Theatre Design & Technology - Dec 1974 - 13

FOUR CENTURIES OF SCENIC INVENTION
SHIRLEY S. SIMP SON

IN i ERN ATID NALE XHIBIT ION S F0UNO ATID N

Donald Oenslager is not only one of A merica's
foremost stage designers and university teachers of
the craft, he is also one of the most avid and
knowledgeable collectors of stage and costume
designs. His professional career as scenic designer
and teacher plus his avocation as a collector have
spanned a period of fifty years. His collection
includes rare books and prints related to the theatre,
as well as more than 3,000 drawings of stage
designs. From this latter group, a fascinating selection of 126 items have been chosen to form an exhibition representing a comprehensive survey of scenic
design from the 16th century to the present.
"Four Centuries of Scenic Invention" opened on
November 14 at the Pierpont Morgan Library, New
York City, where it will remain on view through
February 2, 1975. Organized by the International
Exhibitions Foundation, Washington, D.C., the show
will travel to seven other American museums,
including the Herbert F. Johnson Museum of Art,
Ithaca, N.Y.; University Art Museum, Austin, Texas;
Krannert Art Museum, Champaign, Illinois; University Art Museum, Berkeley, California; and the Dulin
Gallery of Art, Knoxville, Tennessee. The tour will
end in February, 1976.
Mr. Oenslager carefully selected the drawings to
define both the historical and geographical aspects of
stage design. As a result, the periods exhibited
range from the Renaissance, Baroque and Rococo,
through the Neoclassic and Romantic, to the Modern.
In all, works by ninety-nine different artists representing thirteen countries appear. The theatrical
projects for which the designs were made are equally
diverse - festivals, comedies, dramas (both religious and secular), tragedies, operas, oratorios,
ballets, and Broadway musicals. Some of the most
illustrious names in the history of art appear in the
exhibftion, indicating that throughout the years
painters, sculptors and architects either by
necessity or of their own volition - have turned their
talents to creative efforts in an area other than that
with which they are usually associated.
The earliest work in the show is an elaborate city
scene dated ca. 1535 attributed to Aristotile da
Sangallo. There follow works by Sebastiano Serlio
and other artists which illustrate the early scenic
formulas of the Renaissance theatre. By the seventeenth century, theatrical sets became more sophisticated; and the possibility of changing scenes by
rotating prisms, sliding flats, or cloth lowered from
overhead rollers gave the designer far greater
flexibility. Vistas of a dramatic river view, a volcanic

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THEATRE DESIGN AND TECHNOLOGY

eruption, and a rustic Arcadian landscape, demonstrate the efforts by 17th century scenic designers to
create a realm of novelty and fantasy upon the stage.
Throughout the 18th century, European stage
designers constituted an international circle of specialized theatre artists who were aware of, and
influenced by, one another's work. Italian baroque
and rococo stage design is particularly well represented by five members of the Bibiena family, as
well as Filippo Juvarra, Fabrizio Galliari, Andrea
POZlO, Bernardo Bellotto, and many others, most of
whom also traveled and worked in Northern Europe.
From this period, there are Italian, French, German,
Austrian, and Swiss drawings which exemplify the
infinite variations on a dozen prescribed locales in
baroque and rococo scenography, among them the
scena maritima, the royal atrium, the public place,
the military encampment, the prison, and the aula
sepocrale (or lower world).
Excellent examples of neoclassic and romantic
stage design which reflect the painting styles of the
time are included. In the neoclassical settings,
antique temples, gardens, and shrines are created
with great care. The romantic theatre portrays a new
interest in marvelous fantasies given form by means
of dramatic architecture, pervasive atmospheric
mood, and spatial depth. Such stage designs eventually lead to a fascinatingly varied group of 20th
century drawings.
In the Modern theatre, examples of the work of
Edward Gordon Craig, the legendary Leon Bakst,
Norman Bel Geddes, Rex Whistler, and Jo Mielziner,
uphold the realist tradition. The abstract point of
view is shown in the work of Serge Soudeikine,
Andre Delfau, and Pavel Tchelitchew, among others;
Constructivist techniques are employed by Aleksandra Exter and Nikolai Akimov; Eugene Berman's
design shows an affinity with his Surrealist paintings.
The exhibition is accompanied by an illustrated
catalogue written by Mr. Oenslager himself. In the
Introduction, he sums up the diversity of imagination
evident in the drawings in the show: "Together these
drawings mirror the changing tastes and theatrical
reforms of the stage .... In terms of draftsmanship,
some of the designs are obviously the work of routine
journeymen; others are indeed works of art of the
highest order. As a collection, they form the
branches of a glamorous family tree - "four centuries
of scenic invention."
Three other designs from the exhibit are shown on
pages 14 & 15.

DECEMBER. 1974

13



Table of Contents for the Digital Edition of Theatre Design & Technology - Dec 1974

Contents
Theatre Design & Technology - Dec 1974 - 1
Theatre Design & Technology - Dec 1974 - 2
Theatre Design & Technology - Dec 1974 - 3
Theatre Design & Technology - Dec 1974 - Contents
Theatre Design & Technology - Dec 1974 - 5
Theatre Design & Technology - Dec 1974 - 6
Theatre Design & Technology - Dec 1974 - 7
Theatre Design & Technology - Dec 1974 - 8
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Theatre Design & Technology - Dec 1974 - 12
Theatre Design & Technology - Dec 1974 - 13
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Theatre Design & Technology - Dec 1974 - 18
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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