Theatre Design & Technology - Fall 1987 - 17

municipal advisors and urbanist ), he would do better to spend several hours a day placing himself in
the place of the most diverse spectators?

~e.,",_c.e. /y;r9~D

,S~Q41~_'

Tadeusz Kantor's design for Wie/opo/e-Wie/opo/e.

space. His success won him a new theatre - the Mendelsohn-Bau on the Kurfurstendam in the center of the
richest quarter of West Berlin - which was outfitted as a
transformable theatre, highly mechanized and sophisticated but functionally difficult. The last word in technology. Poor Peter Stein: he himself had dreamed of a pile
of sand - the simplest and most transformable of materials. Is there a richer metaphor of our present-day situation, a more incisive image of the dangers of a technology that is no longer at the service of humani ty and art,
but which threatens to imprison or crush them?
I don't want to offend anyone, I'm not looking to
provoke, but I believe I am here to say what I think. Craig
was absolutely right to state and restate that the theatre
must be the house of the director and, I will add, that of
the actor (of his voice and his gesture in space), and of the
spectator who is ready to participate, in other words to
receive and to give. And I think that Peter Brook was
right when he said this:
The most important duty of an archi tect is to slip
inside the skin of a director, perhaps he should try to
become one. If an architect is asked to design a
building, he normally needs an incubation period of
six months to a year, during which he concentrates
on his textbooks or on the specifications gi ven by
the client. When it's a question of a theatre, rather
than wasting his time recapi tulating the forms described by theoreticians which would inevitably
lead him to the miserable and vulgar solution of a
transformable theatre (multi-purpose houses please

A key question is raised here. However paradoxical it
may appear, this question is justified by the history of
the theatre. To come to life, does the theatrical event
need a constructed space, intended for that purpose and
labeled "theatre"~ In fact, doesn't such a building risk
harming this new life, this unfolding of the act of theatre~ Might it not burden that young life with the weight
of routine, lock it in a vault, a system of constraining
limits~ At its deepest level, art needs the tension between constraint and liberty.
It has toO often happened since the end of the nineteenth century that the theatre edifice seems to resurrect itself from an esthetic and a society which are Out of
date, which smother the theatrical act and its protagonists. Hence the flight from the theatre, the search for
free spaces not intended to function as theatres, for
spaces to build, to convert, that are ready to receive the
act of theatre, to bestow on it a pure and profound
resonance.
In 1903, Romain Rolland, striving to found a popular
theatre intended to be "entertainment," "a source of
energy," "light for the intelligence," defined its material
conditions as follows:
I have no quarrel with scenery, nor with costumes, but with their scandalous and useless ostentation, which has nothing to do with art and which
no well-organized society ought to tolerate. For a
popular theatre, I need only a large hall, a riding
school like the salle Huyghens, or a public meeting
hall like the salle Wagram - preferably a hall arranged on an incline so that everyone can see well:
and at the bottom (or in the middle if it' a circusl- a
bare stage, high and wide 9
An important statement - one that would become the
charter for a whole movement. Godwin had already
mounted Helen of Troy in Hengler's Circus in London in
1886 and Lugne-Poe had done Measure (or Measure at
the Cirque d'Ete in Paris in 1898, attempting to establish
there the equivalent of an Elizabethan stage.
But as of the beginning of the century, the movement
exploded. In particular, one thinks of Reinhardt's productions at the Circus Schumann in Berlin, of those of
Gemier at the Cirque d'Hiver in Pari. For Reinhardt it
was a question of rediscovering a chamber of resonance
for Greek tragedy, a peopled space that breathes like the
living shell of the Greek theater. Ariane Mnouchkine
invested a magical site of the Medrano Circus for her
production of A Midsummer -ight's Dream in 196 .
evertheless, the circus is still a show place. One can,
one must, go farther.
In 191 I Max Reinhardt took over Olympia Hall in
London to create The Miracle-and in 1920 he staged
Everyman in the Salzburg Cathedral Square. In 1947,
Jean Vilar took over the Cour d'Honneur of the Palais des
Papes for the founding of the Avignon Festival, which is
celebrating its fortieth anniversary this year. From the
Soviet revolution until now, countless experiments have
been carried Out in "found spaces" -in munitions factoTD&T

*

FALL 1087

1S



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
Theatre Design & Technology - Fall 1987 - 6
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Theatre Design & Technology - Fall 1987 - 8
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