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Edward Gordon Craig's Theory of the Theatre As Seen Through 'The Am Sk' Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1955 Edward Gordon Craig's Theory of the Theatre as Seen Through 'The aM sk'. Dallas Stephen Williams Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Williams, Dallas Stephen, "Edward Gordon Craig's Theory of the Theatre as Seen Through 'The askM '." (1955). LSU Historical Dissertations and Theses. 117. https://digitalcommons.lsu.edu/gradschool_disstheses/117 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. Edward Gordon Craig's Theory Of The Theatre As Seen Through The Mask A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Mechanical College in partial fulfillment of the requirem ents for the degree of Doctor of Philosophy in The Department of Speech > y Dallas Stephen W illiams B.A. Louisiana State Normal College, 1935 M.A. Louisiana State University, 1937 August, 1954 EXAMINATION AND THESIS REPORT Candidate: Dallas -Stephen Williams Major Field: Speech Title of Thesis: Gordon Craig*s Theories of the Theatre As Seen Through The Mask Approved: Major Professor and Chairman Dean uate School EXAMINING COMMITTEE: Date of Examination: AxLgagt 4> 1954 ACKNOWLEDGEMENT The writer wishes to express appreciation particularly to Dr. C. L. Shaver for his encouragement and counseling throughout the preparation of this study. He wishes also to acknowledge the guidance and assistance of Dr, C. M. Wise and Dr. G. W. Gray in reading the text in proof, and for suggestions and corrections. He should like to thank the members of the Reference Depart­ ment of Hill Memorial Library for their helpful assistance in finding source m aterial for the study. ii TABLE OF CONTENTS PAGE ACKNOWLEDGMENTS.................................................................................... ii A B S T R A C T • . iv INTRODUCTION ....................................................................................................vi CHAPTER I. EDWARD GORDON CRAIG ........................ 1 II. THE MASK ............................... 22 III. CRAIG'S THEORY-AND PRACTICE OF SCENE DESIGN . 85 IV. CRAIG'S THEORY OF ACTING ....................................................... -209 V. CONCLUSION ............................................................................................246 BIBLIOGRAPHY .................................................................................. 253 VITA ................................................................... 256 iii ABSTRACT The object of this study is to present an analysis and inter­ pretation of Edward Gordon Craig’s theories of the theater as seen through The Mask, written alm ost exclusively by Craig and published at Florence, Italy, from 1908 through 1929. Craig’s theatrical theory as developed in his books have been the subject of various studies. Up to this time, however, no one has attempted to pursue a compre­ hensive study of his theory as presented in The Mask. Taking Craig’s theory of the theater as the focal point of the study, the textual m aterial in The Mask falls into two classifications: (1) theory of the stage scene which includes scenery, costumes, lighting and movement, and (2), theory of acting. Since Craig’s major influence and contribution to the modern theater has evolved from his work in scene design and production methods, his theory of the stage scene receives the chief emphasis in this study. Craig’s criticism s of the twentieth century theater have been presented in some detail to compare and contrast his theoretical’concepts with the theater of his time. Craig brought to the theatre a new concept of theatrical pro­ duction as one integral, harmonious art. He started a reaction against distracting naturalism in setting, in lighting, in costuming, in acting, that has become a vital aspect of the theater of today. He established a new trend in theater architecture which established a greater com­ munion between actor and audience. His provocative essays stimulated the development of a new art form, the aesthetic drama, which achieved its effects largely through the theatre artist's decorative use of line, form, mass, rhythm and movement. INTRODUCTION At the turn of the twentieth century, a wave of revolt broke into the established theatres of Europe, England and America. The chief motivating force of the revolution was the dissatisfaction with the traditional theatre forms in production techniques and play com­ position. The name usually applied to this theatre revolt is The New Art Theatre Movement, and its leaders are referred to as the insur­ gents of the new art theatre. The names of the playwriting insurgents are well known to students of modern drama. To name a few, there were Ibsen in Norway; Galsworthy, Barrie and Shaw in England; Maeterlinck in Belgium, Rostand and Brieux in France; Strindberg and Hauptman in Germany; Mackaye and O'Neill in America; and Checkov and Tolstoi in Russia. These playwrights sought wide sweeping reform s in dramatic structure which would free the writing from the artificial conventions and outworn methods in plot construc­ tion, character delineation and dialogue composition. Their revolt centered in a desire to write an intensive drama dependent upon character-development and development of idea through story, and appealing to the emotions and intellect. Their aim was to write a v drama divorced as far as possible from visual and sensuous appeal, affording deep emotional experience and intellectual stimulus. * *• The second aspect of The New Art Theatre Movement found its expression in a protest against the realistic methods of the pic­ torial and naturalistic methods of theatrical.production. The lead­ ing insurgents in this phase of the revolt were Reinhardt in Germany; Copeau in France; Stanislavsky, Meyerbold, and Bakst in Russia; Littmann, Fuchs, and Appia in Austria; Jones in America; and Barker and Craig in England. These men were theatrical designers rather than playwrights, and in contrast to the playwrights, they envisioned a type of theatrical production which would have its greatest achievement in visual and sensuous appeals. Consequently, this phase of the New Art Theatre Movement is often called the aesthetic theatre movement. This type of theatre, instead of rely­ ing upon character and story development as emphasized by the playwrights, makes a sensuous appeal through eye and ear mainly through beauty of sight and sound. It seeks to create a sustained mood through perfect harmony and unity of action, music, and set­ ting. It relies on action in the physical sense rather than dramatic action in the sense of plot development. Actually, The New Art Theatre Movement embraced two diametrically opposed currents: the intensive drama of thought and emotion, and the aesthetic theatre of sensuous appeal. While the two currents have not merged into one completely new theatre form, they have touched to the degree where there is evidence in the theatre of the last decade that an attempt has been made to bring all the arts of the theatre together in artistic harmony and to mount beautifully all plays of either the aesthetic or emotional and intellectual type. Edward Gordon Craig was the chief prophet and spokesman for the aesthetic theatre movement. He was the first to develop theories and to advance the principles of the aesthetic theatre and the: first to apply them to theatrical production. His essays on the art of the theatre, his experiments in production techniques and methods and his revolutionary acene designs were the first source of inspiration to his fellow workers in the new theatre movement. Considerable research has been done on Craig’s theories and principles as developed in his three books, Towards A New Theatre, 1913, The T h e a tre A dvancing, 1921 and On The A rt T h e a tre , 19U. However, no investigation of The Mask, a theatrical journal written almost exclusively by Craig and published from 1908 to 1929. has been undertaken. The purpose of this study is to provide a description and critical analysis of the theories and principles of theatrical produc­ tion advanced by Craig in The Mask. The prim ary source m aterial for the study is the fifteen volumes that comprise The Mask. These fifteen volumes extend through twenty one years from March, 1908, through December, 1929* Volumes one through ten, and twelve and thirteen of The Mask were available to the w riter at the Louisiana State University Library. Volumes eleven, fourteen and fifteen were borrowed from the University of Nebraska. The bibliography will indicate that the w riter examined also a number of books dealing with, the theory and practice of the twentieth century theatre. In general, the textual m aterial of The Mask falls into three divisions: (1) reprints of historical essays, embracing acting, theatre architecture, stage machinery, scenery, puppetry, dance and masks; (2) Craig’s critical essays on the alleged weaknesses of methods and practices in the theatre; and (3) essays and comments embracing Craig’s theory and concepts of the art of the theatre. v iii Since the chief purpose in this study is to present an interpre­ tation and analysis of Craig's
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