APN PHOTO Fig.6 An experimental draft of the theatre "Krest" (Cross). Novgorod, 1970 (stage-arena), Architect: Vladimir Somov. Scenographer: V. Ganko\lsky. opposite directions. This system makes it possible to load the veh icles with new elements of the scenery every time and continuously send them back to the stage. Above that part of the conveyers (stage) where the performance actually takes place there is a gridiron with decor hoists, lighting equipment and free space for the curtains. Control rooms for lighting and sound are located at the rear of each seating segment as well as the galleries for additional lime-lights. Besides, there is a special gallery for the actors in the hall where they can move and act, so that their performance is not limited to the conveyer bands. There are six entrances to the stage from the actor's dressing rooms. Two of them are situated directly by the conveyors in the center of the house. The design also provides for the division of the theatre into two independent halls with their own entrances, cloak rooms and foyers (Fig. 5). In one part of the hall the seats are removable and it may be used as a stepped scenic platform with a mobile foreground. The "Cross" Theatre A theatre in which the cross-section of the stage resembles a cross is another version of the dynamic theatre. It is based upon the principle of the "stagearena" which is surrounded by the public on all sides. This shape of the stage (Fig. 6) not only makes it ~ THEATRE DESIGN AND TECHNOLOGY possible to continuously send up settings from the special areas for the assembly of the scenery situated beneath the stage, but also to move them in any desired direction by means of the special vehicles that run along two crossing roads on the platform of the stage (Fig. 7). Above the central platform there is a gridiron with the necessary rigging for hanging scenery and the lighting apparatus. The spaces for the assembly of the settings follow the same design as the stage and are situated beneath it. Th is makes it possible to convey quickly the assembled scenery onto the stage level by means of several elevators. The four entrances to the theatre and the same number of foyers allow the public to take their seats quickly and evenly. Such a scheme of the compositional construction of scenic space considerably favou rs the development of a "presence" effect which is very important for full comprehension of the performance, as the spectators find themselves in the very midst of the scenic action which can go on either on one or several platforms simultaneously. The search for new forms of scenic space was continued by th is author in h is competitive design for the Opera Theatre in Belgrade (1971). The arch itectural design was conceived as a theatre of the future with great spectacu- MAY, 1973 23