Theatre Design & Technology - Summer 2009 - 77

book

reviews
impressions of the current trends in performing arts. All three place part
of their focus on the dissection of flexible spaces and the pros and cons
of using the "as flexible as possible" design philosophy. Mackintosh also
spends some time highlighting the progression of theatre design and the
difficulty of designing buildings with such a long life, while Myers analyzes
the audiences of today and the future. These thoughts on flexibility and
planning for future audiences and designers are an excellent springboard
for the papers that follow.

Discussion-oriented papers
The paper on orchestra pits is distinctive among the collection. In this
one, the panelists took a more discussion-oriented approach to their
topic. This paper works from an outline, introducing specific aspects of
pit design and some opinions from the panel before letting the attendees
comment on their experiences. As a result, this analysis of pit design reads
as being particularly collaborative.
Another participation-oriented paper is the closing debate, which is
framed entirely around the question of "issues that may not have been
examined thoroughly enough" during the conference. Peter longman and
Richard Pilbrow moderate the discussion. Among the topics they address
are whether proscenium theatres are appropriate models for the theatre
of the future, the importance of performer and audience interaction, and
discrepancies between the needs of art and the wants of the money-holders. Naturally, there is also a good deal of reflection on the conference
itself and particular highlights and deficiencies. Some folks lament the
difficulty of attracting more artists(such as actors and designers) to the
conference. Others rejoice at the increasing contribution of attendees
from places like India and Malaysia, whose practices are less familiar in
the West. The discussion ends with a reflection on the clashes between architectural and theatrical approaches and how these might be overcome,
and on the role of the theatre consultant as mediator.
For anyone who has an interest in the planning and design of performing arts buildings, these volumes should be a welcome addition to
the bookshelf. They have certainly been of interest to staff in our office
of theatre planners, who have thumbed through for particular topics of
interest and even book-marked a few pages.
Naturally, the ideas here are opinion and reflection on past experiences. There are few unequivocal agreements by the attendees, and there
is no guideline for the "proper" way to build a new theatre. However, these
volumes capture the thoughts of interested professionals from around the
world, a valuable resource on its own. They allow the spirit of collaboration and exchange of ideas from one conference in 2006 to be reviewed at
leisure for years to come. Kudos is well-deserved for Richard brett whose
efforts have made this invaluable experience available to us all.

Daniel J. Clark, P.E., S.E.

Kimberly Corbett is a theatre consultant with the Dallas office of
Schuler Shook. When not designing performing arts and worship
spaces, she is a freelance production designer and technician and
participates actively in ESTA's Technical Standards Program.

S U M M E R

2009

theatre

design

&

technology

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Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 2009

Contents
Theatre Design & Technology - Summer 2009 - 1
Theatre Design & Technology - Summer 2009 - 2
Theatre Design & Technology - Summer 2009 - 3
Theatre Design & Technology - Summer 2009 - Contents
Theatre Design & Technology - Summer 2009 - 5
Theatre Design & Technology - Summer 2009 - 6
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
https://www.nxtbookmedia.com