Theatre Design & Technology - Fall 1975 - 34

Only static slides were used for projection; sometimes
negative images underlined the feeling of cold and
desolation.
Considering the complexities of the Theatergraph
technique, a critic at the time wrote,
E. F. Burian most dexterously abused film for theatre ends.
He often used film as a document, not a historical or objective
document but a theatrical, fictive one .... lt is no longer a
question, properly speaking of film, but of a new material for
the scene designer, material from which one cannot separate
the director. 29

For a number of reasons Burian never revived the
Theatergraph system after the war, although he had better
theatres at his disposal. The next step in the evolution of a
synthesis between stage and film occurred with the work
of Alfred Radok and Josef Svoboda in Prague in the late
1950's. Radok, who was an assistant to Burian in the late
1930's, frankly acknowledges his debt to Burian as an
inspirational force (not necessarily with regard to stage
uses of film, but theatre as an art).
The question of sources and influences in connection
with the use of film in theatre is more tangled than one
might at first assume. With regard to Theatergraph one
inevitably thinks of Piscator's work in the 1920's and
Radok's and Svoboda's work culminating in Laterna
Magika in the early 1960's. Numerous distinctions can be
made, but for the purposes of this survey Kouril's
observation seems a just one:
Laterna Magika is to Theatergraph as today's jet is to
Bleriot's first flying machine. Technically and conceptually:
They are of the same birth: theatre based on lighting. They
contrast by differences deriving from the development of
technology during 40 years. Both are simply the fruit of
modern efforts to solve for the second and third time the
artistic equation THEATRE-FILM, which was first solved by
Piscator. 30

Burian's and Kouril's scenography based on a complex,
lyrically based synthesis of elements produced new ways
of dealing with stage space dramaticallv. Their methods
were certainly the most unconventional in Czech theatre
up to their time. But their activity was essentially still of
the same kind as that of the others I have briefly described. The Czech word for what we call design is
"vytvarnictvi," which means an active shaping or forming,
whether it be of plastic matter in space, pigments on
canvas, drawings on paper, or space, matter and light on
stage. All of these men were shapers and formers. The
range and variety of what they shaped and formed, how
they did so, and with what degree of distinction is
impressive. A tradition was established and, indeed,
carried on directly by some into the post-war era. Then,
after a fallow period of some ten years, it revived and
evolved dramatically in the 1960's. It is salutory to realize
that the widely hailed work of contemporary Czech
designers and scenographers is not without native antecedents. _

17Troster, "Poznamky 0 scene" (Remarks about the setting),
Zivot, vol. 15, nos. 3-4 (1937), p. 84.

18Ji~;' Frejka, "0 novem jevistni~ realismu" (About new stage
realism). Zivot, vol. 15, nos. 3-4 (1937), p. 84.
19Troster, Me(eno dneskem," p. 68.

20'bid., p. 67.
21 Ibid. , P 64.

22lbid.
23'bid., p. 65
24'bid., p. 64.
25Troster, "Poznamky 0 scene," p. 87.
26Jan MUkarovsky, in Jan Grossman, "25 let svetelneho divadla"
(25 years of theatre based on lighting), Acta Scaenografica, I, 8
(March 1961), p. 142.
27Miroslav Kouril, "Dramalicky proster" (Dramatic space), Zivot,
vol. 15, nos. 3-4 (1937), p. 88.
28Kouril, "Svetelne divadlo" (Theatre based on lighting), Acta
Scaenografica, no. 4 (April 1959), p. 11. Two substantial accounts
of the Theatergraph techniques are Grossman, Jan. "25 let
svetelneho divadla," Acta Scaenografica, I, 8 (March 1961), pp.
141-146, and I, 9 (Aprul 1961), 178-180, and in English, Cerny,
Frantisek. "Lighting that Creates the Scene and Lighting as an
Actor," Innovations in Stage and Theatre Design, ed. Francis
Hodge. New York: American Society for Theatre Research, and
Theatre Library Association, 1972, pp. 126-145.
29Jan Kucera, "Film na ceskem jevisti," (Film on the Czech
stage), Zivot, vol. 15, nos. 3-4 (1937), p. 101.
30Kouril, "Procitnut( jara" (The Awakening of Spring), Acta
Scaenografica, VI, 8 (1968), p. 164.

AUTHOR'S NOTE
The author wishes to acknowledge with thanks the generous assistance of the Theatre Division of the National
Museum (Dr. A. Buchner, head) and the Cabinet for the
Study of Czech Theatre of the Academy of Science (Dr.
E. Turnovsky, head), in making their extensive archives
available for study.

THE DEUTSCHE OPER
The Deutsche Oper in West Berlin advertises in its
lobby window (June, 1975) that it needs electricians,
stagehands, and lighting technicians, as well as a lady
toilet attendant who works for tips. To unemployed
American techn icians European employment might prove
an interesting possibility, but only for those with good
conversational German. (The periodical Buhnentechnische
Rundschau regularly publishes ads with other employment possibil ities.)
NAB

NOTES
14Josef ~apek, Moderni vytvarnl vyraz (Modern design expression) (Praha: Ceskislovensky spisovatel, 1958), p. 134.
15Vera P(actova, "Pri~pevky k problemtice modern('Ceske scenografie" (Contributions to the problematics of modern Czech
scenography), unpublished dissertation, Charles University,
Prague, 1966, p. 32.
16lronically, Zelenka also shared with Capek his mode of death.
Imprisoned in a concentration camp from 1941, he was shot during
a death march from one camp to another in mid-1944.

32

uSln

THEATRE DESIGN AND TECHNOLOGY

FALL,1975



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

Contents
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