Theatre Design & Technology - Fall 1996 - 28

Roszkopfova production had the entire audience seated at the
rear of the stage, facing toward the proscenium opening, beyond which was the empty auditorium. The Zbofilova team
placed the acting area above the orchestra pit, with the audience on two sides: part upstage and part in the auditorium,
thus presenting the actors with the challenege of pla)~ng to
some spectators very close to them at one side, and others
quite farther removed on the other side. Zbofilova's signature
was obvious in the relatively empty stage and, especially, the
huge cloth drapery suspended £rom the upper proscenium
boxes and swooping down to form the side walls (with dOO1~
ways) and to cover the floor, including the significant table
around which the family often gathers [Fig. 17]. The plain,
unadorned cloth was intended to evoke the motif of sails as
well as the neutral fog that encompasses much of the action;
moreover, of course, it suggests the aJjen effect the house has
on Mary Tyrone, for whom it was never a home but only a temFIGURE

16A

poraty dwelling. Adding to the metaphoric theatricaJjty of tills
approach were the small spotlights that formed the chandelier
above the table, as well as the proscenium lighting bridge,
where Mary could be seen pacing. Probably the only element
to suggest the setting as described in O'Neill's stage directions
was a number of wicker chairs.
Contrasting with the relative spat"eness of the Zbofilova
set was what one critic described as the "warehouse" feel of
the Roszkopfova set: in addition to a large central dirung table
and several chairs, at stage right were two grand pianos with
open lids, plus an upright piano, while a writing table and a
large wardrobe were at stage left. Of particular interest is that
Roszkopfova, like Zbofilova, made use of the lighting bridge as
a place associated with MalY's quarters on the second floor. In
the absence of any \~sual evidence of the Roszkopfova set, 1
find it difficult to be more precise about its quaJjty or effect,
beyond noting the recurrence of her tendency to have a stage
_

Zbol'ilova's Beggar's Opera.The props and fUl'llishings had to be placed
with absolute precision to assure their passage through the doorway
openings as the tUl'l1table rotated.

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ FIGURE

168

Zborilova's Beggar's Opera. The tl'iumphant conclusion with the cloth
walls lifted ouL.

FIGURE

17

_

Zbor'ilova's Long Day's
Journey Into !VigIl/. This
plus the Salin Slipper and
Beggar's Opera productions
indicate the possibilities of
scenography based on cloth
drapes for large-scale
pl'Oductions.
26

F

ALL

I

9

9

6

TD&T

relatively fuller of material than is true of Zbofilova's sets. Reviews of the Roszkopfova production commented on the extensive, expressionistic, and problematic use of the scenic
components by the actors; e.g., Maty Tyrone's hHclung herself
to the liquor cart and drawing it behind her to the curtain line
after concluding her final monologue,!;
In retrospect, a few final observations nught be made.
Both women at"e experienced professionals who have developed distinctive styles and techniques wluch are similar in
their rejection of traditional and reaJjstic stage design and in
their inclination toward many aspects of action design, but
which differ in their relative tone, scope, and "weighl." Each
in her own way seems in recent productions to be stretching
her talents in productions of a larger scale, without sacrificing
her individually evolved style. What remains is a primary sense
of Marta Roszkopfova's darker, heavier, more aggressive scenography, and her total, subjective involvement in her
projects. As she has said, "1 regard the work 1do as my life's
mission ... it represents my way of life and my view of exist-



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
Theatre Design & Technology - Fall 1996 - 9
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