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A 5 page research paper that focuses on two revolutionary theatre set designers. Toward the end of the nineteenth century, two stage designers--Adolph Appia (1862-1928) and Edward Gordon Craig (1872-1966)--"revolted against the scenic practices of the traditional European acting company" (Wild, 2003). In European theatre at that time, scenery presented a two-dimensional box that surrounded the actor on a flat stage. Both Craig and Appia were instrumental in moving set design away from the restrictions of the past and toward a more flexible and imaginative future. Bibliography lists 7 sources.
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5 pages (~225 words per page)
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European acting company" (Wild, 2003). In European theatre at that time, scenery presented a two-dimensional box that surrounded the actor on a flat stage. Both Craig and Appia were instrumental
in moving set design away from the restrictions of the past and toward a more flexible and imaginative future. Both designers, Craig and Appia, objected philosophically to the
idea of a three-dimensional actor standing on a flat floor and surrounded by a vast expanse of painted canvas. Even though set painting were often realistically rendered, Craig
and Appia saw this as an improper setting for a three-dimensional actor (Wild, 2003). As this suggests, their conclusions, although separately arrived at, were remarkably similar. They each published
their controversial ideas in numerous books and periodicals, which collectively provided the basis for the "New Stagecraft," a design philosophy that emphasized set design that focused on simplification and suggestion.
According to these designers, a single gothic pillar could create a complete physical reality in the mind of the viewer (Macgowan and Meintz, 1999). A good example of this principal
is the gothic column that towers above Marguerite in Goethes Faust (Macgowan and Melnitz, 1955). The seemingly solid and massive nature of this column suggests the spiritual force of the
church that, presumably, looms overhead (Macgowan and Melnitz, 1955). Adolph Appia was born in Geneva, Switzerland, the son of Louis Appia, one of the founders of the Red Cross
(Brockett, 1977). In 1886, he saw Tristan Isolde and, for Appia, music and theatre united into a single indivisible reality that forever influenced his artistic perspective. Appias sketches for
his set designs appear in his published works, La Mise en scene du drame Wagnerien (1895), Die Music und die Inscenierung (1899) and LOeuvre dArt Vivant (1921) (Wild, 2003).
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