Theatre Design & Technology - Spring 1984 - 10

,-In Opera for Three BUfls by Jan Vancura
(Czechoslo"akia), winner of Siil'er ~Iedal for
Scenographv / CSSR. PhOIO: Ralph Pine.

Gali/eo Ga/itei by Josef Ciller (Czechoslovakia), winner Gold Medal-Scenography / CSSR. The sel
consisted of a large roll of paper which was Cllt, lorn, and drawn. Photo: Eric Fielding.

ance, nor event, nor chance? \Vhat
can thealre be like before it becomes
theatre or when it ceases to become
theatre?
The architecture portion of PQ83
was four or five times larger than it had
been four years ago. It was here that
the sole, interesting, but totally out-ofplace American exhibit was located (see
the article by James Earle). It is difficult to be an "American in Prague"
when the United States has only managed to have an official competing
exhibition at one out of the five
Quadrennials. 5

Observations on the

Candide by Tomas Berka (Czechoslovakia), winner of Silver Award for Scenography / CSSR.
Photo: Jarka Burian.

since such a display would cost less to
prepare and transport than many of the
intricate and elaborate expositions of
the past. In essence this was the tactic
that was successfully carried out by such
members of the British Commonwealth
as Canada, Australia, and ew Zealand,
and in somewhat different forms by the
USSR, East and West Germany.
Four years ago the PQ had had a
theme-not to be confused with the
thematic design section-which was
"The Innuence of Contemporary Art
on Theatre Design." The only country
that did much with it in 1979, however,
was West Germany, which presented
a series of "conceptual-art" displays
8

called Konjigurationen. Due to economic considerations, artistic austerity,
or just slow response time, a number of
national exhibits at PQ83 seemed to be
following this four-year-old theme, in
panicular the Netherlands, Poland,
Denmark, and Sweden.
In the Polish exhibit, a poster with
the following statement seemed to set
the tone for these explorations of nontraditional theatre forms:

Theatre Design & Technology / USITT /Spring 1984

What elements, values and manifestations of Iheatre do exist as ilS
reality? And how can they manifest
themselves in art beyond theatre?
What potential form can the theatre
assume that will be neither a perform-

ational Exhibits

The exhibit from Poland featured
theatre games, video, and other nontraditional theatre experiences. The exhibit of the Netherlands consisted of the
scaffolding-collage set for a Bauhausinspired production of Transparent City
by the Taller Amsterdam theatre group
that had been presented at the Centre
Georges Pompidou in Paris. (See cover
illustration.) The exhibit of Denmark
consisted entirely of a "happening"style performance by the Fonix Theatre
of a science fiction play-really more of
a sound-and-light show-called Space

in Actiol/.
As a way of celebrating its 60th anniversary, the Soviet Union chose to present the work of sixty of its young scenographers. This was an interesting
blending of the old and the new: Ihe
work of these sixty "new" designers
was housed in a rather garish and over-



Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 1984

Contents
Theatre Design & Technology - Spring 1984 - 1
Theatre Design & Technology - Spring 1984 - 2
Theatre Design & Technology - Spring 1984 - 3
Theatre Design & Technology - Spring 1984 - Contents
Theatre Design & Technology - Spring 1984 - 5
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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
https://www.nxtbookmedia.com