“The Designer is a Very Lonely Animal”
-Ralph Koltai-
Scenic design is an art form which is demanding of both the emotion and the intellect of the designer (Parker et al., 1990; 31). Ralph Koltai has both these qualities in profusion. For the last five decades Koltai has been revolutionising the discipline of scenography. As modern theatre has constantly reinvented itself, Koltai has been a forerunner in the field. He has immeasurably inspired the work of other generations of scenic designers such as John Napier, Alison Chitty, Nadine Baylis, Maria Bjornson, Terry Parsons and Sue Blane. In this post I intend to explore the work of Ralph Koltai. In so doing I will consider his methods and his approach to design. I then hope to continue by examining some of his design concepts. But to begin however I would like to reflect on how he came to be ‘the father of modern British theatre design’ (Nunn, 1997; 13).
-Ralph Koltai-
Scenic design is an art form which is demanding of both the emotion and the intellect of the designer (Parker et al., 1990; 31). Ralph Koltai has both these qualities in profusion. For the last five decades Koltai has been revolutionising the discipline of scenography. As modern theatre has constantly reinvented itself, Koltai has been a forerunner in the field. He has immeasurably inspired the work of other generations of scenic designers such as John Napier, Alison Chitty, Nadine Baylis, Maria Bjornson, Terry Parsons and Sue Blane. In this post I intend to explore the work of Ralph Koltai. In so doing I will consider his methods and his approach to design. I then hope to continue by examining some of his design concepts. But to begin however I would like to reflect on how he came to be ‘the father of modern British theatre design’ (Nunn, 1997; 13).
Ralph Koltai fled to Britain in 1939 at the age of 13 as a refugee. Being a Jewish German, he was only saved from the concentration camps by the foresight of his father, a Hungarian-born doctor who smuggled the teenager out of the country with the assistance of the Quakers. Koltai joined the Royal Army Service Corps towards the end of the war and later became a member of the British team at the Nuremberg trials. Once Koltai was released from his duties, like many soldiers, he found himself in need of employment. His decision to go into the theatre was influenced by his girlfriend, a ballerina at Sadler's Wells. "I wanted to follow her into the business and the only thing that I was qualified for was design". As a result he signed up at Central St Martins School of Art in London and this was to be the beginning of a long illustrious career in the arts. (Davis, 2001; 28)
Ralph Koltai has since designed some two hundred productions of opera, drama, dance and musicals in the United Kingdom, Argentina, Australia, Austria, Bulgaria, Canada, Denmark, France, Germany, Israel, Hong Kong, Italy, Japan, Norway, Switzerland, Sweden, and the United States. Koltai is a recipient of many honors and awards attesting to his pre-eminence in the art of theater design. For example he was awarded the CBE in 1983; was elected to The Royal Society of Arts (RDI) in 1984 and received a special Award for Distinguished Service to the Theatre by the USITT. He has received numerous other national and international awards including: London Drama Critics award 1967 and 1981; Society of West End Theatre: Designer of the Year 1978 and 1984; he was part of the Gold Medal winning team at the Prague Quadrennial in 1975, Silver Medal at PQ in 1987, and 'Golden Troika' National Award at PQs in 1979 and 1991. Ralph is also a Fellow of The Academy of Performing Arts, Hong Kong and of the Central Saint Martin's College of Art and Design, London
(http://www.theatredesign.org.uk/desbio/rako.htm).
The reason that Ralph Koltai has received such acclaim is that his designs are distinctively innovative. He often uses materials which are not the ‘conventional’ materials for scenic design. Koltai is recognized as one of the seminal designers who moved scenography away from the customary French flats. He often opts for reflective materials which are traditional avoided at all costs to reduce glare from the stage lights. However Koltai has used these to beautiful effect in his designs for such shows as Twelfth Night, Planets, Othello, Madam Butterfly,, A Midsummer Marriage and Much Ado About Nothing (Nunn, 1997; 39). Critics of ‘designers theater’ often suggest that Koltai is ‘mechanizing the stage’. John Napier is quoted as saying ‘When Ralph and I use a piece of machinery on stage we are regarded as philistines for departing from the bare boards and the actors voice’ (Nunn, 1997; 13). However Koltai is not the type of designer to prescribe to fanatical theatrical dogma which often ties the hands of other scenic designers.
