Theatre Design & Technology - Fall 1976 - 38

Jesus Christ Superstar. K. Kanamori, Japan. Photo courtesy of Czech Theatre Institute.
Brigitte Sitte: (RE: Kanamori) I adore the geometric
style, the clear lines are precise. I just love them.
(R E: Kawamori) Gorgeous.
I was impressed with the Japanese exhibition. The
very delicate scene and costume designs reflect centuryold refinement of handling space and form. Although
still very traditional in content the designs express modern abstract themes in accordance with time-honored
Japanese art techniques. I had a most enchanting conversation at the Prague Airport with Mr. Kanamouri, d irector, about his production of Madame Butterfly a sequence
of changing "pictures" on stage, formed by sliding walls,
doors and plants to provide the visual background for an
aria. These designs show a perfected, abstract simpl icity I
found an artistic delight. I was so impressed that I am
beginning to make plans to visit Japan and maybe even
study there for a short time.
NORWAY
Don Stowell
Some sketches and costumes by Mabi Helweg for

Romeo and Juliet are very handsome. The appliques on
the costumes point to a folk-like traditional nature. This
is done very clearly and dramatically. It is clear how the
persoll is supposed to move in them. TI->e renderings were
executed clearly and work nicely. She uses fabric-onfabric with colored lace over some pieces, creating richness within a fairly tight unified color range. This is im-

FALL,1976

pressive work.
The designs by Christian Egemar for the National
Theatre of Oslo production, The Pretenders are stunning
leather costumes with appliqued textures. The leathers
are soft and harder soft on hard with some slight color
variations and some spraying. They have some rich,
interesting metal work on the belts.
Jo Mielziner
One of the best sets was the tiny exhibition from
Norway, where I thought both renderings and the actual
costumes were beautifully done, imaginative, beautiful
in color. I don't say they were the only good ones, but
they struck me as particularly good.
Harold J. Hunter
The major emphasis of the exhibit from Norway was
costuming, but two very interesting set designs are worthy
of mention. Arne Walentin's design for Romeo and Juliet
was a very simple arrangement of platforms with a thrust
built in and one sma II platform wrapping around the
proscenium all connected by a series of stairways. It was
a simple but elegant solution to the problem of staging
Shakespeare; one which would be quite effective for the
theatre. Another interesting design was Ch ristian Egmar's
setting for The Pretenders by Ibsen. This set was a triangular shaped, raked platform, surrounded by five vertical
panels, two on each side and the fifth forming the apex
of the triangle. Access to the platform was gained from
the base of the traingle and through spaces between the
side panels. The entire unit was mounted on a revolve

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