Theatre Design & Technology - Winter 2001 - 10

the

Subtext

Beeb Salzer

Having Reached a Certain Age

H

aving reached a certain age, I was puzzled when
pretty girls started smiling at me. A female student explained
that they thought I was cute. I gave her the A she was bucking
for. A colleague had a firmer grip on reality. "You're no longer
a threat," he told me. But that assumption is the basis for many
classic comedies. I have also noticed other changes. Old men
now nod and say hello. I seem to have entered some sort of
fraternity of survivors.
Aging does have its advantages. In many ways life gets
simpler. The kids are grown and gone, the dog is dead and the
perfect grandchildren are enjoyed with no concomitant responsibility. Professional ambitions are fading. Clothes and
shoes take longer to wear out. The well-established habits of
life reduce the number of small decisions one must make. In
short, daily stresses should be reduced. Unfortunately, that is
not the case.
What should add to the simplification of living-technology-has done exactly the opposite. I look out my window at
houses a short distance away and fume because I am now in a
new telephone area code which separates me from the houses
I see. To reach them I must dial 1 plus their area code and will
probably be paying for a long distance call.
I have a new digital cable system and a new VCR. Both
have, to me, a magical way of displaying the time by plucking it
from a signal in the air. I can't fathom why they are always two
minutes apart. Even worse, to record a program I must go
back and forth between the cable system and the VCR, entering
all sorts of information on the TV screen. Even then, with instructions in hand, it doesn't work.
I am overwhelmed by the quantity of numbers I must remember. I have simplified most of my passwords so that anyone
discovering one will have access to my life and my money. Even so,
some passwords require four digits, others six and I struggle
to remember which is which. I have no room in my head for
my auto or drivers license numbers or for the combinations to
locks I must open to get access to equipment at the university.
We are told that technology will make life simpler. I am
waiting for this to happen. I want to push one or two buttons to
make my VCR work the way it did before all the "wonderful"
features were added. Features I don't need or want. I don't
want new iterations of computer programs I already know, to
be harder to master because they are loaded with options that
only a masochist would love. I want to send the numbers in my
brain to "trash" so that I have room in my memory for names I
can't remember now.
The trouble with moving from simplicity to complexity is
two-fold. First of all, the more complex a system, the greater is
the chance of failure. The technological equivalent of Occam's

Razor might be "simpler is better." The more letters I must
type in an Internet address, the more likely I'll get something
wrong. When I have to take many steps to program a device,
the possibility of error grows. But when technology doesn't
work in theatre, time-sensitive-strapped-for-money theatre, it
is a recipe for disaster.
Two recent cases here in California are examples. In one,
a turntable and sliders were computer-operated but were so
problematic that the show's opening was postponed for a week
while kinks were worked out. The turntable ended up being
operated manually. And the sliders finally did what they were
supposed to do, move from off stage to center, meeting in the
middle of the stage. The problem, slack in the hardware,
caused the panels to slam into each other when they met. One
solution was to put rubber bumpers on their edges to cushion
the impact. The computer, sensing the sliders were not completely closed, kept trying to close them, burning out motors
again and again.
In another show, computers controlled the motion of actors who were flown in complicated patterns, spending more
time in the air than on the ground. Rehearsals were almost all
tech rehearsals so that scenes were never seen all the way
through. A complete run-through was not possible until close
to opening. Then, drastic cutting of whole scenes was necessary to pare the running time to an acceptable limit. The reviews were dreadful.
Another negative effect of complexity is that technology
distances us from our humanity. Instead of a person, I become a
plethora of passwords, a mess of case numbers and long chains of
I.D. numerals. In theatre, that loss of self is seen in computeraided drafting and renderings done with various imaging programs. Trading for greater accuracy and more realistic
renditions, we give up the signs of an identifying personal touch.
Another example was reported recently in the New York Times.
Stephen Holden wrote that with amplified sound, singers in
musicals have achieved technical brilliance but have lost personality. Singers today sound much the same, unlike the time
when we easily identified a Mary Martin or an Ethel Merman.
Do away with technological advances? Heavens no. But
every complicated technological choice should be measured
against a simpler alternative. As I think back to almost sixty
years of theatre-going, I remember staging effects that amazed
me like fireworks. I remember none that moved me, that
touched my soul. I do remember actors transforming a moment by their movement or lines, coups de theatre that went
right to my heart. It seems that theatre is no different from all
other modern human endeavors. We struggle to find a balance
between what can be done and what should be done. ❖
TD & T

W I N T E R

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Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 2001

Contents
Theatre Design & Technology - Winter 2001 - 1
Theatre Design & Technology - Winter 2001 - 2
Theatre Design & Technology - Winter 2001 - 3
Theatre Design & Technology - Winter 2001 - Contents
Theatre Design & Technology - Winter 2001 - 5
Theatre Design & Technology - Winter 2001 - 6
Theatre Design & Technology - Winter 2001 - 7
Theatre Design & Technology - Winter 2001 - 8
Theatre Design & Technology - Winter 2001 - 9
Theatre Design & Technology - Winter 2001 - 10
Theatre Design & Technology - Winter 2001 - 11
Theatre Design & Technology - Winter 2001 - 12
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972May
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Feb
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
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
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