Theatre Design & Technology - Oct 1969 - 9

aid the work of the imagination. It is necessary
that the director try to suggest, to stylize or, to
put it pretentiously, that he look for a synthesis.
But M. Ben Geddes goes too far. because he reo
verses the order of the elements
The stage setting should only be the seNant. It
only has interest and value if it is subordinated.
Otherwise, it is like a slave which usurps a
throne. 'Vhen the stage setting becomes an end
in itself, It IS a sign that the meaning has lost
its rights. 18

The English language reviews in general
praise the production highly and tend to
overlook the lack of balance bet'vveen text
and mounting. The reviews variously estimate the actual duration of the dialogue to
be twenty to forty-five minutes. Robert
Benchley, in an article in the old Life magazine, comments upon this point and notes
that without Geddes' contributions the production would have been very flat. Benchley
quotes the phrase "Le sacrifice que Ie

Geddes' attitude at the time is contained in
a letter he wrote to his partner, Richard
Herndon, three days after' the production
opened:
From all reports. it was a miracle that we gOt
the show on at all with so much opposition from
all sides. In spite of unsuff,cient [sic] rehearsals
and no complete dress rehearsal, we opened
and came off with notices beyond my expectations. The press is unanimous particularly as regarded my work. I am enclosing a half dozen
of the leading notices. Of course, the lm~ortant
part for me is the thing I came over here to find
OUi:: whether or not I could make people do on
a stage the thir.gs I visualized in my mind. And
here, with a language \·\'hich I cannot speak except through an interpreter, I succeeded in proving this point most satisfactorily. 11 allm'Vs me
to return to I ew York with more confidence for
our work together, than I should have had if I
had started "green" there in the Fall.

It is unfortunate that the plav was not up to the
standard, but of course, we knew that in the be-

surfaces upon which light may react. The
photographs of the actual production, though
in black and white and obviously not taken
under the best circumstances to display the
lighting, suggest the near-miraculous transformations of wh ich the setting was capable. They hint as well at effects of the variation in light angle and intensity on the
structure and the actors upon it in creating
various moods and locations. Geddes states
in his letter to Herndon that the set and
equipment were not expensive even by the
standards of that day: "Th e cost of the production has been small, the scenery four
thousand dollars, the six hundred costumes
under eight thousand dollars, the properties
two thousand. To offset the cost of a hundred and twenty supers there are no stagehands required." 22
The lighting was less complicated, so far
as the number of instruments required, than
either lIlat proposed for The Divine Comedy
or that employed in the production of The
Miracle, Geddes' major designs up to that
time. Nevertheless, the lighting for Jeanne
d'Arc was extensive and unique in its plan
and instrumentation. The lights for this production apparently consisted of three sections of border I ights with six 1,000-watt
focusing spotlights attached, twelve 1,000watt spotl ights with six-inch lenses at the
tormentor positions, six 1,000-watt stand
spotlights, eighteen 1,000-watt cyclorama
floodlights, three 4, OOO-watt footligh t spots,
and one special overhead light battery on the
bridge constructed of three 1, OOO-watt spotlights with an eight-color boomerang. 23 This
I ast instrument created the shaft of light
that moved constantly over Jeanne's head
and changed color and intensity with the
mood of the scene. Geddes described the
mechanism as follows:
This apparatus could travel in a V shape around
the stage. A man is standing 011 a traveling
bridge with a wire rail around it. He turns a
crank that pulls hlln along !his cog thing. He
could walk all around the lamps. Eight color
f~arnes \>\'ere underneath this and he changed
those with another crank-could be changed al·
most imperceptibly. 24

poete doit faire a la mise en scene," from
the program notes and states that in the
case of Jeanne d'Arc this sacrifice practically amounts to self-annihilation. 19 Perhaps the most trenchant comment is theone
made by Alexander Woollcott in a review
entitled "The New Sin in the Theatre"
which was obviously written after the production closed:
And as it was impossible to believe that Mr.
Geddes thought that this was at all a good play.
I was driven to the conviction that he had agreed
to produce it because with the entry into Orleans,
the coronation at Rheims, the fighting at Com·
piegne and the scene in the fateful square at
Rauen, he saw such opportunities for color and
design and pageantry that the almost excruciating
unimportance of the accompanying text hardly arrested his attention. For our masters of decor, in
their growing power in the theatre, are repeating
faithfUlly the attitude toward the playwright which
was characteristic of the equally oblivious actress
in the bad old days 01 yesteryear.
Now one observes a similar oblivion possessing
such artists as Mr. Geddes who accepts a
"Jehanne d'Arc" because it has a great role in
it for himself. ThIS 15 the nevv sin in the theatre.20

