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Cail for estimate IREDALE Fireproof Warehouses * - ~ -rt-'r*-lWý UNI. 9300> WILMETI'E 1332 -W[NNETKA 1332 Exhibition: of Theater Art Holds A ttention ofLocalDrama.Loyers Galleies in Chicago Pro vide Remnarkable Dis pIay By CIaraé MaeGowan (Northuiestern university). This summer, like that of 1933, will be remembered by art loyers of Chi- cago and vicinity for its significant and cnriching' art exhibits. While the Art institute was the one immenseiy outstanding art event of last year, this year, besides janother extraordinary exý hibit at the institute and a marvelous, show of Mexican art at the Mexican village, there are two new and widety different art exhibitions now being held in Chicago. Both corne from the Mu- seum of Modemn Art of New York. One is the important display of modern machine art, currently on view in the Museum of Science and Industry, S7tb street and Lake Michigan, Jackson park. The other is the compelling Internation- al Exhibition of Theater Art, admir- ably shown in the galleries at 26 South Michigan avenue. It is this show-the subi ect of this review-that is proving to be the source of such' tremendous interest to drama and theater loyers. This is paritcularly true of the north shore where there are so mnany groups intensely-devoted to the theater. Epoch-Making Event This great international collection of costumne designs, elevations, for sets and models is a magnificent interpreta- tion of the theater, that meeting place of man's idreative arts and that embodi- ment of bis imaginative life. In gather- ing together such a show, Lee Simonsota, one of America's.great stage designers and authorities in this field, bas acbieved an epoch- akýng event. Beginning at the l6th century with thie theater art of the Renaissance and Baroque and covering the time front this period to the present, both in Eu- rope and Amerîca, the exhibition con- sists of over 700' entries. Even produc- tions of last year are to be seen. To observe how the art of the theater mir- rors sympathetically the ideals of kings and queens, the dreams of architects and dramatists, and the prohlernis of down-trodden classes is, to experience a rare treat. Feature Stage Design The revival of classical styles 'i architecture of the Renaissance brought about among other things a by-product -stage design (based on that archi- tecture). Pictorial stage settings Whic!i began with an illusion of perspective still persists in many present*day vaude- ville productions. The standard settings for tragedy and comedy were archi- tectural manipulat ions: the problem was to achieve a combination of snch con- structions as columns, steps, etc., sup- plemented with painting -in perspective, ail arranged to render the spaciousness of a public meeting place on a stage 17 feet deep. These early Italian, stage designers ofthe Renaissance aimed to produce settings that were, in the words of the comimenitator, Vasari, "real and of niolteextenit.'ý Gradually thiese solid forms were elim-, inated and the eniphasis was. directed upon pain ted effeçts. tihis tendency con- tinued until the mniddle of the 19th cen- tury wvhen scenic design, ëas Simnonson points ont, "degenerated 'into lifeless litcralism." Indeed, so intensified had becorne this practice that on one ocvli sion, George II, Duke of Saxe-Mein- ingeri (1826-1914), ordered actors not. to stand too close t'O the perspective backdrop where a "hip might be on a level with a first story window, or an elbow touch a cb.imney or a roof top." It was this man who, regarding the actor as an integral element of the stage setting and making drawings to satis- fy this idea, is. given the honor by Simonson as tbe first Pioneer forerun- ner of the modern the ater.. Previous to him, however, Inigo Jones (1573-1652). of England developed a stage setting wherein queens, princes and lords recited Ben Jonson's lines or participated in stâtely dances. Six spleni- did elevations in color by Jones, ihis- trate with great charm theater history of tbis period when puritanicai forces ail but demolished the thieater in Eng- land. Jones' masque designs, however. reveal that he had been influenced by Italian opera of bis day. Genius in hi> own right, this artist' had definitely English expression, that of bis delight- fui foliage and trees and palaces. Through him England learned of paint- ed scenery. In Sweden, Louis jean Desprez (1743- 1804), a Frenchmen who became archi- tect, scuiptor and designer for plays and festivals to King Gustavus 111II, spon- sored during the latter part of the 18tli, century the Drottningholnt-theter. This~ now world-famous theater in Stock- holm, discovered by Dr. Agne.Beijer in 1920, remains intact today, even to wooden stage rnachinery and candle foot lights. Desprez was certainly pro- gressive, introducing innovations i stage design that made the intimate royal theater outstanding. [t was thv( finest theater of its time. 14ghtiflg Pa-oduces problem With respect to stage design up to and. including this period, one must keep in mmmd the tact that candle- light wvas used. Painted perspective ini architecture and landscape was thus sof tened and appeared to. much better advantage. 1'The introduction in the l9th century of gas light, and still later electricity, started the trou- ble. The illusion of depth, the prime reason for using this method of stage design, was completely lost, and the stage, acquiring a, jumbled up and- smothered aspect, defeated its own object. As already indicated, it was George II, Duke of Saxe-Meinengin, who changed this situation during the dec- ade of 1870 and after. '1 he next pio- neer of the modern theater was Adolphe Appia (1862-1923). His important contribution was the use of light itself as the plastic medium. Not the painted scenery, nor its col- ors were important to han, but rather how light was retlected from the set- ting. His world famous stage designs for WVagner's operas, many of tneni to be seen in this exhîbît, have an overpower ing element of, mystery, together with a frank statement oi tliree dimensional forms. Show Works of Conteniporarie& Following Appia corne the out- s t a' d i ng conitemporary« designers such as Gordon Craig of England, Reinhardt of Germany, Strniad of Austria, Soudlekine ot Russia, Co- peau ofFrne Ruidin oi Soviet Russia, Ahren of Sweden, Chiricoo f ltaly and many others. Iii.Arnerica Normen Bel Geddes, Lee Simonson, and ýRobert Edmnond Jones have (loue' equally original1 work. Trhe range and character of. this modern expression in thcatcr art are rcmark- abie, achieviiig effect that one cannot forget. Inu particular, the model stage I)y Geddles is prophetic of one possibility for the future American theater. But most impressive. of ail modemn 1work are the actual models of post- contemporary Russia that the theater is Most intensely aive. For among