Instead Ralph Koltai uses ultimate interpretive boldness. He looks instinctively and intuitively for the metaphor with in a piece. This is because he believes that true design is not about pictorial representations of the script but rather about the manipulation of abstract objects in a space in order to give that space an atmosphere so that the nature of what happens in that space is enhanced (Nunn, 1997; 13). For Koltai the pivotal person to consider when designing a set is the actor. He believes that a stage should be incomplete without the actor. He has worked with almost all of the biggest names in theatre but it still gives him pleasure when actors such as Jeremy Irons, Dame Judi Dench and Kenneth Branagh sing his praises. Making the actors job easier means far more to him than compliments from directors, although he has had happy working relationships with many of the biggest names including Terry Hands and Clifford Williams. (http://www.britishtheatreguide.info/otherresources/interviews/RalphKoltai3.htm)
Another thing that Koltai is recognised for is that he is an opportunist who capitalises on ‘the accident’. For this reason his designs often begin with a model. He believes that accidents can happen when working with a model that can’t happen when drafting. These accidents can be the source inspiration. For example he uses an accident in his design for the show Metropolis. A box he used to carry materials to make his model ultimately influenced his final design. (Davis, 2001; 28)
Ralph Koltai is quoted as having said that ‘despite a production being a collaborative effort, the designer is a very lonely animal’. However he strives to change this. When he designs he attempts to be part of the whole production not purely be the estranged absentee set designer. He often attends the rehearsals of a production he is designing for in order to make the process a more collaborative effort. He would like theatre to be a community with little or no divide between the scenic designer, lighting designer, director, writers, actors and indeed the audience. For me Ralph Koltai work has energy and power that is rarely seen in theatre design. He can be bold and shocking and still not obscure the true sentiment of a piece of theatre. ‘His enthusiasm, his talent and his fantastic skill as a raconteur’ gives him the capability to create sets which are ‘vibrant, sensual, wonderfully observed and sexy’ (Nunn, 1997; 13).
Bibliography
Davis, T. (2001) Stage Design. Switzerland. RotoVision.
http://www.britishtheatreguide.info/otherresources/interviews/RalphKoltai3.htm
http://www.theatredesign.org.uk/desbio/rako.htm
Nunn, T. (1997) Ralph Koltai; Designer for the Stage. London. Lund Humphries Publishers.
Parker, W.O., Wolf, R.C., (1990) Scene Design and Stage Lighting, sixth edition. San Francisco. Holt, Rinehart and Winston, Inc.
Warre, M. (1966) Designing and Making Stage Scenery. New York. Studio Vista.
Ralph Koltai is quoted as having said that ‘despite a production being a collaborative effort, the designer is a very lonely animal’. However he strives to change this. When he designs he attempts to be part of the whole production not purely be the estranged absentee set designer. He often attends the rehearsals of a production he is designing for in order to make the process a more collaborative effort. He would like theatre to be a community with little or no divide between the scenic designer, lighting designer, director, writers, actors and indeed the audience. For me Ralph Koltai work has energy and power that is rarely seen in theatre design. He can be bold and shocking and still not obscure the true sentiment of a piece of theatre. ‘His enthusiasm, his talent and his fantastic skill as a raconteur’ gives him the capability to create sets which are ‘vibrant, sensual, wonderfully observed and sexy’ (Nunn, 1997; 13).
Bibliography
Davis, T. (2001) Stage Design. Switzerland. RotoVision.
http://www.britishtheatreguide.info/otherresources/interviews/RalphKoltai3.htm
http://www.theatredesign.org.uk/desbio/rako.htm
Nunn, T. (1997) Ralph Koltai; Designer for the Stage. London. Lund Humphries Publishers.
Parker, W.O., Wolf, R.C., (1990) Scene Design and Stage Lighting, sixth edition. San Francisco. Holt, Rinehart and Winston, Inc.
Warre, M. (1966) Designing and Making Stage Scenery. New York. Studio Vista.
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