DOI Heft:
No. 322 (January 1920)
DOI Artikel:The art of the theatre: the designs of W. Bridges Adams
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21359#0163
THE ART OF THE THEATRE
'A POOR GENTLEMAN’S COTTAGE IN THE WOODS
(ACT IV OF "THE LOVING HEART," NEW THEATRE,
igi8). BUILT AND MODELLED WITH SET TREE, ROWS
AND PANORAMA. DESIGNED BY W. BRIDGES ADAMS
be reformed by revolutionary methods in
scenic settings, although he acknowledges
his great admiration for much that has been
done in this way of modern decor. Desir-
able as panoramas and built firmaments
are, bad as the conventional lighting in-
stallation is, he would very much rather,
were the choice offered to him, spend
the money on salaries for first-rate actors
and fees for first-rate authors than on
even such very necessary reforms as these.
Speaking as one of them, he seems to think
that some of our newer scene-designers
have to some extent blundered in attaching
an undue importance to the part they play
in the Art of the Theatre. For to him the
art of the theatre has always been the art
of acting. The degree to which the
designer, the choreographist, the musician,
and the other people whose assistance is
necessary may be permitted to express
themselves individually without detriment
to the ensemble is of course a question
that must be considered afresh for every
production. But, as a general rule, he is
of opinion that it may be said to be the
decorator's first duty to make the majority
of the audience feel at home with the play
as quickly and in as simple and unobtrusive
a manner as possible. 000
Mr. Adams attributes the real trouble of
the scene-designer to the fact that if he is
anything more than a mere hack, he is
probably a good artist. Now it is always
irksome to a good artist to concern himself
with what is only an applied art. That is
why the tendency of the first-rate scene-
painter (or, if he is of the younger genera-
tion, he may prefer to be called the
decorator) is invariably to turn out some-
thing which covers himself with honour
and glory, but ipso facto destroys the actor
by obstructing and even (in some cases)
superseding him. 0000
Mr. Adams has the courage of his con-
victions and practises what he preaches.
He is convinced that a return to the old-
fashioned practice (which he invariably
adopts wherever he can) of having one's
own scenic artist working in the theatre, so
157
'A POOR GENTLEMAN’S COTTAGE IN THE WOODS
(ACT IV OF "THE LOVING HEART," NEW THEATRE,
igi8). BUILT AND MODELLED WITH SET TREE, ROWS
AND PANORAMA. DESIGNED BY W. BRIDGES ADAMS
be reformed by revolutionary methods in
scenic settings, although he acknowledges
his great admiration for much that has been
done in this way of modern decor. Desir-
able as panoramas and built firmaments
are, bad as the conventional lighting in-
stallation is, he would very much rather,
were the choice offered to him, spend
the money on salaries for first-rate actors
and fees for first-rate authors than on
even such very necessary reforms as these.
Speaking as one of them, he seems to think
that some of our newer scene-designers
have to some extent blundered in attaching
an undue importance to the part they play
in the Art of the Theatre. For to him the
art of the theatre has always been the art
of acting. The degree to which the
designer, the choreographist, the musician,
and the other people whose assistance is
necessary may be permitted to express
themselves individually without detriment
to the ensemble is of course a question
that must be considered afresh for every
production. But, as a general rule, he is
of opinion that it may be said to be the
decorator's first duty to make the majority
of the audience feel at home with the play
as quickly and in as simple and unobtrusive
a manner as possible. 000
Mr. Adams attributes the real trouble of
the scene-designer to the fact that if he is
anything more than a mere hack, he is
probably a good artist. Now it is always
irksome to a good artist to concern himself
with what is only an applied art. That is
why the tendency of the first-rate scene-
painter (or, if he is of the younger genera-
tion, he may prefer to be called the
decorator) is invariably to turn out some-
thing which covers himself with honour
and glory, but ipso facto destroys the actor
by obstructing and even (in some cases)
superseding him. 0000
Mr. Adams has the courage of his con-
victions and practises what he preaches.
He is convinced that a return to the old-
fashioned practice (which he invariably
adopts wherever he can) of having one's
own scenic artist working in the theatre, so
157