Graf Harry Kessler

Edward Gordon Craig

This long-awaited edition brings together for the first time 366 letters, cards and telegrams exchanged between Craig and his patron the cosmopolitan Count Kessler. An important primary source, illuminated by Dr Newman's commentary, it focuses on three areas of particular importance: - 1. Craig's artistic ideas and the spread of his influence through exhibitions and books; proposals are developed for work with Otto Brahm, Eleonora Duse, Max Reinhardt, Henry van de Velde, Eduard Verkade, Leopold Jessner, Dyaghilev, Beerbohm Tree, C. B. Cochran, and others. 2. Kessler's Cranach Press Hamlet with wood-engraved illustrations by Craig; this is a landmark in the history of twentieth-century book design and printing whose genesis is now fully revealed in these letters and amplified with reproductions of eighteen trial page proofs. 3. The relationship between an artist and his patron. Exceptionally detailed indexes are an additional feature of this book

The Correspondence of Edward Gordon Craig and Count Harry Kessler, 1903-1937

105 Reproductions with an Unpublished Essay

Black Figures

The Mask

A Quarterly Illustrated Journal of the Art of the Theatre

Excerpt from On the Art of the Theatre Then there are other surprises, those engineers, those directors of journals, those managers of stores, those sea captains, men who startle one by suddenly putting in an appearance and expressing a sincere and hearty desire to join in the festivities. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

On the Art of the Theatre (Classic Reprint)

Isadora Duncan

The Love Story of Isadora Duncan & Gordon Craig

"Your Isadora"

Uber Die Kunst Des Theaters

Acis and Galatea ; Masque of Love as Produced at the Gret Queen Street Theatre, March 10th 1902

Souvenir

Edward Gordon Craig (1872-1966) is particularly known among theatre prac-titioners and students of the theatre as a pioneer in what has been referred to as "the new movement in the theatre," commencing with his experimental productions in the early years of the twentieth century and his first book, The Art of the Theatre, published in 1905. Al-though labelled an impractical dreamer by his detractors, he successfully designed and pro-duced a baker's dozen of plays and operas, rang-ing from the amateur Dido and Aeneas in 1900 to the renowned co-production with Constantin Stanislavsky of Hamlet at the Moscow Art Theatre; from the highly revolutionary produc-tion of Ibsen's The Vikings in 1903, under Ellen Terry's management with her appearing as Hiordis, to Ibsen's The Pretenders for The Royal Theatre in Copenhagen in the '20's. However, his greatest influence on the modern theatre was due only in part, to the actual pro-ductions; far greater in importance were his vi-sionary, prophetic approaches to a new theatre in which, for once, all components would be united under the creative artistic impulse of a single person, an approach taken for granted today. Although this is frequently thought to be his major contribution, there were, of course, many others because of Craig's extremely fertile and inventive imagination and devotion to theatre. One little known aspect of his prolific outpouring of books, articles, book reviews, letters, etc. is the consider-able attention he paid to dance in its various manifestations. Gathered here are all the known published writings by Craig on movement and dance: arti-cles, notes, editorials, book-reviews ranging over a wide variety of material from pieces concerning themselves with theory to "classic ballet" (Clerico, Cortesi, Guimard, Lambranzi, Taglioni, Pavlova, Nijinsky, Rubinstein); ethnic and folk dance from the Far East to England, to "modern dance" (Morris, Enters, Duncan, Fuller, St. Den-is, Shawn and Dalcroze). Craig's bete-noire, Diaghilev's Russian Ballet, received considerable attention from him in many pieces for many years. In order to produce so much material Craig not only used his own name but resorted to an earlier subterfuge, that of pseudonyms. In his magazine, The Mask, we find that he used some sixty-six, not all represented here, however, because of the subject limitation. Included here are also a number of short, unsigned pieces which may or may not have served as yet another "mask" for Craig but are assigned to him by the editor to provide a more detailed picture. Omitted are a few articles on dance not written by Craig but by other, "real" people for The Mask. It is hoped this work will bring to the surface another facet of Craig's involvement in "total theatre."

Gordon Craig on Movement and Dance

The end of a tradition. Brodribb - a fine name for a farmer. Brodribb prepares himself to become Henry Irving. The Lyceum Theatre. The actor. Irving as stage-master. Schools and masters. Irving as theatre director. Irving as leader of the English stage. Irving as host. Irving's way. Irving's end, and after.

Henry Irving

John Semar

A Journal of the Art of the Theatre

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

On the Art of the Theatre

First published in 1911, On the Art of the Theatre remains one of the seminal texts of theatre theory and practice. Actor, director, designer and pioneering theorist, Edward Gordon Craig was one of twentieth century theatre’s great modernisers. Here, he is eloquent and entertaining in expounding his views on the theatre; a crucial and prescient contribution that retains its relevance almost a century later. This reissue contains a wealth of new features: a specially written Introduction and notes from editor Franc Chamberlain an updated bibliography further reading. Controversial and original, On the Art of the Theatre stands as one of the most influential books on theatre of the twentieth century.

Edward Gordon Craig

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