Caring for scenery models in De Munt/ La Monnaie

In 2010 the De Munt archive included around 50 scenery models and is still growing today. As a result, the De Munt archive unit developed a clear procedure for creating (with the aim of proper preservation), storing, restoring, registering and disclosing scenery models in order to guarantee future sustainability. They based their practice on several international examples.

Status

1. Identifying scenery models in the De Munt archive.
2. Collecting expertise on the scenery models.
3. Developing a procedure for creating (with the aim of proper preservation), storing, restoring, registering and public display of scenery models (of future productions).
4. Introducing a procedure for creating (with the aim of proper preservation), storing, restoring, registering and public display of scenery models.

Problem definition

Introduction

In 2010 around 50 scenery models were identified in the De Munt archive. In order to rejuvenate this heritage and then find a method for keeping track of models from future productions, a project was started to describe, restore and store scenery models in the De Munt archive collections.

The scenery model is by origin merely a working document to scale, a three-dimensional sketch for the final piece of scenery. What scenery studios regard as a mere technical tool in their work is a rare object in the theatrical heritage. This dichotomy results in a diverse attitude and treatment in the various departments of a theatre. Finding a solution for our scenery models was therefore a matter of finding a balance.

Desired results

• Using existing expertise to develop a method for preserving, restoring, registering and making the scenery models accessible.
• Procedure for dealing with scenery models from future productions.
• Rejuvenation of De Munt’s scenery models.

Method

1. Identifying the existing models
2. Building up expertise on scenery models
   1. Devising and sending out a questionnaire on scenery models
   2. Visit to two institutions
3. Developing a procedure for managing scenery models
   1. Creation of scenery models for new productions
   2. Storage
   3. Registering and putting on public display

Identifying existing models

In 2010, at the start of the project, only about 50 scenery models were identified in De Munt. This is partly the result of a fire that destroyed a warehouse at Barastraat in Anderlecht in May 1992, where the scenery and models from De Munt were stored. Models or individual parts from more recent productions, or items that escaped the fire, were then spread all over the theatre. The existing models were identified and linked to productions they were used for.

Expertise-opbouw rond decormaquettes

Nadat de bestaande maquettes geïdentificeerd waren, was het aangewezen om een methode op punt te stellen. Hiervoor wou men voortbouwen op de ervaringen ter zake van andere operahuizen, theaters en instellingen die deel uitmaken van SIBMAS (Société Internationale des Bibliothèques et Musées des Arts du Spectacle), het internationale netwerk voor theatererfgoed.

Devising and sending out a questionnaire on scenery models

In the first instance, a survey with a standard questionnaire was sent out. The aim was to find answers to a whole range of issues, such as solutions for storing models and their components and the materials used for them, specifications about transport, lighting, the 'ideal' solution and, lastly, mistakes that should be avoided at all costs. The solutions that were offered were diverse, going from very simple to very complicated by way of the possibly ideal middle solution.

Bezoek aan twee instellingen

Na de analyse van de resultaten van deze enquête, werd er gekozen om een bezoek te brengen aan twee instellingen in Parijs om hun aanpak verder te bestuderen: de cel Restauratie grafische documenten en maquettes van de Bibliothèque nationale de France en de Comédie-Française. Hoe deze twee Franse instellingen precies te werk gaan, kan je [hier] lezen.

Procedure for managing scenery models

Creation of scenery models for new productions

A scale first had to be determined, to which all future models were to be made. The drawing office then came up with a 'building package’ in foam board on a scale of 1/25. This package was given to every scenery designer and now has to be used when presenting a model.

Preservation

During the preliminary production phase, the model is kept in the drawing office. Once the scenery is being built on stage, it is taken in a storage box to the archive unit or sent in its ‘building package’ to the co-producer of the production.

The storage box is a made-to-measure box in plywood, based on the model of the Comédie-Française, with non-restrictive and reversible solutions that conform to the preservation standards used at the National Library of France. The panels are painted with black acrylic paint (Frescolight-Lascaux) with as many layers inside as outside to prevent any tension between the two. The box has an opening at the front and another that takes up half of the area of the top, filled with 3mm-thick fire-resistant polycarbonate. Every storage box has an index card containing metadata for easy identification.

Registering and putting on public display

When a scenery designer comes to present his model in the theatre, a specialist in museum photography is brought in to record every scenery change from a frontal perspective. The archive unit uses this occasion to enter an initial description of the model in the C.a.r.m.e.n. database.

Wanneer de bewaardoos wordt overgebracht naar de archiefdienst, krijgt de maquette een definitieve beschrijving in de databank C.a.r.m.e.n.

Resultaten

Werden de gewenste resultaten bereikt?

De archiefdienst moest zich aanpassen aan de gevoeligheden van de verschillende departementen binnen De Munt en focussen op de eerste opdracht van de instelling, namelijk de creatie van nieuwe producties. Omwille van budgettaire, structurele en logistieke redenen was het onmogelijk om de eisen in verband met preservering, conservatie en/of restauratie zover door te voeren als in gespecialiseerde instellingen. Toch is de archiefdienst erin geslaagd om in De Munt een procedure te implementeren die de duurzame bewaring van de decormaquettes voor de toekomst kan garanderen.

Ook de herwaardering van de decormaquettes van De Munt is geslaagd. Er werd een sluitende procedure ontwikkeld voor het beschrijven en fotograferen van de decormaquettes van toekomstige producties in functie van de ontsluiting via de databank C.a.r.m.e.n. Daarnaast werden de maquettes tentoongesteld tijdens de persvoorstelling voor het seizoen 2011 en verwerkt in het introductiefilmpje voor 'Opera at the Cinema' (2014).

Vaststellingen en aandachtspunten

• Internationale voorbeelden van professionele actoren kunnen aangepast worden naargelang de eigen middelen.
• Door dit archiefproject te koppelen aan publiekswerking, werd het management overtuigd om budget vrij te maken.

Dit praktijkvoorbeeld werd begeleid door Het Firmament