File:The new spirit in drama and art (1912) (14778792624).jpg

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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d, the window balancingthe fireplace, the furniture, etc. Even the grains of woodworkcontributed to the wonderful sense of movement. The lightingwas cleverly worked from the centre of the stage. Indeed,the lighting effects throughout were extremely ingenious,though ruined by obsolete contrivances. Rhythm andvibrating atmosphere were very cleverly got in the secondscene by means of a vast golden backcloth fretted withrevolving lines. The Palace of the Fairy, which with itsfine colour scheme of yellow and red, and a black and goldprofile flight of steps, against which the coloured figuresmoved, made the Haymarket scene insipid by comparison.It was a favourite idea of the decorator to move his figuresagainst a black and gold background. A similar attempt toget rhythm was also discernible in the fretted and swayingtowering columns of the very imaginative Kingdom of theFuture, where also an interesting mystical effect was obtainedby the use of a gauze lowered on the footlights. This scene,
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COSTUME FOR LE CHAGRIN DANS LE PALAIS UE HAN BY RENfcl By courtesy of ^ LAri Dicoratif. PIOT. (Theatre df.s Arts.) THE NEW SPIRIT IN PARIS 51 with its air of glittering mystery, its curving vaults, itswonderful suggestions of space and infinity, was exquisite.The balancing of colour was not so successful. Apparently thedecorator occasionally misses colour. For this reason a greatdeal of the interest of a very wonderful scene was lost.Devant le Rideau, as it is called, was a magnificent flatcomposition on a backcloth, consisting of a simple outlinedrawing of a castle with a vast flight of steps. On eitherside of the pale bluish stonework was a large, flat, wash-greensky, with parallel arms of crimson gold to relieve it. Placedon the lowest step of the castle were a number of figuresdressed in colour. But the colours were not pure, and didnot balance the rest of the composition. The same fault wasnoticeable in all the colour arrangements. One colour, red,alone stood out clear and full.

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