Theatre Design & Technology - Winter 1998 - 42

1957), J. M. Tally credits Willard F. Bellman
for hjs insightful understanding of Craig's design. Bellman argues that Craig's designs were
only "interim symbols," or works in progress,
not futished products, that young designers
could use to develop new perceptions whjch
the theatre world had not yet realized (52). He
states: "Interim symbols [are] the means
which altist[s] create in order to communicate among themselves about perceptions
wWch have not yet been completely realized
and, therefore, cannot be accurately verbalized." (52) In the following discussion thjs
concept of "interim symbol" will be employed,
when appropriate, to help communjcate to the
reader \~sual ideas that "cannot be accurately
verbalized." (52)

A Study of Craig's Designs
A search for Duncan's influence on Craig's

work should begin with Craig's sketches made
during the period when he was closely associated with her. More than 100 sketches pertaining to Duncan remain in Craig's 1904-1905
sketchbooks. Many of these have never been
published or studied. The sketches include
programs, posters, and drawings of Duncan
and her students. Due to the large number of
dra\\~ngs, a representative number will be exantined in this study. The elements found in
these sketches will be compared to the selected designs from Craig's personal work to
determjne if his work with Duncan influenced
his own design work for the theatre. Through
tllis exanlination a clearer ~sion can be obtained of Duncan's "inspiration" for Edward
Gordon Craig's innovative designs for the modern tlleatre.
From Craig's and Duncan's very first
meeting, Craig began to sketch what he saw.
Tllis acti~ty in itseU is e\~dence of his strong
desire to capture on paper the world of
Isadora Duncan. The first time that Craig saw
Duncan dance he not only remembered the
most nlinute movements of Duncan's dancing,
but also the elements of her unusual set, whjch
featured simple blue curtains.
TIlis setting probably enticed Craig not only
because it was so shockingly similar to llis own
settings of 1900-1903 (according to tlim) but
also because tllis dancer's set did not COnf0l111 to
tile typiCt1.l settings of tile day. DlIling tllis peliod,
dance settings, paIticularly for tile ballet, were
pastoral and illustrated tile pictOliai realism tllat
Craig was fighting (Kirstein 56).
What is Significant is tilat from tile onset of
40

\'II

I

N

T

E

R

I

9

9

8

TD&T

\ ....

",

Fig. 5

? *

C
Fig. 6



Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 1998

Contents
Theatre Design & Technology - Winter 1998 - 1
Theatre Design & Technology - Winter 1998 - 2
Theatre Design & Technology - Winter 1998 - 3
Theatre Design & Technology - Winter 1998 - Contents
Theatre Design & Technology - Winter 1998 - 5
Theatre Design & Technology - Winter 1998 - 6
Theatre Design & Technology - Winter 1998 - 7
Theatre Design & Technology - Winter 1998 - 8
Theatre Design & Technology - Winter 1998 - 9
Theatre Design & Technology - Winter 1998 - 10
Theatre Design & Technology - Winter 1998 - 11
Theatre Design & Technology - Winter 1998 - 12
Theatre Design & Technology - Winter 1998 - 13
Theatre Design & Technology - Winter 1998 - 14
Theatre Design & Technology - Winter 1998 - 15
Theatre Design & Technology - Winter 1998 - 16
Theatre Design & Technology - Winter 1998 - 17
Theatre Design & Technology - Winter 1998 - 18
Theatre Design & Technology - Winter 1998 - 19
Theatre Design & Technology - Winter 1998 - 20
Theatre Design & Technology - Winter 1998 - 21
Theatre Design & Technology - Winter 1998 - 22
Theatre Design & Technology - Winter 1998 - 23
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Theatre Design & Technology - Winter 1998 - 25
Theatre Design & Technology - Winter 1998 - 26
Theatre Design & Technology - Winter 1998 - 27
Theatre Design & Technology - Winter 1998 - 28
Theatre Design & Technology - Winter 1998 - 29
Theatre Design & Technology - Winter 1998 - 30
Theatre Design & Technology - Winter 1998 - 31
Theatre Design & Technology - Winter 1998 - 32
Theatre Design & Technology - Winter 1998 - 33
Theatre Design & Technology - Winter 1998 - 34
Theatre Design & Technology - Winter 1998 - 35
Theatre Design & Technology - Winter 1998 - 36
Theatre Design & Technology - Winter 1998 - 37
Theatre Design & Technology - Winter 1998 - 38
Theatre Design & Technology - Winter 1998 - 39
Theatre Design & Technology - Winter 1998 - 40
Theatre Design & Technology - Winter 1998 - 41
Theatre Design & Technology - Winter 1998 - 42
Theatre Design & Technology - Winter 1998 - 43
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Theatre Design & Technology - Winter 1998 - 45
Theatre Design & Technology - Winter 1998 - 46
Theatre Design & Technology - Winter 1998 - 47
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Theatre Design & Technology - Winter 1998 - 49
Theatre Design & Technology - Winter 1998 - 50
Theatre Design & Technology - Winter 1998 - 51
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Theatre Design & Technology - Winter 1998 - 53
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Theatre Design & Technology - Winter 1998 - 56
Theatre Design & Technology - Winter 1998 - 57
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Theatre Design & Technology - Winter 1998 - 60
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Theatre Design & Technology - Winter 1998 - 65
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
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