Theatre Design & Technology - Summer 1976 - 30

stage to a more traditionally scenic stage of the romantic
era. The platform's tilting ability was exploited more fully
in conjunction with asymmetrically alig:led cliff units that
were added to its surface. The resulting variety of spatial
angles and acting areas created a visually richer, more
varied sequence of dynamic compositions. The underside
of the platform was used once, to reflect a scene of
warfare, a battlefield where the Valkyries gathered the
slain to transport them to Valhalla. Again a folio cyclorama was used, again with laser projections primarily as
introductory and transitional elements, but also with
impressionistic cloud and mountain range images to
provide backgrounds for the action.
If I have devoted more space to this production than to
any other it is because it represents not only a striking
scenographic coup but also a more fully co-creative effort
of director and designer than has marked most of
Svoboda's other recent productions. There is a boldness of
concept and execution in this production, a willingness to
think big and take big chances, that can occur only when
complementary talents meet, stimulate each other, and
are willing to adapt their respective creative urges to the
strengths of the other. (And when they are provided the
financial and logistical support that their ideas require.)
The Friedrich-Svoboda Rheingold and Walkure whet the
appetite for the remaining two units of the Covent Garden
Ring, Siegfried, Figure 28, and Gotterdiimmerung. 11

Fig. 28. Model of the Covent Garden Siegfried, showing
the tilted platform in relation to still another variation
of projection surfaces, these to be used for the forest
scenes. The thin, densely clustered folio strips suggest a
wild, jungle-like environment in themselves, but they
will also take a variety of projections, and they can be
walked through by the performers. Photo by the author.
Viewed in relation to the other Svoboda productions
since 1971 these productions clearly belong to the
category of those in which projections are secondary to
one or another aspect of architectonics. Here it is a
massive, yet classically simple, platform, but one that is
capable of great variety in its spatial placement, kinetic
potential, and surface treatment, as well as in its integration with other scenographic elements, such as special
lighting, projections, and mirrors. And in its identity as
timeless stage it acquires a sustaining symbolic power

30

SUMMER,1976

throughout its many transformations.
Two other sets of productions not involving projections conclude this survey. Mirrors formed the decisive
sceneographic element in The Sea Gull (Prague 1972) and
in Gombrowicz's Operetta (Berlin 1972). Otomar KrejC'a's
third production of The Sea Gull, Figure 29, with
Svoboda was based on a radical reworki ng of the text as a
result of which scenes from different parts of the play
were freely blended and juxtaposed, an approach which
required an essentially simultaneous setting to allow for
the free flow of action. The basic element of the setting
was a cluster of real birch trees on three sidesĀ·of the stage,
plus selected items of furniture that could be rearranged
at will. A freely moveable, semi-transparent curtain ran
along a wire suspended at a slight angle upstage. Mirrors
functioned in two ways. One mirror was placed at an
angle upstage right. Its prime function was to reflect an
auditorium-wide pai nting of a lake that was suspended
above and behind the spectators in the auditorium, thus
creating a sense of distance and special mood (essentially
the same technique used in the Krejca-Svoboda Godot in
Salzburg, 1969). Another cluster of angled mirrors backed
the birches at stage left and upstage left, to reinforce their
number and again suggest added depth on the very
shallow stage. For Operetta, Figure 3D, Svoboda used two
adjacent treadmill belts, each ten feet wide, placed 8
inches below stage level, and running in opposite
directions. The belts were covered with photographic
blowups of period postcards, and a broad mirror was
placed at a forty-five degree angle above the belts, thus
projecting their images straight out to the audience. The
belts could be walked on, and the image of anyone
standing on the belts would also be reflected. The
principle of the mirrored images in this production was in
keeping with the allusive, ironic, indirect nature of the
action and dialogue.
Three productions in Prague shared relatively bare
stages and suggested what may be accomplished with
space, lighting, and minimal construction. Gorki's
Children of the Sun (1973), Figure 31, consisted of a
basic raked stage floor, a few selected items of furniture
to indicate both indoor and outdoor scenes, and carefully
modulated lighting. Nothing more. No projections, no
kinetics, no flats or drops, or cycloramas. Interestingly
enough, the underlying reason for the very sparse setting
with many empty spaces was to provide room for some
100 extras who were to represent the silent masses of
Russia, stolidly observing the behavior of the bourgeois
gentry until the end of the play when they begin to
revolt. Ironically, the extras were never used in the
production because of budgetary problems, but the
setting remained, mute testimony to an interesting
production concept. Vishnevsky's Optimistic Tragedy
(1975), Figure 32, was perhaps even more austere: the
raked upstage portion consisted of neutral planking (much
of the action occurs on board a ship), and the flat,
diamond shaped forestage had broad stairs connecting it
both to the upper stage and the orchestra pit below. The
intention of the bare setting was to focus on the thoughts
and ideas of the play, not to characterize the environ-

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
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