Theatre Arts, Volume 2Sheldon Cheney, Edith Juliet Rich Isaacs Theatre Arts, Incorporated, 1918 |
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Sheldon Cheney, Edith Juliet Rich Isaacs. Maurice Browne 1921 MAGAZINE An Illustrated Quarterly EDITED BY SHELDON CHENEY VOLUME II.
Sheldon Cheney, Edith Juliet Rich Isaacs. Maurice Browne 1921 MAGAZINE An Illustrated Quarterly EDITED BY SHELDON CHENEY VOLUME II.
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Sheldon Cheney, Edith Juliet Rich Isaacs. MAGAZINE An Illustrated Quarterly EDITED BY SHELDON CHENEY VOLUME II NEW YORK 1917-1918 Copyright 1917 , 1918 by Sheldon Cheney 822.95 7345 V. THEATRE ARTS.
Sheldon Cheney, Edith Juliet Rich Isaacs. MAGAZINE An Illustrated Quarterly EDITED BY SHELDON CHENEY VOLUME II NEW YORK 1917-1918 Copyright 1917 , 1918 by Sheldon Cheney 822.95 7345 V. THEATRE ARTS.
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... and let the artists come in : such are the aims of THEATRE ARTS MAGAZINE . " And finally we repeat : " We intend not to be swallowed by the movies . " S. C. Model by Lee Simonson for Act II of Gluck's opera Foreword for Volume Two.
... and let the artists come in : such are the aims of THEATRE ARTS MAGAZINE . " And finally we repeat : " We intend not to be swallowed by the movies . " S. C. Model by Lee Simonson for Act II of Gluck's opera Foreword for Volume Two.
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... Gluck's opera Iphigenia in Tauris . The columns are of terra otta color , their bases blue . The background is a ceeper indigo blue , with frieze of fighting gods in red . Volume II Copyright , 1917 , by Sheldon Cheney DECEMBER.
... Gluck's opera Iphigenia in Tauris . The columns are of terra otta color , their bases blue . The background is a ceeper indigo blue , with frieze of fighting gods in red . Volume II Copyright , 1917 , by Sheldon Cheney DECEMBER.
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Sheldon Cheney, Edith Juliet Rich Isaacs. Volume II Copyright , 1917 , by Sheldon Cheney DECEMBER , 1917 Number 1 The Painter and the Stage By LEE SIMONSON I THE importance of scenery is the importance of a background . Without its ...
Sheldon Cheney, Edith Juliet Rich Isaacs. Volume II Copyright , 1917 , by Sheldon Cheney DECEMBER , 1917 Number 1 The Painter and the Stage By LEE SIMONSON I THE importance of scenery is the importance of a background . Without its ...
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achieved actors æsthetic amateur American theatre appeared art theatres Arthur Hopkins audience background beauty bill brilliant Broadway CHARLES RANN KENNEDY Chicago Little Theatre City color comedy commercial theatre costumes Crafts criticism curtain dance decoration Detroit director drama Dunsany effect Egmont Arens Erik Satie experimental theatre expression farce George George Jean Nathan Gordon Craig Greek Greenwich Village Theatre ideal ideas interest Isadora Duncan issue Jacques Copeau Lee Simonson light little theatres Lord Dunsany marionettes Maurice Browne ment Miss modern movement offerings one-act plays Opera House organization painter painting performance pictorial picture playhouse playwright poetic poetry present production Provincetown Players published puppets realistic repertory Robert Edmond Jones Rollo Peters scene designer scenery season Sheldon Cheney sincerity sort stage settings stage-craft successful Susan Glaspell THEATRE ARTS MAGAZINE Theatre in December theatrical thing tion tragedy volume Washington Square Players West 42nd Street York
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Página 23 - ... modern school of ballet — wherein each action is an end, and no movement, pose, or rhythm is successive, or can be made to evolve succeeding action — is an expression of degeneration, of living death. All the movements of our modern ballet school are sterile movements, because they are unnatural ; their purpose is to create the delusion that the law of gravitation does not exist for them.
Página 81 - ... ultimately reach a place where it helps mankind to a better human understanding, to a deeper social pity and to a wider tolerance of all that is life...
Página 82 - ... production. What was originally experimental has now become a fixed method, and I hope definitely to demonstrate that there is a way to insure invariably the projection of nearly all the values a play may possess. From the very beginning I had an abhorrence of all that is generally termed theatric. It seemed cheap and tawdry, the trick of the street fakir. I thought for a long time that my prejudice was personal and not well founded. But, finally, all protest and all new seeking began naturally...
Página 85 - new" scenery, much has been said and written, and most of it beside the point. One's position in the matter is entirely determined by which mind he thinks the stage has to do with, the conscious or the unconscious. Realistic settings are designed wholly for conscious appeal. An attempt at exact reproduction challenges the conscious mind of the audience to comparison. Comparison of the scene as it is offered with the auditor's conscious knowledge of what it is supposed to reproduce. If a Childs Restaurant...
Página 23 - It is not only a question of true art, it is a question of race, of the development of the female sex to beauty and health, of the return to the original strength and to natural movements of woman's body. It is a question of the development of perfect mothers and the birth of healthy and beautiful children.
Página 3 - To help conserve and develop creative impulse in the American theatre ; to provide a permanent record of American dramatic art in its formative period ; to hasten the day when the speculators will step out of the established playhouse and let the artists come in : such are the aims of THEATRE ARTS MAGAZINE.