Theatre Design & Technology - Summer 1975 - 19

during the post-war years that saw the imported
doctrine of socialist realism dominate the Czech
stage. His masterful architectonic sense was never
lost but all too often it was merely architectural
without being dramatic. In the twenty-odd years of
his prime creativity, however, he explored the full
spectrum of major movements of modern art as
reflected in theatre, with the exception of surrealism.
During those years his intuitive sense of theatre
rarely abandoned him, and he never fully broke away
from his inherent inclination toward expressionism,
as he himself acknowledged even at a time when he
seemed to be moving away from it:
The need for expressive intensity, even though today we
abandon excessive and inflexible expressionism and cubism,
and move toward constructive realism, remains an ideational
concern of theatre .... Constructive realism, just like the expressionism that preceded it, retains the fundamental modern
ingredient of theatre, which is an extended scale. 11

In relation to Hofman, Bedrich Feuerstei n (18921936) (Figure 12) represents a more restrained,
lighter, often wittier version of an inherently expressionistic designer with strengths as painter and
architect. By training and profession an architect, he
was never regularly attached to any theatre, and he
spent extended periods of time away from theatre
work entirely. Most of his designs were for the
establishment theatres in Prague, but a few of his
outstanding settings were executed for a leading
avant-garde group, something that was never true of
Hofman. (On the other hand, one might of course
regard much of Hofman's work for the National
Theatre as artistically more avant-garde than the
work done by many small, revolutionary groups.)
Feuerstein lived abroad on numerous occasions: as a
student in Paris, later again in Paris as an assistant
in an architectural atelier, and from 1926 to 1930 in
Tokyo as an architectural assistant in an American
firm. Although his theatre designs show a progression toward greater simplicity and lightness, his
inner state apparently developed otherwise. Despondent over repeated rejections of his architectural
proposals in various competitions and lack of recognition of his work, he took his own life in his
mid-forties.
Several characteristics remain fairly constant in
his scene design: a disciplined architectonic sense of
space and order that is softened and lightened by
curved motifs, decorative treatment of the frames of
his sets, frequent use of warm, bright colors, and a
recurrent appearance of draparies; occasional
warping and twisting of lines and forms that reflects
tendencies in expressionist painting; and a rather
consistent treatment of space by means of two
dimensional layers or planes with distinctive outlines
rather than by means of plastic forms (reminiscent of

Fig. 12. Bedrich Feuerstein.

Cezanne). Like Hofman, Feuerstein tends to fill his
stage with his sets, pictorially if not structurally. On
the other hand, he could never be accused of the
heaviness or excessiveness that sometimes seems the
corollary of Hofman's powerful scenic imagery;
Feuerstein's work always shows impeccable taste
and proportion.
Some of his most interesting designs were done in
the early 1920's, before his long sojourns abroad.
Elements of cubism and expressionism appear in his
first setting, for the original production of Karel
~apek's R. U. R., (Figure 13) Prague 1921, to which
he was invited on the basis of his friendship with the
Capek brothers. Here the architect in Feuerstein
clearly dominates the painter, despite his use of a
bright palette of colors: the geometric precision of
lines and curves, and the obvious use of threedimensional forms reveal his professional training
and also go hand in hand with the modernistic,
mechanistic motifs of the play.
r~

Fig. 13. B. Feuerstein, R. U. R. (K. Capek). 25 Jan. 1921, National
Theatre, Prague, dir: V. Novak. Photo courtesy of Theatre
Collection - National Museum, Prague.

19



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
Theatre Design & Technology - Summer 1975 - 10
Theatre Design & Technology - Summer 1975 - 11
Theatre Design & Technology - Summer 1975 - 12
Theatre Design & Technology - Summer 1975 - 13
Theatre Design & Technology - Summer 1975 - 14
Theatre Design & Technology - Summer 1975 - 15
Theatre Design & Technology - Summer 1975 - 16
Theatre Design & Technology - Summer 1975 - 17
Theatre Design & Technology - Summer 1975 - 18
Theatre Design & Technology - Summer 1975 - 19
Theatre Design & Technology - Summer 1975 - 20
Theatre Design & Technology - Summer 1975 - 21
Theatre Design & Technology - Summer 1975 - 22
Theatre Design & Technology - Summer 1975 - 23
Theatre Design & Technology - Summer 1975 - 24
Theatre Design & Technology - Summer 1975 - 25
Theatre Design & Technology - Summer 1975 - 26
Theatre Design & Technology - Summer 1975 - 27
Theatre Design & Technology - Summer 1975 - 28
Theatre Design & Technology - Summer 1975 - 29
Theatre Design & Technology - Summer 1975 - 30
Theatre Design & Technology - Summer 1975 - 31
Theatre Design & Technology - Summer 1975 - 32
Theatre Design & Technology - Summer 1975 - 33
Theatre Design & Technology - Summer 1975 - 34
Theatre Design & Technology - Summer 1975 - 35
Theatre Design & Technology - Summer 1975 - 36
Theatre Design & Technology - Summer 1975 - 37
Theatre Design & Technology - Summer 1975 - 38
Theatre Design & Technology - Summer 1975 - 39
Theatre Design & Technology - Summer 1975 - 40
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