Sheldon Cheney's Theatre Arts Magazine by Toten Beard DeAnna M.;

Author:Toten Beard, DeAnna M.;
Language: eng
Format: epub
Publisher: Scarecrow Press
Published: 2010-08-15T00:00:00+00:00

Notes

1. Sheldon Cheney, The New Movement in the Theatre (New York: Mitchell Kennerly, 1914), 42.

2. In 1914, war broke out in Europe. The American people, isolated from conflict by two great oceans, were overwhelmingly willing to stay safely uninvolved. In 1916, as fighting escalated, President Woodrow Wilson ran his reelection campaign with a promise to stay out of the war. When the U.S. did enter the Great War, on April 6, 1917, the country’s cultural isolation came to a definitive end. As Ronald Wainscott writes: “Once the Atlantic had been transversed by so many American neophytes (soldiers, nurses, and entertainers) the European artistic and cultural changes that had been developing since the 1880s infiltrated the isolationist and artistically conservative United States.” [The Emergence of the Modern American Theater 1914-1929 (New Haven, Connecticut: Yale University Press, 1997), 5]

3. These important expressions of Appia’s ideas were not translated from German to English until 1962. Interestingly, Appia’s first language was French, and much has been made by translators of the linguistic difficulties of Appia’s German text.

4. Adolphe Appia, “Music and the Art of the Theatre,” in Adolphe Appia: Texts on Theatre, ed. Richard Beacham (London: Routledge, 1993), 51.

5. Huntly Carter, “Wartime Theatres of England and France,” Theatre Arts Magazine, August 1917, 158.

6. The work of Dalcroze greatly influenced American ideas of modernist dance and theatre and Theatre Arts Magazine frequently carried articles on the topic. Today, Dalcroze’s system continues to be taught by a small group of trained instructors in the U.S.; it is frequently used as a method of holistic music training for young people.

7. Appia designed a large performance hall for Hellerau which hid the orchestra from view and contained no architectural divisions between audience and performer. He also collaborated with Russian painter Alexander von Salzmann to develop a lighting system for the great hall. Together they found ways to create the glowing diffused light and active, or plastic, light Appia had envisioned. Two summer festivals were held at Hellerau, in 1912 and 1913, and productions under the guidance of Appia and Dalcroze were presented at both. When the war began, Dalcroze closed the school at Hellerau and relocated to Geneva. For excellent descriptions of the productions at Hellerau, see Richard Beacham, Adolphe Appia: Artist and Visionary of the Modern Theatre (New York: Routledge Press, 1994).

8. His two major texts, The Work of Living Art and Music and the Art of the Theatre, were not published in English translation until 1960 and 1962 respectively, the original versions of these texts having never been widely available in Europe or America. Several of his later and more extraordinary essays on performance were not published at all until 1989. Richard C. Beacham’s edited collection Adolphe Appia: Essays, Scenarios, and Designs (Ann Arbor: UMI Research Press, 1989) contains many essays dated after 1905 which had never before been published in any language.

9. Kenneth Macgowan, The Theatre of Tomorrow (New York: Boni and Liveright, 1921), 78.

10. Craig’s first designs were seen on the stage in a 1900 production of Dido and Aeneas.

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