Theatre Design & Technology - Fall 1996 - 23

Czech designer of the 1930-1960 era. Even before completing
her study, however, she was already working with one of the
seminal studio ensembles of the post-Prague Spring era, the
Theatre on a String of Brno.- This experimental, imprO\~sation
based theatre became her professional cradle, although for
the first seven years of her professional career (1977-84) she
was essentially a freelance artist who also worked elsewhere,
even abroad.
In the meantime, in 1974, directly after her year with
Szajna in Warsaw, Marta Roszkopfova joined the state theatres
in Ostrava as a resident designer, and Ostrava theatres have remained her home base ever since, even though she has also
worked in a number of theatres in other parts of the Czech and
Slovak lands. Ostrava is a large city of heavy industry and coal
mining in the northeast part of what is now the Czech Republic. Roszkopfova chacteristically referred to it as a city "where
all the men remained smothered under a layer of coal dust
and alcohol, where interest in Thalia is minimal. Ostrava is a
hard environment and an}1hing but a pleasant cradle for the
spirit, creativity, art. Life in this black, noisy city... this industrialized surrounding-all this strongly influenced my theatrical handwriting." 8
Jana Zboi'i1ova's freelance career, on the other hand, has
been interrupted by only one moderately long, stable residency (1984-88), with the theatre in Cheb, the westernmost
city in the Czech Republic. During her time there she also becanle chief of technical operations, which familiarized her
with workshop routines and demands. It proved to be a welcome total experience. "It was good to do more elaborate productions, have my own workshops, and get used to their
personnel, and to work systematically with the same peoplenot only technicians but also directors and actors."9 Nevertheless, Zboi'ilova was again attracted to free lance work, which
she has done since 1988, not only in Prague, Brno, Pilsen, and
other Czech cities, but also Greece, Poland, Hungary, Germany,
and Finland. During the last twenty years in these many theatres, she has worked with over thirty directors. Her base
since 1990 has become Prague, specifically as part of the faculty at the theatre academy where she herself studied; it is a
position which still allows her ample opportunity for freelance
assignments, most of which have recently been in Brno.
Marta Roszkopfova, on the other hand, has worked with
a much narrower range of theatres and directors. In a letter to
me she cited only four directors as truly satisfying collaborators, in particular Josef Janik, with whom she has worked for
nearly twenty years, on some fifty productions. Part of the explanation lies in her own words: "Only with a similarly oriented director is it possible to search side by side for the
expressive resources for each new production. Then it makes
no difference if it's in Ostrava, Brno, or Prague ... I'm [even)
willing to work for an unpopular theatre if there is hope that a
deep muhlal understanding with the director will be the foundation for honest work on a production." 10
It is with Janik that she has done some of her most striking work with panels. Two examples are Hamiel and Sartre's
Trojan \Vo/,'/en. [Figs. 1 and 2J In Hamiel (Ostrava, 1983),
individual movable panels of varied size are seen standing on

FIGURE

3

_

Roszkopfova's Eleclra, My LOlle' The hooks at the encls
of the lines contribute to the ail' of menace.
either their long or short sides, loosely distributed but filling
up much of an otherwise empty stage to create the impression
of a random, sinister labyrinth that provides hiding places
from which to spy or eavesdrop. The panels suggest stage flats,
a consciously theatrical touch typical of both Roszkopfova and
Zboi'ilova. The effect is heightened by the exposed stage
platforming that forms the base on which the panels stand. In
Trojan \Vomell (Olomouc, 1994), panels are hung in a row
that stretches across the full width of the stage just behind the
curtain line to form a snaggle-toothed wall with irregularly
placed openings to provide entries onto a shallow relief stage.
The front edge of the stage borders an orchestra pit, which is
piled high with the wreckage and domestic detritus of war,
which extends back to the wall in some scenes. What seems to
be the permanent fire curtain is seen at various menacing
heights, occasionally revealing behind it a bleak sky with an
ominous cloud also composed of the human refuse of war. For
Roszkopfova, "Multiple panels or struchlral boards standing
next to each other or behind each other, arranged to form
angles ... hung horizontally or vertically, become for me a
boundary beyond which lies a secret. .. I'm drawn to suggesting the invisible behind the boundaty, or to hint at it by the Slll~
face treatment of the panels." II

FIGURE

4

_

Roszkopfova's Baal.
TD&T

F

ALL

I

9

9

6

21



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1996

Contents
Theatre Design & Technology - Fall 1996 - 1
Theatre Design & Technology - Fall 1996 - 2
Theatre Design & Technology - Fall 1996 - 3
Theatre Design & Technology - Fall 1996 - Contents
Theatre Design & Technology - Fall 1996 - 5
Theatre Design & Technology - Fall 1996 - 6
Theatre Design & Technology - Fall 1996 - 7
Theatre Design & Technology - Fall 1996 - 8
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Theatre Design & Technology - Fall 1996 - 72
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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
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