Theatre Design & Technology - Fall 1976 - 33

sense of texture, color and characterization. They are
charming, light, bright and sprightly.
The designs of Stanislava Vani~kova for the Nova
Scena, Bratislava, have a rather watery application of
water colors, but convey the sense of character. First
there is a series that seems to be impressions of scenes,
with very misty, mottled colors. Then come other sketches of more specific things, some very handsome pieces.
Her work for Ibsen's A Doll's House creates the effect
she is after, but probably needs a little more specificity
for the shop. Her designs for Chekhov's The Three Sisters have characters emerging from the background and
are attractive. There are a couple of sketches on the side
showing the shop what they are expected to do and how
they are to cut things. I think these are rather fine, very
subtle costumes.

magentas and pinks. They are just right for this vulgar
show. They go with a set that looks like a ribcage - a
wonderful idea.
Werner Juhrke's designs for The Sleeping Beauty are
very elegant. There is just an idea of the 18th century
without being very historical. They are very grand, beautiful things, and would be lovely in that ballet.

Alan Adelman
The exhibition of Svoboda and Vychodil's work
bothered me quite a bit. The figure was all too often
omitted from the model and the abstractions were so visually active and powerful that I could not possibly see
an actor in proper perspective. It doesn't make sense if
the performer must overpower the design in order to
reach the audience. In Romeo and Juliet at the Smetana
Theatre, there were very few movements onstage that
had as much impact as the visual shift into the ballroom
or the revelation of the courtyard. Instead of cohesiveness, I sensed competition and the feeling made me very
uneasy.
Svoboda speaks of the designer as director !indeed,
Alwin Nikolais has been able to fuse the elements successfully in our country) yet it is questionable as to
whether his concepts are in response to a new developing
form or whether they arise out of the need to fill the
gap left by directorial censorship.
Brigitte Sitte
The Czech exhibition at the Wallenstein Palais manifested this nation's prolific talent in the graphic arts and
should be documented in colored photographs, not in
words.

Above: Hello Dolly. Boris Kubik, German Federal Republic. Below: The Vjsit. Hainer Hill, German Federal
Republic. Photos by John Rothgeb.

FEDERAL REPUBLIC OF GERMANY
Don Stowell
Rudolf Schulz's designs for Camino Real at the Staats
Theatre, Hanover, 1974, look like photocopies, but they
are wonderful, decadent pencil sketches - good costumes
for these characters. There is a sense of the grotesque
through-<>ut - a very specific hodgepodge. There are some
"dirty" ideas, but that is exactly what the show is about.
It would be interesting to see this production.
Four plates by Juergen Rose for Verdi's La Traviata at
the Staatsoper, Muenchen, have a sad quality.
Paul Struck's designs for Tennessee William's Camino
Real at the Deutschestheatre, Gottingen, 1974, are lovely
things that say what needs to be said: "Rosita is good; La
Madrecita is very sad and wears a mask." The fiesta masks
are wonderful and grotesque, with a proper sense of vulgarity. The ponchos for the fiesta are done in reds and

I

USITT

I

FINLAND
Don Stowell
Annelli Queflander's designs for Boris Godunov are
spectacular renderings. One at the end is expressive and
dramatic, not telling you exactly where to put everything
but giving you ideas of what the designer means and
what the costume is about. It is exciting. There is a
nice model, too. Her designs for Prokovieff's The Love
of Three Oranges are handsome. Here is a time where
the cut-and-paste technique works, and she is telling a
little bit, not trying to specify the whole thing. These
work well.
FRANCE
Don Stowell
Some designs of Yves Bonnat are very colorful, easilybuilt costumes for open theatre' production. They are

THEATRE DESIGN AND TECHNOLOGY

FALL,1976

33



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
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
https://www.nxtbookmedia.com