Copyright © 2021 by Wendy Rae Waszut-Barrett
The easing of many COVID-19 restrictions this summer opened a floodgate for work for me. Feast or famine; I really wish that it could be a just steady stream of work and not the unexpected deluge. I began to travel again, resuming projects put on the back burner during the spring of 2020. One project overseas finally came to fruition, and I scheduled a trip to the West Flanders region of Belgium.
My involvement with the municipal theater (Schouwburg) in Kortrijk began in 2018. I was contacted by Bruno Forment, now a research fellow at the Orpheus Instituut (https://orpheusinstituut.be/en/orpheus-research-centre/researchers/bruno-forment). I first met Forment in 2016 when he organized an OISTAT Research Committee workshop in Stockholm, Sweden. OISTAT is the International Organization of Scenographers, Technicians and Theatre Architects (https://www.oistat.org/). I attended the event with Rick Boychuk and my husband Andrew Barrett, giving a presentation on historic theatre scenery at Scottish Rite theaters in the US. This event became a turning point for me, as I immediately connected with many of the attendees. One of my close friends surmised the encounter with the statement “You found your peeps!” Although I really dislike the term “peeps,” she was spot on. Despite our various nationalities, occupations, ages, and career trajectories, we were all trying to preserve the theatrical past for future generations.
Two years later, in June 2018, Forment contacted me about a historic scenery collection at Schouwburg Kortrijk, asking, “How crazy would it be for you to spend time in Belgium working on these rare materials? There aren’t that many experienced specialists like you around, even in Europe.” I was extremely honored to even be asked and immediately accepted the offer.
He introduced me Alexander Ververken, Managing Director at the Schouwburg Kortrijk. The proposed project was restoring the Forêt asiatique scene from Lakmé, selected to be a feature for their 2020 centennial anniversary (https://www.schouwburgkortrijk.be/programma/1247/Schouwburgland_diverse_uitvoerders/Schouwburgland).
The Forêt asiatique scene consisted of fifteen pieces, a small fraction of a much larger scenery collection delivered to the venue between 1913 and 1936. Here is a link to the entire scenery collection at Shouwburg Kortrijk: (https://beeldbank.kortrijk.be/index.php/search?q%5B%5D=zwanenzang&view=). Numbering over 400 pieces in all, the scenic artifacts included backdrops, borders, wings, and profile pieces, all from the studio of Albert Dubosq (1863-1940). Here is a link for more information about Dubosq as he is absolutely fascinating: https://en.wikipedia.org/wiki/Albert_Dubosq.
The project interested me for a variety of reasons, far beyond any restoration project. First and foremost, Dubosq was a contemporary of Thomas G. Moses (1856-1934) and many of the other nineteenth-century American scenic artists that I have written about at www.drypigment.net. Both Moses and Dubosq began their careers as gilders for decorative art firms, soon transitioning to the world of scenic art. Each became extremely well known and eventually ran a large scenic studio. Near the end of their respective careers, both Dubosq and Moses focused on scenic design, with their own scene painting falling far behind their managerial duties at the studio. The variety of scenic output from Dubosq’s studio was very similar to that produced by Sosman & Landis in Chicago, Illinois. Moses was the last president for the firm, having started at the studio in 1880. In fact, the painting techniques and color palette of Dubosq and Moses are almost identical. I planned a trip to Kortrijk in 2019 to see the scenery first hand, one that coincided with the Prague Quadrennial (Prague, Czech Republic) and Stage|Set|Scene (Berlin, Germany).
Forment wrote a book about the history and significance of Kortrijk’s scenic collection, entitled “Swan Song of an Illusion: The Historical Stage Sets of the Municipal Theatre of Courtrai” (Zwanenzang van een illusive: De historische tonneeldecors van der Schouwburg Kortrijk). Here is a link to his publication: http://www.erfgoedzuidwest.be/nieuws/zwanenzang-van-een-illusie-de-historische-toneeldecors-van-de-schouwburg-kortrijk He has recently published another book about Belgian scenic artists and stage illusion entitled “Dream Landers: Wizards of the Painted Stage Décor” (Droom Landers: Tovenaars van het geschildrede toneeldecor). Here is the link to his publication: https://www.standaarduitgeverij.be/boek/droomlanders-9789022338186/
In addition to identifying the significance of the collection, Forment actively worked to secure a storage facility for the large framed pieces in the scenery collection. A large archival and research complex, named the Tresoor (after the French word trésor), is located a short drive from Schouwburg Kortrijk. Just like buried treasure, however, many artifacts housed at the facility are difficult to extract from their storage. Much of the collection is neatly stacked in a vertical shelving system, with a loading dock at the end of a massive bay. Unfortunately, it is a logistical challenge to remove any one item from the Tresoor and transport it to Schouwburg Kortrijk. Throughout the transportation process, loose pigment floats to the ground; a colorful dust cloud contaminating everything it passes. Storing historic scenes off site is often necessary but takes a toll on the actual pieces.
