. The art theatre; a discussion of its ideals . expres-sion, even as a living voice and a living face arecapable of every expression. The scene remainsalways the same, while incessantly chang-ing. . Through its use we obtain a sense of har-mony and a sense of variety at the same may be said to have recovered one of theunities of the Greek drama without losing any ofthe variety of the Shakespearean drama. We pass from one scene to another without abreak of any kind, and when the change has comewe are not conscious of any disharmony betweenit and that which has passed. William Butler Yea
. The art theatre; a discussion of its ideals . expres-sion, even as a living voice and a living face arecapable of every expression. The scene remainsalways the same, while incessantly chang-ing. . Through its use we obtain a sense of har-mony and a sense of variety at the same may be said to have recovered one of theunities of the Greek drama without losing any ofthe variety of the Shakespearean drama. We pass from one scene to another without abreak of any kind, and when the change has comewe are not conscious of any disharmony betweenit and that which has passed. William Butler Yeats, who had to do withthe screens at the Abbey Theatre, is quoted inthe same issue of The Mask as follows: The scenery differs entirely from the old styleof scenery, and consists chiefly of portable screens,by means of which beautiful decorative effectscan be obtained, the working of the screens beingbased on certain mathematical proportions bywhich the stage manager can make walls, pillars,etc. ... a palace almost in a moment, a palace162. The Question of Stage Settings of great cyclopean proportions, and which can bechanged again almost in a moment into a roomwith long corridors, and be changed again into athird and very different scene just as quickly. The primary value of Mr. Craigs inventionis that it enables one to use light in a more naturaland more beautiful way than ever before. Weget rid of all the top hamper of the stage—all thehanging ropes and scenes which prevent the freeplay of light. It is now possible to substitute inthe shading of one scene real light and shadowfor painted light and shadow. Continually, inthe contemporary theatre, the painted shadow isout of relation to the direction of the light, and,what is more to the point, one loses the extraor-dinary beauty of delicate light and shade. Thismeans, however, an abolition of realism, forit makes scene-painting, which is, of course, amatter of painted light and shade, enters into a world of d
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