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Xerox University Microfilms 900 North ZM b Rood Am Alter, Michigan 41108 KRAMER, William Case, 1929- GQRDGN CRAIG: UBER-DIRECTOR, MAJOR INFLUENCES ON CRAIG'S THEORY AND PRACTICE. The Ohio State University, Ph.D., 1974 Theater University Microfilms, A XEROX Company, Ann Arbor, Michigan © Copyright by William Case Kramer 197** THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED. GORDON CRAIGt UBER-DIRECTOR. MAJOR INFLUENCES ON CRAIG'S THEORY AND PRACTICE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By William Case Kramer. B.A.. M.A. ***** The Ohio State University 197* Reading Committee> Approved by Dr. Roy Bowen Dr. George Crepeau Dr. John C. Morrow Advisor Department of Theatre ACKNOWLEDGEMENTS I wish to express sy appreciation to the members of ay committee, Professors John C. Morrow, Roy Bowen, and George Crepeau for their sincere interest, guidance, and perceptive evaluations during this period of research. Each made his own very special contribution. This study was enriohed by a Research Travel Fellowship awarded by , the Department of Theatre of The Ohio State University for study in Europe, under the dynamic leadership of Professor Morrow. For the warm friendship and' materials they have contributed, I am grateful to Gordon Craig's daughter and son, Nelly and Edward Craig. A special thank-you must go to Professor Arnold Rood, a Craig scholar, for his inval­ uable help. And to that most gifted theatre man, Dr. Milton Smith of Columbia University, who first aroused my interest in Craig, I am deeply grateful. Lastly, the invaluable aid, unflagging spirit, and sense of humor of my wife, Lis, have made the completion of this research possible. ii VITA 19*9 B.A.» University of Virginia( Charlottes­ ville, Virginia. *• 1955 M.A., Columbia University, New York. 1955-1961 Assistant Professor, Department of Theatre, Towson State College, Baltimore, Maryland. 196*-196? Associate Professor, Department of Speech and Drama, University of Wisconsin at Stevens Point. 1969-1972 Academic Adviser in University College, Ohio State University, Columbus, Ohio. 1972-1973 Director of Theatre, Madison College, Harrisonburg, Virginia. FIELDS OF STUDY Major Fieldt Theatre Studies in Theatre Historyt Professor John H. McDowell (Ohio State University). Studies in Dramatic Literatures Professors John C. Morrow and John Harold Wilson (Ohio State Univer­ sity), and Walter Scott (Northwestern University). Studies in Directings Professor Roy Bowen (Ohio State University). Studies in Actings Alvina Krause (Northwestern University), Lee Strasberg (Actors Studio). Studied in Technical Theatres Theodore Fuchs (Northwestern University). ill TABLE OP CONTENTS Page ACKNOWLEDGMENTS....................... ii VITA ...................... iii LIST OF ILLUSTRATIONS............................... vli INTRODUCTION..................................... 2 Chapter I. INFLUENCES ON THE NATURE AND WORK OF GORDON CRAIGi ELLEN TERRY AND EDWARD GOD'/IN. 13 II. EDWARD GODWIN'S INFLUENCE ON THE THEORY AND PRACTICE OF HIS SON................... 25 Early Architectural Achievements The Terry-Godwin Family Affair Financial Reverses The Uber-Architect and the Morris Movement The Victorian Japanese Vogue Decade of Theatre Production The Merchant of Venice Other Collaborations As You Like It Helen In Trov III. THE INFLUENCE OF CRAIG'S EARLY ACTING EXPERIENCE, 1889-1897..................... 60 Introduction First Lyceum Season i 1889-1890 First Summer Touri The Haviland and Harvey Company Second Lyceum Season Third Lyceum Season Summer with the Sarah Thorne Company Fourth Lyceum Season and Marriage Initial Experience as Producer-Director Major Roles with the W. S. Hardy Shake­ speare Company iv Chapter Page Depressioni Personal and Professional Major Roles with the Sarah Thorne Company Hamlet and Romeo in London Final Days with Irving at the Lyceum i 1896 Success in the Ben Greet Hamlet in London Acting* Craft or Art? Irving's Misfortunes More Tragedy Despair and a Vision IV. THE EVOLUTIONARY NATURE OF CRAIG'S THEORY OF THE UBER-MARIONETTE 1 1905-1915.......... 