Theatre Design & Technology - Fall 1981 - 18

says, "I saw a similar kind of break-up of wall space and how it
allowed for the abstraction of rooms without ceilings." He
concludes, "The designers who have particularly vivid styles are
either those who come out of a painterly tradition, or those who
do the same kind of show over and over again, and are asked to
do, and want to do, the same thing over and over again." None
of this is true of Loquasto.
Probably what distinguishes his work is the way in which he
combines contemporary and traditional scenic elements and
practices while breaking the "rules." A first glance at his sets
reveals the elements typical of the style of the 1960's and
1970's-textured surfaces, materials such as erosion cloth and
rough wood, and Constructivist elements. He is quick to point
out that this is not the result of any intentional copying, but
rather, an inevitable sameness that develops among designers.
He notes, for instance, that if pipe is used in a setting people
immediately compare it with the work of Ming Cho Lee. Loquasto recalls being very flattered once when Ming "told me that
we did not use pipe in the same way. I said, 'Yes, mine is
thicker.' "
But within this context, Loquasto's use of line is unique. Most
students are taught that walls should be set on a diagonal and
that long expanses of wall should be broken up with jogs or
extrusions of one sort or another. Loquasto tends to set flat walls
at right angles to each other and to create a sense of great
height in his use of vertical line. Many of his sets, then, are not
so much box sets as they are immense cubes. There is
something almost classical about his angularity. This is especially noticeable in The Suicide (1980), but is equally evident in
the 1973 outdoor staging of King Lear at the Delacorte Theatre.
The set for the latter production was a deep rectangular
platform, while the offstage space was created by two walls of
tall poles (like a wooden fort) about twenty feet high, at right
angles to the rear of the stage. A look at the groundplans alone
might suggest a certain starkness in such sets, but relief is
provided by a rich texture, such as the rough-hewn wood of King
Lear. In The Suicide, he notes, the back wall "was broken up,
but it was broken up only in its texture, not in the reality of it."
As Loquasto describes a set his hands and arms move
expressively, slicing the air with definite vertical and horizontal
strokes as if sculpting a set in the air. In many of his pencil
sketches these same horizontals and verticals appear. Yet he
seems unaware of this. On his wall are two photos side by side,
one of Hail, Scrawdyke!done at Yale in the late sixties, the other
American Buffalo. He suddenly realizes that both sets are
relatively square and then remarks that the design of "Buffalo"
was "very linear."
These same two photos, he suggests, also demonstrate what
he jokingly proclaims is his true stylistic trademark-the cluttered set. The two rooms are similar but "Scrawdyke", he points
out, is fairly spare, while "Buffalo" is very cluttered. "I keep these
[photos] up as a sad reminder," he says a bit facetiously. "There
is a ten year separation between them during which that room
[Scrawdyke] just filled up with junk and became that room
[Buffalo]." Stage managers have said that they can spot his sets
instantly. "I don't know whether that means I have a feeling," he
responds, "or if it means that there are little piles of garbage
sitting around the set." More seriOUSly, he notes that the
"clutter" helps to soften the angularity of a set. Speaking again
of American Buffalo he described how the set "worked off grids
of debris and I broke down the sharpness of it with the junk."
Related to his use of line, of course, is the use of space, and
as a sculptural designer he is acutely aware of the subtleties of
space and talks about it fluently. He believes that his feel for
space developed in response to his frequent work in arena and
thrust theatres-"it makes you very involved in pushing action
forward and in dealing with space sculpturally."
The Vivian Beaumont Theatre at Lincoln Center is a thrust
stage on which Loquasto has designed many sets. Most of the
plays he has done there have been fairly small cast, intimate
shows, for which he believes the Beaumont was totally unsuited.
The actors, he explains, are forced to deal with the sweep of the

