Theatre Design & Technology - May 1969 - 14

Robert Edmond Jones and H is Art:
A Bibliographic Portrait
ORVILLE K. LARSON
Kent State University
A man's bibliography, it may be said, is the
measure of the man, the mirror of his profile; reflecting the range of his activities,
the breath of his imagination, the passion
for his work, the extent of his influence,
the esteem of his fellow men for him, and
finally, as well as a record, it may be an
impetus to exhort others to action. It need
not be a definitive history, it may be selective, reflecting the more shimmering facets
of his career. Such is this bibliographic
portrait of Robert Edmond Jones and his
art, this compendium of discussions and
accounts, descriptions and commentaries
that surround and record the activities of
Bobby Jones between 1 91 5 and 1 954 as
a scene designer and artist of the American
theatre. It includes by the very nature of
Jones' activities, the greater part of the
evangelism and criticism written about the
movement the late Kenneth Macgowan labeled "the new stagecraft" in America. It
is in fact an annotated overview of the
flowering of the new stagecraft on Broadway,
for Robert Edmond Jones was first to demonstrate successfully its principles on Broadway.
Robert Edmond Jones became good "copy"
as soon as he achieved recognition in New
York. After his debut in 1915, with his
setting and costumes for The Man Who
Married A Dumb Wife, critics were quick
to applaud his innovations. He became their
champion in promoting the new stagecraft
on Broadway. Hiram K. Moderwell, Oliver
Saylor, Sheldon Cheney, Stark Young, and
especially his lifelong friend, Kenneth Macgowan, were his staunchest supporters, particu!arly during the first decade of his
career when the art of production was frequently discussed in print. At times, Jones
became the very center of violent critical
debates about productions he had designed,
especially when, in association with Arthur
Hopkins, he was involved in productions with
the Barrymores: John, Lionel, and Ethel. No
other American scene designer has been so
extravangantly applauded or so vehemently
reviled.
Jones always held his profession as a scene
designer in high esteem and he had the instinct to promote it on the highest levels
with what his colleague and friend, the late
Lee Simonson, once described as "the
fervor of a militant visionary." He was interviewed and written about frequently, and
from the very beginning of his career he
was articulate. His articles on scene design
and the art of the theatre appeared periodically and Theatre Arts Monthly became his
principal mouthpiece. His exhibition in 1920

14

was the first one-man show of the work of
an American scene designer. His DRAWINGS FOR THE THEATRE in 1925 was the
first book of scene designs devoted to the
work of a single American artist.
After the scene designer was finally accepted as a member of the hiearchy of play
production personnel by Broadway producers, Jones was accorded the mantle of
Dean of American scene designers. He continued to write and reflect on the art of the
theatre (some of these reflections appear in
THE DRAMATIC IMAGINATION), and tolecture for students at colleges and universities where theatre was becoming acceptable
academically. Throughout his career, Robert
Edmond Jones wrote and spoke about his
profession and his art in exalted terms, often
in poetic terms-few have written about the
theatre so beautifully or with such imagerydemanding of himself and others the very
best of their imagination and abilities. This
bibliography reflects, in a sense, his lifetime striving "toward a new theatre" he
envisioned for the future.
Inasmuch as this bibliography is a portrait
of Jones the scene designer, little or no
emphasis has been placed upon his endeavours as play director or motion picture
designer. The items have been selected and
grouped in an arbitrary fashion, groups of
items surrounding various aspects of Jones's
activities as a designer of settings, a creator of "images of magnificence." Within
each grouping, the listings are chronological. Editorial notes, in addition to the annotations, appear whenever necessary.

Robert Edmond Jones' Writings on Scene De·
sign and the Art of the Theatre.
"Stage Lighting: Its Interpretive Power in the Theatre
Illustrated," New York Times, ovember 21, 1914.
12. In a letter to the editor, Jones explains how he
demonstrates 'A ith a miniature lighting system and a
plaster sky dome (the European kuppelhorizontl, how
colored light can create emotion on the stage. Jones
lectured every afternoon at an exhibition of the new
stagecraft which was organized by the late Samuel J.
Hume and shown in Jew York on Fifth Avenue in
November, 1914.
"The
Decorator."
New York Times, December 10, 1916, 1. In hiS first formal statement in
print, Jones explains his theory of self·abnegation.
"The designer," he says, "must be unobtrusive, In
fact invisible. The decorator, like the actor, should be
translucent. like a medium." He also declares that
there is nothing new in the so·called "new stage·
craft." "It is an elementary application," he says, "of
the first principle of creative art."

Robert Edmond Jones (7887 -1954)

"The Future Decorative Art of the Theatre." Theatre
Magazine XV, May, 1917.266. An early statement
of Jones' theories on scene design. "My idea of the
correct production of a play is to start from the
author's original idea and make it something truly
alive, organic ... scenery isn't there to be looked at.
it is really there to be forgotten. The drama is the
fire, the scenery the air that lifts the fire and make
it bright."
"Fashions in the Theatre." AMERICAN STAGE DE·
SIGNS. Catalogue of the Exhibition of Stage Designs.
New York: Bourgeois Galleries, 1919. Reprinted in
Theatre Arts Magazine III, 1919, 115 and in Thea·
tre Arts Anthology. New York. Theatre Arts Books.
Inc., 1950, 386. In a statement for the catalogue
Jones states: "Workers in the theatre have always
faced and always will face the same problem: the
problem of making a drama live before the audience
.no method of working will be too daring or too
direct for him a adopt."

"Notes on the Theatre," Theatre Arts Monthly VIII.
May. 1924, 323-25. A rather rhapsodic essay In
which Jones writes. . the theatre cries out to be de·
livered from the tyranny of the ,,,,riters, the maker of
words.' . Jones calls or a new poet of the theatre
\\ ho will make himself a transparent mirror-not a
representation of the actual world about him but in a
presentation of light, color, moving forms and sound
'an abstract evocation and release of desire, a dream
that is living with 'Iife beyond life. "
"The Robe of Light," Theatre Arts Monthly IX, Aug·
ust, 1925, 493-99. In his first essay entirely to
costume design, Jones declares, "Costuming is not
dressmaking. It is a matter of understanding the
dramatist's inner idea, of knowing how actors carry
out this intention in their movements, and of arranging drapery to make these movements seem more expressive and more heroic."

rnrro THEATRE DESIGN AND TECHNOLOGY

MAY, 1969



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

Contents
Theatre Design & Technology - May 1969 - 1
Theatre Design & Technology - May 1969 - 2
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Theatre Design & Technology - May 1969 - Contents
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