Theatre Design & Technology - Summer 1991 - 19

only designer 1'0 refer to mechanical
drawing as "beautiful."
"Ideally I would like to do all my own
drawings because I work out elevations
myself, I work out proportions myself. I
like to make drawings very beautiful.
That also transfers onstage. Unfortunately, there's not always time. I have
to use assistants and its very hard to find
assistants who draw beautifully. There are
a lot of assistants who draw well and fast,
but drafting beautifully is something
that, unfortunately, is not taught in theatre schools."
"The art of drawing is very important," he continued. "The plan has to be
beautiful, the ground plan has to be
beautiful. Like LeCorbusier's famous theory-if the plan of the building is beautiful, then the building will be beautiful.

Of course, that philosophy doesn't translate onstage. People come up with very
awkward and ugly groundplans, uninteresting schemes, but then you actually see
it on stage because it shows. Unfortunately the reality of theatrical practice
is that there is no time."
,
sypin has been fortunate. His
student work at the late
League of Professional Theatre
Training Schools portfolio
review led to his first job- The
Power and the GLory directed by William
Woodman at the Philadelphia Drama
Guild-and his second job with Peter
Sellars at the American National Theatre
in Washington. Since then, working with
Sellars, Akalaitis and Robert Falls, and
lighting designers Jennifer Tipton and

Jim Ingalls, he has been at the cutting
edge of American theatre.
"George is an artist," declares
Akalaitis, and no one really disagrees.
Perhaps, if he continues ro work in this
way, he will succeed in eroding the critical prej udice that there is some SOrt of
dichotomy between "real" artists, like
David Hockney or David Salle who
design for the theatre, and "mere" designers. Tsypin is a real artist who understands the stage. Whatever he does, it is
clear that he will continue ro startle audiences for some time to come.

ffi

Arnold Aronson is chair of the
Department of Theatre 6- Film at Hunter
CoLLege, CUNY, author ofAmerican Set
Design and former editor and a current
contributing editor ofTD&T.

******************************************************************************************

"ALL THAT IS SOLID MELTS INTO AIR"-THE SOUND ENVIRONMENT

Above: Tsypin installation at the Twining Gallery in
New York. "Klinghoffer" model hanging, Ajax model
to right, Electrification of the Soviet Union model in
corner. Large "Klinghoffer" chair on floor.
Above right: Planet speaker and one of small hanging
wheelchairs (approximately 4" high) from the gallery
installation .

This sound environment evolved through a series of meetings and is truly a
collaboration between George and myself.
Planet speokers, made by John Hansen, are at either end of the room,
playing deconstructed sound bytes fram several of George Tsypin's
productions, including Aiax and Idiot's Delight which we worked on
together at Kennedy Center.
The planet speokers were developed for "Garten der Zeitraume," a sixmonth long sound cosmology at the Castle of Linz. They are inspired by
Johannes Kepler's nested sphere model. The two hanging here are Astraid
Speokers in grey and black and they rule over the lifeless zone between
heoven and hell.
The steel chair under the model of KlinghoFfer is playing the sounds of
Hell and Purgatory, which in New York are represented by the sounds of
our imploding infrastructure. IF you listen closely you will recognize the Far
right lane of the 59th SI. Bridge and the terror soundtrack rhythms of its
rich sonic decay. Metal Fatigue of the bridges and road surFaces of NYC
were recorded with extreme close-up ribbon microphones suspended
beneoth my car in normal driving conditions.
The series of wheelchairs in the center of the room represents a deluded
version of heaven as seen by KlinghoFfer. The mylar looking bocks of the
chair are reolly pizo-electric Film tweeters wired in stereo.They are playing
sounds of melodious tones, high speed wind thraugh harpsichord wire and
the clanging of metal sheets. Broken glass punctuates KlinghoFfer's fall.
The ideos for this whole central section represents what is in common to
both George's and my projects: The suspension between heoven and hell.
-Bruce Odland, Sound Designer

.............................. .............................................................
TD&T

1991 SUMMER

17



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
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