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Performance Design in an Experimental Theatre University of Sydney 1975 to 1985

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Performance Design in an Experimental Theatre University of Sydney 1975 to 1985 3 Performance Design in an Experimental Theatre University of Sydney 1975 to 1985 by Derek John Villeneuve Nicholson School of Design Studies University of New South Wales Sydney, Australia This thesis submitted to the University of New South Wales for the degree of Master of Design August 2009 "I could be bounded in a nut-shell and count myself a king of infinite space" Hamlet, Prince of Denmark, Act II Scene II William Shakespeare 2 4 This thesis is dedicated to the memory of Rex Cramphorn Critic, designer, director, translator. Born 10 January 1941 in Brisbane. Died 22 November 1991 in Sydney. 5 Abstract In 1975 Theatre Workshop was established as a management unit to run an experimental theatre in the University of Sydney’s The Seymour Theatre Centre. There followed a decade of innovation in which I undertook the oversight of this laboratory and supervised research and development in theatre performances. As this experimental theatre venue was a new type of performance environment production design required a fresh approach. My advancement of a new design approach to space relationships in the performance environment led to the foundation of a new discipline of study and research at The University of Sydney, Performance Studies. This study draws on my ideas formed from practices in the scenographic process and highlights the importance of research and experiments in visual perception, depth and distance analysis to space design. Further research at University of New South Wales, School of Design, progressed my ideas to consider a set of descriptive terms to identify spatial elements which define relationships in a performance environment. Methods of research and documentation of spatial dynamics from other built environment design disciplines support the study. The characteristics of these space elements are evaluated against a broad theoretical strategy to expose the underlying concepts postulated in Frame Analysis, Gestalt effects and in an ecological approach to visual perception. 6 Acknowledgments The work on which my thesis is based is by its very nature a collaborative enterprise. It also covers many years of design practice. At Theatre Workshop Marjorie Moffat, Russell Emerson, Ludmila Doneman and Kim Spinks tirelessly dedicated time and energy to many projects, only one of which is documented in this thesis. At the University of Sydney special thanks is afforded to Gay McAuley and Tim Fitzpatrick. From the University of New South Wales College of Fine Arts I have received untiring support from my supervisor, Michael Garbutt and wisdom and advice from Leong Chan has benefited this project. Special thanks I offer to my proofreader Margaret Leask. I send deep regards to my family who gave unconditional support, and particular praise and thanks I give to Marianne. And last but not least all students who have helped forge my ideas and who I gratefully acknowledge from University of Western Sydney, University of Sydney, University of Victoria, Wellington New Zealand, University of New South Wales, The National Institute of Dramatic Art and Theatre Design Course, London. Students for special mention are the following; Mark Radvan, Gail Edwards, Des James, Ron Branscombe, William Takaku, Musa Masran, Tania Ingevics, Jo Hartley, Karen Lambert and Imogen Ross. It would be remiss of me not to acknowledge the inventor of voice recognition and other computer applications, on my trusted Apple Mac, whose smart technology released me to combat a persistent learning difficulty, my Dyslexic traits. The actors, directors and designers who have given generously to my ideas and for special mention, I thank, Melody Cooper, and Eamon Darcy. 7 Contents Abstract i Acknowledgements ii Contents iii Introduction 1 Preface Sydney 1974 Multi-Venue Buildings, Theatre Forms, Experimental Theatre as Laboratory, Drama at the University of Sydney, On design, Design Method -- Towards a Performer’s Solution, Scenography - An Open Definition, Design Issues - General This Study, Proscenium Arch Theatre, Space in the Frame Summary Part 1 Chapter 1 15 Introduction, Seymour Theatre Centre, Experimental Theatre, Downstairs Theatre Theatre Analysis and Performance Studies, Student Theatre, New Form and The Professional Artist, Spatial Dynamics. Chapter 2 27 Development of the Black Rod Exercises, Installation 1 to 5, Scenographic Connections, Story Telling and Focus, A Chair, Installation 1 to 11 Summary Chapter 3 47 Mapping Lines of Communication in Performances Documentation, Space-defining Elements, Audience Point of View. 8 Part 2 Chapter 4 56 University of New South Wales School of Design, Teaching and Research, Notation of Spatial Elements, Gestalt Visual Perceptual Principles, A Series of Indices, Planes and the Angle, View Point Specific, Frontal and Longitudinal Surfaces. Chapter 5 73 Introduction, Scenographic Practice at Theatre Workshop, Spatial Determinants, Point of View Guides, Space-Establishing Elements, Space-Shaping