Theatre Design & Technology - Summer 1989 - 19

nious fusion of these elements as well as the symbolic
representation of a world in which the dramatic action was
set.
While some of the settings depict the architectural fantasies of romanticized ruins and others rely on the aesthetic of historical accuracy, still others point the way
toward innovation and revolution. But all draw from the
deep rootS of tradition. For this reason, the collection is
significant to both contemporary practitioners and theatre
historians. As the notable Viennese designer and painter
Heinz Bruno Gallee observed, the treasures of the past
must be assimilated in order to better transform them
with our creative spirit. 2 While this is an axiom for all
scholarship, it is especially true for the theatre and for the
scenic world in particular.
The concept of permanency is perhaps contradictory to
an art form whose very existence is so temporally related
to the life of a production. And it is probably safe to
generalize, as Stark Young observed, that no art suffers or
"loses" more in reproduction than that of design for the
theatre 3 Whether the illustrations are from the original
"object," or from an original production photograph, or
indeed comprise the original object itself, what remains is
bu t a shell of the original creation. We miss the real theatrical space for which it was created, and we have no clear
vision of its true colors as seen under the many changes
brought about by the art of stage lighting. It is probably for
this reason that many designers follow the path of Loudon
Sainthill, Jo Mielziner, and others who refused the exhibition of their work-hesitating at the thought of museum
restorations - believing that theirs was but a single ingredient in the magic released on stage, before an audience, in
the theatre.
onetheless, there are certain artifacts that eloquently
represent our scenic heritage, release an alchemy all their
own, offer an historical contribution profound in its significance, and demonstrate a cultural heritage rich in a
tradition which demands preservation, study, and
exhibition.*

MASTER CLASSES

TOP BRITISH
THEATRE DESIGNERS
at summer school in idyllic
Welsh mountain setting

11-26 AUGUST 1989
apply Iii:

.jOIl.\" Bun: I:5C \'1.\"£ IWAD. UJ.\D{).\" .'-;1\"j.3. U;.
011-441- 76-9, .38

The NIUILyric Opera Scenic Collection is open to
scholars, artists, and the general public by appointment
dluing regular working haUlS when the university is in
session. Contact the Department of Theatre Arts
[815-753-1334/ or the Special Collections Department
[815-753-9838/ of the University Libraries, Northern Illinois University, DeKalb, IL 60115.
Notes
But, as David Cockayne points Out, the imemational collections reflect only a fraction of the available productions. See
David Cockayne, "Documenting Design," Theatre Design TechlJo]ogr, Spring 19 9: 22-2 -Ed.
2 Heinz Bruno Callee, "Das Szenbild in Der Ceschichte des
Europaischen Theatres," Oper Regie lind BiihnenbiJd Hellte,
ed. Rudolph Hartmarm IStuttgart: Kohlhammer, 19771 12.
3 Stark Young, "Robert Edmond Jones: A Note," The Theatre o'
Robert Edmond fanes. ed. Ralph Pendleton ( liddleton, CT:
Wesleyan Up, 195 ) 3.

Alexander F. Adducci is a scenic designer and a professor
of design in the Department of Theatre Arts at Northern
Illinois Universit,>~ and is a member of USITT
TD&T

SUMMER 19a9

Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 1989