Theatre Design & Technology - Fall 1992 - 28

and the United States. She created
memorable productions of The
Misanthrope, Phaedra Britannica, and
The Double Dealer for the National
Thearre of Great Britain and designed
Rigoletto and La Traviata for the
Merropolitan Opera in New York. In
1983, Laurence Olivier, renewing a
professional relationship of almost 40
years earlier at rhe Old Vic, asked
Moiseiwitsch ro design the cosrumes for
his final Shakespearean performance,
King Lear, produced for Granada
Television.

T..c~LKr~G

TAXYA

own accomplishmenrs, Tanya Moiseiwi tsch clearly loved her co-workers as
much as the work. Talking with her, it's
easy [Q see why that love has been
rerurned in such large measure.
In the past you've expressed reservations abour seeing your sketches and
designs displayed as works of art.
The word art is much misused, I think,
the word artist, roo. I've always been
timid about being anywhere near where
there are-how can I put it?-real
artists, painrers, who painr in a way that

,nTH

~lOlSEI\"[TSCn

T

anya Moiseiwitsch spenr
almost twO monrhs this
past summer in the picturesque Canadian rown
she considers her home
away from her London home. She was
visiting with Dama Bell, widow of
Alfred Bell, one of the inspired Srratford
civic leaders who helped creare the
Festival. In addition ro seeing performances and renewing her many friendships, she a[[ended the opening of the
exhibition in her honor. She talked one
afternoon in a backstage conference
room looking our on the colorful flower
beds that surround the theatre she and
Tyrone Guthrie helped create.
At 77, Moiseiwitsch lets a cane give
her light assistance as she walks, and she
admits that roo many stairs in London's
thearres keep her from a[[ending performances there as often as she once did.
The elegant face and dark eyes that
Desmond Heeley likens ro a Russian
countess's are as srriking as ever. Her
phorographs and published interviews
convey the combination of personal
modesty and professional resolution
that have often been noted, bur they fail
ro caprure the warm humor that occasionally flashes with quiet mischief.
Talking of an encounrer with a conremporary British direcror, her normally
genrle voice unexpectedly swells with
grandeur, instandy depicting an inflated
ego she is roo tactful ever ro mention
direcrly. She recalls her response ro a
mild criticism from Laurence Olivier in
a tiny, mouse-like voice, then briskly
resumes an aurhoritative rone ro affirm
that she was righr, he was wrong. Most
of all, her eyes and her voice sparkle
with the sense of fun that must have
been one of rhe grear bonds with Tyrone
Guthrie. Quick ro share credit for her
26

1992 FAll

TD&T

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has ro be framed and hung on a wall.
My work has always been a rransition
from rhe idea of the direcror ro the people who are going ro make the clothes, if
it's clothes, or rhe carpenrers or scene
painrers, if it's scenery. Ir's not a thing in
itself, it's not an end in itself, it's a stepping srone from one ro the other and
evenrually finds its way onro the stage.
ow there is a design that's not on show
[in Stratford], and I very much hope it
will be in [Chicago]. It's hanging on the
wall where I'm staying at the momenr,
with Mrs. Bell. She's crazy about designs
and designers and has been marvelous in
making it possible for people ro buy
designs, which would never have
occurred ro me in the early days, I JUSt
didn't know about it. But it's become a
fashion to have them on your walls.
ow if things are not fit ro be framed,

I'll hide them. They don't get inro Mrs.
Bell's hands.
Bur you do keep them.
I haven't kept everything, no. The
wastepaper basket can be quite useful if
there are some real blots. Bur on the
whole they are importanr, in a hisrorical
way (the archivists have taught me this).
Something starts as an idea in the direcror's mind and then goes through a filter; the designer is to try ro read [the
direcror's idea] in three dimensions but
pur it first on paper where it's not three
dimensional at all.
ow there has been talk, and some
people have even done it, they make litde puppets, they dress them so you can
see all around them. I think that's a litde
bit fancy and time consuming, and I
don't think it really tells a true srory,
because when it's blown up ro the size of
an acror, it can lose a lot in the rranslation, which was kind of cute when it
was litde, whereas a drawing should be
more rruthful.
Now this one I was talking about,
that's hanging on a wall, was for Richard
III. It was a cardinal in white with a
rather bulbous reddish nose and a rather
prim expression and a great big cardinal's hat. When we had the dress parade,
this particular acror came on in the cosrume holding his sketch in fronr of him,
saying, "Don't I look like it?" His makeup was rotally realized from the sketch,
and I never was so proud in my life. I
thought, "What a lovely man." It rumed
out that he was a painter in his own
right as well, an artist as well as an acror,
a Canadian actor called Peter Mews.
That momenr lives because the cosrume
came alive, the costume sketch came
alive, I should say, and became three
dimensional.
Do you think the drawings and costumes that have been chosen for
"Designs for Srratford" are represenrative? Does the exhibition make the
kind of statements that you would
want?
Well, first of all, the drawings selected
from the [Srratford] archives are ones
that I have, after each season that I've
worked here, presenred ro the archives,
chosen by me, and whoever was the
archivist at the time. So in a way those
are approved. The other ones that have
been shown have been very kindly
bought by people or have been presenred by them because they acred the part
or they're very special people. The way



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1992

Contents
Theatre Design & Technology - Fall 1992 - 1
Theatre Design & Technology - Fall 1992 - 2
Theatre Design & Technology - Fall 1992 - 3
Theatre Design & Technology - Fall 1992 - Contents
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Feb
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Feb
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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
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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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