Iain Mackintosh

Ian Mackintosh, Prague, 2011

Iain Mackintosh (born 1937) is a British practitioner of theatre combining four interwoven careers as theatre producer, theatre space designer, curator of theatre painting and architecture exhibitions, and author and lecturer on both modern and eighteenth century theatre. He has campaigned for the retention and restoration of historic theatres as working homes for live performance. ^[1] From 1975 he curated or contributed to several exhibitions of theatre paintings and architecture.

Early life

Iain Mackintosh was born in Bristol, England, in 1937, and brought up in Bristol, Cornwall and Edinburgh, Scotland.^{[ citation needed ]} Two years National Service in Hong Kong as a subaltern in the Royal Artillery, was followed by three years at Worcester College, Oxford ^[2] where he took the Worcester College Buskins on tour to the Kenton Theatre, Henley on Thames with a review entitled "One Over The Eight". ^[3] He graduated in 1960 and immediately became resident stage manager (technical director) at the Oxford Playhouse ^[4] . In 1961 he co-founded the Prospect Theatre Company with Elizabeth Sweeting, manager of the Playhouse. ^{[5] [6] [7]}

Mackintosh joined Theatre Projects Consultants in 1973 as a designer of theatre space and in collaboration with many architects in the UK, USA, and Canada, and with colleagues at Theatre Projects designed many significant new and restored theatre spaces. ^[4]

Theatre producer, 1961–1973

In 1962 Sweeting and Mackintosh were joined on the board of Prospect by Richard Cottrell, who was associate director from 1964 to 1969, and by Toby Robertson, who became artistic director in 1964, following his production of The Provoked Wife with Eileen Atkins. Prospect was in Cambridge from 1964 and in London from 1966. Between 1963 and 1976 Prospect toured 75 productions in 125 theatres in 21 countries. In 1973 Mackintosh resigned as administrative director but remained on the Prospect board. In these first twelve years eight productions were presented at the Edinburgh International Festival, including the Lila Kedrova Cherry Orchard (1967) and Ian McKellen’s double presentation of Edward II and Richard II (1968–70). These and many other Prospect productions, such as Timothy West's King Lear (1972/73), transferred to successful seasons in London West End theatres. Three productions were televised. ^[8]

In 1961 Mackintosh designed settings and costumes for two special productions at the Oxford Playhouse: the Oxford University Opera production of Benjamin Britten’s The Turn of the Screw (only the second production anywhere of this opera), and Prospect’s first production, the premiere of Whiteman by Michael Picardie with Brian Blessed and Prunella Scales (refer Note 1). This stage design experience was to feed back into his later career. Thereafter Mackintosh concentrated on his role as producer for Prospect. He secured international festival engagements for Prospect in Vienna, Austria; Venice, Italy and Adelaide, Australia, as well as arranging many tours Prospect overseas tours with the British Council. ^[9] Touring Prospect productions and seeing the same show succeed in some theatres and fail in others led Mackintosh to concentrate on the influence of theatre architecture on performance. ^[10]

Theatre space designer

After working as theatre design consultant to architect Graham Law on the Eden Court Theatre, Inverness, Mackintosh started his second career in 1973 as a designer of theatre space, joining Richard Pilbrow at Theatre Projects Consultants as "theatre design guru". ^{[11] [12]} He retired from Theatre Projects in 2006. ^[13]

His first project at Theatre Projects was the Cottesloe Theatre at the National Theatre, London. The National Theatre building on London’s Thames Southbank, designed by architect Sir Denys Lasdun, was then under construction as the new home for the National (which had been founded at the Old Vic in 1964). The Cottesloe was the third and smallest theatre, holding up to 400 people. It was located in an abandoned space under the rear of the Olivier Theatre stage. In 1973 this was a cavernous empty shell served by a partially complete foyer designed for only 200. ^{[14] [4]}

While the National’s Olivier and Lyttleton Theatres are fixed-format, the Cottesloe can be recast into many arrangements to suit the production design. The simple design of the Cottesloe, with two galleries of audience seating surrounding three sides of the room, was ground-breaking. In 2013, on the 50th anniversary of the National, Director Nicholas Hytner wrote: ‘What Iain Mackintosh did when he was asked to make a theatre inside that big black empty box had a touch of improvisatory genius.’ ^[15]

