REVIEWS | Helena Albertová. Josef Svoboda: Scenographer

Christian M. Billing | in the book) have useful visual records of settings, if it is at all possible to provide them. Review of Notwithstanding the thoroughness of Josef Svoboda: these chronological appendices, to observe that coverage of the total creative output of Scenographer by Helena Svoboda in the book as a whole is virtually Albertová. complete would certainly be true; more Praha: Divadelní ústav, 2008. 328 important, however, is the insightfulness pages. with which Albertová discusses many of the key productions, and her analysis of the development of the designer’s style. This book is a welcome addition to the Taken together, an informative and accurate existing bibliography addressing the work overarching narrative allows a picture of Josef Svoboda (1920-2002). The reasons to emerge of a meticulously thorough for this are twofold: (i) it is well written craftsman and artist, developing and then and informative, and (ii) it is the only work reworking his ideas towards perfection as currently in print (in either Czech or English) both his own skills as a scenographer and, that covers the entirety of Svoboda’s work more often, the quality of materials available – including his final designs for the Laterna to him, improved. Magika in 2002. As a result, Albertová’s One such example comes in the account volume justifiably takes its place amongst the of Svoboda’s designs for Janáček’s comic other key analytical works dealing with this opera The Excursions of Mr Brouček. In this significant figure in global scenography of opera, a respectable citizen (Brouček) the twentieth century (i.e. the major studies experiences a drunken dream in which by Bablet, Burian, Berjozkin and Ptáčková). he arrives on the Moon (see also Pamela Albertová’s book is organised into five Howard’s essay in this volume, p. 292). sections, dealing respectively with Svoboda’s Svoboda’s first attempt at designing the formative years (and informal training); his setting reveals a fascinating idea hindered by development of projection techniques (in a paucity of theatrical materials: in the middle 1958 and afterwards); Svoboda’s opera and of the stage, circling spirals in the shape of ballet productions on the major stages of the constellations were made up of rather clunky world; his later collaborations (with mainly rostra. In a subsequent design of 1959 for younger practitioners); and his unfulfilled the Národní (Smetanovo) Divadlo, (National projects. The book also supplies (as one of (Smetana) Theatre) Prague, Svoboda re- two appendices) a useful chronology giving worked his original design with what was, production details for over 650 theatre at that time, a new material – hardened glass and opera designs, as well as additional laminate; from this substance he created a scenographic details of film and television revolve and two overhead gangways in the productions, designs for expositions and shape of spirals, wound against each other and audio-visual installations, and three projects offset by projections of astral space in which for major theatre buildings. The vast majority balls hung like planets. Albertová observes of designs in the chronology (as elsewhere of the latter production: ‘It is an example

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of how Svoboda returned to a vision with designer’s role within it). whose realisation he had been dissatisfied in The opening chapters of the volume set order to bring it to perfection as soon as new the context into which Svoboda emerged as techniques became available’ (94). Quite so. a creative practitioner, both personally (as a This ability to provide an overview, and result of his father’s pressures leading him to productively to juxtapose designs from train as an apprentice joiner prior to his move different periods of Svoboda’s creative output into the professional theatre), and equally is a great benefit to the reader and is a mode of in terms of the artistic climate of 1940s analysis that characterises Albertová’s work. : Socialist Realism. Whilst Comparisons are not only applied to different Albertová is keen to pay attention to the treatments of the same artistic source text, significance of this artistic school, prior to the but also to experimentations with particular death of Stalin in 1953, and to other important staging techniques (particularly projection cultural factors, her analysis of Svoboda’s and illumination) as well as to experiments designs of this early era (such as The Crown with different materials: glass, steel, Bride, Fragments from Empedocles and The plastic, wood, paint and fabric. Albertová’s Fox Trap) show forcefully the designer’s confidence as a writer who is able to address creative use of more Avant-garde left-leaning these areas comes from several great strengths schools of art and theatrical representation that are not easy to replicate: firstly, the fact (such as Constructivism and Expressionism). that she was able to see a significant amount In the early designs, however, Albertová of her subject’s output in the 1950s and 1960s is keen to point to the differences between (during a period before Svoboda’s immense surviving artistic renderings and the actuality fame in theatrical circles had been achieved of realised settings. Her knowledge of the worldwide – and during an epoch of Czech venues in which many of the early and history in which free access to domestic mid-period works took place leads her theatre venues was often impeded for not to shy away from pointing out in one western European and American academics particular instance that ‘there is […] no and theatre practitioners as a result of travel way the structure could have reached such restrictions associated with Communist an imposing height in the small concert rule). Equally, however, Albertová has a hall’ (the Smetana Museum) adding that finely honed aesthetic understanding of the ‘the design is an expression of Svoboda’s theatrical event itself, as a result of her on- energy’ (12). Designs in this section (largely going work as a faculty member of the School artist’s renderings rather than photographs, for Applied Arts at Charles University in which appear in greater profusion later in Prague and in her capacity as former director the volume) show Svoboda working through of the Czech Theatre Institute. Additionally, radical ideas with a variety of classical and she has curated several international modern texts. They constitute an impressive exhibitions of Svoboda’s work and, crucially, account of an apprenticeship, although not had a personal friendship with the designer formalised, as an experimental design student. that led to frequent travels together (and Albertová next deals with Svoboda’s rapid thus many extended conversations with her rise as a professional designer, considering subject regarding theatre in general and the in detail his treatments of two major operas:

