Theatre Design & Technology - Summer 2009 - 42

Lighting Rehearsal of Light of Asia
(after 1928). The Light of Asia
was directed by Walter Hampton
in 1928.

Moving Mourning Becomes Electra
(1931). Mourning Becomes Electra
by Eugene O'Neill with scenery by
Robert Edmond Jones opened at
the Guild Theatre in 1932 before
moving to the Alvin Theatre.

to make their own reputations in the print world. Among his
students were Al Hirshfeld, Emil Ganso, Ernest Feine, and Aaron bohrod.
Fitsch remained a teacher of art after his association with
the Art Students league, becoming one of the founding board
members and an early teacher at the American Artists School,
an academy associated with the American Radical Movement
in the United States and known for its important role in integrating art and society through socially relevant art (Marquart
1986). Although financial problems forced the closure of the
American Artists School in 1941, Fitsch's other associations
with the Art Students league, the Society of Independent Artists
and the Old lyme Art Alliance would keep him at the center of
the art scene in New York from the mid 1920s into the early
1940s. As an artist, his career began to slow in the early 1940s.
Even though he had become a naturalized citizen back in 1921,
Fitsch thought it might be because of his name and German
background.
back in the early 1920s, as a student without a job in New
York, Fitsch began working in theatres around the city as a scenic artist. With his vaudeville experience and talents in painting, it seems only natural that he gravitated to theatre, finding
employment at the lee lash Studio. later on he worked in the
Robert bergman studio and the Studio Alliance scenic studio,
painting scenery for many shows over the next two decades. He
also began to develop contacts with some of the major figures
in the developing field of professional stage design, including
Robert Edmond Jones, lee Simonson and Norman bel Geddes.
A member of United Scenic Artists local 829, Fitsch proudly
noted in a 1967 interview that he painted the scenery for Eva
le Gallienne's Hamlet in which Uta Hagan made her stage

40

theatre

design

&

technology

S U M M E R

R. Bergman Studio 39th St. (c.1929).

2009



Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 2009

Contents
Theatre Design & Technology - Summer 2009 - 1
Theatre Design & Technology - Summer 2009 - 2
Theatre Design & Technology - Summer 2009 - 3
Theatre Design & Technology - Summer 2009 - Contents
Theatre Design & Technology - Summer 2009 - 5
Theatre Design & Technology - Summer 2009 - 6
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Theatre Design & Technology - Summer 2009 - 8
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