Pub Date : 2020-07-02DOI: 10.1080/23322551.2020.1848200
C. Richier
ABSTRACT Josef Svoboda is often presented as a master in the field of lighting design, but we know little about the exact nature of his contribution in this area. This article aims to foreground his input in terms of lighting sources, the light curtain, contrast, shadows, directions of light and mastery of stray light. It contains several excerpts and drawings from an unpublished interview on lighting design conducted in 1993.
Josef Svoboda经常被认为是照明设计领域的大师，但我们对他在这一领域的贡献的确切性质知之甚少。本文旨在突出他在光源、光幕、对比度、阴影、光的方向和杂散光的掌握方面的投入。它包含了一些摘录和图纸，来自1993年进行的一次未发表的照明设计采访。
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Pub Date : 2020-07-02DOI: 10.1080/23322551.2020.1845049
S. Field
{"title":"Report from… The ‘Auditorium’ of my Living Room","authors":"S. Field","doi":"10.1080/23322551.2020.1845049","DOIUrl":"https://doi.org/10.1080/23322551.2020.1845049","url":null,"abstract":"","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"15 1","pages":"300 - 303"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84986013","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-02DOI: 10.1080/23322551.2020.1856303
Sofia Pantouvaki
ABSTRACT The document presented here was part of the curriculum offered in 1997 by the Department of Stage Design of the Theatre Faculty (DAMU) in Prague to the international exchange students from the Master of Arts in European Scenography at Central Saint Martins College of Art and Design (London, UK) and the University of the Arts in Utrecht (Netherlands). It is based on two lecture-presentations by Josef Svoboda delivered at DAMU on 15 January and 22 January 1997, offering a rare opportunity for early-career designers to discuss scenography in detail and in context with him. The lectures provided a flowing narrative as a presentation and a sharing of Svoboda's design experiences; they included scenographic work presented by the designer himself with detailed descriptions and their technical solutions. This document is an edited selection of excerpts from the lectures accompanied by editorial commentary. The content of the discussion provides not only a vivid document of Svoboda's personal trajectory, but also a historical record of twentieth-century stage technologies and collaboration on an international scale. Given that Josef Svoboda's pedagogical involvement is rarely discussed, this document aims to contribute to Svoboda's legacy by bringing to light this lesser-known side of the great designer.
{"title":"(Re)performing scenography: Josef Svoboda as a tutor","authors":"Sofia Pantouvaki","doi":"10.1080/23322551.2020.1856303","DOIUrl":"https://doi.org/10.1080/23322551.2020.1856303","url":null,"abstract":"ABSTRACT The document presented here was part of the curriculum offered in 1997 by the Department of Stage Design of the Theatre Faculty (DAMU) in Prague to the international exchange students from the Master of Arts in European Scenography at Central Saint Martins College of Art and Design (London, UK) and the University of the Arts in Utrecht (Netherlands). It is based on two lecture-presentations by Josef Svoboda delivered at DAMU on 15 January and 22 January 1997, offering a rare opportunity for early-career designers to discuss scenography in detail and in context with him. The lectures provided a flowing narrative as a presentation and a sharing of Svoboda's design experiences; they included scenographic work presented by the designer himself with detailed descriptions and their technical solutions. This document is an edited selection of excerpts from the lectures accompanied by editorial commentary. The content of the discussion provides not only a vivid document of Svoboda's personal trajectory, but also a historical record of twentieth-century stage technologies and collaboration on an international scale. Given that Josef Svoboda's pedagogical involvement is rarely discussed, this document aims to contribute to Svoboda's legacy by bringing to light this lesser-known side of the great designer.","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"1 1","pages":"199 - 220"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80768158","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-02DOI: 10.1080/23322551.2020.1847391
Helen Gush
ABSTRACT This article considers the work of Josef Svoboda in relation to the World Theatre Season (WTS), an annual season of international theatre companies presented at the Aldwych Theatre in London between 1964 and 1975. The WTS provided an initial platform for Svoboda's work in London, when WTS Director Peter Daubeny invited the Czech National Theatre to open the 1966 season with their production of The Insect Play (Ze života hmyzu), by Karel and Josef Čapek. The article provides a detailed historical analysis of The Insect Play, beginning with a production analysis and then tracing the production's material impact on scenography in the UK. First, the article argues that Svoboda's use of form and materials, as well as the spirit with which he approached his work, influenced the work of leading designer, Ralph Koltai. Second, the article demonstrates how The Insect Play functioned as a springboard for Svoboda's subsequent work on UK stages. Third, the article demonstrates how Svoboda's work gave weight to design, helping to foster the UK's design community. Ultimately, the article demonstrates that The Insect Play played a pivotal role in shaping Svoboda's career trajectory on UK stages and had a significant influence on British performance design.
