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Theatre Of Today - The Artistic Forces: Lighting
OF all the problems of the old stage-setting that of lighting was perhaps the simplest. Its chief principle was merely this: Let there be light. Its second principle was this: In case of emotion, let there be green light. One easily recalls the stage table which shone brighter on its under side than on top. On the old stage no one ever had a shadow.
Theatre Of Today - The Artistic Forces: Stylisation
THE tendency which has come in the last ten years to be called 'Stylisation' is just what its name implies, the development of style in stage settings. Now style, as an artist uses the word, is hard to define. And the artist is not above making a virtue of his failing by saying that style shouldn't be defined, and can't be anyway, except by stupid people.
Theatre Of Today - The Artistic Forces: Modern Scene Designing In America
THE application of modern principles of scene designing in American work is a thing of very recent years. It can hardly be said to have arisen from the demand of audiences for more beautiful settings, for American audiences have demanded little beyond realism and sumptuousness in theatrical scenery. The careful and skilful realism of Mr. Belasco has been the American ideal.
Theatre Of Today - The Intellectual Forces: Philosophy In The Modern Drama
NOW what have the literary men contributed to this theatre? It is obvious at the merest glance that their contribution cannot be classified in any neat category, referred to a definite ideal, explained by a single principle. Modern dramatic literature makes a fool of any lusty literary critic who seeks to sum it up as he would that of classical Greece, Elizabethan England, or Louis Quatorze France...
Theatre Of Today - The Literary Forces: French And Italian Dramatists
THE modern French drama, more than any other, shows us the power of a tradition. Tradition is an abused word ; it has been used eulogistically so long by aristocratic and conservative partisans, that in our democratic age we have come to regard it as a term of reproach. But like most other things it is in itself neither a good nor an evil ; it is simply a fact.
Theatre Of Today - The Literary Forces: The Russians
WHEN, in 1825, the 'Decembrist' plot to make Russia a republic was discovered and punished, native Russian literature was on the eve of its birth. Russia had long felt the influence of Western ideas, and even in the time of the Empress Catherine the name of Benjamin Franklin (apostle of republicanism to all Europe) was known and hated.
Theatre Of Today - The Literary Forces: Dramatists Of The Germanic Nations
IN grouping together Scandinavia, Germany, Austria, England and America for one chapter we find little beyond the supposed Germanic ancestry of the countries to justify the arbitrary connection. They have had quite different histories and traditions. One general fact alone can be predicated of them: they are learning to know each other.
Theatre Of Today - The Literary Forces: The Imaginative Dramatists
WE have observed in a former chapter that though the tendency among scene designers is all toward the imaginative, dramatic authors are still giving their best energies to realistic work. The situation seems anomalous. But the fact is that we de not realise how much imaginative work is being produced now for the theatre, and of what a high order of excellence some of it is.
Theatre Of Today - The Social Forces: Modern Theatre Architecture
A GLANCE at the theatres of the eighteenth century will convince us how vastly removed our contemporary theatre structure is from its essential purpose. For our theatre, on its architectural side, is simply one of the many eighteenth century elements that have been carried over into modern life. While the meaning has changed utterly, the form, the hull, has been retained.
Theatre Of Today - The Social Forces: Modern Theatre Organization
BY theatre organization is meant, for the present purpose, the relation of the theatre to its audience. This is the great fact in the organisation of the theatre, so important that it will be considered the whole fact. It really determines all the others.
Theatre Of Today - The Social Forces: Modern Theatre Economics
THE great social problem of the modern theatre is its economic organisation. The theatre is the most democratic of the arts; it must be a part in the life of the whole people or it becomes superficial and vitiated. But no institution can be a part in the popular life when its cost is above the purse of the average hard working, efficient man.
Theatre Of Today - The Synthesis Of The Forces
ALL this the concentration of the arts and mechanical sciences, of deepening thought and great social forces, upon the single institution of the theatre veils itself against the first glance. It is not until we have analysed each force, and seen the huge tradition and achievement that lies behind each, that we realise the peculiarly universal character of the mod-ern theatre.
Theatre Of Today - Leipzig Theaters
FOR the fiscal year of 1913 the Intendant of the Leipzig theaters, Geheimrat Max Martersteig, asked of the municipal counsel $250,000. This was, however, much larger than customary in Leipzig, due to the expense of the Wagner cycle arranged to celebrate the centenary of Wagner's birth in Leipzig.
Tables And Sideboards
AT the first glance it would not seem that there was very close connection between these two objects, but the sideboard is the direct out-growth from the side table. When some enthusiastic furniture collector tells you that he has a sideboard three hundred- years old, do not believe him, for there were no sideboards then, no, nor a hundred and fifty years ago, either.