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Otakar Ostrčil’s Kunála’s Eyes and Jacques branches almost crawled along the ground. Offenbach’s Tales of Hoffmann, the latter Orchard keepers supported them with of which began the long-term collaboration wooden poles, often anchoring their trunks between Svoboda and director Alfréd in cement. (22) Radok. Here, the author draws attention to further experimentations with form and Such combination of aesthetic and colour, and to Svoboda’s fascination with interpretative understanding, combined with Fauvist painting techniques. The section also an awareness of the experiential realities that contains an account of Svoboda’s interest in led to many of Svoboda’s designs is a great the Modernist preoccupation with electricity, strength of Albertová’s work. As the author with Albertová stating of Hoffmann: knows, much of Svoboda’s work was rooted in observations taken from real life, and [I]n the background was the phosphorescent his personal photographic archive of slides world of the technological future, (tens of thousands of them) were organised symbolised by an iron construction with thematically in series of: sunsets, trees, faces large electric isolators. A big transparent and so on. Other key designs dealt with tube in which flashes crossed and which capably in this formative section include: made a dominant vertical was the divide Tosca, Rigoletto, Revisor, Fidelio and Don between the two worlds of Hoffmann’s Giovanni. imagination […] (19) The mid-1950s are seen from a revisionist perspective as being a period: ‘on the Other key designs are presented in a series threshold of change’ (35). Here, Albertová of stunning colour plates (a major feature of looks back (inevitably from the pivotal year this lavishly illustrated volume), with astute of 1958) and considers the ways in which commentary including analysis of Verdi’s Radok’s new position at the National Theatre The Troubadour (a rhythmic design with allowed both he and Svoboda to reject the much owing to the work of Adolphe Appia) sometimes ostentatious display required by and Janáček’s Katya Kabanova. For the conventional opera in order to focus instead latter production, Albertová draws attention on the more stripped-down aesthetics of to Svoboda’s use of another great Modernist conventional drama. Attention is here paid symbol: the tree (cf. Yeats and Beckett). to Svoboda’s growing interest in creating Moving beyond Czech Structuralist semiotic striking proportional juxtapositions between analysis in her argument and, calling it ‘a scenic segments, and to his increasing basic and eloquent sign: […] a symbol of shattering and fragmentation of the interior. life and death, of freedom and imprisonment. Particularly attention (and visual analysis) A human retreat’ (22). The author helpfully is offered for Today the Sun Still Sets above makes use, here and throughout the volume, Atlantida, The Devil’s Circle, The Golden of Svoboda’s own recollections of his Carriage, The Autumn Garden and The settings; his remembering, in this instance, of: Entertainer. In the next section: ‘The Important Year [T]he kind of apple tree I saw about me of 1958’ (47-57) the author deals with the as a child in the country. At times their development of the Laterna Magika and

