Theatre Design & Technology - Fall 1992 - 51

been president of rhis organizarion,
which at present has members from 30
countries. (He is currenrly working on
stronger inclusion of South America.)
In 1968 he went wirh Drese to
Cologne, an exhausting place and at the
same time the "major place for technichians", as he had rhree thearres with 27
premieres a year and all the workshops
under him. Eight years later Drese went
ro Zurich, and GrolSer srayed one more
year with Hampe in Cologne, while
already in contact with Everding in
Hamburg, who wanted to bring him
there. "But Hamburg was out of a question. We Saxons have an inexplicable bur
hisrorically provable inclination ro southern Germany. Never again would I have
gone farther north than Cologne," he
said.
Upon his rerurn from a "lecture rour"
through the United States-during
which there were always four master
classes and one lecture about "The System of the German Reperroire Theatre"
in 15 cities and for srudents from 60 universities-the daughters who had
remained at home reported that Everding
had called several times. Everding's message: ormern Germany is not necessary
any more-GrolSer may go with him ro
Munich.
He has now been in office here since
1977 and simply takes care of everything
that has anything whatsoever ro do with
technology. While he once climbed swaying ladders himself ro keep his co-workers from danger, his stage personnel will
no longer permit him ro do such things
today. With all the trouble currently
caused by the machinery of the Munich
State Opera, he tries ro build the confidence of the 260 co-workers directly
under him as well as that of the others.
"Sometimes one has ro play Dad a litrle
bit," he says with a smile.

He considers as unjustified the oftenheard accusation that stage technology
nowadays often knocks out the stage production and the true art of opera. He
cites one of his earlier colleagues who
said, "The technology is only the sum of
that which the artists demand."
"We technicians are certainly not
building theatres for fun, as toys," he
elaborates. "Since the lavish machineries
of the baroque theatre, new elements
have constantly been added, from the
steam engine and hydraulics ro electrical
engineering and electronics. This last
achievement will soon be as completely
under control as the earlier technologies
(in my estimation we have almost made
it through the setrling-in phase)."
"Never, however, has a technician
said, 'Here is the invention, now put
something rogether for it.' Instead it has
always been the artists who said, 'I want
this or that, and surely it should be possible, especially in an age in which we even
fly ro the moon!' A stage technology like
ours undoubtedly encourages, indeed
even tempts, many stage designers and
producers ro think up effects for which
elsewhere they couldn't take such liberty.
The fact remains, however, that theatre is
not made by technicians but by the
artists. Tech no logical developments will
continue, and, as in centuries past, theatre will always be made as good or as
bad as the producer, stage designer, and
performer."
Helmut GrolSer doesn't see the danger in over-technicalization but in the
production teams of foreigners, presenting themselves in battalion-like manner,
which make more and more guest
appearances and which destroy every
kind of theatre-family cooperation.
Even after his retirement from the
Bavarian State Opera, GrolSer won't
withdraw ro a life of rest. The Biihnen-

...

.

. ...

:.1'.1::"" ":' :.~T'it:.·· .. ~

'·;~·i~t:.

Biihnented)nifd)e
Run6fd)au

X;'

~

technische Rundschau remains; he will be
able to work on it without having ro give
up all his spare time. And there are his
teaching commission at Everding's direcrors' class at the College of Music, his
presidential office of ISTAT, and various international consulting activities.
"Moreover I am now finally able to
devote myself a litrle more ro my hobby
as husband, father, and grandfather," he
said.
And he wants ro go surfing and sailing "as long as physically possible"activities which he didn't give up even
after his severe Nabucco accident two seasons ago, when he fell inro the stage trap
that had been lowered 13 feet and broke
several ribs. Judging from his current
appearance, he will be able ro indulge in
his surf passion for another 50 years ...

o

-STEFA

Reprinted from Biihnentechnische Rundschall, January 1992.

CONCERNING
"BUHNENTECHNISCHE
RUNDSCHAU"

uring the 1991 Boston
Conference of US ITT the
international guests were
the edi rors of the various
theatre design and technology publications. Dr. Joel E. Rubin,
our host, introduced us ro the conference
and he mentioned that BTR-Biihnentechnische Rundschau-the journal for
which I am ediror, was the oldest technical theatre journal. It has been published
since 1907. In fact there were only rwo
interruptions, during the First and Second World Wars.

,.

~.

,~,

TILCH

~

,-~~~

tIJry=fJ
B"" E TECHNISCHE

,.

R

":

DSCHA

Sd}ltlollc & 



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
Theatre Design & Technology - Fall 1992 - 9
Theatre Design & Technology - Fall 1992 - 10
Theatre Design & Technology - Fall 1992 - 11
Theatre Design & Technology - Fall 1992 - 12
Theatre Design & Technology - Fall 1992 - 13
Theatre Design & Technology - Fall 1992 - 14
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Theatre Design & Technology - Fall 1992 - 18
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Theatre Design & Technology - Fall 1992 - 20
Theatre Design & Technology - Fall 1992 - 21
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Theatre Design & Technology - Fall 1992 - 26
Theatre Design & Technology - Fall 1992 - 27
Theatre Design & Technology - Fall 1992 - 28
Theatre Design & Technology - Fall 1992 - 29
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Theatre Design & Technology - Fall 1992 - 71
Theatre Design & Technology - Fall 1992 - 72
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