English Pottery And Porcelain
THAT the interest in old china is not subsiding is very evident from the inquiries of many correspondents who ask about pieces which they own. Recently I have had letters referring to an article published in 1901, the writers having had their questions in mind all that time, but just getting round to it.
Chairs And Sofas
WHILE all specimens of antique furniture have an interest all their own, chairs seem to arouse it in a peculiar degree. There is a personal sentiment which they possess, a something which brings one in touch with owners long since dead, that is not shared by such objects as a bureau or a table, no matter how venerable.
Antique Glassware
THE making of glass is an art so old and is so dignified by its antiquity that to learn about its earliest history would take us back at least fifteen hundred years before the Christian Era.There is a glass bead still preserved, covered with Egyptian hieroglyphics which have been deciphered, showing that it belonged to Queen Hatasou, wife of Thothmes II, who reigned at Thebes 1500 B. C.
Chests And Cupboards
DURING the Middle Ages and through several succeeding centuries, the chest ranked next to the bed as the most important piece of household furniture. Of course, this statement does not apply to the courts, where more or less luxury was always to be found, but to the people composing the middle rank in life, the bone and sinew of every country.
Brass And Copper Utensils
ALTHOUGH we read in the Bible about a sounding brass and a tinkling cymbal, it was not the yellow metal which we know as brass that was meant, but something which more nearly resembled bronze. Brass is an alloy of copper and zinc.
Old Fashioned Bedsteads
EVEN in the earliest times some attempts were made to have the resting-place soft and warm.The warrior, coming home from war or chase, threw his wearied frame on a simple couch laid upon the floor and covered himself with furs.
Lustre Ware
THERE is scarcely a china collector who does not number among his or her possessions at least one piece of lustre, which ware forms a group of its own in English pottery. All lustre ware may be divided into three classes copper, silver, and gold the first being the most common, least valuable, and least interesting.
Old Fashioned Timepieces
INSTRUMENTS for marking time may be included under a few great heads: sun-dials, hour-glasses, and clocks. The origin of the earliest time-keeping device is lost in antiquity, but among the first clocks composed of an assemblage of wheels, of which there is no doubt as to age, are the clock in St. Paul's Cathedral, London, which was put up in 1286...
Desks And Secretaries
BEFORE the invention of printing (about the last half of the fourteenth century) books of every kind school-books, medical and cooking receipts, as well as all public and private documents were written by hand.The copyist was a man of importance, who had a lucrative employment.
Old Pewter
THE almost complete disappearance of pewter from the field of household utensils for a space of fifty years or more, and then the attempt to revive it recently for use in country houses, forms an interesting page in the history of antiques.
IN the eighteenth century the term applied to this article of furniture when it was not called a chest of drawers was bureau-table or bureau-desk, or even commode-table, since commode was the name given to them in France; and in Chippendale's first edition are many illustrations of what he calls French commode-tables, which are bureaus mounted on low cabriole legs.
Cottage Ornaments
THERE are collectors, or perhaps I should say there are persons, who would be glad to be collectors if they could find some class of objects which would not take too much space to house, nor too much money to buy. They would not mind if the acquisition of their treasures was slow and difficult if, when found, each object was a joy and a delight.
The Theatre In Greece - The Early Tragedies And The Satyric Drama
IN Greece, religion was the cradle of the drama. Among ancient peoples, the theatre was not only an amusement for the eyes, and a prime distraction for the mind, it had a more vital, more national function. Proceeding at once from patriotism and from the religious feeling, it derived its inspirations from the memory of the heroes who had fought in some noble cause, and from the traditions relating...
The Theatre In Greece - Aeschylus And Classical Tragedy
THE Classical Drama was glorified by illustration from the genius of the three greatest poets of antiquity : Aeschylus, Sophocles, and Euripides. It is important to note that at this period, and during the greater part of the fourth century (more particularly in Athens), the character assumed by Tragedy was that of an act of homage paid by the city to one of its divinities.
The Theatre In Greece - Sophocles, Euripides, And Classical Tragedy
IN the Tragedy of Sophocles, as with Aeschylus, religious sentiment invariably occupies the first place. Sophocles is the poet of mystery, and like his predecessor, his themes are derived from the gloomiest of the Greek legends. Aeschylus recounted the dramas of Argos. Sophocles treated of the misfortunes of Thebes, and he too raised the problems of sovereign justice.
The Theatre In Greece - Tragedy In The Fourth Century B.C.
THE fourth century is a period of decadence in Tragedy. The plays of this epoch are distinguished by a total lack of force and originality in the characters. Carcinus and his three sons, and later on Theodectes of Phaselis, and Chaeremon, attempted the rejuvenation of Tragedy by elaboration of style, but their endeavours remained sterile.
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