Theatre Design & Technology - May 1969 - 21

Sowers, William Leigh, "The Progress of the New
Stagecraft in America," The Drama VII November,
1917, 57 -89. A comprehensive evaluation of the
new stagecraft in Amer;sc between 191 1 and 1917.
Sowers takes into account the foreign influences,
art theatres, professional theatres in New York, and
the work of several prominent designers of the peri·
od. Jones' work for Dumb Wife is mentioned but
his early productions in association with Arthur Hopkins are ignored completely.
Meltzer, Charles Henry, "Stage Decoration As It Is
and Used To Be," Arts and Decoration 12, April,
1920, 408 ff. A critical analysis of what has happened to American scene design since the Reinhardt
production of Sumurun in New York In 1912. "The
new spirit which is changing scenic art," says
Meltzer, "is the result, in a very large measure, of
the revolt of our intellectual playgoers against the absurdities which did not fret their forerunners. They
have been affected by a handful of stage artists with
new visions and ideals, men who differ widely, but
in theory and practice, who thugh in the public's
mind, are loosely grouped as 'modernists," This
group includes Urban, Anisfeld, Jones, Simonson, and
Bel-Geddes. Quoted from an interview, Jones succinctly defines his approach to scene design.

Brock, H. I., "The World of Art: Sanity and Stage
Scenery," New York Times, Autust 12, 1923,
16-7. A critique of the new stagecraft on the New
York stage for several seasons previous to 1923.
Brock answerS the critics who call the settings for
the Moscow Arts Theatre productions (which was in
New York at the time), dull and realistic. The stylized
settings of Robert Edmond Jones and Lee Simonson
are analyzed and Brock suggests that what will evolve
eventually is a style of "suggested realism." "For the
artist of stage settings," he says, "the straightest
line to his goal is a selective and restrained realism.
He may combine realism with as much conscious art,
i.e., the isms, as he pleases provided he doesn't
destroy what realism alone provides
,the infinite
power of suggestion and the magic of the emotional
associations to familiar trifles."

Atkinson, Brooks, "The Designer's Craft," New York
Times, December 8, 1929, X, 1. Atklflson states
that if the theatre were merely the art of the scene
designer (in 1929), the state of the theatre would be
well, indeed. Because of the poor quality of the plays.
the designers use "only the surface of their abilities."
Atkinson mentions specifically the contributions of
Jones, Simonson, Bel·Geddes, and Mielziner. Of
Jones, Atkinson says, "Jones works with equal integrity on both good and bad scripts."

Saylor, Oliver, "Our Designers for the Stage," OUR
AMERICAN THEATRE. New York: Brentanos, 1925.
Ch. XII, 149-68. Saylor evaluates Jones' contributions to the profeSSional theatre (in 1925), placing
them in perspective with the accomplishments of his
two foremost colleagues: Lee Simonson and Norman
Bel-Geddes. An appendix lists his chronology to date.

Henry VIII: Before Blackfriars: Elevation

Moses, Montrose, "The Birth of a New Art-What
Modern Scene Painters Are Doing For the Stage,"
McClure's Magazine 52, October, 1920,22 ff. An
account of the development of the new stagecraft
from 1915 to 1920. Moses gives a biographical account and a critical evaluation of Jones' contributions,
in relation to the work of Samuel J. Hume, Rollo
Peters, John Wenger, and Arthur Hopkins.
Saylor, Oliver, "The New Movement in the Theatre,"
North American Review 213, June, 1921,761-71.
A historical survey of the new movement in the theatre, starting with the contributions of Craig, Appia,
and Stanislavski, and following their influence in
America. Saylor comments specifically upon their influence on Jones, and in turn, his influence upon the
movement.
Parker, Robert Allerton, "Art's Aid to Broadway,"
Arts and Decoration 14, October, 1921, 364 ff.
An eval uation of the inroads the new stagecraft has
made upon the professional theatre up to 1921. "So
slowly yet surely has art invaded Broadway that the
new stagecraft has helped the drooping drama without it be known obviously_ In the old days drama
succeeded in spite of bad sets, now bad drama succeeds because of its good sets, costumes, and
lighting
.. Robert Edmond Jones' work has contributed much to this invasion."
Cheney, Sheldon, "The American Artist and the
Stage," International Studio 74, December, 1921,
clio Commenting on the international exhibition of
stage design in Amsterdam at the moment, Cheney
says stage design is the only phase of theatre art
that has progressed recently. The revolutionary designs and pronouncements of Craig and Appia are responsible for this progress. Jones, and Simonson are
carrying on in America with their settings, "The
painter," says Cheney, "must become the 'artist of
the theatre'." Cheney's remark that American designers are not as good as the European artists, provoked a lifelong resentment to the remark by Lee
Simonson which lead to Simonson's blast at the
"apostles of the new stagecraft," in The Stage Is
Set (New York, 1932).
Macgowan, Kenneth, "Ten Years of the New Stagecraft," Wendingen 9 and 10, 1921, 21-6. A resume of the development of the new stagecraft in
America from 1911 to 1921, written for the International Exhibition of Stage Designs held in Amsterdam the winter of 1921-22. Macgowan makes the
point that American designers working in the professional theatre seldom have the opportunity or security
of working for a permanent organization as do many
of the Continental designers. The exception to this
criticism, Macgowan says, is the Hopkins-Jones association which has given Jones a fortunate stability of
working conditions.
_ _ _ _ _ , THE THEATRE OF TOMORROW, New
York, Bani and Liveright, 1921 Macgowan interprets
the modern movement in the theatre, specifically, the
new stagecraft, and its influence upon the American
theatre. Jones' work to date is discussed in detail.

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Henry VIII: Plastic Front Curtain
"This drawing shows actual outlines of pifasters,
etc. Cover with linen. All these outlines to be
treated free-hand. Jones 44"

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