Theatre Design & Technology - Spring 1988 - 10

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The numw of mu",um ,how, de-

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THEATRE DESIGN EXHIBIT
BY ARNOLD ARONSON

Charlas Barlinars costuma dasign for tha Ghost of Christmas Past, from A Christmas Carol at tha
Clevelend Play House, 1980,

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TD&T'

SPRING 1 BBB

voted to the art of the stage in the past
decade (in the post-War era? in the century?) can be counted on one hand,
This past fall, the Milwaukee Art Museum mounted one of the few - a show
entitled Contemporary American
Stage Design. It was organized by Curatorial Assistant Dawn von Wiegand.
The exhibit consisted of sixty-eight
set and costume designs by twentythree designers - mostly renderings
and sketches, but also including five
set models, In date the works ranged
from James Maronek's 1970 The
Threepenny Opera at Chicago's Goodman Theatre to David Salle's 1987 The
Tarnished Angels for Karole Armitage
at the Paris Opera Ballet.
The exhibit also struck a nice balance between designers of national
and international reputation and those
of more regional interest such as
Charles Erven, resident designer for
the Milwaukee Chamber Theatre, and
R. H. Graham, former resident designer for the Milwaukee Repertory
Theatre. The well-established, including Desmond Heeley, Carrie Robbins,
and Santo Loquasto, were represented,
as were the newcomers, including Eduardo Sicangco and George Tsypin.
But the balance or focus that was
most significant, and raises the most
difficulties both for curator and
viewer, was artistic merit (slickness?)
versus theatrical significance. Von
Wiegand was faced with two related
problems in mounting the show: convincing the museum directors that
theatre design belonged in an art museum, and determining the criteria for
selecting the works to be displayed.
One of the historical obstacles to
museum acquisition and display of
theatrical design has been the sense
that it is not "art." This, however, has
never kept museums - the Milwaukee
included-from exhibiting folk art,
crafts, or industrial design. In these
cases, functional objects become art
by removing them from their functioning environment; they can then be
appreciated on a purely esthetic level.
Theatre art, of course, is transitory,
popular (and therefore suspect), and
generally relegated to the same category as commercial art and "hotelmotel" art, This sense is reinforced to



Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 1988

Contents
Theatre Design & Technology - Spring 1988 - 1
Theatre Design & Technology - Spring 1988 - 2
Theatre Design & Technology - Spring 1988 - 3
Theatre Design & Technology - Spring 1988 - Contents
Theatre Design & Technology - Spring 1988 - 5
Theatre Design & Technology - Spring 1988 - 6
Theatre Design & Technology - Spring 1988 - 7
Theatre Design & Technology - Spring 1988 - 8
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