Craft and technology

In our first issue of 2018, we focus on the partnership of technology and craft; two elements that need to mesh well to ensure that theatres run smoothly and offer high-quality stage-art. To open, we look once again to the Far East, and an international conference addressing the theatre construction boom in China. Following the initial euphoria surrounding so many new arts venues, some of which are architecturally spectacular, disenchantment is beginning to set in.

Facing the sober reality of running the venues methodically and efficiently enough to keep audiences in the mid-term, the Chinese operators are looking to Europe – with its centuries of experience – for support. Back in Europe, the adjustments being made in theatre and opera in response to changing financial circumstances and audience habits show that tradition and innovation, craft and technology, do not have to conflict.

The extent of renovations on theatre structures depends of course on each venue’s financial capabilities. It doesn’t always have to be the latest state-of-the-art equipment to achieve great performance results. In this issue, we look at some current examples of rather modest refurbishments: Stadttheater Langenthal in Switzerland and the children’s and youth venue Theater an der Parkaue in Berlin. Switching to Paris, however, we see a more drastic approach taken. Here, the small hall of the Théâtre National Populaire was simply torn out of the building complex to make way for more suitable premises for dance. And at the Berlin State Opera, the stage tower was completely gutted and refitted with superlative stage technology so that even the heaviest set pieces can be manoeuvred quickly. These projects herald a new era of fast-paced efficiency.

What is shown on stage depends partly, but not only, on the venue’s technical possibilities. Where budgets are tight – unfortunately, more often the rule than the exception – inventiveness is especially crucial. “Moby Dick” at Staatstheater Braunschweig and “Mathis der Maler” are two original productions profiled in this number that achieve amazing effects using classical stage sets. Indeed, theatre craftsmanship is gaining ever more supporters who hope to save it from extinction – a tendency our correspondent observed in Italy, which will hopefully gain ground here, too.

We hope that our reports also contribute to that – now for the 111^th year. We will be celebrating the anniversary along with the German stage technicians’ association DTHG at the stage technology conference in Dresden in June. In the enclosed copy of “Podium” you can find an introductory history of the association as well as a glance at the future – in reports on qualification programmes and professional training measures in Germany and across Europe.

We hope you find plenty of fresh inspiration in this New Year issue of BTR!