Theatre Design & Technology - Winter 2001 - 12

Figure 1. Michael Spencer's scenography for Three Sisters was
inspired by Chekhov's theme of wasted time. Chekov's play and
Spencer's design both demonstrate people going around in circles
all their lives, wasting time, getting nowhere. The memory of
Moscow is evoked by the painting of St. Basil's, and the circular
clocks echo the clocks we see in airports, and they imply the
sameness of time all around the globe. The circular clocks also echo
the circle of the turntable stage which made one full revolution
each thirty minutes so that the audience experienced viscerally the
way time and space interact. Spencer is currently Acting Course
Director for the "Theatre: Design for Performance" BA course at
Central Saint Martin's College of Art and Design in London, which is
where ESC is also in residence. (Photos by Linda Sarver.)

Figure 2. Pamela Howard described her scenography for The
Rose Tattoo: "Underneath a grim concrete motorway in
America lies a small Sicilian enclave where the past and future
is reality and the present does not exist. Serafina's house may
be small and simple, but it expands with her memories, above
all those of her deceased husband and her daughter Rosa, the
living embodiment of the Rose Tattoo. Life is like a merry-goround, a fairground of emotions and on this carousel the
heart of a woman, Serafina, is shown. A wall of memories
becomes an altar of dreams. The village community, dark and
superstitious, is finally transported in the joy of the future."

of the theatre. A scenographer's contributions to performance
were explored for the rich innovations they could bring to the
event, and the course encouraged scenographers to boldly go
where none had gone before.
The kind of innovative scenography that students of
Howard's program were learning to create was demonstrated
in the dazzling exhibition by the Society of British Theatre Designers that opened in March 1999 at the Royal College of Art.
Time + Space: Design for Performance, 1995-1999 was an
exhibition of recent scenography for opera, dance, drama and
event-making that included designs for performance spaces as
well as inspiringly audacious set, costume and lighting designs
(Figure 1). The elegant published catalogue is a testament to
the innovative and influential contributions of current English
scenographers, and it will be an inspiration and a research
tool we designers will turn to for years to come. Among the
many audacious and exciting designs shown in the catalogue
are Michael Spencer's The Three Sisters, Mark Jonathan's Venus and Adonis and Pamela Howard's The Rose Tattoo (Figure 2). Time + Space: Design for Performance, 1995-1999
demonstrated what scenography can be, and the students in

Howard's program saw a clear vision of the kind of work they
could aspire to create (Figures 3a and 3b).
Howard admitted eighteen students annually, following a
rigorous process of interviews, portfolio reviews, recommendations and an evaluation of the applicants' written proposal
for a major creative project, described as the Independent Research Project (IRP). The IRP would be the culminating exercise of the year-long course.
The students' backgrounds varied widely. They came
from Asia, Europe, Africa and the Americas, and their previous
studies had been in fields as diverse as architecture, cinema,
computer sciences, fine art, fashion design and choreography.
Very few had a background in traditional theatre design. The
selection process ensured that a cross-cultural enrichment
would be an important element of the students' experience. It
also ensured that students were strongly motivated young professionals qualified to work independently, with only occasional tutorial supervision.
The students began and ended their studies at either the
Utrecht School of the Arts or Central Saint Martin's College of
Art and Design in London, and they spent part of their year at
TD & T

W I N T E R

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11



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
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Theatre Design & Technology - Winter 2001 - 12
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