Theatre Design & Technology - Fall 1987 - 18

ries ITheatre du Soleill, or warehouses, boats, trains,
truckbeds - in fields, streets, garages and even cellars
and private apartment. By this penetration into the city,
outside of official monuments, the theatre becomes
more human, more direct. It loses its cultural aspect to
make itself more aggressive or more ludic. Its scenography escapes the frontal; it diversifies. But among the
representative of the avant-garde, there is also a question
of denying the official theatre; true theatre can only
arise where it is not expected.
Thus Tadeusz Kantor wrote in 19-+2:
It is only in a place at a moment when \\'e don't
expect anything that something can happen in
which we believe whole,heartedly. That' why the
theatre, as a domain rendered indifferent, neutralized by secular practices, is the least favorable
place for the realization of drama.
The theatre, as it is, is an artificial creation, unbearably pretentious.
I stand before a building of public uselessness,
snagged on living reality like a blown-up balloon.
Before I arrive, it is empty and silent. After my
arrival, it feigns its utility with difficulty. That's
why I always feel uneasy in my theatre seat. 10

Finally, among all those found places, invested by the
theatre, there is one whose status is unique: the theatre
itself, alienated from its original function, stripped of its
ornaments. In an attitude as blasphemous as Genet's in
The Balcony, Victor Garcia smashes up the theatre to
make it a gathering place for voyeurs glued to a performance. At the Bouffes du ord in Paris, a former Italianate
theatre which has lost its golds and reds, its luster of
yesteryear, Peter Brook works in a space that is neither
proscenium, nor Elizabethan, nor circus - but which
can be all of them at once, given a form which is both
closed and expansive; it is the empty space where anything can come to life on a slab of cement, or a bed of
sand and dirt.

F

ound spaces, converted spaces, theatres for
every dramatic form, transformable theatres - I have ment ioned only a few examples, but their diversity is astonishing. Together, they constitute an extraordinary
field of concrete and living experiments in theatre space
and in actor/audience relationships. Each of these experiments has its specificity. Can one say then, that the
day will come when a unique theatre architecture, a
common space for the theatrical event, will emerge ~ We
must answer prudently. It is true that theatre people
have dreamed of an ideal architecture, capable of being
designed and built. There have been epochs dominated
by a unique type of theatre space. However, there is little
to indicate that our age is of the same SOrt, that it is
founded on anything bllt a multiplicity of experiences
related as much to socio-cultural context as to theatrical
reality. Our impressions are contradictory: on the one
hand this age of ours-its degeneration, its renewal, the
richness of its inventions lonly some of which will survivel, the enormous economic, philosophical, and esthe-

16

TD&T'

FALL 1087

tic upheavals which s\\'eep over it - resembles the Renaissance. On the other hand, one cannot avoid drawing a
parallel \\'ith the age of l\'apoleon III in France \,'hose
hallmark was complete eclecticism: an accumulation of
borrowed styles - false Renaissance, false Louis XIII,
false Louis XV Only the fllture will tell what belongs to a
real Renaissance, what bears witness to decadence.

H

aving concluded with my general presentation, I would now like to comment on a
few specific points.
The relationship between dramatic literature and the theatre space: It has
sometimes been thought tfor example, by Jacques
Copeau and Jean Vilarl that a purified theatre pace
would give rise to a new dramatUrgy. It didn't happen. It
was also believed that from new dramaturgies would
arise new types of theatre space. It didn't happen. And
that simply because the relationship between dramaturgy and the scenic world does not follow the theme of
strict determinism, bllt is, rather, profoundly dialectic
within an organic progression. Jean Vilar spoke of the
importance for him of the relationship between the dramatic work lor allthorl and its original site of creation. I
think that one must not overestimate the power of the
theatre space, nor the constraint of the works. For example, when Waiting for Godot was first produced in
1953 at the 200-seat Theatre de Babylone in Paris, it was
assumed that the play was meant for a space of limited
capaci ty and relati ve intimacy. However, twenty-five
years later, in 197 , a production of the same work by
Otomar Krejca at Avignon, in the Cour d'Honneur of the
Palais des Papes, in front of 2500 pectators was a triumph - with the farthest spectator more than lOO feet
from the stage. I'm not justifying the immensity of the
distance. But I think this success was hinged on twO
important elements: the evolution of the audience's sensitivity and understanding of the work over twenty-five
years, and the power of staging the work in a space which
endowed it with a new resonance.
Problems of distance: I hope that the preceding example doesn't brand me as an advocate of vast theatres
when, in fact, audiovisual ans and techniques seem to
me to be pushing toward a drawing together of actor and
spectator and to be under coring the importance of living and active presence.
However, a number of remarks eem to be called for.
Problems of distance are not only posed in physic



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1987

Contents
Theatre Design & Technology - Fall 1987 - 1
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Theatre Design & Technology - Fall 1987 - Contents
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973May
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
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
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