Theatre Design & Technology - Spring 1980 - 8

A Gold Medal (and 10,000 Crowns) to the best exhibit
that deals with the special theme of each Quadrennial. In
1967 the theme was Mozart, in 1971 Shakespeare, in 1975
Schools of Theatre Design, and in this latest 1979 Quadrennial, Puppets (in observance of the International Year of the
Child).
Although Silver Medals and Honorable Mentions are also occasiona:lly bestowed, the sole official awards and prizes are
those designated "Gold." Moreover, awards need not necessarily be made in each category at each Quadrennial.
The Czechoslovakian section awards Gold Medals only in
stage design and costume design; Silver Medals and Honorable Mentions may also be awarded.
The accompanying table indicates the Gold and Silver
awards for each Quadrennial. The figure in parenthesis below
each year refers to the total number of participating nations.
(These figures are approximate because clear distinctions are
not always evident between nations that participate and those
that exhibit.)
The international jury, which nominates all awards, consists
of approximately ten members, rather evenly divided between
representatives of eastern Europe and the West. The jury for
1979 consisted of the following (in alphabetical order):
Bablet, Denis (France)
Grosser, Helmut (German Federal Republic)
Jurkowski, Henryk (Poland)
Ka.hler, Otto (German Democratic Republic)
Mignot, Paul (Belgium)
Paro, George (Yugoslavia)
Pozharskaya, Milica Nikolajevna (USSR)
Rodriguez, Agostinho Olavo (Brazil)
Rubin, Joel (USA)
Svoboda, Josef (CSSR)
Vychodil, Ladislav (CSSR)
The host PQ Committee consisted of twelve members in
1979. Its General Commissar since the first Quadrennial has
been Dr. Eva Soukupova, whose regular position is that of
Head of the Theatre Institute in Prague. She has been assisted primarily by Jarmila Gabrielova (Secretary) and Helena
Tom~ova (Exhibition Installation). Josef Svoboda, Ladislav
Vychodil, and Jarmila Konetna are well known designers who
have served on this Committee. The multiple responsibilities
of each PQ are shared by other members of the Theatre Institute in Prague.
Invitations are usually sent out a year before each Quadrennial. The complex logistics of determining and assigning
space, and making specific arrangements for mounting are
handled mostly by mail. The International Section is exhibited
in the Brussels Pavilion, located in Prague's Julius Futlk Park,
and the Czechoslovakian Section is in the Riding Hall of the
Waldstein Palace grounds.
In response to my questions concerning distinctive tendencies or aspects of the four Quadrennia/s, Dr. Soukupova, who
has supervised the event since its inception, offered the following observations, which I have only slightly edited:
Because 1967 marked the very first such large scale exhibit, each nation tried to show something of its theatre history. In 1971 the exhibitors realized that the attempt to include a historical survey real/y didn't work too wel/ because
it both distorted the historical aspect (no one had the space
to present an adequate survey) and shortchanged contemporary work. Therefore, the 1971 exhibit revealed a concentration on purity of scenographic work of the present.
[Some other people noted that the 1971 PQ tended toward
pure design at the expense of functional scenography.] Also
evident was great interest in theatre architecture because of
the great increase in new theatre construction and new at6

Theatre Design & Technology

tempts at organizing theatre space, such as the emphasis
on multipurpose buildings and theatre chambers. Subsequent years showed that this direction was less fruitful
than had been hoped, and so in 1975 the Quadrennial il/ustrated the great interest in the most varied kinds of theatre
spaces, including old forms and improvised ones, particularly those of experimental theatres playing in non-traditional spaces. In 19 79 these various centrifugal tendencies
seem to have run their course, and most of the exhibits reveal that the major proportion of work is being done in
large, traditional theatres, with traditional scenography
(which of course is rather necessary in these theatres),
thereby revealing constant possibilities for further development within these forms. In other words, classical theatre
art is not a thing of the past but has possibilities of using
contemporary means of expression for further evolution.
Dr. Soukupova went on to say that the special thematic category of the next PQ in 1983 will be Czechoslovakian drama
and opera, to accord with the 1 Oath Anniversary of the National Theatre in Prague. It is likely that another special category may be scenography for television. At least one exhibitor
this year, Hungary, included designs of television productions.

*

*

*

A fundamental question or complaint that crops up at almost any exhibition of stage design concerns the validity of
exhibiting stage designs at all. "You can't really exhibit
theatre art," is the way it is usually put, the implication being
that no set of renderings (the most common form of displaying
the work of the designer) can suggest what the design was
like, or how it worked in pertormance. Production photographs, models, and mannequins certainly help, as do working sketches, and all of these were to be found at the PQ,
even if not consistently. It seems likely that future Quadrennials will probably place greater emphasis on a more complete
documentation of the design-production process, from original sketches through renderings and models (and even technical drawings) to final production photographs. Perhaps, indeed, more use will be made of film or video tape to show the
design elements in action. In the meantime, occasional radical
experiments in exhibiting are made, such as was evident in
the West German (GFR) display this year. Consisting of many
separate, highly individual sections, it made use of multi-media, and frequently completely abandoned traditional methods
of exhibition in favor of suggesting the associational, poetic
aspects of design creation rather than the final product on
stage. Richard Riddell's article describes this exhibit in more
detail.
The involvement of the United States in the PQ is another
problematic matter. This year an exhibit was mounted, but not
in competition. It was more of a survey of certain landmarks of
American scene design, selected from the private collection of
Mr. R. L. B. Tobin. (John Rothgeb's article describes the circumstances.) The original plan was to enter a competitive exhibit of current designs, but that plan foundered. The special,
historical exhibit was an honorable substitute, but did not
place contemporary U.S. stage design in a very favorable light
in relation to the impressive exhibits of not only Great Britain,
but the U.S.S.R., both East and West Germany, Canada, Belgium, Bulgaria, Poland, Norway, or Hungary, all of whom had
carefully prepared particularly imaginative, striking exhibits. It
is ironic that we, as a nation and, indeed, theatre people who
are so highly conscious of public relations, nevertheless seem
to experience such difficulties in getting our talents together.
Or is it inherent in our traditions of individualism and private
enterprise? The United States did not exhibit at all in the first
two Quadrennials, although we continued to make our interest
known through the efforts of people like Joel Rubin and Ned
USITT/Spring, 1980



Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 1980

Contents
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Feb
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Feb
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
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