attend rehearsals, watch craftsmen at work and hear a number of interesting talks and lectures. Josef Svoboda Master Class The Festival is to be an annual event. The JENNY PULLAR Royal Opera House has given a commitment to participate in future years and discussions Josef Svoboda is a truly remarkable man, philosophy of design, though if you talk to are already taking place with it and other and without doubt a genius. At 65 he exudes anyone who has helped put a production organisations for the 1987 programme. The an amazing charisma and energy. He still together for him they would probably foundation of the Festival will have been works 7 days a week, but has a bit of a dispute this. It is true that he does always try established in 1986 from which will be holiday every year for 3 weeks taking a to find one simple form or scenic form or developed a Festival widening in the nature Master Class in Scenography at Banff scenic element to make all possibilities. It's of operatic events, their venues and, most School of Fine Arts in Canada. He appears just the reality of getting it up and working importantly , the audience brought to opera. to have reached a stage where he is very may not be simple or cheap. We were interested in teaching what he has learned - always being told to make our proposals in passing it on to the next generation - and MORE DRAMATIC. If you're going to he puts out a lot of energy in his class. make mistakes make BIG mistakes. I was fortunate enough to receive a QEII Svoboda says Arts Council of New Zealand grant which ABTT's Weekend enabled me to attend this year. Meeting * You must think in SPACE. Course on Sound in Svoboda and studying under him was a * Find which INFORMATION is fantastique experience, though at times it important - the atmosphere. Entertainment also had certain similarities to being put through a mincer. It was exhilarating, * Find the concept of the play in Every artist, agent and manager has a horror frustrating and inspiring. FORM - the Philosophy or Drama story about the sound in a theatre, hall or It was Svoboda's philosophy of design in space. club where they were at the mercy of the which I found most interesting. He is into * Make sense or LOGIC of a story local facilities. Approach, rather than style (though his and extract a few or just one simple Despite the inevitable exaggeration that designs are very stylish) and he spoke a lot idea. creeps into these travellers' tales there is no on the education of a designer, and how to doubt that with the pace of development work at being good. * Design for today's audience - many halls are unaware of how to get the 1985 - whatever period the play is best out of their equipment and unsure of Course Structure set in. what improvements would really show the * Ideas, not technology, are most benefit. There were 12 people in the class, 7 of important. The Association of British Theatre Tech­ whom were University Lecturers from nicians is, therefore, launching a weekend Theatre Departments (from places like * Suggestion is stronger than course on Sound In Entertainment to take Waco, Texas)! Fellow New Zealander illusion. place at the Barbican Centre, City of Peter Bartlett also attended, as did a * Lights and set the same thing, also London on Saturday & Sunday March I st Czechoslovakian Town Planner, who costume. and 2nd 1986. found himself playing an important role as The course will take the form of small translator in some discussions . Svoboda * Think what is happening in the groups each looking at four areas in turn - spoke reasonably good English - his 7th material on a molecular level - microphones; mixers; the use (and abuse) language. The days were structured with a know your materials. of signal processors; loudspeakers and 2-hour lecture in the mornings where * Smooth changes - as part of the acoustics. This will allow the maximum Svoboda spoke of his philosophies and choreography. time for individuals to get 'hands-on' showed numerous examples of his work. experience on the equipment and discuss This was followed by 'consultation' which * Good designer is half director and particular problems they have encountered was the ordeal of the day. Everyone without vice versa. with the tutors . The Course will have the use exception had their work rubbished vir­ * Designer equal partner to director of the facilities at the Barbican, including tually every day, and phrases like 'more (ideally)! the main concert hall. dramatique' and 'completely wrong' Participants are expected to be in-service abounded. It was fascinating , however, to * It's like an orchestra - designer must be a soloist, but silence just as tech~icians , with some experience of watch Svoboda working. He would extract a working concerts or musicals. Course fees very simple idea from a design, rework it important. are £95 for non-members of the ABTT and and say 'this is how it should be'. The rest of * Architect, Designer or Artist is a £75 for members. the day and into the early hours of the Philosopher first. Further details from the ABTT at 4 Great morning were spent working on our designs Pulteney Street, London WIR 3DF. and trying to come up with something which Svoboda has designed over 600 new pro­ Telephone 01 434 3901. would please the Master (impossible). ductions and he 'knows anything that is There was also a daily 2-hour life drawing possible' . He believes that the design for an class - alternating between a female and a Opera or Musical (set, lights and costume) very cheeky male nude. This was a lot of should take one person one week - you just fun , and I was amazed at what hopeless have to THINK what you are doing. drawers most of the University Lecturers Svoboda is not interested in Scenography. were. Our first I-day project was to build Nature and Life are his biggest inspiration. a tower using one piece of paper. We He certainly doesn't go to the theatre very then worked on Sophocles' "Oedipus much, and would rather go to a good Fellini Rex' ', followed by a choice between on a Friday night. Banff is the only place he Puccini's "Tosca" or Wagner's " Flying normally teaches Scenography. In Prague Dutchman''. he has an Architecture school. He has de­ signed a theatre which can change from The Man and his Approach Proscenium to Arena in 15 minutes, and this can happen during a play. SIMPLE and CHEAP is Josef Svoboda's Nobody escapes from Svoboda's critical 15