Mr. Goubert, who is Josef Svoboda?
Josef Svoboda is Czech, he is forty-six years old and he is the scenography director of National Theatres in Prague.
I believe that Czechoslovakian scenography and therefore Svoboda's has something very specific, could you explain that to us a bit?
Even the term scenographic designer in French generally refers to an architect's assistant who has the task of looking after the mechanical equipment in a theatre.
But in Czechoslovakia it is completely different, the scenographic designer plays the role of the set designer in France, but a much broader role.
He is really a co-producer.
And Svoboda, who has worked with the greatest producers in Czechoslovakia but also in Germany, Italy, Holland and even the United States,
takes with him a whole team, a team of engineers whose responsibility it is to resolves any technical problems which may arise,
which means that in one of these plays, there is never anything there for show.
Everything is absolutely necessary, indispensable to the production, aiding the work.
Do you think that Josef Svoboda's methods could now be used in France?
It wouldn't be completely impossible, unfortunately it's still the exception.
What are Svoboda's scenographic principles, Mr. Goubert?
Svoboda has an essential preoccupation, with the plasticity of the scenic space.
He creates a sort of sequence.
And it's particularly remarkable in plays such as Hamlet which he directed for the Belgian National Theatre.
And to fulfil this preoccupation, he uses sometimes quite complicated machinery, revolving stages, sliding sets,
spaces which enter one inside the other like drawers.
And on the other hand, if the scenery projected by magic lantern existed before him, Svoboda has greatly perfected this projected scenery.
He uses fixed or animated projections, on screens or on pieces of scenery as seen in the play "Atomtod" by Manzoni.
Apart from that, I believe that he looks into everything, he is above all a researcher, anything which could translate the thought of an author into a language, the language of scenery that it.
And I believe what is particularly remarkable with Svoboda, is his broadening of the notion of theatre design.
Could you tell me a bit about where this exhibition was shown?
That's easy, it is an exhibition which was shown by the Prague National Institute of Theatre.
It only visited three towns in France, and then immediately afterwards left for Helsinki.
You mention three French towns and it didn't come to Paris?
It didn't come to Paris.