Theatre Design & Technology - Summer 1991 - 12

John Adams'
opera, The Death
of Klinghoffer,
(Brussels, 1991),
directed by Peter
Sellars. A
Constructivistlike setting
inspired by
Islamic
architecture-I/a
maze of
structural
elements
becomes a
pattern
completely
blended with the
pattern of the
text itself.1/
Tsypin notes that
the set is static
and that
movement
comes from
James Ingalls
lighting. The
movement of the
light causes the
movement of
shadows across
the stage.

way rhere is, say, an Oliver Smirh or Jo
Mielziner sryle, rhere is a sense of scale,
space and verricaliry virrually un marched
in recenr American design, excepr perhaps by Sanro Loquasro. A Tsypin serring, wirh irs rowering images, skeleral
scenic pieces made of meral and moving
elemenrs recalls rhe Russian Consrrucrivism rhar almosr subconsciously shapes
his work and his rraining as an archirecr
ar rhe Insrirure of Archirecrure in
Moscow.
Perhaps because he came ro rhearre
relarively lare-he received an MFA in
design from
ew York Universiry in
1984 ar rhe age of 3D-he is remarkably
unconcerned abour rhearrical rradirion
and propriery in his serrings.
''I'm really nor rrained," he insisrs.
''I'm nor inreresred in periods; I feel
incredible freedom. I was never indocrrinared in rhe sense of 'rhis is from rhis
period, rhar is from rhar period.' I have
roral freedom ro use wharever I like. I
love, for example, medieval painring or
sculprure and I use ir when I need roo I
also use some elemenrs of incredibly
modern archirecrure, and somehow ir
exisrs on rhe same value level-I never
give ir a rhoughr."
And so Don Giovalllli emerges in
Harlem, Ajax is seen in a glass boorh on a
srage inundared wirh blood, The COUllt of
MOllte Cristo is a world of surreally mov10

1991

SUMMER

TD&T

ing apoleonic armoires, Tannhiiuser is
ser in a TV evangelisr's crysral carhedral,
and Leon and Lena (and Lellz) move ro a
highway in rhe American sourhwesL
For mosr specrarors ir is rhis "roral
freedom" rhar is rhe hallmark of rhe socalled posrmodern sryle. The freewheeling juxraposirion of hisrorical and conremporary references, done in a very
self-conscious and poinred manner, rypifles a parricular approach ro much rhearre producrion roday and much of
Tsypin's in parricular.
"Maybe ir is a reflecrion of our rimes,"
he conrinues, "bur ir is also rhe hisrory of
arr. If you look ar medieval painrings on
Biblical srories, obviously rendered wirh
medieval cosrumes, rhey felr free ro do
rhar. And you look ar a Renaissance
painring of rhe same Biblical srory and all
of a sudden ir feels like rhe Renaissance.
There is no way ro ger away from rharwharever we do is a reflecrion of our sensibiliries."
er Tsypin insisrs rhar his
approach is almosr organic. "I don'r feel rhar I'm
breaking rhe rules; ir's
complerely narural. I'm
more inreresred in rhe essence of rhings,
rhe rexrures, rhe shapes, rhe space, and
rhe hisrorical e1emenrs as long as rhey
serve rhe meaning."

Y

Akalairis explains rhar, "The poinr of
view comes from embracing a lor of differenr worlds and exploring rhe possibiliry rhar differenr worlds can enrer rhe
world of rhe play, nor jusr visually, bur
spirirually or psychologically or hisrorically."
The recenr Hem] IV, Parts 1 and 2 ar
rhe Public caprure rhe key elemenrs of
Tsypin's work. The basic ser, capiralizing
on rhe brick back wall and pillars rhar
define rhe edges of rhe ewman Thearre
srage, suggesred rhe ruins of a gorhic
carhedral or perhaps a crypr. Seeking a
way ro caprure rhe hisrory in rhe Henry
plays, Tsypin rhoughr of rhe gorhic
carhedrals of England especially
Wesrminsrer Abbey, which are filled wirh
rombs and srarues of kings and queens.
"I wanred ro creare a space where you
come in and hisrory is rhere and your
imaginarion comes alive," he explains.
"Ir's like kings ger our of rhose rombs."
As if ro reinforce his norion of rhe
srage-as-dangerous-machi ne, rhe relarively shallow deprh and narrow wings of rhe
Newman Thearre somehow spewed forrh
ganrry-Iike plarforms and rowering walls
wirh graceful ease, quickly rransforming
rhe srage from rhe c1ausrrophobic courr
ro rhe densely smoke-filled ravern ro rhe
seemingly vasr barrleflelds.
Inreresringly, Tsypin's one srinr as an
assisranr was on Neil Simon's Biloxi Blues



