Theatre Design & Technology - Fall 1995 - 15

clothed transportation agents who checked
tram tickets. and the Baroque architecture is
unparalleled.
I must also mention a spectacular journel" to Cesl·;\" Krumlol". a restored medieral
I"illage near the German and .-\uslrian borders.
The castle within this loreh" 1011"11 comains a
restored Baroque theatre. one of onlr three
still in operation. It reminded me of the
Drottingholm in Slreden.

USITT AND THE PQ
L"SITT is faced Irith a real dilemma. As funding for the arts gets tighter. the LS. entrr in
the PQ receil'es less and less support from
outside L"SITT. GOl'ernmental support in the
LS. for rentures like our PQ exhibit is I'err
difficult to find since Il"e hal"e no agencl' designed to fund such projects. This year we
receil'ed assistance from the L·.S. Information
Agency .-\rts :\merica project and some funding for expenses for the featured designers
from the International Theatre Institute (ITO.
In addition. Sam Scripps was again I"err genel'
ous in his support. Without these comributions this II"0uid hal"e been solell" a L"SITT
I'enture.
The L"srrr Board of Directors is currently discussing prioritie. for international
inroll"ement and Ire need I"our ideas. Arts
A.merica prorided monel' for the catalog of
our exhihit this year. but made it clear that
this Ir:IS probabll" the last of their contributions. We tried rery hard this year to find corporate and philanthropic support. but lI'ith
extremely limited success.
We are faced lI'ith a choice: prOVide most
of the funding or discontinue lSITT's participation in the Prague Quadrennials. Should we
use Institute money to fund this international
effort' I hope you Il"ill share I"our thoughts on
this suhject Irith me or anI" Board member.
I am honored to hal"e been able to attend
PQ '95 and certainly intend tbat it Il"ill become
an el"ery-four I"ear occurance in ml" life. It Iras
a superlatil"e experience. I hope you enjol" tbe
series of articles featuring some of the specific
aspects of the exhibition. *:.
Ricbard IE DUl'sl is Presidellt oj [SITT

alld Dean ojthe School ojFine Arts at
Cnil'ersity oIllinnesota. Dlllllth. This is
his second ajJjJeal'{/nce as C'lIest Editor oj

Virtually every pattern in
Rasco's collection was

ROSCO PATTERNS,
JULES FISHER,
AND YOU.

1"'------------,
I
I
I

created by a distinguished
scenic or lighting designer.
The one shown here, for
example, was created by the
noted designer Jules Fisher.
Patterns can simulate reality,
create shadows, suggest
ideas to an audience, add
texture to light, and more.
Details of the design image
make a difference difference -

a big

when your

spotlight magnifies them 20
times or more. You want
what Jules Fisher created.
Specify Rasco patterns.

Jules Fisher. His extensive lighting
career includes over 100 Broadway
shows such 05 "Angels in America,"
"Grand Hotel," "The Will Rogers
Follies," and "Jelly's Last Jam."
Pattern shown here: #7259, the
second of a pair: "Captains" and
"Courageous. "

TD&"I'.
36 Bush Avenue PorI Chesler
Y 10573 * I·SOO·ROSCO NY' fo' 191" 937·59S,
1135
H'ghlond Avenue Hollywood CA 90038' 1·800·ROSCO LA' fo' (213) 462·3338
; 271 Den"on Street =66 Mo,thom Onlo"o. Conodo 13R 4B5 * 19051475 1400' Fo< 190514753351
AI~o In london Madrid lisbon Sao Paulo and Sydney

TD&T

All

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