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September 1922 Fil Vol. LI I CONTENTS Serial No. 3 SEPTEMBER, 1922 No. 288 Page "TOWARDS A NEW THEATRE." 171 By Claude Bragdon, F. A. I. A. Being a Description with Commentary of a New Type of Theatre Building, designed by Norman-Bel Geddes THE PHI DELTA THETA FRATERNITY HOUSE, Cor- nell University, Ithaca, N. Y.: William McLeish Dunbar, Architect - - 183 By Albert C. Phelps. THE KENSINGTON SCHOOL, Great Neck, L. I. : Wesley Sherwood Bessell, Architect 198 By Harold Donaldson Eberlein. PORTFOLIO OF CURRENT ARCHITECTURE - - 211 THE OLD HOUSES OF MICHIGAN - - - 227 By Fiske Kimball. THE ARCHITECT AS A FACTOR IN THE CONSTRUC- TION BUSINESS - - 241 By Thomas S. Holden, Statistician, The F. W. Dodge Company. NOTES AND COMMENTS 245 COVER Water Color by Otto Eggers Editor: MICHAEL A. MIKKELSEN Business Manager: J. A. OAKLEY Contributing Editors: GEORGE BURNAP HERBERT CROLY RUSSELL F. WHITEHEAD PUBLISHED MONTHLY BY THE ARCHITECTURAL RECORD COMPANY 115-119 WEST FORTIETH STREET, NEW YORK T. 8. MORGAN, Pres. M. A. MIKKELSEN, Vice- Pres. B. S. DODGE, Vlce-Pres. J. W. FRANK, Sec'y-Treas. Yearly Subscription: United States, $3.00; Foreign, $4.00; Single Copies, 35 cents. Copyright, 1922, by The Architectural Record Co. All rights reserved. Member Audit Bureau of Circulation. - - r A scene from the first act of Mr. Geddes' "Erminie" production, transported without change to his new type of theatre. Every spectator sees everything on the stage at all times. The entire scene yields a sense of luminous space and distance impossible in the existing type of stage. The point of sight in this drawing is from the seat farthest from the stage. one hundred seventy " TOWARDS A NEW THEATRE " BY CLAUDE BRAGDON, (FA.I.A) a Being a Description With Commentary of New Type of Theatre Building designed by Norman-Bel Qeddes has contributed little to greater freedom of position and move- AMERICAmodern dramatic literature the ment: up and down, back and forth, as best plays of recent years have well as to right and to left. been importations. There are, however, But the greatest liberation they would certain individuals working in our theatre accord to the dramatist. The playwright or more often outside it, beating at its brought up in the school of the theatre doors in vain who are concerned with is accustomed to limit himself to one or what has come to be called the art of the two scenes to an act, or to a single scene theatre, and such of their stagecraft as throughout an entire play. He takes they have succeeded in presenting has these restrictions so much for granted won for them an acclaim frequently de- that (unless reminded by Shakespere and nied to the actor and the dramatist. They the Elizabethans) he thinks of them as in- have brought about this strange inver- herent in the dramatic form, instead of as sion of values without in the least in- imposed by the form of the modern thea- tending to do so, simply by the force of tres. Unconsciously also he confines him- their sense of beauty their superior self to what he knows can be represented consciousness. by means and methods with which he is These artists, in spite of an unlooked- familiar he clips the wings of his imag- for initial success, so far from being con- ination to keep it in the barnyard, as it tent or complacent, are in revolt not only were. In brief, the modern dramatist, against existing conditions, but against without himself realizing it, has come the physical limitations of the theatre it- to think of the drama in terms of stage self. What they are coming to desire and representation, with the result that his discern is a new and different theatre; creative imagination is not stimulated into and this not so much for the use that activity by. the flux of life. Inevitably they themselves might make of it as for writers of more untamed imagination and the sake of the audience, the actor and dearer lovers of life have sought an out- the dramatist. let through the more flexible form of the For the audience they seek a closer novel, the tale. communion, one with another; a fuller Now the release of audience, actor, participation; increased facilities for see- or dramatist from the restrictions imposed ing, hearing and enjoying; a sublimation by the existing type of proscenium or of the emotions and the imagination "peep-show" theatre, is not, of course, go- through new modes of sensuous appeal. ing to re-create the drama. That rena- For the actor they seek release from scence depends on the movement of con- the limits of his proscenium picture sciousness and upon that alone. As long that of frame, where he appears remote, flat, an as the theatre temple the human continues to be as "a real image moving in a pool of light like a