Theatre Design & Technology - Fall 2019 - 14

countries also looked for opportunities
to work together informally. The teams
quickly realized that each had different
schedules, resources, and procedures
for developing our exhibitions. Simply
understanding how each other worked
to curate, design, and build our exhibits
was informative and an opportunity to
be critical of our respective processes.
It was beneficial to have a peer facing
with the same concerns and deadlines
with whom curators could connect. This
type of interaction would typically be invisible if curators only spoke after completing exhibits. Instead, the countries
supported each another in individual
regional programming, such as Quebec's
daily panels within their exhibit where
they hosted conversations on ecological
approaches to theatre. The collaboration
was sometimes as basic as sharing tools
and materials, when exhibitors previously would have gone to the central PQ
organization for support. The curators
realized elements that should have been
obvious given the field of theatre: the
benefits of collaboration and how generosity and cooperation can strengthen a
project.
This process included its share of
challenges, too. Working across vast distances is hard. The curators regularly
connected virtually, but there is no comparison for the rare occasion when the
curators all could be in the same place.
Communications were in English, but
there were always elements of translation. Funding structures differed, as did
build schedules. The U.S. exhibition had
a public preview before others had begun
to be built. Mexico built much of its exhibition in Prague in the few weeks immediately preceding the PQ. And coming
through these different processes also
meant that the curators knew they would
still be producing four distinct pavilions,
which may not be as outwardly linked as
originally imagined.

Looking Beyond Borders

Now past this PQ and having discussed
how the collaboration went, the curators
agree the experience of bringing together this cluster was positive. However,
many of those involved will have a different relationship to our respective exhibitions in 2023. Some will continue their
involvement in curation, others have a
succession plan for how someone else

14 |

THEATRE DESIGN & TECHNOLOGY

|

FALL 2019

Dr. Rachel Hann (center) leads (L to R) Ludovic Pilon, Dorothy Max Prior, and Silje Sandodden in conversation
with the Quebec exhibit. Photo by Ian Garrett.

will rise to become a curator next time.
And, sometimes a new quadrennial even
means nearly starting from scratch. But
the curators from 2019 all look forward
to supporting the linkages of the cluster
and hope for it to continue to evolve the
utility of the PQ as a professional, creative, and political meeting ground.
The North American cluster was
one of two at PQ. It will be up to the PQ
leadership to determine if this is a model
they are still interested in showcasing;
certainly this decision will be dependent
in part on its alignment with future artistic visions and themes for the PQ. Still,
significant opportunities exist to deepen
the collaboration that began with this
experience. While none of the curators
would advocate for losing the unique
identity of each exhibition, they do see
possibilities for creating more visible
links. The 2023 teams also have sufficient time to develop another shared program that can be better featured in the
PQ program-this year's was published
well after the printed program had been
finalized.
Opportunities are emerging to
work together outside of the 10 days of
the exhibition in Prague. The national
curators started by making our online
catalogs accessible through common
channels, and we are also looking to
support reciprocal programming at

each other's convenings. The annual
conference for USITT is one of these
events, and by working with the International Activities Committee, the PQ
2019 team hopes to encourage ongoing
attendance by cluster partners and contributions to the conference program.
Partnerships with World Stage Design,
when it is hosted by Canada in Calgary
in 2021, are also possibilities for future
collaborations.
However the exchange between
countries and regions is maintained,
the most important aspect is to continue to look beyond national borders.
This is one of the most important functions of the Prague Quadrennial. It provides us with a glimpse into the cultural
and political lives of our counterparts in
theatre-making. Despite some current
rhetoric to the contrary, North America
enjoys relatively stable and open societies. But, Hong Kong covered up much
of its display in solidarity with prodemocracy protesters. Brazil's exhibition spoke to the nationalist policies of
President Bolsonaro. Prague itself may
no longer be a political hot bed, but the
spirit of international exchange and collaboration between artists during political unrest is alive and well half a century
later. If artists can accept the idea that
theatre is the tool by which they can
reimagine the world, and if they want to



Theatre Design & Technology - Fall 2019

Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 2019

Contents
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