Elements, Relational Space Dimensions, Secondary Space Elements, Implied Space, Pertaining space Chapter 6 84 Introduction, Production Casebook, Point of View Guides, three angles, Spatial Elements Outline, Rehearsal Process, Summary. Chapter 7 100 Considerations, A Threshold Moment, Consideration One, Consideration Two, Scenography Process Diagram, Scenographic Model, A Framed View, Re-Framing the View, Future Research. List of Figures 115 References 117 Appendix 124 A Downstairs Theatre Layout Images B Rod Exercises Images C Downstairs Theatre Scenographic Images 9 Introduction Preface In Sydney during the 1970s and 1980s theatre performances in non-traditional theatre spaces and adaptive reuse buildings brought about new thinking in stage design practices. Alternative, fringe and experimental theatre work tends to be recorded in general Australian theatre histories as a footnote to the so- called mainstream theatre production of the well-made play performed in a naturalistic setting style in a proscenium arch theatre building1. This study draws on my experiments and documents in theatre performances from the period 1975 to 1985. I examine and reflect on my design process and practice. I now seek to illustrate the significance to performance studies of this work by classifying the key defining spatial elements and suggesting a notation of the geography of the performance environment of an experimental theatre. I was always engrossed by the illusion of the magic box mechanisms of the proscenium arch theatre staging; before my very eyes make-believe places were created.2 It was not until I experienced the power and simplicity of performance-based space in a National Theatre Production in London of Much Ado About Nothing, directed and designed by Franco Zeffirelli, that my design thinking focused on the unique importance of space in theatre productions. At the same time in 1968 there was an exhibition in London of the work of stage designer Josef Svoboda. This consisted not only of fine documentation of his design work process and productions but also the most fascinating and immaculate scale models of his ideas, research and development projects. Space seized prime position in my design process and took hold of my imagination and seeded a lifelong exploration of space in performance. This thesis is my reflection on these explorations. 1 (Rees 1973; West 1978; Holloway 1981; Love 1984; Guthrie 1996; Milne 2004). 2 In 1961, prior to my starting full-time studies of theatre at tertiary level, my experience of theatre was touring productions of the American musical and re-productions of West End and Broadway plays. 10 Sydney 1974 Multi-Venue Buildings In 1970 the University of Sydney received a bequest from the late Everest York Seymour to design and construct a building "to serve as a centre for the cultivation, education and performance of musical and dramatic arts befitting the City of Sydney” (Allen 1971). Given the considerable problems and controversy with the design of the Sydney Opera House, the University was cautious about building a multi-venue building which would not only suit the various needs of the University but would comply with the bequest. It can then be asked whether the stage design, the lighting, the sound equipment etc. is suitable for these varying needs. One hopes they are but knowing the history of such a building type and the architectural disasters that have occurred, it might be that they are not as workable as one should expect (Thorne 1992). To determine the type and size of the various spaces to be provided in the Centre the designer gave considerable time to investigating the auditoria spaces then available or proposed in Sydney. The design brief was based on a report which gave an overview of the requirements for theatre venues in Sydney (Allen 1971). The Sydney Opera House was opened in 1974 (Hubble 1977; Parsons and Chance 1997). It had a Opera Theatre, Concert Hall, Drama Theatre, Recording Hall (Studio Space), Cinema and an Exhibition Hall. The Seymour Theatre Centre complex, a typical theatre building of the time (Thorne 1992), was completed in 1975 with a drama theatre thrust stage, an end stage recital hall and an experimental theatre. Allen Jack+Cottier were the architects and Keith Cottier was the project designer. 11 Figure 1 Seymour Theatre Centre Ground Plan (Allen 1971). 12 I was appointed Drama Director some months before the completion of the centre so I was able to influence the final design of the experimental theatre. Traditionally this type of studio theatre was painted black and the seating was the folding type used in gymnasia. It was generally thought that ‘a black box’ was the most neutral finish for studio theatres (McNamara, Rojo et al. 1975; Ham and Ham 1987). This was a design feature that originated in the television studio where the black box idea had currency; all surface finishes to be non- reflective. I considered an undressed architectural finish with exposed technical support mechanisms, such as lighting bars and rigging, was the most appropriate finish for an experimental theatre. The seating solution was to be the gymnasium type foldaway seating units.
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