Theatre Design & Technology - Fall 1995 - 23

The enormous size of the Sphin" dl\arfed the human figures on the
Opera Iiouse stage. and the jll:\laposition of the comemporal~' clothes
on the performers I\ith the natural te"ture of the carwd Sphin" helped
me to e"trapolale the fundamemal importance the Egyptians gil'e to
their cultura] inheritance, The icons dominating this design affirmed m\
image of Eglllt.
I I\as educated to understand that classical Greece I\as the cradle
of Western theatre and that the threshing circle Il'as the first performance space. so that icon-whether at Epidauros or on a modern

Mahmoud Mabrouk's model of Nights of the Sphinx, directed
by

w.

Awni at the Opera House, Cairo, 1991.

absolutely no monel' came up with extraordinarily e"citing displays,
Both the sets and the costtlOles in the Belarussian exhibit were truly
I\onderhtl. The ingenuity and imagination shown in the Bulgarian
exhibit was e"traordinary. It showed an imaginative use of almost nothing! Aformer assistant of mine, Ann \Vaugh, is living and working in
Sofia now. She has told me that conventional model making materials
are simply not available, so they 1V0rk with what they have, and use a
great amount of corrugated cardboard and imagination in doing so,
* On Svoboda and the retrospective of his work:
Walton: It was an overwhelming thrill to see so much of S\oboda's
I\ork in one place. and to obser\e his zest in displa)ing it. The sheer
range of in\ention in what he had achie\ed was staggering. And his excitement and enthusiasm in showing his I\ork I\as just delicious. It is a
challenge for all of us to keep that zest throughout our professional
lives,

ANN
HOULD-WARD
Interviewed by
Zelma Weisfeld
* On the theme of PQ '95,111 Search ojTheatre Space:
AHW: I don't think the concept of "costumes in space" is well

-<

~

stage-projects the quimessence of Greek culture, It is
§'" such a pOI\erful icon, so
~ deepl\ imbedded in the Greek
8-'1 psyche. that I\e e"pect to find
~ the circle at the center of
z
S Greek designs el en if I\e aco cept the debunking of.lung's
theor\" of the colleeti\e unconscious that current scholars
are celebrating, The threshing
ci rcle is there in Giorgos
Palsa:'s design for I.orca·s
rei'll/a, a piaI'I ha\e seen performed pre\iousll' in a bo" set.
in a I\ing and drop set. and on
a trampoline in \'ictor Garcia's
celebrated production from
the early 19-0s, But onll' the
Greeks ha\e placed this dark
Mahmoud Mabrouk's costume
folk drama from Spain on a
rendering for Nights of the Sphinx,
threshing circle, .\nd in 199-1.
when Patsas I\as in\ited to design Sophocles'srll/tigol/e for the neoclassical Teatro Olympico I\ith it's rectilinear shapes and tunnels of
forced perspecti\e. he plopped a circular stage omo it. Should I\e be
l\alY of Greeks bearing us the gift of their circle'
~

represented here. It is quite easy to talk about space-the space of a
room, the space of a theatre-in relationship to scenery. It is another
mind-set to think about clothes in that way. Stage space is personal
space to the actor. I think that good co nllne design. good clothing design in theatre is about personal space for an actor, and you are given
the honor of filling that space with the actor. You are on the outside of it
looking in, but truly facing it hand in hand with the actor. I think that
the Heal/O' and tbe Beast work is a prime example of this, because, by
the space around them, by the space they occupy, they are telling us
that they are an object, yet at the same point in time there are requirements that the actors be able to mo\e.
* On the student exhibits:
AHW: I spent quite a lot of time at the studem e"hibits, because I found
that there is a lot of vitality, a lot of raw energy there, I think that as you
are developing and going on and on with your career, at times it's nice
to see people who haven't yet been told "no", and haven't vet been told
"Well, we can't possibly do that". and see what their ideas are,
* On overall impressions of the Quadrennial:
AHW: I think that it is a di\ine e"perience .. , all the differel1l people
from around the I\orld I\ho are literally making the same thing. but
each group of people is so different. I was fascinated by each group's
own interpretation of who they are and what they are. in each group
you find certain items that are inelitably and inherently a part of their
culture, [Americans 1 are the major representation of musicals herebetween Tony Walton's work and my Il'0rk-1 because] we are the pal'

1D&1

I

I

I

1

"

I)

21



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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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972May
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
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