Studio: international art (83.1922)

THE ART OF THE THEATRE

AmongThem are several of Lovat Fraser's
models for u The Beggar's Opera." In
this section the stage settings and costume
designs, by Robert Edmond Jones, which
were lacking in Amsterdam, materially
strengthen the American contribution and
prove the advance which stage decoration
and lighting have made across the
Atlantic. 00000
Stage costume designing was notably
represented in Amsterdam, in the English
section, by Norman Wilkinson and Albert
Rutherston. In London it is still further
representative by including Percy Anderson,
whose wonderful sense of colour and
originality of design have done so much
for that side of theatrical production over
a period of some thirty years. 0 0

Naturally the work of Gordon Craig
will be quickly picked out and carefully
studied. His abstract methods have less
concern with reality than with the
psychological effect on the spectators.
This, indeed, seems to be the trend of

modern Theatre Art, and suggestion will
continue to play a more important part
than mere decoration. The Theatre is
the temple of ideas, and ideas are in-
spirations (another word for suggestions).
Art which generates no emotion is mere
dead fruit—especially when applied to
the theatre. It is a known psychological
fact that a crowd of human beings cannot
reason beyond the emotions raised at the
moment. But the individuals, when
detached from the mass formation, can
formulate thoughts from the emotions
previously experienced. That is the
higher aim of the theatre. The seeds of
ideas are not only gained from the author;
he is largely successful by the aid of the
artists who, as it were, paint in the lights
and shades of his canvas and produce the
right atmosphere. That is the work of
the varied designers—scenic artists, elec-
tricians, etc.—who must go hand in hand,
one with the other. Unison is the main
factor. In an exhibition like that at South

STAGE SETTING FOR “ MACBETH/' ACT I
SCENE I. BY FRITZ, SCHUMACHER

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