DOI Heft:
No. 313 (April 1919)
DOI Artikel:Review
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21357#0126
Review
bust of garibaldi [British Columbia Society of Artists—see p. 108) by c. marega
appeared ? A burning question, this, in which conclusions of Dr. Dorpfeld, based as they were
is involved the solution of many problems of on personal excavations on the actual sites
scenic plausibility. With what devices did of the ancient theatres. In fact, Professor
the poets overcome the difficulties of presenta- Flickinger's book presents in lucid fashion
tion when, with a conventional limit of two to the instructed student, as well as to the un-
actors (beyond the chorus, of course), as in initiated, a thorough survey of the most recent
iEschylus's day; or three, as when Sophocles researches into this ever alluring subject,
and Euripides were writing, they had to cast enriched by very ample illustration drawn
twice or thrice as many characters, and the from his own close study of the dramas them-
scene might require the simultaneous presence selves from the point of view of theatrical
of more persons than there were actors at representation. The convincing results of his
disposal ? How, too, did they make acceptable scholarly study of the dramatic technique of
the incongruities of changing emotions with the poets as dictated by the physical conditions
the unchanging expressions of the masks that of the Greek theatre give to the book its special
the actors wore ? These and cognate questions value. Professor Flickinger's scholarship, alive,
are discussed, with wide and alert scholarship as it is, to modern instances, is essentially
and illuminating illustration, by Professor stimulating in its method. It is not often one
Flickinger, in his instructive and eminently finds a University professor, while discussing
readable book. He has digested the views, classic drama, ready to trace analogies in the
often conflicting, of all the latest students, technique of our contemporary playwrights,
tieating with particular respect, especially in It is a live book, and its value is enhanced by
his denial of the raised stage, the authoritative numerous and appropriate illustrations,
no
bust of garibaldi [British Columbia Society of Artists—see p. 108) by c. marega
appeared ? A burning question, this, in which conclusions of Dr. Dorpfeld, based as they were
is involved the solution of many problems of on personal excavations on the actual sites
scenic plausibility. With what devices did of the ancient theatres. In fact, Professor
the poets overcome the difficulties of presenta- Flickinger's book presents in lucid fashion
tion when, with a conventional limit of two to the instructed student, as well as to the un-
actors (beyond the chorus, of course), as in initiated, a thorough survey of the most recent
iEschylus's day; or three, as when Sophocles researches into this ever alluring subject,
and Euripides were writing, they had to cast enriched by very ample illustration drawn
twice or thrice as many characters, and the from his own close study of the dramas them-
scene might require the simultaneous presence selves from the point of view of theatrical
of more persons than there were actors at representation. The convincing results of his
disposal ? How, too, did they make acceptable scholarly study of the dramatic technique of
the incongruities of changing emotions with the poets as dictated by the physical conditions
the unchanging expressions of the masks that of the Greek theatre give to the book its special
the actors wore ? These and cognate questions value. Professor Flickinger's scholarship, alive,
are discussed, with wide and alert scholarship as it is, to modern instances, is essentially
and illuminating illustration, by Professor stimulating in its method. It is not often one
Flickinger, in his instructive and eminently finds a University professor, while discussing
readable book. He has digested the views, classic drama, ready to trace analogies in the
often conflicting, of all the latest students, technique of our contemporary playwrights,
tieating with particular respect, especially in It is a live book, and its value is enhanced by
his denial of the raised stage, the authoritative numerous and appropriate illustrations,
no