Theatre Design & Technology - Fall 2014 - (Page 45)

"Swans" slide of nude figure standing on a lily leaf with swans in the distance. Soon the term pose plastique artist or pose artist came to be used both with reference to exponents of this original art form and the new projected-image version. In 1909 Kliegl Bros. offered a special four-page supplement to the main catalog, advertising their extensive range of pose slides. The hand-painted slides offered a full scene for presentation on a large proscenium stage, with its central character fully represented sans face, but also, in some cases sans arms, legs, or even the complete body. In the latter case there would simply be a dedicated area to encompass the full figure of the pose artist in her fleshings perhaps wrapped in flames, bathed in a fountain, or standing "naked" in a half shell, in the manner of Botticelli's demure Venus. Most of the images in the Rubin collection and other similar pose slide collections are of women, but not all. Sometimes the figures are of male characters. During the Great War in Europe a number of pose slides were produced both in the US and Britain featuring "faceless" soldiers in battle dress. Now they seem rather incongruous, but were no doubt well-received by audiences on both sides of the Atlantic at the time. There are also examples of living faces forming a part of inanimate objects. The catalog offers 104 different poses. These are arranged in groupings, not by theme but by position. For example "Position A. Arms folded across chest," "Position B. Both hands above head," and so on. Neither is there any attempt at linking images within groupings. This arrangement seems unhelpful to any artist trying to assemble a themed performance but possibly reflects the company's concern for things mechanical rather than thoughts artistic. It's difficult to give a satisfactory overview of the subject matter contained in the catalog. But here is a short excerpt which is typical. These are taken from the "Position A" grouping. Note that the descriptions often contain information suggesting other parts of the body to be provided by the poser. A26 Morning Stroll A27 Mushrooms A28 Old Glory Nurse maid wheeling carriage (face only) Face appears in the stem of a mushroom Figure standing behind two American flags (face only) A29 On duty A30 A31 A31 A33 A34 Policeman standing on a street corner twirling his club Pansies Face appears in the center of a pansy Prayer to the Gods Figure standing on high terrace praying, before an incense post Soap Bubbles Boy making soap bubbles (face appears in a bubble) Swans Nude figure standing on a lily leaf, swans in the distance Take Me Too! A stork poised on one leg, wings spread, ready for flight with a little passenger on its back and another holding the stork's back Occasionally images are drawn from the popular plays of the day, such as Wilde's Salome. There are also representations of famous paintings, Grecian statuary, or image from stained glass windows. Religious symbolism is often present, likewise Gothic themes. Some of the most bizarre representations are of the performer as a lighthouse with his or her face replacing the lamp, protruding through a hole in the wallpaper, or providing only a clock face. Within the Kliegl archive a series of six slides show the process of creating the working template for the slide painter. The first shows a photographic image of a woman in a white leotard with successive slides providing proportionate measurements. The slides which form the collection often display various different stylings of the same subject matter. Some are very draftsmanlike; others are not, suggesting a number of different artists at work. Although some slides are quite poorly executed, perhaps we should not conclude that these were typical of the firm's commercial output. It may be that the reason they exist here is because they were not of good enough quality to sell; certainly others are of excellent quality. The slides in the Kliegl f a l l 2014 theatre design & technology 45

Theatre Design & Technology - Fall 2014

Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 2014

Contents
Theatre Design & Technology - Fall 2014 - BB1
Theatre Design & Technology - Fall 2014 - BB2
Theatre Design & Technology - Fall 2014 - Cover1
Theatre Design & Technology - Fall 2014 - Cover2
Theatre Design & Technology - Fall 2014 - 1
Theatre Design & Technology - Fall 2014 - 2
Theatre Design & Technology - Fall 2014 - Contents
Theatre Design & Technology - Fall 2014 - 4
Theatre Design & Technology - Fall 2014 - 5
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Theatre Design & Technology - Fall 2014 - Cover3
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
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
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