Theatre Design & Technology - Fall 1975 - 23

glasses, mountains of paper, ash trays filled with cigarette
butts, sounds of recordings, talk of what went on. One
starts allover again to forget all which has been done. To
be able not to come back to anything is necessary. Happy
is the designer who really does not remember what a
production he did a year ago looked like. This famous
space called a stage, whatever its shape, wherever it is, can
be compared to a chess board. The possibilities of the
game are infinite. Here, fantasy has a borderless playing
field and little does it matter what sort of theatre
philosophy governs a production.
The designer should not, ideally speaking, com mit
himself too early. Many final solutions should come out
during the work on stage at rehearsals through the
cooperation of all involved. And little does it matter
whether it happens in the conventional theatre, or the
theatre of alienation, the theatre in the round or in the
square, the arena or the rostrum, the theatre of the
ridiculous or the absurd. However, the time for probing is
not endless - the designer has to have a built-in discipline
wh ich enables him to adhere to schedules. He has to know
that he is only part of a whole. And the actor and the set
must have the possibility of rehearsing together.
Out of his love for his work, his open mindedness and
his fantasy emerges the designer's handwriting and
craftsmanship. He has to be patient because what is forced
does not necessarily work. But by his natural constant
awareness, his world opens herself to him. She's there
surprisingly and wonderously when he demands nothing.
The world becomes picture, space and art. Misunderstood
aesthetics as self-purpose and speculative original ity are
dangerous for the designer. Fake heaviness and ponderous
injection of 'meaning' are very dubious contributions. He
has to be flexible and stubborn. One play demands
definite limitations, others need realistic or naturalistic or
stylized underscoring. One needs detail - the other large
scale unity. Here you need colors, there color would be
superfluous. Sometimes one needs a serious approach sometimes one wants just to laugh.
The world of the theatre has to be his laboratory.
There is demand for the experiment but not for
sensationalism. For instance, it is not an experiment,
when a well-known author takes all his clothes off during
the curtain calls at the "premiere" of one of his plays.
Neither is it an experiment or a creative statement when
the audience at a recent off-Broadway production had to
crawl into the auditorium through a small, artificially
made hole in the wall, especially when that hole was next
to a comfortable door. Nor does it add to any better
interpretation of the play, for the spectators to be almost
strangled and frightened by invisible ushers upon entering
a completely blacked-out auditorium. And finally, it is
neither daring nor has it anything to do with interpreting
the author's intentions to let some poor, freezing, actors
in their costumes mingle with the audience in front of the
theatre during intermission.
The designer should invent but also know that theatre
can exist beautifully without "technology." Nevertheless,
make use of technique-the technique of change-like an
actor, to participate and be able to respond to change
whenever there is a need. Change is the artistic use of
technique.
The designer has to be a poet who is
human being. His work has to look and
A stage set without performers in it
Theatre is the designer's fate. He has to

