Theatre Design & Technology - Spring 1986 - 15

A t the climax of The Golden Windows the
stage split and light and smoke poured out
from the zigzag fissure.

PHOTO

moved in and out of the building, the
door opened and closed by itself, imparting an eerie sense of life to the
structure. On the scrim behind the
scene a crescent moon and stars appeared; occasionally the scrim turned
white, casting the actors in silhouette.
At times a woman reclining on a chaise
longue appeared through the scrim as if
hovering like a goddess in the sky.
Just as the movement of the set altered perceptions, forcing the audience
to focus on the set from di fferent anges' sound, too, was refracted. Voices
from the stage would be heard from
different speakers throughout the auditorium-an actor obviously speaking
onstage would be heard from the back

of the mezzanine, then suddenly from
the side. Visual perception is frequently informed by sound; Wilson played
with that as well.
In a play with no plot it is hard to
talk of a climax, but since this was a
performance shaped by image and
sound, there was at least a visual climax
-an earthquake. In the third act the
hill split along a jagged crack spewing
brilliant light and smoke. The pattern
of stars and moon that were no longer
visible on the scrim emerged on the surface of the sundered hill.
The Golden Windows was an apocalyptic vision, but unlike some earlier
works like Einstein and The $ Value of
Man in which some critics found polit-

JOHAN ELBERS

ical and social messages, this was a personal vision, Robert Wilson's own
golden window.

The Birth of a Poet
This was the most controversial
work ever produced by the Next Wave
Festival. The collaboration among
writer Kathy Acker, director Richard
Foreman (whose own work is among
the most significant of the post-war
era), artist David Salle, and composer
Peter Gordon provoked not merely
walkouts but audible reactions from
the audience and booing at the end. (By
the end of the run supporters compensated by standing and cheering. Regardless of the merits of the piece, such

USITT /Spring 1986/Theatre Design &

Technolog~

13



Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 1986

Contents
Theatre Design & Technology - Spring 1986 - 1
Theatre Design & Technology - Spring 1986 - 2
Theatre Design & Technology - Spring 1986 - 3
Theatre Design & Technology - Spring 1986 - Contents
Theatre Design & Technology - Spring 1986 - 5
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