112 Introduction The Victorian Theatre Craig's Criticism of the Victorian Actor Economic Conditions in 19th Century England Characteristics of the Star System Reactions to the Star System Imprecision of the Spoken Dialog Effect of the Actor's Personality The Eyelid-School of Acting Realismt The Popularization of Ugliness Rejuvenation of a Decaying Art The Great Abstraction, the Actori A Source Evolutionary Nature of Craig's Uber-Marionette Theory Communication Through Movement 1905i More Than a Puppet 19081 A Dichotomy 19081 Exit the Actori Enter the Marionette 1909t Life-Size Movable Figures 19121 The Marionette as Metaphor Symbolic Theatre of the East 1915i Recantation The Durable Theatre 1 Ritualistic The Perishable Theatre 1 Improvizational Henry Irving 1 Uber-Marionette The Mask-like Face Patterns of Motion Physical Definition of Character « v Chapter Page Y. GORDON CRAIG'S DIRECTIONS TO THE ACTOR......... 18? Cralgt Practical Man in the Theatre* 1889-1928 The Craig 'Pictures' The Craig Screens at the Abbey Theatre* 1911-1951» From Yeats to Bentley Revealing Character with Physical Objects More Ideas for Acting Hamlet Craigt The Actor's Champion The Moscow Art Theatre 'Method' Craig Rehearses Opera Craig Rehearses the Victorian Actor Craig's Directions for Acting Macbeth The Supernatural Elements The New York Macbeth Advice for Playing the Role of Lady Macbeth Costume Selection Is Shakespeare Unactable? The Craft of Acting The Secret of Acting Shakespeare Craig's Final Thought on the Actor* 1963 VI. CONCLUSIONS.................................. 225 APPENDIXES A. DESCRIPTION OP CRAIG'S PROJECT FOR "THE BACH ST. MATTHEW PASSION".......................... 239 B. CRAIG'S LETTER TO KARL MANTZIUS REGARDING THE ISADORA DUNCAN CONCERT......................2<H C. CRAIG'S ANALYSIS OP HENRY IRVING'S ACTING IN "THE BELLS"............................ 2^2 D. CRAIG'S LETTER TO ADOLPHE APPIA REGARDING PLAGIARISM....................................2Mf E. SOME REACTIONS TO CRAIG'S WORK AT THE ROYAL DANISH THEATRE................................ 2*t8 BIBLIOGRAPHY..........................................269 4 I Vi LIST OF ILLUSTRATIONS Plate Page I. Gordon Craig Conferring with the Author* Vence* 1963.......................... • • . 1 II. Gordon Craig at 1 8 .......................... 17 III. Gordon Craig with Daphne Woodward* about 1935* 18 IV. Gordon Craig at 93 with his daughter Nelly* 1965 . ..................... 19 V. Edward A. Craig (Carrick) with Howard Burman and the author ................. 22 VI. Edward Godwin's Japanese Inspired Sideboard* 1 8 6 ? ........................................ 38 VII. Blue Chair Designed by Godwin* 1880.......... 39 VIII. Walnut Cabinet Designed by Godwin* 1876. , , . 40 IX. Piano Painting by Godwin's Associate* Edward Burne-Jones................... 41 X. Gordon Craig as Hamlet* about 1895 .......... 97 XI. The Masked Figures of Clytemnestra and Cassandra in the Tyrone Guthrie production of The House of Atreus. 1967.................... 175 XII. Eric Bentley at the Abbey Theatre* 1951* examines a model of the Craig "Screens" • . • .194 XIII. Craig*8 Design for Lady Macbeth's Sleep- Walking Scene................................ 197 XIV. Leonid Pasternak Drawing of Gordon Craig* Moscow* 1 9 1 2 ..................... 20tt XV. Gordon Craig in 1962* Fifty Years After His Historic Production of Hamlet at the Moscow Art Theatre............... .205 vii Plate Page XVI. Program Cover of the Craig New York Macbeth.
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