DOI Heft:
Nr. 102 (Septembre 1901)
DOI Artikel:Macfall, Haldane: Some thoughts on the art of Gordon Craig, with particular reference to stage craft
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19788#0289
Gordon Craig
springs in one vast broad expanse straight
upwards to the heavens, large and ma-
jestic as the heavens themselves. The
footlights being absent, and the illumin-
ation coming from above, there was flung
down upon Dido's face a gentle light,
which made tragic darks hover below the
finely wrought and massive brows, casting
mysterious gloom about the eye-pits, and
holding the lower part of the features
in shadow that swept into the blackness
of her robes, as she uttered the exquisite
death-song. The dignity and beauty of
this scene, the gracefully poised figure in
the midst of the sternly tragic picture,
and ultimately the majesty of the dead
queen as she lay, fallen back, with up-
turned face towards the vast sweep of
the heavens, made one of the noblest
death-scenes the stage has yielded.
To attain such perfection of stage-craft,
the stage-manager must be an artist.
Here is an art which is completely
national — which contains that great
virile forcefulness, wedded to subtle
taste, that has made our literature what
it is. Our notion of mending is always
design for printed cotton by jessie kilpin (leeds) . __j;__ 0 , . ,
' to go spending. so vulgarity succeeds
to vulgarity. If we had a few stage
maidens of the court are caught in a thunder- managers who were artists and men of large
shower, and group into twos and threes under artistic gifts such as this, the expenses of producing
the upheld shields of the
young warriors, was worthy
to be recorded on canvas.
The decorative effect, the
largeness of it, the swift-
telling pantomime of it, the
black-and-white, all dis-
played that broad, masterly
treatment that we associate
with the great masters in
paint.
It is in the final scene
that the noblest triumph is
achieved. Attended by
her kneeling maidens, the
woe-begone figure of Dido,
wrapped in her black
robes, reclines amidst the
sombre black cushions of
her throne. The discon-
solate woman tells with rare
dignity at the base of the
great lilac background that design for an embroidered bed-spread by Theodore barker (salford)
256
springs in one vast broad expanse straight
upwards to the heavens, large and ma-
jestic as the heavens themselves. The
footlights being absent, and the illumin-
ation coming from above, there was flung
down upon Dido's face a gentle light,
which made tragic darks hover below the
finely wrought and massive brows, casting
mysterious gloom about the eye-pits, and
holding the lower part of the features
in shadow that swept into the blackness
of her robes, as she uttered the exquisite
death-song. The dignity and beauty of
this scene, the gracefully poised figure in
the midst of the sternly tragic picture,
and ultimately the majesty of the dead
queen as she lay, fallen back, with up-
turned face towards the vast sweep of
the heavens, made one of the noblest
death-scenes the stage has yielded.
To attain such perfection of stage-craft,
the stage-manager must be an artist.
Here is an art which is completely
national — which contains that great
virile forcefulness, wedded to subtle
taste, that has made our literature what
it is. Our notion of mending is always
design for printed cotton by jessie kilpin (leeds) . __j;__ 0 , . ,
' to go spending. so vulgarity succeeds
to vulgarity. If we had a few stage
maidens of the court are caught in a thunder- managers who were artists and men of large
shower, and group into twos and threes under artistic gifts such as this, the expenses of producing
the upheld shields of the
young warriors, was worthy
to be recorded on canvas.
The decorative effect, the
largeness of it, the swift-
telling pantomime of it, the
black-and-white, all dis-
played that broad, masterly
treatment that we associate
with the great masters in
paint.
It is in the final scene
that the noblest triumph is
achieved. Attended by
her kneeling maidens, the
woe-begone figure of Dido,
wrapped in her black
robes, reclines amidst the
sombre black cushions of
her throne. The discon-
solate woman tells with rare
dignity at the base of the
great lilac background that design for an embroidered bed-spread by Theodore barker (salford)
256