Theatre Design & Technology - Dec 1969 - 8

PERFORMING ARTS CENTERS-WHO NEEDS THEM . ..
Kings vs. "Folks"
What we seem to be talking about is power. There seems to be a shift in who has
it. There were times in the past when a
prince had it, or a ki ng had it. It's interesting that the history of architecture relates
more strongly to royalty than it does to
folks. Most of the things that folks built,
nobody knows about.
At the moment, power is shifting to other
hands. We obviously have yet (and are in
deep trouble trying) to construct institutions
which allow that shift to occur. It's quite
clear that there are some severe challenges
to authority and power.
In the past, none of this would even have
been a topic for discussion. Things grew,
cities grew, and institutions grew-and it
all happened day, by day, by day. But now
we are in a position where we can, in all
honesty, feel a sense of responsibility for
planning the island of Manhattan . . .and in
equal honesty discuss the creation of a new
city. And one can find one's elected representative saying "Where the old ideas won't
work, then let's make new ones." We
have a society and a political structure which
has groups asking that change occur and
asking that things be made in their own image. But what is the image?
(In discussing this question of form, Mr.
Hardy told of a recent experience at the
Brooklyn Academy of Art. He was struck by
the fact that its three halls were holding
three totally unrelated performances simultaneously: modern dance ("dancing up a

storm"), a concert of Renaissance music,
and a contemporary play "full of all sorts of
foul language." All three halls were well
attended-especially the play, "where the
place was packed with people, not because
it was free, because you cannot give some
things away; it was packed with the energy
of curiosity of people wanting to share in
that experience."
Mr. Hardy emphasized the importance of
three diverse, almost contradictory performances "all occurring side by side; and that
all those people did come through a common
place, and do live in a common place, and
are made aware of those things because
they are concentered in a place. And I also
know that that was part of the imagery that
made Lincoln Center happen."

Motivations Are Secondary-Results Are
What Count'
On motivations of those who give their fortunes to build facilities such as Lincoln
Center ("expiation of guilt")' he stressed
that the motivations don't really matter. "It's
what you make of them that counts.
.Today, choice is constantly required. The people who set Lincoln Center in motion made
those choices.")
I think it's all about life . . . And as much
as we are caught up in trying to remake
and reshape our institutions, so that the
power is in the right hands, my hunch is
that in addition to worrying about who's
going to use it, we should spend a great
deal of care and a great deal of energy
thinking about what we want it to be.

Symphony Statistice-A Possible Measure
of Performing Arts Trends
Helen M. Thompson:
(Mrs. Thompson presented figures to illustrate the trend of orchestra operations and
support throughout the country, as a possibl e
measure of the trend in the performing arts
generally.) In 1962-63, the 28 major orchestras in the country (those that spend
$500,000 a year or more) spent a gross of
$21 million; in 1967-68, they spent $55
million, an increase of 161 % in the five
year period. In the same period, their earned
income (box office, subscriptions, etc.) went
from $13 million to $32 mill ion, an increase
of 146 %. Contributed income went from
$8 million to $20 million, a 150% increase. In other words, all these factors increased by around 150% each.
Net deficits in 1962-63 presented .5%
of their gross operations. In 1967-68, deficits were 5% of gross expenditures-an increase of 1000 %.
Well, what does that mean? It simply means
that everything went up-the money that
went through the books increased greatly.
Some people interpret this as an increase of
support for symphony orchestras during
those years.
The other 1,300 smaller orchestras in the
country have increased similarly. For all orchestras, ticket sales and number of concerts expanded also. For the major (28) orchestras, season ticket sales have grown
about 4 % in the current year; there has

A George Izenour PortfolioPlan

Multi-Purpose Hall will serve College and
City of LaCrosse and surrounding communities as the principal performance facility for
traveling symphony orchestras, recitalists,
drama, opera, dance, and musical comedy
companies.
Ceiling is fabricated of sound dampened
mild steel panels hung on cables and rigid
compression frames, electro-mechanical and
counterweight
drive;
sound
damping,
electro-mechanically driven, is added behind
ceiling and side walls. Both are preset and
logic controlled.

THEATER DESIGN AND TECHNOLOGY

DECEMBER,1969

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