New, unconven-

poem.

__

"_~'7~~.;:?;~

1IIIIiiii

Dido and Aeneas, Henry Purcell - University of California - Santa Barbara, Ladislav Vychodil, Designer

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THEATRE DESIGN AND TECHNOLOGY

OCTOBER. 1974

25
Table of Contents for the Digital Edition of Theatre Design & Technology - Oct 1974
