Theatre Design & Technology - Fall 1985 - 25

spoken, but also producing a ... halting ... quality that \\·as ...
extremely ... di fficult to ... follow ... in the words ... of the
... translators. Once the natural rhythm and music of any
language is removed, the possibility of comprehension is
drastically reduced and the effect is the same as listening to
the idiotic speech of U.S. airline cabin attendants who obscure all meaning from our mother tongue by applying their
artificial music to it. Those who spoke from prepared texts
were limited by the loss of spontaneity but seemed to come
across better in translation. Those who spoke while showing
slides seemed to fare better than those who did not.
Among the various formal presentations which were made
at the conference I was particularly interested in several that
revealed the progre s of other projects. East German architect Joachim Naether presented a very comprehensive view of
the immense project of restoring the Semper Opera House in
Dresden. We also saw the Municipal Theatre in Gdansk,
Poland, presented by \Viktor Jackiewicz.
British designer Ian MacIntosh expressed a theme that
I have heard him put forth before, revealing hi love of the
courtyard theatre. He also noted for the Italians their failure
to correctly restore the extended stage apron to its appropriate position well forward of the proscenium with the orchestra pit in front. Both of the theatres in Reggio Emilia lack this
particular accuracy to detail but we did see evidence of many
other Italian theatres quite accurately restored.
My favorite speaker was the gentleman from Finland, Mr.
Pentti Piha, who began by announcing that he had brought
along enough material to speak for four hours. But in less
than twenty minutes he presented us with a vivid discourse on
the most fundamental principle that are in effect in every
theatre. With simple line drawings and photos using stick
figures arranged in the sand he began by showing the variety
of ways that humans arrange themselves to observe various
types of events. He demonstrated that our perception of space
is elastic, and that it flexes as a particular event proceeds.
Of course in all open areas the fundamental objects that define the space are the people. In his view a theatre is more
or less successful as an architectural environment depending
upon how well it adjusts itself to fundamental human needs.
While he was discus ing issues that all of us deal with daily
and hi discour e was remarkably simple he found ways to
reduce a complicated concept to very simple terms. His drawings, humorous and concise, were very effective.
A lor of good work was accomplished in the informal
gatherings, at the sidelines during scheduled speeches, while
basking in the sun in front of the Teatro Ariosto or while
relaxing in one of the many excellent bars or restaurants.
Several bus trips to nearby sites pro\'ed opportunities to talk
at length \\'ith new friends. People tended to group together
due to language bonds, and while I had many pleasant talks
with the English-speaking conferees, I wish that I had been
able to benefit more from the presence of some of the others.
I spoke at length with the Rus ian theatre architect Vladimir
Krasilnikov and al 0 with Vse\'olod Vinogradov, head of the
theatre institute in i\loscow.
ing an interpreter, we found
that we all share an enduring love for the theatre that surpasscs common sense. Like all lovers, we gave ourselves to it

\\-ithout considering the consequences. We then discussed a
few of the consequences that \\'e live with and found that in
spite of very different circumstances, we both lack sufficient
funds to create our theatres in the proper way. It seems that
money is a problem the world over. i\1r. Krasilnikov has
designed a great variety of theatre buildings including many
children's theatres, \\'hich abound in Russia, as \\'ell as others
for circuses, plays, dance, theatre and opera. I was impressed
by the abundance of theatres for children (audiences are children, actor are adult professionals) and wondered why it is
that with a few outstanding exceptions, we have paid little
attention to building an early taste for theatre in our children,
unless you wi h to count an occasional yearly trip to The NlIfcracker or A Chrisflllas Carol.
The major social event was a dinner for all of the participants at a restaurant in the countryside. There were toasts in
seven languages and one outstanding one made by a mem bel'
of the Japanese delegation who speaks English and Italian
and presently sings with an Italian opera company. He sang
a thrilling selection from Madallla BlIfWJI), which displayed
an excellent sense for diplomacy.
For me, despite my limited language ability, the conference was a huge success. There were a few especially effective
aspects. Having the opportunity to meet 0 many who shared
similar problems in restoring and rebuilding their theatres was
heartening and we found ourselves quickly bonded like survivors on a lifeboat. Meeting in the two theatres at Reggio
Emilia enriched the experience for all of us and visiting the
several other theatres at Parma, Bologna and Sabbionetta
were special events. At the Teatro Reggio in Parma I wept in
the midst of unbelievable beauty but \\'as later confused by
their willingness to accept the most primitive of backstage
facilities in the interests of preservation. Because I spent an
hour with the brave souls from China, another from Belgium,
and coupJe of madly gesturing and helpful stagehands, crawling around the wooden grid floor of the Teatro Reggio (1829),
I missed the chance to see the Teatro Farnese (1618). We had
been told that it would not be opened to us during our visit,
but a few aggressive souls in our group (not Americans, I
promise you) persuaded someone and gained entry. To my
great disappointment I emerged from my side trip to the grid
too late to join them.
At the Teatro Olympica in Sabbionetta, 1588, I felt solemn as we entered one of the great shrine of the theatre
world. one of the many pictures I had seen of it revealed its
perfect scale and power. The small fortress city in which the
Teatro Olympica sits is an extraordinary site, similar in scale
to Nantucket, Rhode Island, but without either the precious
quality or the demon cars of Nantucket. It i encrusted with
the dusty patina of age and urrounded by high brick fonre
walls, crumbling at the top and covered \\'ith \'ine .
During our visit to the beautiful Teatro Comunale in Bologna \\T saw an excellent film that re\'ealed the care taken to
restore it. It had been slowly eaten alive by generation of
wood-eating insects that had de\'oured most of its structural
members. After the bugs were killed by clever use of chemiscontinued on page 25 ...
USITT Fall 1985 Theatre Design &

Technolog~

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