In November 1973, when presenting the design concept to the National’s Director, Peter Hall and John Bury, head of design, Mackintosh coined the phrase ‘courtyard theatre’. He later wrote ‘Courtyard, Cockpit or whatever … [it] should be particularly useful for experiment in non-scenic theatre … outdoor Fortune or indoor Blackfriars … or for the more formal expression of Grotowski or anyone else who has explored the notion of a ritual gathering of onlookers … The finish should be simple and workmanlike – it is designed to be unfinished in the sense that actor, designer and designer must ‘fill’ the whole space, and the audience complete the furnishings as wallpaper does a room’. ^[16]

The Cottesloe was received enthusiastically by the theatre industry and audiences. As explained by The Theatres Trust Theatres Database entry for the Royal National Theatre: ‘It owes more in terms of inspiration to Mackintosh and Theatre Projects Consultants than to Lasdun. It was, in point of time, the second, ^[17] but certainly the most influential of the modern ‘courtyard’ theatres, with something of the character of an urban barn fit-up. Its extremely simple, rectangular form, with the audience on three shallow tiers, can be readily adapted to proscenium, end stage, thrust, in-the-round, traverse or promenade form.’ ^[18] In his review of Setting the Scene: Perspectives on Twentieth-Century Theatre Architecture, edited by Alistair Fair, Richard Pilbrow noted ‘It’s interesting to reflect that in our National Theatre the two architect-designed theatres have attracted not one single imitator, whereas the theatre-designed Cottesloe has prompted perhaps more than fifty successful clones around the world. Bringing human beings together in lively juxtaposition simply works.' ^[19]

This project led to other rectangular galleried playhouses, such as The Tricycle (1980) with architect Tim Foster, which was constructed out of builders’ scaffolding within an existing volume. ^[4] The Founders’ Theatre (2001) at Lenox Massachusetts, developed with architect George Marsh of Boston, is likewise a scaffolded courtyard in an extended hut. ^[20] Mackintosh’s smallest galleried space is also his only theatre-in-the-round, the 185 seat Orange Tree Theatre in Richmond, London (1991). ^[21]

Mackintosh developed two other forms of flexible theatre spaces, each holding around 450 patrons with three levels of seats around the edges enveloping the central audience area, which can be reconfigured for different stagings. Examples of the square form include Wilde Theatre, South Hill Park, Bracknell (1984), with architects Levitt Bernstein, and the Lawrence Batley Theatre, Huddersfield (1994) with the Kirklees local authority architects. ^[21] The Guardian opera critic Andrew Clements wrote ‘The design is the work of Iain Mackintosh… and he has done a seamless job in creating a 400 plus theatre, beautifully proportioned with a handy adjustable pit.’ ^[22]

The first apsidal room (parallel sides with semi-circular galleries facing the stage) was the Martha Cohen Theatre, Calgary (1985), with architect Joel Barrett, later repeated in the Quays Theatre (2000) at The Lowry, Salford, with architect Michael Wilford. ^[23] More architecturally refined examples were the Westminster School Theatre, Connecticut (1989), with architect Graham Gund, and the Vanburgh Theatre (2000) at the Royal Academy of Dramatic Art, in London, in collaboration with architect Bryan Avery. ^[24]

Replacement of failed modern auditoria by returning to a traditional multilevel intimate house include the Bluma Appell Theatre at the St. Laurence Centre for the Arts, Toronto, Canada (1983) ^[4] and the Enschede Schouwburg Netherlands with Dutch architect, Onno Greiner (1988). ^[25]

The epitome of Mackintosh’s horseshoe, galleried auditorium concepts was the Glyndebourne Opera (1994). It was undertaken for Theatre Projects Consultants in a team led by architect Michael Hopkins. ^[4] Executive chairman Sir George Christie said ‘It was Mackintosh who convinced everybody that the horseshoe was the best shape. It happened remarkably quickly. We all felt intimacy would be most easily achieved with the people in the audience wrapped round like wallpaper. That’s something that neither the fan shape nor the shoebox does.’ ^[26] Architectural critic Jonathan Glancy wrote ‘Inside the auditorium the project makes near perfect sense. Mackintosh and Hopkins have produced a big but intimate space. It has as near as one can get to a timeless quality’. ^[27]

