Theatre Design & Technology - Fall 1995 - 53

chance to test 11lIself in the Srrian exhibit. Acolleague placed me in
front of a model. corered up the label. and challenged me to "name that
plar." I looked at a domestic room of earthr brO\I'I1S-lrood 0001' and
dirt or ciaI' II ails. There lias one door up center. and the 0001' lias corered in carpets Irith geometric patterns that suggestednatire Americao
cultures to me. but lI'ho kilOlrs Irhat ther meant to a Srrian
scenographer? Carpets hung orerhead. as Irell. and the onll" furnilUre
Iras a counter. What well-knolln play happens indoors. has one door up
center. has a COUll tel' in the up left corner and a fireplace in the right
IraIl? And has an earthy feeling that suggests a peasant's enrironment?
Playboyojtbe Irestem World. (see photo p. -i2l I astonishedmrself
more than mr colleague br guessing right. eren though this design had
nothing Irish about it at all.

adjacent to the bunk house table and protruding out of the stralr field.
is the top of a larger-than-Iife-size brain! Is this a hillock the characters
can sit on' Does this relate to Lenll\.'! L"nderneath this pla\'ing space is a
100rer-lerel pla\'ing area composed of a circle bisected by a straight
ramp lI'hich comes out from underneath the upstage platform abore
it-all composed of Irooden planking..-\t the terminus of the ramp.
isolated inside the circle. is an upholstered armchair. On either side
behind the chair. (\\0 choruses of ghostlr figures spring shrieking from
the gap created bl' the intrusion of the ramp through the circle. These
ghostll" figures remind me of Edrardl\\unch's agonized and haunting
apparitions.

OF ,\lIeF A.\'/) ,\IF.\'
In an exhibit in the L"nited States I'd have found John Steinbeck"s famous piaI' bl'looking for images of 19r. a Western ranch exterior. and
the bunk beds and cast-iron stove that are needed for the action. But
the sceno-detective in me II";tS getting Irilr. so Irhen I entered the Swedish exhibit and stood before Soren Brunes' model for the Stockholm
Cit\' Theatre's production, I Irasn't surprised. This setting seems to hare
1\1"0 playing levels. one above the other. that create two distinct worlds.
clearh' delineated. Do these establish 1\1'0 temporal realities-one nOli'
and one in 193f? The theatre this setting lias designed for looks like
some kind of unusual thrust. huge in scale. The upstage surround is all
black. and the back Imll is pierced br 1\1"0 rectangular openings. These
are backed br a blue ski" in front of Irhich grolls a field of bleached
strall'-like regetation that extends all the IraI' dOll'I1stage left establishing
the hue of the monochromatic setting. The central plaring area and the
space stage-right are made from bleached plank Oooring. There is cut
str;l\r stre\\"ll e\'enwhere except for a small area in center stage that is
fiLled Irith a bleached wooden table and four lI'ooden cubes that serre
as stools-this is the bunk house. I guess. On a slightll" 100rer level.

Production photo of
Robert Ebeling's setting for Albee's Who's Afraid of
Virginia Woolf...?, directed by R. Grober, 1993.

\\'HO'S AFRAID OF \'mCL\'fA \\'OOLF
Aquick stop at the German exhibit showed me Robert Ebeling's design for E(hrard Albee's famous play. \othing in this design suggested
an academic's home-nar\' a bookshelf in sight-and nothing suggested northeastern America-no chintz-corered furniture, no oriental carpets. and no paneled Irainscoting. Instead. I found a high-tech
and ultra modern interior Irith a tall glass panel rerealing the pine
trees outside. and all of it in abruptll" angled Iralls that bespeak Expressionismmore than the Realism I're ahrays associate lI'ith Albee's
piaI'. Yet in retrospect. I beliere. this pial' about the tension bellreen
illusion and reality in Irhich the epic battle of the sexes is played Oll!
in Strindbergian passions and Wildean \'erbiage is better expressed in
this setting than in anI' other I hare seen.
,\merican pial'S Irhich are as familiar to me as mI' farorite pair
of slippers. looked strange Irhen seen through the el'es of non-American scenographers. Their theatrical language is not formed br 110111'Irood-stde realism nor br the traditions of ;\merican stage design. Yet
after haring studied the models and renderings of designers from
lIungar\'. Slreden. Srria. Siorakia. and GermanI'. I nOlI' see ;\merica
more clearlr. *:.
Zsolt Khell's model
of Arthur Miller's The Witches of Salem

Linda SaJ'l'er is Nesidellt Costllllle Desigllerjor tbe Piolleer

(The Crucible), directed by Janos Mohacsi, 1995.

Tbeatre COllljJallY ill Salt Lake Cit)'.

10&1

\

I

I

'j

II



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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