Theatre Design & Technology - May 1972 - 5

GORDON CRAIG'S GHOST
WALKS AT BAYREUTH:
Wagner's Grandsons Fulfill Some Prophecies
by Arnold Rood and Glen n loney
From time to time, there appears
an artist-theorist whose magic and
ideas fallon relatively deafearsand/
or blind eyes. His immediate failure
to win acceptance for his work and
his visions may be attributed to several factors. Edward Gordon Craig
was such a man, and, although he
variously won for himself---or was
given-opportunities to experiment
in producing theatres, his career was
not by any means one long file of
successfully achieved practical theatre productions.
But, if there is something basically
sound, artistically true, and fundamentally viable in his theories and
designs, despite such an artist's apparent failure to achieve a consistent, popular success in the theatre,
the vindication and the adaptation of
his ideas may come through another,
later talent, either a disciple or a
more distant admirer who has the
hard-won ability-and the vision-to
wed theory to practice. Richard Wagner's grandsons, Wolfgang and the
late Wieland Wagner, seem to be
such men.
The reasons why an artist of
Craig's peculiar genius may fail to
ach ieve practical acceptance in his
own time are varied. Among them
may be: 1) The artist is too far in
advance of the times, considering
prevailing tastes and traditions; 2)
He is unable or unwilling to adapt
his theory and practice to contemporary demands, such as time, space,
personnel, funds; 3) He is, even
when determined to make practical
applications of his theories, frus-

~

THEATER DESIGN AND TECHNOLOGY

trated by mechanical or personal considerations, over which he may have
little or no effective control; 4) He
is so interested in the pursuit of his
art, craft, visions, and theories, that
he chooses to visualize them only
in terms of a High Art, which is not
usually accessible to the actual market-place of the popular arts; and,
5) He is, if his area of special interest is theatre, aware of the theatre's
laggard adaptation of the innovations
in her sister arts, such as sculpture,
painting, architecture, music, and
dance; aware of theatre's eclectic
and often captious adoption and absorption of these and similar arts,
and, realizing this, is content to be a
prophet of a theatre art of the future.
That may fairly describe Craig,
though it can be suspected that he
was
never "content" with the
thought that the theatre of which he
dreamed, the theatre of which he
wrote so eloquently, would have to
wait a long time to come into being.
As early as 1904, planning The
Art of the Theatre, his first book,
Craig wrote as part of the preface,
"The Art of the Theatre is the same
in one respect as any other art. It is
the work of one man--Unl ike most
other arts it can only be seen and
heard during the life of the man who
creates it-It cannot be copied for
future generations by future Theatrical artists-It is necessary, then,
that it must be accepted whilst the
artist is still living." 1
Craig, however, was not the only
artist-visionary whose theories and

MAY, 1972

designs seem to have been in advance of his time. As has perhaps
too often been noted, Adolphe Appia's revolutionary ideas about stagelighting and scenic design were also
in the advance guard of theatre art.
So much so that his name is frequently paired with Craig's.
After Appia's The Staging of Wagner's Musical Dramas appeared in
1895, there was no great rush by
producers, directors, and designers
to scrap the tons of two-dimensional
illusionistic scenery-much of it
heavily influenced by an odd mixture
of Romantic painting and an obsession with historical accuracy-and to
replace them with the subtly-lit
three-dimensional abstract forms Appia suggested. Craig was certainly
somewhat more successful in making his ideas and designs known
among theatre people, as well as to
stimulate interest in a new kind of
visualization in production among the
more discriminating of the theatre
and opera audiences. Neither of the
two had much opportunity to put his
ideas to work, and so'me contemporary accounts of such productions,
which have received wide modern
currency, have created the impression that the two men were visionaries indeed.
In the twentieth century, however,
the process of change in the theatre
has been tremendously speeded up,
although some archaic, even senseless backstage practices survive. The
eagerness for experiment, for novelty, has in some cases not only
eliminated the time-lag between the

5



Table of Contents for the Digital Edition of Theatre Design & Technology - May 1972

Contents
Theatre Design & Technology - May 1972 - 1
Theatre Design & Technology - May 1972 - 2
Theatre Design & Technology - May 1972 - 3
Theatre Design & Technology - May 1972 - Contents
Theatre Design & Technology - May 1972 - 5
Theatre Design & Technology - May 1972 - 6
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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
https://www.nxtbookmedia.com