spirit regarded fish in an aquarium. They would restore estate proposition" and is exploited as him to the world of solids, of three-di- such, no flower of the spirit will bloom or mensionality, by enabling him to be seen flourish there. No fact is better estab- - "in the round"; they would accord him lished than that the money getting one hundred seventy-one THE ARCHITECTURAL RECORD. consciousness is aesthetically sterile. have revolutionized European stagecraft But evidences are not lacking of a (in its finer manifestations) and even in- transformation of consciousness, of the fluenced its drama are completely un- pressure, both without and within the known in the modern American theatre, theatre, of a fresher and more abundant wherein the comfort of the playgoer has life. Because the artists to whom I have been increasingly considered, but the con- referred feel in themselves this pressure, venience of all back-stage functionaries, because they believe in "a fount about to including the actor's, has been consid- stream,'' they want to fashion a more ered less and less. To sum it all up in perfect vessel for the poured out creative a phrase, there has been no intention of energy when that fount shall be unsealed. consciousness upon the fundamental It is not their idea to abandon the pres- physical problems of the theatre from ent form of theatre altogether or all at any other point of view than that of once. The proscenium- frame theatre is monetary gain. (naturally) perfectly adapted to that Such being the situation, any new dramatic form which has been adapted to solution of the problem of the theatre it, but it is ill-suited to the presentation building should be of interest, and the of Greek or Elizabethan drama, and to solution here presented has a unique im- such plays as would give free range to portance, because it is the contribution of the imagination of an author accustomed Mr. Norman-Bel Geddes, a man deeply to the liberty afforded by the novel or immersed in the existing theatre, but at even of the cinema. Least of all would the same time deeply desirous of that the picture- frame theatre prove adequate other theatre which exists as yet only in for a new type of dramatic representa- the ardent dreams of those who feel the tion altogether one which is shaping it- pressure of a beauty which is new. self in the minds of those dedicated to Mr. Geddes' plans are presented with- the discovery of new possibilities of emo- out change, just as they came from his tional expression in song, in mobile color, hand. Because he is neither an architect in pantomime and in the dance. Some nor an engineer they must needs be synthesis of all these elements some in- dealt with from the standpoint both of spired binding of them all together might design and structure before they achieve lead to a new art form: the art of the their final synthesis. Such matters as heat- theatre par excellence. ing, plumbing, ventilation, remain uncon- To gain some idea of the grounds for sidered; the question of safety has been the deep dissatisfaction with the existing kept constantly in mind, but not as safe- (physical) theatre cherished by those who guarded by building ordinances framed know it best, glance at it for a moment for an entirely different type of theatre. with their eyes. It is convenient, com- These plans, which are developed con- fortable, even luxurious as to its audi- siderably beyond the "preliminary sketch" torium the box-office side; but on the stage, were presented by their author at a seamy side of the asbestos curtain there meeting of the Architectural League of has been no substantial improvement, but New York; and when it broke up, after rather retrogression from the theatres an animated discussion which lasted till of an earlier day by reason of the saving after one o'clock in the morning, the con- of space made necessary by high building sensus of opinion appeared to be that costs and increased ground rents. The Mr. Geddes' plans were practicable, shallower the floor not at all and stage has been made ; structurally unsound, trap, the painting bridge, the green-room aesthetically full of promise. the rooms The theatre is an urban in- have been eliminated ; dressing essentially stitution it flourishes best the tide have been crowded aloft, and, superim- ; where posed, are reached only by endless flights of life flows strongest and consequently of narrow, noisy iron stairs. The many where land values, rents and taxes are ingenious mechanical devices and felici- highest. Any theatre scheme must there- ties of operation and arrangement which fore take into consideration the economic one hundred seventy-two ,/CAU? 'THEATRE MUMDEMX aspect of the problem first of all.
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