Theatre Design & Technology - Spring 1983 - 12
he stretched the potential of the Olivier
stage by using a painted backdrop and
"flying more lhings than ever before."
The result resembled, in his \\'ords, "a
monumental film set," including a
f1o\\'n cinema screen with opening credits. The Broad\\"ay em'ironment was enhanced by neon lUbing and \\'agon tage
\\'ilh gari h slOrefronts, nightclubs, and
other locales. We \\'ere desperately trying to find theatricality again on stage,
but without lumbering stage machinery,
select ing a fe\\' key element that are
readily changeable, and good lighting."
Gunter works almost el1lirely with
highly detailed small models, in a ~o
scale, which line the walls of his home
studio. Like virtually all British designers he does costumes as well, though
he is less fond of this phase of his work;
similarly, again like most Brilish designers, he hardly ever does light ing, although he found that he had to do a lot
of it on the continent. His most recel1l
\\'ork was a production of Da\'id Hare's
Pfellr)' (OclOber 1982) at YC's Public
Theatre. Although the play recei\'ed
miwd notices, GUl1ler' austere interior
sets backed by greatly enlarged art\\'ork dre\\' high praise.
~I~
~ ~
.
John Napier
Like Gunter, John Napier (born
1944) al 0 worked on the continent in
the early 1970s, but whereas Gunter became permanently established there for
a number of years, apier \\'orked only
intermillently as the partner of English
directors doing English plays, Prior to
that time he had gone through three
years at art school (Hornsey) \\'ilh an
emphasis on sculpture, followed by
three years of lheatre design at the Central School in London, \\'here he (like
~Iaria Bjornson) studied under Ralph
Koltai, by then already an established
de igner. E\"Cn before lea\'ing Cel1tral
School he \\'a offered the po ilion of
head of design al the Phoenix Theatre in
Leice tel', where he remained a year and
a half before beginning work 011 the continent. By the mid 1970s Napier became
associated \\'ith the RSC, \\'here he ha.
remained e\"er since, \\'ith occasional e.\cursion~ into opera or the cOllllllercial
theatre, Currently he is perhaps the
most publically celebrated of British
scenographers, ha\'ing designed con~ec-
utive procluctiom lhat hm chad cnor10
John Napier's //Iodel for Iphigenia in Tauris, part of Ihe cycle, The Greeks, 1980. The sparse scenic
ele//lel/ls were ofIeII repealed lI'ilh variclliolls ill olher paris of Ihe cycle.
Theatre Design & Technolog)
John Napier's //Iodel for Ihe Nell' York \'ersion of Cars, 1982. The boa I sequellce II"(/S added
LOlldoll produclioll, as was Ihe hole ill Ihe sky/ceilillg for Ihe heavelll.\' ascelll of Gri~abe/la,
10
Ihe
'...
John /\'apier's selJor Henry IV, pari I, 1982: a series of //labile lowers wirh Ihe delrilus of rhe age.
SITT Spring/1983
Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 1983
Contents
Theatre Design & Technology - Spring 1983 - 1
Theatre Design & Technology - Spring 1983 - 2
Theatre Design & Technology - Spring 1983 - 3
Theatre Design & Technology - Spring 1983 - Contents
Theatre Design & Technology - Spring 1983 - 5
Theatre Design & Technology - Spring 1983 - 6
Theatre Design & Technology - Spring 1983 - 7
Theatre Design & Technology - Spring 1983 - 8
Theatre Design & Technology - Spring 1983 - 9
Theatre Design & Technology - Spring 1983 - 10
Theatre Design & Technology - Spring 1983 - 11
Theatre Design & Technology - Spring 1983 - 12
Theatre Design & Technology - Spring 1983 - 13
Theatre Design & Technology - Spring 1983 - 14
Theatre Design & Technology - Spring 1983 - 15
Theatre Design & Technology - Spring 1983 - 16
Theatre Design & Technology - Spring 1983 - 17
Theatre Design & Technology - Spring 1983 - 18
Theatre Design & Technology - Spring 1983 - 19
Theatre Design & Technology - Spring 1983 - 20
Theatre Design & Technology - Spring 1983 - 21
Theatre Design & Technology - Spring 1983 - 22
Theatre Design & Technology - Spring 1983 - 23
Theatre Design & Technology - Spring 1983 - 24
Theatre Design & Technology - Spring 1983 - 25
Theatre Design & Technology - Spring 1983 - 26
Theatre Design & Technology - Spring 1983 - 27
Theatre Design & Technology - Spring 1983 - 28
Theatre Design & Technology - Spring 1983 - 29
Theatre Design & Technology - Spring 1983 - 30
Theatre Design & Technology - Spring 1983 - 31
Theatre Design & Technology - Spring 1983 - 32
Theatre Design & Technology - Spring 1983 - 33
Theatre Design & Technology - Spring 1983 - 34
Theatre Design & Technology - Spring 1983 - 35
Theatre Design & Technology - Spring 1983 - 36
Theatre Design & Technology - Spring 1983 - 37
Theatre Design & Technology - Spring 1983 - 38
Theatre Design & Technology - Spring 1983 - 39
Theatre Design & Technology - Spring 1983 - 40
Theatre Design & Technology - Spring 1983 - 41
Theatre Design & Technology - Spring 1983 - 42
Theatre Design & Technology - Spring 1983 - 43
Theatre Design & Technology - Spring 1983 - 44
Theatre Design & Technology - Spring 1983 - 45
Theatre Design & Technology - Spring 1983 - 46
Theatre Design & Technology - Spring 1983 - 47
Theatre Design & Technology - Spring 1983 - 48
Theatre Design & Technology - Spring 1983 - 49
Theatre Design & Technology - Spring 1983 - 50
Theatre Design & Technology - Spring 1983 - 51
Theatre Design & Technology - Spring 1983 - 52
Theatre Design & Technology - Spring 1983 - 53
Theatre Design & Technology - Spring 1983 - 54
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
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