Theatre Design & Technology - Winter 1998 - 30

mation we need to create a sense of the reality of the moment.
Tllis compression entails finding meaningful patterns in what
we are experiencing. And since each person is different, a
companion on our country walk will notice things we do not.
Finding different panerns in the sanle stimuli is the basis for
creativity in all human endeavors, from science to art.
Part of our innate ability to recognize pattern is an undel~
standing of s)mmetry. All mobile li\~ng things are vertically
symmetrical; stationary forms of life need not be. Again, for
survival, we need to see if something out there is an animal or
a plant. The animal may intend to eat us and pattern recognition tells us whether it is facing towards us or to the side.!
These innate reactions are a default response wllich is often
superseded by a learned response. The leopard behind a glass
wall in a zoo does not make us run for our lives because at
sometime in our lives we have learned about glass and zoos.
By making the proper connections, we react appropriately.

"Every tool carries with it the spirit by
which it has been created. "
Werner Karl Heisenberg
Evolution has caused us not only to look for patterns, but
at times to see patterns where none exists. Ob~ously, it is
more usehll for our survival if, looking at the bushes, we see a
spotted leopard where none exists than if we fail to notice an actual leopard ready to pounce.> The search for pattern and meaning has led humans to adopt any number of bizarre and
inappropriate notions to explain the workings of the universe.
All sorts of numerology, astrology and religions, except our
own, discover non-existent leopards in the bushes.
Finding patterns becomes ever more difficult as our
former bucolic existence is replaced by a world in which sensual stimuli have multiplied exponentially. Witllin the present
cacophony, our brains are forced to filter out more and more
information. As a result, to win our attention, stimuli have become more insistent and shrill. Understandably, to protect
ourselves from overload, we often tune out. Asenator notes
that in every successive election, despite increased expenditures of money for media blitzes, fewer Anlericans vote: We
see the same pattem of increased volume and motion and in our
aesthetic lives, as e\~denced in our music, fiIms and theatre.

"[ learned that a definition ofpanic is a
state of unrelatedness. "
Hortense Powdermaker;
The complexity of modern life itself acts as a roadblock
to pattern making. Much as we hunger for meaning and understanding, social scientists teU us that our contemporary world
is based on discontinuity.6 For example, mOdemaI1 is a conscious break \\~th the past while quanmm mechaIlics is like noUling we have been asked to understand or accept before. As a
result, complexity and discontinuity make it difficult to comprehend pattems in what we perceive as reality. And yet, we are genetiCtllly programmed to find patterns. Therefore, aIUsts and
scientists, who have traditionally been the ones to make con28

WIN

T

E

R

I

9 9

8

TD&T

nections between disparate phenomena, are caught between a
need to look for a ··theory of everything" and the spirit of the
age which is discontinuity. The operative dichotomy for artists,
and especially theatre artists, is that. as in the past. we look for
patterns, but today, those patterns are either devoid of refel~
ences to the past or they are a postmodern jumble of disassociated histOlical quotations. We have broken Ule continuity of
ItistOliCtll progression and accepted Ule dicmm that good art is
always ne\\" art.

"You cannot teach a man anything; you
can only help bim find it within himself. "
Galileo Galilei
In evel)1hing we
do, our learned behavior depends on
what, when, and how
we learned and also
what our society considers appropriate.
Bit by bit, neuroscience is helping to
explain the incredibly
complicated process
of learning. Recently,
a news article reported that when a
young child learns
two languages at the
sanle time, that process takes place in
one part of the brain;
if a cllild learns a second laIlguage later in
life, a separate pari of
the brain takes over.
This may explain the
extra difficulty many
of us have in learning
GEORGE TSYPIN
a second language.Experimental data like this often confirms what we have derived from anecdotal evidence. More relevant to designers is
both experimental and anecdotal information which stresses
the importance of early learning as a basis for both personal
direction aIld creati~ty in later life. For example, Frank Lloyd
Wright credited his interest in architecture to a set of blocks
he was given as a child. And in an article about Frank Geilly:
"His grandmother used to get down on the floor with him to
build houses and cities out of wood scraps from his
graIldfather's hardware SlOre. 'That's what I remembered
years later, when I was struggling to find out what I wanted to
do in life.... It made me think about architecnll'e. It also gave
me the idea that an adult could play."'s In the same vein, maI1Y
theatrical designers delighted in making puppet theatres or
putting on garage shows as children.
Influenced by both biology and experience, the young



Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 1998

Contents
Theatre Design & Technology - Winter 1998 - 1
Theatre Design & Technology - Winter 1998 - 2
Theatre Design & Technology - Winter 1998 - 3
Theatre Design & Technology - Winter 1998 - Contents
Theatre Design & Technology - Winter 1998 - 5
Theatre Design & Technology - Winter 1998 - 6
Theatre Design & Technology - Winter 1998 - 7
Theatre Design & Technology - Winter 1998 - 8
Theatre Design & Technology - Winter 1998 - 9
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