19th June 2008 - International Scenography Conference, Stockholm
Stockholm is precise, clean and expensive. There is no visible poverty. The congress is a cross -section of scenographers and theatre architects from around the world - participants from well established and facilitated theatre cultures to Kenya where even the concept of theatre as any kind of profession barely exists.
For the delegate from Kenya it is his first time in Europe and the chill factor in Stockholm is an even greater culture shock than for the rest of us.
Meetings are meetings the world over and by the end of the first one we are wondering why as a rule we spend more time reviewing what was done at the last one than planning what should be happening at the next. All this slowed further by trying to respect the cultural protocol of other nations.
As always, coffee breaks are when you learn most, just from talking to people and I hear of plans to create a version of Madam Butterfly in the Phillipines set in the Muslim community that has existed there since the 19th century, yet still has a less than easy relationship with the indigenous population. These are artists taking very real risks with the work that they make, theatre at its most powerful, staging living issues at a remove in time in order to reflect contemporary society back at itself.
In the afternoon we visit Drottingholm, one of the most intact 18th century theatres in the world. Walking in is like being allowed secret entry to a life-size Pollock's toy theatre. It is lit by simulated candlelight and is still in full mechanical working order. these mechanisims are not even iron or steel but wood. With a crew of 15 -30,scene changes took place in a matter of seconds.
Here was an international resident company assembled by the Queen, and like in all old theatres , their presence is still felt. This was where the audience came to flirt, to parade and to be entertained. The stage for them viewed in much the same way as we view film and television today.
Fiona
