The new spirit in drama & art . Fig. 3- Designs for a Zehsehen Theatre. Fig. I.—Horizontal Section through Audi-torium above the Third 2.—Section above the Second 3.—Section above the First 4.—Section above the Amphitheatre. THE NEW SPIRIT IN MUNICH 141 owing to the bad taste of nineteenth-century stage-managers, .notably Sir Henry Irving and Mr Beerbohm Tree, who have ,persisted in elaborating scenic effects along lines of cost rather >.than of beauty, with results to the structure and movementof the plays no less ruinous than the havoc wrought bye
The new spirit in drama & art . Fig. 3- Designs for a Zehsehen Theatre. Fig. I.—Horizontal Section through Audi-torium above the Third 2.—Section above the Second 3.—Section above the First 4.—Section above the Amphitheatre. THE NEW SPIRIT IN MUNICH 141 owing to the bad taste of nineteenth-century stage-managers, .notably Sir Henry Irving and Mr Beerbohm Tree, who have ,persisted in elaborating scenic effects along lines of cost rather >.than of beauty, with results to the structure and movementof the plays no less ruinous than the havoc wrought byeighteenth-century adapters upon their texts. It should benoted that Herr Savits is a beUever in the non-scenic Shake-speare, and his stage was designed to present Shakespearewithout scenery. He regards scenery as a hindrance to thedrama, and has written a solid treatise, Fon der Absicht derDramas, to prove his point. His championship of the non-stop Shakespeare is not, however, very convincing. AnotherShakespearean stage has made its appearance, which is beingused by Dr Klein. The influence of the Munich Kunstler Theatre was notice-able in several directions. It had, in particular, invaded theSchauspielhaus, where Mr Frank Wedekind was busy produc-ing his pl
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Keywords: ., bookcentury1900, bookdecade1910, booksubjecttheater, bookyear1912
