Theatre Design & Technology - Fall 1976 - 58

NEWS

Continued From Page 6

Since the entire inventory is too extensive to list,
Monson Electric invites your inquiry - outline your
needs for equipment or hard-to·find parts. Photographs
with detail specifications and prices will be forwarded
to serious inquirers. While much of the equipment will
show use from rental service, all is functional. All sales
will be FOB San Francisco. Contact Monson Electric
Co., 360 Sixth Street, San Francisco, CA., 94103.
*
"A DISCUSSION"

"

FALL, 1976

With that I think we must stop. I have learned more
in this last two hours than in the whole rest of the week
about things that are useful to take home and think about
in terms of teaching students. I appreciate very much
everyone's time, energy and thoughts.
*

Continued From Page 25

made, if properly cut, it makes you do it.
FRANCOIS BARBEAU: One of the problems is that so
many costumes are badly cut.
MILLIA DAVENPORT: They are cut out of Simplicity
Patterns.
FRANCOIS BARBEAU: When you are in training do you
take any acting classes?
MARTIN ZBORI L: No, unfortunately not. But we do
try to prepare for each playa picture scenario with actors
on the scenery. So we are trying to compose the actors
together with the setting.
FRANCOIS BARBEAU: I would love to have the designer
wearing costumes, because you learn so many things. I
did training as an actor and I did some pantomime. So
when I design a mask, I know what a mask means, because
I worked five years wearing it. And I know if somebody
tells me a costume is heavy, whether it is true or not. I
think it's very, very important.
MILLIA DAVENPORT: With amateur actors, they don't
know whether the costume is heavy or not! Now, you
have great actresses of long theatrical experience, of an
old acting family, and you are going to have a train on a
dress - they know that the train works better if it is big
and heavy and long. They can give it one ki ck and it is
gone. And all the girls that have never been on the stage
much, think, "Oh, dear, I don't want to wear a costume
that weighs 40 pounds." They want it light and flimsy and
they are always getting caught on tacks and people's heels.
It depends on the actor. The kids don't know, but if you
were designing for somebody who is used to wearing
costume, you would design a very different sort of thing.
BRIGITTE SITTE: I find a costumer has to be a great
psych iatrist, a Iso.
FRANCOIS BARBEAU: When we have class, there is a
session when all the girls wear corsets and the men try
corsets on, too.
BRIGITTE SITTE: I did something for a show where they
had to wear 1912 costumes. Because of the very tight
hobble skirts, I put elastic around their ankles so they
could not move them in fast steps until they got used to
them. They had to wear them for 4 we~ks before they
got into costumes in order to know how to walk in them.
They had those tiny steps and compressed movement and
all. Even experienced actors don't know that, because
there are styles they have not played yet.
DR. STOWELL: Our students get some acting in their
first four years, some directing, theatre history, structural
analysis and work with playscripts. It always seems to me
that the design people that I am most interested in are

58

those that have done some acting. On a resume, I can see
whether they have been on the stage, maybe not in lead
parts necessarily and I'm not looking for good actors. But
if they have been on the stage, then they have some understanding about it. There is no other way to communicate the actor's problems.

THE STUDENT'S VIEW

Continued From Page 28

on other devices to simulate the excitement inherent in
the theatre. Often this leads to exaggeration in scale or in
mood, witness the well-known drawings of Craig's Hamlet
or Appia's designs for Wagnerian operas. So to judge the
success of workability of the Prague designs in terms of
what was presented is unsafe, for beyond the discussion
above, often the text which spurred the design is totally
unknown to a western viewer. And always, the director's
concept is left unexpl icated. These concerns - incomplete statement in presentational form, strange texts, ignorance of director's approach - would seem to dictate
a more strictly formal consideration of the designs, studying carefully Iine, form, color, rendering and modeling
technique: an altogether unsatisfactory alternative. Stage
design is never a formal art like painting or sculpture, but
a communal effort complete only when living actors
occupy the imaginative environment.
Just as the Mielziner rendering gave an evocative as
well as accurate picture of the final setting, Ming Cho
Lee's model for Boris Gudunov is a work of stunning
beauty and craftsmanship, directed toward presenting
an exact final stage image.
Diverse techniques, different aesthetic attitudes. The
old axiom that a stage designer is an artist/craftsman was
affirmed in this display with every designer favoring one
or the other or some shade in between. In my mind the
USA as a group leaned heavi Iy toward the craft and technique, evinced in the more exact rendering and modeling
style, while many of the Eastern European designers,
notably the Germans and the Czechs, hailed the free·
wheeling artist. IVlany of Svoboda's models could well
stand independent of the stage as abstract constructions
or assemblages.
*
AN INTERVIEW . .... : . . . . . ..

. ... Continued From Page 45

Bolshoi and the Taganka, there was tremendous variety,
the range is very exciting. There is concept, and depth and
understand ing, four years ago you could see them breaking through, what we saw now was unbelievable."
It was the first time the Americans had had an exhibit
at the January Prague Quadriennal, held first in 1967
when 13 countries attended: by 1971, 19 countries took
part and in 1975 the number rose to 28. The Quadrennial
is the only international exhibition of this kind and size
in Europe. American set designer Eldon Elder described
it as "an invaluable opportunity for artists to meet together and talk about our craft."
*

THEATRE DESIGN AND TECHNOLOGY

I

USITT

I



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
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Theatre Design & Technology - Fall 1976 - 58
Theatre Design & Technology - Fall 1976 - 59
Theatre Design & Technology - Fall 1976 - 60
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