The discovery of the Dubosq’s scenery was so well received by the Belgian government that five of the settings were identified as Flemish treasures, including the Forêt asiatique. This meant that these artifacts now fell under the guidance of a governmental heritage organization named the Topstukkenraad. The organization was established to protect a variety of artifacts integrally inked to Belgium’s heritage. But this prestige and financial assistance came at a cost. Although the settings are now preserved under a ministerial decree and recognized with the title of “Flemish Top Heritage,” their handling, restoration and future use are extremely restricted. In addition to limiting handling and display, the designation inadvertently placed the scenery into a fine art category, permanently changing its primary function.
Everything becomes complicated when historic stage settings are solely perceived as fine artworks. First and foremost, theaters do not share the same financial support or staffing resources as museums and archives. To many art historians and conservators, stage scenery is simply considered a large-scale painting, yet it is radically different from artworks that hang on a gallery wall. A painting in a museum is stoically viewed under fixed lighting. Such is not the case with historic scenery for the stage. Few individuals outside of the theatre industry understand the true metamorphic quality of scenic art, specifically how it partners with stage lighting systems. Scenic art, regardless its age, remains part of an interactive artform intended to withstand the handling of many. Scenic shifts are necessary in many productions. This means that standard conservation techniques do not always work for historic stage scenery, as they cannot withhold the demands of a scene change.
When stage scenery is identified as fine art, many methods selected for repair and preservation are based on traditional methods employed in art conservation, not those familiar with theatre history or stage technology. Therefore, the conservation of each drop follows strict conservation guidelines without considering the funtion. Accepted conservation practices are not always appropriate for the stage. Many art conservation materials are solvent based, posing fire threats as accelerants. The standard film for fabric repair, BEVA 371, immediately ignites when it comes in contact with flame; it is not an appropriate material, yet is repeatedly cited for scenery conservation. Furthermore, original flame retardants on historic scenery, such as alum, can interact with application of contemporary conservation materials.
I was initially brought into the Forêt asiatique restoration conversation in 2018 to propose and explain alternative approaches; scenery restoration methods that not only preserved stage artifacts but also facilitated their continued use. The intent was to begin a dialogue with all scenery stakeholders: theatre managers, art conservators, and heritage representatives. By December of that year, Ververken asked me to provide a formal proposal to restore the Forêt asiatique setting, working with local volunteers. I identified restoration materials, techniques, layout, and labor. I submitted the proposal by January 2019, identifying various options for cleaning, paint consolidation and repair. My estimated timeline for the project was a little over a month. There were many areas that intentionally remained vague in my proposal, as there are differing levels of conservation. Methods could vary from basic cleaning and stabilization to full restoration. It was up to the Topstukkenraad to determine the extent of restorative work on the Forêt asiatique scenery. After receiving the submission of my initial proposal, Topstukkenraad representatives advised that they would directly supervise my work on site, immediately stopping a process if they believed the artwork in jeopardy. Each method was to be presented, discussed, and approved throughout the duration of the project, then re-evaluated as it commenced. Realistically, this meant that any estimated timeline could immediately quadruple mid-project. As with any project moderated by a third party, we began to play a game of telephone, exchanging ideas with crucial buts of information being lost along the way. I continuously responded to a battering of queries and comments about my approach, yet we pressed on.
The main issue with my involvement throughout the duration of project has remained timing; I was brought on a little too late. One scene, identified as the Palais Roman setting, became a test piece in 2018. It was treated with standard conservation materials and techniques, the work completed by Griet Blanckaert. Blanckaert is the manager at Rocockx Restoration EBVBA, as well as a professor at the University of Antwerp and Staf Vos. Explaining to this regional expert why alternative methods may work better for future scenery restoration projects is like trying to balance on a tightrope in a tornado.
Regardless of restrictions and past testing, we continued to advance with a plan to commence the Forêt asiatique restoration project during the summer of 2020. Restoration spaces were selected, I assembled potential material suppliers, and the selection of assistants began. And then COVID-19 cases spiraled out of control worldwide. When the United States went into lockdown, I realized that all of my travel plans for the foreseeable future would be cancelled. At first, we bantered around alternative dates for that fall and winter, with my explaining that this could become long and draw-out political foray in the US. The remainder of 2020 was then spent as a series of quick exchanges, with long pauses in between. We all monitored COVID-19 hot spots, travel restrictions, and safety protocols. The project continued to shift focus, with new goals being implemented for 2021.