USITT

THEATRE DESIGN AND TECHNOLOGY

possessed by the
feel like a poem.
makes no sense.
help create great

FALL.1975

theatre not by virtuosity, not by making himself selfimportant, but by knowledge, intensity and instinct, by
self-generating questions. A stage set is not a decoration,
not a window display. It does not stand on its own. It
should play along with the performers and, as they
hopefully do, also have fun. False or extra curlicues only
slide down into the aesthetic or Cabaretistic. A wrong
costume - and the accents have changed.
Make something new out of something old. Very often it
also costs less money. Costs, by the way, can be reduced
by the cooperation of theatrical minded producers,
directors and designers, as a recent opera production in
Frankfurt, Germany proved. The estimated projected cost
of the physical production was reduced from 166,000
marks to 30,000 marks. Imagination triumphed, both
critics and audiences acclaimed the production. And to
quote Brooks Atkinson of the New York Times who
wrote, many years ago before inflation, about a play I had
designed in New York. "The hero of this episode is
Wolfgang Roth who has designed a vivid set out of some
scantlings. Limit a designer to a total expenditure of
about $1.75 and he can frequently make a genuine
contribution to scenic art. The next step would be to
persuade producers not to squander so much money on
massive building development and smart interior decoration." So wrote Brooks Atkinson in 1949. Did anybody
listen?
Scenery pieces, whenever available, can be rehandled
and retreated and rehung and repainted and reused.
Doesn't an actor also change his face and his figure many
times? Those old scenery pieces and props wait eagerly to
get on stage again. Brecht had a great affection for old
props. He wrote a beautiful poem about props found and
collected. I can understand it better today after having
worked with them many years, inventing, handl ing and
converting, and watching them emerge magically as
beautiful material. All that one needs is love and fun to
which is added some paint, lumber, glue, rags, sewing
needles and junk lying around and sometimes even some
spit. While setting up the Jouvet production of L 'Ecole
des Femmes in New York, the American producer
brought in some scenic painters to touch up parts of the
set which showed some wear and tear due to much
handling. Jouvet's head technician, a rotund Frenchman,
noticed how hard these men tried to match the faded
colors and to repair the scratches. Benignly, he stopped
them to show how he would solve this problem. He spit
generously into his hand, then vigorously applied the spit
to the damaged parts. Stepping back, he looked with great
satisfaction at his handiwork -- and with a broad smile
said: "C'est ~a - ~a marche." And it did! So much for the
use of SPit. Love and fun and pleasure challenge
imagination, improvisation, theatrical feeling and theatrical knowledge, which will result eventually in clarity and
cleanliness of design.
Technicians, iron workers, carpenters, scene painters
and costume makers are the designers' friends. He often
has to protect them, takes upon himself all responsibility,
their mistakes as well as their success. He is in a much
better position to do so.
But theatre knows the "deadline" and finally you have
"to freeze" the show, although you always seem to need
five minutes more. The show goes on (sometimes not) and
the designer's work is done. He leaves behind the smell of
back stage, make-up, old paint, and empty paper coffee
containers, decor, curtains, draperies, chandeliers of the
auditorium - billboards, the breath of the audience which

21



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1975

Contents
Theatre Design & Technology - Fall 1975 - 1
Theatre Design & Technology - Fall 1975 - 2
Theatre Design & Technology - Fall 1975 - 3
Theatre Design & Technology - Fall 1975 - Contents
Theatre Design & Technology - Fall 1975 - 5
Theatre Design & Technology - Fall 1975 - 6
Theatre Design & Technology - Fall 1975 - 7
Theatre Design & Technology - Fall 1975 - 8
Theatre Design & Technology - Fall 1975 - 9
Theatre Design & Technology - Fall 1975 - 10
Theatre Design & Technology - Fall 1975 - 11
Theatre Design & Technology - Fall 1975 - 12
Theatre Design & Technology - Fall 1975 - 13
Theatre Design & Technology - Fall 1975 - 14
Theatre Design & Technology - Fall 1975 - 15
Theatre Design & Technology - Fall 1975 - 16
Theatre Design & Technology - Fall 1975 - 17
Theatre Design & Technology - Fall 1975 - 18
Theatre Design & Technology - Fall 1975 - 19
Theatre Design & Technology - Fall 1975 - 20
Theatre Design & Technology - Fall 1975 - 21
Theatre Design & Technology - Fall 1975 - 22
Theatre Design & Technology - Fall 1975 - 23
Theatre Design & Technology - Fall 1975 - 24
Theatre Design & Technology - Fall 1975 - 25
Theatre Design & Technology - Fall 1975 - 26
Theatre Design & Technology - Fall 1975 - 27
Theatre Design & Technology - Fall 1975 - 28
Theatre Design & Technology - Fall 1975 - 29
Theatre Design & Technology - Fall 1975 - 30
Theatre Design & Technology - Fall 1975 - 31
Theatre Design & Technology - Fall 1975 - 32
Theatre Design & Technology - Fall 1975 - 33
Theatre Design & Technology - Fall 1975 - 34
Theatre Design & Technology - Fall 1975 - 35
Theatre Design & Technology - Fall 1975 - 36
Theatre Design & Technology - Fall 1975 - 37
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Theatre Design & Technology - Fall 1975 - 46
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