Theatre Design & Technology - Fall 1987 - 55

theatrical micro-world, established safely in its own
cosmic void, at a time when the real world is in danger of
running out of control. We might wish to immerse audiences in heightened illusion because other forms of
theatre are losing their ability to draw great crowd.
Productions with their own "scenographic architectUre," prepared carefully over many mOnths and even
years, can develop an overwhelming effect. Although
they play for comparatively small audiences, they can be
kept in production for several years and travel around
the world in search of new audiences; eventually they
may play to many thousands. These productions are
triumphs of an and organization; they establish an anworld to challenge the "presentations" and "st,lgeshows" that have formerly been the offerings of theatre.
They sustain their own existence beyond the time span
of all but the most popular entertainments. They win
initiates wherever they are performed, and often there
are long lines for admission at high prices. But despite
everything in their favor, a thorough cri ticismmay value
them only as an extreme means of survival for individual directors and their companies, and not as a necessary
and salutary development for the futUre of theatre.
These productions and their scenography have some
great disadvantages. They are labor-intensive and are
financed only by subsidies greatly in excess of income or
by extended runs in which the new theatre worlds become tired or tarnished with many repetition. Their
audiences soon lose a true sense of discovery because
their minds are processed in advance by the media-hype
and self-justification which have become necessary
parts of the effort to raise sufficient finance for world

tours. (Surprise has always been a wa ting asset and
today's efficient publicity makes it ITlore than ever so.)
Still more dangerously, the actors in these productions
lack the variety of challenge on which the greatest talents have always thrived. With self-discipline and the
constant help of their director (by no means always
availablel, the actors' imaginations can be kept alive and
their skills enhanced throughout a long run, but this has
to be effected within an almost constant environment.
These actors listen always to the same voices, respond to
the same colleagues, and work under the direction of one
master and his or her deputies; for tTlany months or for
several years, they may take upon then1selves the words
of only one text. There is little scope for development,
individual inquiry, and new stimulus.
The vitality of a theatre is not to be measured by a few
original productions. Range, swiftness of response, flexibility, absorption of new influences from within the
theatre and from events in the world outside, a concourse of many strong and independent talents, a varied,
growing, and demanding audience: all these factors are
important too. A great theatre should employ great and
individually interesting actors, as well as great designers
and directors; it should renew the inheritance of theatre
by revivals of old plays and experiments with many
modes of performance; it should encourage new writers,
new dramatic forms, new elements of theatre language.
Musicians, choreographers, voice experts, technicians of
all kinds, administrators, everyone in the theatre should
be encouraged to work in adventurous ways. A truly
vi tal theatre discovers many new talents, nurtures some
of them, and sends others away to make their fortunes

TD&T

*

FALL 1907

153



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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