Identifier: newspiritindram00cart (find matches)
Title: The new spirit in drama & art
Year: 1912 (1910s)
Authors: Carter, Huntly
Subjects: Theater Impressionism (Art)
Publisher: London : F. Palmer
Contributing Library: University of California Libraries
Digitizing Sponsor: Internet Archive

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suited to his particular architectonic plastic form. It is different with the decorator who works according tothe second method for attaining unity. He is concerned withthe idea that Man is of chief importance, that the fundamentaldesign of Nature is to be found in Man himself, and conse-quently everything should start with Man and work outwards.Therefore, when he is asked to design a scene or a sequenceof scenes he first of all conceives his creation in essence, asa dominant line or note of colour, expressing character ex-tracted from the Man. Then he imagines this note expanding,evolving spiral by spiral till it attains the widest expression ofthe original design of human character or mystery. So heattains the unifying effect of design in line and colour, andin so doing lays due emphasis on the importance of light,feeling, and movement. This method of building up fromthe root rhythm is entirely different from that of conceivingthe scene in bulk. The one means working forward towards
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SUMMARY AND SUGGESTIONS 229 the great mass, the other working backwards from the mass.The Nature decorator invites Nature to bring the Cosmos onthe stage ; while the Man decorator invites Man to bring theCosmos on the stage. The first, aiming to represent a pictureof vast corporeal dimensions veiled by the artistic devices ofthe utmost subtleties of light, requires a new form of theatre.The second, aiming to widen the human expression by meansof a simple and splendid flow of melodious line and colour,can apply his method in the existing type of theatre, whilea more artistic type is being developed. I may offer the following suggestions towards realisingthe artistic movement in the theatre in this country :— 1. The replacing of the financial theatre-owner by thecultured and wealthy patron. 2. The removal of the actor-manager system and thesubstitution of one that will allow the manager or directorto travel for the purpose of investigating what is being saidand done in the theatre. 3.

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