Theatre Design & Technology - Summer 1976 - 19

perform under the inflated folios and thus have their
shadows cast on the translucent folio surface from within,
but in the actual production the dancers performed on the
surface of the cross between the inflated forms. The forest
setting which precedes and follows the Venusberg
interlude was formed by gauze strips that were lowered
into the rear of the acting area and tool< frontal projections of forest and leaf patterns. The Wartburg scene
was accomplished with the insertion of step units into the
three upper pockets and rear projection of a detail from a
stained glass window, an image which cross-faded to its
negative form when reference was made to Venus and
love.

A mirror also figured prominently in the scenography
for the Tchaikowsky ballet, Sleeping Beauty (Prague
1973), but even more fundamental here was still another
variant of projection techniques, especially projection
surfaces. Svoboda filled the depth of the stage with a
series of very traditional wings and borders. The point,
however, was that these wings and borders were made of
light grey scrim, the curly outlines of which were formed
by thin wire frames. Frontal projections of trees, leaves,
and achitectural elements were cast onto these layers of
scrim and were then cast back through the scrim in the
opposite di rection by a large mi rrored surface {3D x 45
feet} that formed the backdrop of the wing and border
system. The result was a great sense of depth and multilayered colored images (which are unfortunately
extremely difficult to capture photographically), still
another variant of projected color in space.
A remarkable offshoot of Svoboda's worl< with projection folios was the creation of a new kind of stage
curtain. Faced with the challenge of designing a production of Brecht's Three Penny Opera {Zurich 1972},
Figures 16A & B, and wanting to avoid repetition of the
traditional Brechtian curtain running laterally along a
horizontal wire, Svoboda devised a curtain of special
studio folio {medium grey, matte on one side} that moved
upstage and downstage, thus functioning not only as a
curtain but also as a projection surface forming the backdrop for the full stage or for the scenes traditionally
played in front of the curtain. In its upstage position,
rear projections were used, but as the curtain moved
forward to effect scene changes the projections crossfad~d from rear to frontal. The effect was most striking
when the opposite occurred and furniture suddenly materialized in the midst of cross-fading images. The new cur-

Fig. 15a. Tannhauser, the Venusberg sequence. Black and
white reproductions of Svoboda's sets based on projections usually do scant justice to the wealth of color and
form. This photo at least suggests the relationship of free
form mirrors to the inflated folios below, and the multiple reflection of multiple images. Photo by Josef Svoboda.

..

_.

-;~-------------------------

/

-,

-'.

/

~.

'.

,

f_-~_~-_~_"-:__ ~_-_~_~_-~_:~_\-_._-_~~ '~,_:,~_ _-_~~;--~~---~.-' ~-=-_-=-_-

_

..

_

~

. ..

. -

-

.

------.-v-----------------

-

"

l

-{

/

..

_

...

"'--

Fig. 15b. Tannhauser, diagram of Venusberg scene showing the relation of crossed paths, inflated folio forms, and mirrors
from above. Photo by the author.

I

USITT

I

THEATRE DESIGN AND TECHNOLOGY

SUMMER,1976

19



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
Theatre Design & Technology - Summer 1976 - 11
Theatre Design & Technology - Summer 1976 - 12
Theatre Design & Technology - Summer 1976 - 13
Theatre Design & Technology - Summer 1976 - 14
Theatre Design & Technology - Summer 1976 - 15
Theatre Design & Technology - Summer 1976 - 16
Theatre Design & Technology - Summer 1976 - 17
Theatre Design & Technology - Summer 1976 - 18
Theatre Design & Technology - Summer 1976 - 19
Theatre Design & Technology - Summer 1976 - 20
Theatre Design & Technology - Summer 1976 - 21
Theatre Design & Technology - Summer 1976 - 22
Theatre Design & Technology - Summer 1976 - 23
Theatre Design & Technology - Summer 1976 - 24
Theatre Design & Technology - Summer 1976 - 25
Theatre Design & Technology - Summer 1976 - 26
Theatre Design & Technology - Summer 1976 - 27
Theatre Design & Technology - Summer 1976 - 28
Theatre Design & Technology - Summer 1976 - 29
Theatre Design & Technology - Summer 1976 - 30
Theatre Design & Technology - Summer 1976 - 31
Theatre Design & Technology - Summer 1976 - 32
Theatre Design & Technology - Summer 1976 - 33
Theatre Design & Technology - Summer 1976 - 34
Theatre Design & Technology - Summer 1976 - 35
Theatre Design & Technology - Summer 1976 - 36
Theatre Design & Technology - Summer 1976 - 37
Theatre Design & Technology - Summer 1976 - 38
Theatre Design & Technology - Summer 1976 - 39
Theatre Design & Technology - Summer 1976 - 40
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