Theatre Design & Technology - Spring 2010 - 31

n did Professor vychodil's workshop influence
theatre training in the United States?
Establishing a direct link between an individual and a specific
event is always difficult, so it would be speculative at best to say
that vychodil's four week workshop made a major change in
how theatre design is taught in the U.S. or how much effect the
article published in the October 1974 TD&T might have had
on the industry itself. The four alumni cited previously have all
credited vychodil with having a "life-changing effect" on their
approach to theatre and on their careers.
From a personal perspective I can say that I my approach
to teaching and designing, as well as my perspective on the
role of an artist, was influenced both by vychodil the individual
and by his workshop. The cube and the light-o-genic exercise
became frequent tools in both my scenic and lighting design
classes. but his real influence was not any specific exercise or
project, it was the concept of scenography-used in its true
sense as defined by Josef Svoboda, who coined the term-that
was at the core of vychodil's teaching and design. The concept
that scenography is both a profession and an art. The idea that
a scenographer is first and foremost a "story teller" and that
revealing the production is the purpose of scenographer.
In the United States, scenography is often defined as the
process of creating all of the visual elements of a production
and a scenographer as somebody who designs sets, lights, and
costumes for a single production. 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. Jarka burian says in his book, The
Scenography of Josef Svoboda:
Any consideration of Svoboda as a stage designer runs
into a basic semantic problem: finding an appropriate term
to describe what he considers his profession to be. He does
not believe the English-American term "designer" to be
adequate, and other general terms such as "bühnenbildner"
or "decorateur" are even less satisfactory because, according
to him, they all imply a person who conceives a setting for
a play, renders it two-dimensionally on paper-perhaps
stunningly-and then in effect retires from the field,
having fulfilled his commission. Svoboda's concept of his
work involves much more than this; hence his preference
for the term "scenography."

Professor vychodil, like his friend and counterpart Josef
Svoboda in Prague, advocated the concept of scenography instead of design, decorateur, or bühnenbildner. At CONTACTS
82, an international conference held in Montreal, an attendee
asked vychodil if a scenographer was someone who designed
all elements of a production. He responded by explaining that
in Czechoslovakia they did not have lighting designers, per se,
so he frequently took on the role of what we in the U.S. and
Canada would call a lighting designer. He went on to say that
he had designed costumes on occasion, but he seldom did all
three for the same production. The attendee then asked vychodil, "So what is a scenographer?" He responded by relating scenography to dance. "In many countries there are dance
studios that teach dance," he said, and I am paraphrasing his

"My great fear is that of becoming a mere "decorateur" What irritates
me most are such terms as "bühnenbildner" or "decorateur" because
they imply two-dimensional pictures or superficial decoration, which is
exactly what I don't want. Theatre is mainly in the performance; lovely
sketches and renderings don't mean a thing, however impressive they
may be; you can draw anything you like on a piece of paper, but what's

Atlantida by V. Nezval, scenic rendering by Ladislav Vychodil, 1961.

important is the actualization. True scenography is what happens when
the curtain opens and can't be judged in any other way."

S P R I N G

2010

theatre

design

&

technology

29



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
Theatre Design & Technology - Spring 2010 - 13
Theatre Design & Technology - Spring 2010 - 14
Theatre Design & Technology - Spring 2010 - 15
Theatre Design & Technology - Spring 2010 - 16
Theatre Design & Technology - Spring 2010 - 17
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 - 24
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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
Theatre Design & Technology - Spring 2010 - 32
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Theatre Design & Technology - Spring 2010 - 68
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