Theatre Design & Technology - Spring 2018 - Public - 65

This kinetic square contained the actress
playing the shepherdess and the sheep
in the form of round soft sculptures. By
manipulating the sides of the square, new
visual environments could be created and
the sheep could move from place to place.
The suspended staircase jutting into the
area emphasized the isolated and pastoral quality of the kinetic square.
Matásek was also sought after as a
designer in other theatres, and from the
early 2000s onwards, he often worked
freelance in addition to teaching. As
knowledge of his work spread, he went to
workshops around the world. The workshop participants then selected local poetry to dramatize through the principles of
"puppet object theatre." They worked on
the presentation, developed the scenario,
and then did the presentation. Matásek
said that what is interesting to him in this
process is that the poetry is transformed
into a vision, and new relationships of
puppets to performers and vice versa are
discovered. His style evolved because of
this work, and his designs became more
fluid and involved more lighting and projections. For him, scenography as a static
picture is not enough. Life is moving, the
drama is moving, the performers are moving, and the scenography must move with
them.
Petr Matásek's work is recognized as
being among the very best in turn of the
century Czech and Slovak theatre. He
said that the best work he has collaborated on in the theatre always had two
characteristics. First, it has always functioned a bit in advance of the audience's
perception, and therefore, the audience
had to work to catch up with the action
on the stage. This, he maintained, always
resulted in a more satisfying theatrical
experience. Second, in the past, during
times of repression, the best theatre kept
the people thinking about hope and spoke
the truth to them. That was the function
of theatre and the basic idea that informed, in one way or another, the theme
of every production and every design.
This function appeared to be lost for quite
some time after the revolution for two
reasons: First, the truth was available to
all; second, the continuing economic and
political crisis in the Czech Republic has
given rise to a bitter pessimism. Matásek
detected a general fatigue with this and a
desire to return to simple, eternal truths
that underpin all human relationships.

He continued his work and his search for
like-minded collaborators who are looking for and discovering new ways to present these eternal ideas in the theatre until
his passing in 2017.
Delbert Unruh is professor of theatre at
University of Kansas in the Department of
Theatre. In addition to his stage design work
at the University of Kansas, he maintains
an active professional design practice in the
Kansas City area and his work has been
seen on the stages of The Missouri Repertory

Theatre, The American Heartland Theatre,
and Dinner Playhouse Inc.

Works Cited
Prchalová, Radka. 1999. Trans. Pavla Kuchařová.
Collage of Eight. Prague Quadrennial 1999. National
Section of the Czech Exposition. Prague: Theatre
Institute Prague.

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Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2018 - Public

Contents
Theatre Design & Technology - Spring 2018 - Public - Cover1
Theatre Design & Technology - Spring 2018 - Public - Cover2
Theatre Design & Technology - Spring 2018 - Public - 1
Theatre Design & Technology - Spring 2018 - Public - Contents
Theatre Design & Technology - Spring 2018 - Public - 3
Theatre Design & Technology - Spring 2018 - Public - 4
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Theatre Design & Technology - Spring 2018 - Public - Cover3
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