Professional Documents
Culture Documents
By Arnold Aronson
Theatre Design & Technology, the journal for design and production
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articles in TD&T Josef Svoboda’s setting for Prokofiev’s opera Fiery Angel which incorporates
large mirrored surfaces designed to reflect and distort whatever images or objects
are on the stage.
The open stage preferred by Tyrone Guthrie, as expressed in the original Guthrie Theatre (1963).
Pay Up (2005), designed by Anna Kiraly for the Pig Iron Theatre Company in
Philadelphia, takes place in a large warehouse in which the audience is herded to
various location as the play progresses.
Another vision of Fiery Angel (2004) by Geroge Tsypin, which he describes as “an
aggressive deconstructivist nightmare full of jagged lines, a flaming sky, and a bloody floor.”
“undefined simulacra of each other.” And, of is the Spinozist definition of God. This begs the for communal presence in shared space. Not
course, in this age of electronic communica- question as to whether the aesthetic qualities of surprisingly, some of the accompanying imagery
tion, they do not exist in any tangible, visible, the image are determined by its technical mani- is created and displayed in the familiar digital
or inhabitable space; they exist, of course, in festation. Is an image just an image? form.) Inevitably, placing a contemporary spec-
cyberspace. One might argue that the Middle Ages tator in a darkened theatre to view performers at
It is a truism that we live in a world of and the Baroque, for instance, were also visual some distance, and who seem static compared
images, and the ubiquity of images has been ages, but these, and any other visual regimes to the frenetic pace of digital media, and on a
exponentially expanded through electronic prior to the twentieth century, required the im- stage that, no matter how brightly lit, will seem
dissemination. (Anyone who began using PCs age to be present in space and to possess some dim in comparison to quantity of light in the ex-
or the internet in the pre-Apple days may re- degree of dimensionality. But today image and ternal world, is problematic. I am still haunted
member a world composed almost entirely of space are not only divorced, the image has been by the audience response (or actually lack of
type, not images.) Of incidental interest is the dematerialized. Where do the images seen on response) to the scenography of Andrew Lloyd
fact that much of the imagery we confront today the computer screen, the billboard or stadium Webber’s The Woman in White I saw on Broad-
is created or conveyed by devices that function scoreboard, and related devices exist? Yes, the way a few years ago. The scenery was entirely
as their own light source. That is, we do not image appears momentarily on (in? through?) created and projected by digital technology and
perceive the image because it is projected or some sort of apparatus that makes it visible, yet was probably the most technically sophisticated
because light is reflected off it; the image radi- it cannot be said to exist in space. And the imag- example of such work to that time. While audi-
ates its own light. One critic has suggested that es themselves have little stability—they have the ences will regularly applaud the detailed realism
because such an image contains its own light ability to appear, disappear, transform, dissolve, or delightful extravagance of “old-fashioned”
source it is perceived as its own cause, which morph with no regard to quotidian realities or scenery when it is revealed onstage, the digital
the physics of everyday life. Moreover, while im- wonders of William Dudley’s digital scenery
ages were, historically, created by experts and elicited no apparent response at all. It would
Most people today artisans for the consumption of others, today, seem that the look of the digital imagery, and
have a greater or within a certain segment of this new scopic the dissolving and transforming locales were so
lesser degree of regime, the images are created, called into ex- commonplace for this audience that it bordered
istence, transformed, and erased at will by the on the invisible, whereas a 3-D simulacrum of
experience with individual viewer. the real world is a wondrous novelty that bears
electronic media and Most people today have a greater or lesser little resemblance to the imagistic and spatial
degree of experience with electronic media and expectations of a modern popular audience.
digital imagery; few digital imagery; few have experience of the the- So where does this leave us? Live theatre will
have experience of atre. (Actually, there is a form of theatre that is never disappear; the performer-spectator dyad,
the theatre. familiar to a wide audience: sporting events and in real space and time, seems to be hardwired
stadium concerts. These satisfy the human need into human behavior. And live theatre demands
Marianne Weems co-founder of the performance group, the Builder Association, and
co-director of Alladeen (2003), says, “The ‘delivery system’ for these productions is
complex, and sometimes causes static between us and the audience.”
that the audience confront and experience and understanding of space and image is un- factors that must be addressed. I am at a loss to
actual space and image. At the same time, an dergoing a radical change, perhaps a profound suggest how to address them. v
increasing segment of the potential audience one. As a prognosticator, if I resort to some not-
no longer reads—perhaps is no longer ca- yet-identified form of projections as the future Arnold Aronson is chair of the theatre
pable of reading—space and image as it has of scenography, it is only because I am trapped program at Columbia University and writes
been understood for the past several hundred in the world I know. I feel safe in predicting the frequently on scenography.
years. The problem, therefore, will be how to
accommodate the conflicting needs of these two
forces. The answer may, in fact, reside in the
concept of projections and soon-to-be-feasible
large-scale holograms—but not as such tech- department of theatre & cinema
nologies are typically used at present. With a few
exceptions the history of projections for the past
at Virginia Tech
100 years has been as a substitute for plastic
scenery (while still treating it as if it functioned
in an identical way), or as a complementary im-
age system to create mood, convey information,
We will surprise you.
enhance thematic concerns, and the like. But if
the aesthetic and cognitive vocabularies of such
technology were better understood it could be www.theatre.vt.edu
better translated to the stage in such a way as to
be accessible and meaningful to the contempo-
rary audience: the audience of the immaterial
image and immanent space. Until that divide is
bridged, theatrical design will remain mired in
an increasingly anachronistic form.
As an historian I can demonstrate that
scenographic space and imagery has always
reflected the sensibilities and technology of its
B.A. in Theatre | 3-year M.F.A. programs
time. Therefore it is probably safe to say that
scenography fifty years hence will equally reflect Uncommon Experiences • Unexpected Opportunities
its time and technology. As an observer of the
present I can simply note that the experience