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Polyecran technology (particularly for the inevitably had over the wider visual arts (in ), but she also undertakes the field of geometric abstraction and in a analysis of the significant effects that these concomitant reinvigoration of the Modernist technological developments brought to technique of collage). Analysis of Svoboda’s the wider theatre. The section begins with theatrical experimentations with projection analysis of the National Theatre production techniques is primarily undertaken using of A Sunday in August (1958), in which productions of Prometheus, Their Day, The Svoboda worked for the first time with Lantern, Intolleranza 1960, The Tales of large-format projection screens as a spatial Hoffmann, The Opening of the Wells and The element. Albertová works from Svoboda’s Last Ones. assertion that it was: Following a brief section on Svoboda’s development of a more sophisticated [P]recisely this production which became Polyecran system for EXPO 67 in Montreal the starting point for further productions in (and the scenographic developments it which I found things I had not known till facilitated), attention turns to the use of that time […] the first time we used these projection techniques in two significant means and treated with projection surfaces operatic settings of The Soldiers (1968 and as spatial elements. (47) 1976). These productions show Svoboda’s more polished use of multiple projection Her analysis of A Sunday in August is screens, in combination with live action within excellent, and is followed up with detailed proscenium settings. Subsequent sections on discussion of Svoboda’s collaboration Laterna Magika productions conclude with with Radok for the Nonstop Revue in 24 an account of Svoboda’s tenure as artistic Scenes, created for the international Expo director of (and then regular scenographic 58 in Brussels. Here, Albertová describes contributor to) the Prague-based Laterna Svoboda’s use of the production workshops Magika Company from 1974 until his death in at the National Theatre to prepare for a 2002. Productions discussed range from The major international event, and outlines the Wonderful Circus (1977) to Graffiti (2002) – institution’s significance in the birthing although the latter production is discussed in process of the Laterna Magika. Other work greatest depth in the final chapter. Significant at Expo 58, such as the Polyecran production detail is provided for the landmark Odysseus Prague Musical Spring is also discussed in (1987). In these sections, Albertová provides detail, prior to an extended section of analysis useful insights into Svoboda’s use of non- that discusses the effects that the Laterna diegetic music, camera techniques, and the Magika and Polyecran brought to the theatre. integration of choreography with projected The author highlights the failure of these images. Attention is consistently paid to the systems to create the new dramaturgy (which increasing sophistication of techniques that had been expected), but points to the utility of came following the transfer from the Prague projection and multiple screen technologies Palace of Culture to the Nová scéna (New in the scenographic development of Svoboda Stage) adjacent to the National Theatre. as a more conventional theatre designer, as Separately from Laterna Magika well as to the influence that such systems productions, substantial space is given

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in this section to discussion and analysis of the revolve and lighting changes’ (120). of the development at the same time of The structure (made from Plexiglas and Svoboda’s style in more conventional plywood) arose from the dramaturgy of the drama, particularly at the National Theatre. play, but allowed for experimentation that Numerous colour plates and production could be bold and would allow Svoboda to photographs of significant designs support increase an armoury of techniques that could Albertová’s analysis of Svoboda’s settings subsequently be used in other productions. for the classics: Othello, Hamlet, Romeo Other less well-known designs dealt with and Juliet, The Seagull, The Three Sisters, (in quite some detail) include Dürrenmatt’s Ivanov, The Magic Flute, Don Giovanni and Anabaptists, which provides further insight Oedipus Tyrannos. It is in such productions into the designer’s increasing technical that Albertová asserts Svoboda developed sophistication. Here Albertová observes: his unique style. Designs are accordingly analysed in detail with a view to charting [A] giant stage object had the shape of the formulation of a characteristic visual a transparent globe whose latitudes and aesthetic. This accomplishment, Albertová longitudes were created by ribs […] the asserts, was achieved largely as a result of the meridians were circling balconies and designer’s on-going working relationships made it possible for the action to be set with one particular set of craftspeople, into the whole height of the stage. The workshops and stages. Svoboda’s increasing equatorial ribs, only indicated at the front, fascination with mirrored surfaces is also evoked an impression of giant spiders’ considered in these sections, particularly in tentacles. (126) an account of The Magic Flute, as well as his mastery of monumental architectonic The design apparently so impressed structures and the juxtaposition of vertical Dürrenmatt at the premiere that he said he and horizontal playing spaces (in Oedipus, had never seen a set that so surpassed his Romeo and Juliet, King Lear, Hamlet). expectations of the staging possibilities of his Albertová’s analysis is astute throughout. plays. Fine praise indeed, even if it is seldom Another great advantage of the monograph reported upon. We are to thank Albertová for is the attention paid to less well-known pieces, pointing out such facts to us. such as The Insect Play, in which Svoboda Once Svoboda’s growing technical used two gigantic irregularly quadrilateral virtuosity is shown as having matured into mirrors, leaning towards each other and the a style that matched his ever-astute artistic auditorium above a revolve. The form of these vision, the book turns to its third major mirrors was one of hexagonal cells (derived section: ‘Opera and Ballet on the Great Stages from honeycomb), with each set of mirrors at of the World’ (137-149). Here Albertová a slightly different angle, reflecting a colourful considers productions such a Pelléas et carpet on the revolve. The aliatory effect of Mellisande at the Opera House, Covent these mirrors’ multiple reflections created an Garden; Carmen for the Theater der Freien abstract collage of bits of actors, furniture Hansestadt, Bremen (and the Metropolitan and props in what Albertová calls: ‘an ever Opera, New York); The Sicilian Vespers at changing round dance through the movement the Hamburgische Staatsoper; The Magic

