International studio (52.1914)

Norman Wilkinson s Decoration of “ A Midsummer Night's Dream"

would, however, call particular attention to the
necklaces, which, specially designed for the pendants
to which they are attached, are remarkable for the
exquisite delicacy with which they have been
fashioned. All these beautiful jewels speak for
themselves and in finish and completeness need
fear no comparison with any of the “trade” pro-
ducts. And bearing in mind the very notable
advance in the taste and quality of the jewellery
offered for sale in the best shops during the last few
years this is no empty compliment.
ORMAN WILKINSON’S DE¬
CORATION OF “A MID¬
SUMMER NIGHT’S DREAM” AT
THE SAVOY THEATRE.
In these days of the triumph of mechanism an
immense range of effect has been made possible on
the stage. The art of the theatre has not, however,
kept pace with this development; nor has it been
quite decided, except by Mr. Granville Barker,
what type of mind should control these resources—
as in their application they pass from the sphere of

mechanics into the region of taste. It is very
obvious that the final result cannot be left to the
haphazard combination of the various departments
of stage-craft. The unity that is required of a work
of art must be imposed by one mind. Everything
points to the fact that it should be the mind of an
artist. What is required is a picture in which the
actor is visualised as a painter visualises a figure in
his composition. The old theory of this business
seemed to be that the scenery could be planned
without taking the actor into account until the last
moment, or that the scenery, upon so-called Eliza-
bethan principles, could be entirely suppressed in
his favour. Either way, the actor seemed pleased ;
choosing the part of a performing animal, his pre-
occupation was entirely with himself. It seems
now more fully appreciated that the finer shades of
the actor’s art count only in a scene sensitively
prepared to assist expression and impart significance
to every movement. It is recognised that on the
one hand scenery must not distract by its own
realistic triumph, or on the other hand fail the imagi-
nation of the audience by its insufficiency. What is
essential is that the mind of the audience should be
entirely released to follow
the movement of the play,
the acting taking place not
merely over against the
scenery, but within an
atmosphere prepared for it
as artfully as it is for the
characters in a first-rate
novel.
Any attempt to make the
setting too natural may
defeat itself in the highly
artificial conditions of the
stage — conditions intensi-
fied since the prevalence
of lime-light. The master
in this business, then, will
take the first step of an
artist in accepting the limi-
tations of his medium, and
from those very limitations
evolve novel beauty de-
termined by them. Every-
thing that Mr. Norman
Wilkinson has done in the
Savoy productions has
rested with such a frank
acceptance of the arti-
ficial conditions of the
stage.


PRESIDENTIAL BADGE AND CHAIN FOR THE BIRMINGHAM LAW SOCIETY. DE-
SIGNED AND EXECUTED BY ARTHUR J. AND G. C. GASKIN, ASSISTED BY W.
BLACKBAND


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