Theatre Design & Technology - Fall 2007 - 26

For the first time, the exhibitions
spaces were visually unified...Krisˇtof
Kintera developed a visual theme of
packing crates and materials, as if for
a touring theatre company.
two-level "PQ Bar" was placed at the end of the right wing providing a
major visual impact as well as food, drink and a place to sit and relax. The
entry foyer, always a drab and uninviting space in the past, was also transformed and included flat screen monitors listing events and sometimes
live video. It also became a staging ground for the incredibly successful
"PQ for Children."
The eleven-member jury had greater world-wide representation, a
younger average age, and more women.
In an attempt to give the awards more meaning I eliminated all but
the gold medals; i.e., only one medal in each category, just as there is only
one Golden Triga. In retrospect, the silver should have been kept (though
not the bronze). There were artists who deserved serious recognition but
were excluded, and it sometimes forced the jury to make nearly impossible choices. I added categories of best use of technology and best overall
production, the latter to acknowledge those works in which an individual
scenographic element could not be singled out but were part of a total
conception. For the future the PQ has to examine ways of exhibiting lighting and sound and how to judge them. Of course, there are those who
think there should be no awards at all.
In order to foster the exchange of ideas there were two lecture
halls built within the space for discussions, lectures, and presentations.
(There were problems with acoustic isolation and of oppressive heat in
the spaces, but these are fixable.) The underlying idea was good, but
there were far too many events, especially when combined with a huge
program sponsored by Scenofest and the live performances happening all over the city.
The curated section, alas, was not possible due to budgetary restraints. I still think it is an important component that should be attempted
in the future.
On almost all levels, the PQ was a great success, not simply because
of my minor contributions but because of a creative team which brought
fresh energy and new ideas and kept an eye on the future rather than on
the past. One thing that PQ will have to think about seriously is how to
deal with the increasing use of media and technology, both in productions
and in their exhibition at the PQ. Like theatre itself, the PQ may be at a
crossroad. The next Director and General Commissioner will have a great
challenge as well as a great opportunity. ❖
Arnold Aronson is a professor of theatre at Columbia University
and a former editor of TD&T. His most recent book is Looking
into the Abyss: Essays on Scenography.
THEATRE
F

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L

L

2007

DESIGN

&

TECHNOLOGY

25



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 2007

Contents
Theatre Design & Technology - Fall 2007 - 1
Theatre Design & Technology - Fall 2007 - 2
Theatre Design & Technology - Fall 2007 - 3
Theatre Design & Technology - Fall 2007 - Contents
Theatre Design & Technology - Fall 2007 - 5
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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
https://www.nxtbookmedia.com