Theatre Design & Technology - Summer 1976 - 24

Fig. 22. Coriolanus.
figures and carved out of blackness the space in which
they performed. The single architectural element was
highly functional as well as aesthetically bold and clean: a
tribune or section of broad stairs with two smaller sets of
stairs within it leading down toward the rear. This unit
achieved a certain degree of dramatic kinetics as it turned
during the action to bridge the passage between scenes
without a pause. The rear of the unit presented a blank
wall with a single opening supported by two columns that
formed an inner stage for relatively intimate scenes.
Depending on what sort of accessories were added to this
basic unit {rail ings, a row of shields, poles that bore
standards or other insignia} it represented one or the other
of the hostile forces of the action, with the implicit
suggestion that perhaps the difference between the two
was only superficial. Expressiveness, functionality, and
economy are typical of this form of Svoboda's scenography.
Berlioz' Les Troyens (Geneva 1975), Figures 23A, B, &
C, obviously belongs to this family of productions in
which lighting and architecture are the cornerstones. It
was the first time that the uncut version of the multiscene opera was presented on the continent, and
Svoboda's goal was to make possible a presentation without traditional pauses for scene changes. The fundamental
scenographic motif became stairs: massive groupings of
stairs, stairs standing on end and suspended upside down,
stairs forming the basis of highly stylized Greek ships,
stairs rising, sinking, and sliding off stage. The stairs,

24

SUMMER,1976

crucial for the composition and movement of choruses
and crowds, also functioned as the creators of dramatic,
psychoplastic space, space which expands and contracts in
dynamic response to the evolving tensions and forces of
the action. The quality of austere stylization was particularly strong in this production, a reduction of many
possible scenographic approaches to a concentration and
controlled exploitation of a single highly abstracted,
kinetic architectural element in conjunction with a restricted use of color (terra cotta for Troy, black for
Carthage) and masterful use of lighting for dramatic
effect. An exception to the approach just described, however, was the scenography for a ten minute ballet
expressing the love of Dido and Aeneas. For this sequence, Figure 23D, Svoboda made use of a series of
relatively wide folio strips suspended in layers, thus
forming less of a projection surface than a projection
structure. The images were a blend of both rear {slides}
and frontal (film) projections: an almost expressionistic
blur of wild horses, burning forests, and other intense
visual metaphors of passion. The dancers themselves were
able to move freely through the folio strips.
Three other productions within the group relying on
light and architectonic elements rather than projections
had another specific scenographic technique in common:
the deliberate repetition of a single metaphoric structural
form or element. I have already noted an example of this
in Les Trayens, but in the following productions the
particular element is more concentrated, more intensely

THEATRE DESIGN AND TECHNOLOGY

I

USITT

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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
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