Theatre Design & Technology - Summer 1976 - 16

Fig. 12a. The Firebird. The mirrored image of the dancer
places him in the midst of the projection surfaces. Photo
by Josef Svoboda.

Fig. 13a. Prometheus. The patterned images were Svoboda's design and rear-projected. The other spot-lighting
was frontal and was tied to Scriabin's notations. Photo by
Josef Svoboda.

3
4

1<, ......" K"\Cn

I'U:

*

U*~_.~

*

I

u

wsu}

"-"Dnl..."....r~ts-

u ... u...

Fig. 12b. The Firebird. The diagrams clarify the placement of the several scenographic elements. Drawing by
Josef Svoboda.

intensity of the projected forms and colors and provided a
sense of added distance. A great subtlety and variety of
tones was created and the total visual effect remained
alive, never becoming fixed or canned.
Equally complex as a projection system and still more
abstract in its effect, though less architectonic in its
elements, was Svoboda's scenography for a purely
symphonic orchestral work, Scriabin's Prometheus (Milan)
also in 1972, Figures 13A & B. Scriabin himself was
keenly interested in audio-visual matters and for this
composition indicated a range of colors for various notes.
Using this as a basis, Svoboda designed a system of two
projection surfaces and two sources of projection. In front
of a curved cyclorama of grey studio folio for rear projection he placed a curved scrim that softened the folio
images and registered another set of projections from the
front. The frontal projections, in fact, were actually
colored spotlights, sharply focused, that corresponded to
the color scale created by Scriabin; twenty-five spotlights
handled the twelve tone-colors. Because Scriabin assigned
colors to specific notes the cuing became a crucial

16

SUMMER,1976

Fig. 13b. Prometheus. 1-6: projectors (PANI5KW BP511)
18 x 18 cm slides. A: studio folio. B: grey scrim. CH:
chorus. 0: orchestra. Drawing by Josef Svoboda.
problem, which Svoboda solved by connecting the
different spotlights electronically to a piano keyboard
which was played by an offstage pianist. To supplement
and more fully orchestrate the visual element provided by
Scriabin, Svoboda handpainted hundreds of abstract
colored designs deliberately keyed to Scriabin's prescribed
colors as reinforcements, contrasts, or parellels. These
abstract designs were then made into colored slides and
rear-projected by two sets of three instruments onto the
folio cyclorama. The timing of the front spotlight colors
on the scrim, directly originating in the musical score
itself, tended to be rapid and often staccato, whereas the
rear projection changes (Svoboda's addition) were fewer
and more blended, like a sustaining bass, in relatively free
association with the basic rhythms of the music. The
orchestra and the chorus were both onstage but carefully
lighted so as not to distract visually from the play of light.
The musical interplay of colors and abstract forms had,
according to Svoboda, "a true kinetic quality and
suggested new ways of creating kinetic images on a large
surface."

THEATRE DESIGN AND TECHNOLOGY

I

USITT

I



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
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