Theatre Design & Technology - Fall 1991 - 28

Reinhardt, Piscator, Jessner, Brecht,
Weill, Grungrens, Felsenstein, Ruhnau,
Kupfer and the current crop of writers,
directors, designers and architects to realize that fact.
rom the German exhibit to
the Soviet presentation was a
trip of light years dimension.
In 1976, the
SSR had
flexed a lot of theatrical muscle in its presentation and the winning of
the grand prize. In 1991, the exhibit was
less than a shadow of its former self. We
were shown the work of three young
designers in a space defined by objects
made of corrugated cardboard. There was
a grand piano with the lid up; inside,
some renderings were displayed. There
was a small toilet room complete with a
cardboard commode and some costume
renderings placed behind the water pipes.
A number of headless costume renderings-for which I can find no designer
listed in the Quadrennial catalog-were
also displayed with some others where
the entire character could be seen. I was
hooked on the cardboard sculptures and
use of the stuff to convey a message. If
the intent of the exhibit was a reflection
of the loss of Russian stature in the international theatre community and economic status in the world at large, it succeeded. Ultimately, it was sad. I think
that was intended as well.
Spain had one of the largest exhibits
on display in Prague. The catalog contains 12 pages of names: designers,
schools, theatre and dance companies all
working, producing and performing. I
found it all rather intimidating for everything was similar in size, shape and
scope. A particular dance company-and
there were a number of them on display-was given half a four-foot by sixfoot panel to show its work. This was, in
the main, photographic. There were
some renderings of scenic and costume
designs but they were in the minority. As
a consequence, it was very difficult for
this viewer to make coherent sense of the
whole thing. There are a large number of
talented people working in the Spanish
theatre and its equally important dance
companies. No one can help but applaud
this burgeoning output, but for the
Quadrennial more astute selection of
their very good scenography seems to be
in order.
The Japanese exhibit suffered from
the same problem. The setting, a
Japanese temple-cum-teahouse, was
inviting, but once inside, the crowded
conditions made it hard to back away
from any given design for a good look at
26

1991 FAll

TD&T

a distance or to get a good look if the rendering or photo was placed at the waist
line level. Admittedly, the Japanese live in
very tight situations in their urban centers, bur good exhibitional wisdom states
that the best work should be shown and
to advantage. Don't crowd everything
together in the teahouse. I was impressed
by a number of Japanese stage designs,
twO in particular. They were Setsu
Asakura's design for Breaking The Code
and The Story of a Horse designed by
Masanobu Sakamoto.
I was not impressed by the large
number ofTY designs included. It grates
on my nerve endings to find designs for
Japanese game shows next to renderings
for Don Giovanni or a Kabuki play or
The Magic Flute. Film and TY design is a
field of creative endeavor unto itself. Let
us keep it that way in the exhibition hall.

AS ALWAYS, THERE
WAS NEVER ENOUGH
TIME TO SEE AND
EXPERIENCE ALL OF
IT...
The Hungarian exhibit was fun! You
pushed a button on the pedestal and
behind the plexiglass a little curtain went
up and you saw the model. Let go of the
button and down it came. I had to bring
along my assistant to handle the technical details when filming some of it. I
liked all of the actual costumes that were
shown. You could get up close and nothing speaks for a costume so much as that
closeness when you can feel the textureeven if you don't touch-and see the fine
detail work at close range. It's almost as
pleasant as wearing one-which turns
you into someone else-might be.
The Hungarians published and disseminated a very handsome catalog of
their own, complete with bios and photoS of the designers, renderings and production photos in color and black and
white. The commentary by Andrea
Soak}' is exemplary and could provide a
guide for some of the other countries
whose catalogs were multilingual. As for
the designs, I was impressed by ora
Cselenyi's flowery egg-shaped costumes
for SLush and The Flying Dutchman.
Similar plaudits to e1ly Vago for her
costumes for A Midsummer Night's
Dream. I was also excited by Peter
Makai's textural design for The Magic
Flute and other designs for a smaller scale
production of the same opera by
Annamaria Huros at the
ational
Theatre, Pecs. Good work!

hich brought me
and the camera at
long last to the exhibition of our hosts,
The Czech and
Slovak Federal Republic. I've commented
earlier on the inauspicious placement of
exhibits against the large windows of the
Palace of Culture. Almost half of the
CSFR work suffered because of it! It was
hard to see in the daytime against a sunlight backdrop.
ow, let's have done with criticisms
of the space and only level one more cavil
at the exhibit. This is one of identification of the individual designs, costumes
and sculptural efforts. Rather than use a
placard or sign, the items were identified
by tags tied on. As some of the exhibited
work was high up or low down, it was
virtually impossible in some cases to
know who had done what. at only that,
but the tags were written only in the
native language which not too many
western visitors can translate at a distance.
All criticisms aside, the totally of the
CSFR scenographers and costumers was
of a very high standard. In my previous
Quadrennial, the host country did not
compete in the international arena. This
time it did and I thought before the
awards were handed our that they had
made a very strong case for the grand
prIze.
ooking at the exhibit as a
whole, I was struck by the
many scenic models which
made a statement as a piece
of contemporary sculpture.
This was probably not the primary intention of the scenographer, but the sculptural form of his/her design grew out of
concept and means. It was difficult to
identify the individual designers because
of the baggage tags but here are some
that stand out when I look at the tape: A
theatrical space with NAROD So BE over
the acting area. To its left were two freeform sculptural designs. Another stage
had a curved, segmented wooden wall
parallel to the footlights, beginning in
the center of the stage and ascending up
inro the flies as it swept upstage.
Suspended above were some branches
covered in green leaves. Another more
realistic model of a library space, lots of
bookshelves and other views of the stacks
off stage in the manner of the Teatro
Olimpico impressed me. A few costume
designs were part of the exhibit as well,
but the sheer power of all those intriguing scenic models was very moving. In
all, the work of 40 scenographers and

L



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1991

Contents
Theatre Design & Technology - Fall 1991 - 1
Theatre Design & Technology - Fall 1991 - 2
Theatre Design & Technology - Fall 1991 - 3
Theatre Design & Technology - Fall 1991 - Contents
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