house and the vast overhead space. "I was always trying to
bring the focus down to a human proportion," he notes, "but the
pitch of the house is so great that you always feel that you're
looking down on this little playing area." This is further complicated by sightlines that do not allow the performers to use the
whole space. The stage height also presents a problem for the
first several rows around the thrust. Commenting that you
cannot put any furniture downstage, Loquasto cites a Nikos
Psacharopoulos expression about the "downstage rock" which
is an ottoman, bench, or even a rock, on which actors can sit in
such an arrangement.
These problems seemed acute in Floating Ughtbulb. "It was,"
states Loquasto, "a play that needed to be looked at in a small
space. [At the Beaumont] you always felt the space around the
acting area." In order to create a greater intimacy he thrust the
stage slightly more, taking out almost two rows of seats;
reduced the playing area to a "comfortable, almost realistic
proportion" of a bedroom, living room, and kitchen; and created
a surround of brick apartment buildings with windows and fire
escapes to create an atmosphere and fill the space without
detracting from the visual focus. "It was Canarsie [a middleclass neighborhood in 1940's Brooklyn], but unfortunately it
looked a bit like a tenement," he admits.
Among the houses he does like are the Barrymore, because
of its ideal relation of the stage to the auditorium, the Anta,
where he designed The Suicide, and the Arena Stage in
Washington.
In recent years Loquasto has also experimented to some
extent with the manipulation of space through the use of moving
walls or set pieces. The rear wall in The Suicide, for example,
moved up and downstage, the play beginning with a shallow
space whose depth was revealed throughout the production.
Bent, a play about homosexuals in Nazi Germany, also employed several mobile elements. It may be only coincidence, but
in talking of his few leisure-time activities, Loquasto mentions
that he tries to see the work of Richard Foreman whenever
possible. Foreman is a theatre artist who also manipulates
space through moving scenic elements.
The major criticism of Bentwas of its structure-Acts One and
Two seemed like separate plays. "The first act was very
episodic," explains Loquasto, "and the second was very scattered visually. The problem was to keep a visual continuity in the
performance. You should feel like you have traveled through the
first act and come to this unfortunate resting point in the second.
That was the crux of the design." Loquasto describes the set:
There was a white surround of textured walls which
was constant through both acts. It was clearly an
abstraction, it was not specific. It had the kind of texture
that was urban in scenes that were in the city, or just
"penal" in that they were like huge stones-rough
walls. It became the concentration camp quite readily
in the second act. It was also segmented in a way that
allowed it not only to get through the doors of the
theatre, but allowed it to be clarified in its abstraction.
In the second act, barbed wire was crossed against the
surround so that it was these men against a grid. You
really felt a scrutiny of the human condition. All these
things happened, of course, very subliminally for the
audience, as it should. The production was postponed
and during that time I continued to think about the play
and change things-sort of cut things down to basic
elements. The set was truly stark, with exposed lights
and all, but was really rather romantic. There were little
crumbling walls, a backstage in a cabaret theatre with
masks and sort of garish faces, garter belts, and
feather boas, then a park bench with just trees, and
then the box cars and the train. The box cars just
turned around and became wooden walls and a barracks-mess hall situation. Ultimately, I worked with
small, tight elements within a space; the space being
fUlly seen in the second act, with the barbed wire in the
back, was at once its most open and yet most confined.



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1981

Contents
Theatre Design & Technology - Fall 1981 - 1
Theatre Design & Technology - Fall 1981 - 2
Theatre Design & Technology - Fall 1981 - 3
Theatre Design & Technology - Fall 1981 - Contents
Theatre Design & Technology - Fall 1981 - 5
Theatre Design & Technology - Fall 1981 - 6
Theatre Design & Technology - Fall 1981 - 7
Theatre Design & Technology - Fall 1981 - 8
Theatre Design & Technology - Fall 1981 - 9
Theatre Design & Technology - Fall 1981 - 10
Theatre Design & Technology - Fall 1981 - 11
Theatre Design & Technology - Fall 1981 - 12
Theatre Design & Technology - Fall 1981 - 13
Theatre Design & Technology - Fall 1981 - 14
Theatre Design & Technology - Fall 1981 - 15
Theatre Design & Technology - Fall 1981 - 16
Theatre Design & Technology - Fall 1981 - 17
Theatre Design & Technology - Fall 1981 - 18
Theatre Design & Technology - Fall 1981 - 19
Theatre Design & Technology - Fall 1981 - 20
Theatre Design & Technology - Fall 1981 - 21
Theatre Design & Technology - Fall 1981 - 22
Theatre Design & Technology - Fall 1981 - 23
Theatre Design & Technology - Fall 1981 - 24
Theatre Design & Technology - Fall 1981 - 25
Theatre Design & Technology - Fall 1981 - 26
Theatre Design & Technology - Fall 1981 - 27
Theatre Design & Technology - Fall 1981 - 28
Theatre Design & Technology - Fall 1981 - 29
Theatre Design & Technology - Fall 1981 - 30
Theatre Design & Technology - Fall 1981 - 31
Theatre Design & Technology - Fall 1981 - 32
Theatre Design & Technology - Fall 1981 - 33
Theatre Design & Technology - Fall 1981 - 34
Theatre Design & Technology - Fall 1981 - 35
Theatre Design & Technology - Fall 1981 - 36
Theatre Design & Technology - Fall 1981 - 37
Theatre Design & Technology - Fall 1981 - 38
Theatre Design & Technology - Fall 1981 - 39
Theatre Design & Technology - Fall 1981 - 40
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