Theatre Design & Technology - Winter 1976 - 36

NEWS

Continued from Page 8

laborative effort by the International Exhibitions Foundation, Washington, D.C. and American Ballet Theatre.
Founded in New York in 1939, the American Ballet
Theatre has become one of the world's foremost dance
companies, unique for its marriage of classical and contemporary dance. It has produced great American dancers, and has been a haven for foreign and emigre performers as well. It has drawn upon the choreographic genius
of Agnes de Mille, George Balanchine and Jerome Robbins
among others. And it has employed the talents of artists
such as Eugene Berman, Raoul Pene du Bois, Mstislav
Dobujinsky, Irene Sharaff, Cecil Beaton, Jo Mielziner,
Oliver Smith and Boris Aronson who have produced
costume and stage designs expressly for the American
Ballet Theatre.
Selected by co-directors Oliver Smith and Lucia Chase,
the exhibition includes 150 commissioned designs from
38 major American and international scenic artists of the
last three and a half decades. It spans the entire performance history of American Ballet Theatre and demonstrates the extraordinary range of the company's commitment to the visual and theatre aspect of classical ballet,
and the artistic heritage the company has always nurtured
and preserved.
The delightful sketches and watercolors depict costume
and set designs for such notable ballets as Giselle, Pillar
of Fire, Romeo and Juliet, Graduation Ball, Waltz Academy, Fall River Legend, Rodeo, A Streetcar Named Desire,
La Sylphide, Swan Lake, Coppelia, La Bayadere, The
Sleeping Beauty and Raymonda.
"American Ballet Theatre - 36 Years of Scenic and
Costume Design 1940 - 1976" is supported by a grant

from the National Endowment for the Arts, a Federal
Agency.
The International Exhibitions Foundation is also circulating "Stage Design and The Russian Avant-Garde
(1911-1929)."
The exhibition drawn from the collection of Mr. and
Mrs. N. D. Lobanov, presents 127 works by 30 artists of
the Russian and Soviet avant-garde. It documents the
genesis and development of Constructivism and its relationship to set and costume designs in Russia - not only
for drama, ballet and opera, but also for the circus, cabaret and cinema. The years, 1911-1929, witnessed the
renaissance of the Russian visual arts. During these years
a brilliant constellation of artists, movements and ideas
contributed to the evolution of twentieth-century art
both at home and abroad. Exter, Lissitzky, Malevich,
Popova, Rodchenko and Tatlin are among the artists
whose decorative projects are represented. Exter's costumes for Aelita (19241. Popova's for The Magnanimous
Cuckhold (19221. Rodchenko's for The Bed Bug (19291.
Malevich's legendary costumes for Victory Over the Sun
(1913) and Tchelitchev's designs of 1920-21 demonstrate
these artists' design abilities. Attention is also focused on
the design work of less known, but no less gifted members
of the Russian avant-garde - Lentulov, the Stenberg
brothers and Alexander Vesnin. Another exciting aspect

36

WINTER,1976

of the exhibition is the presence of works by a group of
Soviet Constructivists quite unknown in the West - Erdman, Muhina, Miller, Meller, Petritsky and Rabinovich.
The costumes of Petritsky and Rabinovich (both students
of Exterl and Miller ( a student of Rodchenkol. for example, prove clearly that the second generation of the avantgarde both assimilated the principles of their mentors and
expanded them in a very creative manner.
The show rescues many artists and their works from
oblivion, confirms the forces and versatility of twentiethcentury Russian art and enables us to comprehend the
development of European and American stage design in
more comparative terms. Above all, the exhibition indicates that the success of the Diaghilev Ballets Russes
in the West was paralleled and surpassed by the achievements of Russian and Soviet designers at home.
A fully-illustrated catalogue with Introduction by John
E. Bowlt will accompany the exhibition. Organizations
interested in booking either exhibit in 1977 and 1978
should contact: Mrs. John A. Pope, President, International Exhibition Foundation, 1729 H. Street N.W.,
Washington, D.C. 20006.
"THEA TRES MUST BE" . .... Continued from Page 15

which should begin long before "beginners please": if the
beginners do not please as much as they should it's just
too bad.
Despite any preoccupation there may be on stage
with the more sleazy aspects of our current decadence,
the theatre is still a place of illusion of social or sexual
realism, whether in the gutter or in the brothel. Excessive
concern with the seamy side is but a passing phase due in
part to abolition of censorship and, maybe, to proletarian
revolt against romanticised and melodramatised middleclass immoralities. The phase-passing will be speeded when
more of our dramatists lift up their eyes to the hills
whence cometh their theatrical strength. They could then
bring new life to the theatre and a viability both emotionally and economically more profitable, provided it be
truly theatrical.
Those of us whose adolescence is a distant memory are
often prompted to regret the passing of the red plush and
gilt era of theatre when lush house tabs concealed the
world of illusion that awaited us, our interest excited as
footlights announced the imminence of our entry. It is
true that the maximum number of us were likely to be
compressed into minimum space and to suffer from sight
lines less than perfect. The contemporary theatre will almost certainly have masses of technical gadgetry to complicate the processes of production and will have been
more efficiently planned; but efficiency is not all. The
playgoer must not be condemned to enter an auditorium
whose decor of lugubrious drabness causes deep depression, a depression quite likely to be deepened by preview
of a partly lit vacant scene of action.
Theatre, literally speaking, is a place for seeing. It is a
basic requirement that vision must not be impeded but
the quality of what is seen is vastly important. Any sensation of vision provokes emotional reaction: such reaction
mayor may not foster that willing suspension of disbelief

THEATRE DESIGN AND TECHNOLOGY

I

USITT

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

Contents
Theatre Design & Technology - Winter 1976 - 1
Theatre Design & Technology - Winter 1976 - 2
Theatre Design & Technology - Winter 1976 - 3
Theatre Design & Technology - Winter 1976 - Contents
Theatre Design & Technology - Winter 1976 - 5
Theatre Design & Technology - Winter 1976 - 6
Theatre Design & Technology - Winter 1976 - 7
Theatre Design & Technology - Winter 1976 - 8
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Theatre Design & Technology - Winter 1976 - 40
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
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