Theatre Design & Technology - Fall 1981 - 29

----------018TT
The Sixth

olsn Congress
by Eric Fielding

The Sixth Congress of the International Organization of Scenographers and Theatre Technicians (OISTT) was held in East Berlin from
February 23 to March 1, 1981. Over 120 participants, delegates, and
observers from some thirty different countries met to exchange ideas
and study contemporary scenography, theatre architecture, and technology.
Since its organization in 1969, the OISTT has continued to grow,
expand and explore its role in the realm of world theatre. During the
succeeding dozen years OISTT has conducted six major international
Congresses and a series of smaller conferences throughout the world.
As Joel Rubin, the immediate past president, said upon retiring from that
position after serving there for seven years:
I believe our most important contribution over last years has been
to arrange an almost continuous series of international meetings,
almost forty in number now, in nearly a dozen countries, dealing
with one or more areas of interest: meetings in scenography, in
theatre architecture, in theatre technology, in theatre training and
in theatre publication.
I believe that in these international meetings, whether large or
small, whether they meet their fullest promise or not; in them has
been our greatest opportunity for improving understanding and
international relationships.

Also during those twelve years, the OISTT has been associated with
the Prague Quadrennials of 1971, 1975, and 1979; assisted in the
publishing of Theatre Words, an international, 9-language, technical and
scenographic dictionary; encouraged the formation of national OISTT
Centers and the publication of national/international journals; and expanded from the organizing membership of seven nations to some 26
participating countries today, certainly an impressive beginning for a
young organization.
Although they have been around longer than the twelve year existence of the OISTT, the United States Institute for Theatre Technology
(USITT) and its journal, Theatre Design and Technology, are the official
U.S. arms of this international body.
The United States and the USITT were represented in Berlin by a
four-man delegation: Dr. Joel Rubin (Kiegl Bros. Lighting; OISTT Past
President), Dr. Ned Bowman (Rosco Laboratories; USITT International
Liason Committee Chairman), Richard Dunham (Rosco Laboratories),
and Eric Fielding (Brigham Young University). In addition to their
participation in the five days of Congress activities in East Berlin, the
U.S. delegation spent four days in West Berlin going to the opera, the
Berlin FilmFest and other events, and three days in London visiting the
National Theatre, Pinewood Studios, and the Royal Shakespeare
Company.
The theme of the 6th OISTT Congress was "Theatre as a Center of
Communication." And consistent with most any international gathering
where varied philosophies, cultures, and political ideologies are brought
together, effective and meaningful "communication" was not always
present. But despite language barriers, ineffective instantaneous translation, and speeches whose key words seemed to be "social," "revolution," and "progressive," there still emerged a meaningful dialog and
exchange of ideas, goals and friendships. (More often than not, however, these exchanges appeared over lunch, in small sessions, or on a tour
bus, and not, unfortunately, in the large formal meetings.)
The Berlin Congress was extremely well organized and hosted by the
East German OISTT Center and was chaired by their president, Otto
Kahler. The opening sessions was held in the glittering and baroque
Apollo Hall of the Deutsche Staatsoper Berlin, and featured reports from
Helmut Grosser (West Germany) who has been the president of the
OISTT since Joel Rubin stepped down in 1978, and from Josef Svoboda
(Czechoslovakia) who has been in the Secretary General of the OISTT
for most of the organization's twelve years. Other Congress sessions
were held in such diverse places as the VolksbOhne Theater, the Maxim
Gorki Theater, the Berlin Television Tower, and the home of Bertolt
Brecht, and included su.:h speakers as John Bury (Great Britain),
Eric Fielding is U.S. Vice-Chairman, OISTT Scenography Commission

Reinhardt Zimmermann (GDR), Ladislav Vychodil (Czechoslovakia),
and Edward Kochergin (USSR).
A special feature of this year's Congress involved a joint symposium
of the OISTT and the AICT (International Association of Theatre Critics)
on the subject of "Scenography and Criticism."
Following a couple of days of general sessions and discussion groups
on the topic of "Theatre as a Center of Communication" the organization
broke down into its working components: the Special Commissions.
Presently there are six commissions in the OISTT: Scenography,
Theatre Technology, Theatre Architecture, Training/Information/Publication, and Theory/History/Criticism of Scenography. But during the
1981 Congress, there was talk of the formation of a seventh'commission
for Artisans and Craftsmen (i.e. makeup artists, prop makers, scenic
painters, sculptors, etc.). As evident from the reports of the chairmen of
the various Special Commissions during the closing session of this
Congress, it was in these specialized commission meetings that less
rhetoric and more results were heard.
During the final session, President Grosser announced the two major
upcoming activities of the organization: a small Congress in Czechoslovakia during June 1983, to be held in conjunction with PQ 83, and the
Seventh OISTT Congress to be held in Moscow during 1985. Also
during that meeting the United States, represented by Dr. Ned Bowman,
was reelected to the 13 member Executive Committee, which includes
Austria, Belgium, Czechoslovakia, East Germany, France, Great Britain,
Hungary, Japan, Poland, Romania, USSR, and West Germany.
In addition to these official Congress meetings, activities planned for
the delegates included: visits to the workshops of the state theatres of
East Berlin and the incredible prop shop of Edward Fischer; exhibitions
of the work of Karl F. Schinkel, and of contemporary design from the
Berlin area theaters; performances in the Komische Oper, the
Deutsches Theater Berlin, and the Berliner Ensemble; various receptions, including one for the opening of the "British Stage Design"
exhibition which won the Golden Triga at PQ 79; an excursion to
Sanssouci and a special performance of Handel's Julius Caesar in the
Palace Theatre at Potsdam; and a trip for tours of the Semper Opera
House reconstruction and the Hochschule fur Bildende Kunste (the
training center for East German scenographers, scenic artists, propmakers, and makeup artists). All in all, it was a busy and well-planned
five day conference.
A good way to sum up the past, present, and future of the OISTT
would be to again quote from Joel Rubin's final address as president:
I believe that in the alSIT we can offer ourselves another
compliment after all these years as well. In spite of governmental
politics, in spite of changing economies, and in spite of the lack of
cooperation that governments, as governments, engage in--we
have kept the alSIT nearly free of politics, we have kept it truly
international in scope and understanding, and we have maintained our meetings as open ground where all theatre artists are
free to meet and exchange views. I believe that this is no small
acomplishment. The temptation to dissolve into partisan politics
is easy but it often sounds the death knell for international
oranizations. I have not always agreed with the policies of certain
ministries of culture toward freedom of artists-or even attitudes
toward culture in general-but in spite of such disagreements we
have always, in the aISIT, met in an atmosphere of freedom,
regardless of where we were meeting.
It is easy to be frustrated with a lack of progress. .. (but) the fact
is, that there is progress being made, that there is beNer
understanding, and that we do have more international exchange.

If the plans, programs, and activities of the Sixth OISTT Congress are
any indication, there definitely is progress, better understanding, and
real growth in international exchange, as a direct result of the activities
of the International Organization of Scenographers and Theatre Technicians. And as members of the USITT we should work to support and
become even more involved in our international "parent" organization.



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
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