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Flute for the Bayerische Staatsoper, Munich, Strauss, Tchaikovsky, Smetana, Verdi and and The Trojans for the Grand Théâtre, Mozart – all of which took place at a variety Geneva. These operatic productions all of major world venues. The final benefit in display elements of Svoboda’s distinguished the operatic section comes in the chapter architectonic style, with increasingly footnotes, which include thirteen different ambitious and highly adaptable monumental technical drawings and design sketches for scenery. Next, the author turns her attention particularly important effects deployed in the to the designer’s on-going relationship to productions discussed. Here, as elsewhere, Wagner. This section acknowledges the Albertová provides the theatre professional scholarship of Jarka M. Burian, and outlines (and academic) with a highly valuable the development of Svoboda’s Wagnerian resource for discussing, understanding and treatments (from his 1967 Tristan and Isolde teaching the ingenious solutions to technical to his magnificent Ring Cycle set inside the problems for which Svoboda was renowned. Imperial Roman architecture of Théâtre The concluding sections of the book deal Antique, Orange, in 1988). This section of with new collaborations; concluding works at the book contains some of the most beautiful the Laterna Magika; and unfulfilled dreams. pictures of modern scenography that can be These chapters largely chart out the creative seen, in particular, settings for Tristan and collaborations that a highly articulate and Isolde and the Ring Cycle. Accounts are given very open-handed practitioner had, in the last throughout of technical problems and their years of his life, with a younger generation solutions, including fascinating nuggets like of theatre makers throughout the world. the invention of a method of making mister With younger collaborators such as Armand haze stay around on stage for longer periods Delcampe, Svoboda was able to develop of time (by charging the water droplets and play with effects such as ‘pseudo-plastic with a small positive electrical force) so projection’ (The Exchange) or ‘absolute that Svoboda’s specially developed lighting psycho-plastic space’ (Break of Noon). techniques could be seen to full effect. Other Delcampe/Svoboda collaborations Throughout most of the 1970s, Svoboda are capably assessed (The Pelican, The was working simultaneously on at least two Seagull), as well as Svoboda’s later work Wagnerian opera productions, and Albertová with the Italian director Giorgio Strehler and brings fresh insight to the ways in which with Walter Tillemans in Belgium. These creative juxtapositions brought benefit to his late productions are cast in the light of ludic work. The use of hidden reverse mirrors, or experimentation, with Albertová asserting, the introduction of a programmed score of for example, that ‘working in [a] small and lighting and projection changes (when for the atypical space in Belgium awakened the first time one man directed a whole team of playfulness and imagination of Svoboda’s lighting operators and projectionists) are set early days’ (204). The book concludes with within a narrative that describes a relentless fresh insight into three un-built theatre creative output. Following the section on projects: the Théâtre d’Est () and two Wagner, there are briefer accounts of less un-built designs for the Laterna Magika and monumental operatic productions in the Nová scéna (Prague). The author reproduces 1980s and 1990s; these include works by in each instance both architectural drawings

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and models for the projects, alongside a Theatre Studies in the last decade. The author commentary of Svoboda’s intentions and is to be congratulated on an immaculately motivations relating to each example. presented volume that provides not only Taken individually, any one of the five a clear narrative throughline and detailed sections of Albertová’s volume would explication of the career of a truly great constitute a welcome addition to the extant designer, but also a great analytical and bibliography dealing with a man who was visual catalogue of his production activity. probably the greatest theatre designer to have Josef Svoboda: Scenographer is a welcome practised in the twentieth century; taken as a addition to all serious Theatre-Studies whole, the book is one of the most valuable libraries worldwide. resources to have been added to the field of

Markéta Trösterová-Fantová. Costume Design for The Dragon. From the Collections of the Theatre Research Institute at Ohio State University. No. SPEC.CZ.DES.187.

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