Item 10 - The Designer's Problems in the American Theatre

Typescript essay, in which Beaton considers some of the problems that stage designers encounter in their work for the American theatre. Beaton asks whether the designer is given sufficient opportunity to express himself. The designer should work with the playwright to draw out particular aspects of the play through the visual effect of the stage, yet commercially-minded managers downplay their importance. Stage-designers are also likely to be type-cast in the same way as actors are, although their best work is often created when they are invited to take on unusual projects. At a time when so much of the theatre is in danger of stagnating, the designer welcomes ballet as a fresh, albeit irrational and irrelevant, form of theatre. A considerable amount of thought, effort and creativity is given to designing a ballet production, since it is intended not only to last for a single season, but to run for several seasons as part of a repertory. Beaton praises, in particular, the rise of the New York City Ballet and expresses pride in having contributed to their productions, notably his current work for a production of "Picnic at Tintagel", which retells the story of Tristan and Isolde through the experience of a group of tourists who visit the Cornish castle of Tintagel in 1916. [The ballet premiered at the City Center in New York on 28th February, 1952]. Beaton explains the reasoning behind his designs for this production. He concludes that present conditions would seem to indicate the potential for a breakdown in rigid conventions of stagecraft, allowing the designer an opportunity for greater self-expression.