Theatre Design & Technology - Fall 1977 - 16

the idea of total freedom of movement.
With grand cohesion each portion of space has its own
intimacy. The various bright zones and shadowed areas
intensify the diversity and dynamics of the different
rooms. This striking effect is increased through the use of
sculpture and paintings. Color in materials and lighting
are also used for this purpose.
Both assembly areas, the large house and the small
house, are thus joined in such a way that there is an immense continuity of space. All parts of the area can be
separated or connected.
The interior is substantially influenced by the structure
of this cement construction. The "ascending theme" of
parquet, estrade, and circle are taken up in the encompassing walls and graduated ceil ing. The patterns were
worked out with an acoustical advisor. Wooden paneling
was chosen for the lateral acoustical reflectors, and
sections of the ceiling and doors are colorfully enameled.
The ceiling, which can be adjusted to various heights,
can accommodate the various acoustic requirements of
both musical and dramatic performances. The usual
type of portal was replaced by freely movable lighting
towers; and a lighting bridge, which is independent of
the towers, can be raised to different heights.
The stage of the large house was conceived as a large
area and is described in the following article by a technical expert, Walter Huneke.
The arrangement of the stage is, above all, attuned to
the requirements of a repertory theatre. The stage building can also be utilized as a central area for special performances, such as projection theatre and multi-media
shows, or as a banquet hall. It is thus made directly
accessible to the public from the foyer.

The small house was planned as a multi-purpose studio
for all types of theatre, for film showings and concerts,
and for use as a lectu re hall and assembly room. The acting and audience areas are one entity.
To keep the costs of construction and operation low,
the entire area was not provided with movable equipment; instead, only one elevated section received such
equipment - a plan in keeping with the architecture
of the theatre.
Extreme accommodations, such as a reversed arrangement of the stage and audience areas, are feasible by
utilizing the steps as a stage, by outfitting the orchestra
with seats, or by separating the audience block into
independent groups for participatory or simultaneous
theatre.
The interior arrangement is supposed to be made
commensurate with the specific piece or event.
The working areas {storehouses and workshops; rooms
for artistic and technical personnel, management and
administration; rehearsal areas for the orchestra, choir,
and ballet; and the rehearsal stages of both theatres}
complete the composition of the total structure.
With the help of varied materials and coloration, a
variety of spatial forms results. The architectural plan
was devised in order to avoid a rigid format and to create
clearly identifiable situations.
Any additions are supposed to enhance the structure
of the individual parts - a structural arrangement which
was already present in the unfinished building. These
additions should be appropriate to the user.
The artistic efforts pursue the same goal. We thus hope
that th is theatre can appropriately serve both the partici-

Below: Second Floor Plan, Karlsruhe State Theatre. Drawing courtesy of Helmut Batzner.

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THEATRE DESIGN AND TECHNOLOGY

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Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1977