Glyndebourne was the first of the new horseshoe opera houses such as Toronto, Dallas and Copenhagen (designed by others). Before Glyndebourne, ‘modern’ opera houses had all the seats pointing cinema-like at the stage. This format is good for audience sightlines but does not support a rich theatrical experience. Mackintosh’s theatre forms were based on strict geometry, generally ad quadratum (ascending concentric circles within successive squares). In 2004 he contributed to the design for the second space at The Sage Gateshead, with architects Foster and Partners. Hall Two holds 450 patrons for all types of musical performance, with three encircling galleries and options of performing in the centre or on a platform stage along three of the ten sides. Mackintosh believed it to be the only performance space in the world with pentagonal geometry. ^[28]

In 2009 Mackintosh worked with architect Robin Snell (also a contributor to Glyndebourne), on the design of the Opera Pavilion at Garsington Opera, which opened in 2011 and won many awards. ^[29]

New Life for Historic theatres

As well as working on new theatres Mackintosh has advocated for the retention and renovation of old theatres. These include the Festival Theatre, Edinburgh (1994), formerly the Milburn Brothers’ Empire Theatre of 1928 which he designed with architect Colin Ross of Law and Dunbar-Nasmith. ^[30]

As a producer, Mackintosh in 1982 hired the Lyceum Theatre in London on behalf of Theatre Projects Associates to transfer the National Theatre Cottesloe production of The Mysteries, adapted by Bill Bryden. The Lyceum had not been used as a theatre since 1939 and had been partially converted into a ballroom in 1951. In 1982 it was under threat of demolition but to put on the Mysteries they built a courtyard space within the old dilapidated hulk of the theatre. ^[4]

The Georgian Theatre Royal, Richmond, Yorkshire (1788), was fully restored in 2003 with Mackintosh and David Wilmore of Theatresearch as historical theatre consultants working with Allen Tod Architecture. The Prospect Company had opened the first show in the Theatre Royal Richmond for over a century on its re-opening in 1963. Mackintosh later initiated a conference in celebration of the Society for Theatre Research’s sixtieth anniversary, held at the Georgian Theatre in 2008.

In 2003, on behalf of the Scottish Arts Council, Mackintosh and Sir James Dunbar-Nasmith (with whom he had worked on the Festival Theatre Edinburgh), supervised the reconstruction of the complete auditorium of the Opera House at Dunfermline, Scotland, within a new building in Sarasota, Florida. Built in 1921 by architects Swanston and Davison, it had been dismantled in the 1980s to make way for a shopping mall and after more than a decade in storage was taken to Florida to be meticulously re-assembled as a working professional playhouse, now the Mertz Theatre at the Asolo Repertory Theatre. ^{[31] [21] [4]}

Exhibitions of theatre painting and architecture

The Downfall of Shakespeare Represented on a Modern Stage, 1763-1765, William Dawes Theatre & Performance Collection, © Victoria and Albert Museum, London

Alongside designing theatre spaces, Mackintosh developed an interest in the history of theatre paintings and architecture and curated several exhibitions, each documented in comprehensive catalogues. In 1975 he was commissioned by the Arts Council of Great Britain to curate and design ‘The Georgian Playhouse 1730–1830’ at their Hayward Gallery, in the run up to the National Theatre’s opening. ^[32] ‘This show on the delectable theme of the Georgian playhouse…is important artistically’ wrote Denys Sutton, editor of Apollo. ^[33] The exhibition comprised 379 oil paintings, watercolours and architectural designs and attracted acclaim from both theatre and art critics. ‘This excellent exhibition … offers much of absorbing interest to both to the playgoer and those more especially concerned with pictures’. ^[34] Geoffrey Ashton assisted in the final selections and writing of ‘…its splendid catalogue, full of anecdote and oddity.’ ^[35]

At the 1981 Buxton Festival Mackintosh and Ashton curated ‘30 Different Likenesses of David Garrick – by 30 Different Artists’, ranging from Hogarth to Gainsborough, and in 1982 they collaborated on ‘The Royal Opera House Retrospective 1732 -1982’ at the Royal Academy, in celebration of the 250th anniversary of the Theatre Royal, Covent Garden. ^[36]

In 1982 the Curtains!!! Committee, formed by Mackintosh in 1976, published the first gazetteer of all British theatres, existing and demolished, built before 1914. ^[37] The publication of ‘CURTAINS!!!' has been described as a turning point in the appreciation of historic theatres. ^[38]

