Theatre Design & Technology - Fall 1976 - 42

well detailed and very thorough, making them not just
pictures but quite useable for construction purposes.
L,.eon i. Brau ner
Mari-Lijs Kjulo-Pansc of the USSR designed a dynamic
animal-like set of costume designs for Richard III. The
pen and ink wash set of designs showed the brutality of
the variously evil characters from this play. The designer
used animal fur dyed a wide range of strong colors to help
support the animal-like qualities of her costume designs.
A strong, simple idea handsomely rendered. Dyed fur
samples (black, orange, brown) were attached to the
renderings.
Gary Gaiser
Several of the Russian Architectural exhibits presented art complexes of unusual diversity. In add ition,
their relatively novel vertical panels, holding models
out to view, gave easier visual access to the plan and its
interrelation: one looks into rather than at the model
of the art centers.
Brigitte Sitte
Quite apparent in the Russian exhibit was the influence
of folkloric art of past centuries. Valerij Levental's scene
design for The Cherry Orchard (Teatr dramv I Komedia
na Taganke, Moskva 1975) captured in a delicate cream
white impressionistic set the essence of this play. All
Russian scene designs and costume designs were quite
realistic, in a trad itional manner, meticulously executed.
Abstract, futuristic, avant"9arde . . . these terminologies
do not fall in line with current Russian art philosophy.

dered effect is useful. The construction details are clear.
There is a lot of information here, more than is apparent
at first. This set of designs is impressive.
Brigitte Sitte
Wonderful. Possible to build. Stunning. All the blacks
and grays and golds and reds - a magnificent idea.
Harold J. Hunter
The Yugoslavian section was a good example of the
best of the East European production techniques. The
set models were strong and theatrical; frequently accompanied by other drawings and paintings, much like the
Russian area. Most of the designs were illustrated by a
comb ination of drawings, photographs and models,
although the photography was certainly not up to the
standards to which we have become accustomed.
Costume designs were superb, for the most part, in
the Yugoslavian group. The designs for Androcles and the
Lion were very well done and good examples of what a
costume rendering should be; Marija Kobi gave a definite
feeling of the character and the idea of personification
was apparent. The character was expressed not only
through facial expressions and costume cut, but the
drawing technique itself varied from plate to plate, adding more expression of what the character is like. By
viewing the complete set of renderings one quickly
grasped a feel for the entire production concept.
STUDENT EXHIBIT
Gary Gaiser
The fact that student work was extensively represented
in "Diploma" or final projects from numerous stage
design schools and with a caliber of work often admired
not only by representative scenographers but also by outstanding artists ensures the renewal and growth of the
theatre. It is of additional satisfaction that exceptional
work often originated in countries with either a small
geographical area or with a small population.
Brigitte Sitte
The student Exhibition left me in a haze; all I can say
is that there was not one piece of work that should not
have been exhibited. Highest artistic caliber, superb
craftsmanship and an overwhelming variety of styles.
Jim Franklin

YUGOSLAVIA
Don Stowell

Having visited the student exhibit after two days
of viewing the Senior National Exhibits, I was immediately struck by the relationship of the work of tht: student designers to that of their senior professionals. Almost
universally, but especially in the case of the Eastern
European countries, I was struck by the similarities in
design style, presentational approaches, presentational
media, etc., used by the student designer and those I
had seen in the corresponding senior exhibit. The unique
national character of each exhibit was immediately
recognizable in the work of the student designers of
each nation.

Milena Miceva's designs for Macbeth at the Theatre
Pozoriste, Belgrade, 1975, are big and bold. The little
monster is "super" and could be built. The broad shoul-

The Student Exhibit illustrated not only the product
of design training throughout the world but also, together
with the sessions of the Congress, the process of that

Man of La Mancha. E. Stenberg, USSR. Photo courtesy
of Czech Theatre Institute.

42

FALL,1976

THEATRE DESIGN AND TECHNOLOGY

I

USITT

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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
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
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