Theatre Design & Technology - Spring 2010 - 30

Svoboda's definition of scenography had nothing to do with what
elements a person designs, and everything to do with the approach
to the production and the profession he practices.

Tragedia Cloveka by J. Madach, model by Ladislav Vychodil. Photo by Josef Vavro.

1. Studies of structure as a tool for light. Professor vychodil coined the term light-o-genic to describe the principle
that he introduced in this exercise. He collected a variety of fabrics, materials and objects to share with the class. Each piece
was discussed as to its light absorbing, reflecting, and refracting
properties. vychodil used light to demonstrate how light from
different angles and of differing colors changed each material.
He also showed how the materials changed the light. Students
were asked to locate materials of their own and construct a
model that could be modified by light. Students came up with a
wide variety of materials and structures.
2. Spatial composition within a cube. This exercise required a great deal of patience on the part of students who
were not used to repetitive and, in the beginning, monotonous
projects. Each student was required to make twelve cubes,

28

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design

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technology

S P R I N G

2010

measuring six inches on a side, using scored four-ply bristol
board. The cubes had to be precise, clean, and structurally
sound. After completing the twelve cubes and numbering them
from 1 to 12 the students were asked to draw a polygon on
Cube 1 that intersected two sides of that cube. After vychodil approved the drawing the students were told to repeat the polygon
avec precision (precisely) on the remaining eleven cubes. Once
that was done the student had to cut out the polygon on each
cube. The next step was to draw and then cut out another polygon on Cube 2 and repeat it on Cubes 3-12. This was followed
by a third polygon on Cube 3 that was repeated on Cubes 4-12
and so on until the student had twelve cubes with slightly different
sections removed. Cube 12 had virtually no relationship to Cube
1, but the development could easily be followed from one cube to
the next. The result, Cube 12, was, in some cases, a dynamic and
exciting space. In a few other cases Cube 12 was little more than
a cube that could barely hold itself together.
3. Fabrication of light. Working with 8˝ x 10˝ pieces of clear
plastic and scraps of gel, each student was required to make a
series of slides that were displayed using an overhead projector.
discussions of additive and subtractive color-mixing to produce a
composition that communicated a feeling or mood completed the
exercise. [Keep in mind that this occurred before colored gobos,
digital projectors, and, for the most part, glass slides.]
Although other techniques and methods were part of the
curriculum, the three items listed above were the primary elements of the workshop and were the bits and pieces that appear to have had the most influence on the students.
I remain in contact with four of the eight students. Those
four, Thomas Hall, John Forbes, Karl Ruling, and bill Groener,
continue to work in theatre or related fields and are all very successful. Thomas Hall, after serving as Managing director of the
Old Globe Theatre in San diego is now a broadway producer (Full
Monty, among others); John Forbes was selected to exhibit at the
inaugural World Stage design Exhibition at Toronto in 2005 and
is a successful teacher and lighting designer who has designed
many world premières; Karl Ruling is the Technical Standards
Manager for the Entertainment Services and Technology Association (ESTA), and bill Groener is currently the President and
COO of the Tim Hunter design firm and President of ESTA. Two
of the students with whom I've lost touch were acting-directing
emphasis and were, at last report, teaching at universities. I
have also maintained contact with Joe Hanreddy, who was the
shop foreman at UCSb when vychodil conducted his workshop.
Joe audited and helped organize the workshop. He is currently
the Artistic director at Milwaukee Repertory Theatre.



Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2010

Contents
Theatre Design & Technology - Spring 2010 - 1
Theatre Design & Technology - Spring 2010 - 2
Theatre Design & Technology - Spring 2010 - 3
Theatre Design & Technology - Spring 2010 - Contents
Theatre Design & Technology - Spring 2010 - 5
Theatre Design & Technology - Spring 2010 - 6
Theatre Design & Technology - Spring 2010 - 7
Theatre Design & Technology - Spring 2010 - 8
Theatre Design & Technology - Spring 2010 - 9
Theatre Design & Technology - Spring 2010 - 10
Theatre Design & Technology - Spring 2010 - 11
Theatre Design & Technology - Spring 2010 - 12
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Theatre Design & Technology - Spring 2010 - 18
Theatre Design & Technology - Spring 2010 - 19
Theatre Design & Technology - Spring 2010 - 20
Theatre Design & Technology - Spring 2010 - 21
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Theatre Design & Technology - Spring 2010 - 26
Theatre Design & Technology - Spring 2010 - 27
Theatre Design & Technology - Spring 2010 - 28
Theatre Design & Technology - Spring 2010 - 29
Theatre Design & Technology - Spring 2010 - 30
Theatre Design & Technology - Spring 2010 - 31
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Theatre Design & Technology - Spring 2010 - 33
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Theatre Design & Technology - Spring 2010 - 35
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Theatre Design & Technology - Spring 2010 - 37
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