Theatre Design & Technology - Fall 1987 - 19

Max Reinhardt's Grosses Schauspielhaus in Berlin,

prevellted any partlcipation, or otherwise clearly did
away with any temptation to participate. On the other
hand, Ariane Mnouchkine's production of 1789 at the
The,itre du Soleil, where proximity was sometimes considerable (characters actors walking through the audience, etc.l, eemed to exploit the sense of participation
to a maximum, And the laws of scenography alone are
not the determining factors. Everything lies in the relationships, the overlapping of all the elemellts of production, including the spectators who are an integral part of
the theatrical advellture.
Problems of relativity: At the time of 1 7 89 and 1 7 83,
the cenographies of the Theatre du Soleil were founded
on a discolltinuou theatrical sp,lce; actions could be
several and simultaneous. For ,\/ephi\w, the pace \\'as
bi-holltal, and more recently, for the Shakespeare plays
and Sihonou].;, the scenography was frontal, even if
widely open. For The \Vater Hen, Kalltor imagined ,111
environmelltal scenography in \\┬Ěhich all the elements
were set at ground lew I \\'ith the audience. And today, if
he attaches great importance to the problem of spatial
organi:ation, of the playing area, of cOI1\'elltion;l! limits,
he declares that he can play "anywhere-even in a theatre"!! This obviously me;1I1ing "in a theatre-for lack
of something better" bll( abo meaning that he accepts
this building of "public uselessness" which he de-

nounced in the 19'+0s. These two examples show us how
the theatre boiled over in the sixties and sevellties (a
known period of cultural revolll(ioni to return little by
Ii ttle -not necess,nil y to order or wisdom - but to make
its impact through more traditional means.
Another case of relativity: Reinhardt-the director
who proceeded from cabaret, to chamber theatre, I'ational Theatre, circus, the Olympia Hall in London, the
Theatre of 5000 Places, the Salzburg Cathedral squareis not being eclectic \\┬Ěhen he says: "There is no one form
of theatre which is the only true artistic form. Let good
actors today play in a barn or in a theatre, tomorrow at an
inn or inside a church, or in the Devil's name, even on an
expressionistic stage: if the place corresponds \\-ith the
play, omething wonderful will be the outcome. "!2 Reinhardt makes a choice: to seek a perfect harmony between the atmosphere of a deeply resonant space and the
theatrical work. That is a question which we will take
up shortl y.
Peter Brook, who is strong enough to reject theorizing,
and to yield to the immediacy of his sen ations, doesn't
make a choice. True, the following statemellt was made
in 1959, at a time when he was still a director a eclectic
as he was brilliallt, and when he had nOt yet begun to
follow the path which would !ead to the Empty Space.
continued on Jl. 60
TD&T

*

FALL 1987

17



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
Theatre Design & Technology - Fall 1987 - 7
Theatre Design & Technology - Fall 1987 - 8
Theatre Design & Technology - Fall 1987 - 9
Theatre Design & Technology - Fall 1987 - 10
Theatre Design & Technology - Fall 1987 - 11
Theatre Design & Technology - Fall 1987 - 12
Theatre Design & Technology - Fall 1987 - 13
Theatre Design & Technology - Fall 1987 - 14
Theatre Design & Technology - Fall 1987 - 15
Theatre Design & Technology - Fall 1987 - 16
Theatre Design & Technology - Fall 1987 - 17
Theatre Design & Technology - Fall 1987 - 18
Theatre Design & Technology - Fall 1987 - 19
Theatre Design & Technology - Fall 1987 - 20
Theatre Design & Technology - Fall 1987 - 21
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Theatre Design & Technology - Fall 1987 - 24
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