File:The new spirit in drama and art (1912) (14781159005).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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Text Appearing Before Image:
was completely harmonious. There was but one immense
simple design and movement of the two ; the spasmodic,
jagged, conflicting passages of the one being repeated in the
feverish, resisting lines and intensely dramatic colours of the
other. The fight rages from beginning to end. Here is a
new way of getting rid of the silly tableau scenes and crowds
of stupid supers at our West End theatres. The second
curtain, of which I could find no particulars, apparently
symbolised the return. It was full of the stillness after a
battle. The mystic tongue of flame running through the
entire composition of music and decoration, as though to
beacon the home-coming warriors, the restful lines of the
incoming vessel on the pale green sea, and those of the narrow
gorge formed by the castle and rocks, suggested peaceful
motives and the Eastern mood. It was a Persian ballad
visualised. A further illustration of the innovations in artistic
methods of presentation which are being promoted by M.
Astruc may be found in a consideration of the highly artistic
Text Appearing After Image:
SCENE FROM " CHAGRIN DANS LE PALAIS DE HAN" BY RENÉ PIOT. (THÉÂTRE DES ARTS).
By courtesy of "L'Art Décoratif."

56.


THE NEW SPIRIT IN PARIS 57

but inconclusive production of a mystery play, D'Annunzio's
" Le Martyre de Sebastien." This piece, presented at the Chatelet,
though entirely successful in one direction, was a failure in
another. The whole performance was very consistent and
harmonious from the poet's point of view. Debussy's decora-
tive and indefinably charming music, Bakst's decorations, the
admirable acting of Ida Rubenstein, all combined to repro-
duce D'Annunzio himself. But the poet's conception of
St Sebastien was wrong. The character was bloodless and
effeminate. It was played by a woman. All the lines were
flowing, suggesting effeminacy, whereas they should have been
lines of resistance. The fact is, the poet had not the strength
of the artist. D'Annunzio sees life in sickly mauves, Debussy
in sage greens, while Bakst sees it in virile reds and blues.
D'Annunzio is fascinated by beauty, and expresses hhimself in

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