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DS_RK_au10.mov |
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Question: Do you think that theatre design has changed dramatically over the last 40 years? Answer: Well yes I think it has changed and it is changing. At the moment we are, I think, on the threshold of trying the make discoveries. I mean I have had a reputation for being an innovator of the British theatre design, fine, I mean I never thought that I innovated anything, that was pointed out to me years later, I was just doing my work as I felt, you know, and now this label has been attached to me but that label applies to the 60s and 70s and maybe until the 80s and that's finito, that's it, that's over, that is a period in time and I myself am now more consciously, if you like, because as one gets older one looses one's naivety a bit and become more analytical. I am now trying to break through into the 21st Century with my own work trying to find new avenues and I think new avenues are there to be found to please and to excite the audiences of this moment in time and the moment in time 5, 6, 7, 10 years from now on because we need the audiences because without the audiences there is no theatre. We need to appeal to the audience, the audience is effected by the society which is the audience, is effected by life of that moment in time. So therefore theatre again relates to life, relates to their experiences, to the economy, to their economic status and so on, it's all part and parcel of a moment in time and so I think we have not found, in fact I know we haven't found, we have not yet found a new road for, call it performance art because I think there's a good chance that performance art will move more and more away out of conventional proscenium theatre buildings, but how far off this is I don't know. I think there's a good chance this will happen and that may be we'll get more back to the Greek theatre type of productions, it could be, but it is for us and particularly for the younger generation to see whether they make the discovery of how to present performance art to the audience of the time that is appropriate, exciting and the audience can receive it and understand it in that particular way. It's totally irrelevant as to whether it's better or worse than it was in 1970 or 1980 because what happened to 1970 or 1980 are pictures in a book, are photographs by Donald Cooper, that are actually meaningless, because the generation that one is appealing to was not born at that time so it's just a bit of history in a book, if somebody had actually published the damn book (laughs). So what matters is that moment in time and if, as you said you've been working with Chris Dyer, and I know that Chris is fascinated by the use of the computer and producing design via the computer, I have not actually seen any of his designs which he has done that way or I don't believe I have, so I am not judging it but it's actually irrelevant as to whether it's better or not and he was always a very very good designer before he discovered the computer whether he is now better or less good, it's irrelevant. What matters is whether what he does is in tune with the audience that watches it and that becomes totally irrelevant whether what Chris did in 1985 was actually better before he had the computer, it doesn't matter, what matters is that it works for that audience at that time who are conditioned to computer use day in day out and all the advance in technology. |
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DS_20_06_01 (mini DV tape) |
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Quicktime Progressive (audio) |
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Resource Audio |
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This clip may be used for educational purposes only, any commercial use of this material requires permission from the copyright holders. Misuse or misrepresentation may result in legal action. Copyright holder: Christie Carson, COMPH, Royal Holloway University of London. |
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4 minutes 58.01 |
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Arts and Humanities Data Service (AHDS). Copyright 2003-5.