Theatre Design & Technology - Fall 1992 - 48

L

aterna Animata uses techniques of film animation in
continuous film projection
with live performers. The
building is a monorype and
makes no claim ro being universal thearre. Laterna Animata, however, is also
the name of the company that will
inhabit the space when the Franz Josef
Centennial is over. So then, what is
next? "Perhaps antique thearre ... for
example, Sat)'ricolI," Smetana conjectures. Before discarding the shallow dish
stage, he is developing a milky liquid ro
fill the dish as a projection surface and a
thearrical acting medium. For Swall
Lake? A four-sided mirror prism,
installed in front of the projector lens,
will split the image into four equal pans
which can be re-collected in a number
of ways and on different planes. Another project involves generating film
images from a concave mirrored hemisphere and projecting the film OntO a
projection surface which is its opposite
in form, namely a convex hemisphere.
The effect, Smetana claims, from his
modelling experiments, is a sensation of
space that is something like turning
your trouser pocket inside our. The convex projection surface is, for one sce-

nario, a gigantic crown of the head of
Mozart. But this project is on hold.
Because of the publicity for Mozart in
the bicentennial year of his death and
especially in Prague, "Mozart has

LATE RNA ANIMATA
IS TH E PRODUCT OF
AN ICONOCLASTIC
MIND, AND ONE
THAT IS SYMPATICO
WITH SVOBODA'S
LI FE-LONG METHOD
OF WORKING IN THE
THEATRE.
become wallpaper, here, for now."
Laterna Animata, one sees, is the
product of an iconoclastic mind, and
one that is sympatico with Svoboda's
life-long method of working in the the-

arre. Late one morning, at the gates of
the Park Kultury, I watch several waves
of school children flood in excitedly.
First of all they head off to see the public fountains. Computer conrrols operate a vast series of fountains which are
coordinated with a recording of their
national symphonic poem, Ma Vlast
(M)' Coltiltly} by Bedrich Smetana. It is
music, and sunshine, and water. ext
the school kids zig-zag over to the Spiral
Thearre ro see the Laterna Animata performance which tunnels us back in time
100 years, almost to the day. Inside the
spiralling theatre space, inside the kiln, I
am sitting in an anticipatory hubbub
with the next generation who have just
been given the freedom to shape their
own future. We are sitting around a
campfire, full of possibilities, full of
imaginings of what is to come. And,
rrue to Smetana's iconoclastic bent, and
just as true to the previous year's Velvet
Revolution, as the lights dim, the curtain comes down.
ffi
Ron Firman works as a scenographer in

Berkeley, CA, alld in Europe and is the
author of ,,]osefSvoboda and the Window
Theatre" which appeared in the Spring
1992 issue ofTD&T.

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46

1992 FAll

TD&T

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Coroordl,on



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
Theatre Design & Technology - Fall 1992 - 5
Theatre Design & Technology - Fall 1992 - 6
Theatre Design & Technology - Fall 1992 - 7
Theatre Design & Technology - Fall 1992 - 8
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