Theatre Design & Technology - Summer 1975 - 16

"I t is necessary to transgress prescribed' appropriate
limits' constantly, in order to achieve artistic truth.,,4
His career evolved through numerous phases and his
work never became set in any single manner, yet his
stamp is rarely hard to discern: a heightened
expressiveness that often approaches a distortion of
form reminiscent of the Baroque, a tendency toward
weightiness, mass, and powerful contrasts. There is
about his work and that of Hi lar a sense of
hypertension, of extravagance restrained with difficulty.

Hofman's first production was The Hussites
[Husite] (Figures 4a & 4b) by Arnost Dvorak an
historical drama directed by Hilar in 1919. (Hilar
asked Hofman to work with him after seeing the
latter's series of drawings of characters from
Dostoyevsky.) Years later, Hofman had this to say
about his first production:
The main elements were still painted backdrops, an old
means which were given a new expression and emotiveness by
the emphatic personal signature of the painter, non-naturalistic
of course, aiming toward a dramatic expressiveness of sharp
contracts. 6

Fig. 3. Vlastislav Hofman

A most fruitful tension existed within Hofman
between the painter and the architect, the one
alternately tempering and prompting the other.
Viewed as a whole, his work from 1919 through the
late 1930's moved from vivid, essentially two dimensional pictorialization, through a more restrained,
puristic, partially constructivist period in which
architectronics of space dominated the painter's
vision, and which led eventually to what he called
"constructive realism," a form in which functionalism and constructional simplification were united
with elements of reality according to the special laws
of theatre space. His own remarks from an article,
"Constructive Realism," are useful in defining his
position:
The contemporary stage setting is an artificial reality which
exists for its own sake and only on the stage. It is also,
however, an indication of nature and reality. For this
constructional handling of exteriors and interiors, which always
means a handling 01 constructional stage space, I use the
relatively unfamiliar term, a montage of reality. It is a matter
of reality on stage, of reality as it were assembled from real
elements, as much as possible not painted .... The word
"montage" because suggested indications of reality are placed
constructionally in space. 5

16

Figs. 4a, 4b. V. Hofman, The Hussites, A Dvorak, 19 Nov. 1919,
Vinohrady Theatre, Prague;ยท.dir: K. H. Hilar.

Several critics noted that Hofman's setting was a
striking variant, if not inversion, of Craig's principles. Like Craig, Hofman eliminated painted flats
that attempted to provide an illusion of locale, but
instead of substituting three dimensional, neutral
forms, he created powerfully expressive, distorted
paintings that seized upon and intensified the
dramatic high point of each scene. His treatment of
clouds is especially striking. In this and other
productions, his desire for maximum expressiveness
extended to his design of costumes and makeup, for



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

Contents
Theatre Design & Technology - Summer 1975 - 1
Theatre Design & Technology - Summer 1975 - 2
Theatre Design & Technology - Summer 1975 - 3
Theatre Design & Technology - Summer 1975 - Contents
Theatre Design & Technology - Summer 1975 - 5
Theatre Design & Technology - Summer 1975 - 6
Theatre Design & Technology - Summer 1975 - 7
Theatre Design & Technology - Summer 1975 - 8
Theatre Design & Technology - Summer 1975 - 9
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Theatre Design & Technology - Summer 1975 - 12
Theatre Design & Technology - Summer 1975 - 13
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Theatre Design & Technology - Summer 1975 - 16
Theatre Design & Technology - Summer 1975 - 17
Theatre Design & Technology - Summer 1975 - 18
Theatre Design & Technology - Summer 1975 - 19
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Theatre Design & Technology - Summer 1975 - 24
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Theatre Design & Technology - Summer 1975 - 26
Theatre Design & Technology - Summer 1975 - 27
Theatre Design & Technology - Summer 1975 - 28
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Theatre Design & Technology - Summer 1975 - 33
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Theatre Design & Technology - Summer 1975 - 40
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