Theatre Design & Technology - Fall 1991 - 58

SOME THOUGHTS ON THE STUDENT EXHIBITIONS
While we are very pleased with
the first US entry in the Schools
of Scenography Exhibit, we are
also interested in increasing the
quality and range of the next
exhibit. We are aware of areas
needing improvement, but we
also need membership input to make the next
exhibit truly representative of theatre education
in the United States.
While discussing the possibility of a student
exhibit at PQ'95, several issues were raised. Rrst,
how can more schools be encouraged to have their
students participate? The call for entries was
advertised in TO& LSightlines, Theatre (rafts, as
well as in the USAA and ArnE newsletters. Acombined mailing list was created from USITT and
ATHE membeships with more than 500 schools
and/or teochers receiving informaHon about the
exhibit. Finally, a phone campaign was initiated
during which more than 30 of the major theatre
schools were contacted and invited to enter.
Despite these attempts, students from only 21
schools entered. During the tour in Prague, we
were questioned countless times about how the
students were selected and (our favorite quemon)
why we didn't advertise the exhibit. What more
can be done?
By and large, the schools participating in the
exhibit had faculty representatives who had
attended past POs and who believe there is great
value in exposing their students to international
scenographic practices. Our student delegates to
PQ'91 unanimously felt that the experience was
invaluable and that new doors have been opened
to them. So, how do we encourage already busy
faculties and students to take the time to document afew of their best projects in order to enter
them?
The next question discussed was whether we
should make it possible for students to be more
involved with the design and layout of their exhibit and whether they should have a hand in selecting the works to be displayed. If we do, then how
should these students be chosen? If such astudent
were selected from your school, could you afford
to support his/her pamcipation with grants, assistantships, etc?
Other ideas discussed were whether or not the
exhibit should highlight the work of specific
schools or be left an open competition. Should the
student exhibit tour after the PQ? Should more
emphasis be placed on process rather than finished product? If you have thoughts on these or
other issues pertaining to future student exhibits
at PQ, please send them along to either of us.
PHOTO: 'THE MADMAN So THE NUN'
IN THE POLISH STUDENT EXHIBIT.

56

1991 FALL

"Da"

Approximately one-third of
the display space in the sludent area was devoted to
"Out of Frames, the result
of a collaboration of theatre
students from throughout
Europe. The students from
Berlin, Bratislava, Groningen, Helsinki, london,
Milan, Prague and Warsaw had been brought
together by the Academy of Visual Arts and Architecture/Academie Minerva in Gronigen last year
to begin work on what is to be asix-day festival of
performance pieces in September 1991. Their
charge is to develop performances from visual
and/or spatial ideas, rather than stamng with any
kind of text. They were directed to take inspiration
from urban environments, but to formulate individual premises for each performance. To quote
the brochure: "For once it is not the author or the
director but the designer who will initiate the process."
The installation created for PQ was intended
as aforetaste of what was to come, although with·
out performances per se. The
environment was definitely
urban, using the parking spaces
on the floor (a garage, remember) and continuing them up
the walls, creating a kind of
forced perspective. The graphics
consisted primarily of photos,
collages, props, etc., depicting
the grittier side of urban life.
Several of the pieces were stuck
to the floor in high-traffic
areas, with the intent that they
would be trod on and trashed in
the course of the exhibition.
As tantalizing as the physical exhibit itself was the idea
behind UOut of Frames": a
cooperative effort involving
students from several different
schools. An exchange of ideas,
methodologies, whatever-o
chance to be confronted with
the unfamiliar. What US theatre
student wouldn't benefit from
such interchange? Sadly, the
norm here at home is to be
fiercely provincial, never recognizing that people in other
places might have good ideas,
too. But the potential value of
such a Ufestival of design" is
obvious. Is there an institution
out there willing and able to
undertake such a project? let
us hear from you.
B

You may be wondering who
"won" in the Schools of
Scenography exhibition.
Unlike PQ'81, the 1991 students were not in a competition. However, the following
citation was granted to the
ex i it as awhole by the international jury and by
Jaroslav Malina, General Commissioner of the
PQ'91:
"It is the privilege of the jury to award an
honorary diploma to the general student exhibition with the follOwing citation: Although the student exhibition is not in the competition, the jury
was very impressed by the work as 0 whole. The
designs displayed here represent an energy, creativity and vision that is refreshing. Most importanty' there is a pervading optimism that bodes
well for the future of the theatre. The jury, therefore, awards a special citation to these students
and their teachers for their excellence and looks
forward to seeing work by these young people at
future Quadrennials." --



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
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Theatre Design & Technology - Fall 1991 - Contents
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