For the 1987 Brighton Festival Mackintosh curated ‘“An Extravagant and Irrational Entertainment”: Staging the Opera in England 1632 to 1792’. In 2009 at the Orleans House Gallery, Twickenham, Marcus Risdell and Mackintosh co-curated ‘The Face and Figure of Shakespeare: How Britain’s 18th Century Sculptors invented a National Hero’. ^[39]

In 1995 the British Council commissioned Mackintosh to curate ‘Making Space for Theatre: 40 Years of British Theatre Architecture’, which opened at the National Theatre in London, then at the Prague Quadrennial of Scenography and Theatre Architecture, followed by a world-wide tour and a book. ^[21]

In 2006 the Victoria & Albert Museum London acquired Downfall of Shakespeare Represented on a Modern Stage (sic) by William Dawes, 1763-1765, and asked Mackintosh to research it. Mackintosh published his findings in an article in Theatre Notebook, Volume 62 Number 1, 2008, pp 20 – 58 plus seven plates. ^[40]

For the 2011 Prague Quadrennial (PQ) Mackintosh instigated the British exhibition entry, The Guthrie Thrust Stage: A Living Legacy, 1948-2011, and wrote its catalogue, published by the Association of British Theatre Technicians (ABTT). ^{[41] [42]} .

Author and lecturer

Mackintosh’s 1993 book on theatre design, 'Actor, Audience and Architecture', ^[43] describes the influence of architecture on the theatrical experience and critiques mid-twentieth-century theatre design. It has been influential with theatre space designers and architects and was described by Michael Coveney in The Observer as ‘Environmental theatre history at its best: analytical, informed, involved’. ^[44] His other books include ‘Pit, Box and Gallery: A history of the Theatre Royal Bury St Edmunds’, The National Trust, 1979 and in 2023 "Theatre Spaces 1920-2020 Finding the Fun in Functionalism" ^[45]

Contributions to journals, catalogues and chapters in books or catalogues edited by others include:

• ‘David Garrick and Benjamin Wilson’, Apollo, May, 1985: identifying and dating the prime version of Garrick as Romeo as 1752-53, the engraving as 1753 and establishing Benjamin Wilson as the first artist to depict Garrick on the Georgian stage and the equal of his more famous successor Zoffany.
• ‘King Kong versus Godzilla: The Competition for the Royal Opera House at The Hague 1910’ in Frank Matcham & Co, edited by David Wilmore, Theatreshire Books, Dacre Yorkshire, 2008: recounting the story of Britain’s greatest 19th century theatre architect, Frank Matcham, competing with mainland Europe’s most prolific theatre architects, Fellner & Helmer of Vienna, which the latter won but never saw built. ^[46]
• ‘Departing Glories of the British Theatre: Setting Suns over a Neo-classical Landscape' in the catalogue London – World City 1800-1840, curated in Essen Germany by Celina Fox, Yale University Press, 1992. ^[47]
• Entry on the Theatro Jose de Alcazar, Fortaleza, an ironwork theatre forged in Glasgow and shipped to Brazil in 1910, in Teatros, Uma Memoria dop Espacos Cenica no Brasil, ed J C Serroni, Senac, São Paulo, 2002 ^[48]
• Entry on Frank Matcham in The Dictionary of National Biography.
• Five illustrated papers given at the annual World of Baroque Theatre conferences held at Český Krumlov from 2002 to 2009 and published by the Baroque Theatre Foundation at Český Krumlov, 2003 et seq.
• ‘Fifty years of Theatre-making: Anecdotes and Apercus’, a revised and expanded version of the keynote address given at the Annual Symposium at Cambridge of the Architectural Historians of Great Britain, April 2012 and now reproduced in ‘Setting the Scene, Perspectives on Twentieth-Century Theatre Architecture’ edited by Alistair Fair, Ashgate, 2015 ISBN   9781472416520.

