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California State University, Northridge
..PRISM THEATRE
An abstract submitted in partial_ satisfaction of the
requirements for the degree of Master of Arts in Art
by
··· Geane Carole Freeman
~tanley
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February, 1973
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The abstract of Geane Carole Freeman Stanley is approved:
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California State University, Northridge
February, 1973
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ABSTRACT
PRISM THEATRE
by
Geane Carole Freeman Stanley
Master of Arts in Art
February, 1973
(1) Introduction
Prism Theatre is an electro-mechanical tool designed
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Such a presen-
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tation; also known as intermedia-theatre, multi-media,
cinema-combine and film-dance, is a rapidly growing art
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j form unrestricted by the limitations of conventional art
j and theatre.
It is not a label for a particular style of
,. artistic expression,
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but is actually a spirit of inquiry
is leading in many directions.
the traditional boundaries between art and theatre, art
j and music and art.and science.
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It involves breaking
Its work is more spectacu-
lar, more technological and more diverse in form than con-·
ventional types of presentations.
And at times it is far i
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At this time most media-mixes are strikingly
devoid :
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of dramatic literature and matrixed acting.
The accepted
j opinion that dramatic literature and art are antithetical
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a mix seems unfounded, and I therefore challenged that
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My problem became to design an environment for an
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mix and then to mix·a structured play
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(literature) with visual design (art) for that environment.
(2) Analysis of the Problem
If a definition of the media-mix is called for, then
it should be called the art of relationships.
Keeping
·this in mind, an environment that would offer
and writer the opportunity to mix without competition or
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subordination would have to have established parameters
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from the start.
This way both creators would know their
precise limits and could seek to orchestrate their efforts
to such an.extent that those efforts would become inseparable.
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If so, in a true media-mix, one element could
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adequately sustain itself without the other.
Tra-
ditional environments (i.e. rooms, proscenium stages, pic-'·
nic grounds, etc.) are often too abstract and undefined
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independently, leaving the artist a three-dimensional
"void" in which he can also create independently or in
which he can merely decorate the writer's sentiment.
(3) Solution
I felt that the environment for the art-literature
mix must be concrete and instantly·announce its physical
limitations.
This would allow the artist and writer to
approach the __ production in terms of a total field.
To
achieve a unity with all the elements used, there must
always be easily established a relationship of parts to
the whole.
A kinetic modular wall offered me a solution to this
problem.
For ease in recognition, all relationships would
with 5-foot sides.
performer, one
Each prism has one side open for the
clos~d
and a secorid closed
side as a front projection surface,
side~ontaining
7680 lights.
The en-
rapidly, keeping pace with the literary activity.
A major physical concern was to keep the machinery
simple for such complex functions.
Consequently, I worked
with engineers, James Stanley, Jack Friedman and James
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Pearce, to solve this problem and prove the machine
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feasible.
To illustrate the capability of this field, I de,;··
signed the play, The Adding Machine, by Elmer Rice.
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Rice
has made a witty and caustic criticism of society allowing
itself to become mechanized and thus dehumanized.
The
fact that such opinion should be mixed on a computerized
system perhaps became the most ironical statement of all.
(4)
Conclusion
There were no major design problems for this project,
and the Prism Theatre proved to be a versatile instrument
in attaining my goal.
The work on the machine went
smoothly and the engineers with whom I consulted were
pleased to be invo19ed in a creative production.
After a viewing and discussion of my designs for The
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Adding Machine on Prism Theatre, the general opinion was
that both art and literature were of equal mix, and it was
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concluded that such a production would simply be "half a
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show" without either element.
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BIBLIOGRAPHY
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1.
Burnham, Jack. Beyond Modern Sculpture. New York:
George Braziller, 1967.
2.
Chipp, Herschel.
and Los Angeles:
Theories of Modern Art. Berkeley
University of California Press, 1968.;
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3.
Mondrian, Piet. Plastic Art and Pure Plastic Art. New ·
York: Wittenborn, Schultz, Inc., 1945.
4.
Rice, Elmer.
1965.
5.
Youngblood, Gene. Expanded Cinema. New York:
Dutton & Co., Inc., 1970.
Three Plays. New York:
Hill and Wang,
E.P.
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