Theatre Design & Technology - Spring 2017 - 44
Historians usually point to Jones's 1915 design for
The Man Who Married a Dumb Wife as the launch of the
New Stagecraft. In this production for Harley Granville-Barker, Jones "displayed a new kind of realism, a
simplified realism that was to become the predominant
style of American scene design...for several decades to
come" (Larson 1989, 55). Arthur B. Feinsod refers to
The Man Who Married a Dumb Wife as a "watershed production" that would "radically change" American stage
design (Feinsod 1984, 108). Ronald H. Wainscott specifically refers to "simplicity" as "the key to the labors of
Jones and those who followed in his wake" (Wainscott
1997, 97). This "simplicity" would prove essential to the
aesthetic development of New Stagecraft and the Little
Theatre Movement, but simplicity also has other significant non-aesthetic benefits. As Thomas H. Dickinson
writes in 1917's The Insurgent Theatre, "The little theatre
is a means of solving...the problem of expense" (Dickinson 1917, 78-79).
While Jones gets the credit, advocates of the New
Stagecraft like Macgowan and Cheney had been pushing for the widespread adoption of these new aesthetic
principles in stage design for years prior to Jones's ar-
rival, with Macgowan advocating a new style of playwriting and production as early as 1909 (Bloom 1996,
62). Chansky cites examples of Little Theatres utilizing
scenographic approaches akin to the New Stagecraft
prior to 1914, specifically the Chicago Little Theatre's
production of Trojan Women beginning in 1912, which
made use of simplified, non-representational scenery
(Chansky 2004, 25). Still, the ideas advocated by Macgowan and Cheney and executed by the Chicago Little
Theatre did not gain a strong foothold until after 1914,
when Sam Hume's fabled exhibition launched everything forward.
There is an appealing tidiness to this story. Its reliance on a singular focus without complicating distractions keeps things orderly; however the assertion that
the New Stagecraft achieved primacy through sheer triumph of aesthetics ignores the complexity of theatrical
development. To be sure, the influence of Appia, Craig,
and Reinhardt contributed mightily to this burgeoning
movement, but significant change requires a confluence of events, not simply the writings of a handful of
European artists and American critics. Cheney himself
wrote in 1914 that, "It only remains to say a word about
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Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2017
Contents
Theatre Design & Technology - Spring 2017 - Cover1
Theatre Design & Technology - Spring 2017 - Cover2
Theatre Design & Technology - Spring 2017 - 1
Theatre Design & Technology - Spring 2017 - 2
Theatre Design & Technology - Spring 2017 - Contents
Theatre Design & Technology - Spring 2017 - 4
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Theatre Design & Technology - Spring 2017 - Cover3
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
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