Theatre Design & Technology - Fall 1995 - 27

same celebration of surface and budget seen elsCll"here in the exhibit.
Is that the essence of :\Illerica as it is presented through the designs
selected for this PQ exhibition' .\11 gliller and no substance' hen these
fine designs lead me to a dead end. Is there no :\Illerican icon'
I had to look outside the LS. exhibit to find imaginatire designs
that had graced .\merican stages and that compared farorablr Irilh designs seen in other exjhibils. In the Brazilian exhibit Irhich l\On the
Golden Triga Iras the pro\Ocatire design for COII/er(r ofErrors that Jose

de Anchiela Costa did in the Delacorte Theatre. \\'as there no :\merican
designer Irith the talent. Irhimsy, and exuberance to do this' In the
Czech exhibit Iras ~Iilan Cech's design for Woody .\llen 's.-1 .IlidslllI/lI/er
Sight's ex COII/edy. \\'hr \\as there nothing in the LS. exhibit Irhich
sholl'ed an :\merican drama so excitingly conceired' Surelr such Irork
is being done. Is it true Ihat when an imaginatire design falls in the
forest of :\Illerican theatre that it doesn't exist if no one in \elr York
hears it'
What can I distiLl about .-\merican theatre design as it is rerealed in
this exhibit' The l\Ork ralues spectacle orer comem and rerels in its
budgets. It celebrates craft in the serrice of banal drama Irhich does
lillie to elerate the human spirit. The domi nanl style is a semimemalized
realism, The most eXCiting Irork is done for opera or for theatres in
Europe. Surface decoration is more imponam than metaphoric expression.
I came alrar from the L.S. exhibit unable to find the dominant
icons of America that I had found for Egrpt. Greece, Japan andlllany
other nations, I could not find the visual metaphors that sang the ralues
of America. Instead I found a celebration of surface, of monel', of craft.
of sentimemalism. of design as decoration, and distrubingly lillie celebration of organic design that enriches the humanistic dimension of
theatre, This exhibit made me fear that Irhen Ire lIY to sing ":\merica.'·
our I'oice is strangled br the golden spoon of commercialism.*:.

Milan Cech's model of Woody Allen's A Midsummer Night's Sex

Tom Markus is Drall/atllrg alld a Residellt Directorfor the
Piolleer Theatre COII/jJaIlY ill Salt Lake Ci~",

Comedy, directed by P. Palo us, 1994.

GEORGE

TSYPIN

semed against a cliff in the main square of Salzburg, this 1992
production for the Salzburg Festival and the Bastille Opera was a jarring juxtaposition of human-created steel buildings ag~linst an ancient rock face.

Interviewed by
Tim SaternolV

* On the U.S. exhibit:

* On choosing what to exhibit at the Quadrennial:
TSHJin has ahrays found great emotional connections with the spaces
for his productions, especiallv when these productions move beyond
traditional space. The examples of his work he chose to be displayed
in Prague are erocatire of the theme of the PQ. "[n earch Of Stage
Space'"
His first choice, )'lI/jJhOlzr for the Earth, has as its stage space
the emire earth itself. The performance had no audience or rather no
single lire audience, The audience Iras the emire Irorld connected via a
series of satellite lideo links, The performance from Tol·;yo with Seiji
Ozmra and the Tokro Symphony was projected around the world on
\ew Year' Day 1995. Ts~Vin was initially concerned that ~)'J1]jJholl)'
for the Earth \\'Quid be too high-tech Japanese or, at worst. hokey. But
it turned out to be a great spiritual experience for him. To be able to
touch the world at so many points Il'as incredibly humbling and moving, "Truly this was the ultimate theatre space." he commented, .. the
whole earth experiencing music of incredible beauty, simultaneouslv."
Tsypin's other natural choice for the PQ Exhibit was his design for
Messiaen's Saillt Fr((/l(;ois dilssise, directed by Peter Sellars, Pre-

TSYlJin was disappointed with nited States' exhibit, feeling that it
was aLi "too provincial and safe" and not foLlowing the theme of the
1995 Quadrennial, Although aware of the great constraints put on
the U.S. exhibit because of funding, TsyVin felt that the exhibit's work
could have been presemed with greater energy and power that is so
much a part of American design,
* On finding inspiration at the Quadrennial:
Asked if he was enjoying the entire Prague Quadrennial, Ts~vin
responded that he has great difficulty looking at other designers'
work :U1d that he rarely does so, .. , find my inspiration not so much
in other's work blll in unusual spaces." says Ts~vin. He particularly
enjoyed some of the amazing spaces created by other coumries
exhibits like the dark pa sages of the Polish exhibit. the huge cube of
black coats from Russia, and the organic, intestine-like tube of the
Bulgarian exhibit. .:.

TD&T

I

I

I

1

'1

'I

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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
Theatre Design & Technology - Fall 1995 - 7
Theatre Design & Technology - Fall 1995 - 8
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