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TOWARDS A SOLID CINEMA 1 39
gently breaking over an island rock near by, on which stands a lighthouse. The spirit of the Sea might dance on the ocean's surface, the aerial spirit of the Wind first presenting himself and making his presence felt upon the rock. And the rock and lighthouse would be designed — not merely a replica of the Eddystone. In our circular theatre, the spectator, psychologically, would be very near such a setting.
We have already commented upon the further necessity of moving him relative to what he is seeing — he must move round it just as he would round a piece of sculpture. Whilst the engineering problems involved in revolving a circular auditorium are probably not insurmountable, upon a moment's reflection it will be seen to be unnecessary to take such elaborate steps.
There is no reason why the translucent cylinder with its accompanying projectors should not revolve, producing thereby an identical effect upon the spectator. The cylindrical screen would be mounted on something like a revolving stage; the projectors would throw through a continuous slit in the auditorium and would be mounted on a circular travelling band, built somewhat on the principle of the moving staircase. Both would revolve synchronously and slowly. They would start revolving before the performance commenced, so that the spectator would not be conscious of their movement, as if the screen were being turned round in the manner of a set built on a revolving stage behind a proscenium. The spectator would feel no more in this respect than a gradually