DG 1110.3.120
DESIGN GUIDE: MUSIC AND DRAMA CENTERS
JANUARY 1981
CHAPTER 5: THE CASE FOR SMALL FACILITIES
5-1. INTRODUCTION
5-2. THE CASE FOR SMALL
FACILITIES
A selection of performing arts building projects
is presented in this chapter. These are not hy-
In the examples which followand indeed in re-
pothetical prototypes, but examples of actual re-
c e n t p r a c t i c e brand-new small proscenium
sponses to several different user programs and
theaters and small concert halls are seldom
design goals. The examples are drawn from the
found. This may be indicative of the state of the
work of a single firm which has seen more than
art, but it is also a function of finance. The ex-
thirty of its performing arts facilities built and
penses of building and maintaining a fully-
successfully operated during the past fifteen
equipped stagehouse or acoustically excellent
years. Thus, a cross-section of recent experience
recital space, plus the expense of mounting a
is offered to demonstrate that major variations
major production or preparing skilled musicians,
and similarities among design responses stem
must ordinarily be offset by consistently high
from fundamental principles and program de-
ticket sales and frequent performances to large
mands rather than stylistic choices. Other indi-
capacity houses. At the same time, the steady
vidual designers would doubtless produce build-
growth of the cinematic, video and electronic
ings that "look" somewhat different; a secondary
recording industries siphons off a considerable
purpose of this chapter will be to suggest how
portion of the live music and theater audience
the criticism of style can be separated from the
and has generally altered audience expectations.
analysis of functional rationale.
Even where a commercial theater market sur-
vives, the economic risk in full-scale production
While this Guide has refrained from imparting
is great. Most established traditional theaters
aesthetic and formal bias in discussions of de-
have undergone extensive modification to ac-
sign, it has assumed certain conceptual direc-
cept a variety of backup programs and rapid pro-
tions and program priorities (see Chapter 2 and
duction turnover. For the successful repertory
Section 3-2) derived from consultations among
theater, the existing flyloft is a valuable asset.
Army Performing Arts personnel at every level
But the profit margin (if any) is inadequate to
of command. The Music and Drama Center Pro-
attract capital investment in new construction.
grams are unique in that they exist within a much
Regional non-profit cultural centers, sponsored
larger institutional context and are primarily for
and subsidized on a grand scale, have been the
the benefit and satisfaction of the soldiers and
main source of new, fully-equipped multi-use
soldiers' families who participate in the activi-
Rooms. Smaller new theaters must either com-
ties. Private and commercial programs have
pete in the box-office by offering a difference, an
slightly different imperatives with respect to
avant-garde contrast, or content themselves with
economic survival, academic instruction and ar-
meager budgets. Many small theaters today are
tistic or intellectual pursuits. There are no aver-
low-cost community enterprises or college aux-
age design responses because there are no av-
iliaries for whom repertory income is of little con-
erage program demands.
sequence. They thrive on ingenuity, involvement
and imagination.
5-3
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