Theatre Design & Technology - Fall 1995 - 19

in February of 1969, the Secretary of the
Czechoslovakian ITI-Center introduced to the
participants the acting OISTI-General Secretary, Dr. Ota Omest (later on ripped from our
tean1 by a political system, which is fortunately
no longer in existence).
'p to this date the following countries
had applied for membership: Belgium,
Canada, Czechoslovakia, United Kingdom,
France, East and West Germany, Hungary,
Israel. Soviet Russia, and the United States of
Amelica. At our first congress in]une. 1969,
in Prague, we would welcome more than seventy delegates and observers from twenty
countries.
One of the most original, crucial intentions of our organization was to persuade
other countries to create their own national
organizations. When I asked in the beginning
of this address, what we wanted and what we
got, clearly, one of the answers is that we now
have thirty-three member countries with their
own national organizations.
During tlus first congress five working
comnussions were set up. Chairman of the
most important one (in the beginning), the
Programme Commission, was Denis Bablet
from France. In addition to the other names
I mentioned earlier, his name was one of the
most important ones. I should like to say, he
was the brain of our organization in tlus first
period of promotion of OISTAl' principles.
I think on the occasion of mentioning Ius
nan1e, we should remember also the names of
the others of our friends, which are no longer
with us: Arnon Adar, Ned Bowman, Gary
Gaiser, Hans Gussmann, Hellmut HimstedtAlexander, Paul ]a1michen, Arsene ]oukovsky,
Otto f(,'lhler, Mrocek, Thomas Munter, Wally
Russell, Zenobiusz Strzelecki, Walther 'nruh,
Vinogradov and Alexander Wassiliev. They all
were working for our organization in the
Executive Committee, in working commissions, or in their national centers.
Nanling all these friends which we have
lost is not only a mattelcof-course, it is also a
way of remembrance of our OISTAT history.
Each name recalls events, episodes, and
stories, and subsequently we thank them for
all they have done together with us for the
continued development of OISTAT.
To nan1e all the other numerous friends
and collaborators which were working in the
past with us, or also which are still active,
goes beyond the scope of my address. But
four names must be mentioned-names out
of this lovable, hospitable country where we
are today; the OISTAT homeland for a such a

Virtually every pattern in
Rosco's collection was
created by a distinguished

ROSCO PATTERNS,
RICHARD NELSON,
AND YOU.

r------------,

I
I
I
I

scenic or lighting designer.
The one shown here, for
example, was created by
the noted designer Richard
Nelson. Patterns can simulate
reality, create shadows,
suggest ideas to an audience,
add texture to light, and
more. Details of the design
image make a differencea big difference - when
your spotlight magnifies them
20 times or more. You want
what Richard Nelson created.
Specify Rosco patterns.

r~sco----~

Richard Nelson. His Broadway
credits include "Into the Woods"
and "The Top Dance Kid. " He has
served 05 principal lighting designer
or lighted the repertories of the
world's premier dance companies.
Pot/ern shown here: #7749,
Arcadia 23.

36 Bu,h Avenue, PorI Che,ler, NY 10573 * I-BOO-ROSCO NY· Fox: 19141 937-59B4
1135 N Highlond Avenue, Hollywood, CA 9003B' I-BOO-ROSCO LA' Fox: 12131 462-333B
1271 Deni'on Sireel :66, Morkhom, On Iorio, Co no do L3R 4B5' (9051475-1400' Fox: 19051475-3351
Also in London, Modrid, Li,bon, 560 Poulo ond Sydney

TD&T

ALL

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