Theatre Design & Technology - Summer 1976 - 31

Fig. 29. The Sea Gull. The photo captures the simultaneous setting but does not clearly reveal the functions of the mirrors.

Fig. 30. Operetta, showing the tvyo rows of period postcards reflected in the wide mirrored surface. Photo by
Josef Svoboda.

ment. The task of identifying the many scenes of the play
was left to the action and the dialogue, much in the
fashion of the Elizabethan stage. The bareness of the stage
and the few broad stairs also suggest classical antiquity or,
as Svoboda put it, the "oratorio" approach inherent in
this particular staging. Only slightly more complex was
the scenography for the production of War and Peace,
Figure 33, almost entirely based on the Piscator
adaptation, which in its use of a narrator tends to make
scenery redundant. On the other hand, great attention was
devoted to authenticity and effectiveness in the use of
furniture and properties. The staging itself was close to
that originally created by Piscator but with a significant
change in spatial orientation. Piscator utilized a raked,
curved forestage with a map spread out on it and five or
six acting areas or platforms around its edge. Napoleon sat
on the map and devised his strategies with small models.
Svoboda's approach was to provide a very strong central

I

USITT

[

Fig. 31. Children of the Sun.

axis, indirectly suggestive of the road from Paris to
Moscow and conducive to dramatic entrances. Five platform acting areas cluster about the lower third of the axis
path, which ascends in severel levels to a depth of over
one-hundred feet. Napoleon used only the downstage
right platform for his strategic planning with models, but
otherwise he was kept in considerably more motion than
in the Piscator staging.
A point to be kept in mind about these last three
productions is that although the scenography might seem
to be so neutral as to be interchangeable among many
productions, in actuality the design in each case closely
reflected the concept underlying the given production. In
this sense Svoboda's basic approach to every production
(form following concept) remains the same, whether we
consider the extremes evident in the scenography of
Optimistic Tragedy or, say, Tannhauser.
Equally fundamental, and impressive, in Svoboda's
work is the range and variety of scenographic solutions he

THEATRE DESIGN AND TECHNOLOGY

SUMMER,1976

31



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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