Theatre Design & Technology - Fall 2007 - 65

Ironically, the size and scale of the U.S. exhibit-not to mention the overwhelming wealth
of design materials-served if not to obscure
or eclipse but to diminish or inhibit its impact
as a hybrid multimedia environment. It was not
clear to me, for example, how many of the PQ
jurors actually spent time watching the large
plasma screen that swung on a titled angle on
one side of the exhibit and which showed an array of fascinating designs. How many visitors of
the U.S. pavilion actually recognized the pathfinding experiments of the New York City-based
Builders Association and fully understood how
revolutionary this company's work has been in
manipulating new technology and digital design to greatly expand the possibilities of theatrical mimesis? Except for assiduous students
and interested professionals, how many jurors
actually put on the headphones and listened to
the samples of sound design, located inside the
pavilion?
Unfortunately, Mary Zimmerman could not
comment on the U.S. exhibit (which she avoided during the deliberation process), because,
as an American delegate, she was informed that
she could not advocate for it or comment on it.
But she did tell me that after the judging process
was over, she asked several judges, "Did you
look at the stuff on the computer?" What replies
did she get? "They didn't notice," she recalled.
"They didn't pay attention. They didn't look."
In thinking about the U.S. pavilion, I am
in awe of its gigantism and overwhelmed by
its multiplicity. It is very much a retrospective
assembly in the traditional sense: Somehow it
managed to embrace 120 Broadway, not-forprofit and university productions, representing
some ninety-five designers of diverse ethnicities
and nationalities, with the catalog specifically
highlighting Sobota's actor-wielded lighting experiments, Paul Steinberg's expressionistic opera designs, George Tsypin's jolting biomorphic
shapes, and costume/set designer David Zinn's
eye-catching sensibility.
On the other hand, the U.S. pavilion is a
strong exercise in polemics. Since the U.S. curators intentionally turned their backs on decorative impulses and illusionist techniques, the
overall theme, "New Voices, New Vision: Out
of the Box," offered a persuasive précis about
the international spirit of American design. "We
took the idea of 'out of the box' to mean several
things," said Alexandra Bonds, the commissioner for the U.S. stand. "It was indeed a box with

64

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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
Theatre Design & Technology - Fall 2007 - 6
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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