Theatre Design & Technology - Summer 1988 - 14

j
Fig. 7: Scheme with suspended projection screen.

/

Fig. 8

1

Fig. 9: Idea for Reporters speech.

12

TD&T * SUMMER 19BB

.

two bentwood chairs. Malina noted that this version,
while not complete, expressed a sense of tension or strain
that all felt it was important to convey. The second impression (Figs. 2a, b) shows in plan and elevation the addition of
six three-dimensional shapes to confine the space, and a
pile of sand far downstage. While the various strengths and
weaknesses of this variation were debated, there was instantaneous and universal agreement on the validity of the
pile of sand and its placement close to the audience. The
third impression (Figs. 3 and -1-1 shows in elevation and
section a scheme involving a large piece of cloth sweeping
up from the floor, a rotating projection screen above that
was capable of being distorted, and the pile of sand. While
Malina rejected this variation almost as soon as he had
finished it as being too complicated, the exploration began
in this variation on the possibility of varying the shape of
the projection screen. The use of projections at the top of
Act I was to be simply expository. They were to introduce
the characters as the Chorus offered commentary on
them. At the start of Act II a sequence of slides was
proposed that would recapitulate the action of Act I as the
Choms offered her commentary on the past action and the
nature of tragedy. The desire was that the Act II projections
should appear differently because the Chorus ended Act I
with the line, "There you have it. ow the spring is wound
up-tight," and repeated the line to open Act II. There was
a feeling that the level of tension established at the end of
Act I needed a visual equivalent to open Act II. In performance this proved to be the case.
The fourth impression that Malina presented (Fig. 51
began to explore all the ideas so far. The sand pile remained, the three-dimensional shapes returned to confine
the space, and a new position and a new way of distorting
the projection screen was suggested (Fig. 6). Malina felt the
space had now become too large but noted that he felt
more strongly about the need for the three-dimensional
constll.lctions. All were convinced that the projected images had to be distorted for Act II, but Malina was not sure
that this screen was the right solution.
The fifth impression distilled and expanded all the elements of the previous sketches. The plan was a variation of
the second scheme. The sweep of the third scheme Ireferred to as "the monument cloth") now lay between the
three-dimensional constructions which had now become
shiny metal and black plastic in texture. A new scheme for
varying the projection screen was suggested. This consisted of a suspended screen that was used in a smooth
form for the opening slide projections and in a distorted
form for the videotape projection. (Figure 7 shows the
initial scheme with the suspended projection screen, the
three-di mensional constructions, the monument cloth,
and twO new additions.l First, 'lalina proposed a limestone
column at the back of the stage which would duplicate the
stonework of the proscenium arch of the theatre. This
arresting element in the design resulted from the desire on
the part of the production team to find ways in which the
action of Antigone could be connected to the real-time
experience of the audience. It also resulted from Malina
spending many hours alone in the theatre absorbing the
specific atmosphere and characteristics of the space. Second, a seventh three-dimensional construction up center
covered wi th stretch fabric was proposed as the solution to
the "entombment effect." (Figure 8 shows this proposal in
action. I The monument cloth is up 



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

Contents
Theatre Design & Technology - Summer 1988 - 1
Theatre Design & Technology - Summer 1988 - 2
Theatre Design & Technology - Summer 1988 - 3
Theatre Design & Technology - Summer 1988 - Contents
Theatre Design & Technology - Summer 1988 - 5
Theatre Design & Technology - Summer 1988 - 6
Theatre Design & Technology - Summer 1988 - 7
Theatre Design & Technology - Summer 1988 - 8
Theatre Design & Technology - Summer 1988 - 9
Theatre Design & Technology - Summer 1988 - 10
Theatre Design & Technology - Summer 1988 - 11
Theatre Design & Technology - Summer 1988 - 12
Theatre Design & Technology - Summer 1988 - 13
Theatre Design & Technology - Summer 1988 - 14
Theatre Design & Technology - Summer 1988 - 15
Theatre Design & Technology - Summer 1988 - 16
Theatre Design & Technology - Summer 1988 - 17
Theatre Design & Technology - Summer 1988 - 18
Theatre Design & Technology - Summer 1988 - 19
Theatre Design & Technology - Summer 1988 - 20
Theatre Design & Technology - Summer 1988 - 21
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Theatre Design & Technology - Summer 1988 - 24
Theatre Design & Technology - Summer 1988 - 25
Theatre Design & Technology - Summer 1988 - 26
Theatre Design & Technology - Summer 1988 - 27
Theatre Design & Technology - Summer 1988 - 28
Theatre Design & Technology - Summer 1988 - 29
Theatre Design & Technology - Summer 1988 - 30
Theatre Design & Technology - Summer 1988 - 31
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Theatre Design & Technology - Summer 1988 - 33
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Theatre Design & Technology - Summer 1988 - 35
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Theatre Design & Technology - Summer 1988 - 37
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
https://www.nxtbookmedia.com