Theatre Design & Technology - Fall 1995 - 14

I suppose this is an argument in which all answers are correct.
The final truth lies in one's own preferences. It is interesting to me that
the adjudicators passed over many elaborate and complex exhibits in
favor of the simple, straightforward approach of the Brazilians. I also
know that the judges were impressed by what tllis country was able to
accomplish with a Vel]' small amount of money.
Several other exhibits drew me back on several occasions. I hesitate to mention some, to the exclusion of others, but I feel they should
be recognized.
I found the stark, two-level German booth to be a superbly innovative way of displaying the work. The bottom deck had a selies of doors
and panels that could be opened to reveal the designers' efforts. The
upper level exllibited posters and memorabilia, but seemed at odds with
the lower display space as if it were an afterthought.

The Chilean exhibit (left) displayed design
renderings on a ramp for visitors to walk upon,
while the Germans (above) placed their designers'
works behind doors. Israel's booth, like many, took

a simple, straight-forward approach, displaying
models such as the one below.

I loved the Clillean ramp. I think they benefited from the bestnaturallight in the hall, and I found it interesting that, almost in reverence,
people took their shoes off to walk up the ranlp. The draped fabric,
viewed from the Side, looked like the Andes standing guard over the
counlIy
The Israeli display included some of the most beautiful models in
the whole exllibil, along with the Japanese, but both the national booths
were very simple, open spaces.
Perhaps the most unusual construction was that of an individual
designer representing Sweden. 1\venty or so models were mounted in a
six foot by six foot square plexiglass tower and as the PQ progressed the
motorized ceiling of the display lowered to crush the models. It was
timed to finish as the PQ came to a close. I'm sure there was great
aesthetic truth to be discovered here, but I found it only a good way of
recycling our old models-a giant trash compactor.
When I looked through my slides, I discovered a great many from
the Finland booth and from the "belly of the whale" exhibit from Bulgaria. These exllibits are starkly different: the clean sparse lines of
Finland with its stunning costllmes set off against a vibrant red background contrasting with the muted scrim walls of the "whale" with its
annoying appendages.
t2

F

ALL

I

?

?

TD&T

From strictly an artistic \~ewpoint, I thought the work of the designers from Belarus was unequaled. The stylistic statement of the cosnll11e rendelings and the lovely models for scenery were among my favorites.

THE ENVIRONS
The city of Prague is worth the trip, without even considering the PQ.
The unemployment is the lowest of any eastern European City and I
think that most of the workers are employed in urban renovation. The
requisite scaffolding is in abundance, but the quality of the restoration
rivals any rve seen. We spent a great deal of time on the Old Town
Square, which seemed to be the favorite haunt on the warm summer
nights. The cathedral looked as if it had been lit by aDisney World lighting designer, but somehow it fit. I was told there are 30,000 expatriate
Anlericans living in Prague because the cost of liVing is so low and the
quality of life is so high. The people were friendly, except for the plain-



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1995

Contents
Theatre Design & Technology - Fall 1995 - 1
Theatre Design & Technology - Fall 1995 - 2
Theatre Design & Technology - Fall 1995 - 3
Theatre Design & Technology - Fall 1995 - Contents
Theatre Design & Technology - Fall 1995 - 5
Theatre Design & Technology - Fall 1995 - 6
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