Summary How can an exhibition designer engage the visitor to a world’s fair who has already spent hours walking around the grounds, visiting other attractions and countless national pavilions? This question drove many theoretical and practical considerations of exhibition design during the interwar period and preoccupied many designers and artists. As a very active participant in world’s fairs at this time, Czechoslovakia established an intricate system of presenting its material production and cultural prowess which included careful design of the exterior of its pavilion as well as its interior. Using the Czechoslovak pavilion at the International Exhibition of Art an d Technology in Modern Life in Paris, 1937, as a case study, this article examines how Czech designers developed their own original ideas about exhibition design informed by other disciplines. It offers a reading of exhibition design in parallel with stage design and claims that the two shared many techniques, aimed at attracting audiences. It stresses, on the one hand, the affiliation between the two design areas and on the other, the original contribution of designers from Czechoslovakia to the development of exhibition design as a self-sufficient field in the interwar period.

中文翻译：

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展览剧场：1937 年在巴黎国际展览中的捷克斯洛伐克

总结 一个展览设计师如何吸引参观者参加一个已经花了几个小时在场地周围走动、参观其他景点和无数国家馆的世界博览会？这个问题在两次世界大战期间引发了许多关于展览设计的理论和实践思考，并引起了许多设计师和艺术家的关注。作为当时世界博览会的积极参与者，捷克斯洛伐克建立了一个复杂的系统来展示其物质生产和文化实力，其中包括对展馆外部和内部的精心设计。以 1937 年在巴黎举行的现代生活艺术与技术国际展览中的捷克斯洛伐克馆为案例研究，本文探讨了捷克设计师如何在其他学科的启发下发展出自己关于展览设计的原创想法。它提供了与舞台设计并行的展览设计阅读，并声称两者共享许多旨在吸引观众的技术。它一方面强调两个设计领域之间的联系，另一方面强调捷克斯洛伐克的设计师在两次世界大战期间将展览设计作为一个自给自足的领域发展的原始贡献。