Theatre Design & Technology - Fall 2011 - 68

DiveRsiTy in
THe U.s.
n

By RAyMOnD KenT

The USITT-USA exhibit provided its own slice
of how contemporary architecture and the social, environmental, economic, and cultural communities meet, entangle, and
produce new and exciting venues.
Curator Scott F. Georgeson wanted to show the diversity of
buildings for the arts completed in the U.S. since 2006. "I felt it
was important to show the world the true depth of support the
U.S. has for the performing arts. Our strength is our diversity of
style, size, and regions. To understand the U.S. you need to get
to the grassroots community."
Over 100 projects were represented including regional
performing arts centers, outdoor venues, historical renovations, storefront theatres, venues for professional groups, and
conversions of industrial sites into art centers. "To really understand the U.S.," Georgeson said, "a visitor must explore the
interior. Get beyond the veneer of New York and LA to the heartland." This process was echoed in the design of the U.S. exhibit.
It was a simple box on a stage that the viewer opens. As the two
ends moved apart, rotating panels unfolded to display theatre

plans, sections, photos, and sketches of hundreds of projects.
In addition, videos portrayed images of the audiences and artists who give life to theatres.
Construction support for the wood and Plexiglas exhibit
exhibit came from America's heartland as well, including theatre
students from Marquette University and University of Montana, and
architecture students from the University of Wisconsin, Milwaukee.
Georgeson remembered the wide palette of entries from
thirty countries. "The exhibits ranged from abstract political
statements, like the Oriental rug from Lebanon protesting the
Swiss stand on minarets on masques, to Italy's simple dancing table in protest to cuts in government funding for the arts.
France and Britain both chose to present their countries' contribution to twentieth-century theatre. Alternative construction
methods were highlighted by the exhibit from Slovakia, which
replicated the construction of a theatre built from beer cases
and stucco, and Canada showed a summer theatre constructed
of wood pallets for the Quebec Opera. Many countries focused
on a single theatre project." v

The U.S. architecture exhibit invited visitors to turn the handle and explore performance spaces displayed in the interior of the illuminated Plexiglas box.

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Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 2011

Contents
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