Theatre Design & Technology - Fall 1991 - 25

try as a whole. The political equations fot
each of the Soviet satellites differs just as
does their national character. Anyway, it
was hard ro find the work of the individual designers in the spooky cave designed
for them by architects Witold
Blazejowski and ]akub Konarzewski.
This was especially true as the lighting in
the cave was preprogrammed to move
from one segment of the exhibit to
another and at a speed that never gave
one time ro rotally absorb the messages
the designs were intended ro convey-a
pity, for the PQ catalog listed several
things I would have liked ro examine at
more leisure. The exhibitors also gave
away their poster, one of the more
impressive seen at PQ'91.
The Netherlands put on a small bur
highly impressive exhibition. It featured
the work of just rwo designers, Mirjam
Grote-Gansey and Henk Schur. Both are
in their thirties and teach as well as
design for and in several theatres in The
1 etherlands. Schu t also works abroad.
Grote-Gansey's work on display was solely for dramatic productions while Schur's
exhibited work was almost exclusively
created for Dutch choreographers. Their
efforts complemented each other most
effectively. It left one feeling, "I wish I
had seen some of those productions!"
y rOVIng camera
rook me next into a
"unified" German
exhibition. When I
first looked, I hadn't
seen the handsome catalog that accompanied the presentation. As might be suspected, this first Quadrennial from a
united Germany had very much ro do
with that unification. The exhibit itself
was an attempt to bring the theatrical
pulses of both the former halves rogether
in some coherent form. The organizers,
realizing that several productions of
German classic plays had had almost
simultaneous productions in both the
East and the West, showed us the differences and the similarities of each side. It
was both fascinating and frustrating. The
exhibition space was too small for the
intended result of comparisons and contrasts. I felt claustrophobic in each of the
four rooms connected at their corners by
a revolving gateway. It was heavily symbolic-entrances and exits, comings and
goings, hil/ lind zlIl'IIck---of the joy and
pain of the reunification. But I needed a
more removed view. For the Am/aI/del; it
is hard ro feel the impact of such immediate history as one who lived it must
have done.
The work of the several designers rep-

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1991

FALL

Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1991