Despite restoration delays, there was still hope that the Forêt asiatique setting would be displayed in 2021 as part of the theater’s delayed centennial celebration. The new goal was to exhibit select pieces from Forêt asiatique during the 2021 triennial for contemporary art, entitled “Paradise Kortrijk 2021.” By March 2021, the Topstukkenraad approved the use of unrestored scenery for the city-wide exhibition. Parts of the stage setting were incorporated into a contemporary art installation designed by Sarah Westphal, entitled Forêt océanique.
The exhibit of this temporary display also prompted a new directive from the Topstukkenraad in regard to the Forêt asiatique restoration. On March 5, 2021, I received an email, stating, “We would like to organize a workshop with you and other experts during the exhibition. We find your restoring method very valuable and want other experts to hear about it from you in person. It is inspiring to share the different perspectives with each other, and we hope that others will also be inspired by your method.” In summary, the Topstukkenraad advised Schouwburg Kortrijk to organize a meeting with heritage counselors and restoration experts to debate the scenery treatment proposal. August was selected, as the Forêt asiatique setting would be available for examination on stage as part of the triennial art exhibition. In other words, I was being invited not only to present detailed examples of my restoration techniques, but also field impromptu questions from Topstukkenraad representatives. Keep in mind, that at this point, no one from the Topstukkenraad had ever examined the actual scenery in person. Up until this point, the agency had based all their directives on photographs and Blanckaert’s reports.
The restoration workshop was scheduled for August 20, 2021. The findings of this meeting would recommend specific techniques for not only restoration of the Forêt asiatique setting, but also other settings in the collection. Although I confirmed my willingness to participate in the August workshop, I did not finalize any travels arrangements until three weeks before the event. My overall hesitation stemmed from shifting travel restrictions and the increased spread of the Delta variant. Getting into Belgium wasn’t my primary concern, it was getting back home. I was also swamped with work. Even short-term travel delays could be disastrous for my other projects. In the end, my travel overseas was scheduled from August 16 to August 24. A preliminary meeting and presentation occured on August 18, with formal presentations on August 19 and 20. In regard to my continued questions, it appeared as if everyone was on vacation until the day I stepped on a plane. It was a leap of faith for me, with the only reassurance that I had Belgian friends who could house me if everything fell apart. Travel overseas was a complicated, and a negative COVID-19 test was required 1-3 days, necessary before boarding a plane, both to and from Europe.
I spent a month on preparation for my presentations in Kortrijk. In addition to presenting findings from past restoration projects, I did a series of case studies, assisted by Jenny Knott. We documented the handling of dry pigment, hide glue, cleaning, consolidation of loose paint and fabric repair. For a week, Knott helped me photograph and film my methods for historic scenery preservation.
The scenery restoration workshop was the first of its kind; an international gathering of specialists to discuss how historic settings for the stage should be categorized, repaired, and handled. In additional to Topstukkenraad representatives, the group included CEMPER representatives (Center for Music and Stage Heritage, https://cemper.be/), Alexander Ververken (managing director Schouwburg Kortrijk), Heleen Allary (public relations at Schouwburg Kortrijk), Griet Blanckaert (manager at Rocockx Restoration EBVBA), Bruno Forment (research fellow Orpheus Institute), Chris Van Goethem (Erasmus University, Brussels), Raphaël Masson (Director of Conservation and the head conservator at Château de Versailles), and me. The outcome: another test has been requested. This time, I am to be onsite with Blanckaert to look at alternative restoration techniques.
My greatest hope for the workshop was to foster a constructive dialogue, one that could be shared internationally and used as a resource by many others in charge of historic scenery collections. In that sense, it was very successful. Schouwburg Kortrijk is just one example of many scenarios playing out worldwide. We are living at a time when record numbers of historic theaters are planning or undergoing renovations. During these projects, many historic stage artifacts are resurfacing, emerging from decades of storage. Tucked away in off-stage nooks or attics, many pieces remain hidden in plain sight. All the while, those directing the work have no real understanding of stage scenery or the cultural significance of painted illusion, stage machinery and lighting systems. Scenic art was designed and delivered as part of a whole, partnering with specific machinery and lighting systems. There are no guidelines to direct the handling and conservation of these stage artifacts, and that is wherein lies the problem. There needs to be an intercontinental league for the preservation of historic stage scenery.
