Identifier: newspiritindram00cart (find matches)
Title: The new spirit in drama & art
Year: 1912 (1910s)
Authors: Carter, Huntly
Subjects: Theater Impressionism (Art)
Publisher: London : F. Palmer
Contributing Library: University of California Libraries
Digitizing Sponsor: Internet Archive

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ve already shown how Shakespeare travelledto the Continent with his idea of simplicity, which in thecourse of time Germany discovered and is now applying.Germany has also discovered the Shakespearean time-savingdevice of alternate stages, employed at a period when therevolving stage was unknown in England. In this way, then, the big theatres, of Europe are searchingwith an open conscience for the perfect Shakespearean stageand setting. And at the Shauspielhaus, Berlin, at the BurgTheatre, Vienna, at the National Theatre, Buda-Pesth, whereShakespeare is perfectly interpreted, some interesting experi-ments have been the result. The Royal Opera House atMunich has adopted one type of New Shakespeare Stage,namely, that which consists of fitting a deep immovableframe to the front part of the stage, leaving a cramped spaceat the back, which necessitates the reduction of the walls,furniture, etc., to the simplest elements. Wagner is alsorepresented at this theatre under the same conditions of
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ABU.NDANCl-.. KV LK FAUCONNIER. THE NEW SPIRIT IN BUDA-PESTH 167 setting. One type of simplified Shakespearean stage consistsof three parts—front, middle, back,—divided by two curtains.The front stage unites with the first curtain to form exteriors.The middle stage unites with the second curtain to forminteriors. The back stage, when both curtains are raised,forms the background or perspective. This stage servesfor all the Shakespearean plays. In pursuit of his own object, Mr Kemendy has adapted themain idea of the stage of the Old Swan Theatre. This play-house, like the Globe and Fortune, was built on a simple plan.The stage was merely a platform extending as an apron to thecentre of the pit. The spectators were seated almost roundit, except at the narrow point, where it was joined to thetiring-house. The stage had no proscenium arch, no flies orwings. Mr Kemendy has constructed a simple framework,consisting of an upper and lower part. Each part has threeopenings—a centre and t

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