Theatre Design & Technology - Summer 1976 - 15

surfaces). Constantly changing images of natural and
abstract forms follow the course of the ballet. The room is
never fully stable: not only does its free suspension from
lines make for inherent movement, but a large propeller
fan in one rear corner of the stage blows the whole room
somewhat like a drape as much as one foot off the
vertical. Still another unconventional scenographic touch,
unrelated to projections, is evident in the first section of
the ballet when a dream vision of the artist's beloved
dances with a long veil, one end of which is attached to a
line. The magical, floating effect of the veil is enhanced by
the use of dozens of small silent fans placed under a
grillwork on which the dancer performs.

Fig. 11. Rites of Spring. The projected colors and abstract
patterns were "atomized" by the mini-screens hung in
I~yers.

Fig. 9. A Dream of Reason. Essentially the same principle
as in School, but the room was aligned with one corner
upstage center, rather than one wall. Photo by Josef
Svoboda.

Fig. 10. Symphonie Fantastique. A view of three of the
loosely hung projection surfaces. The rear surface is suspended out of sight in this photograph. Photo by Josef
Svoboda.

A tendency toward projections that are essentially
supplementary and purely abstract reached an extreme in
three productions during 1972. Of the three, Stravinsky's
ballet The Rites of Spring (Prague), Figure 11, was
relatively the simplest in its scenography. Svoboda
suspended thousands of very small folios (sewn to netting)
in ten vertical parallel planes above the dancing area. Two
sets of three projectors (to allow for cross fades) were
used for rear slide projection of abstract colored patterns

I

USITT

I

and textures. Three units were necessary to cover the
expanse of the folios and, to compensate for their
directionality, the projectors were aimed in a cross-fire
pattern. Although the projections were not tightly
synchronized with the music they did change and blend in
relation to its rhythms. The quantity, variety, and spatial
configuration of the folios created distinctive effects
based on varying focal points and additive color combinations. It was, actually, an experiment in painting in
space by means of lighting.
A more complex projection system based on similar
principles was evident that same year in Stravinsky's
Firebird ballet (Copenhagen), Figures 12A & B. Again the
basis of the system was a multiple array of relatively small
folio screens, but this time they occurred in a three
dimensional array of thin steel triangles extending the full
height of the stage opening and arranged at varying angles
in several planes. As a whole the projection surfaces
possessed a distinctly architectonic quality. The folios
themselves were of various kinds-studio folio, opera
folio, show folio {the names referring to different degrees
of translucency and/or reflectability)-and thereby
reacted differently to the hue and intensity of the rear
and frontal projections they received. Two other elements
contributed to the final effect. A large scrim of irregular
outline formed an inclined plane passing between the
triangular structures from the top rear of the proscenium
down to the rear stage floor; most of the folio triangles
were in front of this scrim but some were placed behind
its upper portion. The effect of the scrim was to soften
some of the images on the folios and to provide a greater
sense of depth; moreover, the scrim itself also registered
the various projections. The final element on stage was an
irregularly shaped mirror (approximately 33 x 33 feet)
that stood at the rear of the stage and could tilt forward
toward the audience, thereby seeming to lift a dancer into
the spatial images being projected on and through the
folios. By also reflecting the projected images (both
natural and abstract forms), the mirror heightened the

THEATRE DESIGN AND TECHNOLOGY

SUMMER,1976

15



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

Contents
Theatre Design & Technology - Summer 1976 - 1
Theatre Design & Technology - Summer 1976 - 2
Theatre Design & Technology - Summer 1976 - 3
Theatre Design & Technology - Summer 1976 - Contents
Theatre Design & Technology - Summer 1976 - 5
Theatre Design & Technology - Summer 1976 - 6
Theatre Design & Technology - Summer 1976 - 7
Theatre Design & Technology - Summer 1976 - 8
Theatre Design & Technology - Summer 1976 - 9
Theatre Design & Technology - Summer 1976 - 10
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Theatre Design & Technology - Summer 1976 - 12
Theatre Design & Technology - Summer 1976 - 13
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Theatre Design & Technology - Summer 1976 - 15
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Theatre Design & Technology - Summer 1976 - 17
Theatre Design & Technology - Summer 1976 - 18
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