Theatre Design & Technology - Fall 1987 - 16
howe\'er carefully prepared, however much magic
you use, and the vel'. ion will seem childish ro you
and de\'oid of charm. But present it in a church
square, no matter how confined, before a French
romanesque or gothic church Ipatched up or not by
Viollet-Ie-Ducl, and you will be surprised at its
strength, its relevance, its vigor. You may even
cry.
It is not without risk or trickery that we distance
ourselves from the original sites of dramatic works:
the bare platform of Shakespeare, larlowe, Ford,
etc., the cathedral square for our mysteries, the
bourgeois platform stage for most of .\loliere's farces
and comedies, the Italianate stage for all our classical tragedies, the closed, intimate space for Sartre,
Becque, Anouilh, a platform propped against a wall
and an arcaded gallery for Lope de Vega, Calderon
amphitheatre, orchestra and skene for the
Greeks, etc. In looking roward the theatre of the
future, we have ro do everything possible ro restore
to the masterworks of the past a stage and a place
like those in which they originated.1\
A performance in the theatre designed by Appia at the Jaques-Dalcroze
Institute at Hellerau.
1-
r'-'--_----Jr
A section of the Chaillot National Theatre as it might be arranged for two
productions.
14
TO&T·
FALL 1987
There is truth in what VilaI'. says, along \,'i th some
doubts- but a hope, a faith with a certain dogmatism.
The underlying though in this statement implies a return ro a specific type of space for each type of drama,
but it does not suggest a single multi-purpose instrument capable of responding by transformation to the
needs of every dramatic structure. That is whar the
transformable theatre proposes to do.
I myself, used to favor such a theatre. I believed that it
corresponded ro a refusal ro fix the future - but also to a
certain fear of choice, TOW I believe that, although there
are some good transformable theatres, there are more
mediocre ones. In fact, there are very fe,,' that are interesting, stimulating, artistically creative, few with any
experimental value and many more which are merely
pedestrian and crude, no matter what kinds of machinery are used to accomplish the transformation.
In general the best are among the smallest, because
they function more easily. The larger, the more complex,
the Rolls Royces (as /lichel Rafaelli said, referring ro the
new Chai liar where he was scenographerl are most often
impractical or practical with difficulty/ or in contradiction with the wishes of the directors called on to u e
lhem. Only Vicror Garcia knew how to use the Chaillar
well. For several years now, this "transformable" space
has been reduced to a fixed fromal theatre ro which the
director Antoine Vitez and his scenographer Yannis
Kokkos, whatever their talems, are restricted.
I would like to emphasize how much all the transformable theatres, those able to exploit three variantsproscenium, Eli=abethan stage, arena stage - seem to
me to be highly naive and extremely poor. Instead of
being truly transformable, they impose artificially calculated spatial relationships. They are like those multipurpose tools, those knives that are also saw, scissors,
cork-screws, etc. - but bad saws, bad scissors, and bad
cork-screws. A significam eX
Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1987
Contents
Theatre Design & Technology - Fall 1987 - 1
Theatre Design & Technology - Fall 1987 - 2
Theatre Design & Technology - Fall 1987 - 3
Theatre Design & Technology - Fall 1987 - Contents
Theatre Design & Technology - Fall 1987 - 5
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