Theatre Design & Technology - May 1969 - 22

Houghton, NOrris, "The Scel1lc Season," Theatre
Arts Monthly, XXX, June, 1946, 335·38. E alu·
ating the· work of the 8roadway designers for the
1945·46 season, Houghton complains that the work
of the designers have nOI come up to previous accomplishments. In fact, using Jones' acclaimed de·
signs for Lute Song as his example, Houghton de·
c1ares that Lute Song in nothing less than "s reo
statement of the formalistic pattern invented by Jones
and his school in the 1920's. To see it was 10 reo
live with nostalgia the impressions evoked by the
bes scenery of two decades ago. ' Hough on chides
the designers for constantly . imitating their own
best efforts" and not searching or new forms, meth·
ods, and materials.

Albright, H. Darkes, "Appla Filly Years Aller: II,"
Quarterly Journal of Speech XXXV, October, 1949,
297·99. In the second part of a long essay In \hlch
Albright assays he i luence of Adolphe ApPla's
theories of dramatic production upon the art of the
modern theatre, Albright classifies Jones as a sym·
bolistic designer, who more than any other American
scene designer, was able to assimilate Appia's prinCiples into his own art.

Larson OrvIlle K., "Introduction," SCE E DESIGN
FOR STAGE A 0 SCREE . Orville K. Larson (Editorl,
East Lansing: Michigan State Uni ersity Press, 1961,
ix-xviiI. In this historicai survey of the development
of {\:ventieth-century scer.e design in the American professional theatre, Larson asserts that "it was Robert
Edmond Jones, who, with his settings for The Man
Who Married A Dumb Wife (1915), The Devil's
Garden (1915), Redemption (19181. The Jest
11919), and Richard III (1920), did most toward
establishing the new stagecraft in America."

IV. The Designs: Exhibitions and Collections
A. The Designs

Henry VIII: Detail of Inner Proscenium No.

.1

II

Theatre Arts Magazine (later Theatre Arts
Monthly), championed the movement of the
new stagecraft from its inception. Through
the illustrious career of this fine magazine its
issues were filled with reproductions of de·
signs and production photographs, and much
of Jones' career is visually recorded, especially
during the early years.

(
rlll.l

All through his career, Jones made a point of
having this stage designs exhibited and reo
produced. He was concerned also that they
would be reproduced with a fidelity that would
convey the intent and mood of his designs
He learned early that fuzzy wash drawings,
such as he created for The Jest, when repro·
duced, conveyed little of the mood of his
original intent. The contrast between two
drawings he made for the witches scene for
Macbeth illustrate the point precisely; one a
black and white wash drawings with high
lights of silver and cerise blurs into indis·
tinguishable grays in reproduction, the other
a black and white pen and ink drawings indio
cates sharply the desired effect when repro,
duced.

SIlF.

Some of the more compl ete sets of designs
are listed among the following sources of
published designs.
Eight Designs for Macbeth. Theatre Arts Magazine
V, April, 192 I, 92 ft. Plates reproduced in conjunc·
tion with Kenneth Macgowan's review of the Hopkins·
Jones·Barrymore production.
p£ All. of tPUFf:...
r~ua "ItIN :f I

Six Designs for Hamlet. Theatre Arts Magazine VII,
January, 1923, 43 ff. Plates reproduced in con·
junction with Kenneth Macgowan's review of the
Hopkins·Jones·Barrymore production of Hamlet.

*

Henry VIII: Inner Proscenium

<

,

Jones, Robert Edmond, "Six Drawings for The
Cenci," Theatre Arts Monthly VIII, June, 1924,
408·21. Jones' black and white drawings foreshadow·
ing theatre·in·the·round, for Shelley's poetic drama of
lust and revenge, which Jones created in 1913 while
he was in Florence awaiting the audience with Ed~
ward Gordon Craig that never came. Jones also
created clay models of these scenes.
Jones, Roben Edmond, DRAWINGS FOR THE THEA·
TRE. With an Introduction by Arthur Hopkins and a
ew York: Theatre Arts 800ks,
Preface by Jones.
Inc., 1925. Thirty·five plates of his scene designs
to date.
Other sources of his published designs, that
reproduced them in any number include the
following titles:
Connelly. Marc, THE GREEN PASTURES. New York:
Farrar and Reinhardt, Inc., 1930. Jones designed
twelve full page illustrations of various scenes es·
pecially for this published version 0 Connelly's suc·
cessful adaptation of Roark Brad ord's 01 Man Adam
an' His Chill un, produced in New York in 1930.
(Anonymous). "Rockefeller Center, Jones' Designs,"
Fortune VII, January, 1933, 62·67. A short pro·
motional article announcing the opening of Radio City
Music Hall and its inaugural performance. Several
set and costumes designs which Jones created for
the opening, particularly those for an abbreviated ver·
sian of Carmen. are reproduced in color. Jones was
appointed art director of Radio City Music Hall in
April, 1932, and shortly after its opening he reo
signed. Sometime later, Jones destroyed all the de·
signs he had created for fu ure productions, so these
excellent color plates may be the only pictorial record
existing of Jones' work for Radio City Music Hall.



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
Theatre Design & Technology - May 1969 - 3
Theatre Design & Technology - May 1969 - Contents
Theatre Design & Technology - May 1969 - 5
Theatre Design & Technology - May 1969 - 6
Theatre Design & Technology - May 1969 - 7
Theatre Design & Technology - May 1969 - 8
Theatre Design & Technology - May 1969 - 9
Theatre Design & Technology - May 1969 - 10
Theatre Design & Technology - May 1969 - 11
Theatre Design & Technology - May 1969 - 12
Theatre Design & Technology - May 1969 - 13
Theatre Design & Technology - May 1969 - 14
Theatre Design & Technology - May 1969 - 15
Theatre Design & Technology - May 1969 - 16
Theatre Design & Technology - May 1969 - 17
Theatre Design & Technology - May 1969 - 18
Theatre Design & Technology - May 1969 - 19
Theatre Design & Technology - May 1969 - 20
Theatre Design & Technology - May 1969 - 21
Theatre Design & Technology - May 1969 - 22
Theatre Design & Technology - May 1969 - 23
Theatre Design & Technology - May 1969 - 24
Theatre Design & Technology - May 1969 - 25
Theatre Design & Technology - May 1969 - 26
Theatre Design & Technology - May 1969 - 27
Theatre Design & Technology - May 1969 - 28
Theatre Design & Technology - May 1969 - 29
Theatre Design & Technology - May 1969 - 30
Theatre Design & Technology - May 1969 - 31
Theatre Design & Technology - May 1969 - 32
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
http://www.nxtbookMEDIA.com