本文考虑了约瑟夫·斯沃博达与世界戏剧季(WTS)的关系，世界戏剧季是1964年至1975年间在伦敦奥尔德维奇剧院举办的国际戏剧公司的年度季。WTS在伦敦为斯沃博达的作品提供了一个最初的平台，当时WTS主任彼得·道贝尼邀请捷克国家剧院以卡雷尔和约瑟夫Čapek的《昆虫剧》(Ze života hmyzu)作为1966年演出季的开幕作品。本文对《昆虫游戏》进行了详细的历史分析，从制作分析开始，然后追踪制作对英国舞台布景的重大影响。首先，文章认为Svoboda对形式和材料的使用，以及他处理工作的精神，影响了首席设计师Ralph Koltai的工作。其次，这篇文章展示了《昆虫游戏》如何成为Svoboda在英国舞台上的后续作品的跳板。第三，文章展示了Svoboda的作品如何赋予设计以分量，帮助培养英国的设计界。最后，文章论证了the Insect Play在塑造Svoboda在英国舞台上的职业生涯轨迹中发挥了关键作用，并对英国的表演设计产生了重大影响。
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Pub Date : 2020-07-02DOI: 10.1080/23322551.2020.1848211
Lucie Česálková, Kateřina Svatoňová
ABSTRACT Josef Svoboda’s career was strongly linked to the exploration of new media and technological innovation. Svoboda realized his creative visions not only in domestic and foreign dramas and operas and artistic exhibitions, but also in the framework of a project on which he collaborated since the end of the 1950s – the multimedia theatre Laterna Magika. In this text, we analyze the stage design of Josef Svoboda for Laterna Magika from several perspectives. At the most general level, we are interested in his strategy of building Laterna Magika as an open creative environment and laboratory inside a restrictive socialist culture. Scenographically, we are interested in the role of film and television in his stage design and his experimentation and innovation in lighting design and stage kinetics, leading to virtuality and immersion as well as the reformulation of the concept of the screen on the stage. For Svoboda, Laterna Magika was an experimental space in which he planned to create a theatre with a fully variable stage that broke the line between actors and spectators and created a psycho-plastic space for the viewer.
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Pub Date : 2020-07-02DOI: 10.1080/23322551.2020.1853404
{"title":"Sally Jacobs, Artist and Theatre Maker, 1932–2020","authors":"","doi":"10.1080/23322551.2020.1853404","DOIUrl":"https://doi.org/10.1080/23322551.2020.1853404","url":null,"abstract":"","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"30 1","pages":"309 - 310"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78194842","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-02DOI: 10.1080/23322551.2020.1836927
Karin Winkelsesser
{"title":"Report from…HomeTheatre history alive – the streaming program of the Schaubühne in Berlin","authors":"Karin Winkelsesser","doi":"10.1080/23322551.2020.1836927","DOIUrl":"https://doi.org/10.1080/23322551.2020.1836927","url":null,"abstract":"","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"47 1","pages":"298 - 299"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79173521","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-02DOI: 10.1080/23322551.2020.1848201
K. Graham
{"title":"Critical approaches to TV and film set design","authors":"K. Graham","doi":"10.1080/23322551.2020.1848201","DOIUrl":"https://doi.org/10.1080/23322551.2020.1848201","url":null,"abstract":"","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"111 1","pages":"311 - 312"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80679564","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-02DOI: 10.1080/23322551.2020.1846878
D. Rockwell
This article is edited from an interview conducted in May 2020.
本文是根据2020年5月的采访编辑而成。
{"title":"Boris Aronson and Pacific Overtures","authors":"D. Rockwell","doi":"10.1080/23322551.2020.1846878","DOIUrl":"https://doi.org/10.1080/23322551.2020.1846878","url":null,"abstract":"This article is edited from an interview conducted in May 2020.","PeriodicalId":37207,"journal":{"name":"Theatre and Performance Design","volume":"26 1","pages":"304 - 308"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80612819","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-05-15DOI: 10.1080/23322551.2020.1771942
J. Briscoe
ABSTRACT In his influential book, historian Geoffrey Blainey coined the term The Tyranny of Distance (1982) as a descriptor that continues to influence the psyche. For the first time in 2019, the three leading performing arts schools in Australia approached the design for the student exhibition at the Prague Quadrennial (PQ) as a collaborative project. The theme of isolation and its influence on current Australian politics shaped not only the conception and development, but also the curation and realisation of the exhibition. The student exhibition presented the opportunity to explore the creation of a site-specific installation but required the navigation of distance in conception and realisation as installation of the various elements could only occur once on site in Prague. Distance also needed to be negotiated between cohorts, timelines and requirements of the different institutions. The tyranny of delayed international shipping was overcome, as with all other obstacles, by the application of a distinctly Australian sense of humour in the formation of a temporary installation – ShippingWrecked – to hold our place until the full exhibition arrived. PQ presents the opportunity to overcome our physical isolation but also test the benefits that isolation extends to our artistic practice.
历史学家杰弗里•布莱尼在其颇具影响力的著作《距离的暴政》(1982)中创造了“距离的暴政”(the Tyranny of Distance)一词，作为对人类心理持续产生影响的描述。2019年，澳大利亚的三所顶尖表演艺术学校首次将布拉格四年展(PQ)的学生展览作为合作项目进行设计。孤立的主题及其对当前澳大利亚政治的影响不仅塑造了展览的概念和发展，也塑造了展览的策划和实现。学生展览提供了探索特定场地装置创作的机会，但需要在概念和实现上进行距离导航，因为各种元素的安装只能在布拉格现场发生一次。不同机构的群组、时间表和要求之间的距离也需要协商。像其他所有障碍一样，国际航运延误的困扰也被克服了。我们运用独特的澳大利亚幽默感，搭建了一个临时装置——“失事的船只”，在展览全面到来之前，我们一直呆在这里。PQ提供了一个机会来克服我们的物理隔离，但也测试隔离扩展到我们的艺术实践的好处。
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