~

THEATER DESIGN AND TECHNOLOGY

Figure 8: Floor plan of setting of JEANNE
D'ARC
ginning and should have insisted on it being rewritten, but if I had hesitated on that score, ,
would have missed an opportunity that has proven
valuable. 21

Significantly, the letter also reveals Geddes'
feelings of success and failure to understand
his own part in the play's failure. At this
time he did not recognize the importance of
a strong script to the play's over-all effect
in the theatre.
Physically. the production of Jeanne d'Arc is
unique and exciting. The multiple level construction that Geddes designed and used
for this play is striking in its combination of
architectural surfaces in reaction to the play
of light, and is strongly reminiscent of drawings by Appia (Figs. 8 and 9) Under ordinary light the setting resembles a futuristic city of the future with its strong vertical sur"faces rising to meet horizontal planes.
The cyclorama, constructed of wood and
canvas, conforms to the contours of the
platforms, providing another set of vertical

DCTOBER,1969

The cost of all of this was to be
$6,189.26, and the rental was set at
$2,000.00 for the three month period. 25
The costumes, both in the plates and in the
photographs of the production, effectively
demonstrate Geddes' theories of impressionistic design. While in no sense are
these costumes accurate reproductions of
fifteenth-century French dress, they are suggestive of the era, the mood, and the
emotional quality of the wearer; yet they
are very threatrical through the use ofheavier weight in fabric, a more generous sweep
and flow in the lines, and simplified bold
applied decorations 26 (Figs. 10 and 11).
It does not seem completely fair to Geddes
to say that he deliberately picked a script
that would allow his designs to dominate
the production, as his critics charged. It appears that Geddes did not value the literary
qualities of a play very much at this period
in his development as a theatre artist. This
may be because much of his education was
devoted to the graphic arts. It certainly is a
reflection of his natural preference for the
visual powers of the drama in production.

9


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Table of Contents for the Digital Edition of Theatre Design & Technology - Oct 1969

Contents
Theatre Design & Technology - Oct 1969 - 1
Theatre Design & Technology - Oct 1969 - 2
Theatre Design & Technology - Oct 1969 - 3
Theatre Design & Technology - Oct 1969 - Contents
Theatre Design & Technology - Oct 1969 - 5
Theatre Design & Technology - Oct 1969 - 6
Theatre Design & Technology - Oct 1969 - 7
Theatre Design & Technology - Oct 1969 - 8
Theatre Design & Technology - Oct 1969 - 9
Theatre Design & Technology - Oct 1969 - 10
Theatre Design & Technology - Oct 1969 - 11
Theatre Design & Technology - Oct 1969 - 12
Theatre Design & Technology - Oct 1969 - 13
Theatre Design & Technology - Oct 1969 - 14
Theatre Design & Technology - Oct 1969 - 15
Theatre Design & Technology - Oct 1969 - 16
Theatre Design & Technology - Oct 1969 - 17
Theatre Design & Technology - Oct 1969 - 18
Theatre Design & Technology - Oct 1969 - 19
Theatre Design & Technology - Oct 1969 - 20
Theatre Design & Technology - Oct 1969 - 21
Theatre Design & Technology - Oct 1969 - 22
Theatre Design & Technology - Oct 1969 - 23
Theatre Design & Technology - Oct 1969 - 24
Theatre Design & Technology - Oct 1969 - 25
Theatre Design & Technology - Oct 1969 - 26
Theatre Design & Technology - Oct 1969 - 27
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Theatre Design & Technology - Oct 1969 - 32
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Feb
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Feb
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
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