Theatre Design & Technology - Summer 1988 - 32

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30

TD&T * SUMMER 1 9SS

suggests that Appia's work with
Dalcroze effectively expanded the
limits of the stage and the very nature
of theatrical art.
Beacham traces the other influences
on the theorist/designer. As a youth
Appia had developed a love for opera,
especially the works of Wagner. In
1882 he saw Wagner's own last Bayreuth production, which seemed to
him to fail in its visual scheme. As a
result, he set about to design scenes
that could create an environment and
mood that would also unify all production elements much in the way
that music could. Also, influenced by
the symbolist movement, Appia
worked methodically to rethink longheld staging traditions. By the turn of
the century, Appia's theories and designs had evolved to a mature state,
Beacham points out, bu t he found
great difficulties in getting his work
produced.
Beacham's analysis continues by
examining the differences between
Appia's designs and the established
traditions that had pervaded since the
days of Wagner. Ulustrations are used
effectively to compare the twodimensional painted rocks and trees of
the Wagnerian era with Appia's moody
and abstract "dreamscapes," as seen in
such designs as Tristan Lind Isolde and
The Ring. But, as Beacham asserts,
conservative audiences and critics resisted change and, like Gordon Craig,
with whom he is often compared, Appia waited impatiently for the opportunity to see his designs realized.
When the opportunities came late in
his career, Appia acknowledged that "I
only work well alone. That is a fate to
which I have grown accustomed."
With a sense of balance and fairness,
Beacham makes the invariable comparisons between Appia and Craig,
noting that various partisans have attempted over the years to prove or disprove the predominance of one over
the other. Beacham accurately points
out, though, that neither Appia nor
Craig felt the least bit threatened by
the other. In fact, they both admired
each other's work.
Beacham also explores Appia's involvement with Jacques Copeau. Both
Appia and Copeau demanded that the
actor be pre-eminent, that there be a
tluee-dimensional performance space
free from the bonds of realism, and
that there be unified staging. Following meetings with Appia in 1915 and
1916, Copeau was instrumental in



Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 1988

Contents
Theatre Design & Technology - Summer 1988 - 1
Theatre Design & Technology - Summer 1988 - 2
Theatre Design & Technology - Summer 1988 - 3
Theatre Design & Technology - Summer 1988 - Contents
Theatre Design & Technology - Summer 1988 - 5
Theatre Design & Technology - Summer 1988 - 6
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