Theatre Design & Technology - Oct 1971 - 37

(Continued from page 23)
possible, make the setting up and striking of the
equipment a part of the performance: let the kids
participate .. This is part of the idea of Street
Theatre.
Always set up near a street Iight so that you
will have light to tear down by, and you can also
get some electric power from the base. Set up on
one side of the street so that a fire truck can go
by. If not, they go through you! This also gives
the people in the house across the street box
seats. Always set up opposite a house for the
same reason.
The amount and type of equipment depends on
the kind of theatre. The Third World Revelationists
use practically no equipment. One other group had
a production that used four follow spots requiring
eight people just for these spotlights. The axiom
is take only what you need. Design productions
around minimum equipment needs.
Sound is the most important technical consideration. The level of street noise is high. You must
be heard above it. If people cannot readily hear
they become restive, and you lose your audience,
and you also encourage incidents. The opinion

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of the group was if you are doing that bad a job
you do not deserve an audience.
Everyone at the symposium agreed that whatever you do you must do professionally. You have
no right to present to the audience anything less
than complete professionalism in all respects:
content, voice, performance, visability, music and
attitude.
It was stated forcefully that not all performers
can perform in the street. It takes a special kind of
performer for the streets. He must believe in street
theatre, for one cannot "fake it." It requires a certain kind of toughness, sensitivity, belief and understanding. If one does not have it, forget it. Do
not go into the streets unless all of your people
have this. The director must do a great deal of
screening to be sure that he or she has the right
performers and technicians.
Much time was spent discussing finance. This,
of course, was one of the most important areas of
interest. The New York City Department of Cultural Affairs does not make grants. They do buy
services, and provide administrative help and material in small amounts. They do help set up books
and provide some money for salaries. They do
assist groups to prepare requests for grants from
foundations, funds, and other governmental agencies, and they help groups get free indoor space in
city-owned premises.
The New York State Council on the Arts believes
strongly in Street Theatre. They encourage and
help. They cannot provide money for capital costs,
but they have provided help for adminstration.
They can buy performances. They pay for consultants, accountants, technicians, etc., but they do
not give grants. They can buy services, and they
are very anxious to help. Do not be bashful about
calling on them for help.
The big problem is to educate the public to help
make them aware of the need to contribute money.
Particularly the Black and Puerto Rican public.

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THEATER DESIGN AND TECHNOLOGY

OCTOBER, 1971

Each fund-raising project must be a carefully
planned production and must be properly planned
and executed. Parties work well, but must be
handled with care and sensitivity. Face to face is
always the most effective method. Foundations
are not too interested because Street Theatre must
do its thing without any imput or control from
giving organization and funds want to exercise
some influence as to what their money says and
does.
The Black and Puerto Rican Theatre groups
should organize to see that they get their share of
government dollars. They must be united and
strong to pressure the City, State, and Federal
governments for their share of tax dollars, and they
must canvas their own middle class for money. I'

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