Theatre Design & Technology - Summer 1975 - 20

Both Moliere's Imaginary Invalid (Figure 14)
(Prague 1921) and Marlowe's Edward" (Figure 15)
(Prague 1922) reveal fundamental similarities of
style: deliberate distortion of line and form, extensive use of drapes, and firm architectural groundplans with a painter's sense apparent in the working
out of detai Is. Differences incl ude the relative
openness, sparseness, and architectural dominance
of the Edward " setting in relation to the flats,
wings, and backdrops that fill the sets of Imaginary
Invalid. Each design retains remarkable stylistic
consistency. The design of Edward " stresses the
motif of elongated Gothic arches, while that of
Imaginary Invalid is almost a caricature of baroque
waves and curls. Edward " is austere in its
suppression of color except for occasional accents in
banners or a single drape, while Imaginary Invalid is
marked by bright, dashing color. The striking
distortions and deliberate disproportions of form in
both settings no doubt reflect the expressionist
leanings of Hilar, the director of both productions, as
much as they do Feuerstein's own inclinations.

probably reflects his own taste more fully than did
the previous productions under the influence of
Hi lar. Arch itectural forms and freehand curves are
arranged in opaque layers or planes, a revival in
effect of the baroque wing and drop technique, and
numerous drapes soften the total impression. The
designs that Feuerstein proposed for a cycle of
Smetana operas in 1932 are similar to this one in
their distinctive handling of stage space and design
form. Naturalism and realistic detail are abandoned
in favor of an individualized, yet highly disciplined
puristic total design.

Fig. 16. B. Feuerstein, Love and Death (J. Vrchlicky), 16 Feb.
1923, Vinohrady Theatre, Prague, dir: B. Stejskal. Photo courtesy
of Theatre Collection - National Museum, Prague.

Fig. 14. B. Feuerstein, Imaginary Invalid (Moliere), 11 Nov. 1921,
National Theatre, Prague, dir: K. H. Hilar.

Feuerstein's work in theatre extended to the
design for a new theatre (Figure 17) for the Paris
International Exhibition of Decorative Arts in 1925.
His plan consisted of three adjacent stages sharing a
common proscenium opening and forestage. Separate, simultaneous locales could fill the three stages
or all three might contribute to forming one extended
stage.

Fig. 17. B. Feuerstein, Master Patheline,
International Exhibit of Decorative Arts, Paris.
Figs. 15. B. Feuerstein, Edward /I (Marlowe),
National Theatre, Prague, dir: K. H. Hilar.

25 Jan. 1922,

Feuerstein's design for J. Vrchlisky's Love and
Death [Laska a smrtj (Figure 16), Prague 1923,

20

1925,

Theatre at

V. Nezval's Lovers from the Kiosk [Milenci z
kiosku) (Figure 18), Prague 1932, provided Feuerstein with his first theatre design activity after his
lengthy stay in Tokyo. Tall verticals once again



Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 1975

Contents
Theatre Design & Technology - Summer 1975 - 1
Theatre Design & Technology - Summer 1975 - 2
Theatre Design & Technology - Summer 1975 - 3
Theatre Design & Technology - Summer 1975 - Contents
Theatre Design & Technology - Summer 1975 - 5
Theatre Design & Technology - Summer 1975 - 6
Theatre Design & Technology - Summer 1975 - 7
Theatre Design & Technology - Summer 1975 - 8
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