Theatre Design & Technology - Fall 1976 - 22

elements. We're not able to conceive of theatre as only
an optical element, or only an acoustic element. It is
important that a scenographer works so all the senses
of the public will react.
VAN PHILLIPS: Don't misunderstand me when I said
"visual communication as a part of the whole." I mean
the communication of written words through the spoken
word that is approaching your ear and the visual cue
which is approaching your eye. These combine to make
the play alive.
DR. JINDRA: The visual side and the sound side are just
there to give more strength to the action of the thing.
MILLIA DAVENPORT: Well, I think that is very important, because so arrogant are designers that there is nothing easier than to make a spectacularly beautiful set or
costumes, and that is not their god-damned business
most of the time.
FRANCOIS BARBEAU: But sometimes you have to do
that.
MILLIA DAVENPORT: If it's required, I make the designs without having seen the actor. But the minute I
see the actor, the design begins to live, for now there's
something to be exploited, and this is in the service of
the play, in whose service the actor is. Now it would
be very easy for me to make that actor look much handsomer, but here I am concerned with exploiting his
body, his way of going, his gestures.
DR. STOWELL: The thing I find most stimulating is
the contrast between what we are expected to do in
our country and what you do here. We teach techniques,
ways of doing things, but what I hear from you here are
ideas, theories, the basic philosophy of theatrical experience.
VAN PHILLIPS: The pressure in the United States is
to do things that are easily graded or systematized, so
one tends to teach information that can be right or
wrong, instead of dealing with a more ephemeral illusion, which can be successful or not depending on whether it works between you and the illusion.
DR. JINDRA: The main point of our school is to teach
students to have their own conception of visual art.
VAN PHILLIPS: It is best when we teach that way as
well, but because our system is based on examinations and
on grades, the tendency is to go towards the practical, the
factual.
MILLIA DAVENPORT: One of the problems in the
United States is that you graduate from college and you
start getting jobs and there is no philosophy behind your
work. You may work for a small producer, La Mama, or
whatever for a few years, but there's no national theatre,
no national visual aesthetic recognized from one coast
to the other.
FRANCOIS BARBEAU: It is the same problem we have
in Canada, it's too big.
VAN PHILLIPS: But it really is more exciting when
concepts begin to flow between artists. Most of the
time in the U.S. that happens between one designer and
a student apprentice, rather than through structured
classes. Some of us are trying to change that, but the
classes still stay practical and most of the time the con-

22

FAll,1976

ceptual flow is between a single student and yourself; it
happens one-to-one.
DON STOWELL: In looking at student work yesterday,
in the first year, particularly, I felt a very strong sense of
the importance of the ideas of Gordon Craig and Adolphe
Appia. Is this planned? Do the students read Craig and
Appia? Are they taught the ideas?
DR. JINDRA: In school they study them as specific
subjects, because we are convinced that these two are the
base of modern theatre. We are always looking for new
realizations of the elements they defined. The main part
of this study is to find the relation between these realities. It gets manifested in the change of different methods.
So they start studying the Stanislavsky method with his
historic realism. We continue with other methods after
we study the destruction brought by Impressionism. After
that we do an analysis of what Craig brought to the
theatre. Our aim is that all students will learn these ways
of thinking. I didn't give you all that we teach students,
but these are the main things. We try to explain to the
student that there is no one bridge between reality and
artistic art. It is the same between a drama and a mise

en scene.
DON STOWELL: In our country, because neither Craig
nor Appia wrote much about costuming, costume people
tend to neglect the basic philosophical ideas they expressed and think they belong just to the scenery people.
Costumers say, "They don't say anything to us", when,
in fact, the basic philosophy does.
MARTIN ZBORIL: In the United States do you really
divide the programs of stage designing into two lines,
I mean, stage costumes and scenic design?
DON STOWE L L: Yes. I think because we have found that
when we really are specializing and working regularly in
productions, we cannot in most cases pay the necessary
attention to detail on the total production. I think ideally
we all want to be able to create a whole production.
I do, sometimes. I know Van does sets and costumes,
sometimes.
VAN PHILLIPS: Maybe that came out of our professional
theatre because the greater portion of the American theatre is not built on a company where the shops are that
close at hand but are spread out. Even in New York,
scenic studios are in one part of town, but costume shops
are totally across town. Many of the designers don't design for the same people but once, and then they will
design for another group. It is easier to specialize and to
deal with the shop that you are concerned with. Historically, we have gotten into this specialization thing, but
there are a few places that teach is as a conglomerate
whole.
MILLIA DAVENPORT: Well, I am a great believer in
one person doing as much as possible. Now I have never
forgotten "A Little Night Music." In New York it was
excellent. It was written by Stephen Sondheim: he wrote
the music; he directed it; he oversaw Boris Aronson's
sets and props; he was the boss. It was perfection. Then
they did it in London and he did not go. The set was a
disaster. Instead of delicate misty birch woods in Scandanavia. there were black and white birch trees. They

THEATRE DESIGN AND TECHNOLOGY

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Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1976

Contents
Theatre Design & Technology - Fall 1976 - 1
Theatre Design & Technology - Fall 1976 - 2
Theatre Design & Technology - Fall 1976 - 3
Theatre Design & Technology - Fall 1976 - Contents
Theatre Design & Technology - Fall 1976 - 5
Theatre Design & Technology - Fall 1976 - 6
Theatre Design & Technology - Fall 1976 - 7
Theatre Design & Technology - Fall 1976 - 8
Theatre Design & Technology - Fall 1976 - 9
Theatre Design & Technology - Fall 1976 - 10
Theatre Design & Technology - Fall 1976 - 11
Theatre Design & Technology - Fall 1976 - 12
Theatre Design & Technology - Fall 1976 - 13
Theatre Design & Technology - Fall 1976 - 14
Theatre Design & Technology - Fall 1976 - 15
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Theatre Design & Technology - Fall 1976 - 18
Theatre Design & Technology - Fall 1976 - 19
Theatre Design & Technology - Fall 1976 - 20
Theatre Design & Technology - Fall 1976 - 21
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Theatre Design & Technology - Fall 1976 - 24
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Theatre Design & Technology - Fall 1976 - 26
Theatre Design & Technology - Fall 1976 - 27
Theatre Design & Technology - Fall 1976 - 28
Theatre Design & Technology - Fall 1976 - 29
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