Theatre Design & Technology - Summer 1988 - 8

STAGE 1. "AND AS IMAGINATION
BODIES FORTH . ..."

The first moment of reading a new text is the most pure
and simple - the moment of total freedom, where the constraints of the production are yet to come. Thjs is when the
imagination can stride continents and civilizations, time
and space, logic and reason, in a spirit of childish innocence and enquiry. All that is needed is to approach the
text with an idea of recreation - play and labor together,
and to allow the senses to make spontaneous responses to
the text. To achieve trus simple state is, however, enormously difficult, since preconceived "ideas" and "concepts" must be put aside, the mind emptied of notions of
failure and success, and the presence of the giant enemy
called Fear acknowledged. Known solutions for producing
stage designs are to be discarded and the imagination
allowed to body forth in an instinctive response to the
musicality of the text. Visual memories and images, a
color, a line, the quality of a pen mark, float to the surface,
brought to life by the irutial sound and feel of the words,
irrespective of the literary content. This is the mystery of
ideas. Where does an idea come from 1 How is it recogluzed 1 How does it make itself known? Please, may we
never truly know'
As I read Samuel Beckett's Waiting for Godot, the terse
sharp quality of the words connected with drawings (Figs.
1 and 2) I remembered from a biography of the life of
Van Gogh. This eventually translated itself into the
model of Waiting for Godot (Fig. 3), and to the eventual
production at the Uruversity of Micrugan at Ann Arbor
(Fig. 4).

Fig. 3: Model of Waiting for Godot set for University of Michigan production.

STAGE 2. THE FORMS OF THINGS
UNKNOWN... .

In a state of rearuness to receive, which is never automatic
or taken for granted, the search begins for the forms of
tlungs unknown, wruch will eventually manifest themselves as the vision of the play. The previous instinctive
responses of form, line, and color now have to be malupulated on paper, in the dimensional space of the model box,
or paced on the empty stage, feeling the dynan1.ic of the
space with the human form as the plastic object. At trus
stage, the priority is to retain an openness of n1.ind, to be
able to respond to the unexpected - a line on paper that
wasn't intended, but could suggest a new thought - a color
wrongly nuxed, a newspaper cutting, spilled paint, a picture. There is in all creation a pattem and a fom1, and here
begins the search to find the first pieces of the puzzle that,
experience tells, will eventually fit together to form the
whole picture. A great act of faith is demanded during tlus
time, for this is the moment where unknown parameters
are set for the vision, establishing a personal scale of values
that allows a sense of judgement and objectivity to surnuse "thjs will work"-or "this won't work."
During a period of interest in the drawings of Kathe
Kollwitz (Fig. 51, I happened to watch a family walkjng
along the sea wall, evidently returning from a long day out.
In making a quick drawing I noticed many similarities:
the same exhaustion - the same women doing the work,
continued on page 48
6

TD&T * SUMMER 1999

Fig. 1: Reed pen drawing of

a plowed

Fig. 2: Van Gogh reed pen drawing.

field by Van Gogh.



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
Theatre Design & Technology - Summer 1988 - 22
Theatre Design & Technology - Summer 1988 - 23
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
Theatre Design & Technology - Summer 1988 - 32
Theatre Design & Technology - Summer 1988 - 33
Theatre Design & Technology - Summer 1988 - 34
Theatre Design & Technology - Summer 1988 - 35
Theatre Design & Technology - Summer 1988 - 36
Theatre Design & Technology - Summer 1988 - 37
Theatre Design & Technology - Summer 1988 - 38
Theatre Design & Technology - Summer 1988 - 39
Theatre Design & Technology - Summer 1988 - 40
Theatre Design & Technology - Summer 1988 - 41
Theatre Design & Technology - Summer 1988 - 42
Theatre Design & Technology - Summer 1988 - 43
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Theatre Design & Technology - Summer 1988 - 45
Theatre Design & Technology - Summer 1988 - 46
Theatre Design & Technology - Summer 1988 - 47
Theatre Design & Technology - Summer 1988 - 48
Theatre Design & Technology - Summer 1988 - 49
Theatre Design & Technology - Summer 1988 - 50
Theatre Design & Technology - Summer 1988 - 51
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Theatre Design & Technology - Summer 1988 - 66
Theatre Design & Technology - Summer 1988 - 67
Theatre Design & Technology - Summer 1988 - 68
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