International Symposium on Baroque Theatre Czech Republic 1994 Cesky Krumlov /2002 ^[49] Cesky Krumlov / 2004 Cesky Krumlov ^[50] / Cesky Krumlov 2009 ^[51]

Awards

In 1995 Mackintosh was the first Briton to sit on the International Jury at the Prague Quadrennial of Scenography and Theatre Architecture ^[52] and in 1999 collected their Special Gold Medal for Architecture on behalf of the new Glyndebourne Opera House. ^[53] In 2003 he was awarded the annual Cascieri Medal and Lectureship in the Humanities by the Boston Architectural Center. ^[54] He was a jury member in 2011 for the Prague OISTAT Theatre Architecture Competition (International Organisation of Scenographers, Theatre Architects, and Technicians). ^[55] Theatres with which Mackintosh has been associated have won more than 20 Architecture Awards in Britain and overseas.

Notes and references

Notes

References

1. Billington, Michael (18 July 2023). "The play's the thing – but its success depends on the theatre too". The Guardian. Retrieved 29 December 2024.
2. "Alumni bookshelf". Worcester College. Retrieved 28 December 2024.
3. Bawtree, Michael (2015). As Far As I Remember. Mereo Books. p. 313. ISBN   978-1-86151-373-1.
4. Pilbrow, Richard (2011). A Theatre Project. Plasma Media. ISBN   978-0-9834796-0-4.
5. "Prospect Theatre Company". Ian McKellen Stage. Retrieved 4 September 2014.
6. The Prospect Theatre Company archive is in the Victoria and Albert Museum Theatre and Performance collection located at Blythe House, reference THM/260 Prospect Productions Archive.
7. Brisbane, Katherine (Autumn 1972). "The Most Secret Shakespeare" (PDF). The Elizabethan Trust News. No. 2. Retrieved 24 December 2024.
8. Edward II and Richard II for the BBC; The Beggar’s Opera for London Weekend Television.
9. Mackintosh, Iain (2023). Theatre Spaces 1920-2020. Methuen Drama. p. 11. ISBN   978-1-3500-5624-4.
10. Pilbrow, Richard (2024). A Sense of Theatre: The Untold Story of Britain's National Theatre. Society for Theatre Research. p. 411. ISBN   978-1-916846-03-6.
11. Pilbrow, Richard (2024). A Sense of Theatre: The Untold Story of Britain's National Theatre. Society for Theatre Research. p. 412. ISBN   978-1-916846-03-6.
12. PIlbrow, Richard (2011). A Theatre Project: An autobiographical story. New York: Plasa Media Inc. p. 43 and others. ISBN   978-0-9834796-0-4.
13. "Changing Faces". Arts Professional. 18 June 2006. Retrieved 28 December 2024.
14. The Cottesloe at the National. London: Royal National Theatre. 1999. ISBN   1-900065-01-0.
15. 2. The Stage, October 17, 2013. ‘Hytner on the Cottesloe’. The Cottesloe reopens in 2014 as the Dorfman Theatre, named after the principal donor for the refurbishment.
16. 3. The Stage, March 1977, an article by Mackintosh in a souvenir for the opening of the Cottesloe. Reproduced in I Mackintosh, ‘Found Space in a New Building’, The Cottesloe at the National, Infinite Riches in a Little Room, R Mulrynne and M Shewring, Mulryne and Shewring Ltd and National Theatre, Statford-upon-Avon, 1999, pp 24–31.
17. 4. The first to open, although not referred to as a courtyard at the time, was the school theatre at Christ’s Hospital School of 1974 designed by architect Bill Howell who was tragically killed in a car accident a few weeks later at the age of 52.
18. 5. The Theatres Trust Theatres Database entry for the Royal National Theatre (3149) http://www.theatrestrust.org.uk/resources/theatres/show/3149-royal-national-theatre, accessed 5 February 2014.
19. Sightline: Journal of Theatre Technology and Design, Autumn 2015
20. Fanger, Iris (29 June 2001). "Shakespeare & Co. hies to a new home". Christian Science Monitor. Retrieved 19 January 2025.
21. Making Space for Theatre: British Architecture and Theatre since 1858. Stratford-upon-Avon: Mulryne and Shewring. 1995. ISBN   1-900065-00-2.
22. 6. A Clement, The Guardian, 19 November 1994.
