We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
28
CLOSE UP
Their role is not limited by destroying the theatrical routine and the artistic bases of the ancient theatre, but their aim is to create or rather to " establish " a spectacle, that would be the exact reflection of time and its best expression.
As help to the reformers of the theatre come above all ; the decorator, as constructor of the space of the stage* and the engineer-architect, who creates new conceptions of the construction of the stage and of the theatrical building.
The theatrical art is tending to get rid of the troublesome frames of the traditional " tri-lateral stage-box."
Hate for this narrow and inconvenient " Guckkastenbuhne, " as the Germans baptised it, inclined Reinhardt to leave the theatre, directing him to the circus and afterwards caused him to change the arena of the circus for " the open air " theatre festivals of Salzbourg.
Meyerhold, who is known as an adversary of the traditional stage with its inseparable curtain, introduces his original stage-constructions in Earth is Rearing (Ziemla dybom) adaptation of Tretiakow according to Martinet's piece The Night played in Paris by La Phalange Artistique. Also in Ehrenburg's Trust D.E. and in Erdman's Mandate, but he is not satisfied with that, for notwithstanding the interesting results he has attained, he feels himself very hampered.
The eruptive talent of the stage manager Piscator is tending to obtain the full expression of the construction of the theatre by mounting on the ordinary stage 6 — 7 little stages in a vertical direction, which are tied in the centre by a screen, creating in this manner a continuous performance of almost complete acting.
As an example of such a composition of Piscator we can cite Hoppla, wir leben (Hoppla, we are living), a play of Toller, at the Theatre am Nollendorfplatz in Berlin.
It was perhaps the largest possible exploitation of the traditional stage.
This method was already extremely used by L. Schiller, the stagemanager of the Polish Theatre in Warsaw, in Langer's Perif cries and especially in the theatrical transcription of History of a fault by Stefan Zeromski in 42 pictures, which followed each other in an almost cinematographic rh'vth m.
The theatrical technique in the above mentioned gettings up, so characteristic in fundaments of the aspirations of the modern theatre, helped greatly the audacious conceptions of the stage-managers.
Invading the theatre at first timidly, the technique was unable to destroy the traditional stage, but soon throwing out a compromise and wishing to stand at the height of the artistic success of the reformers, it became a powerful element in the modern theatre.
* So understand their role in the theatre: Schlepianoff and Popowa — the collaborators of Meyerhold, Wiesnin of Tairoff's Kamerny Theatre, also Rabinowich. In Poland — the brothers Pronaszko.