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

Contents
Theatre Design & Technology - Summer 1991 - 1
Theatre Design & Technology - Summer 1991 - 2
Theatre Design & Technology - Summer 1991 - 3
Theatre Design & Technology - Summer 1991 - Contents
Theatre Design & Technology - Summer 1991 - 5
Theatre Design & Technology - Summer 1991 - 6
Theatre Design & Technology - Summer 1991 - 7
Theatre Design & Technology - Summer 1991 - 8
Theatre Design & Technology - Summer 1991 - 9
Theatre Design & Technology - Summer 1991 - 10
Theatre Design & Technology - Summer 1991 - 11
Theatre Design & Technology - Summer 1991 - 12
Theatre Design & Technology - Summer 1991 - 13
Theatre Design & Technology - Summer 1991 - 14
Theatre Design & Technology - Summer 1991 - 15
Theatre Design & Technology - Summer 1991 - 16
Theatre Design & Technology - Summer 1991 - 17
Theatre Design & Technology - Summer 1991 - 18
Theatre Design & Technology - Summer 1991 - 19
Theatre Design & Technology - Summer 1991 - 20
Theatre Design & Technology - Summer 1991 - 21
Theatre Design & Technology - Summer 1991 - 22
Theatre Design & Technology - Summer 1991 - 23
Theatre Design & Technology - Summer 1991 - 24
Theatre Design & Technology - Summer 1991 - 25
Theatre Design & Technology - Summer 1991 - 26
Theatre Design & Technology - Summer 1991 - 27
Theatre Design & Technology - Summer 1991 - 28
Theatre Design & Technology - Summer 1991 - 29
Theatre Design & Technology - Summer 1991 - 30
Theatre Design & Technology - Summer 1991 - 31
Theatre Design & Technology - Summer 1991 - 32
Theatre Design & Technology - Summer 1991 - 33
Theatre Design & Technology - Summer 1991 - 34
Theatre Design & Technology - Summer 1991 - 35
Theatre Design & Technology - Summer 1991 - 36
Theatre Design & Technology - Summer 1991 - 37
Theatre Design & Technology - Summer 1991 - 38
Theatre Design & Technology - Summer 1991 - 39
Theatre Design & Technology - Summer 1991 - 40
Theatre Design & Technology - Summer 1991 - 41
Theatre Design & Technology - Summer 1991 - 42
Theatre Design & Technology - Summer 1991 - 43
Theatre Design & Technology - Summer 1991 - 44
Theatre Design & Technology - Summer 1991 - 45
Theatre Design & Technology - Summer 1991 - 46
Theatre Design & Technology - Summer 1991 - 47
Theatre Design & Technology - Summer 1991 - 48
Theatre Design & Technology - Summer 1991 - 49
Theatre Design & Technology - Summer 1991 - 50
Theatre Design & Technology - Summer 1991 - 51
Theatre Design & Technology - Summer 1991 - 52
Theatre Design & Technology - Summer 1991 - 53
Theatre Design & Technology - Summer 1991 - 54
Theatre Design & Technology - Summer 1991 - 55
Theatre Design & Technology - Summer 1991 - 56
Theatre Design & Technology - Summer 1991 - 57
Theatre Design & Technology - Summer 1991 - 58
Theatre Design & Technology - Summer 1991 - 59
Theatre Design & Technology - Summer 1991 - 60
Theatre Design & Technology - Summer 1991 - 61
Theatre Design & Technology - Summer 1991 - 62
Theatre Design & Technology - Summer 1991 - 63
Theatre Design & Technology - Summer 1991 - 64
Theatre Design & Technology - Summer 1991 - 65
Theatre Design & Technology - Summer 1991 - 66
Theatre Design & Technology - Summer 1991 - 67
Theatre Design & Technology - Summer 1991 - 68
Theatre Design & Technology - Summer 1991 - 69
Theatre Design & Technology - Summer 1991 - 70
Theatre Design & Technology - Summer 1991 - 71
Theatre Design & Technology - Summer 1991 - 72
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
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