Theatre Design & Technology - May 1973 - 47

SCENOGRAPHIC IMPRESSIONS OF UNIVERSITIES AND
THEATRES IN THE U. S. A.
LADISLAV VYCHODI L,
NATIONAL THEATRE, BRATISLAVA
pay more attention to individuals. My opinion is that the
results of the pedagogical process in our schools is
better than in the best universities in the U.S.A.

LADISLAV VYCHODIL

From November 16th till December 1st, 1972, I
have had a chance to become acquainted with methods
of teaching scenography in several universities in the
U.S.A. On this occasion I also saw facilities for theatrical
sections and theatres at the universities. Besides that,
I've seen the Music Center in Los Angeles and Lincoln
Center in New York. During my visit I also saw nine
performances. Even though I did gain a lot of information, considering the short time available, I realize
my information is partial and not complete. Please judge
whatever I write from this point of view.
My first interest as a pedagog of scenography was,
therefore, the ways and methods of teaching this subject
in the United States. It is generally known that your
methods differ from those in Europe; that is, in
Czechoslovakia. Also, I was surprised that in almost
every university there is a theatre department with a
huge number of students, who after graduation will not
have the chance to work in this field. In Czechoslovakia
we try to regu late the flow of students so everyone after
finishing his studies may find a job in theatre. In our
country, where we have 70 professional theatres which
play every day, we accept in two universities about six
stage and costume design ~tudents each year.
Another basic difference is that our students in any
of the art major cou rses have to undergo a talent examination before being admitted to the school. This exam
lasts four days and it's quite strict. According to statistics
every tenth applicant is accepted. During five years of
studies about 20% drop out. That means that in our
school, the teachers of stage design have a maximum of
four students in each class. This way, of course, he can

THEATRE DESIGN AND TECHNOLOGY

Even though I did not have an opportunity to examine
the methods completely in the classes I visited I came
to the conclusion, after my discussion with the American
professors, that in Europe the emphasis is on scene design.
In the United States, on the other hand, many more
secondary subjects are required of the students.
In comparison, I list below a short review of the
courses taught in the scenography curriculum at the
Un iversity of Musical Arts in Bratislava. The student
spends about 32 hours in classes each week. Of this total
about ten hours are devoted to secondary subjects,
philosophy, foreign languages, physical education and so
on. The remainder of the time is spent in classes in
theatre or art (graphic) training. There is ample time for
the component areas; stage design, costume design, painting, drawing, etc. The course covers a five-year period
and the student spends progressively more time in the
major area as he advances in the course: first year, 12
hours; second year, 15 hours; third year, 18 hours; fourth
year, 24 hours; fifth year, 24 hours. The balance of his
time is devoted to other theatrical areas; directing,
theatre history, and dramatu rgy.
The theatre facilities in most American universities are
very good. In the main, I speak of the theatres built on
your campuses in the last several years. I was particularly
envious of those universities having more than one space
for performance activity.
I believe the major difference that I observed was the
way the subject is taught in the United States as compared
to our method in Europe. In Europe, the entire design
for a production is shared by two people, the scenic
designer and the costume designer. In the United States
one finds the two already noted plus the lighting designer
and perhaps even the sound designer.
All of these subjects can be studied separately, of
course. In Czechoslovakia, as in the whole of Central
Europe, the scenographer combines all of this knowledge.
You might say, in other words, that the stage designer
does the lighting also. I must admit that I found the work
of American I ighting designers to be very interesting.
Most of what I witnessed was done for opera and musical
theatre and all of it was very good. I n many cases it was
the most impressive part of the performance. Itwas
dramatically composed, rhythmical and very artistic. I
have in mind, for the most part, Jules Fisher's work for
Jesus Christ Superstar and the designs of Gilbert Hemsley,
which I saw only from slides in his studio in Madison,
Wisconsin.

MAY. 1973

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