Theatre Design & Technology - Summer 1976 - 33

derives from certain basic techniques: mirrors, projections, special projection surfaces, specific architectonic
elements. For example, Svoboda's use of mirrors can
assume an almost unlimited number of forms, and the
same is, if anything, even more true of his use of projections. Svoboda does not abandon a specific method or
material once he used it, but neither does he simply repeat
it routinely; he constantly creates new adaptations or
different applications of it, sometimes in and of itself,
sometimes in conjunction with other techniques.
The other main impression left on me by this review of
his work since 1971 concerns the effect on that work of
his co-creative relation with directors. By way of introduction to this survey I suggested not only that Svoboda's
recent work tends to split between work centered in
projections and work centered elsewhere, most often in
architectonics, but also that he seems to have done less
work than he did previously with multi-screen projection
techniques, with kinetic scenery, and, on a slightly different level, with the principle of theatre in theatre.
Putting it more generally, I think that the evidence
suggests that Svoboda's work in the 1970s shows relatively more of the traditional designer than of the scenographer as he himself has embodied that term; that is, the
designer as one who creates an appropriate background or
environment for the action of a play, and the scenographer as one who strives for a scene that goes beyond this
essentially supplementary and passive relation to the
action, one that functions actively, indeed dramatically
with the other components of a performance-more
precisely, a scene that interacts with them, or, to put it
still another way, a scene that becomes an instrument of
production. It is true that in works like the Covent
Garden Rheingold and Walkure (or somewhat less in Les
Troyens) he has created precisely this kind of scenography, but it is precisely these productions that stand out
as exceptional among his others in recent years. Why
might this be so?
At the risk of oversimplification I suggest that the
cause is closely related to his lack of work with a certain
kind of director, one with whom he can interact fully and
freely and almost intuitively. A production in which the
setting dynamically interacts with the rest of the elements
of production, in which the setting becomes an instrument, is very difficult for a designer-scenographer to
impose on a production; almost of necessity it must derive
from an equivalent interaction between director and
designer, or at least be encouraged by the director. The
directors with whom Svoboda achieved his most striking
productions involving a scenography of interaction, of the
scene as instrument, were his countrymen Gtomar Krejca
and, even more pointedly, Alfred Radok, but it should be
noted that he has not worked with these artists in recent
years. Gotz Friedrich, on the other hand, is a director of
similar inclinations, and thus far Svoboda's work with him
has resulted in similar productions. I am not suggesting
that this type of production is inherently superior to any
other, but that it is special and that it has distinguished
some of Svoboda's most notable work. Even as a traditional designer Svoboda is distinctive in his sense of form,

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his use of materials, and his command of special techniques, but it is as a scenographer with an instinct for
settings that actively and organically perform that he is
remarkable. Such settings, however, require like-minded
directors and co-creativity of the fullest, most selfless
kind.
*
NOTES:
1. See this author's The Scenography of Josef Svoboda. Middletown, Connecticut: Wesleyan UniversitY Press, 1971.
2. This survey of Svoboda's work does not refer to every production since 1971 (see Appendix A for a complete list).
3. Josef Svoboda, "0 svetelnl!m divadle" [On the theatre of
lightl, Informacn/ Zpravy Scenograficke Laboratore (September 1958). pp. 4.0.
4. Josef Svoboda, tape recorded interview, Prague 1974. Unless
otherwise indicated, all subsequent statements by Svoboda
are from tape recorded interviews with the author between
OctOber, 1974 and June, 1975.
5. The word "folio" is used to refer to a projection surface of
thin, pliable plastic sheet material possessing varying degrees
of translucency. When illuminated from the front it registers as varying shades of grey to black, but when illuminated
from the rear it becomes translucent. Rear projections frequently register on it with greater sharpness and intensity
than frontal projections on more traditional, opaque projection screen materials. Folio screens have been widely used in
television as background projection surfaces for news broadcasts and other programs. Many varieties of projection
folio material have been developed for specific projection
effects, including folios that function well for both rear
and frontal projection. Svoboda has been keenly interested
in recent developments of this new scenographic material.
6. The original scenographic concept involved three framed,
kinetic folio-5crim units on motorized wheels, suspended by
one line each from the flies and remotely controlled. The

THEATRE DESIGN AND TECHNOLOGY

SUMMER,1976

33



Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 1976

Contents
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Theatre Design & Technology - Summer 1976 - 2
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Theatre Design & Technology - Summer 1976 - Contents
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