23. Staples, David (2021). Modern Theatres 1950-2020. Routledge. p. 361. ISBN   978-1-138-48436-8.
24. "2022 Architecture Commission Meeting held at The Martha Cohen Theatre, Calgary, August 12". Oistat. Retrieved 19 January 2025.
25. "Theatre Fesitval Architectuurcongres, 9 September 1994, Den Haag" (PDF). Retrieved 19 January 2025.
26. 7. Glyndebourne, Building a Vision, M Binney and R Runciman, Thames and Hudson, London, 1994, pp 95–96.
27. 8. J Glancy, The Guardian, 1 February 1994.
28. 9. I Mackintosh, ‘A Five Sided Notebook: 1996- 2001’, Sightline, Winter 2005, the quarterly journal of the Association of British Theatre Technicians.
29. "Garsington Opera Pavilion". AJ Buildings Library. Architect's Journal. Retrieved 19 January 2025.
30. Tait, Simon (19 May 1994). "The Times".
31. 10. That’s Entertainment! 100 Years of Dunfermline Opera House, L King, Windfall Books, Kelty, 2003.
32. Mackintosh, Iain (1975). The Georgian playhouse : actors, artists, audiences and architecture 1730-1830 : Hayward Gallery 21 August to 12 October 1975. London: The Hayward Gallery. ISBN   9780728700659.
33. 11. D Sutton, The Financial Times, 2 September 1975.
34. 12. W Gaunt, The Times, 26 August 1975.
35. 13. J W Lambert, The Sunday Times, 31 August 1975.
36. Ashton, Geoffrey; Mackintosh, Iain (1982). The Royal Opera House Retrospective 1732 – 1982. London: Royal Opera House. ISBN   0950212393.
37. Curtains!!! or A New Life for Old Theatres. John Offord (Publications) Limited. 1982. ISBN   0-903931-42-7.
38. Shewring, Margaret (2024). Theatre Buildings: A Design Guide. Routledge. p. 191. ISBN   978-1-032-35529-0.
39. Iain Mackintosh & Marcus Risdell (2009). The Face and Figure of Shakespeare: How Britain’s Artists and Sculptors invented a National Hero. Orleans House Gallery. ISBN   1902643100.
40. "The Downfall of Shakespeare Represented on a Modern Stage". Victoria & Albert Museum. Retrieved 19 January 2025.
41. "ABTT Awards Three Fellowships" (Press release). Association of British Theatre Technicians. 17 December 2014. Retrieved 27 December 2017.
42. Mackintosh, Iain (2011). The Guthrie Thrust Stage: A Living Legacy. London: Association of British Theatre Technicians. ISBN   9780900098024.
43. 14. I Mackintosh, Actor, Audience and Architecture, Theatre Concepts, Routledge, London, 1993.
44. 15. M Coveney, ‘Books of the Year’, The Observer, 1993.
45. Mackintosh, Iain (2023). Theatre Spaces 1920-202 Finding the Fun in Functionalism. London: Methuen Drama. ISBN   978-1-3500-5625-1.
46. Wilmore, David (2008). Frank Matcham & Co. Theatreshire Books. p. 142. ISBN   978-0-9534127-1-6.
47. Fox, Celina (1982). London – World City 1800–1840. Yale University Press. ISBN   978-0300052848.
48. Serroni, JC (2002). Uma Memoria dop Espacos Cenica no Brasil. São Paulo: Editora SENAC. ISBN   9788573592498.
49. Mackintosh, Iain (14 June 2002). "Scenic Stage, Acting Stage, Orchestra Pit and Auditorium: A Review of 20th Century Research and Practice on how these areas connect in European 18th Century Theatres". Cesky Krumlov Conferences. 2003 (The World of Baroque Theatre): 9.
50. Mackintosh, Iain (4 June 2004). "Looking at Light: The Pictorial Evidence; The Industrial Archeology and Presentational Pitfalls". Cesky Krumlov Conferences. 2004 (The World of Baroque Theatre): 63.
51. Mackintosh, Iain (5 June 2009). "Two Ladies a Century Apart, Four 18th and 19th Century Private Theatres of England and Wales and some anecdotes". The World of Baroque Theatre, Cesky Krumlov Conference 2009. 2009: 281.
52. "1995 PRAGUE QUADRENNIAL". Prague Quadrennial of Performance Design and Space. Retrieved 19 January 2025.
53. "Historical materials 1999". Prague Quadrennial of Performance Design and Space. Retrieved 19 January 2025.
54. "Cascieri Lectureship in the Humanities Series". The Boston Architectural College.
55. "th OISTAT Theatre Architecture Competition 2011 catalogue". Oistat. Retrieved 19 January 2025.