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FALL 1987

ditorium, "The Theatre Upstairs," in which new scripts
could be given very simple productions. In the regions of
Britain, the ottingham Playhouse under Richard Eyre,
the Traverse Theatre in Edinburgh, and the Everyman in
Liverpool, also developed strongly with new writers and
new ways of reviving old plays using minimal means and
a sharp critical intelligence. Although very small, the
Bush Theatre in London had disproportionate influence
by inventive staging of only new works. Directors, designers, and actors of great talent were drawn to work in
these theatres because of the use made of their limited
facilities, not because of sophisticated buildings or a
blank check for ilillovation. It often seems as if their
simple means offered greater freedom than the better
equipment of theatres struggling to maintain oldfashioned practices and at the same time attempting to
innovate.
Some small theatres were more innovative in their use
of theatre space, Studio Ypsilon in Liberec, Czechoslovakia, led by Jan Schmid as author, designer, director, and
occasional actor, created its own dramaturgy, and a scenography developed for use in what was originally a
puppet theatre. Several theatres in Prague in the I900s
established small companies in unlikely buildings and
developed extraordinary designs and techniques to use
them. In Italy, the company of Dario Fo and Franca Rame
could travel with the simplest equipment and perform
almost anywhere, yet their texts were ambitious and
challenging and their work had close connections with
film, television, and opera.
Other theatres have been notable for their organization, giving to dramatists a more thorough involvement
in theatre practice than elsewhere; any innovations in
the use of stage and auditorium have followed from this,
and their contribution to the development of actors. St.
icholas' Theatre in Chicago in the early '70s has been
the most remarkable I have visited: accommodated in a
former printing works and run by a trio of directors who
shared the roles of author, director, composer, administrator, and teacher, this company enabled David
Mamet to find his distinctive voice as a dramatist. In the
same league have been the Magic Theatre in San Francisco with Sam Shepard, and the Portable Theatre in
Britain with David Hare and Howard Brenton.
If scenographers are concerned to work for the future
of theatre, these examples all suggest that the major
problem is to find the most effective provision for shoestring enterprises. They also argue that problems of
physical provision have to be related in every detail to
theatre organization and every part of the process of
production, from conception onwards. On the other side,
innovators in theatre, whether writers, directors, actors,
or producers, should take care to recruit appropriate
scenographers; they will help in getting full use from
available facilities and in planning new ones; they can
also ensure that the three-dimensional and immediate
elements of performance are fully used in theatre's inevitable competition with film, TV, and video.
Other problems of contemporary theatre space apply
to any theatre. How can the greatest variety be gained
within an existing building? What form, scale, and situation should be chosen for a new theatre? What are the
potentials of any acting space? What front-of-house arrangements and what treatment of an auditorium are
best for winning an audience away from alternative en-



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
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
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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